Music of the Animated Pictures: Will “Cartoon” Films Have a Place in Music Education?
Identifieur interne : 001D92 ( Istex/Corpus ); précédent : 001D91; suivant : 001D93Music of the Animated Pictures: Will “Cartoon” Films Have a Place in Music Education?
Auteurs : Jose RodriguezSource :
- Music educators journal [ 0027-4321 ] ; 1946-04.
English descriptors
- Teeft :
- Academic circles, Academic musician, Ambitious essay, Amiable luxury, Animated picture, Animated pictures, Animated screen, Animation composers, Arithmetical facts, Audioanimated films, Aural instrument, Background study, Bass staffs, Brief article, Cartoon, Cartoon facility, Cartoon picture, Casual observer, Cello cartoon, Cinderella tional potentialities cinema, Collaboration school music teachers, Comedy feature, Creative elasticity, Deliberate fantasy, Donald duck, Educational objectives, Emotional enlightenment, Esthetic scrutiny, Expository tasks, Factual world, Fashionable violinists, Fierce ritualist, Film music, Film music division, Film musician, Film studios, First glance, French horns, Fresh material, General statement, Glen ridge, Greer garson, Hair line, Harmonic series, Humorous quality, Illuminating commentary factors, Immutable rules, Inherent talents, Intrinsic values, Introspective letter, Ironic circumstance, Jose rodriguez films, Legitimate business, Little article, Lush recitative, Main interest, Mathematical accomplishment, Meaning nothing, Melodic line, Menc committee, Menc committee music, Mine music, More leisure, Movie industry, Music education, Music educators, Music educators journal draftsman, Musical perception, Musical reproduction, Orchestral color, Osbourne mcconathy, Palo alto, Poetic moments, Polemical writings, Professional deftness, Professional jargon, Professional practice, Program music, Protean measures, Psychologic equation, Puppet show, Radio commentatorannotator, Radio release, Reasonable confidence, Recording equipment divisions, Ripieno fiddle part, Rodriguez, Routine chores, Russian hunter, Same questions, Screen music, Second article, Several bars, Sharper characterization, Significant character, Social function, Sonata form, Specific effect, Sprocket holes, Sterling wheelwright, Stringent convention, Subtle action, Swifter pace, Teaching instrument, Technical equipment, Technical fluency, Thoughtful musicologist, Transitory sentiment, Tremendous potentialities, Typical problem, Unpredictable development, Vague tremolo, Various castes, Vivid palette, Walt disney productions, Wind streams.
Url:
DOI: 10.2307/3400403
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ISTEX:29150570FE98FF7BEBFE52C7B7DE18A1AF48761ELe document en format XML
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</publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3400403</article-id><article-id pub-id-type="publisher-id">10.2307_3400403</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>Music of the Animated Pictures: Will “Cartoon” Films Have a Place in Music Education?</article-title></title-group><contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Rodriguez</surname><given-names>Jose</given-names></name></contrib></contrib-group>
<pub-date pub-type="ppub"><month>04</month><year>1946</year></pub-date><volume>32</volume><issue>5</issue><fpage>18</fpage><lpage>19</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> Music of the Pictures Films Will “ Cartoon” Have a Place in Music Education? N Animated JOSE RODRIGUEZ Animated pictures are the soul of synthesis. Relieved of all responsibility to the factual world, they function better on the plane of deliberate fantasy. Where, in the “ live action” picture, realism is external and fantasy internal, cartoons usually reverse the process. They rely on the aspect of the impossible to convey the truth. In practice, this means that stylization compels a swifter pace, a more compact exposition, a sharper characterization. Where, on the live screen, the action can relax in a series of sentimental scenes-accompanied by a lush recitative on the cello D-strings-the cartoon must maintain its headlong pace or forfeit interest. The live screen can indulge in a sixty-second close-up of Greer Garson to the sound of juicily modulated passages; but Donald Duck cannot afford this amiable luxury. He must move and the music must move with him, or-in the cant of the trade-“ lay an egg.” even to the casual observer, as that the problems of music on the motion-picture screen are merely continuations of the same questions which have confronted dramatists and composers from the time of Monteverdi. The mediums of cinematography and of musical reproduction by electrical means have simply increased and extended the technical equipment involved. The conditions and demands remain the same. This becomes obvious from a hasty leafing through of the critical and polemical writings of Gluck, Wagner, Boito, Debussy, and a crowd of others. Each had asked himself whether music had legitimate business to transact in the drama, each had answered in the affirmative, and each had submitted his own conclusion-to be refuted or confirmed by the esthetic scrutiny of time. Wagner' s dictum that in opera the drama is the end, and music only the means-“ the informative medium” still holds true in composition for the screen. It may be laid down with reasonable confidence that whenever the music of a screen play intrudes upon the story, both picture and music have failed; very much as in recitals by fashionable violinists where we hear only the leading or the ripieno fiddle part of what is meant to be a rounded work. The movie industry wisely makes a distinction between screen plays and “ musicals.” In screen plays the music is used as a means of emotional enlightenment, to vivify and sometimes clarify a psychologic equation. In musicals, the drama is permitted to go hang and the emphasis is placed on tunes whose intrinsic values, by an unofficial, unspoken but nevertheless stringent convention, are always of trivial but preferably engaging nature. It is an ironic circumstance that the conventions of screen music, in an industry which still derives its main interest from disdain of convention or formula, are becoming almost as rigid and inviolable as those of the academic musician who is habitually derided by the film musician. To the thoughtful musicologist, it is delightful to notice how the “ popular” composer has become a fierce ritualist, developed his own professional jargon and established his own immutable rules. To look for radicals and experimentalists in the art, nowadays we must go peeking into academic circles. Within the various castes of film music, that which is known as “ cartoon” music has a special and significant character. OTHING IS SO PLAIN, Page 18 + Where the live screen partakes almost exactly of the nature of opera, the animated screen is closer to the ballet or the puppet show. Movement, fantasy, and the truth of laughter are the essentials of its life. This is not to discount the cartoon facility for poetic moments. But they belong more to the poetry of Scaramouche and Columbine, and less to that of Hamlet. These considerations are always in the mind of the composer in a cartoon picture. He must partake of the satiric and humorous quality of the animator. He must have a gift for just exaggeration, match the license of the The mighty little Russian hunter, Peter, tries to get his gun back from sleeping grandpapa so he can hunt the wolf in Prokofieff' s “ Peter and the Wolf” sequence from Walt Disney' s musical comedy feature “ Make Mine Music,” an RKO Radio release. Music Educators Journal draftsman in his melodic line, adopt the vivid palette of the animation to his orchestral color. His moments of contemplation and serenity occur, of course, but they never approach in detachment or freedom those of his live-action colleague. These requirements impose themselves on the character of his music. It becomes more precise, more condensed, often even to the point of mechanism. Where synchronization of music and action are only occasional and incidental to live pictures, synchronization is almost a rule of life with animation composers. Technically, this is accomplished by a system which implies in the musician a mathematical accomplishment not generally taught in conservatories: the ability to correlate the arithmetical facts that 90 feet of film run off in 60 seconds, that there are 24 frames per second and 16 per foot, with four sprocket holes to the second. This enables him to synchronize to 1/24th of a secondalways in theory, and usually in practice. He must learn to eschew easy-going, protean measures of pace like “ adagio” and “ allegro,” and depend entirely on the number of frames that pass the projector in a given second. He must be familiar and adept with exotic tone-colors and recognize neither sanctities nor boundaries in his invention of new ones. It is usually taken for granted, likewise, that he is able to carry out all the routine chores of composition. A typical problem may illustrate this general statement. Visualize a not-unlikely scene where Donald Duck walks across the screen, hippity-hop, snapping his fingers. The tempo is 3/12, that is, there are three beats of 12 frames to the bar which means metronomically three counts of 120, since there are 24 frames per second. Donald puts a foot down on the 7th, the 16th, the 25th and 34th frames and snaps a finger at the 4th, 19th, and 31st. This argues several bars of sixteenth-notes in which the accents are strongly syncopated. The composer must therefore adjust his melodic line, his accents and his harmonization to fit the case-and perhaps be called on after the 34th note to launch on a tempo of 2/18s, 3/9s, or what-have-you, and still create the impression that the music is flowing on merrily and naturally! This demands technical versatility and creative elasticity. There is no opportunity for a casually placed chord for French horns or a vague tremolo for muted violins, beginning and ending virtually at will and meaning nothing in particular. Everything is drawn with precision and with a hair line, acutely assigned to a specific effect. Given the inherent talents for humor and caricature, a facility for contrast and technical fluency, this is not as hard as it seems at first glance. It is a matter of professional deftness. But there is another requirement that is becoming more pressing and which is evident in many of Walt Disney' s more serious longer pictures. This is a feeling for tenderness, a wistful if transitory sentiment that is all the more persuasive because it comes as a relief from humor. In Pinnochio, Bambi, and Dumbo, this quality was prominent. Mention must also be made of “ pre-scored” music for cartoon, that is, music which already exists and to which April, Nineteen Forty-six HERE is discussed an area of the film art, which provides a field for unpredictable development in audioanimated films. Not only is visual education-the the article interesting in its own right as a presentain concisetion of more or less technical information and non-technical fashion, but the author himself on one of the serves as an illuminating commentary factors which contributes to the musical and educaof the of the “ Cinderella tional potentialities Cinema.” Mr. Rodriguez is well known as a member of the staff of Walt Disney Productions. His career in music hardly needs mention; soloist, conductor, composer, radio commentatorannotator, critic, author, with a background study with Lescheincluding brings to the tizky in Vienna and Pugno in Paris-he film studios the musical perception, skill and understanding which are exemplified in his music and attested in his brief article. The deduction is obvious, that movie when it is understood particularly of makers seem disposed to enlist the collaboration school music teachers, with educational objectives in mind. A sentence from a letter written by Mr. Rodriguez on Film to the chairman of the MENC Committee Music provides a pertinent closing for this editorial short: “ Here is the little article; it is intentionally my feeling being that music educators compact, are as fully able to read between the lines of Rodriguez as between the treble and bass staffs.” bit from the same Or perhaps this introspective letter would be preferred by the author, since he is being quoted without permission: from professional practice is “ My withdrawal explained by the fact that living by one' s wits is than living by one' s easier and more sumptuous art- and one can have more leisure and ardor to love one' s art when a less lovable activity can foot the bill.” animation is fitted. Fantasia was of course the most ambitious essay in that method. The release of Make Mine Music will furnish fresh material for discussion of the cartoon' s powers in animating to music, and, particularly in a section of that feature adapted from Prokofieff' s Peter and the Wolf, demonstrate the adjustments imposed on a piece of program music- even with its existing narration-by the animated screen. No account of the cartoon and its relation to music is quite adequate if its tremendous potentialities as a teaching instrument are not mentioned. This is particularly true in the case of music education. The animated picture is admirably adapted to expository tasks. Nothing is hidden to its eye., The growth of continents, the habits of the streptococcus, the behavior of wind streams or the diastolic beat of the heart can be described, shown, demonstrated and explained easily and vividly. What this means in terms of introducing people to the mysteries of the harmonic series, the structure of sonata form, the subtle action of the violin bow and the social function of music, can be readily imagined. More so since not only a visual but an aural instrument is there to do it, an instrument that knows no limitations and waits only to be better known and better used. This is the second article supplied by the Film Music Division of the MENC Committee on Audio-Visual Aids, Helen C. Dill, Los Angeles, chairman. (Chairmen of the Radio and the Records and Recording Equipment divisions, respectively, are Osbourne Mc Conathy, Glen Ridge, N. J., and D. Sterling Wheelwright, Palo Alto, California. Hazel B. Nohavec, Cleveland, Ohio, is coordinating chairman of the Committee.) Page 19 </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Music of the Animated Pictures: Will “Cartoon” Films Have a Place in Music Education?</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Music of the Animated Pictures: Will “Cartoon” Films Have a Place in Music Education?</title></titleInfo><name type="personal"><namePart type="given">Jose</namePart><namePart type="family">Rodriguez</namePart></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1946-04</dateIssued><copyrightDate encoding="w3cdtf">1946</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music educators journal</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1946</date><detail type="volume"><caption>vol.</caption><number>32</number></detail><detail type="issue"><caption>no.</caption><number>5</number></detail><extent unit="pages"><start>18</start><end>19</end></extent></part></relatedItem><identifier type="istex">29150570FE98FF7BEBFE52C7B7DE18A1AF48761E</identifier><identifier type="ark">ark:/67375/M70-JTVF0RX2-T</identifier><identifier type="DOI">10.2307/3400403</identifier><identifier type="ArticleID">10.2307_3400403</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/29150570FE98FF7BEBFE52C7B7DE18A1AF48761E/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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