Theme from Schindler's List is a film music from the movie, Schindler's List. Schindler's List was directed by Steven Spielberg. The movie was released in 1993. It was awarded the Best Picture Oscars in 1993.
Schindler's List is mostly black and white movie depicting the Holocaust. The movie is based on the novel with the same title by Thomas Keneally. In the movie, the main character Oskar Schindler was a German businessman who helped saved many Polish-Jewish from execution by allowing them to work in his factory during the Holocaust.
Theme from Schindler's List is composed by John Williams. The music is actually an "icon" to the movie as most will remember the movie due to the theme played.
Theme from Schindler's List (Movie Version)
Theme from Schindler's List (Score Version)
Overall Music
Personally, I feel that the music is rather haunting. But, it is somewhat beautiful, yet filled with sadness and anguish. Though it is a wordless music, the music somehow tugs the heartstrings of the listener and the viewer of the movie. (If I recall correctly, this work is played again at the end when the survivors were placing stones/rocks on Oskar Schindler's grave. Thus, it does triggers the emotion of one.)
Perhaps, the music was a way to illustrate the emotions of Schindler for he wanted to save more but was unable to do so. Or it is depicting the sadness of those lives that were lost during the Holocaust.
Form
I divided the piece into 3 sections.
A-B-A1
Perhaps, because it is a theme, the music seems rather similar from beginning to end with only a different section in the middle (B). The music stayed in the same key (G Minor) throughout. A1 consists of 2 extended bars. Thus, the form of the music would be of a Extended Binary Form.
Score Analysis
*Harmonic and phrase structure analysis within score.
Hypermeasure
For Section A, the regularity of the measure seems to be 2+4+4. I would say that for Section B there seems to be a regularity of 4 bars for the harmonic rhythm. As for the final section (A1) it seems to be of 2+4+4+2.
You'll Be in My Heart is a song from the animated film, Tarzan. Tarzan was directed by Kevin Lima And Chris Buck. The movie was released on 18 October, 2005 by Walt Disney Studios Home Entertainment.
Tarzan is an animated adaptation of Edgar Rice Burroughs's story of an ape man. Tarzan was adopted by a family gorillas after his parents were killed by a cheetah. Tarzan learnt to live like a gorilla until the "invasion" of humans and Tarzan was torn between choosing to follow the lives of humans such as Jane or to continue his life with his family of gorillas.
The music, You'll Be in My Heart, was written by Phil Collins. The music tells the story of a mother's heart. In this case, the heart of a mother gorilla to her human son.
You'll Be in My Heart (Film Version)
You'll Be in My Heart (Pop Version)
You'll Be in My Heart (Lyrics)
Verse 1 Come stop your cryin' and we'll be alright Just take my hand, hold it tight. I will protect from all around you, I will be here dont you cry.
Verse 2 For one so small, you seem so strong. My arms will hold you keep you safe and warm, This bond between us cant be broken, I will be here dont you cry
Chorus 1 'Cos you'll be in my heart, yes you'll be in my heart, From this day on now and forever more.
You'll be in my heart, No matter what they say, You'll be here in my heart, Always.
Verse 3 Why can't they understand the way we feel, They just don't trust what they cant explain. How know your different Deep inside us, where not that different at all.
Chorus 2 And you'll be in my heart, yes you'll be in my heart, From this day on now and forever more.
You'll be in my heart, No matter what they say, You'll be here in my heart, Always.
Bridge Don't listen to them, 'cos what do they know. (what do they know) We need each other, to have to hold. They'll see in time, I know.
When destiny calls you, you must be strong (you gonna be strong) I may not be with you, but you got to hold on. They'll see in time, I know.
We'll show them together 'cos
Chorus 3 You'll be in my heart, Believe me, You'll be in my heart. I'll be there from this day on, now and forever more.
Ooh you'll be in my heart (you'll be here in my heart) No matter what they say (I'll be with you) You'll be here in my heart (I'll be there) Always
Coda Always I'll be with you, I'll be there for you always Always and always. Just look over your shoulder x3 I'll be there always.
Overall Music
The piece is fairly catchy, with its syncopated rhythm (which happens almost throughout the whole piece) and the use of simple melodic lines. The use of modulation in the music makes the piece of work rather "colourful" and interesting as it builds on some intensity of the music.
Personally, what I like about the song is the words used as it tells a story of two different world coming together as one. In this case, the world of a gorilla mother and the world of a human. Somehow the lyrics is also quite encouraging, for example, the line that sings,
"When destiny calls you, you must be strong. I may not be with you, but you've to hold on."
Form (of entire song)
V1 - V2 - C1 - V3 - C2 - B - C3 - Co Where V=Verse, C=Chorus, B=Bridge, Co=Coda
Verse 2 is fairly similar to Verse 1, however there are some changes in the rhythmic pattern. Thus, I named it V2. V2 returns, with different text as V3. The chorus is grouped as C. Chorus 1 and Chorus 2 are similar elements. However, Chorus 3 has a modulation to F Major (piece starts in F# Major). Personally, I feel that the chorus (C-section) could be divided into 2 sections (8+9). Even though the full section is known as C, the reason why I feel that it could be divided into 2 sections is because of how the melody enters. In the first section, the melody enters with an anacursis while the second section enters on the first beat of the bar.
B and Co are relatively new ideas as compared to verse and chorus. B and Co, respectively, are the bridge and coda of the music. Both sections consists of rather new ideas with suspensions seen in the sections. So, instead of expecting a return of the verse section as the ending, the composer introduced a coda section to end the work.
Overall, the music keeps modulating to different keys, starting from F# Major - Eb Major - F# Major - Eb Major - Ab Major and finally ending in F Major.
Thus, what sort of form would this piece of work take on? Ternary from (A, B, C) with an added coda section?
Score Analysis (First 3 Pages out of 7 Pages)
(Courtesy of Forpiano.com: http://forpiano.com/FILEX/Y/2z359dlajv/phil_collins--youll_be_in_my_heart.pdf)
Chord Analysis/Harmonic Function
The music takes on fairly simple chords (unless analysed wrongly) with occasional tonicization used as a cadence to modulate to the next key.
Phrase Structure
I kept questioning myself if the phrasing is of simple period or double period or neither. The reason behind this is because there is no actual perfect authentic cadence at the point where I feel that it is the consequent phrase except for the first 4 bars of Section V1. The antecedent phrase does not have a proper melodic closure as the melody ends on an A# which is the mediant of F# Major while the consequent phrase has a more proper closure. Subsequently, I am not able to find a perfect authentic cadence and kept wondering if I have analysed my chords wrongly, or is exceptional cases. Whichever the case, I analysed the phrases to my utmost understanding and realised that the phrases are fairly regular until it reaches the chorus. For the chorus section, I feel that it is made up of a phrase of 2+2+3, where 3 has an extended bar.
If I take into consideration of what Dr Chong mentioned about "how the melodic phrases do not end on a standard cadence", I would say that the music takes on a double period (analysing Sections V1, V2 and V3).
Hypermeasure
For this section, I will be touching on Section V1, V2 and V3 as well as Section C1 and C2.
For Section V1, V2 and V3, the entry of the phrase is usually on the quaver beat of the first note. The phrase last for 2 bars. However, there is a shift in melodic rhythm when the chorus enters. The phrase starts on the final quaver of a previous bar. Somehow, the pick up notes seems acts as an anacursis. As for the harmonic rhythm, I feel that it is rather irregular as it seems like the chords neither changes after every bar or every beat.
As for hypermetric regularity, I do feel that there is a regular of 4 bars for the verse sections as well as the chorus sections.
