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.
Here's my take on some of the bars of the chord analysis:
ReplyDeleteBars 2beat1 - 2beat3, 3beat2 – 4, 15beat1 - 15beat3, 162 – 17 : ii7/III (not a half-diminished) and V7/III and III
Bar 5beat3: V4-3
Bars 8 and 21: vi7 (not a half-diminished) and (T) instead of PD (I hear this as an interrupted cadence)
Bars 11-12: ii instead of vii
Bar 13: i and ii42
Bar 14: iiø7 altered iiø7
All iv ø7 should be iv7 instead.
For the phrase structure:
I think bars 7-8beat2 (and 18-19beat2) should be the antecedent phrase, and bars 8beat2-10 (and 19beat2-21) should be the consequent phrase, creating an overlap.
I think the consequent phrase in bar 13 should end at bar 14beat1 if not the period does not come to a close cadence.
Hi Gracia, Sharon here.
ReplyDeleteYou mentioned that this piece is in extended binary form. I agree with this as Section A ends in bar 11 with a perfect cadence in home key G minor.
Section B has contrasting material and ends on imperfect cadence, leading into the reprise of section A. My question would be: since Section A1 is so similar to the opening section, why isn't it ternary form?
Also, the last chord of the first system of page 2 (quite a mouthful right? haha)should be our French(4/3) chord rather than vii(4/3). Check out the flattened six degree of the scale and raised 4th. :)
Oh ya, didn't look carefully to realise that it's a Fr 43 at bar 14...haha.
ReplyDeleteAnyway Sharon, personally I think the form can be an extended binary or a simple ternary depending on where you determine the B section ends.
If you see it as ending at bar 15beat2, then it will be a simple ternary form as the B section will sound complete.
If you see it as ending at bar 14, then it will be an extended binary but the B section will end on a predominant-function (augmented 6th) chord instead of a dominant-function chord. However, the augmented 6th chord hints strongly of G minor so it can arguably still lead back to the home key. Another thing to note is that the second reprise will also be significantly larger in length than the first.
I hope what I said is factually sound...haha.
Wow! Glad to see the e-exchange here, good work Wei Xun and Sharon!
ReplyDeleteGracia, I won't indicate whether the corrections suggested were all correct, you'd have to determine that yourself--very carefully. Your functional analysis also needs to be double-checked-- bear in mind how to deal with tonicizations and modulations where function indication is concerned.
It will also be fascinating to detail the voice-leading elaboration and see how in some instances, they relate motivically to the main melody.
Concerning the phrase structure of Section A, listen to how each phrase relate to each other and consider their structural function (beyond just a straightforward antecedent/consequent). Thereafter, reconsider your hypermetric interpretation.
As for the overall form, the reasoning offered by the three of you reveal insufficient understanding of binary forms and ternary. Refer back to your textbook to know in specific terms how the various binary variants are distinguished from one another and in turn how they differ from ternary. Once you have figured out the form, comment on any interesting twist vis-a-vis classical practice. (Wei Xun, your hearing of a cadence at b. 15 is curious -- it ignores the phrase structure)
Dr Chong, just to find out, when do we need to complete our corrections?
ReplyDelete