“On the Waterfront” and the Music of Leonard Bernstein

Addam Farmer MUS 468I Written Project Professor Perry La Marca 3/19/2012 On the Waterfront and the Music of Leonard Bernstein (1954) On the Waterfront is a masterpiece film about a union humans (Terry Malloy) whom makes an attempt to stand up to the corrupt mob bosses leading the Longshoremens Union. Just as chief(prenominal) as the plot of the film is the unison the original score by Leonard Bernstein greatly influenced how other composers would lift film scoring.Bernstein combined the American characteristics of Aaron Coplands music (disjunct melodies, wide intervals, small solely colorful ensembles) with the isolated and somewhat disturbing elements of modernism. Bernstein did not shy away from dissonance, and he also incorporated jazz elements (such as brass and rhythmic syncopation) into the equation. During the go-ahead credits, we can hear a solo French horn followed by a small music ensemble. This is expected of the modernist technique to start off with one instrument followed by others mirroring the opening melody and/or providing contrapuntal contrast.What is amazing about On the Waterfront is not just the music itself rather, it is the way in which Bernstein employs his music. The movie score is not wall-to-wall there are long periods of silence in the film (other than sound effects and dialog. ) Strategic musical entrances and long periods of silence are carefully situated to sustain with the storytelling of the film. For instance, when the non-corrupt members of the Longshoremens Union meet in the Church to discuss their problems, there is no music.Suddenly, excite danger music begins to play, followed by the mobsters attempt to break up the union meeting. The corrupted mobsters begin to bunk up the union members, showering them with intimidation. The placement of the music plays a vital role in this scene as the absence of the music symbolizes the absence of conflict. Another way Bernstein helped the film is through his utilization of various physical compositions. The Waterfront subject field serves as the frame of the musical score.Parts of the make-up can be heard throughout the film, but the Waterfront theme is only heard in the complete form at the beginning and end of the film. There is also a love theme that acts as the catalyst for the portrayal of Edie and Terrys chemistry. Lastly, the dominant theme in the film is the Violence theme, which is first heard in the second scene with the death of Joey. These themes help to distinguish the films elements the love story between Edie and Terry, the violent nature of the corrupt union bosses, and the overall gist of the film.The greatest point in the music occurs at the climax of the film, when Terry gets severely bruised and beaten by the union bosss men. At this point, Bernstein utilizes the Violence theme surrounded by dissonance and jazz-style shorten rhythms. Then, when we see Terrys bloodied face, a plainer version of the Violence theme is heard in th e woodwinds. The opening Waterfront theme is then heard by a solo horn after Terry asks the others to coiffure me on my feet. The horn is joined by an orchestra.The proceeding music follows the nationalistic, proud, American music style of Aaron Copland Bernstein again shows the listeners where his own compositional influences come from. The grand performance of the theme suggests the unity of the union members standing up to the mob bosses. The theme also can suggest the courage held by the longshoremen as working citizens of American society. Leonard Bernstein was a musical genius in many different aspects. It is kind of a shame that On the Waterfront was his only original film score even West Side Story was later vary for film.His intelligent use of various themes coupled with his great sense for rests in the score create a mood that sucks the viewer into the world of Terry Malloy. His careful decisions concerning where to place the silences also help to surprise the viewer s in a way that is conducive to the film the viewer cant help but wonder what will happen next. It is no wonder that Bernsteins scoring for On the Waterfront was held in laid-back esteem by the very composers that inspired him.