LLCM Thesis

The Neo-Romantic Wagnerian influences on the film music of John Williams: Star Wars
David Quinn
September 2011
Thesis submitted for Licentiateship Diploma at the London College of Music, University of West London
Contents
Abstract
Acknowledgements
Chapter:
1.0 1.1
Introduction Neo-Romanticism Wagner The Music Drama Wagners Stylistic Developments Melodic Traits Tonal and Harmonic Traits The Leitmotif The Tristan Motif John Williams Star Wars Synergy Between the Music and Motion Picture
Chapter:
2.0 2.1
Chapter:
3.0 3.1 3.2
Chapter:
4.0 4.1
Chapter:
5.0 5.1 5.2
Chapter:
6.0 6.1 6.2 6.3 6.4
Leitmotifs or Film Themes? Star Wars: Dynamic Leitmotifs Star Wars: Other Main Leitmotifs Division into Light and Dark Leitmotifs Thematic Unity Through Leitmotifs Williams Stylistic Traits Melodic Traits Tonal and Harmonic Traits
Chapter:
7.0 7.1 7.2
Conclusion and Recommendations Bibliography Appendices: 1 2 CD of Track Examples from Star Wars Main Title Score from Star Wars
Abstract
This dissertation examines the Neo-Romantic Wagnerian influences on John Williams film scores of Star Wars. The discussion is centred around a statement by Williams in which he states that he intended the scores to be written in a Wagnerian idiom. The first chapters create a working definition for the term Neo-Romanticism and present Wagners creation of the music drama and overall stylistic developments, focusing on the Leitmotif, with the Tristan motif presented as a prime example. The following chapters provide the context for the film saga, alongside Williams own adoption of the Leitmotif technique, discussing his modifications to the technique. Williams overall stylistic tendencies are then presented, based on the Main Title score and other tracks from the Soundtrack. The conclusion recognises that Wagner had a profound impact on Williams stylistic leanings in terms of melody, harmony and the use of the Leitmotif, however noting that Williams was not limited to Wagners idiom and modernised the Leitmotif, making it more suitable for the genre of Film music.
Chapter One
Introduction
1.0 Introduction
First and foremost, it must be stated that many factors contributed to my decision to present this discussion, including a keen interest in film music in general and the way in which composers write for this genre. However, undoubtedly the most influential factor was an intense curiosity as to the musical influences which impacted John Williams writing of the music of the Star Wars saga. Through initial research, I discovered a comment made by Williams in an interview by Craig Byrd (1997), in which he states that he intended to write music that would put us in touch with very familiar and remembered emotions, which for me as a musician translated into the use of a 19th Century Operatic idiom, if you like, Wagner and this sort of thing. This resulted therefore in the decision to examine the Wagnerian influences on Williams writing and the degree to which he succeeded at creating a Wagnerian sound. Whilst the musical era in which Wagner wrote has often been described as PostRomantic, or Neo-Romantic (Samson, 2011; Dahlhaus, 1979), he himself hated the term and used it to malign the French romanticism of the 1830s and 40s (Dahlhaus, 1979). Due to the disparity in the usage of this term then, it will be necessary to provide a working definition for the term Neo-Romanticism as well as an informed discussion of the degree to which Wagners music is typical of this idiom. These will be presented in Chapters 1.2 and 3, respectively. In order to provide a comprehensive discussion of the influence of Wagner on Williams scoring of the Star Wars saga, it will be necessary to present an in-depth overview of Wagners contribution to the overall development of music and his TYPE THE DOCUMENT TITLE 1
stylistic tendencies. This includes his redevelopment of Opera into the Music Drama and the associated musical devices and techniques which he embedded within this newly-founded genre. These points will be presented throughout Chapters two, three and four. The discussion will then focus on Williams scoring of Star Wars in Chapter five, mentioning how the music interacts with the motion picture and comparing this to Wagners music dramas. An in-depth analysis of Williams themes will then be presented in Chapter six, forming a significant part of the discussion, alongside examining their functions both musically and dramatically; they will then be compared with Wagners Leitmotifs and any similarities will be critically evaluated. Finally, Williams overall stylistic traits will be examined in Chapter seven, mentioning any notable Wagnerian influences, after which the conclusions of the discussion will be presented in Chapter eight. Note: When the phrase Star Wars is used throughout this discussion without referring to a specific episode, it is to be assumed that its usage is in reference to the entire saga, or to the music thereof.
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1.1 Neo-Romanticism
As much has been written about the term Neo-Romanticism from very different perspectives it is necessary to provide a thorough working definition of the term, mentioning both sociological and political issues which must be addressed. Therefore, in attempting to determine exactly what the term means, it is necessary to first decide whether most emphasis is going to be placed on musical style and stylistic tendencies, or on the place of music in the context of contemporary art culture (as opposed to contemporary popular culture). If the place of music in contemporary art culture is studied, then philosophical considerations must be made as to when musical Romanticism in a Romantic era became musical NeoRomanticism in a Modernist era. In other words, the importance here lies on when contemporary art culture turned away from Romantic ideologies, leaving music to continue in the by now old tradition a revolt against modernist principles. Scholars such as Lang (1941), Dahlhaus (1979) and Rummenhller (1995) describe a fragmentation of aesthetic arts which occurred around the middle of the 19 th Century, creating a huge gulf between music and the literature and art of the same period. Music still had its stylistic roots in traditional Romanticism, whereas the art and literature of the day had progressed to contemporary, modernist principles and thus music was considered retrospective, or ex post facto. According to Dahlhaus (1979), it was this gulf which prompted the afore-mentioned scholars to attach the label neo-romantic to music written post-1850. Whilst these musical historians may have used the term neo-romantic to classify music composed after 1850 as conservative, so to speak, it also served to create a TYPE THE DOCUMENT TITLE 3
distinction from the music of the old guard of Romantic composers who either died or stopped composing around the middle of the century: Chopin, Mendelssohn, Schumann, etc. (Samson, 2011). There is no dispute that the years after 1950 constitute a separate and distinct era, with Samson (2011) referring to the new generation of composers which came to maturity around this time Brahms, Bruckner and their ilk as neo-romantic. However, whilst both Liszt and Wagner were musically active in both eras, the mid-century point heralded a new creative direction, a self-conscious working-out of the ideals of Romanticism (Samson, 2011), which included an overemphasis on forms and theories, resulting in an abandoning of the spontaneity and exuberance of the original, pre-1850 Romanticism. This neo-romantic period is characterised by the development of an extended tonality1, strong motivic integration as well as the rise of nationalistic elements in music. However, the obvious characteristics of this era focus on the developments of early Romanticism: the colourful harmonic palette, imaginative rhythmic patterns and an expanded use of the orchestra; these developments were then stretched to the extreme, pushing the boundaries of what was either possible, or musically acceptable. Composers such as Richard Strauss, Ravel and Rimsky-Korsakov are representative of this idiom, however none represents the exaggeration of Romantic ideology more so than Mahler his Symphony of a Thousand standing as a testimony to this see figure 1.2.1 showing the extensive orchestra and choir required.
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The term extended tonality here refers to the fascination with chromatically derived chords, non-diatonic harmonic progressions and frequent modulations to unrelated keys (Gilliam, 1998, pp. 5657). TYPE THE DOCUMENT TITLE 4
His seventh Symphony also makes use of cowbells, featuring interlocking tonal structures, moving away from the traditional view of tonality as a unifying element in a work (George, 1970). This pushing to the extremes eventually led to the breakdown of tonality and functional harmony altogether, moving away from Romantic ideals and towards modernist principles of atonality and serialism, epitomised by composers such as Webern and Schnberg.
Figure 1.2.1 showing the Orchestra and Choir for Mahlers Symphony of a Thousand Tonality in the neo-Romantic period is indeed very complex and requires at least a brief mention. Oxford Music Online provides a definition of tonality as musical phenomena (harmonies such as the tonic, dominant and subdominant, cadential formulae, harmonic progressions, melodic gestures, formal categories) arranged or understood in relation to a referential tonic, which imbues the music in the case of C major with C-ness (OMO, 2011). Tonality must be analysed within the context of a single centre point, thus the question for this era is how to analyse works which
do not have a clear tonal centre, as so much of analysis is dependent upon contextually determined factors (Morgan, 1999). Musical theorists and historians such as Bailey (1977) and George (1970) have criticised views of tonal centricity as being too rigid for Neo-Romantic music, preferring instead to use labels such as multitonal, or progressive tonality in an attempt to provide a stable platform from which to interpret tonally ambiguous music. However in reality it amounts to nothing more than trying to interpret such music against a different set of theoretical ideals, or practice this word suggesting well-defined principles belonging to a body of music which has its own relatively common conventions yet most Neo-Romantic music cannot be assigned to a single practice or convention. Morgan (1999) argues that 19th-Century music ought not to be deemed polytonal (or any derivative to this effect), arguing that any derivative of the term tonal implies a central reference point to which each triad in a structure is related either strongly or weakly. If this does not exist then the only alternative is a system of equal temperament (Morgan, 1999) in which each triad is potentially a tonic triad, any two of which can be used over time to control the overall harmonic structure. However, whilst these tonal developments indisputably led to the breakdown of tonality (George, 1970) they work within and are dependent upon with a few exceptions an overall tonal system. As for a working definition of the term Neo-Romanticism, it can be said to refer to music written after 1850 which was still very much romantic, whilst art and literature had embraced modernism. It also implies a wider spectrum of harmonic TYPE THE DOCUMENT TITLE 6
language, openly embracing chromatically derived chords and harmonic progressions, as well as frequent foreign modulations. The degree to which Wagner (and consequently, Williams) can be classified as Neo-Romantic remains to be discussed in the following chapter.
Chapter Two
Wagner
2.0 Wagner
Wagner, who thought of himself as the most German of men, (Salmi, 2011) was born into a theatrical family of singers and actresses and was taught piano by his sisters. Often referred to as a genius, his other accolades include the labels of anarchist, socialist and even anti-Semite (Salmi, 2011) with his ideologies, writings and Music Dramas having directly influenced Hitler, who himself claimed, with the exception of Richard Wagner, I have no forerunnerwhoever wants to know National Socialist Germany must first know Wagner (Zalampas, 1990, p.60). Wagner was formally trained in music at the University of Leipzig and it was here that he first encountered the music of Beethoven for which he quickly developed an obsession. He was fascinated by Beethovens music, having transcribed his ninth Symphony for piano and written his own Symphony as a pastiche of the classic masters style. This is particularly evident from the first movement sonata in which he repeatedly uses and develops fragments and motifs which have previously occurred in the music. In other words, the thematic material of the whole movement originates from a single motif, a technique which Wagner later capitalises on and develops into the Leitmotif. Although considered by many to be the grand master of late Romantic Opera, his first attempt at writing for the genre was a complete failure, in which he only managed to write one scene. His next attempt, Die Feen, he at least completed, owing much to the influences of Weber and Marschner (OMO, 2011), yet it foreshadowed certain features of the mature Wagnerian Opera: lengthy expository narratives and simple recurring themes, or Leitmotifs (Prefumo, 1984). TYPE THE DOCUMENT TITLE 9
After coming into contact with Junges Deutschland, which rejected the Romanticism of Hoffmann, Weber, and the like, he eventually wrote Der Ring des Nibelungen a cycle of four music dramas as they were eventually to be known. However, reactions to his works were generally polarised, with Strauss stating that his music gathered the yearnings of the entire 19th Century in one focal point (Westernhagen, 1981, p. 68), whilst others argued that his works were not nationally edifying and simply present the ruination of the life of heroes by sensuality (Barth et al., 1975, p. 208). Wagner arguably had a more profound impact than any other composer on the entire concept of Opera: no longer was it a structured work of separate arias, recitative and dialogue; rather it became a continuous, through-composed drama, or Music Drama.
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2.1 The Music Drama

The term music drama was never used by Wagner himself, who preferred to simply refer to his works as dramas, which where to be a return to the artistic synthesis of the Greek Drama in which dance, music and poetry were seamlessly integrated (Wagner, 1895b, p.28). He intended the Music Drama to be a revival of true art and one which would not sell out to the popular demands of its audience, which he vehemently condemned composers such as Meyerbeer and Berlioz for doing, denigrating their work by labelling it the direct antithesis of art (Wagner, 1895a, p.12). Thus, the Music Drama became an embodiment of his Gesamtkunstwerk concept or united art-work in which the landscaped scenery, dramatic action, dance and music lose their separate faculties and synergistically combine to become an artistic embodiment of the World (Wagner, 1895a). The essential mission of music, in Wagners eyes is to place the spectator in direct communication with the very spirit of the characters, to reveal their most secret thoughts, and to render them transparent, so to speak, to their hearers, who will thus often come to know them better than they know themselves (Lavignac, 1897, p.235). The music doesnt necessarily have to reflect the sentiment or mood of the poetry but it must be in step with the overall dramatic action for example, should a shrewd or deceitful character emerge with flattering guile, the music ought to reveal his dubious character and inform the audience of his real motives. Whilst the Music Drama may seem to have certain features in common with the melodrama (for which idiom Meyerbeer was one of the first to write), Wagner made TYPE THE DOCUMENT TITLE 11
several notable developments: In the Music Drama even the intonation of the declamation is regulated by musical notation and so the spoken words and the music converge on the same end, yet both retain their independent expression and autonomy. A clear example of this can be seen in Act II Scene V of Gtterdmmerung (see scores overleaf), where Brnnhilde is betrayed by Siegfried (under the influence of a love potion) and so she tells Hagen how to kill Siegfried. A series of chromatic progressions at the bottom of page 864 lead into an emotionally-charged, lyrical passage where Brnnhilde reflects on her past love for Siegfried. Here the orchestra supports the dramatic action with bassoons and violas playing cantabile figurations, leading into the second line in which fragments of the love motif (see figure 2.1.1 below) appear in a flurry of brass and woodwind activity. The presence of the love motif together with the lyrical melodic line which Brnnhilde gently proclaims, suggests that she may be feeling rather nostalgic and looking back with fondness on her love for Siegfried how she protected him with her magical charm.
Figure 2.1.1 showing Brnnhilde and Siegfrieds love motif However, this fondness is short-lived as the implied modulation to E minor in bars 35 of pages 866-867 casts a shadow over her brief love-reminder and suggests her realisation that her magical protection of him will prove to be an obstacle. The modulation to the solemn key of E minor and Brnnhildes falling melodic phrase fuse together to insinuate her lamentation and hence change of dramatic condition. Either the music or the libretto on its own would suffice to inform the listener of the
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general dramatic action and in this sense, the music and the drama are partners of equal stature. However, when both combine in synergy2 they communicate something of much greater significance: In this drama, each separate art can only bare its utmost secret to their common public through a mutual parleying with the other arts; for the purpose of each separate branch of art can only be fully attained by the reciprocal agreement and cooperation of all the branches in their common message (Wagner, 1895b, p.76). Thus, the success of the Music Drama lies in Wagners craft of intimately uniting the absolute sincerity of dramatic accent in every case with the symphonic tissue (Lavignac, 1897, p.238).
Synergy, as described by the New Oxford American Dictionary: The interaction or cooperation of two agents, to produce a combined effect greater than the sum of their separate effects TYPE THE DOCUMENT TITLE 13
Chapter Three
Wagners Stylistic Traits
3.0 Stylistic Developments

Wagners music has often been described as obeying no lawa breaking free of every rule and school, from every authority and conventional practice (McClatchie, 1998, p. 58), therefore it is necessary to provide a discussion of the stylistic developments that Wagner contributed which resulted in his being labeled as the rebel of conventional practice. Firstly, a brief mention will be made on his concept of melody and its function, followed by his pioneering developments in relation to tonality and its associated harmonic language.
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3.1 Melody
In music, all is melody (Wagner, cited in Lavignac, 1897, p.236). According to the Wagnerian realisation of melody, pure melody is complete within itself and is independent of any harmonic support nor does it move solely within the constraints of a single tonality. Because of this, it is free and infinite and has a much looser and wider framework of chords with potentially unlimited modulations. The melodic contour is often asymmetrical and often doesnt reach closure within itself, instead evolving into a new melodic fragment/structure in a sort of metamorphosis. As such, Wagners melodies are more uninterrupted melodic fragments than traditional, cantilena-like constructions. Tristan und Isolde is full of such melodic structures, a prime example found in Act II scene 2, see figure 3.1.1 below. Here, Isoldes melody is echoed by Tristan with several alterations, however neither melody reaches a convincing closure or cadence point within itself, instead modulating/morphing into another melodic fragment akin to the previous.
Figure 3.1.1 showing Tristan and Isolde duet
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Another notable point of interest in this melody is that it is clearly constructed on a chromatic scale instead of a diatonic, resulting in its floating in and out of several keys (see overleaf for full score). Due to the loose tonal construction of the melody, the harmonic progression is also very unusual, essentially bereft of any form of tonicdominant relationship and therefore resulting in a very unstable tonality. Although Wagners melodies are indeed fundamental and essential to his style, it is arguably the advances which he made with regard to harmony and tonality that distinguish his idiom.
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3.2 Tonality and Harmony

One aspect of musical development Wagner is most famous (or perhaps, infamous) for is his colourful harmonic language and complicated tonality (Westernhagen, 1981), with many critics looking unfavourably upon his music because of this. Clara Schumann described his music as repugnant (Rummenhller, 1995) due to the unconventional freedom with which he experimented with dissonance. However, he also made several notable developments with regards to the way in which he used tonality in his works for his own specific purposes. Throughout the Ring cycle, Wagner employed an associative use of tonality which functions on two levels: firstly, whereby motifs are associated with specific keys and; secondly, in which individual characters are associated with a given key. Although this idea originated with Weber, Wagner further developed this idea by ensuring that each motif was equipped with one specific key as well as having a fuller melodic line (Bailey, 1977). The horn call in Der Fliegende Hllander is a prime example of this idea, as every time it appears it rings with the definite sonority of B minor (see Appendix 3.1 for score examples of motives which use tonality associatively). A further example being the sword motif (see figure 3.2.1 below), first appearing at the end of Das Rheingold in C major and bearing that same key at each reappearance, until the end of the first act of Siegfried, where it becomes associated with D major. According to Bailey (1977), the motif is used in the prelude to Act II of Die Walkre to move the Brnnhilde-Wotan story away from D minor and into A minor, thus the motif becomes the bearer of the tonality used to mark a structural point of significance. TYPE THE DOCUMENT TITLE 18
Figure 3.2.1 showing the Sword motif from Das Rheingold Wagner also used tonality as a structural signpost throughout the Ring cycle: Das Rheingold begins and ends in D flat, thereby linking the work with Die Gtterdmmerung which also concludes in Db. Bailey (1977) reasons that Wagner chose this tonality to draw a link with the Valhalla motif (see Appendix 3.1 for score example) which belongs to the realm of D flat, noting that this structural link is further intensified by the fact that it both opens and concludes the Ring cycle in its entirety. The second manner in which Wagner employed tonality associatively is through reserving the use of particular keys for thematic material representing specific characters or personalities. He used this method mostly in Lohengrin, where F# minor represents Ortrud, the demonic creature, Ab major representing Elsa, the main protagonist and A major for Lohengrin, the divine figure (see Appendix 3.2 for score examples). What is interesting is that in Wagners music, tonality is no longer a unifying force, but rather a colour of the overall musical spectrum of a work. With tonality decentralised and no longer providing the overall framework for the construction of melodies, it is hardly surprising that his harmonic palette also began to shift more and more away from a diatonic base and towards that of a chromatic one. Throughout Parsifal, a contrast can be heard between the diatonic and chromatic elements: the music of the Grail and that of Parsifal is inherently diatonic, whereas TYPE THE DOCUMENT TITLE 19
the music representing Amfortas suffering and Klingsors castle is conveyed by unmistakable chromaticism (see Appendix 4 for score examples). Wagners exploration of chromaticism resulted in his recurrent use of unstable diminished seventh chords, evident from the Overture to Tannhuser (see figures 3.2.2 and 3.2.3 below) and as these chords simultaneously belong to at least four different keys, they tend to cast an ambiguous shade over the tonal centre. Furthermore, due to its symmetrical chromatic construction based on tri-tones, a fully diminished seventh chord can resolve to any of the 12 diatonic chords, allowing modulation to virtually any key and further breaking down any functional tonicdominant relationship.
Figure 3.2.2 from Overture to Tannhuser
Figure 3.2.3 from Overture to Tannhuser Scholars such as Pratt (1907, p.569) argue that Wagner actually contributed little to the overall sound of Neo-Romanticism in terms of harmonic language or textural developments, describing his stylistic tendencies as more or less plain extensions of antecedent practice. However, this has to be disputed, as although most of Wagners music is indisputably tonal (albeit with a colourful use of the word), at times he goes much further than simply creating a chromatically imbued tonality, with Abel (1944) arguing that the harmonic framework of Tristan und Isolde is
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essentially atonal. That is to say that there is no convincing tonal centre throughout the work, or constant tension toward resolution (see Chapter 4.1 on Tristan motif). However as an example of 19th-Century tonality, Tristan was unprecedented and remains the quintessential example of how Wagner stretched the boundaries of tonality and harmony to breaking point, providing the first paradigm of atonality and paving the way for the modernist ideologies of Debussy and Schoenberg. Concerning Wagners overall stylistic framework, it may be noted that his contribution to melodic developments centres around two main practices: his construction of infinite melodic fragments of any desired character or purpose from a simple phrase or motif these fragments generally being free from cadential and tonal constraints. Secondly, his use of the chromatic scale as the basis for constructing the melody, rather than the diatonic scale is of profound interest and likely contributed to the overall breakdown of tonality. Wagners associative use of tonality was also innovative, establishing a new way of manipulating tonality. As previously mentioned, Wagner developed a highly chromatic harmonic palette, pushing the boundaries of tonality to the extremes at times, breaking it altogether. It is likely that Wagners melodic, harmonic and tonal developments influenced and impacted Williams stylistic tendencies and therefore the scores to Star Wars this will be discussed in greater detail in Chapter seven. These stylistic developments formed the backbone of his musical language, his development of the Leitmotif as a musical device is of equal, if not greater, importance.
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Chapter Four
The Leitmotif
4.0 The Leitmotif

Whittall (2011) states that a Leitmotif is a theme, or other coherent musical ideawhose purpose is to represent or symbolize a person, object, place, idea, state of mind, supernatural force or any other ingredient in a dramatic work. (It) may also be combined with other leitmotifs in order to suggest a new dramatic situation. It is arguable that the convention of imbuing a melodic fragment with some sort of concept or meaning (thus becoming its quasi-hieroglyphic representation (Lavignac, 1897, p.241)) is common to all composers, yet before Wagner nobody had elevated this to a specific practice which was fundamental to a genre or form (Barth, 1975). In order to effectively describe the nature of the Leitmotif, Lavignacs method of comparison (1897, pp.239-240) proves useful: when reading a novel its characters become firmly established in our minds the essence of which will have originated from some creation of the writers imagination however the construction of the characters images pertains to our individual, and therefore unique, perspective. This perspective becomes unchangeably engraved on our minds no matter how many times we re-read the novel; our first impression of the characters, under the influence of the writer, remain surely fixed. This perspective may be altered slightly by reflection or by reading works in which the characters are portrayed in a new light, however the underlying impression remains. So it is with the Leitmotif: every idea conceived by Wagner, objective or subjective, was embodied in a musical expression which cleaves to the idea, and although Leitmotifs are rarely repeated unaltered, the modification serves to present the idea in a new light and its essence remains intact. TYPE THE DOCUMENT TITLE 23
The Wagnerian Leitmotif is always short, simple and memorable; almost always presented in full on its first sounding with words determining the meaning attached to it, or when the scene makes its meaning clear. After this, it may be presented with potentially unlimited variations and transformations in: rhythm, pitch (melodic contour), harmony or instrumentation. It may also be fragmented, changed in character (major/minor), emboldened by augmentation or shrunk by diminution, yet it is always instantly recognisable and evokes a throng of images within just a few notes of its sounding herein lies the ingenuity and craftsmanship of its design. Wagner intended the Leitmotif to be the unifying element of his Music Drama and he first began to use the Leitmotif (albeit, modestly) in Der Fliegende Hllander. The first piece of music he wrote for this work was Sentas Ballade (quite surprisingly found in Act II), which he described as the thematic seed of the whole of the music in the Opera (Westernhagen et al., 1981, pp.127-129). In this ballade, a call, an accompaniment and two melodic contours unite to form a basic leitmotif from which he later builds a web of motifs: The accompaniment motif from Sentas Ballade (see figure 4.0.1 below) is used throughout the Opera to represent the Dutchman as an eternal wanderer over the seas (M.O.I.R.B.I.C., 2011).
Figure 4.0.1: Wanderer motif from Sentas Ballade Sentas call is also used throughout the work to signify the presence of the Dutchman, his crew or his ship (see figure 4.0.2 below). It first appears in the Overture played by French horns and other brass, likely symbolising the ships horn, TYPE THE DOCUMENT TITLE 24
also appearing in Act III (see appendix 4.1 for score) where it signifies the arrival of the Flying Dutchman.
Figure 4.0.2: Sentas Call from Sentas Ballade Another motif Wagner uses throughout the work is Sentas theme of Redemption (see figure 4.0.3 below). First heard played by woodwind in the Overture, this motif embodies Sentas power to free the Dutchman from his wandering and can be heard most convincingly at the end of the work when she frees him from his own curse (see appendix 4.2 for score).
Figure 4.0.3: Sentas theme of Redemption from Sentas Ballade From this point on, Wagner began to understand the extraordinary potential of his newly-formed device/machinery and he proceeded to use it purposefully and systematically in Tristan, Die Meitersinger, Parsifal and the Ring cycle. One way in which he utilised the Leitmotif effectively was by creating a web of Leitmotifs originating from a single musical idea, the best example of which can be seen in Das Rheingold. The nature motif (see figure 4.0.4 below), representing the elemental origin of things, becomes a thematic image from which each of the other motifs originate.
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Figure 4.0.4: Nature Motif from Das Rheingold The motif of the Gtterdmmerung, or twilight of the gods (see figure 4.0.5 below) is also clearly derived from the nature motif, although inverted to represent the downfall of the gods.
Figure 4.0.5: Gtterdmmerung Motif from Das Rheingold Erdas theme (see figure 4.0.6 below) is essentially identical, however featuring a change to the minor mode.
Figure 4.0.6: Erdas Motif from Das Rheingold The motif of Wotans endless wandering (see figure 4.0.7 below) is a rhythmically diminished derivative of the Nature motif and expresses Wotans fear after hearing Erdas prophesy regarding the fate of the gods (Lavignac, 1897).
Figure 4.0.7: Motif of Wotans endless wandering from Das Rheingold From these few examples it is clear to see how Wagner used a single thematic idea to spawn webs of intricately related Leitmotifs which would serve to integrate and unite his music dramas. These Leitmotifs, which worked together with the drama
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and paintings to convey the overall purpose and expressive intent of the writer, would eventually become one of Wagners most lasting contributions to music.
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4.1 The Tristan Motif

One Leitmotif of particular importance to the Wagnerian style is the Tristan motif (see figure 4.1.1 below), heard at the beginning of Tristan und Isolde and commonly known as the Tristan chord. The chord was considered to be innovative, forwardlooking and almost unnerving, often considered to mark the beginning of the disintegration of tonality in its persistent voice leading and avoidance of cadence (Du Pr Cooper, 1933). For these reasons it is a profound chord and one which requires specific attention in detail.
Figure 4.1.1: The first phrase of the Tristan motif If analysed harmonically, the notes arent necessarily unusual; the chord could easily be re-spelled to form a half-diminished 7th chord on E# (see Figure 4.1.2), however this would be a very unusual chord indeed, given its relationship to the implied tonic considered by many theorists to be A minor (Hindsmith, 1940) as a raised dominant. This is precisely what distinguishes the chord in this respect its unusual relationship to the implied tonic, if indeed there is a relationship at all.
Figure 4.1.2 showing the Tristan chord respelled
Schering (1935) notes that the chord has been used in early works of Bach, Mozart, Beethoven and Chopin, albeit within more functional harmonic progressions.
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See Figure 4.1.3 below, where Beethoven repeatedly uses the chord in an imperfect cadence on a fully diminished 7th chord (the alto minim analysed as a suspension).
Figure 4.1.3: Beethovens Piano Sonata No. 19, Allegro bars 3342 Many music theorists have conceived various possible harmonic and melodic functions of the chord, however most methods of interpreting it tend to be overly contrived, as Rti (1951, p.337) suggests, in accepted theoretical, that is, harmonic terms, this chord cannot be explained. Noske (1981, p.117) does suggest, however, that the notes of the Tristan chord should not be considered with reference to their position within a harmonically functional chord, but rather as simultaneous sounding components of melodic lines. Concerning its melodic function, the motif consists of two chromatic fragments in contrary motion: the cellos introduce the descending chromatic motif, which is finished by Cor Anglais (see Figure 4.1.4 below) and the oboes respond by repeating the motif in canonic fashion, this time ascending and with a shortened, stretto-like A# resolving upwards to form a dominant 7th.
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The lower voices are also derived from the same melodic fragment; the bass line played by second bassoon repeats the opening chromatic fall of F to E, with the first bassoon summarising the ascending melody in retrograde. From this then, it is clear to see how the Tristan chord functions as separate melodic lines interwoven and sounding simultaneously, rather than as a traditional chord in the functional sense.
Figure 4.1.4: The Tristan motif in open score As with any Leitmotif, the music serves to express an idea or dramatic condition, however in the Tristan leitmotif there are two versions of the same motif, representing two contrasting dramatic subjects: the descending motif represents sorrow, whereas the ascending motif represents desire. It is interesting to note that the melodic structure deals with this dramatic antithesis very effectively: the contrary motion of both fragments accurately depicts the opposing directions of the emotions of sorrow and desire the first fragment has a definite beginning (F) however it is difficult to predict when it will end (like sorrow), whereas the second has an unclear origin but clearly directed towards a specific end (like desire). TYPE THE DOCUMENT TITLE 30
As for the overall meaning of the Tristan motif, Wagner himself said of it that there is no end to the yearning, longing, rapture, and misery of loveone thing alone left: longing unquenchable, desire forever renewing itself, craving and languishing; one sole redemption: death, surcease of being, the sleep that knows no waking! (Bailey, 1986, p. 47). The motif then clearly represents the struggle of Tristan and Isolde: their yearning for each other, yet also the reality of their impossible situation Isolde is betrothed to King Marke, whos service Tristan is in. The only solution to their dilemma is found in death, in a suicidal union satisfying their unquenchable longing and therefore the resolution at Liebestod (see figure 4.1.5 below) is concerned more with the dramatic condition than a functional resolution in a key.
Figure 4.1.5: Resolution of the Tristan Chord at Liebestod Whilst several musicologists, such as De La Fuente (2010), suggest that its influence is overrated and is perhaps more a catalyst for atonality, it is undeniable that its relentless harmonic suspense and chromatic construction decimates any audible sense of tonal centre and thus was a giant stepping stone away from tonal practice. Wagner successfully achieved what he set out to do with the Music Drama, which was to create a unified art-work free from both the constraints of Opera and the liberalism of Neo-Romanticism yet one which insists on heroic and ideal topics, rich in moral symbolism and implication, much in the same way as the Greek Drama to which he aspired.
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The greatest achievement of the Wagnerian idiom is arguably the development of the Leitmotif: from its origins in simple type-motives to fully-fledged melodic signposts entwined within the fabric of the Music Drama.
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Chapter Five
John Williams
5.0 John Williams

As with Wagner, Williams was born into a musical family and had an intensely rich musical upbringing, studying with Italian composer Mario Castelnuovo-Tedesco (Sony Classical, 2011). From an early age, he arranged and conducted music for the U.S. Air Force Band and later studied piano with Rosina Lhvinne at the Juilliard School. After studying at Juilliard, he worked as a studio pianist and orchestrator for composers such as Mancini, Goldsmith and Bernstein (Dyer, 1999). He was eventually approached by several directors, including Spielberg, to compose entire film scores on his own, which led to his recommendation to George Lucas, who needed a composer to score his forthcoming space saga, Star Wars. The music of Star Wars is also credited by some (Byrd, 1997 and Paulus, 2000) for bringing about a Renaissance of symphonic orchestral scores in soundtracks, which was considered dated even by the 1960s. Williams brought a fresh approach to the symphonic sound through the scores of Star Wars, for which he earned an Academy Award. Williamss scores for Star Wars are often referred to as bearing a striking resemblance of Neo-Romanticism (Adams, 1999), which may be due to his pervasive harmonic language and postmodern Neo-Romantic orchestration, as Adams (1999, p. 22) suggests.
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5.1 Star Wars

George Lucas, the director of Star Wars, refers to the first Star Wars trilogy as his space opera (Dyer, 1999, p. 12), which includes many mythic and narrative parallels to Wagners Ring cycle. The saga is essentially a tragic series examining Anakin Skywalkers fall to the Dark side, beginning with his youth (Episodes I to III) and ending with his death (Episode VI), incorporating two generations of protagonists. As with Wagners music dramas, heroic ideals are very much at the fore, with Williams (cited in Byrd, 1997) commenting that one of the reasons for its success must be the aspects of journey and heroic life and aspiration and disappointment, all of the great human subjects that this seems to touch and tap in on (Byrd, 1997). These overall themes, which include amongst others, those of love, betrayal and redemption, were largely built on previous theatrical ideals which had become entrenched in everyday life, with Lucas maintaining that the simple, direct emotional appeal to these themes was responsible for its success (Byrd, 1997). Whilst the films themselves presented unknown (and at times, very inhuman) heroes, unimagined planets and altogether futuristic technology, the music for the films was very much non-futuristic. Under Lucass request, Williams wrote works which would firmly ground the unfamiliar space scenes and otherworldly characters in the emotionally familiar neo-romantic music: It was not the music that might describe terra incognita, but the opposite of that: music that would put us in touch with very familiar and remembered emotions, which for me as a musician translated into the use of a 19th Century Operatic idiom, if you like, Wagner and this sort of thing (Byrd, 1997).
The degree to which Williams succeeded in creating a Wagnerian sound in the scores will be discussed in greater detail in subsequent chapters, however what is immediately apparent is the distinction in purpose for which Williams and Wagner intended their music. Wagner intended his music dramas to be the highest form of artwork (Wagner, 1895b), whereas Lucas and Williams whilst still aiming to create a work of art aspired to reach out to popular appeal. Whilst the music idiom chosen may not have been considered popular, it was the highest grossing nonpopular music recording of all-time (Burlingame, 2000, p. 17). The films had a colossal impact on popular culture and whilst it is not within the remit of this discussion to present this in detail, several notable examples include: endless popular culture quotes and parodies including: Volkswagens The Force commercial; the use of the phrase May the Fourth be with you in a Westminster Parliamentary debate (UK Parliament, 2011); and in the 2001 census in England and Wales almost 400,000 citizens reported their religion as Jedi (Office for National Statistics, 2001). Concerning sports teams using music from the films, Tottenham FC feature Duel of the Fates from Episode I as their theme; during the 2003 Super Bowl, ABC Sports used the Imperial March as a Leitmotif for the Oakland Raiders (Urbanksi, 2007). What is interesting is that even in popular quotations and parodies, when a character such as Darth Vader or Luke Skywalker is depicted, they always appear with their associated music. This alone highlights the popular attachment and success of Williams mastery and development of the Leitmotif technique, which will be discussed in detail in subsequent chapters.
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The idea of using neo-romantic music in a Space-age saga unquestionably came from Kubrick. Kubrick dropped the commissioned soundtrack for 2001: A Space Odyssey in favour of the temporary soundtrack consisting solely of neo-romantic music such as Richard Strausss Also Sprach Zarathustra (relatively unheard of prior to the film) and Johann Strausss Blue Danube Waltz (Snyder, 2011). Whilst Wagners music was considered modernistic and forward-looking at the time of writing, Williamss musical language was very much retrograde (see chapter 7.0 for this discussion). However, the way in which he fused the scores to the drama and manipulated the orchestral sounds was revolutionary and led to the rebirth of the symphonic score (Paulus, 2000).
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5.2 Synergy Between the Music and the Motion Picture

Music has been used as accompaniment to many forms of media for hundreds, if not thousands, of years due to its ability to characterise a setting and enhance the emotional experience of spectators (Skelton, 2011). This psychological connection between music and emotion is further supported by Bullerjahn and Guldenring (1994, p. 118) who state that film music polarizes the emotional experience and influences the understanding of the plot. This is essentially the same aim which Wagner had for the music in his music dramas (see Chapter 2.1), which was to reveal every aspect and nuance of both the characters themselves and the underlying dramatic condition of the scenes in which they found themselves. Wagner also argued in Das Kunstwerk der Zukunft (Wagner, 1895b) that individual arts had already reached their highest possible form of development and that the artwork of the future was to be a union of the arts, as presented in Chapter 2.1. Although these arguments were presented 80 years previous to the making of Star Wars, it is clear to see that Wagners ideology still influenced filmmakers thinking, evidenced by the following statement by Williams: when all aspects (of an art form) come together to form a humming engine that works and the audience is ready and willing to embrace it that is a kind of miracle also (Byrd, 1997). Whilst the requirements for the composer of film music and that of the music drama may appear mostly identical, one area in which the prerequisites differ is that concerning the process of deciding when music will be played and what function it will serve. With Wagners Ring cycle (and indeed all of his music dramas), he was the sole director, making every artistic decision of his own accord and thus ensuring an TYPE THE DOCUMENT TITLE 38
artistically unified work (Lavignac, 1897). In the case of Star Wars (or indeed any film), the degree to which the director communicated his intentions effectively with his composer and vice versa very much determined whether or not they were singing from the same hymn sheet, so to speak. This is crucial as it ultimately affects the synergism of the music and the motion picture (Cohen, 2001). It is interesting to note that Lucas and Williams 20th Century Space Operas contain mostly the same elements as Wagners Music Dramas, however instead of uniting painting and art with music and drama, its modern equivalent of special effects is substituted. An effective example of this being the final fight scene between two Jedi knights and an evil Sith apprentice at the end of Episode I: the scene features a fierce battle scene further intensified by the ominous music with its unrelenting string ostinato, haunting choral passages and intense dissonance (see Appendix 1, track 1). The special effects together with the drama grab the attention of the audience, whilst the music creates the necessary tension, binding the scene together to create the overall intense emotional experience. However, whilst it may be correct to observe that there is indeed a strong synergistic element to the films which binds the art forms together throughout most of the work, it would be incorrect to assume that this synergy was the same kind that Wagner intended. This reason is simple: Wagner intended that no single art form would ever be dominant throughout a work, rather that they would merge together into a single art form. However, it is clear to see throughout the Star Wars saga that in certain scenes, the music plays a greater role than the drama (Binary Sunset, for example) or sometimes the music is even faded to focus on dialogue or drama (??). TYPE THE DOCUMENT TITLE
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One of the ways in which music interacts with film is by highlighting the unspoken thoughts of a character or unseen implications of a situation (Copland, 1941). In the case of Star Wars, Lucas notes that (Williams) music tells the story. Each character has a theme that develops and interacts with the themes of the other characters; the musical themes connect the themes of the stories and make them resonate (Dyer, 1999). Lucas is here referring to the way in which characters are represented by musical themes which change alongside the storyline and interplay with other themes, bringing a new synergistic life to the overall dramatic experience. This concerns Williams adoption of Wagners Leitmotif device, however the degree to which Williams, and indeed other film composers used genuine Leitmotifs in their scores must first be addressed.
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Chapter Six
Filmic Leitmotifs
6.0 Leitmotifs or Film Themes?

The Leitmotif technique was used to describe film characters by early composers of film music, such as Shostakovich, Steiner and Korngold (Karlin, 2004). Steiner argued that every character should have a theme and that this theme should be used primarily to identify the character (Larsen and Irons, 2007), with one such example seen in his score to The Informer: throughout this film he used a particular theme simply to communicate when the main character, Gypo, was on screen (Larsen and Irons, 2007). However, these early film Leitmotifs were generally referred to as film themes as they were much more musically and dramaturgically simplistic than Wagners and the ways in which they were varied and transformed tended to be in the simplest manners possible (Paulus, 2000). Furthermore, Eisler (1947) argued that the parallels between film themes and Wagnerian Leitmotifs were few and far between: whilst they had the role of signpost for spectators, they lacked the deeper connection to the symbolic and metaphysical implications found in Wagners Music Dramas (Paulus, 2000, p. 157). Therefore, the question naturally arises as to what extent Williams Leitmotifs should be classified as either simplistic film themes or fully fledged Wagnerian Leitmotifs. In order to answer this question fully, it will be necessary to examine both Williams construction and use of Leitmotifs throughout the entire Star Wars saga against the characteristics of the Wagnerian Leitmotif (see chapter 4.0). This will include whether: there are changes and modifications to the motif to give insight into character developments; the melodic construction is sufficiently memorable so as to create instant associations with a character or idea upon hearing a fragment of the TYPE THE DOCUMENT TITLE 42
motif; the motifs are rarely repeated, rather fragmented and matched with other Leitmotifs; they create a sense of thematic unity throughout a work.
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6.1 Star Wars: Dynamic Leitmotifs

Williams is often associated with the revival of the symphonic score in Hollywood films, not neglecting his adoption of various techniques more characteristic of Opera the technique he is most widely regarded as having regenerated being, of course, the Leitmotif (Franklin, 2007). Franklin (2007, p. 14) further highlights the importance of the Leitmotif in the Star Wars saga in commenting that it bears more than accidental Wagnerism. Although, as previously stated, Star Wars was not the first film to reintroduce the leitmotific idea, it was the first to incorporate more than 20 individual Leitmotifs with hundreds of fragments, variations and transformations thereof (Paulus, 2000). According to Williams, these Leitmotifs primarily needed a very strong and instantly recognisable melody, so that upon hearing even a fragment of the theme it would be associated with its character (Byrd, 1997). However, as Paulus (2000) correctly reasons, Wagnerian Leitmotifs are not just thematic ideas which are linked to certain characters from time to time, rather they change to reflect every aspect of dramatic action or the characters integrity this too shaping its musical design, harmonic language and orchestration (see Chapter 4.1). Williams adopted these practices very clearly throughout the sagas, two clear examples being the Leitmotifs for Anakin (later Darth Vader) and the Leitmotif representing Luke. The Leitmotifs which represent Anakin Skywalkers fall to the Dark side are perhaps the greatest examples of Leitmotifs representing character developments. In Episodes I and II, his leitmotif (see figure 6.1.1 below) appears ostensibly innocent and pure, reflecting his predominantly good, youthful character. However, upon TYPE THE DOCUMENT TITLE 44
further inspection, we see that the melody is clearly constructed from the chromatic scale, and whilst it may not be a complete tone row contrary to Dyers suggestion (Dyer, 1999), as three pitches are missing: B flat, C# and G the melody is clearly not restricted by any diatonic harmonic framework.
Figure 6.1.1: Anakins Theme The first phrase (marked above) appears to be based on the bright Lydian mode of A which then merges into the second phrase without any convincing close or cadence, suggesting instead a single-phrase, Wagner-influenced infinite melody (see Chapter 3.1). However there are two features which provide justification for analysing this apparent unending melody as having two distinct phrases: the clear shift in harmonic language from diatonic (bars one and two) to chromatic (bars three and four); and the change in melodic contour from mostly symmetrical (bars one and two) to asymmetrical (bars three and four). The rising first phrase would seem to suggest his youthful good nature, with the second phrase perhaps casting a shade of obscurity over his (future) character. This obscurity of his future character is given further credence later in Episode I when, after winning the pod race and freeing himself from slavery, his mother says to him, you have brought hope to those who have none (Lucas, 1999) a variation TYPE THE DOCUMENT TITLE 45
of Anakins theme is played here, with a fragment of Darth Vaders theme fused at the end of the phrase (see figure 6.1.2 below; Appendix 1 track 2 1:38 1:58). This reference is a definitive example of the Wagnerian Leitmotif: as Episodes I to III formed the prequel trilogy, the audience would already be familiar with Darth Vaders theme (see figure 6.1.3 below) and upon hearing the haunting four-note fragment of the ending of the theme (marked C below), a throng of associations to Darth Vaders character would be made either consciously, or subconsciously and therefore the audience is instantly aware that Anakin somehow relates to Darth Vader. This variation of Anakins motif almost seems to prophesise his fall to the Dark side, beginning with the first phrase of the original motif, marked A, followed by a descending chromatic sequence marked B, likely representing his clouded future (Lucas, 1999) leading to the Imperial March fragment, marked C.
Figure 6.1.2: Variation of Anakins Theme The music therefore serves to convey a higher level of insight into the drama than is provided by the narrative: Anakins mother mentioned that he had brought hope to the hopeless, however the music prophesies his future character and the suffering he will bring to the Galaxy in the form of Darth Vader, thereby communicating nuances which cant be seen (Dyer, 1999).
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Williams further intensifies this prophesy in that his theme gradually becomes more ominous throughout Epiode III culminating in his rebirth as Darth Vader, after which Anakins theme gives way to the malicious Imperial March. Concerning the Imperial March (see figure 6.1.3 below), its melodic identity was so strongly imprinted with the character of Darth Vader and the Galactic Empire as a whole that it has transcended the world of film and has become entrenched in Western culture as a theme synonymous with the epitome of evil (Kendall, 2005). Whilst it is almost solely used in Episodes III, V and VI to represent Darth Vader and evil itself, it surprisingly appears in full in Episode II in the Confrontation with Count Dooku track (see Appendix 1, track 3, 3:17 3:28), long before Anakins near death and rebirth as Darth Vader. Its appearance here is therefore representing the essence of evil itself, embodied in the form of Count Dooku.
Figure 6.1.3: The Imperial March/Darth Vaders Theme Its evil character is most likely due to: its foreboding chromatic melodic contour, with the second phrase aiming towards the tri-tone interval; its rhythmic and harmonic parallels to Chopins funeral march (see figure 6.1.4 below), which also alternates between the tonic and submediant chords the imperial march alternating between the tonic and submediant minor; its unrelenting militant rhythm; the intense, piercing brass orchestration and its ominous non-diatonic harmonic progression (see Appendix 1 track 4 for original track). TYPE THE DOCUMENT TITLE 47
Figure 6.1.4: Chopins Funeral March from Sonata Op. 35, No. 2 Analysing the melody on its own without its harmonic context would seem to suggest that the first phrase is constructed from the major scale of E flat, however, contrary to Paulus (2000) argument that this major/minor superimposition creates some sort of tangible tension, no hint of brightness in any way derived from the major scale can be heard the theme is inherently minor and bound to its harmonic surroundings. Whilst the Imperial March goes through very little character changes throughout Episodes III to VI (more so due to Vaders fairly static character than being a poor Leitmotif), there is one notable change in mood which occurs at the end of Episode VI in which Darth Vader turns from the Dark side and sacrifices his own life for Luke: the melody is still the same, however played by woodwind and in a much softer, sober manner, reflecting Anakins return to the Light side just before he dies in his sons arms (see Appendix 1, track 8: 6:20 6:45). Lukes theme (see figure 6.1.5 below), otherwise known as the Main Title is the distinguishing theme from the saga and its melodic identity is equally effective and as instantaneously recognisable as the Imperial March. Conceived very grandly in the manner of a military fanfare, it features a flourishing upward-reaching melody played by brass with Williams characteristic upbeat starting on the dominant degree and travelling to the tonic. The motif is clearly built around these degrees and therefore features an intensely strong tonic to dominant relationship, characteristic TYPE THE DOCUMENT TITLE 48
of Williams grand themes and likely influenced by his early career as director of a military band (Byrd, 1997).
Figure 6.1.5: Lukes Theme/Main Title Theme The theme goes through countless variations and transformations, a notable example found in Episode V when Luke attempts to rescue Leia and Solo from Cloud city: the first two bars are heard in the trumpet and immediately echoed by woodwind and horn the bright (albeit, soft) orchestration symbolising his courage and valiant defiance against the Empire (see Appendix 1, track 4: 0:03 0:23). A very different variation of the motif notably appears in the minor mode in a scene on Dagobah in which Luke is being trained as a Jedi (Lucas, 1980) This change of mode is unusual, given its usual triumphant character, however it serves to emphasise Lukes struggle and momentary disappointment in failing to accomplish a task (see Appendix 1, track 5: 1:48 1:57). Although the theme is used to represent Luke throughout the six episodes, it is also considered by Williams to be the principal theme of the entire saga and thus more represents the heroic idealism and triumph of the Light side over the Dark side which would later come to be embodied in Luke (Paulus, 2000; Byrd, 1997). Furthermore, it is used more as an anthem3 of the Galactic Republic than as a simple film theme representing a single character. Examples of this are too numerous to mention in detail, however several notable uses include: Episode III just after the
3
A rousing or uplifting song identified with a particular group, body or cause (Oxford Dictionary Online, 2011) TYPE THE DOCUMENT TITLE
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birth of Luke and Leia the theme sounds in its most lyrical manner yet, roaming through several keys effortlessly, likely representing the new hope which will come to restore the Galactic Republic (see Appendix 1, track 5: 0:23 0:45); Episode V just before the Betrayal at Bespin, the main motif is played in its usual bright character, representing the excitement and relief of the protagonists on their welcome in the foreign city (see Appendix 1, track 6: 0:02 0:15). A notable point of interest is that this notion of a Leitmotif representing a higherlevel idea which happens to become embodied in a character is a direct nod towards Wagner, who used his sword motif (see Chapter 3.2) every time the sword was present in the Ring cycle however as Bailey (1977, p. 55) points out, it is better to see the sword as a visual symbol of the motif, rather than the motif as a musical tag for the sword, the same applies to Luke and his associated them. Through briefly examining these three main Leitmotifs, it is clear to see that Williams uses them in a mostly Wagnerian way to prophesise future character developments through both melodic and harmonic functions. He also fragments and transforms these themes to work in synthesis alongside the drama, conveying a higher level of insight than is possible with either medium alone. Williams also uses fragments of new Leitmotifs and matches them with fragments of already established Leitmotifs to foreshadow character developments; the seamless and subtle way in which he does this is unique to his writing, it is not present in this form in even Wagners works and is therefore an example of Williams development of the device. The use of Leitmotifs to represent abstract ideas is also profoundly Wagnerian, raising the question as to whether other Leitmotifs stand for equally abstract ideas. TYPE THE DOCUMENT TITLE 50
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6.2 Star Wars: Other Main Leitmotifs

Whilst it is necessary to study Williams Leitmotifs in detail in order to determine whether they are genuine Leitmotifs, there are simply too many to mention in detail, therefore for the purposes of this discussion, the remained of this study will be limited to the other Leitmotifs which are markedly dominant throughout the saga: The Force theme; Princess Leias theme; Solo & Leia/Love theme; The Rebel fanfare; Yodas theme; and The Emperors theme. The Force theme (see figure 6.2.1 below) is perhaps the most widely used and consistently developed theme, hence it is difficult to attach a singular, specific meaning to it. It was originally used to represent the Force, a mythical and ubiquitous energy from which the Jedi draw their power, with the first fragment sounding any time the phrase may the Force be with you is spoken (Lucas, 1977 2005) However, Williams extends its usage to include references to the Jedi knights and Obi-Wan Kenobi, much in the same way as Wagners Leitmotifs in the Ring became multivalent4. Its first (and most famous) appearance occurs in Episode IV during the Binary Sunset scene, directly after Lukes aunt and uncle mention that he has too much of his father in him (Lucas, 1977). Its purpose in this instance may be twofold: either referring to his descent from Anakin, the embodiment of the force, or suggesting that Luke himself will become a Jedi knight. In Episode I, the first phrase of the motif appears as a Jedi master comments of Anakin that the force is unusually strong with him (Lucas, 1999) with the rest of
Having or susceptible of many applications, interpretations, meanings, or values (Oxford Dictionary Online, 2011) TYPE THE DOCUMENT TITLE 52
the theme following as Anakins mother explains that he (Anakin) was conceived by the Force, suggesting that he is a physical embodiment of the Force. The force theme mostly appears in a solemn statements, usually by oboe or french horn, marking intense trial or character struggles, an example being in Episode III where Anakin is tempted to the Dark side in order to save Padmes life the sombre bass line and tremolo strings portraying the sorrow that this choice will bring (see Appendix 1, track 7: 2:59 3:14). However, sometimes it appears in a defiant brass fanfare suggesting conflict between the two sides of the force, as is heard in the Confrontation with Count Dooku track, in which a Jedi Master becomes embroiled in an intense struggle with the recently revealed Sith apprentice (see Appendix 1, track 3: 0:05 0:22).
Figure 6.2.1: The Force Theme Concerning its melodic construction, the theme consists of four even phrases (marked out above) and each, excluding the last, begins with an upbeat on the dominant degree returning to the tonic degree. As each phrase is clearly and evenly shaped, it enables the composer to use as much of the theme as is necessary for a particular scene. An example of this can be found in Episode VI, Brother and Sister track (see Appendix 1 track 8: 0:28 5:01), in which phrases of the Force theme are interplayed with both each other and other Leitmotifs including the brother and TYPE THE DOCUMENT TITLE 53
sister motif, Hans Solos motif and fragments of the Imperial March theme likely portraying the Force as a binding, or unifying energy between each of the characters. The melody also consists almost entirely of notes derived from the tonic (C minor) and dominant (G major) chords and modulates only once: to the subdominant key (Bb) of the subdominant chord (F minor) at the end of the second phrase. Together with the interval leap at the beginning of each phrase, this establishes a very strong tonic to dominant harmonic relationship and as such is immediately striking and memorable in its solemn minor mode. Princess Leias theme (see figure 6.2.2 below) is used throughout Episodes IV to VI to represent her character. The theme is very soft and gentle and although at first it seems not to be particularly well matched to her character who appears at first to be headstrong and independent (Lucas, 1977) we later see that the Leitmotif conveys the romantic and caring traits of her character, which is only hinted at in the drama (Dyer, 1999). As such, this is an example of where the music and drama combine in synergy, fusing separate aspects of a character together and communicating the entire picture to the audience.
Figure 6.2.2: Leias Theme As for its melodic construction, it consists of four roughly even phrases with symmetrical melodic contours. Apart from the last phrase, each appears to be TYPE THE DOCUMENT TITLE 54
structured around a call and response device, perhaps suggesting her calling out to her lover, whom she has not yet found. Concerning harmonic features, the first two phrases are thoroughly grounded in D (modulating briefly to G minor at the end of the second phrase), whereas the last two phrases are in the unrelated key of Gb. In Episodes V and VI, Leias theme is mostly succeeded by the Han Solo/Love motif (see figure 6.2.3 below), which is used both to represent the love between Leia and Han Solo, and simply Han Solo alone.
Figure 6.2.3: Han Solo/Love Motif The motif is clearly based on the first fragment of Leias theme, the significance of which will be discussed in Chapter 6.4. It most commonly appears in fragments, usually played by oboe or French horn and almost always in a sentimental, lyrical style, reflecting the delicate love which exists between the two characters (Lucas 1977, 1980). However when Han becomes frozen in Episode V, the motif is played in a minor, sorrowful variation with a soaring violin melody representing the anguish of Leia (see Appendix 1, track 4: 3:21 4:01). The Rebel fanfare (see figure 6.2.4 below) is a fairly simple theme used throughout Episodes I to VI to represent the Rebel Alliance. The bold brass chords are used to symbolise the Rebels defiance of the Empire and is used extensively throughout Episodes IV to VI.
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Figure 6.2.4: Rebel Fanfare As a leitmotif, the melodic and harmonic structures are seldom altered, instead the instrumentation is frequently alternated between brass (for militant resistance against the Empire) and woodwind (for subtle conspiracy). A prime example being the Imperial Attack in Episode IV, in which the Rebel base is attacked by the Imperial forces: the theme takes its usual defiant, brass-dominated variant, frequently using rhythmic augmentation for suspense (see Appendix 1, track 9: 1:41 1:58). Yodas theme (see figure 6.2.5 below) is primarily used throughout the saga to represent the Jedi master himself, however it is also used to represent his teachings and abilities. A clear example of this found in Episode V, The clash of Lightsabers (see Appendix 1 track 10: 1:41 1:59): the motif represents Luke putting Yodas teaching of the Force into practice when duelling with Darth Vader the motif is played in the form of an augmented trumpet fanfare, the last two notes of which are altered to resolve unexpectedly in a minor key, set against an ominous string ostinato and signifying the clash between the Light and Dark sides of the Force.
Figure 6.2.5: Yodas Theme
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Its melodic and harmonic construction is somewhat akin to that of Anakins theme (see figure 6.1.1) in that the first two phrases (marked above) are built on a Lydian mode (C), whilst the following phrase uses a different scale in this case, C major. The Emperors theme (see figure 6.2.6 below) is used to represent Emperor Palpatine, whose alter ego is the evil Darth Sidious. It is also used in Episode IV to represent the entire Dark side, before the Imperial March was written (Byrd, 1997). The theme is used to represent the growing power of Darth Sidious as Emperor Palpatine throughout Episodes I and II (Lucas 1999, 2002) through this usage of the theme, the audience are made aware of his true character, not yet revealed by the drama.
Figure 6.2.6: The Emperors Theme The theme consists of an ominous melody built over alternating non-diatonic chords and is sung by bass voices, however it never undergoes any meaningful leitmotific transformations and as such is a fairly minor example of the Wagnerian device. Concerning the extent to which the Leitmotifs in Star Wars should be considered Wagnerian, or simple Film Themes, it was noted that almost all of the Leitmotifs were frequently fragmented and transformed, including both melodic, harmonic and modal modifications to give further insight into the dramatic condition. Furthermore, it also occurred that the meaning which the Leitmotif was intended to convey determined in every case its overall tonal, harmonic and melodic construction: Light TYPE THE DOCUMENT TITLE 57
themes were all presented in major keys (apart from the Force theme) and had fairly symmetrical melodic constructions; themes conveying hope (Yodas theme and Anakins theme) were constructed using the bright Lydian mode; Dark themes were always presented in minor keys, featured asymmetrical and chromatic melodic construction and were intensely dissonant. The presence of rhythmic augmentation and diminished was also noted, including the endless instrumentation and tempi alterations to synergise with the drama. Williams plays leitmotifs against each other to communicate a higher level of information not present in the drama; light motifs and dark motifs to signify clash between the Light side and Dark side. Williams Leitmotifs are generally constructed from three or four melodic fragments, bearing their own distinct melodic hooks which evoke associations with a character or other remembered experience within just a few notes of their sounding. This is notable in that his melodies have a more distinct shape than Wagners and therefore tend to be much more memorable, resulting in a more effective use of the device.
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6.3 Division into Light and Dark Leitmotifs

According to Paulus (2000), there is a strong similarity between Williams and Wagners Leitmotifs at a narrative level: both have a clear division of Leitmotifs into good (light) and bad (dark) themes. However, with Wagner the division tends to be somewhat blurred as characters will sometimes be morally grey, an obvious example being the character Elsa, from Lohengrin. Whilst generally considered to be a good, or innocent character, she has notable character flaws and cannot overcome her inner struggle to ask the fatal question for which she loses both her husbands life and her own (Lavignac, 1897). In Star Wars, the division is more obvious due to the clear division of characters into Light and Dark (see figure 6.3.1 below). Whilst there also exists several battle themes, such as Duel of the Fates and Battle of the Heroes, they are generally used for one specific track, portraying the clash between the Light and the Dark side and as such are representative of the traditional film theme and should not be considered as genuine Leitmotifs.
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Good/Light Themes Lukes Theme Force/Obi-Wan Kenobis Theme Rebellion Fanfare Princess Leias Theme Hans Solo/Love Theme Luke & Leia Motif Yodas Theme Anakins Theme
Evil/Dark Themes Imperial March/Darth Vaders Theme The Emperors Theme Death Star Theme Jabba the Hutte Theme Boba Fett Motif
Figure 6.3.1: Table listing the 15 main Leitmotifs from Star Wars Although it may be argued that Anakin ought to be labelled a grey character, given his future character, it is nevertheless evident that the Leitmotifs which represent him are clearly divided into Light (Anakins Theme) and Dark (Imperial March). As such, his character undergoes transformations from being solely associated with the Light side (Episodes I and II) to being solely associated with the Dark side (Episodes III to VI) and eventually back to the Light side again (end of Episode VI).
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6.4 Thematic Unity Through Leitmotifs

Upon examining any of Wagners celebrated music dramas, what becomes immediately apparent is the thematic unity which exists and binds the work together musically through his use of Leitmotif webs (see Chapter 4.0). Whilst Wagner intentionally planned thematic integration of his works from the outset, Williams was originally assigned to score only the first film of the Star Wars saga, which then evolved into the Trilogy of Episodes IV to VI, and eventually the Sextet, including the prequel Trilogy of Episodes I to III. As such, Williams did not intentionally plan musical unity throughout the scores, rather he intended each score to be a separate work (Byrd, 1997). However, Williams does recognise the unity, albeit unintentional, which exists throughout the scores stating that the scores are all one thing and a theme that appeared in film two that wasnt in film one was probably a very close intervallic relative to a theme that wed had (Byrd, 1997). Here Williams is clearly talking about thematic, or Leitmotific, webs and thus it begs a brief mention as to the extent to which Leitmotifs act as a unifying force throughout the scores. The most obvious example of a Leitmotif web can be seen originating from the Force theme: Leias theme is unmistakably identical to the first phrase of the Force theme played in retrograde (see figure 6.4.1. below).
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Figure 6.4.1: Comparison between retrograde Force Theme and Leias Theme Further to the observation made in Chapter 6.2 regarding the Leia and Solo Love theme as a derivative of Leias theme, both motifs begin with an identical interval leap from the dominant degree to the mediant; both are transported to a foreign, unrelated key in the second half of the motif; both, during the second half, feature a disintegration of the symmetry of the melodic contour which existed in the first half in favour of a whimsical, fantasy-like figuration (see figures 6.2.2 and 6.2.3 above). From briefly analysing the Leitmotifs used in Star Wars, one point of interest is immediately apparent: whilst Wagner created webs of leitmotifs so similar to each other that it is often difficult to distinguish between them (see Chapter 4.0), Williams created individual Leitmotifs which were distinctly unique and matched meticulously to their subject yet not at the expense of the generic origin of the Force theme, Leias theme and the Love theme. As has already been mentioned in detail in Chapters 6.1 and 6.2, Williams uses Leitmotifs to represent character developments, transforming alongside them. As such, this creates a sense of unity throughout the saga by developing and extending Leitmotifs. Williams describes this as a natural but unconscious metamorphoses of musical themes that created something that may seem to have architectural and conscious interrelatedness (Byrd, 1997). TYPE THE DOCUMENT TITLE 62
However, what sets Williams realisation apart from Wagners is not just the extension and development of characters Leitmotifs, but rather the utter ease and fluidity with which he matches motific fragments, plays them against each other and fuses them together in a melting pot of music and meaning. A prime example of this leitmotific fusion is found in The Clash of Lightsabres track from Episode V (see Appendix 1, track 10): from the backdrop of ungrounded dissonance a fragment of the Duel of Fates motif appears (see figure 6.4.1 below), representing a clash between the light and dark side. This immediately moves into a trumpet statement of the Imperial March against a flurry of hectic string activity, from which Yodas theme emerges valiantly against the ominous chromatic string ostinato, leading into a brief fragment of the grand Throne Room motif. This progresses straight into the Han Solo/Love motif in brass and evolving into a brief polyphonic modal passage in two-part imitative
counterpoint between French horn and trumpet, signifying the struggle between Luke and Darth Vader. The music then moves straight back into Han Solo/love motif, modulating rapidly and culminating with intense orchestral flourishes and a single sustained brass note fading into the background dissonance.
Figure 6.4.1: Fragment of Duel of Fates Motif Furthermore, throughout the entire saga, Williams presents both Lukes theme and the Force theme (see figures 6.1.5 and 6.2.1 respectively) well over 100 times in various fragments and variations (Lucas 1977 2005). The constant presence and appearance of these central Leitmotifs throughout the films and the way in which TYPE THE DOCUMENT TITLE 63
Williams weaves them in and out of the musical fabric undoubtedly creates a sense of unity, binding the entire saga together in one unified, master tapestry. One scene in particular which merges these two main themes together is found in Episode V, where Yoda reveals his true identity: the premature sounding of his Leitmotif is heavily sandwiched between two solemn statements of both the force theme and Lukes theme in a minor variant (see Appendix 1, track 11: 0:08 1:58). What is also notable is that most of the 12-hour long music of Star Wars is derived from Leitmotifs, with Wagners Der Ring des Nibelungen standing as its only rival at 15 hours. However, Brown (1994) argues, symphonic film music has a much higher concentration of leitmotif-derived music than even the music drama, perhaps suggesting that Williams music is potentially more thematically unified than that of Wagner (in so much as the presence of Leitmotifs and their variations unifies a work thematically). As for the extent to which Williams achieves overall thematic unity in Star Wars through the use of the Leitmotif, it was noted that a strong sense of thematic integration was created through the development and use of related themes, or Leitmotif webs the Force theme being a prime example of a thematic seed. The accidental architectural unity through developing and extending Leitmotifs was also presented, mentioning how Williams was a master at fusing themes together and weaving themes in and out of the music, creating an overall unified structure. Concerning individual themes, it was observed that the predominance of both Lukes theme and the Force theme throughout the entire saga acted as a unifying force in itself, further tying the works together. Finally, it was also noted that the scores to TYPE THE DOCUMENT TITLE 64
Star Wars likely have a higher concentration of Leitmotif-derived music than most of Wagners works, due to the medium for which they were written.
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Chapter Seven
Williams Stylistic Traits
7.0 Williams Stylistic Traits

Whilst the Wagnerian influences on Williams scoring of the Star Wars saga may be centred around his adoption and development of the Wagnerian Leitmotif technique, it is nevertheless imperative to briefly examine Williams other stylistic traits to gauge the impact which Wagner had on his melodic, tonal and harmonic tendencies. Due to the limits of this discussion however, it will be possible to analyse only one track in full: The Main Title (see Appendix 1, track 12). This track was chosen due to its success at representing the entire Star Wars saga and becoming commonplace in popular culture (Byrd, 1997). However, it is also recognised that reference will need to be made to other works to ensure an accurate study of his stylistic tendencies. The piece is essentially a Rhapsody5 based on thematic material from the overall score and the music is characteristically freeflowing, with highly contrasted moods and was designed to have an idealistic, uplifting but military flare to it (Byrd, 1997).
A large-scale epic for orchestra (Oxford Music Online, 2011) TYPE THE DOCUMENT TITLE
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7.1 Melodic Traits

As the main title is essentially a leitmotific Rhapsody, most of its melodic features will have to be viewed within the context of their associated Leitmotifs previously discussed in Chapters 6.1 and 6.2. The track opens with brief canonic fanfare entries in brass (see Appendix 2, p. 3) and moves straight into Lukes theme, which as described in Chapter 6.1 consists of a very evenly phrased melody built primarily around the tonic and dominant degrees. It also features a military-like bass line which further emphasises the strong tonality through emphasising the dominant and tonic degrees (see Appendix 2, pp. 56). As such, the theme is more likely influenced by Williams brass band upbringing than by any music of Wagner (Byrd, 1997). Lukes theme is then succeeded by a softer, cantabile string theme (see Appendix 2, pp. 79), again with a largely symmetrical construction, however the last phrase culminating with what can only be described as a C# locrian mode (with raised supertonic) scale in contrary motion (see bars 3233, Appendix 2, p. 9). In bars 5961 (see Appendix 2, pp. 1415), Williams features a soaring triplet figuration built on the mixolydian mode of B flat which crashes in bar 62, fading into a mysterious mini-section. The Rebel theme then appears in bars 9097 (see Appendix 2, pp. 2122), featuring a rather unusual harmonic progression and definite chromatic wavering towards the latter half of the motif, including a tri-tone leap in the melody in bar 94.
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Following from this, the Main title theme is then grandly restated a fourth lower, moving into a statement of Princess Leias theme initially by Cello (see Appendix 2, bars 129145). What is interesting about this melody is that it is not grounded in one sole tonality, rather as discussed in Chapter 6.2, its phrases float between the keys of D and Gb. This independence of tonal constraint is characteristic of Wagners free and infinite melodies and is present throughout most of the melodies of Star Wars, the most notable (and previously discussed) example being Anakins theme: featuring unstable chromaticism and floating between various modes and keys (score overleaf; Appendix 1, track 2: 0:230:51). Furthermore, this melody has more links to the Wagnerian idiom in its perceived lack of functional cadence and resolution, the only obvious one occurring in bar 14. After Leias theme, Williams drives the music forwards through persistent semiquaver figures leading to another restatement of the Main theme. However, this time the softer half of the theme undergoes what appears to be a Wagner-inspired transformation typical of Williams whereby a fragment of the first phrase is stated, however the motif then progresses in a completely different direction: in bars 161 166, the strings cut out the second half of the motif fragment and instead embark on a soaring fantasia-like cadenza, merging into the last fragment of the original motif. Following this, several restatements of the Rebel fanfare are heard and the piece culminates with brass chords and a triplet figure ending. Further to the soaring string melody mentioned in bars 161166, a very similar example is found in the Light of the Force track (see Appendix 1, track 13: 2:30
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3:10) in which the Force theme is developed and extended by violins in a similar soaring, fantasia-like, asymmetrical melodic fragment (see figure 7.1.1 below).
Figure 7.1.1: Free Melody from Variation of Force Theme A further example can be found in bars 2534 of Anakins theme (see score overleaf; Appendix 1, track 2: 1:251:58) in which the melody floats endlessly without clear resolution (the apparent cadence in bar 28 possibly presenting the B flat root as a tritone substitution6); modulating back to A without any clear break in the phrasing; and finally passing through descending sequences to resolve chromatically into the Imperial March fragment. These are two clear examples of the way in which Williams takes the principle of Wagners infinite and unending melody and uses it in his own idiom to create soaring melodies which seem independent of any symmetrical phrasing structure or tonal constraints. However, one area of contrast between Wagner and Williams concerning melodic constructions is the degree to which they are dependent on harmonic support. As discussed in Chapter 3.1, Wagners melodies were independent of harmonic support and tonal constraint due to their overwhelmingly chromatic construction. However, whilst Williams melodies may be free in the sense that when the drama requires, they are not bound by tonal constraints or phrasing structures, apart from Anakins
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A tritone substitution has its root a tritone away from the dominant chord and functions as a substitute for that chord (Morgan and Gerrity, 2000). TYPE THE DOCUMENT TITLE
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theme, almost all of Williamss melodies work within their harmonic context to achieve the desired sound. A prime example of this found in the Love theme (see Appendix 1, track 8: 2:172:55) in which the lyrical melody would be flat and lifeless without the harmonic context.
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7.2 Tonal and Harmonic Traits

As with the Main titles melodic features, its tonal and harmonic tendencies also need to be observed within the context of their Leitmotif fragment. The work opens with a very strong relationship between the tonic and dominant chords, further strengthened by Lukes theme with its bass instruments alternating between the tonic and dominant degrees (see Appendix 2, p. 4). This tonal relationship is weakened however at bar 62 where figurations based on D flat appear superimposed on figurations based on C, creating an intense dissonant tension and a sense of tonal ambiguity (see Appendix 1, track 12: 1:201:42). What is immediately notable at this point whilst not solely concerned with harmonic and tonal devices is that the orchestration for the Rebel fanfare between bars 82 and 97 (see Appendix 1, track 12: 2:042:17) is almost lifted directly from Holsts Planet Suite: Mars, the Bringer of War (see Appendix 1, track 14: 1:171:47). From bar 129, Leias theme can be heard floating in between E major and G flat major, partially destabilising the tonal centre, however it soon returns to G major in bar 152 for the final statement of the Main theme. Whilst the music for Star Wars is mostly grounded in clear tonalities and harmonic progressions, when the dramatic condition requires, Williams is not at all apprehensive about using unusual chromatic progressions and unsettling dissonance the track Anakins Betrayal being an excellent example of this (see Appendix 1, track 15). The track features modern harmonic language not heard in Episodes IV to VI, including lush harmonic suspensions involving an abundance of 2nds and 7ths, TYPE THE DOCUMENT TITLE 72
creating intense dissonance and tension towards resolution (see Appendix 1, track 15: 3:303:40). However, tonal resolution is occasionally avoided by unexpected modulations (see Appendix 1, track 15: 1:201:35), which is quite common throughout the saga and especially evident in the Immolation scene (see Appendix 1, track 16) in which resolution is avoided to further intensify the emotional atmosphere. The emotional effectiveness of this avoidance of resolution and prolonged dissonance is supported by Cohen (2001, p. 264) who states that the emotion generated by music is governed by the tension and resolution established by the music of which the audience is unaware. Whilst Wagner was renowned for avoiding resolution and employing an intensely chromatic harmonic palette (see Chapters 3.03.2), it is unclear whether this directly influenced Williams adoption of these stylistic traits, or whether he adopted them from others, including Holst, who also had an impact upon his stylistic leanings. Nonetheless, one thing is certain: had Wagner never developed and employed the harmonic tendencies present in Tristan, we would not hear the sustained dissonance and tonally ambiguous, atmospheric masterpieces that currently exist in the scores of Star Wars.
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Chapter Eight
Conclusion
8.0 Conclusion
This discussion began by providing the background context of Wagners musical idiom, arguing that it was necessary to be able to gauge the impact his music had on Williams scoring of the Star Wars saga. Wagners main musical developments were summarized as those concerning: melody, harmony/tonality, the Leitmotif and thematic unity. As for the degree to which Williams melodies were influenced by Wagner, it was noted that concerning the original Leitmotif statements, Williams melodies was generally much more evenly phrased with somewhat more symmetrical constructions than Wagners. This allowed the composer to use only as much of a theme as was needed for an individual scene. However, there were at times strong similarities in that when fragmented and transformed, Williams melodies were often free and unconstrained by a specific tonality, instead modulating freely wherever the melodic shape determined. It was also argued that Williams melodies were seldom as chromatic as Wagners, with Anakins theme proving to be an exception which had a distinctly Wagnerian lyricism and chromatic freedom, suggesting a direct nod to the neo-romantic composer. It was stated that Wagners most notable influence on the development of music was his intensely chromatic harmonic palette and persistent tension without resolution, the notable example being the music in Tristan und Isolde. As for how much this directly impacted Williams writing is difficult to discern, due to the vast number of factors which influence harmonic language development. Nonetheless, it was argued that without Wagners intensely harsh and chromatic works, such
dissonant and at times tonally ambiguous writing as can be found in many scenes throughout Star Wars, simply would not have been written. Concerning Williams adoption of the Wagnerian Leitmotif, it was argued that Williams themes are not simple Film themes, but rather are Wagnerian Leitmotifs which become fused to the character or idea they represent, undergoing various transformations to represent their dramatic condition. It was also noted that Williams used the Leitmotif (albeit mostly unintentionally) to create thematic unity throughout the entire saga of Star Wars. The fact that he also employed at least one Leitmotif web originating in the Force theme is significant, it suggests his understanding and mastery of the neo-romantic master and conversely Wagners direct influence on Williams scoring techniques. Whilst it was stated that Williams use of the Leitmotif was at times more effective than that of Wagner himself, it must be noted that for all the Wagnerian elements he incorporated Williams took the Leitmotif in a different direction. Wagners transformations were variations of the preceding one, each transformation moving further away from the original motif, whereas Williams created variants which were more easily recognisable without much conscious effort. Therefore, he took the Leitmotif and shaped it into a much more relevant and accessible device for use in the films, resulting in some of the most memorable music ever written (Terry and Bowman, 2000). Throughout this discussion, it has been clearly evident that Wagner had a profound influence (both directly and indirectly) on the music of Star Wars in the form of: endless and infinite melodies, freely modulating harmonic progressions, the creation
and preservation of thematic unity however by far the greatest influence was in the plethora of genuine, Wagnerian Leitmotifs which Williams employed throughout. However, Williams was never constrained to write in the way which Wagner did, rather he modernised Wagners old techniques and adapted them for the purpose which he would use them for and therefore I am compelled to conclude with Paulus (2000) findings: Alongside the old, Williams also used the new and brought the traditionalism of his own style up to date. His themes are not mere banal film themes that show up whenever the composer runs out of inspiration, but are genuine filmic leitmotifs that with their manifold roles, transformations and mutual kinship create a web of leitmotifs in a Wagnerian sense.
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The Neo-Romantic Wagnerian influences on the film music of John Williams: Star Wars

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2.1 The Music Drama

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Wagners Stylistic Traits

3.0 Stylistic Developments

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Figure 3.1.1 showing Tristan and Isolde duet

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3.2 Tonality and Harmony

Figure 3.2.2 from Overture to Tannhuser

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4.0 The Leitmotif

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4.1 The Tristan Motif

Figure 4.1.2 showing the Tristan chord respelled

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5.0 John Williams

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5.1 Star Wars

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5.2 Synergy Between the Music and the Motion Picture

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6.0 Leitmotifs or Film Themes?

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6.1 Star Wars: Dynamic Leitmotifs

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6.2 Star Wars: Other Main Leitmotifs

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Figure 6.2.5: Yodas Theme

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6.3 Division into Light and Dark Leitmotifs

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6.4 Thematic Unity Through Leitmotifs

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Williams Stylistic Traits

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7.1 Melodic Traits

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7.2 Tonal and Harmonic Traits

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