The First One that started it all

Welcome to World of Soundtracks where we explore the storytelling aspects in films and TV through music. Whether it is comparing book adaptations, observing themes over a series, or micro analyzing the choice of instruments, we look at how the story is told and moves us. I am your host Ruth Mudge and we begin with that initial childhood inspiration or awareness of soundtracks.

As we begin, I want to state that this is designed for both musical nerds and those who have no musical knowledge at all but may have a love for a specific movie or soundtrack. My goal is that we can all become excited in growing in understanding to hear what is involved to make the soundtrack unique and help to open our ears each time we listen and watch.

A little background on myself as we begin: I am a cellist and private music teacher by trade and have grown up with a love of soundtracks. I also really enjoy analyzing how music tells a narrative and have been doing both blogs and classes for a few years. I grew up on classical music that was programmatic in nature, which means that it was telling a specific story such as Peter and the Wolf by Prokofiev which had an instrument and theme representing each character, or Scheherazade by Rimsky-Korsakov where the solo violin is the narrator telling stories from the Arabian Nights, or the Four Seasons by Vivaldi, as well as numerous Tchaikovsky ballets and the like.

While I received the love of classical music and listening skills from both my parents and school, there is something special about that first soundtrack that we noticed or the first one that we purchased or downloaded. Those may not always be the same but there is a certain nostalgic love involved.

Now, for many of my fellow peers, Star Wars is the soundtrack world that they loved the most since being a kid. While I love John Williams and his musical world of Star Wars, I heard his music before the movies, not to mention that I probably have played the music in orchestra settings more than actually seeing the movies. I appreciate them from a musicians side and not from a young kid being introduced to this world in the movie theater. That also means that I will not be covering Star Wars during this podcast as there are other ones such as the Soundtrack Show and The Art of the Score who cover them in depth and with great love and passion. Not to mention that you can find every theme or motif covered by Frank Lehman who is the greatest expert on them after John Williams.

For me, my love and nostalgia come from book adaptations. The first soundtrack that I bought was Thomas Newman’s “Little Women”. As soon as that movie begins, this music brings me a sense of joy and peace. (play opening)

We all have these, don’t we? That initial moment of stillness that everything is right or an immediate excitement that is ignited. The Music is so engrained in us, connecting us to the story, that our bodies have a physical and emotional reaction.

However, the first world that I was immediately drawn into as a kid was the world of Narnia through the ‘80s BBC adaptations with the music by Geoffrey Burgon. My family would rewatch these quite frequently, especially the Lion, the Witch and the Wardrobe. While I fully recognize the animals and CGI are quite dated now, when I hear that opening title theme in the horn, I am immediately brought into the magic of Narnia. It tugs at that core of exploration that sparked my imagination to pretend with my sister that we could enter Narnia through my Mom’s wardrobe. Every friend that I know that has watched this series still has that magical nostalgic feeling every time we hear this opening theme:

Now, I can analyze it from a musical and storytelling perspective. For example, Brass is often used for royalty and majestic moments. While a trumpet may by more accurate for a king and is in fact used a lot later in the series for the Kings and Queens, a French Horn has a warmer quality to it. Aslan is both a king and yet, it is the relationship that the children hold on to throughout the series. He is awe-inspiring yet the children can come close and speak to him because He knows them. There is a feeling of magic and wonder through this new world that is also told through shimmering strings playing tremolo.

However, in the middle or the music, it turns minor. These adventures are dangerous, even life-threatening both for the children coming in but also for the Narnians that they come to help rescue and save. This minor turn includes the flute which sounds a bit colder possibly for the White Witch in contrast before it returns to the main theme of hope and Aslan ultimately rescuing his people.

Now is the conclusion that I came to as a child? No, I just loved the stories and the music would immediately take me back there. The most analyzation was when I realized in middle school that I recognized a Bass Clarinet playing as spring began to appear just because it was such an unusual instrument to be used and that specific color or timbre stood out.

There are soundtracks that we love because we love the stories. The music takes us back to that magical or romantic or scary or awe-inspiring moment. They may not all be at the same level of genius but as long as they transport, move us and tell the story, then they have done their jobs.

Now there are soundtracks where the music is so good that we know it while only having seen the movie once or not at all! For example, how many of you recognize this theme? (play Jaws)

How many of us have actually seen Jaws but know the theme? I think almost every middle-school cellist that I have taught figures out how to play it. In a similar fashion but completely different feel, the Gabriel’s oboe theme from the Mission is often played at different events from weddings to receptions to meditation or prayerful moments. Is it more powerful in context of the movie? Absolutely. But it also transcends past that as well. As a cellist, my favorite version is a recording that Yo-Yo Ma performed of Ennio Morriocone’s music but it also has been recorded by other groups such as the piano guys and two cellos.

Music is both subjective and objective in nature. The nice part of these podcasts is that we can look at the themes and motifs, the instruments used, and the musical choices made objectively. But we also recognize that our love for them and interpretation of how those are used are often subjective. You may love a soundtrack that drives me nuts and vice versa. Yet, we come together to enjoy the ins and outs because ultimately, they touched our hearts.

Throughout this year, I intend to explore and compare music that I have loved over the years from Jane Austen adaptations, to the world of Harry Potter, and the score of Arandelle in Frozen. I recognize that these are all beloved stories in which fandom has many strong opinions. My hope is that as we explore these musical worlds, we can listen to these films with new ears which in turn sparks that joy inside.

I would love to hear from you what soundtrack was the first one that captured your imagination or that stood out to you in a powerful way. You can share this on Twitter, Instragram, or Facebook at “World of Soundtracks.” One little note, please be kind and compassionate to each other there as we share our love of soundtracks and how the music impacts us. We can always encourage each other to listen more and hear new things.

Happy Listening!