Author: lfasullo

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“Scene d`Amour” Bernard Hermann`s Masterpiece

Livio Fasullo Blogpost 

https://www.youtube.com/watch?v=8317VVohgMo

Background info: This is the “Scene d`Amour” from Alfred Hitchcock`s 1958 film Vertigo, widely considered one of Hitchcock`s greatest achievements. The story involves a retired police officer named Scotty (Jimmy Stewart) who falls into an obsessive relationship with a woman he meets in San Francisco named Judy (Kim Novak). Judy bears an uncanny resemblance to Scotty`s former lover, Madeline. Scotty failed to save suicidal Madeline from jumping of a bell tower due to his Vertigo, a sense of rotation, rocking, and spinning (https://www.medicinenet.com/vertigo_overview/article.htm). Scotty blames himself for Madeline`s death, and his overwhelming guilt has led him to madness. Now that Scotty has met Judy, he has her dress up to look exactly like Madeline.

The Scene-What you see: Judy emerges from the bathroom dressed exactly like Madeline. As she walks toward Scotty, Judy/Madeline is covered in green light appearing ghastly. The soundtrack increases in intensity with its repetitive motifs as Judy walks towards Scotty. The two kiss, and the camera begins to revolve 360 degrees around them. Suddenly Scotty looks up and sees himself not in the hotel room but in the barn beside the mission, the last place he kissed Madeline before she died. The soundtrack continues in intensity as the camera continues to revolve around the two and the background changes back to the hotel room and the music cadences in a major tonality.

The Artists:

Bernard Hermann: Bernard Hermann was born in New York City in 1911. He wrote his first film score in 1941 for the Orson Wells` Citizen Kane. Hermann wrote many soundtracks for Hitchcock, his last being Taxi Driver. Hermann`s techniques were unconventional for his time. “In place of lush melodies, he wrote short, obsessively repeated figures, static collections of chords, parodies of past styles” writes Alex Ross in The Rest is Noise (http://www.therestisnoise.com/2006/07/vertigo.html). You will hear short repeated

motifs throughout Vertigo, especially in the “Scene d`Amour”.

Hitchcock: Alfred Hitchcock was born in London in 1899 (https://en.wikipedia.org/wiki/Alfred_Hitchcock). Often referred to as the “master of suspense”, Hitchcock used many innovative camera techniques such as the 360 degree revolving camera used in the “Scene d`Amour”. The supernatural plot of Vertigo aided by Hitchcock`s visuals (the green light covered Judy) help create a feeling of mysticism, which comes complete with the addition of Hermann`s score. To learn more about Hitchcock`s techniques, watch this video: https://www.youtube.com/watch?v=UgnNakO6JZw.

The Scene: Why it works:

Film Music Scholar Tom Schneller identifies several main motifs throughout the Vertigo soundtrack. Two of main themes are ‘Madeline’ and ‘Obsession’ (http://writings.tomschneller.net/VertigoN.htm). ‘Madeline’ consists of a light 8th note motif that never cadences, is used throughout the movie when Scotty first looks upon Madeline. There is also a theme called ‘Obsession’ consists of the familiar sweeping melody present throughout the soundtrack. The beginning of the scene consists of variations on the obsession theme, which starts accelerating as Judy enters the room and begins talking. As Scotty waits for Judy to emerge from the bathroom different variations of the ‘Madeline’ theme play. The music accelerates and reaches a high point  with the ‘Obsession’ theme as Judy emerges from the bathroom, clad in ghastly green light as the ghost of Madeline. When Scotty sees himself in the barn beside the mission the ‘Madeline’ theme emerges accelerating and moving upward-driving the scene forward. The scene ends with the ‘Obsession’ theme which ultimately cadences in a major tonality. When Hitchcock was filming this scene his instructions were  “We should let all traffic noises fade, because Mr. Herrmann may have something to say here!” (https://csosoundsandstories.org/bernard-herrmanns-score-of-longing-and-loss-in-vertigo/) Hermann`s score augments the scene beautifully.

Tradition:

Although incredibly bold and daring as a soundtrack, Hermann uses techniques that were used in late 19th early 20th cent. Romantic music. The themes that Schneller identifies throughout the soundtrack can be compared to the Leitmotifs used in the music of Salome by Richard Strauss. Alex Ross in his book The Rest is Noise compares the “Scene d`Amour” to the “Liebestod” from Wagner`s opera Tristan and Isolde, concerning the themes of doomed love and leitmotifs. (http://www.therestisnoise.com/2006/07/vertigo.html) To compare Hermann and Wagner, watch this clip of “Liebestod”. https://www.youtube.com/watch?v=RLoHcB8A63M.

Conclusion:

In 2011Michel Hazanavicius`s film The Artist used cues from Vertigo in its soundtrack, causing controversy. (https://csosoundsandstories.org/bernard-herrmanns-score-of-longing-and-loss-in-vertigo/) Many people feel that Hermann`s music is inseparable from the Hitchcock`s film. One thing is for certain, Vertigo is a masterpiece of both film and music.

Sources:

http://writings.tomschneller.net/VertigoN.htm

http://www.therestisnoise.com/2006/07/vertigo.html

https://csosoundsandstories.org/bernard-herrmanns-score-of-longing-and-loss-in-vertigo/

https://en.wikipedia.org/wiki/Alfred_Hitchcock

https://www.medicinenet.com/vertigo_overview/article.htm

 

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Assignment #2 “Strange Fruit”

“Strange Fruit”: An American Protest Song                                                                           by Livio Fasullo

“Strange Fruit”- Abel Meerpol

“Southern trees bear a strange fruit,

Blood on the leaves and blood at the root,

Black body swinging in the Southern breeze,

Strange fruit hanging from the poplar trees.

Pastoral scene of the gallant South,

The bulging eyes and the twisted mouth,

Scent of magnolia sweet and fresh,

And the sudden smell of burning flesh!

Here is a fruit for the crows to pluck,

For the rain to gather, for the wind to suck,

For the sun to rot, for a tree to drop,

Here is a strange and bitter crop.”

 

    In 1939 Billie Holiday sang “Strange Fruit”, the poem above, set to music for an integrated audience at New York City`s Cafe Society. After she finished the audience was silent until one patron began to nervously applaud. (http://www.nytimes.com/books/first/m/margolick-fruit.html)“Strange Fruit” became one of Billie Holiday’s signature songs, and she would perform it nightly at the “Cafe Society” and wherever else it was safe to perform. (http://www.nytimes.com/books/first/m/margolick-fruit.html) Although Holiday`s label Columbia Records, refused to record it, and many radio stations refused to play it, “Strange Fruit” was quite successful.

    To understand the success of “Strange Fruit” it is important to understand its origins. “Strange Fruit” was written by Alan Meerpol, a white Jewish schoolteacher from the Bronx who was inspired to write “Strange Fruit” in 1934 when he saw the haunting photograph of the lynchings of Thomas Shipp and Abram Smith in Marion, Ind.  http://www.npr.org/templates/story/story.php?storyId=129025516 Meerpol gave the song to Barney Josephson, the founder and owner of Cafe Society, who gave it to Billy Holiday to perform. (http://www.nytimes.com/books/first/m/margolick-fruit.html) It is important to note that when Holiday recorded “Strange Fruit” in 1939, lynchings were still occurring each year and then President Franklin Delano Roosevelt refused to sign anti-lynching legislation over fear of upsetting Southern Democrats (http://www.nytimes.com/books/first/m/margolick-fruit.html). Some say that “Strange Fruit” marked the beginning of the Civil Rights Movement in America 14 years before Rosa Parks refused to give up her seat on the bus. Legendary drummer Max Roach said “When she recorded it, it was more than revolutionary…No one was speaking out (at the time) She became one of the fighters… She became a voice of black people and they loved this woman.” ( http://www.nytimes.com/books/first/m/margolick-fruit.html).

 

   Over the years, other artists have recorded “Strange Fruit” to Protest Inequality in America. Nina Simone recorded it in 1964 for the album Pastel Blues. (https://en.wikipedia.org/wiki/Pastel_Blues)  Simone would continue to perform “Strange Fruit” live as her involvement in the American Civil Rights movement increased in the 1960s. Here is a recording of Simone performing it live at Morehouse college in Atlanta, 1969. “Strange Fruit” was also in the speeches of Khalil Abdul Muhammed, a speaker of the Black Panthers. http://www.nytimes.com/books/first/m/margolick-fruit.html

 

   “Strange Fruit” has continued to appear in the news during the last year.The British Singer Rebecca Ferguson, refused to sing at President Donald Trump`s Inauguration unless she was permitted to sing “Strange Fruit” (she did not perform).  (https://www.theguardian.com/us-news/2017/jan/02/rebecca-ferguson-says-she-will-play-trump-inauguration-if-she-can-sing-strange-fruit)President Donald Trump has been criticized for his affiliation with the White-Nationalist linked Steve Bannon and for refusing to condemn the actions of a white-Nationalist groups at the Charlottesville Rally. On August 11-12 2017 various White Supremacist groups held the Charlottesville Rally protesting the removal of the a Confederate era monument, during which a protestor drove a car into a crowd of counter-protesters, killing one and injuring 19. ( https://en.wikipedia.org/wiki/Unite_the_Right_rally) In response, dancer Travis Wall choreographed a dance routine set to Nina Simone`s rendition of “Strange Fruit” comparing a current hate crime to the countless hate crimes of the Jim Crow Era South.

https://www.youtube.com/watch?v=REQLA_05TlI

   These modern performances of “Strange Fruit” are very socially and politically motivated. In these scenarios, the performance (or refusal thereof) of a song protesting lynching is used as to condemn modern hatred, and the President who turns a blind eye. And although “Strange Fruit” is clear example of how music can be used to make a bold political statement, any instance in which a political figure uses music is political. Conservative radio host Dennis Prager conducted the Santa Monica Symphony on August 16th 2017, just four days after the tragedy in Charlottesville. Prager and Orchestra director Guido Lamell responded to criticism by claiming that conducting Haydn is not a political statement. Yet Prager, who claims that Classical Music glorifies the supremacy of White Western Culture made a huge political statement by telling his supporters to buy all the tickets available in the hall. http://musicologynow.ams-net.org/2017/09/does-music-trump-politics-dennis-prager.html

 

   In conclusion, Music is incredibly powerful as a political tool. Music can inspire suppressed people to speak out against the oppressive, and it can enable the oppressive and hateful to gain influence. Any patriotic tune can be used as propaganda by political party, and any folk song can become an anthem of resistance. “Strange Fruit” was an incredibly powerful piece of music that

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Will Musicians ever learn to Breathe?

https://www.youtube.com/watch?v=k1dbb5x7PSQ

Breathe Dammit!

rants by Livio Fasullo 9/17/17

Every morning hundreds of tired Eastman Students get out of bed and walk across Main St. to begin their morning practice sessions in the Eastman School of Music Annex. Some of these students play string and percussion instruments while others sing and wind instruments. Most of these young and ambitious Eastmanites are completely unaware that they are constantly filtering oxygen through their lungs in a process known as breathing (too focused on the next seating audition, or concerto competition). Those who are aware and conscious of their breathing and how it can create greater ease in their playing will likely see much improvement in their studies, regardless of instrument (yes, even string players).

Ironically, many of us take deep and shallow breathes from our chest, keeping us nervous and un-focused (with the additional aid of Java`s Coffee) and then spend hours in the practice room trying to get better. In the weeks leading up to juries Eastman feels like an Urgent Care with countless students in casts due to practicing injuries. Many of us forget that we can incorporate much more ease into our practice and life by simply breathing, and it`s free! (Unlike PT).  Our breathing system is an essential technology for us humans that when used naturally allows for enhanced quality of life by relaxing our mind and focusing our muscles.

Breathing as a Technology

According the Merriam-Webster online dictionary a technology consists of “the practical application of knowledge especially in a particular area”. (https://www.merriam-webster.com/dictionary/technology) We are all unconsciously applying our breathing apparatus (diaphragm, lungs, brain, veins/arteries) every day (if you didn`t you would die), but many of us have allowed our minds to turn our breathing apparatus on auto pilot. To understand this better let`s take a look at how breathing works.

  The Science of Breathing

The actual scientific process of breathing is quite complicated, but luckily for us, we can breathe instinctively without thought. Breathing generally consists of  two large phases, inspiration and exhalation. As we inhale our diaphragms move downward increasing the volume of the upper body (thorax), which lowers the existing air pressure in the lungs allowing air to enter from the atmosphere. As we exhale the diaphragm relaxes and the volume of the upper thorax decreases forcing existing air to leave the lungs. (https://www.unm.edu/~lkravitz/Article%20folder/Breathing.html).

When we go into our Sympathetic Nervous System (Fight or Flight) which involves heightened senses and quick shallow breathing when our mind believes that we are in a dangerous situation.(https://www.sciencedaily.com/terms/sympathetic_nervous_system.htm) Eastman students regularly experience their Sympathetic Nervous System when trying to find a practice room one hour before their lesson or when being “vibed” by other students. Unfortunately, many students also experience their sympathetic nervous system when practicing and performing.

The Parasympathetic Nervous System takes hold when we our minds are at ease. (http://www.medicinenet.com/script/main/art.asp?articlekey=4770)  The Parasympathetic Nervous System can always be reached through deep breathing.

History of Deep Breathing

Most Eastern cultures and nearly all martial arts consider deep breathing to be fundamental skill that all should have. Deep breathing helps relax muscle and focus the mind. It is a essential part of Tai Chi, Karate, Qi Qong, and Yoga. The Pranayama is a series of deep breathing techniques used throughout the practice of Yoga. Pranayama roughly translates to extend the life force/breath that is sustaining the body (https://www.yogajournal.com/practice/healing-breath). Yoga has been in existence for thousands of years, while common practice classical music was (arguably) first written in the 17th-18th century. But proper breathing can actually be traced back to the beginning of mankind. We all have the innate programming to breathe properly. If you watch a baby sleep, you will notice that it sleeps on its back and its stomach moves through the deep breathing process. We can lose that process as we get older due to an overabundance in stimulus in the digital age. As musicians we can find ourselves taking shallow breathes while worrying about our careers and upcoming performances. In the book Effortless Mastery, Kenny Werner refers to these dominating powers over  our lives as fear and ego (pg. 21). For a video on deep breathing check out his link:

https://www.youtube.com/watch?v=k1dbb5x7PSQ

Musical Benefits

As previously stated, deep breathing helps relax muscle and focus the mind. So how does this help us as musicians? Kenny Werner talks about the “Space”, a meditative state of being achieved through deep breathing and the release of ego. In the “Space”, a musician performs music effortlessly and thoughtlessly. (pg. 77) From a less philosophical standpoint breathing helps you to clear your mind of distracting thoughts and release unnecessary tension during practice and performance. Here is a video describing deep breathing for wind players:

https://www.youtube.com/watch?time_continue=34&v=sCEj3R_26wY

Some musicians who have mastered deep breathing do not need to move dramatically when they perform or play. In his book Effortless Mastery, Kenny Werner describes the excessive movement and shallow breathing of musicians as an attempt to coax out unmastered music (pg. 59). If you watch the first minute of this video of Ralph Bowen improvising on the saxophone, you will notice how he plays from the “Space” that Kenny Werner writes about. Take note of his deep breathing. You can see his chest and stomach move as he inhales. Also note that his mastery of  breath allows him to be still, almost at rest as he plays complicated music effortlessly.

https://www.youtube.com/watch?v=6IoUnl_1fgc&t=58s

Ralph Bowen has said that all playing the saxophone really involves is “air and fingers” (http://jazzprofiles.blogspot.com/2017/05/ralph-bowen.html). By practicing his deep breathing in conjunction with his instrument he becomes more relaxed and focused every time that he plays his instrument- as can all of us if we make deep breathing a regular part of out practice routine.

What does this mean for me?

Regardless of your profession, by understanding the technology of deep breathing you can become more relaxed and focused, allowing you to complete tasks at a higher level of efficiency. As musicians, deep breathing helps us to play and learn more efficiently, gain confidence in practice and performance and save time and money avoiding physical therapy. I hope that all Eastman students will take time to develop their breathing and become the best stress-free musicians that they can possibly be.

  Sources:

https://www.unm.edu/~lkravitz/Article%20folder/Breathing.html

https://www.merriam-webster.com/dictionary/technology

https://www.drdavidwilliams.com/proper-breathing-improves-health

https://www.bluedragonkungfu.com/breathing-exercises-martial-arts/

http://jazzprofiles.blogspot.com/2017/05/ralph-bowen.html

Effortless Mastery by Kenny Werner