WI“. - - 3.. 5' 4: 1 AN ANALYSIS OF MUSIC FOR. RADIO DRAMATIC SHOWS. INCLUDING A HANDBOOK OF MUSICAL BRIDGES, TRANSITIONS. AND BACKGROUNDS \ Thesis fat 1110 Dunn of M. A. MICHIGAN STATE COLLEGE Doris Mae Spofh 1949 . ‘ . Timmy \\ This is to vomit“ that the thvsis entitled presented In] r- has been arreptvd tuwanls fulfillment of tln‘ requirements fur . . . degree in /. 1’ L 7A<26L1 Majnr [IFHICSSHI‘ l)atc-. __, 7,- .I\ . ,. fit. Taft: 31.54;... I .. t... 1 \ AN ANALYSIs.OF MUSIC FOR 33010 DRAMATIC SHOWS, INCLUDING A. mNDmOK or MUSICAL BRIDGES, TRANSITIONS, AND BACKGROUNDS BY Dori: Mae fingth A.THESIS thaittad to the School of Graduate Studies of Michigan Stat. College of Agriculture and Applied Science in partial fulfillmunt of the requirement. for the degree of MASTEB.OF'ARTS Department of Speech 1949 ACKNOWLEDGEMENT I'Iish to extend my sincere appreciation to the members of the Michigan State College faculty who have assisted me in writing this thesis. I am deeply grate- fu1 to Mr. Wilson B. Paul, Mr. Joe &. Callaway, Mr. James T. Davis and Er. Albert T. Corday. The courteous assistance of the Michigan State cellege music librarian and the music librarian of the Sleveland Public Library was greatly appreciated. I also wish to thank Mr. Marion Snedeker, engineer, for making the illustrations. Most encouraging throughout the preparation or this paper was my family whose faith and understanding was appreciated. March, 1949 Doris Mae Spoth zoAQIS CHAPTER. TABLE OF CONTENTS I‘ MEDUREOOOOOOOOOOOOOOIOOOOOOOOOOOOOOOO-$O II. THE USE AND TYPES OF MUSIC FOR RADIO WTIC mO‘WSOO0....OOOOOOOOOOO‘O&OOOOOO Uses of music.......................... Typec.of bridges and backgrounds....... III. ANALYSIS OF THE PSYCHOLOGICAL EFFECTS OF MUSICINRADIO.00.0.0.00-0006050000-00000 Effect of tone and pitch............... Effect of instrumentation.............. Effect of modes and intervals.......... Effect of tempo and rhythm............. IV. A.HANDBDOK OF MUSICAL BRIDGES, TRANSI- TIONS AND-BACKGROUNDS.................... General classifications of moods Angry............. .............. ....... Closing themes. ................ ........ Gcnfusion............ ....... ........... Excitementrtension.. ..... .............. Gey.................... ......... ....... Humorous............................... Love................................... Mysterious............................. Natural bridges, transitions, beakgroundSOOOOOOOOQsoccer-0000000900. 10 ll 12 15 14 15 16 18 8! 52 59 72 11 CHAPTER PAGE Opening themes ............. .... ........ 81 Poignant................. ........... ... 96 Sad.................. ..... ............. 104 Segues to sound or mood ....... . ....... . 112 Sinister........... ................... . 131 Strange, mystical, dreamy. .......... ... 135 Triumphant.. ...................... ..... 148 V. CONCLUSION .......... .. ......... . ........ ... 154 BIBLIOGRAPHY..................................... 156 APPENDIX A. A.Guide to the Handbook and the Care and Use of Phono- graph Records..................... 168 APPENDIX'B. Music Cbpyright Laws, Licensing Agencies and Transcription Compan16800000000 ......... ......OO- I74 CHAPTER I PROCEDURE This handbook has been written sapecially for those radio stations not fortunate enough to have a studio orches- tra. Due principally to this handicap, and because of the limited amount of transcribed #moodf music, small radio stations do not attempt "live” dramatic shoes. Although producer-directors realise that recordings of classical and popular music can be used for musical bridges, transitions, and backgrounds, they avoid them because of the time involved in discovering the most effective music. the writer sent inquiries to several directors of college and commercial radio stations, who replied: "A great deal of time is lost here ,finding Just the right music. If as had a few cues and clues, we could go ahead with mustering more Speed and thus have a lot more time to spend on the actual direc- tion of the show."1 #I quite agree that if such information .were available it would save much time and trouble in selection music for such purposes.“2 IWegener, Edward, Production Manager, Station WOI, Iowa State College, Ames, Iowa, in letter to writer, February 4, 1947. zHiggy, Robert 0., Director, Station wean, Ohio State university, Columbus, Ohio in letter to writer, January 14, 1947. "I referred your letter to our music librarian and his reply was that your ideas sounded very good as a reference or handbook as a time- saver for recorded programs, school programs, or anything a dramatic nature.”3 The writer realizes that transcription libraries do have "mood“ music recordings, however, many of these re- cord‘inge are limited to two sides of a sixteen inch disc, and the repeated use of this mood music by all radio stations has made it familiar to the public. To facili- tate a faster, more accurate method of choosing mood music, the author has analyzed phonograph records, and has organized a handbook of suggested musical bridges, transitions, and backgrounds. the general categories classified are: gay; closing themes; confusion; excite- ment-tension; gay; humorous; love; mysterious; natural bridges, transitions, backgrounds; opening themes; poignant; sad; segues to sound or mood; sinister; strange, mystical, dreamy; triumphant. Each of these moods is analysed in the I"Ettxplanation" column. The handbook is catalogued in this.manner: _fig HUMOROUSI ;. EEmEoser Title 50 &.No Side LocationExplanationApp.Time Ber ck Quartet -M 320 4 5"9 Devil may- 8 sec No. 2, - care atti- A.minor tude, cut, on crash suridge, Owen E., Vice President, General Manager, Station EUR, Detroit, Michigan in letter to writer, January 16, 1947. 3. The author is aware that.this analysis is a subjective one. Knowing that the effectiveness of mood music also depends on a subjective reaction on the part of radio listeners, she has purposely used this subjective method. In.en-attempt to make decisions.on.mocd interpretations which would be consistent.and acceptable, the author relied on the counsel of her instructors and collegues in music and in radio, on available treaties on the psychology of music and the use of music in radio dramatic shoes, and on her training and eXperience in both music and radio. No attempt eas.made to develop and standardize objective devices for analysing music.to determine mood, but an attempt was made to set-up a practical source book or handbook based on categories selected by an emperical method. Those categories which appear most often in radio shows.arei angry; closing theme; confusion; excitement-tension; gay; humorous; love; mysterious; natural bridges, transitions, backgrounds; Opening themes; poignant; sad; segues to sound or mood; sinister; strange; mystical, dreamy; triumphant. After the breakdown of moods and categories the author studied the tone, pitch, instrumentation, mode, interval, tempo and rhythm of the musical interludes.used in radio dramatic shows. The analysis of the characteristics of music was used as a guide to determine the most suitable category for a particular musical interlude. Chapter II, ”The Use and Types of'Music for Radio Dramatic Shows“, acquaints the reader with some of the most effective uses or musical interludes in radio drama- tics. Included also is an explanation of the types of bridges, transitions, and backgrounds to be used in a particular‘situation. Knowing the effects which can be produced with specific.tones, modes, pitch, tempo, and instrumentation should prove valuable to the director. #Analysis or the Psychological Etiects of Music in Radio"; introduces some very Brief tables. An attempt has not been made to dis- cover that keys indicate specific moods, for up to the present time surveys attempting to relate key to mood have shown variations in the results.4 as Handbook of Musical Bridges, Transitions, and Backgrounds? consists of one thousand musical interludes, each described as to: mood, composer, title, side, lo- cation, eXplanation, and approximate time. These one thousand interludes have been classified under one of the sixteen moods mentioned in a preceding paragraph. It is necessary to use the same recording of a com- position as the one analyzed by the author. Different artists, change the interpretation, consequently, the given bridge, transition, or background will also differ. All recordings analyzed (albums and single records) are listed in the bibliography. The composer, title of 4Schoen, Max, The Psychology_2£ Music. Chapter V. p. 88. composition, recording company and number, and the performing artist or orchestra have all been listed. To make the Handbook functional for all users, Appendix A entitled, “A Guide to the Handbook, and the Use and Care of Phonograph Records? has been written. The author's method of locating moods and the actual manual use of the record is included in this chapter. Appendix B is a brief survey of copyright laws, 11- censing agencies, and mood music of different transcrip- tion companies. Some licensing agencies grant free li- censes to non-commercial or educational stations, and these are discussed in appendix B. This handbook should be valuable to commercial and nonbcommereial stations. It is apparent that phonograph records can be used efficiently for bridges, transitions, and backgrounds in radio dramatic programs. Also, the author hopes to encourage radio stations to present more “live“ dramatic shows, and use this handbook.as a reference for choosing mood music. CHAPTER.II THE USE AND TYPES OF’MbSIC FOR RaDIO DRAMATIC SHOWS Uses; A.knoslsdge of the various and sundry uses of music in.radio dramatic shows enables the director to utilize music very effectively. Music for radio dramatic shows ssy be employed: 1. As the framework or theme 2. As an identification factor for a particular character 3.. as.s desice to carry action from one sequence to another 4. As a bridge from; a. locals to locals b. time to time cc mood to mood 5. As.e.source of color or emphasis 6. As a means of’enhancing the mood of the show 7. As a realistic part of the show 8. As a device for lengthening or shortening'the.shos 9. Asea sound effect 10. As.background music1 Music for radio dramatic shows should never compete with the actor's voice. The radio audience has only one sense to.be appealed to--hearing. Mhsic in radio drama is like the scenery, curtains and other properties in a stage show. rashes: ‘Ta'ldo, Handbook 9; Broadcasting. Chapter xv. pp. 146‘147. Music not.only puts the audience in a mood but also helps the performers establish the correct mood and interpret their lines. Gay tunes can be played for the delivery of comic lines; somber, serious tunes, for the deep intense play. “For emotional.dranss, where the important shifts are shifts in emotion, rather than from poolroom to race track, music does valuable transition service. It lends a fluidity of movement.not attainable in other transitional devices."2 Expos of'Bridggs and Backgrounds: Music adds a variety of moods in a play. After a long intense scene, the music comes as a relief. The most popular types of musical bridges are; l. ggssage of Time--denoted by chime of a clock, or the thunderous clamor of stormy music followed by serene, and pastoral to indi- cate arrival of morning. 2. Change of locale-combines music of both locales in one cue. Peasant music to modern gives the impression of leaving the countryside and entering the city. 3. Emotional tags--music segues from.soft melodious music.to confused loud music indicating calm- nose to oncoming danger. 4. Emphasis—-crashing chords, screaming echoes, shoe danger and mystery. 5. Cemic effects--the mocking *wah-wah' of a muted trombone, the laughter of the saxo- phones, and comic wailing of the strings. 6. Gay bridge-follows the lines of the story“ that have the same words as a song, sneaks song in under the speech, and then uses it as a bridge. zfizrnouw, Erik, Handbook of Radio Writing. Part II, ppt 89. 7. Natural bridgg--a typical "up and fade' type, it serves as a curtain between scenes. It does not lend any color to the scene, but indicates that one particu- lar phase of the story has been completed.3 Besides the music played between scenes, there is still another type called I'background" music. Excessive background Insic will stifle the show. the music should have a logical reason for beginning and ending. It should be in harmony with the speaker's voice, and should be of such a nature that it will synchronize with the rhythm of his voice. Chase points out which backgrounds are most frequently used; 1. ggckground based on the use of montages—- a succession of sounds piles rapidly stop one another to give the impression of haste, an accumulation of emotions, or an impor- tant event. Background based on the use of leitmotifs-- sometimes musiCal motifs are used through- out the show. Each character in the show is given a motif, and this motif is used as an identification tag each time he ap- pears. When more than one person appears, the musical patterns of several motifs are com- bined. (This is almost impossible when using recorded music.) Background based on the use of folk music-- folk music usually brings life and consider- able enjoyment to the listener. A script dealing with foreign countries, or a cer- tain period can use folk or period music. 3Ghsse, Gilbert, Music in Radio Broadcasting. Chapter IV, Memorsky, Morris, “Composing for Radio“. pp. 50-59. 4. gagkground as mood music-~when dafinite color is wanted, musical backgrounds are unquestionably the most.effective devices. They can create a mood of serenity or com- plete chaos.4 ”There is.no doubt but that music lends itself in great-measure to pictorial and dramatic presentation and interpretation."5 The director should not be afraid to use music for a dramatic show, but he should use the ut-r lost discretion in choice. Pieces which are too familiar detract from the show, for the listener is hearing the music and not the dialogue. Familiar music often tends to remind the listener of a previous association which he has made between the music and an exPerience. For instance, it may remind him of a person he met while that song was play- ing. His mind then wanders, and the entire dramatic show is blotted from his mind. To keep the music consistent the director should try to use music from one work only. If this is impossible, per- haps the works of one composer would be sufficient. Usually with this method, all music is played by a symphony orchestra or e pOpular band, thus giving the show a more professional atmosphere. EM. pp. 56-59. 5Schoen, max, The Psychology g£,Music. Chapter IV, p. 85. CHnPTER III ANALYSIS OF THE PSYCHOLOGICAL EFFECTS OF MUSIC IN RADIO James L. Mursell has said, "Music, as the art of tonal design, can carry a great wealth of emotional significance and appeal quite without any element of representation or symbolism."1 From this statement, one can conclude that sup- pressed emotions may rise to great heights at the sound of a single note, or perhaps only a few chords. Music, in radio dramatic shows then, is that force which rules the mood of the drama. Joseph Wechsberg has written, ”Movie music is good when people don’t notice it."2 The same may be applied to radio music; it should unconsciously create the mood in the listener's mind. "Musical organization," according to iursell, “depends on the mind rather than on the ear."3 Psychologists claim that the reaction from sound is not only more sudden, but more powerful and direct than any of the other arts.4 The characteristics of music which unconsciously affect a person are tons, pitch, rhythm, tempo, mode, and instrumen- tation. During the years 1920 to 1923 at the Carnegie Insti- tute of Technology a survey was made to determine the mood effect produced through music. Twenty thousand persons in the united States listened to a variety of phonograph records lmursell, J. L., The Psychologygof Music. Chapter I, p. 26. Zflechsberg, Joseph, ”Hellywood's Frustrated Music Makers”, Reader’s.nigest, October, 1946, pp. 131-133. SMursell, pp, cit., p. 50. 4Schoen, Max, The Psychology of Music. Chapter V, p. 89. 11 and listed their reaction. The conclusion reached was that a musical composition not only produces a mood change in the listener, but that it also induces a markedly uniform wood in a large majority of the members of an audience. The data show that the feelings most frequently aroused by music were rest, sadness, Joy, love, longing, and reverence. Many other woods are easily induced by the use of‘music.a The following are charts showing different characteris- tics of’music and their effects: Tone and Pitch Effect Low tones mild dull massive heavy sluggish High tones pointed sharp cutting shrill penetrating bright Low register dark threatening stormy gloomy lamentation High register bright hopeful sunny happy High sustained crescendo Stseeato notes complex.harmonies 51nd SIT. 89-90 . 51bid., p. 70. mounting tension Joy excitement 12 The Effect g£,Instrumentation 7.5 lpstrument Novachord, organ Single note of harp with marimba ac- companiment. English horn alto flute muted trombones Violins in unison Strings and woodwinds in minor key Percussi on Loud brass Oboe Bassoon muted cornets low woodwind s whodwinds Brasses Effect weird, sinister suspense depressing menace sensual mood cold mood sadness, dis- appointment storm war exaggeration understimates thing or situation sarcastic, laughing mystery mournful, awkward, uneasy, dull triumphant, grotesque 7fie3585erg,‘gp. cit., pp. 131-133. 834-33,, Melvin Gillison, That Features of a masical Phrase Have Emotional Suggestiveness. Social Science Re- search Council. Oklahoma; Oklahoma College, September, 1989. ~*__“ gases and Intervals Major mode Minor mode major thirds Minor thirds major seconds The octave major and Minor sixths The fourth and fifth 13 Effect happy bright exciting dynamic cheerful sad dark responsive weird restless melodious, sad soothing soothing mournful solemn refined dreamy ’sad plaintive indifferent tame dull thin skinny' bold stormy marked differences indifferent ordinary unimpressive When single chords are used, it is not so much the mode as it is the intensity, pitch, and instrumentation which determine the mood- However, in a complete musical com- position the mode carries the mood through. It can be said 9fiichoen, _o_p’. cit., p. 74. 14 that the manner in which the mode is used will decide if it shall influence the mood. The Effect 2; Tempo and Rhythm10:11 Tempo and Rhythm Effect Speech synchronized with. humor music Khrupt stop- suspense Fist harmonic chords gay cheerful Fest or slow dischords confusion Acceleration Joy excitement Slow tempo lamentation moderate tempo love Fast tempo. .excitement Firm rhythm dignity Flowing dreamy playful Although specific characteristics have been desig- nated for certain tone, pitch, instrument, mode, and inter- val, this does not mean that only these qualities will be produced. It is the combination of these characteristics which produce the mood.. The conclusion then reached is that emotions differentiate themselves in terms of the ob- jective conditions which arouse them. 103.133,. Melfin Go. 93.- 01te pp. 5-100 llwechsberg,‘gp. cit, pp. 131-133. CHAPTER IV A HANDBOOK OF MUSICAL BRIDGES, TRANSITIONS, AND BACKGROUNDS con ad on» «a can e no. cm can o on. ma ada_a eo- 0H , new ordvoahenev hump .uodudom even one .5»! 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