Woodstock

Woodstock Then and Now – A 50th Anniversary Celebration

Woodstock Then and Now is a first-hand transcription of a series of roundtable discussions and interviews with “Woodstock luminaries” held at the Berklee College of Music in April 2019. Here, the words of Michael Lang (Woodstock co-founder), Chip Monck (emcee, lighting and stage designer), Bill Hanley (audio engineer), Henry Diltz and Elliott Landy (photographers), Rona Elliot (public relations), and Gerardo Velez (percussionist for Jimi Hendrix) are presented for scholars and fans alike. Meeting all together for the first time since 1969, these luminaries shared Woodstock stories, talking about the impact of the festival on their careers and society as a whole.

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Biography

Alex Ludwig is an Assistant Professor of Liberal Arts at Berklee College of Music. I teach music history courses on topics ranging from The Beatles to Viennese Modernism and Film Music. My research interests include Sonata Theory and the role of editing in film musicals. In addition, I have been cataloguing film scores that use the chant melody “Dies Irae.” Check my list and let me know if you’ve found a new one for me.

When I’m not teaching, I’m playing and coaching soccer, or watching hockey, or running after my son, Lucas, or our new dog, Sofi.

Interests

  • Sonata Theory
  • Dies Irae
  • Film Musicals

Education

  • PhD in Musicology, 2010

    Brandeis University

  • MFA in Musicology, 2003

    Brandeis University

  • BM in String Performance, Cello, 2001

    Boston University

Recent Posts

My Pedagogy Video

Given the current pandemic, all academic conferences have shifted online; some more successfully than others! This year, I was lucky …
Last updated on Nov 10, 2020 1 min read

Recent Radio Appearances

It’s spooky season and that means my work on the Dies irae in film music has bubbled up on the internet again. I was interviewed …
Last updated on Nov 10, 2020 1 min read

Shazam and the Online Listening Quiz

Here in New England, we get a fair amount of snow. Because of this, I usually build in a few classes that can be taught online. Given …
Last updated on Nov 10, 2020 2 min read

Let Flubaroo Grade It!

Most of my classes meet once a week, so I tend to start each class with a small, low-stakes warmup quiz. These quizzes serve a few …
Last updated on Mar 4, 2020 2 min read

What I'll Be Blogging About

Last updated on Feb 14, 2020 1 min read

Dies Irae

The use of the “Dies irae” plainchant has a long history in film music and other assorted media.1 Its liturgical text comprises vivid imagery of burning ash, illustrating the final day of judgement, and its modal music fits comfortably within a tonal context, highlighting the lowered third and seventh scale degrees. It is no surprise then that quoting the “Dies irae” chant remains a popular option for composers of film music; in fact, using the “Dies irae” in your film score today usually ellicits the same response of recognition in listeners as does the stock sound effect known as the “Wilhelm Scream.” Prominent examples of this chant appear in nearly every decade of the history of film music, ranging from It’s a Wonderful Life (1946) to Frozen 2 (2019) and The Mandalorian (2020).

For more, see all of my supercuts:

.

See also a few other media appearances:

  1. the film on which I consulted and appeared as a talking head, Why This Creepy Melody Is In So Many Movies.
  1. the podcast Twenty Thousand Hertz
  1. the “National Public Radio” program Here and Now
  1. the podcast “Star Wars Music Minute”

My List: Film (year), composer {Time Stamp} Type

  1. Metropolis (1927), score by Gottfried Huppertz {00:32:34} Type 1
  2. Sunrise: A Song of Two Humans (1927), score by Hugo Riesenfeld {1:19:20} Type 3
  3. Day of Wrath (1943), score by Poul Schierbeck {0:00:00} Type 1
  4. Know Your Enemy: Japan (1945), score by Dmitri Tiomkin {0:24:57} Type 1
  5. It’s a Wonderful Life (1946), score by Dmitri Tiomkin Type 1-3
  6. Angel on My Shoulder (1946), score by Dmitri Tiomkin {0:13:00} Type 1
  7. Young Bess (1953), score by Miklós Rózsa {0:27:48} Type 1
  8. I Confess (1953), score by Dmitri Tiomkin {0:01:55} Type 1
  9. The Sheep Has Five Legs (1954), score by Georges Van Parys Type 2
  10. Garden of Evil (1954), score by Bernard Herrmann {0:28:00} Type 1
  11. On the Waterfront (1954), score by Leonard Bernstein {1:33:20} Type 2
  12. Between Heaven and Hell (1956), score by Hugo Friedhofer {0:00:30} Type 1
  13. Sleeping Beauty (1957), score by Jack Lawrence & Sammy Fain {0:30:00}
  14. The Seventh Seal (1957), score by Erik Nodren {00:08:00} Type 2
  15. The Screaming Skull (1958), score by Ernst Gold {0:02:02} Type 1
  16. The Return of Dracula (1958), score by Gerald Fried {0:00:14} Type 1
  17. Compulsion (1959), score by Lionel Newman {1:03:20} Type 1
  18. Some Like It Hot (1959), score by Adolph Deutsch {1:58:01} Type 2
  19. Fall of the House of Usher (1960), score by Les Baxter {1:08:11} Type 1
  20. The Unforgiven (1960), score by Dmitri Tiomkin {1:16:42} Type 2
  21. Psycho (1960), score by Bernard Herrmann {0:11:50} Type 3
  22. El Cid (1961), score by Miklós Rózsa {1:34:23} Type 1
  23. The Great Escape (1963), score by Elmer Bernstein {02:11:15} Type 2
  24. Jason and the Argonauts (1963), score by Bernard Herrmann {1:37:00} Type 1
  25. The Jar (1964), score by Bernard Herrmann {0:09:59} Type 1
  26. Becket (1964), score by Laurence Rosenthal {0:03:40} Type 1
  27. I Malamando (1964), score by Ennio Morricone {1:15:50} Type 1
  28. Fists in the Pocket (1965), score by Ennio Morricone {0:00:01} Type 2
  29. Nightmare Castle (1965), score by Ennio Morricone {0:25:30} Type 1
  30. The Bible: In the Beginning (1966), score by Toshiro Mayuzumi {0:27:50} Type 1
  31. War and Peace (1966), score by Vyacheslav Ovchinnikov {1:44:39} Type 1
  32. Escalation (1968), score by Ennio Morricone {0:00:00} Type 1
  33. Dracula has Risen from the Grave (1968), score by James Bernard {0:13:25} Type 1B
  34. The Strange Vice of Mrs. Wardh (1971), score by Nora Orlandi {0:28:46} Type 1B
  35. Lust for a Vampire (1971), score by Harry Robinson {0:50:15} Type 1
  36. A Clockwork Orange (1971), score by Wendy Carlos {00:01:00} Type 1
  37. Mephisto Waltz (1971), score by Jerry Goldsmith {00:00:31} Type 1
  38. The Devils (1971), score by Peter Maxwell Davies {0:06:21} Type 1
  39. Vampire Circus (1972), score by David Whitaker {0:49:12} Type 1
  40. The Vault of Horror (1973), score by Douglas Gamley {0:00:06} Type 1
  41. Le Trio Infernal (1974), score by Ennio Morricone {1:06:20} Type 1B
  42. From Beyond the Grave (1974), score by Douglas Gamley {00:00:38} Type 1
  43. The Omen (1976), score by Jerry Goldsmith Type 1
  44. Obsession (1976), score by Bernard Herrmann {0:52:06} Type 1
  45. The Car (1977), score by Leonard Rosenman {00:00:17} Type 1
  46. A New Hope (1977), score by John Williams {00:40:15} Type 1
  47. Close Encounters of the Third Kind (1977), score by John Williams {00:44:12} Type 1
  48. Superman (1978), score by John Williams {0:12:36} Type 3
  49. Cruise Into Terror (1978), score by Gerald Fried {0:01:00} Type 1
  50. The Medusa Touch (1978), score by Michael J. Lewis {1:41:06} Type 2
  51. Alien (1979), score by Jerry Goldsmith {01:53:30} Type 2
  52. The Killer Nun (1979), score by Alessandro Alessandroni {0:00:01} Type 1
  53. The Shining (1980), score by Wendy Carlos {00:00:00} Type 1
  54. Heavy Metal (1981), score by Elmer Bernstein {1:10:48} Type 2
  55. Conan the Barbarian (1982), score by Basil Poledouris {01:51:13} Type 1
  56. Superstition (1982), score by David Gibney {0:04:05} Type 1
  57. Poltergeist (1982), score by Jerry Goldsmith {01:44:01} Type 2
  58. Mishima: A Life in Four Chapters (1985), score by Philip Glass Type 3
  59. Legend (1985), score by Tangerine Dream {0:21:14} Type 2
  60. Friday the 13th: A New Beginning (1985), score by Henry Manfredini {00:01:59} Type 2
  61. Back to the Future (1985), score by Alan Silvestri {1:07:25} Type 2
  62. Friday the 13th: Part VI, Jason Lives (1986), score by Henry Manfredini {00:04:15) Type 2
  63. Big Trouble in Little China (1986), score by John Carpenter/Alan Howarth {00:11:11} Type 1
  64. The Mission (1986), score by Ennio Morricone {00:32:56} Type 1
  65. Ferris Bueller’s Day Off (1986), score by Ira Newborn {00:00:08} Type 2
  66. Empire of the Sun (1987), score by John Williams {0:30:00} Type 3
  67. Friday the 13th: Part VII, The New Blood (1988), score by Henry Manfredini {00:15:03} Type 1-2
  68. Predator (1987), score by Alan Silvestri {1:15:00} Type 2b
  69. The Accidental Tourist (1988), score by John Williams {1:54:33} Type 2
  70. Murder She Wrote S5E13 (1989), score by David Bell {0:13:00}, Type 1
  71. Quantam Leap S2E11 (1989), score by Mike Post {0:42:01], Type 2
  72. Batman (1989), score by Danny Elfman {1:13:33} T3
  73. Dead Poets Society (1989), score by Maurice Jarre {0:35:00} Type 3
  74. Home Alone (1990), score by John Williams {00:06:58} Type 1
  75. Gremlins 2 (1990), score by Jerry Goldsmith {01:34:48} Type 2
  76. The Witches (1990), score by Stanley Myers {0:28:00} Type 1
  77. Maniac Cop 2 (1990), score by Jay Chattaway {1:17:51} Type 2
  78. Presumed Innocent (1990), score by John Williams {0:45:19} Type 2
  79. Beauty and the Beast (1991), score by Alan Mencken Type 2b
  80. Sleeping with the Enemy (1991), score by Jerry Goldsmith {1:25:20} Type 1
  81. Batman Returns (1992), score by Danny Elfman {00:12:15} Type 1
  82. Jurassic Park (1993), score by John Williams {01:18:30} Type 1
  83. The Nightmare Before Christmas (1993), score by Danny Elfman Type 1
  84. Groundhog Day (1993), score by George Fenton Type 2
  85. Demolition Man (1993), score by Eliot Goldenthal {00:00:27} Type 2
  86. Batman: Mask of the Phantasm (1993), score by Shirley Walker {0:02:00} Type 2
  87. Needful Things (1993), score by Patrick Doyle {1:40:20} Type 1
  88. The Lion King (1994), score by Hans Zimmer Type 1
  89. Tales from the Dark Side (1994), score by Bill Frisell {0:00:01} Type 3b
  90. Crimson Tide (1995), score by Hans Zimmer {01:30:00}, Type 1
  91. Nixon (1995), score by John Williams {0:05:39} Type 2
  92. Independence Day (1996), score by David Arnold {1:06:42} Type 2
  93. The Rock (1996), score by Smith/Zimmer {0:20:26}, Type 1
  94. The Hunchback of Notre Dame (1996), score by Alan Mencken {0:03:38} Type 1
  95. Mars Attacks (1996), score by Danny Elfman {00:02:41} Type 2
  96. A Time to Kill (1996), score by Elliot Goldenthal {0:49:20} Type 1
  97. Sleepers (1996), score by John Williams {2:22:00} Type 3
  98. Faceoff (1997), score by John Powell {0:07:00}, Type 2b
  99. Scream 2 (1997), score by Marco Beltrami {0:40:07} Type 2
  100. Buffy the Vampire Slayer S1E2 (1997), score by Walter Murphy {opening titles} Type 1
  101. I Know What You Did Last Summer (1997), score by John Debney {0:25:25} Type 3
  102. Amistad (1997), score by John Williams {0:17:01} Type 2
  103. Deep Space 9 S5E19 (1997), score by Jay Chattaway {0:25:25} Type 3
  104. Mulan (1998), score by Jerry Goldsmith {0:55:54} Type 2
  105. Urban Legend (1998), score by Christopher Young {01:18:37} Type 3
  106. Armageddon (1998), score by Trevor Rabin {0:24:57} Type 2
  107. Star Trek: Deep Space 9 S7E10 (1998), score by Jay Chattaway {0:09:55} Type 3
  108. Shakespeare in Love (1998), score by Stephen Warbeck {0:00:57} Type 3
  109. The Thirteenth Floor (1999), score by Harald Kloser {1:14:08} Type 2
  110. The Bone Collector (1999), score by Craig Armstrong {01:48:59} Type 2
  111. The Sixth Sense (1999), score by James Newton Howard {0:15:40} Type 2
  112. End of Days (1999), score by John Debney {00:00:01} Type 1
  113. The Road to El Dorado (2000), score by Hans Zimmer & John Powell {0:08:32} Type 1
  114. Gladiator (2000), score by Hans Zimmer & Lisa Gerrard {2:29:00} Type 1
  115. Shrek (2001), score by Harry Gregson-Williams/John Powell {00:41:30} Type 2
  116. Harry Potter & The Sorcerer’s Stone (2001), score by John Williams {2:08:27} Type 3
  117. Artifical Intelligence (2001), score by John Williams {1:55:50} Type 3
  118. Attack of the Clones (2002), score by John Williams {01:24:33} Type 1
  119. Harry Potter and the Chamber of Secrets (2002), score by John Williams {01:49:15} Type 1
  120. The Ring (2002), score by Hans Zimmer {00:21:45} Type 1
  121. Signs (2002), score by James Newton Howard {1:06:51} Type 3
  122. Irreversible (2002), score by Thomas Bangalter {0:01:00} Type 1
  123. Gangs of New York (2002), score by Elmer Bernstein (rejected) Type 1
  124. Who Wants to Be a Millionaire (2002), score by Keith & Michael Strachan {0:13:13} Type 3
  125. The Texas Chainsaw Massacre (2003), score by Steve Jablonsky {1:10:53} Type 3
  126. The Matrix Reloaded (2003), score by Don Davis {01:12:12} Type 2
  127. The Matrix Revolutions (2003), score by Don Davis {1:57:20} Type 2
  128. Kill Bill Vol. 2 (2004), sample of “The Strange Vice of Mrs. Wardh” {0:23:20} Type 1B
  129. Lost S1E22 (2004), score by Michael Giacchino {00:30:06} Type 2
  130. Team America: World Police (2004), score by Harry Gregson-Williams {1:06:00} Type 2
  131. E.R. S10E18 (2004), score by Martin Davich {0:20:20} Type 3
  132. Timesplitters–Future Perfect (2005), score by Graeme Norgate {main titles} Type 2
  133. War of the Worlds (2005), score by John Williams {00:49:49} Type 2
  134. Clerks 2 (2006), score by James L. Venable {0:41:35} Type 1
  135. Death Note S1E19 (2006), score by Yoshihisa Hirano {00:18:00} Type 2
  136. Pirates of the Caribbean 3: At World’s End (2007), score by Hans Zimmer {02:34:00} Type 3
  137. Perfume: The Story of a Murderer (2006), score by Reinhold Heil {0:14:23} Type 3
  138. The Bucket List (2007), score by Marc Shaiman {0:06:23} Type 2B
  139. Indiana Jones and the Kingdom of the Crystal Skull (2008), score by John Williams {00:04:18} Type 1
  140. Sweeney Todd: Demon Barber of Fleet Street (2007), score by Stephen Sondheim {1:13:39} Type 3-2
  141. Bones S3E13 (2008), score by Peter Himmelman {0:24:38} Type 1
  142. Angels and Demons (2009), score by Hans Zimmer {01:57:31} Type 2
  143. Bolt (2008), score by John Powell {1:22:38} Type 3
  144. Terminator Salvation (2009), score by Danny Elfman {0:59:42} Type 3
  145. Transformers: Revenge of the Fallen (2009), score by Steve Jablonsky {1:43:52} Type 3B
  146. Drag Me to Hell (2009), score by Christopher Young {1:29:33} Type 3
  147. Fantastic Mr. Fox (2009), score by Alexandre Desplat {0:58:29} Type 3
  148. Don’t Be Afraid of the Dark (2010), score by Marco Beltrami {0:31:17} Type 2
  149. LOST S6E1 (2010), score by Michael Giacchino {0:22:50} Type 2
  150. Predators (2010), score by John Debney {1:17:16} Type 3
  151. Mission Impossible 4: Ghost Protocol (2011), score by Michael Giacchino {00:29:59} Type 1
  152. Pirates of the Caribbean 4: On Stranger Tides (2011), score by Hans Zimmer {01:55:00} Type 1
  153. Thor (2011), score by Patrick Doyle {00:57:31} Type 1
  154. Kung Fu Panda 2 (2011), score by Zimmer/Powell {1:02:39} Type 3
  155. Harry Potter and the Deathly Hallows, part 2 (2011), score by Alexandre Desplat {0:55:00} Type 3
  156. Wreck It Ralph (2012), score by Henry Jackman {00:25:57} Type 1
  157. The Bourne Legacy (2012), score by James Newton Howard {0:01:00} Type 3
  158. Psych S6E11 (2012), score by Adam Cohen {0:33:19} Type 1
  159. The Best Offer (2013), score by Ennio Morricone {0:13:18, 2:01:07, end titles} Type 2, Type 3
  160. Iron Man 3 (2013), score by Brian Tyler {00:24:41} Type 1
  161. The Newsroom S2E7 (2013), score by Johnny Klimek {0:48:12} Type 3
  162. Game of Thrones S5E1 (2014), score by Ramin Djiwadin {00:22:15} Type 1
  163. Crimson Peak (2015), score by Fernando Velazquez {00:00:00} Type 1
  164. Glitch S1E3 (2015), score by Cornel Wilczeck {00:50:00} Type 2
  165. Terminator Genisys (2015), score by Lorne Balfe {1:27:03} Type 3b
  166. 10 Cloverfield Lane (2016), score by Bear McCreary {00:00:00} Type 1
  167. Colossal (2016), score by Bear McCreary {01:38:11} Type 1
  168. Rogue One (2016), score by Michael Giacchino {01:12:48} Type 1
  169. Game of Thrones S6E5 (2016), score by Ramin Djawadi {0:13:00} Type 1
  170. Star Trek Beyond (2016), score by Michael Giacchino {1:28:08} Type 3
  171. Dead by Daylight (2016), score by Michael April {main menu} Type 2
  172. Dr. Strange (2016), score by Michael Giacchino {1:35:36} Type 2
  173. Doctor Who: The Return of Mysterio S10 (2016), score by Murray Gold {0:36:19} Type 2
  174. Pirates of the Caribbean 5: Dead Men Tell No Tales (2017), score by Geoff Zanelli {00:10:30} Type 1
  175. The Good Place S1E11 (2017), score by David Schwartz {00:23:42} Type 1
  176. Justice League (2017), score by Danny Elfman {0:25:25} Type 3
  177. Survivor S35E9 (2017), score by David Vanacore {0:20:50} Type 3
  178. The Scariest Story Ever Told: A Mickey Mouse Spooktacular (2017), score by Christopher Willis {0:07:14} Type 2
  179. Final Space S1E1 (2018), score by Shelby Merry {opening titles} Type 3
  180. The Spy Gone North (2018), score by Yeong-wook Jo {01:04:40} Type 1
  181. Avengers: Infinity War (2018), score by Alan Silvestri {00:33:52} Type 1
  182. Ready Player One (2018), score by Alan Silvestri {00:57:51} Type 2
  183. Star Wars Rebels S4E11 (2018), score by Kevin Kiner {00:02:26} Type 2
  184. Star Wars Rebels S4E13 (2018), score by Kevin Kiner {00:14:28} Type 2
  185. Solo: A Star Wars Story (2018), score by John Powell {0:48:39} Type 2
  186. Stranger Things S3E8 (2019), score by Michael Stein & Kyle Dixon {0:41:15} Type 2
  187. Fruits Basket S2E21 (2019), score by Taku Kishimoto {0:13:17} Type 2
  188. Eli (2019), score by Bear McCreary {001:19:52} Type 1
  189. 1BR (2019), score by Ronen Landa {00:27:00} Type 3
  190. Doctor Sleep (2019), score by The Newton Brothers {02:18:33} Type 2
  191. Frozen 2 (2019), score by Christophe Beck {00:16:40} Type 2
  192. Succession S2E10 (2019), score by Nicholas Britell {01:09:00} Type 2
  193. Toy Story (2019), score by Randy Newman {01:15:20} Type 2
  194. Christmas Prince: The Royal Baby (2019), score by Zack Ryan {0:59:38} Type 3
  195. Fargo S4E7 (2020), score by Jeff Russo {0:25:31} Type 3
  196. Onward (2020), score by Jeff & Mychael Danna {01:06:00} Type 2
  197. Westworld S3E5 (2020), score by Ramin Djawadi {00:47:14} Type 2
  198. Cursed S1E4 (2020), score by Jeff Russo {00:06:47} Type 2
  199. Fantasy Island (2020), score by Bear McCreary {01:18:13} Type 3
  200. The Flight Attendant S1E8 (2020), score by Blake Neely {0:39:12} Type 3
  201. The Mandalorian Chapter 16 (2020), score by Ludwig Göransson {0:34:20} Type 3
  202. The Empty Man (2020), score by Christopher Young & Lustmord {1:24:28} Type 3
  203. Deamon Slayer: Mugen Train (2020), score by Kajiura/Shiina {1:30:00} Type 2
  204. Loki S1E5 (2021), score by Natalie Holt {0:25:09} Type 2
  205. Fear Street: 1994 (2021), score by Marco Beltrami & M. Trumpp {0:53:47} Type 2
  206. Fear Street: 1666 (2021), score by Marco Beltrami & M. Trumpp {0:53:47} Type 2
  207. Reminiscence (2021), score by Ramin Djawadi {0:03:28} Type 2
  208. Star Wars: Visions S1E4 (2021), score by Kevin Penkin {0:14:50} Type 2
  209. White Lotus S1E1 (2021), score by Cristobal Tapia de Veer {main titles} Type 3
  210. Last Night in Soho (2021), Dies Irae is Diegetic {1:30:00} Type 2
  211. No Time To Die (2021), Dies Irae is Diegetic {0:20:21} Type 2
  212. Gunpowder Milkshake (2021), score by Frank Ilfman {1:31:46} Type 3
  213. Ragnorak S2E3 (2021), score by Halfdan E {0:36:45} Type 1b
  214. Squid Game S1E3 (2021), socre by Jaeil Jung {0:01:00} Type 3
  215. Wheel of Time S1E2 (2021), score by Lorne Balfe {0:03:8) Type 2
  216. Falcon and the Winter Soldier (2021), score by Henry Jackman {0:02:08} Type 2/3
  217. Shang-Chi & the Legend of the 10 Rings (2021), score by Joel P West {0:06:40} Type 3
  218. Arcane S1E7 (2021), Dies Irae is Diegetic {0:31:30} Type 2
  219. Benedetta (2021), score by Anne Dudley {1:29:00} Type 1
  220. Nightmare Alley (2021), score by Nathan Johnson {1:40:40} Type 3
  221. Ghosts S1E4 (2021), score by Jeff Cardoni {0:07:20} Type 2
  222. Cheer S2E5 (2022), score by Joseph Minadeo {0:10:18} Type 1
  223. Flight Attendant S2E2 (2022), score by Blake Neely {0:31:18} Type 3
  224. Inventing Anna S1E3 (2022), score by Bowers/Charles {0:19:14} Type 3
  225. Moon Knight S1E3 (2022), score by Hesham Nazih {0:03:54} Type 2
  226. Obi-Wan Kenobi (2022), score by Natalie Holt {0:15:15} Type 2
  227. Stranger Things S4E5 (2022), score by Dixon/Stein {0:07:45} Type 1
  228. The Northman (2022), score by Carolan/Gainsborough {0:02:43} Type 3

  1. See Linda Schubert, “Plainchant in Motion Pictures: The ‘Dies Irae’ in Film Scores, ” Florilegium 15 (1998): 207-229; and Karen Cook, “Beyond the Grave: The “Dies Irae” in Video Game Music". ↩︎

.js-id-Dies-Irae
Dies Irae Film Music Academic

Recent & Upcoming Talks

Nov 15, 2020 12:00 AM Minneapolis, MN

Youtube Explainer Videos

YouTube’s massive platform offers many benefits to the music scholar working in the public sphere. Engaging in such work is easy on YouTube, where an entire sub-genre of “Explainer” videos proliferates on virtually any topic. Music scholars, and especially film music scholars, are poised to excel on YouTube because they can easily substantiate their assertions in real time. In this presentation, I will discuss the background, creation and publication of two different videos.

May 13, 2020 12:00 AM Cleveland, OH

The Rhythm of Life is a Powerful Beat: Following Fosse's Musical, Physical, and Visual Rhythms

Rhythm is the single thread connecting the many facets of Bob Fosse’s career. As a dancer and choreographer, Fosse focused on shaping the rhythmic properties of his stage shows; as a director, and de facto film editor, Fosse applied this fascination with rhythm in the editing bays. Despite a wide variety of dramatic content, these films are a unique opportunity to explore the role of rhythm in the editing of film musicals. Fosse directed five films in the span of one decade: Sweet Charity (1969); Cabaret (1972); Liza with a Z (1972); Lenny (1974); and All That Jazz (1979). Based on analyses of key scenes from Sweet Charity and All That Jazz, I have found that Fosse manipulates rhythm in three ways: musically (the performed musical score), physically (the staged choreography), and visually (the edited cuts). In this talk, I will examine two sequences that illustrate Fosse’s corresponding layers of rhythm and consider how this complex nexus helps to frame our understanding of film musical’s visual rhythm.

Recent Publications

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Woodstock Then and Now: A 50th Anniversary Celebration
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Review of Walter Everett and Tim Riley: What Goes on: The Beatles, Their Music, and Their Time
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Conference Report: Woodstock50
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The Memories of Music in Game of Thrones
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Review of Felix Diergarten: Jedem Ohre klingend: Formprinzipien in Haydns Sinfonieexpositionen
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