Volume 19, Num er !

, "ecem er 2#1$ Co%yri&ht ' 2#1$ Society (or )u*ic Theory

Hollywood Cadence*+ )u*ic and the Structure o( Cinematic ,-%ectation

.ran/ 0ehman
N1T,+ The e-am%le* (or the 2te-t3only4 5". 6er*ion o( thi* item are a6aila le online at+ htt%+77www.mto*mt.or&7i**ue*7mto.1$.19.!7mto.1$.19.!.lehman.%h% 8,9:1;"S+ (ilm mu*ic, cadence, %hra*e, modulation, &enre theory, :e*tern, Ca%lin, Newman, 8orn&old, )oro**, <old*mith, Howard, :illiam*, =ura**ic 5ar/ >?ST;>CT+ Cadence* are one o( the mo*t %ower(ul tool* at a (ilm com%o*er@* di*%o*al. The *tructure and %lacement o( a cadence can *ha%e the emotional arc o( a *cene, accentuate narrati6al in(ormation, and mani%ulate &eneric e-%ectation*. "rawin& (rom theorie* o( (ilm &enre and cadential de(inition (rom >ltman 219994 and Ca%lin 22##24, I e-%lore *e6eral cinematically *i&ni(icant Acadential &enre*BCharmonic routine* ari*in& throu&h the con6er&ence o( inde%endent mu*ical %henomena that to&ether %roDect a %unctuati6e (unction. Throu&h %roce**e* o( attri ute *u *titution and *u traction, a cadential &enre can ada%t to *hi(tin& *corin& %ractice* and &eneric e-%ectation*. I *howca*e (our *uch cadential &enre*. The mi-ed %la&al cadence im%ort* tran*cendent harmonic a**ociation* (rom the ;omantic era. 5hra*al Amic/ey mou*in&B ari*e* throu&h cadential *ynchronization, a* *hown in an analy*i* o( 8orn&old@* Robin Hood. The *u tonic hal( cadence i* *tron&ly lin/ed with a *%eci(ic (ilm &enre+ the :e*tern. Throu&h analy*i* o( =erome )oro**@* *u tonic3*aturated *core* and *u *eEuent ada%ted and a *tracted u*a&e*, I *how the 6alue o( the &eneric a%%roach to *tyle3 a*ed analy*i*. 0a*tly, I in*%ect the chromatically modulatin& cadential re*olution 2C)C;4+ the *trate&y o( initiatin& a diatonic cadence in one /ey only (or the dominant to di*char&e onto the tonic o( a chromatically related /ey. Throu&h a 6ariety o( intrin*ic and conte-tual trait* de*cri a le y linear, tran*(ormational, and co&niti6e model*, I e-%lain the *tron& a**ociation o( C)C;* with cinematic e6ocation* o( wonderment. Thi* i* illu*trated throu&h a ca*e *tudy o( :illiam*@* Jurassic Park.
Received May 2013

Table of Contents I. The Hollywood Sound [1.1] II. Cadential Synchronization [2.1]

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III. "e(ininin& Cadence* [$.1] IV. Cow oy Chromatici*m [!.1] IV. Chromatically )odulatin& Cadential ;e*olution* [F.1] VI. Soarin& Scorin& [G.1] I. The Hollywood Sound 214 [1.1] 1ne o( the (ruit* o( (ilm mu*icolo&y@* e-traordinary &rowth durin& the %a*t decade i* an increa*in& a%%reciation o( the e-u erant com%le-ity o( meanin& in mu*ical multimedia. Se6eral attem%t* ha6e een made to e*ta li*h road %rinci%le* (or mu*ical meanin&3ma/in& acro** (ilm *tyle* and era*, %articularly (or ACla**ical HollywoodB 2rou&hly 19$#H19G#4. 224 >t the *ame time, other, more tar&eted *tudie*C*e6eral (rom mu*ic theori*t*Cha6e *tri6en to characterize meanin& in term* more cellular than holi*tic. 2$4 .rom thi* 6anta&e, (ilm mu*ic i* *een a* a %lay o( %article* and routine* that accumulate a**ociation* and &enerate e-%ectation* throu&h 6ariou* inter3 and intrate-tual mean*. 1ne *uch %article that ha*, a* yet, recei6ed minimal attention i* amon& mu*ic@* mo*t (undamental element*+ the cadence. [1.2] Cadence* contri ute to the di*tincti6e, i( di((icult to %in down A(ilm mu*ic *ound.B 2!4 Ta/e, (or e-am%le, the *ym%honic *tatement *hown in the reduced tran*cri%tion o( Example 1. 2F4 1ne o( the mo*t widely %layed and reco&nized %iece* o( >merican (ilm mu*ic, >l(red Newman@* ATwentieth Century .o- .an(areB wa* com%o*ed in 19$$ (or the newly (ormed (ilm *tudio, 2#th Century 5icture*. In 19F$, Newman e-tended the (an(are with a old cadence to cele rate the ad6ent o( Cinema*co%e technolo&y. Thi* 6er*ion continue* to e heard today, and *er6e* the *ame *uite o( (unction* that it did durin& the irth o( the *tudio *y*tem in the @$#*. The (an(are i* %art heraldic cele ration o( a *tudio, %art A allyhooB to arre*t the 6iewer@* attention, and %art mini3o6erture to (ormally demarcate the on*et o( the (ilm. 5erha%* mo*t im%ortantly, it i* %art icon (or all the de*ired a((ecti6e *tate* the Hollywood cinematic e-%erience *tri6e* to e6o/eC&lamour, e*ca%e, *entiment, and wonder. [1.$] Thou&h a late addition, the CinemaSco%e ,-ten*ion i* crucial in conDurin& tho*e a**ociation*. > &reat deal re*t* on Newman@* choice o( harmonic %ro&re**ion+ a ii IHii JIHV HI modally3mi-ed %er(ect authentic cadence 25>C4. :ith it* lend o( itter*weet melodrama and intimation* o( the tran*cendent, thi* cadential idea %o**e**ed connotation* o( romantic *entiment that were well3worn e6en in the 19$#*K it i* a *ound that would ha6e *truc/ 19F$ audience* a* a throw ac/, a* it doe* today a* well. 2G4 Newman@* &e*ture i* a 6ariant o( a more &eneralized routine, the H H cadence, or more *im%ly Ami-ed cadenceB 2)3C4. In thi* harmonic (ormula, the *i-th *cale de&ree in maDor dro%* directly (rom it* natural to (lattened *tate %rior to the ca%ture o( maDor tonic at a %hra*e@* end. In the A.an(are,B < ! in an inner 6oice de*cend* throu&h < ! en route to .! 2 4, %roducin& a hal(3dimini*hed *u%ertonic and altered dominant on the way. The (an(are rin&* to mind what Ste6en 0aitz de*cri e* a* the AHollywood Cadence,B a ty%e o( %la&al motion (or which he cite* the (amiliar *toc/ melody *hown in Example 2. 0aitz a*e* thi* a*cri%tion on an a**um%tion o( wide*%read u*e in modern (ilm and commercial re%ertoire*, the cadence ein& Acommonly heard in %o%ular mu*ic o( the 192#* throu&h 19F#* and in (ilm* todayB 20aitz 2#12, !29H$#4. [1.!] 0aitz@* AHollywood CadenceB i* a latter3day mani(e*tation o( the nineteenth3century harmonic %rocli6ity (or modal in(lection o( the *u dominant in order to *u&&e*t *entiment or *u limity. It i* an inclination that cour*e* throu&h the wor/* o( Schumann, Cho%in, and )endel**ohn and reache* it* %ea/ with the act3concludin& %la&al *i&h* o( :a&ner. 2I4 The mi-ed %la&al cadence 2)35C4 in Hollywood dri%* with a *ort o( harmonic no*tal&ia that the %roli(ic Newman reco&nized and wa* */ill(ul in re%roducin&. 2L4 Studio lo&o theme* are deci*i6e com%onent* in e*ta li*hin& the *ound world o( a %articular mo6ie, andCe6en more *oCthe *ound world o( ACla**ic HollywoodB with it* %romi*e o( *%ectacle, i& *tar*, and narrati6al coherence. 294 ?y em%loyin& *uch a con*ciou*ly retro*%ecti6e harmonic &e*ture, Newman@* (an(are har/en* ac/ to an ima&ined earlier e-%erience, not only recallin&, in =ame* ?uhler@* word* a AMheroic@ era o( (ilmma/in&,B ut a heroic era o( (ilm3going a* well 2?uhler 199G, $$4. 21#4 [1.F] >nd yet Newman@* (an(are, de*%ite earin& that tell3tale modal in(lection, doe* not re*em le 0aitz@* %aradi&m in all it* detail* and, indeed, in *e6eral o( it* attri ute* i* *tri/in&ly di*tinct (rom it+ note the %atently un3%la&al 3 a**, (or e-am%le.

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>%t thou&h the la el may *eem, 0aitz o6errate* the %re6alence o( the *%eci(ic cadential (ormula e-%re**ed in ,-am%le 2. .ew (ilm*, e6en (rom the A<olden >&eB o( Hollywood, (eature cadence* with all the characteri*tic* em edded within the *u%%o*ed %aradi&m. Certainly, *ome cla**ic* ear the %ro&re**ion %rominently 2%articularly durin& end *cene* and credit*4, *uch a* .ranz :a-man@* *core to Rebecca and ,rich :ol(&an& 8orn&old@* to Captain Blood. 2114 ?ut e6en in a *tyle where ;omantic o6er3ri%ene** i* o(ten a 6irtue rather than 6ice, (ilm com%o*er* rarely recruit the mi-ed %la&al cadence in the literal (orm o( ,-am%le 2, o%tin& in*tead (or 6ariou* alternati6e* with (amily re*em lance* to an )35C %rototy%e. 2124 "i((iculty in locatin& an e-act in*tance o( 0aitz@* model in the re%ertoire *hould not lead u* to a andon it. >* :illiam ,. Ca%lin *tate*+ A> cate&ory i* not nece**arily meant to re(lect (reEuency o( occurrence in a *tati*tical *en*e+ it i* o(ten the ca*e that relati6ely (ew in*tance* in the re%ertory corre*%ond identically to the com%lete de(inition o( a &i6en cate&oryB 2199L, !4. It i* %o**i le (or in*tance* to draw meanin& (rom a conce%tually *i&ni(icant model, e6en i( that model i* it*el( *tyli*tically elu*i6e. [1.G]. Example 3 %re*ent* a hand(ul o( 6oice3leadin& model* (or AHollywood3e*EueB cadence*. In the A%aradi&matic (orm,B we *ee the e-%an*ion o( the di**onant tritone (ormed y and re*ol6in& outward* to a maDor *i-th while the melodic line &ra*%* u%ward* to . Thi* ri*in& melodic contour i* a contra6ention o( the downward tu& o( mo*t con6entional cadence*. Com ined with the tritonal (riction, it e((ecti6ely mer&e* the linear rhetoric o( *%iritual ele6ation with a re*i&ned *emitonal *i&h. The alternati6e*, meanwhile, *u tract one contra%untal element, e it a** line, melody, or inner 6oice, while /ee%in& the e**ential A(eelB o( the cadence intact. > more di*tantly related Euartet o( model* *u tract* all ut one o( the %aradi&m@* line*. Newman@* (an(are con(orm* rou&hly to the outline* o( the (inal model. Such delineation o( criteria (or (amily re*em lance* etween cadence* *u&&e*t* a way to reconcile the a%%arent mi*match etween re%ertoire and model created y 0aitz@* e-em%lar. Thi* muta le and de(inition3(ru*tratin& relation*hi% will e a central concern o( thi* article. [1.I] Te-t oo/ AHollywood CadenceB or not, the den*ity o( meanin& %ac/ed into Newman@* *uccinct (an(are i* ty%ical o( the art o( (ilm com%o*ition. )o6ie *corin& relie* on e((icient, audience3intelli&i le, and o(ten hea6ily con6entionalized %rocedure*. Cadence* *uch a* the )35C count amon& the mo*t %ower(ul tool* at a (ilm com%o*er@* di*%o*al. The way in which Newman@* cadence &enerate* a *well o( antici%ation while a**ertin& *yntactic clo*ure hint* at how well *uch %ithy tonal &e*ture* can deli6er oth (ormal and a**ociati6e content. > cadence@* *tructure and %lacement may *ha%e the emotional arc o( a *cene, lend accentuation to narrati6e in(ormation, and e6en determine the &enre o( it* (ilm. :ith their a ility to clo*e o(( one *ta&e o( mu*ical di*cour*e, cadence* are uniEuely well3*uited to a *or in& and %roducin& meanin&. >nd ecau*e tonal *ynta- in (ilm mu*ic tend* to e *i&ni(icant only in*o(ar a* it o%erate* on a *ur(ace or middle3&round le6el, cadence* *hould e amon& the (ir*t element* we con*ider when in6e*ti&atin& matter* o( mu*ical ten*ion and em%ha*i* in (ilm. 21$4 Indeed, many cadential routine* are *o well3mined y (ilm com%o*er* that they, li/e 0aitz@* %la&al melody, *ound to our ear* di*tinctly AcinematicB in oth %ro6enance and a((ect. [1.L] In thi* article, I *hall e-%lore the multi(ariou* &ui*e* and (unction* %layed y %hra*e endin& (ormulaeCAHollywood Cadence*,B to roaden the %ur6iew o( 0aitz@* term to include all idio*yncratically cinematic cadential %rocedure*. Example 4, in*%ired y and %artly ada%ted (rom =anet Schmal(eldt@* ty%olo&y 21992, 1#H1G4, %ro6ide* a li*tin& o( the 6ariou* 2hi&hly lenda le4 cadence* and a re6iation* I will em%loy in thi* *tudy. 1ne *hould not ta/e the*e de(inition* too literally, (or rea*on* that will *oon ecome clear. I will al*o on occa*ion em%loy an arrow *ym ol 24 to draw attention to more %ro&re**i6e re*olution* and noteworthy %o*t3cadential de*tination*. 21!4 [1.9] I will ar&ue that ecau*e they contri ute (ormal and *emantic in(ormation in *tandardized ut 6ariation3%rone way*, cadence* *hould e con*idered e**ential com%onent* o( a roader (ilm analytic methodolo&y. ClichN3%rone %aradi&m ca*e*, *uch a* the *toc/ melody o( ,-am%le 2, no dou t e-i*t (or many Hollywood cadence*. Ne6erthele**, I will em%ha*ize %ro&re**i6e 6ariation o6er ri&id (ormal du%lication y (ilm com%o*er*, whom I 6iew a* alway* *tri6in& to *tri/e the ri&ht alance o( no6elty and mu*ical le&i ility (or their audience*. Ta/in& a cue (rom modern (ilm &enre theory, thi* lead* me to (ormulate cadence3ty%e* in term* o( (le-i le clu*ter* o( mu*ical attri ute*Ca* Acadential &enre*BCrather than throu&h (irm de(inition*. Throu&hout I will %lace em%ha*i* on the 6ariety o( way* in which com%o*er* mani%ulate cadence* to (it di6er*e narrati6al *ituation* and chan&in& audience e-%ectation*. [1.1#] I will concentrate on a 6ariety o( cadential (ormulae o( *%ecial %rominence in >merican &enre (ilm*, includin& :e*tern* and ad6enture mo6ie*. )y analytic (ocu* will (all on three cadential &enre* o( %articular *tyli*tic and rhetorical

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im%ortance to the e-%erience o( e-%ectation in (ilm. 21F4 In Section II, I introduce the (ir*t o( the*e+ phrasal ickey! ousing, in which the coincidence o( %hra*e len&th and 6i*ual action i* mani%ulated. > theoretical interlude in Section III will lead to a *econd %rocedure in Section IV, the subtonic hal" cadence, who*e %roduction o( (ilm &eneric e-%ectation* will e e-%lored. Section* V and VI are dedicated to the chro atically odulating cadential resolution 2C)C;4, a %er6a*i6e ut %re6iou*ly unac/nowled&ed com%onent o( many o( the mo*t *tereoty%ically Amo6ie3mu*ic *oundin&B e6ent* in (ilm. Thou&h e-am%le* will e culled (rom *e6eral era* o( Hollywood *corin& %ractice, I will *%otli&ht a num er o( cue* (rom the *in&ular (i&ure o( =ohn :illiam*, %articularly (rom hi* *core to Jurassic Park. :ith hi* *ym%honic *corin& *tyle and chameleonic 6er*atility, :illiam* *tand* a* an im%ortant rid&e etween Cla**ical and New Hollywood 219I#* to the %re*ent4 *corin& idiom*. ?y (eaturin& hi* mu*ic %rominently in my analy*e*, I ho%e to &round an eclectic %roDect with the 6oice o( a com%o*er 6ery much connected to the AHollywood SoundB in today@* cultural ima&ination. II. Cadential Synch oni!ation [2.1] >mon& (ilm mu*ic@* many (unction*, the two ta*/* o( emotional inten*i(ication and narrati6e re(erence are %articularly well realized throu&h cadential *trate&ie*. 21G4 Cadence* are natural (unnel* (or e-%ectation and it* 2%otentially withheld4 realization. >* with any mu*ical %arameterization o( e-%ectation, cadence* in(luence the e and (low o( ten*ionK when com ined with ima&e, thi* dynamic i* lent in turn to a (ilm *eEuence. Similarly manu(actured i* a *en*e o( intentionality, or mu*ical A%ointin&3to,B that can direct (ilm&oer attention, *ometime* *u tly, *ometime* with &reat *tre**. 21I4 The conce%tually *im%le*tCal eit o(ten mo*t technically demandin&Cu*e o( cadence in (ilm mu*ic relie* on thi* dual ca%acity (or inten*i(ication and re(erence. > *in&le cadence, coincidin& with a dramatic e6ent 2and it* di**onant uildu% &eneratin& antici%ation (or that e6ent4 can e called cadential synchroni#ation. The accumulation o( tonal ten*ion %rior to re*olution i* an e((icient conduit (or 6iewer e-%ectation, %ro6idin& a cue that *omethin& i* &oin& to ha%%en at the tonal and (ormally %roDected in*tant o( cadential re*olution. Cadential im%act i* enhanced y the coincidence o( a (ilm cut with cadential on*et, or, a* i* o(ten the ca*e with hal( cadence* and elided 5>C*, with dominant re*olution. Sa66y com%o*er* there(ore arran&e their cue* to ta/e ad6anta&e o( the hei&htenin& e((ect o( harmonic76i*ual corre*%ondence, %lannin& %hra*e rhythm* meticulou*ly, addin& or *u tractin& eat* (rom re&ular melodic *ca((old* to ena le thi* com inatorial A%ointin&.B [2.2] Two %a**a&e* in ,-am%le* F and G demon*trate the 6er*atility o( cadential *ynchronization, while al*o illu*tratin& an im%ortant di*tinction (or cadential analy*i* in &eneralCthe di((erence etween determinate and indeterminate re*olution*. ,-am%le F, (rom =ohn :illiam*@* *core to Jurassic Park 2199$, dir. S%iel er&4, i* the climactic cadence within the len&thy A=ura**ic 5ar/ Theme.B Thi* melodic center%iece o( the *core i* or&anized throu&h (airly con*er6ati6e Acla**icalB (ormal (unction*, with !3mea*ure unit* each endin& with a cadence o( 6aryin& *tren&th. In Example ", an HC at the (ourth mea*ure lead* into the la*t %hra*e o( the melody, and coincide* with an archety%al S%iel er&ian awe3*truc/ clo*e u%. The e((ect o( thi* cadence i* ma&ni(ied y the *ucce**(ul di*char&e o( the dominant onto the tonic in mea*ure F, (ul(illin& the linear tu& o( the climactic melodic leadin&3tone and contri utin& to a it o( tonal rhetoricCi( not (ormal (unctionCmuch li/e that o( an elided 5>C. The (ollowin& cut re6eal* that o Dect o( wonderment, a %anoramic *hot o( a herd o( dino*aur*. Thi* *witch in %er*%ecti6e matche* e-actly the e&innin& o( the ne-t %hra*e, a tutti *well u%on the arri6al at ? maDor. [2.$] :illiam*@* %hra*e o((er* an in*tance o( a deter inate cadence+ a (ormal unit within a theme where the tele&ra%hed tonal re*olution 2or hal(3re*olution4 occur* e-actly when it *hould &i6en %re6iou*ly e*ta li*hed e-%ectation* o( harmonic rhythm and melodic and metrical *tructure. >lmo*t all cadence* within *ymmetrical theme *tructure* eha6e thi* way. Howe6er, *ynchronizin& metrically re&ular melodie* to *%eci(ic e6ent* on *creen i* a di((icult ta*/, and thi* /ind o( (our*Euare mu*ical76i*ual corre*%ondence i* actually (airly uncommon in %ractice. The tric/ine** o( linin& u% metrically re&ular theme* with %ertinent 6i*ual e6ent* lead* to the em%loyment o( a di((erent tonal *trate&y in (ilm mu*ic+ the indeter inate cadence. Thi* i* a (ormal unit, %art o( a theme, or Euite o(ten a tran*itional or *eEuential %a**a&e, in which a tonal re*olution i* *tron&ly %roDected ut the %oint o( arri6al i* not o6erdetermined y melodic7metrical7harmonic3rhythmic (actor*. ;ather, it i* attained throu&h a loo*er %re%aration %ha*e, o(ten o6er a %edal and7or di**onant uildu%. The *trate&y ha* the Euality o( delayin& re*olution, and ha* analo&ue* in Cla**ical7;omantic %ractice* *uch a* A*tandin& on the dominantB in cadenza* and 2re4tran*ition *ection*. 21L4 [2.!] > cele rated in*tance o( indeter inate cadential *ynchronization, %artially re%roduced in Example #, occur* in ?ernard

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Herrmann@* *core to >l(red Hitchcoc/@* $ertigo 219FL4. .or the climactic moment when Scotty witne**e* hi* &irl(riend =udy (ully tran*(ormed into hi* lo*t lo6e )adeleine, Herrmann (inally re*ol6e* a dominant %edal that ha* een held (or a (ull (i(ty *econd*. >t mea*ure L thi* dominant re*ol6e* onto the > 3maDor chord that conclude* the %edal and initiate* the (ilm@* %rinci%le C3maDor lo6e themeK the immediate re*olution to > G ma/e* thi* an indeterminate e6aded cadence. The Ae6adedB Euali(ier i* due to the arri6al on a non3root %o*ition tonic triad, thou&h the 6iewer@* (ore/nowled&e o( the theme@* *tandard VI G o%enin& will %artially o6erride the *en*e o( immediate tonic denial. Intolera ly de(erred re*olution contri ute* to emotional cathar*i*, a (leetin& relea*e (rom an un eara le thanato3erotic ten*ion that cour*e* throu&h (ilm and *core. 2194 Thi* moment lac/* the concatenation o( linear, tem%oral, and thematic cue* that ma/e* the Jurassic Park cue loc/ *o ti&htly to ima&e, and it i* not a cadence in the *ame *en*e a* the con6entionalized, moti6e3liEuidatin& %hra*e endin&* in )ozart or Haydn are. 22#4 Ne6erthele**, indeterminate re*olution* li/e thi* are o(ten entirely cadential in rhetoric, and re%re*ent a *trate&y *o well3mined y (ilm com%o*er* that Section V will e entirely de6oted to a %articular (orm o( them. [2.F] :hen cadential *ynchronization occur* re%eatedly, rather than a* a one3o(( occurrence, phrasal ickey! ousing ta/e* %lace. Thi* i* the matchin& o( numerou* di*crete mu*ical %hra*e* with *%eci(ic e6ent* on*creen. 2214 :ith %hra*al mic/ey3mou*in&, mu*ical unit* are made to corre*%ond to (ilm editin& rhythm* throu&h mani%ulation o( %hra*e tem%i and duration* 2and, rarely, a(ter3the3(act edit* to match %recom%o*ed *core4. The am%li(ication o( mu*ic@* &e*tural *ynchronization can call additional attention to 6i*ual accent*, which may e-%lain *ome o( %hra*al mic/ey3mou*in&@* a%%eal to cartoon com%o*er*. In art(ul in*tance*, the *%ectator i* in6ited to mar6el at the de-terou* com ination o( %arameter* otherwi*e at odd* with each otherK thi* i* e*%ecially true i( determinate cadence* are chie(ly em%loyed. "one with %articular 6irtuo*ity y com%o*er* li/e Carl Stallin& and Scott ?radley, an entire *ceneCe6en o( the mo*t irre6erent *u Dect matterCcan ta/e on a A alleticB Euality than/* to the ali&nment o( *i&ht and *ound. [2.G] The ;u**ian com%o*er and (ilm mu*ic critic 0eonid Sa anee6 (ound mic/ey3mou*in& to e a 6iolation o( mu*ic@* 6ery nature, ina%%ro%riate (or all ut Acomic (ilm* and animated cartoon*B 2*ee e-cer%t (rom Sa anee6 in Hu ert 2#11, 21I4. To Sa anee6, the a%%roach i* (lawed ecau*e it reEuire* that mu*ic A*acri(ice the %rinci%le* &o6ernin& it* (orm+ no matter what i* ha%%enin& on the *creen, the mu*ic mu*t ha6e its elodic structures% its phrases and cadences, and it mu*t not e a*/ed to *u((er dilution y the rhythm* and occurrence* o( the %ictureB 221GK italic* added4. "ou tle**ly, crude cadential mic/ey3mou*in& may %roduce mu*ic that i* incoherent out*ide o( the conte-t o( the indi6idual (ilm. Howe6er, the mo*t */ill(ul em%loyer* o( the techniEue were, pace Sa anee6, %er(ectly ca%a le o( &eneratin& mu*ic %lea*in& oth in and out*ide the (ilm.

[2.I] ,rich :ol(&an& 8orn&old@* 19$L *core to &he 'dventures o" Robin Hood 2dir. Curtiz4 i* (ull o( e-am%le* o( cadential *ynta-C%articularly cadence* o( the determinate 6ariety C*er6in& (ormal and e-%re**i6e end*. 5hra*al mic/ey3mou*in& accom%animent (or an action *eEuence i* *hown in Examples $a and $b a* a melodic tran*cri%tion with annotation* (or dramatic e6ent*. In the *cene, ;o in Hood and hi* com%anion :ill Scarlett arri6e at a *tream cro**in& &uarded y 0ittle =ohn. > %lay(ul (i&ht en*ue* a* ;o in and =ohn duel on the *tone rid&e, with the (ormer e6entually /noc/ed into the water y a well3timed Euarter*ta(( thru*t. 8orn&old con*truct* the cue out o( one o( the *core@* many leitmoti(*, %rinci%ally what ?en :inter* call* the A=ollityB theme 2:inter* 2##I, 9L, 11FH2$4. 2224 A=ollityB un(old* throu&h three 6ariation* o( %ro&re**i6ely den*er orche*tration and rhythmic %lay 2*tartin& at mea*ure* $, 11, and 194, each endin& with a *cene3*tructurin& cadence. [2.L] The %reci*ion with which 8orn&old@* mu*ic (it* thi* e6ent(ul *eEuence i* due %artly to the com%o*er@* */ill at *ynchronization and %artly to the a *or%ti6e nature o( (ilm, 22$4 throu&h which e6en accidental mu*ical e6ent* ha6e a way o( (a*tenin& to on*creen action. 22!4 Ne6erthele**, the mo*t *tructurally im%ortant cadence* are al*o the mo*t (irmly wedded to *i&ni(icant narrati6e e6ent*. Structure3de(inin& cadence* occur at mea*ure* 1H$ (or ;o in@* con*ent to the (i&htK mea*ure* 11H12 (or the on*et o( the duelK mea*ure* 2GH2I (or an e-chan&e o( *ymmetrical low*K and mea*ure* !GH!I (or the con(rontation@* conclu*ion. 22F4 The main *ection o( (i&ht mu*ic, *tartin& at mea*ure 19, can e loo*ely con*trued a* a *mall ternary (orm 2mea*ure 19O>, mea*ure 2LO?, mea*ure $!O> 14. :ith thi* (ormal %lan in %lace, element* o( thematic re%etition and tonal e-%ectation hel% o((*et 8orn&old@* %uc/i*h metrical un%redicta ility. ,-ce%tin& the (ir*t and (inal cadence*, all are either elided >C* or hal( cadence*, oth o( which end di*crete mu*ical %hra*e* with the dominant 2a* o%%o*ed to an inter3%hra*e dominant3to3tonic %ro&re**ion.4 The %re%onderance o( dominant3oriented %unctuation /ee%*

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8orn&old@* mu*ical %ro*e (rom comin& to a de(initi6e end until ;o in hit* the water. Su*tained irre*olution im%art* a re*tle** ener&y to the heat o( the (i&ht. ?ut e6en when *onically a *ent, " maDor@* control o6er the cue i* a((irmed y the cadence* %laced at mo*t e6ery %hra*e oundary. Thi* i* a (ittin& tactic to com at the di*ru%ti6e %otential o( the chromatici*m that 8orn&old@* e-cita le idiom allow* ca*ually to intrude, a* in mea*ure* $#H$!. :herea* a *cene with more %ro(ound narrati6al *ta/e* mi&ht e *uited y a le** *ta le /ey *cheme, here the retention o( " maDor throu&h the*e cadence* matche* the rela-edly *el(3enclo*ed nature o( ;o in Hood@* encounter. III. %efinin& Cadences [$.1] "e*%ite a da*h o( chromatic wanderlu*t, 8orn&old@* *corin& (or thi* Robin Hood *eEuence i* re*olutely monotonal, com(orta ly in a *in&le /ey throu&hout than/* to %hra*al *ymmetry and *tead(a*t cadential en(orcement. Ne6erthele**, *ome *maller moment* o( harmonic re*olution, *uch a* the miniature (an(are* (ir*t e*ta li*hed mid3%eriod at mea*ure 22, are le** *tron&ly cadential in character, de*%ite (allin& at %hra*e oundarie* and %ro6idin& moment* o( dominant to tonic re*olution. 22G4 Pltimately, the cadential wei&ht o( the e6ent at mea*ure 22 i* le** im%ortant than it* interaction with *creen actionK in thi* ca*e, the &e*ture doe* not coincide with any uniEue 6i*ual e6ent, and it act* more a* one o( many mu*ical (louri*he* that mimic the cla*hin& o( *ta6e*. [$.2] How we determine what count* a* a cadence, and how we *ort a((ined cadence* into cate&orie*, are ne6erthele** e**ential Eue*tion* that ha6e %ro6ided much &ri*t (or theori*t* 2*ee, (or e-am%le, "un* y 19L#, Schmal(eldt 1992, He%o/o*/i and "arcy 2##G, )ir/a 2##9, and No ile 2#124. Notin& the wide and di*%arate array o( de(inition* (or the term AcadenceB acro** theory te-t oo/*, >nn ?lom ach %ro%o*e* a com%rehen*i6e de(inition to authoritati6ely determine what com%ri*e* thi* (undamental %iece o( mu*ical 6oca ulary+ A> cadence i* any mu*ical element or com ination o( mu*ical element*, includin& *ilence, that indicate* relati6e rela-ation or relati6e conclu*ion in mu*icB 2?lom ach 19LI, 2$14. ?lom ach@* de(inition %o**e**e* re%ertoire3inde%endent roadne** and admira le clarity 2e*chewin&, (or e-am%le, the common tra% o( circular reliance on the related notion o( A%hra*eB4. 9et it doe* not di*tin&ui*h merely ten*ion3rela-in& mu*ical e6ent* (rom more (orm3&enerati6e %hra*e3endin& one*K ?lom ach@* de(inition can draw no di*tinction etween the e((ect* o( a %er(ect authentic cadence and, *ay, an intra%hra*al V I G. [$.$] Ca%lin 22##!4 (ollow* u% ?lom ach@* endea6or o( cadence3clari(ication, not y o((erin& a *ynthetic de(inition, ut rather y %ro%o*in& a num er o( Euali(ication* that *%eci(y what a cadence doe*, where it (all*, and what condition* are nece**ary (or it* realization. Tho*e criteria include the o li&atory %re*ence o( a root %o*ition V chord and the clo*in&3o(( o( a (ormal mu*ical unit. Ca%lin@* condition* are ri&id, rulin& out *ome %henomena 2nota ly %la&al codetta*4 (or not (ul(illin& actual cadential (orm or (unction. 22I4 Thi* *trictne** i* Du*ti(ied y the intended a%%lication o( Ca%lin@* criteria to the hea6ily con6entionalized mu*ical *ynta- o( the Cla**ical %eriod. 9et eyond the ene(it o( cor%u*3*%eci(icity, Ca%lin *u&&e*t* a more %hilo*o%hical rationale (or *trin&ency+ To e *ure, we mi&ht a*/ why it i* nece**ary to circum*cri e the notion o( cadence in the way* I ha6e %ro%o*ed. :hy not let it remain a loo*er, more (le-i le conce%t, *o a* etter to em race a multi%licity o( %henomenaQ I would counter that wherea* o%en3ended de(inition* may &i6e the im%re**ion o( inclu*i6ene**, they actually re*ult in lurrin& di*tinction* that truly matter. ?y limitin& the conce%t o( cadence, the intent i* not to *hut out our %erce%tion o( 6aryin& %henomena, ut rather to encoura&e u* to e more %reci*e a out how %henomena that *eem *imilar in *ome re*%ect* can actually e e-%erienced a* ae*thetically di((erent. 2Ca%lin 2##!, F9HG#4 Ca%lin@* %re(erence (or limitation i* meant to en*ure that mu*ical %henomena with (undamentally di((erent character* are not ina%%ro%riately lum%ed to&ether merely ecau*e they a%%ear to *er6e *imilar %ur%o*e* 2namely, o( %roDectin& clo*ure and ten*ion3relea*e4. The narrowne** o( hi* *ti%ulation* i* (ittin& (or the rule3 ound *tyle o( Cla**ical era mu*ic, e6en where they mandate elimination o( e6ent* *uch a* %la&al cadence*. "e*%ite it* attraction*, howe6er, *uch conce%tual ri&idity doe* not entirely e(it the analy*i* o( mu*ic (or (ilm. 22L4 [$.!] Cinema *core* com%ri*e a re%ertoire o( %ro(oundly &reater tonal and (ormal eclectici*m than that o( the Cla**ical *tyle. The *tyli*tically hetero&eneou* and intrin*ically %ro&rammatic re%ertoire lac/* a central normati6e harmonic idiom 2and

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attendant con*traint* on cadential *ynta-4 and can rarely rely on a *et o( architectural %aradi&m* li/e *onata (orm to re&ulate %hra*e*, tonal de*i&n, e**ential *tructural clo*ure, and *o on. It i* there(ore o(ten the ca*e that the e-%re**i6e demand* o( (ilm %lace hi&he*t em%ha*i* on cadential rhetoric, not *ynta-. Ca%lin di*tin&ui*he* rhetoric (rom (orm3(unctional *ynta- 2which e-clu*i6ely determine* the identity o( a cadence (or him4, de(inin& the (ormer a* the AuniEue com%o*itional realization entailin& the entire ran&e o( mu*ical %arameter*, includin& rhythm, meter, te-ture, inten*ity, and in*trumentationB 2Ca%lin 2##!, 1#I4. Thou&h ca%a le o( lendin& (ormal *en*e to a *eEuence, the %ower o( a cadence within a (ilm i* not %rimarily to erect a *yntactical edi(ice to %ro% u% a cueK rather it i* to &rant an e-%re**i6e Euality to the *cene, *uch a* the %roduction and relea*e o( an-iety or the ce**ation o( momentum. 2294 [$.F] Thi* doe* not entail that *yntactical (eature* o( cadence*Ce6en Ca%line*Eue ACla**icalB one*Care a *ent in (ilm *core*. 8orn&old@* Robin Hood cue i* remar/a le in it* accommodation o( cadential *ynta- within it* metrically irre&ular, (i&ht3 choreo&ra%hy determined mu*ical %ro*e. 2$#4 .or *core* written in a le** (a*tidiou*ly *ynchronized manner, the local occurrence o( cadence* may ha6e nothin& to do with intentionally A%ointed3u%B 6i*ual e6ent*, ari*in& in*tead (rom the inherent tonal %attern* o( antecedent7con*eEuent *tructure*. 2$14 Ne6erthele**, e6en incidentally %laced cadence* manu(acture %oint* o( ten*ion or clo*ure. They can, (or e-am%le, con6ey a continuou* mu*ical thou&ht that e((ecti6ely *titche* a *erie* o( di*connected ima&e* into a coherent *eEuence. In *uch ca*e*, the rhetorical e((ect o( non3*ynchronized cadence* i* *im%ly %laced at a remo6e (rom the in*tantaneou* mu*ico36i*ual *ur(ace on which %hra*al mic/ey3mou*in& o%erate*. 8orn&old@* mRlNe mu*ic, it i* clear, entru*t* it* e-%re**i6e e((ect to oth the immediate im%act o( the cadential moment, and to the lon&3accu*tomed e-%ectation* uilt around the *tructure o( tonal %hra*e*. [$.G] In *ome way*, the*e reco&niza le ut non3%re*cri%ti6ely en(orced cinema cadence* re*em le an Pr3conce%t o( (ilm critici*m+ &enre. <enre* *uch a* A:e*ternB or AnoirB *er6e to *tructure narrati6e and &uide e-%ectation* throu&h e6ery *ta&e o( a (ilm@* e-i*tence, (rom %roduction to mar/etin&, and at oth inter3 and intra3te-tual le6el* o( rece%tion. )odern &enre theory mo6e* away (rom treatin& &enre* a* *ta le tran*hi*torical cate&orie*, in*tead con*iderin& &enre3a*3%roce** and the element o( di*cur*i6e %artici%ation in their &eneration. .ilm theori*t ;ic/ >ltman@* in(luential mono&ra%h (il )*enre *i&naled thi* chan&e toward* a more dynamic 6iew. <enre*, (or >ltman Aare not Du*t post "acto cate&orie*, ut %art o( a con*tant cate&ory3*%littin&7cate&ory3creatin& dialecticB 22#11, GF4. "rawin& on 0udwi& :itt&en*tein@* notion o( (amily re*em lance*, a Acom%licated networ/ o( *imilaritie* o6erla%%in& and cri**3cro**in&,B 2$24 >ltman ar&ue* that &enre i* inherently un*ta le+ > (undamental %ro lem o( &enre *tudie* *tem* (rom the e6er3%re*ent de*ire (or a *ta le and ea*ily identi(ia le o Dect o( analy*i*. . . . :e do etter, I *u&&e*t, to treat &enre a* a com%le- situationCa concatenated *erie* o( e6ent* re&ularly re%eated accordin& to a reco&niza le %attern. . . . Traditional &enre critici*m ha* tended to treat a *in&le a*%ect o( thi* %roce** [o( %roducin& and di**eminatin& te-t*] a* re%re*entati6e o( the whole *ituation. 9et no i*olated %art o( thi* %roce** actually i* the &enreK in*tead, the &enre lie* *omewhere in the o6erall circulation o( meanin& con*tituti6e o( the %roce**. . . . a &enre mu*t e de(ined in a manner con*i*tent with the com%le-ity o( an o6erall *ituation made u% o( three3dimen*ional e6ent* *%read out o6er *%ace and time. 22#11, L!4 >ltman@* critiEue o( the then %re6ailin& *teady3*tate ontolo&y o( &enre can e a%%lied to cadence*, which *imilarly re*i*t tran*hi*torical de(inition* in the conte-t o( (ilm *corin&. :ith >ltman@* notion o( Aa concatenated *erie* o( e6ent* re&ularly re%eated accordin& to a reco&niza le %atternB in mind, I %ro%o*e a *y*tem (or characterizin& cadence* in (ilm mu*ic+ that o( cadential &enre*. [$.I] The*e &enre* are in*%ired y Ca%lin@* li*t* o( cadential criteria, ut they lac/ the %re*cri%ti6e (orce intended (or the re&ulated Common 5ractice idiom. In*tead o( a *in&le (irm de(inition, ill3*uited to the multi%licity o( *tyle* o( (ilm mu*ic, I characterize cadential &enre* a* con6er&ence* o( inde%endent mu*ical attri ute* throu&hout *hi(tin& *corin& %ractice* and audience e-%ectation*. Cadential &enre* in (ilm are e*t (ormulated in term* o( paradig cases and attributes. > %aradi&m ca*e contain* each and e6ery o( tho*e inde%endent attri ute*, and can e thou&ht o( a* the tran*hi*torical A*ourceB o( one Hollywood cadential routine or another. 2$$4 Howe6er, thi* %aradi&m i* a con*truct, a *tracted out o( the (amily re*em lance* o( numerou* cadence* (or which I ha6e o *er6ed certain Areco&niza le %attern*B re%eated throu&h %ractice. 2$!4 )any other e-am%le* that ear re*em lance to the e-em%lar may %arta/e o( only *ome o( the attri ute*, while remainin& in an im%ortant

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*en*e out&rowth* o( the underlyin& %aradi&m. Ca%lin@* A lurrin& o( di*tinction*B i* thu* *trate&ically uilt into my model. I li*t attri ute* within the con*tellation o( a certain cadential ty%e 2which include oth %itch3 and non3%itch3 a*ed criteria4 in a rou&h hierarchical order, with the (ir*t Eualitie* ein& the mo*t *tructurally and rhetorically *alient. Ne6erthele**, I do not wi*h to o6errate the im%ortance o( the orderedne** o( any li*tK the arran&ement i* a*ed on an in(ormal Dud&ment o( relati6e %ertinence, and other li*tener* may ran/ di((erently. [$.L] The ad6anta&e o( thi* attri ute3o6er3de(inition a%%roach i* the in*urance that no one a*%ect 2nor, indeed, no &rou% o( a*%ect*4 are ta/en to e intrin*ic. > cadence (eaturin& *ome, ut not all, attri ute*, will *till ha6e the (ormal and a((ecti6e Eualitie* o( the ori&inal cadential &enre. Thi* (le-i ility i* a oon to (ilm com%o*er* who *ee/ audience3intelli&i le mu*ical to%ic* without re*ortin& to clichNd reiteration* o( the *ame %aradi&m 2ideally4. Su traction o( one or more attri ute* o%en* u% the door (or 6ariant*, ada%tation*, and e6en di*tantly related a *traction* o( the %aradi&m ca*e cadence. It i* ecau*e traditional cadence* are *uch hi&hly re&ulated com%onent* o( mu*ical di*cour*e that de*ira le e-%re**i6e Eualitie* *uch a* mar/edne** and a**ociati6ity can *o ea*ily emer&e (rom the alteration o( their %aradi&matic (orm*. 2$F4 =u*t a* modern (ilm theory em%ha*ize* the muta ility o( &enre, *o too thi* mu*ic3analytical a%%roach aim* to draw our attention to *trate&ic tran*(ormation* o( (uzzy %aradi&m*, not rote re%roduction o( a %latonic cadential (orm. [$.9] Examples 'a and 'b treat the 5>C a* a cadential &enre, (urni*hed with an attri ute in6entory and a %aradi&m ca*e. 0aid out thu*, the attri ute7%aradi&m model %ro6ide* a u*e(ul tool (or hermeneutic, a* well a* (ormal, analy*i*. 2$G4 :e can *ee, (or e-am%le, that many %hra*e3endin& &e*ture* in the Robin Hood cue %arta/e o( *ome o( the element* o( a %aradi&matic 5>C, e6en thou&h the maDority are *trictly HC*. Cadential analy*i* ecome* an in6e*ti&ation o( which attri ute* 8orn&old o%t* to *u tract (or dramatic and e-%re**i6e rea*on*. The cadence that initiate* the %a**a&e 2,-am%le Ia, mea*ure* 1H$4 (eature* a len&thy %au*e etween V and I, ta/in& attri ute* 1$ and 1! out o( %lay. 8orn&old *acri(ice* the*e in order to %roduce the *cene@* %lay(ul A*to%3and3&oB tone. Tentati6e yet coc/y, thi* and other A ro/enB HC* rou*e tonal e-%ectation* without committin& to action, a* ;o in Hood analo&ou*ly *ound* out the %u&ili*tic 0ittle =ohn, chee/ily a**e**in& him e(ore ri*/in& actual inDury. 1n the other hand, the cadence that conclude* the %a**a&e 2mea*ure* !FH!G4 ear* all the 5>C attri ute* *a6e I 2the %re*ence o( a traditional %redominant4. The %re%aratory harmony here i* V 2enharmonically IV4, a *er6icea le i( decidedly uncon6entional o%tion. Thi* chromaticized reentry to the tonic " maDor i* %art and %arcel o( 8orn&old@* di*tracti le ut ultimately non3de*ta ilizin& tonicization o( (orei&n /ey*, a way o( ca%turin& the thrill and ultimate low3*ta/e* o( the character@* com at. The*e %artial 5>C* would e lo*t to analy*i* were we to ado%t un endin& %re*cri%ti6e de(inition*. :ith the attri ute in6entory *y*tem, we can under*tand a cadence@* relatedne** to a clear i( nece**arily (uzzy norm while a%%reciatin& how *electi6e 6ariation contri ute* to *%eci(ic (ilmic %ur%o*e*. I(. Cowboy Ch omaticism [!.1] The cadence@* ca%acity to inde- (ilm &enre i* a* %otent a* it* a ility to %unctuate and *tructure dramatic action. The %ower o( cadential a**ociati6ity can e o *er6ed in the reliance o( a &enre *uch a* the :e*tern on a *mall cla** o( continually em%loyed cadential &e*ture*. Con6ention* o( *tyle and %lot ha6e in(ormed, and in many ca*e* outri&ht determined, the ma/eu% o( the Hollywood :e*tern throu&hout it* cinematic e6olution. 2$I4 Throu&h the many :e*tern *u &eneric &ui*e* 2A>,B A?,B A*%a&hetti,B Are6i*ioni*t,B etc.4, a ho*t o( e-%ectation*Ccom%ri*in& an attri ute in6entory, in (actCremain in %lay. The*e include con6ention* o( narrati6e 2e.&., A*heri(( clean* u% lawle** town*hi%B4, *ettin& 2e.&., the )e-ican3>merican order, a *aloon4, dramati* %er*onae 2e.&., Aruthle** cattle aronB4, and *corin&. 2$L4 )u*ically, the &enre ha* alway* een mar/ed y *tandardized 2and occa*ionally 6ul&ar4 *tyle to%ic* %ertainin& to cow oy* and Indian*, o(ten drawin& (rom country3and3we*tern mu*ic or ada%ted7in6ented (ol/*on& 2*ee 8alina/ 2##I, 1H1I4. 5entatonici*m, in %articular, ha* lon& in(u*ed the :e*tern mu*ical land*ca%eCincludin& cadence*, with characteri*tic melodic touche* li/e a%%roached y in*tead o( . 2$94 Today, howe6er, %entatonici*m doe* not hold the *tatu* o( *in&ularly %re(erred harmonic idiom that it enDoyed (rom the 192#* throu&h @!#*. Since the 19F#*, another o%tion ecame %o%ular (or Hollywood com%o*er*, one that in6ol6ed the inte&ration o( the*e earlier :e*tern to%ic* with *ynco%ated, ra**3hea6y, o%en3(i(th *aturated A>mericanaB mu*ic, &enerally a*cri ed to the in(luence o( >aron Co%land, and to a le**er e-tent Vir&il Thom%*on and ;oy Harri*. 2!#4 Thi* too had rami(ication* (or cadential *tructure. 2!14

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[!.2] The mo*t con*%icuou*ly %re6alent ACow oyB cadential &enre ta/e* root at the *ame time a* the Co%lande*Eue in(luence* *et in the late 19F#*+ the subtonic hal" cadence 2S)HC4. 2!24 The (eature o( hi&he*t *alience in thi* routine i* the in*ertion o( the non3diatonic a** %itch e(ore the dominant. Example * %re*ent* the linear %aradi&m (or the S3HC. The trace o( the mi-olydian *caleCthe *tron&e*t lin/ to Co%land@* >mericana *tyleCi* %re*ent in it* e-em%lar*, o(ten earin& in oth outer 6oice*. Howe6er, the (lattened leadin& tone o(ten mani(e*t* in an inner36oice while the melody retain* acro** the hal( cadence. The i* harmonized y a VII chord, which %roceed* to the dominant with a minor third %ro&re**ion. Thu*, the %ro&re**ion i* not %urely mi-olydian, ut indul&e* a richer *ort o( Acow oy chromatici*mBCnicely *ummarized y the neo3;iemannian com%ound +,. 2!$4 Thi* com%ound account* (or the tran*(erence (rom VII to V 2+ *hi(t* to 4 and the ha*ty neutralization o( the diatonically (orei&n %itch 2, neutralize* to the %ro%er, *te%wi*e3re*ol6in& leadin& tone 2!!4 4. [!.$] >* a com%onent o( an HC, VII tend* to occur near the conclu*ion o( the antecedent %hra*e o( a thematic %eriod. ?y contra*t, the authentic cadence that clo*e* the con*eEuent %hra*e rarely %arta/e* o( the *ame dominant3%re%arin& VII, (eaturin& a more traditional %redominant 2e.&., ii I, IV, or I G4. Such %hra*e3(unctional *%eci(icity ha* it* a**ociati6e ad6anta&e*. In order to e an unam i&uou* mar/er o( &enre, the *u tonic hal( cadence wor/* e*t a* a *%ecial and narrowly em%loyed routine, a ca*e o( an e-traordinarily deter inate cadential (unction. The *eEue*tration o( the *u tonic to a uniEue moment in a %eriod melody hei&hten* it* di*tincti6ene**, and thu* it* a**ociati6e adhe*i6ene**. Example 1- %ro6ide* an attri ute in6entory (or the cadential &enre in it* mo*t well3/nown thematic &ui*e*Ca num er o( which I will now in6e*ti&ate. [!.!] Se6eral mu*icolo&i*t* ha6e noted the %re6alence o( the *u tonic hal( cadence in :e*tern (ilm *core*, thou&h they do *o ty%ically without di*cu**in& it* role within a lar&er %eriod *tructure. 2!F4 The ad6ent o( thi* new ACow oy CadenceB i* cu*tomarily attri uted to =erome )oro**, and hi* in(luential and (ilm3mu*icolo&ically canonized *core to :illiam :yler@* &he Big Country 219FL4 in %articular. 2!G4 Scattered %recedent* can e (ound in other *ource*, includin& )oro**@* earlier *core to &he Proud Rebel 219FL4, Hu&o .riedho(er@* *core* to &he Best +ears o" ,ur -ives 219!G4 and Hondo 219F$4, and <ene de 5aul and >le-ander Coura&e@* *core (or the (ilm mu*ical .even Brides "or .even Brothers 219F!4. 2!I4 ?ut the &e*ture i* o6erwhelmin&ly )oro**@* *i&nature, u*ed %er6a*i6ely 2i( with con*idera le mani%ulation and adDu*tment4 in hi* com%o*ition* (or oth concert and (ilm. >nd the mo*t (amou* and li/ely (ormati6e em%loyment i* in hi* main title to &he Big Country. The o%enin& $9 mea*ure* are &i6en in Example 11. [!.F] The (amou*ly 6i&orou* credit* *eEuence (eature* the VIIHV in two conte-t*. 2!L4 The motion i* (ir*t heard a* a detached harmonic moti6e durin& the title@* o%enin& (an(are, where it act* a* a mini3au-iliary cadence into C maDor. > di*tincti6e linear (eature here i* the accented di**onance H o6er the chord root 2mea*ure 24, creatin& a tritone a&ain*t the a** with *li&ht 0ydian (la6or, e6en a* the o6erall modal im%re**ion i* o( mi-olydian orrowin&. H i* later inte&rated into the (ilm@* motto theme a* a hal( cadence to clo*e o(( it* antecedent %hra*e 2mea*ure* 22H2F4 and contra*tin& middle *ection 2mea*ure* $GH$94. >ll u*a&e* *u%%ort a retained melodic , with the characteri*tic H motion occurrin& in an inner 6oice. [!.G] &he Big Country@* main title demon*trate* that while liEuidation o( the mi-olydian *u tonic dri6e* the hal( cadence it*el(, it i* introduced a* a (re*h element, not *tron&ly %re*a&ed y %re6iou* tonal in(ormation. )oro**@* *u tonic* re*ult (rom 2a4 do6etailin& (i(th %ro&re**ion* or 2 4 do6etailin& third %ro&re**ion*. In mea*ure* 1H!, the %roducin& motion IVH VII mirror* an im%lied IHIV that &et* the harmonic wheel *%innin&, and there y dou le* the (latward %la&al and *tron&ly (ol/3a**ociated T " 2tran*%o*ition u% (i6e *emitone*4. VII thu* *er6e* not only a* a chromatic %re%aration o( the dominant, ut al*o a* an e-ten*ion o( the (lat3*ide %ur6iew o( IV. The true S3HC at mea*ure 2! i* %receded y a V7V chord. Thi* %roduce* a chain o( chromatic mediant* [, IHCH> I] that ar%e&&iate the minor dominant. Example 12 *how* the a*i* o( thi* %ro&re**ion, with attendant tran*(ormation* (or idealized triadic motion*. :ith oth the*e ori&in*, VII i* the %roduct o( a localized harmonic %attern with a *tron& a**ociati6e %ro(ile. .or the *u dominant3*%awned *u tonic*, the e-%re**i6e e((ect re*t* on the ma&ni(ied %a*toral7a&rarian undertone o( %la&al material. .or the third3chained *u tonic*, the in6i&oratin& and *ur%ri*in& character o( a chromatic tran*(ormation lie* in an une-%ectedly (orm3(unctional location. 2!94 [!.I] >(ter )oro**@* &he Big Country, the *u tonic hal( cadence ecome* the Euinte**ential harmonic &e*ture o( the >merican

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:e*tern (ilm. The u*a&e in ,lmer ?ern*tein@* heroic theme to &he Magni"icent .even 219G#, dir. Stur&e*4 2Example 134 i* *imilarly iconicC%erha%* ecau*e o( it* coo%tion y )arl oro (or their TV ad cam%ai&n* o( the 19G#* 2*ee Slot/in 2#1#, 2114. ?ern*tein@* rou*in& theme *olidi(ied the ACo%lande*EueB trend in :e*tern *corin& initiated y &he Big Country. In *hort order, the S3HC ecame a harmonic de(ault (or ri&ht, o%timi*tic :e*tern theme*, *uch that mo6ie* that ear maDor melodie* ut lac/ the S3HC *ound a* thou&h they come (rom an earlier era o( (ilm *corin&. The &e*ture i* *uch a hallmar/ o( the :e*tern* o( the MF#* and MG#* that it* %re*ence i* de rigueur (or (ilm* that %arodize that &enre, *uch a* Bla#ing .addles 219I!4, City .lickers 219914, and /er .chuh des Manitu 22##14. Example 14 %ro6ide* a li*t o( media that em%loy the S3HC. S%ecial note i* made when the &e*ture a%%ear* in a (ilm@* &enre3*ta/in& main title7o%enin& credit*. :ith the e-ce%tion o( the 19L#* 2which witne**ed a tem%orary decline o( (ilm :e*tern*4, the %er*i*tent u*e o( the S3HC atte*t* to it* attracti6ene** to com%o*er* and &eneric le&i ility to li*tener*. [!.L] )o*t o( the e-am%le* li*ted in ,-am%le 1! adhere directly to the hal(3cadential %aradi&m e*ta li*hed y &he Big Country. Howe6er, numerou* 6ariant* and allu*ion* are al*o included that *tray (rom %ure %aradi&matic u*a&e. ,6en in Big Country, we (ind nota le mani%ulation* o( the mode3mi-in& lo&ic ehind the cadence. In the A)ain Title,B )oro** mirror* the %re3cadential chromatici*m o( VIIHV at *e6eral moment* with an alternati6e harmonization o( H , 6ia III to V. The altered %aradi&m, a (lat mediant hal( cadence 2.)3HC4, i* *hown in Example 1", and i* realized or alluded to in the Big Country ATitleB at mea*ure* I, 11, and 2F. III in maDor i* le** characteri*tic o( the :e*tern than the *u tonic, ut *er6e* an analo&ou* (unction. 2F#4 :ith thi* 6ariant, the cadence in*tall* an ar%e&&iation o( the minor tonic, with chromatic mediant relation*hi%* now in %lace etween oth chord* that (lan/ the (lattened mediant. )oro** %ut* oth VIIHV and IIIHV to &ood u*e in a theme deri6ed (rom the Big Country@* o%enin& (an(areK thi* idea, *hown in Example 1#, accom%anie* *cene* o( a hea6ily armed %o**e &allo%in& throu&h the de*ert. The mediant3to3dominant cadence 6oid* the num er one attri ute o( the S3HC in6entory 2a* well a* attri ute* F and 124. 9et, in the ca*e o( Big Country@* ridin& mu*ic, the *wer6e (rom " to . i* clearly a %ermutation o( the initial > H., and *u((icient attri ute* o( the %aradi&m are %re*ent to %re*er6e the &eneric A:e*ternB a*%ect o( the melody. [!.9] >da%tation o( the S3HC o(ten in6ol6e* mani%ulatin& or *u *titutin& the dominant. 2F14 &he Magni"icent .even@* theme i* already *omethin& o( an aty%ical e-am%le i( &he Big Country i* ta/en a* norm+ note the alteration o( attri ute ! y the inclu*ion o( an > 7? chord. =erry <old*mith i* amon& the com%o*er* who relia ly ada%ted the *u tonic hal( cadence in creati6e way* throu&hout hi* *core* (or :e*tern* in the 19G#* and @I#*. Hi* theme to 100 Ri"les 219GG, dir. <rie*4, *hown in Example 1$, contain* no %aradi&m3adherin& in*tance o( the S3HC cadential &enre ut *e6eral cunnin& %ermutation*. Sandwiched within the o6erall /ey o( " aeolian, the theme@* mariachi3tinted ? *ection e&in* what a%%ear* to e a new %eriod melody in ? maDor. <old*mith (eint* at an S3HC at mea*ure F o( the *ection y landin& on > . ?ut it i* the inor dominant, . minor, that (ollow*, and two eat* too late to e heard a* a hal( cadence. The increa*in& %re6alence o( chromatic chord* and the *%ed3u% harmonic rhythm that attend* . minor loo*en* the &ri% o( ? maDor, and culminate* in a re3modulation to the ori&inal /ey o( ". Thi* i* achie6ed, remar/a ly, y a recur*i6e a%%lication o( the *u tonic to dominant %ro&re**ion, %roceedin& throu&h three minor third*+ (ir*t (rom , to CG 2 VIIHV7.4, then (rom C to > 2 VIIHV7d4, and (inally landin& with a 5>C ac/ in the home /ey. In the %roce**, all ut attri ute* 1H!, LH9, and 1F are *u tracted, with the remo6al o( G 2non3modularity4 ein& %articularly remar/a le a* it amount* to di*mantlin& the %eriod *tructure *een in all %re6iou* e-am%le*. Ne6erthele**, the re%etition o( the S3HC %ro&re**ion recou%* any a**ociati6e *hort(all (rom the %aradi&m@* hea6y alteration. 2F24 The iterated a%%lication dou le* the ri&ht a((ect attendant with the %luc/y neutralization o( , %re6ailin& a&ain*t the di&re**i6e (orce* o( chromatic inertia. The 6a*t di*tance* tra6er*ed y <old*mith@* theme *u&&e*t a wide tonal land*ca%e e6ery it a* &enerically a%%ro%riate a* the road horn melodie* and e-%an*i6e 5!75F3laden chord 6oicin& more traditionally lin/ed with the :e*tern *ound. [!.1#] In contem%orary cinema, a common ada%ti6e *trate&y in6ol6e* *u *titutin& IV (or V within the VIIHV %air o( the S3HC, nece**itatin& a chan&e o( attri ute* 2HF and 11. Thi* %rocedure *eem* to e&in around =ohn ?arry@* *core to /ances 0ith 1olves 21992, in the cue* A;ide to .ort Sed&wic/B and A?u((alo HuntB4 and can e heard in theme* (or )ychael "anna@* Ride 0ith the /evil 219994 and =ame* Newton Howard@* 1yatt 2arp 2199!4 and Hidalgo 22##!4K indeed, today it may ha6e reached the *tatu* o( inde%endent cadential archety%e, a A*u tonic %la&al cadenceB 2S35C4. 2F$4 The main theme to HidalgoCu*ed to accom%any %anoramic *hot* o( the >merican we*tCi* noteworthy (or inte&ratin& the *u dominant in %lace o( the traditional dominant. Howard@* theme i* *hown in Example 1'. The tran*cri%tion %ro6ide* three o%tional

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continuation %hra*e* that are em%loyed on di((erent occa*ion* to conclude the *ame *entential %re*entation. The melody@* (ir*t (our mea*ure* crane &radually to , ena lin& retention o( at the moment o( the *u tonic %la&al7hal( cadence*. The delayed re*olution o( . ! to <! %roduce* the *ame tritonal di**onance a&ain*t C that wa* a di*tincti6e (eature o( the cadence@* %aradi&m. ?ut here it *er6e* a* an accented %a**in& tone up to rather than down to . The theme@* endin&* are no le** redolent o( the Cow oy3cadence con*tellation. The (ir*t and third endin&* *hare the inter%hra*al iiiH III motion di*tincti6e o( the ridin& theme (rom Big Country. 2F!4 The *econd endin&@* (inal two ar* hint at an e-%anded S35C with an inter%olated < maI, *andwiched etween C and the hal(3cadential >. The third endin& o((er* a &enuine cadence to the tonic, with the (lat mediant a&ain *er6in& a* %redominant. ?ut it doe* *o without the aid o( the dominant, o%tin& in*tead (or the %ure VIIHI motion o( an un6arni*hed mi-olydian mode. [!.11] The ada%ta ility o( the S3HC allow* it to e realized not only in a 6ariety o( modi(ied mu*ical conte-t*, ut al*o in (ilm* that tran*(orm :e*tern &enre con6ention* or *hare a**ociati6e trait* with it. 1ne *uch tran*(ormation i* the ne&ation o( attri ute 2, allowin& (or *u tonic authentic cadence*. Thi* ada%tation *eem* ca%a le o( encodin& a com ination o( >mericana and ethnic Iri*hne** in the hi*torical thriller J(3 2:illiam* 1992, with a iiH VIIHVHI4, a* well a* in the *%ort* drama Rudy 2<old*mith 199$, with a IH VIIHVHI4. 2FF4 In the*e ca*e*, any re(erence to &un*lin&er* or the (rontier *%irit i* a *ent. ,6en *o, an a**ociati6e re*idue remain*, a *u&&e*tion o( A>merican3ne**B and Ami-olydian ethnic3ne**B that contri ute* to a connotati6ely a%t %ro&re**ion. 2FG4 That :illiam* and <old*mith al*o wrote numerou* A%ureB :e*tern* u*in& that %ro&re**ion i* rele6ant, a* it *u&&e*t* an at lea*t uncon*ciou* intra3oeu6re in(luence. Such connection* de%end a* much on (amiliarity with :e*tern harmonic con6ention* a* on the *electi6e ta%%in& (rom a wider %ool o( Amodal >mericanaB that ha%%en* to ho*t oth Cow oy cadence* and their %ermutation*. [!.12] .ilm* that lend the :e*tern with other &enre* are (ertile *ite* (or ada%ted Cow oy cadence*. Thou&h the %re*ence o( ad6anced technolo&y and an inter*tellar *ettin& mar/* .tar 1ars 219II, dir. 0uca*4 (ir*t a* a *cience3(iction mo6ie, it* narrati6e and icono&ra%hy %arta/e (rom element* o( *wa*h uc/lin& ad6enture, =a%ane*e hi*torical action, war drama, and :e*tern &enre*. Indeed, .tar 1ars i* cited a* (reEuently a* a A*%ace we*ternB a* it i* other mi-ed &enre* 2li/e A*%ace o%eraBK *ee ?rode 2#12, 1H124. =ohn :illiam*@* *ym%honic *core i* idiomatically eclectic, mi-in& mu*ical *tyle* in a (a*hion that *uch intermin&lin& o( &enre* would demand. Thou&h he e*chew* outri&ht nod* to cla**ic :e*tern *core*, :illiam* doe* incor%orate an unam i&uou* S3HC in the (ilm@* title *eEuence, a* %art o( it* (amou* main theme, *hown in Example 1*. The heraldic melody ha* &enerally een lin/ed to the idiom o( 8orn&old 2%articularly the 3ings Ro0 theme it *u%er(icially re*em le*K *ee 0erner 2##1, 99H1##4, ut the %re*ence o( an S3HC al*o connect* it to the cla**ic :e*tern, with it* ra*h ener&y and lar&er3than3li(e heroe*. [!.1$] :illiam*@* u*e o( the S3HC, already a orrowed &e*ture (rom another &enre, i* it*el( detached within the .tar 1ars *core to ecome an inde%endent leitmoti(. The A;e el .an(are,B which attache* to the *erie*@ %rota&oni*t*, di*till* the chromatic hal( cadence down to an underlyin& minor third tran*(ormation 2an o*cillatory T * (ollowed y T 3 o( root %o*ition triad*4. >* the he-alo&y %ro&re**e*, that *hort leitmoti( i* (urther a re6iated into thorou&hly a *tracted rhythmic or harmonic allu*ion*Ca lon& way (rom the A)ain TitleB theme that (ir*t ho*ted the *u tonic cadence, and (urther *till (rom the )oro**7?ern*tein model that *tandardized it* interte-tual u*a&e in i&3 ud&et &enre (ilm*. 9et in an occurrence *uch a* that *hown in Example 2-. one may hear 6e*ti&e* o( the *ame harmonic 6er6e that in(u*ed &he Big Country.

[!.1!] Thi* tiny moment (rom the lon& action *et%iece AThe ?attle o( Coru*cantB in 2pisode 4445 Revenge o" the .ith 22##F4, i* called A<et M,m ;2SB :illiam*@* 6ariation o( the ;e el moti( here a%%ro-imate* an a *olute %ro&re**ionCrecur*i6ely a%%lied T 3 * that dri6e the (an(are u% three3(ourth* o( an octatonic cycle (rom > to , maDor. The moti6ic tran*(ormation accom%anie* the droid ;2"2@* moment o( &lory. It doe* not attem%t to %roDect a cadence in any traditional *en*e, and indeed, the rhetorical attri ute* 1FH1L are wholly a *ent. Ne6erthele**, the o6erall T * * (ul(ill *omethin& o( the cadence@* %hra*e3(ormal role, %articularly it* %unctuati6e ca%acity. The modi(ied A;e el .an(areB (ir*t conclude* one tonal re&ion 2the mountin& %re**ure o( .3%hry&ian o( the (ir*t notated mea*ure, and much %recedin&4, callin& a clo*e to one narrati6e *ta&e o( the *%ace attle. "urin& it* duration, the ,3natural %edal eneath the oo/end >3maDor chord* &i6e* o(( re*idual hint* o( a cadential in > maDor. 0i/e a cadenza within a concerto mo6ement, we %au*e with e-%ectancy a* ;2 %er(orm*, *oloi*tically, a (eat o( 6irtuo*ic ro otic derrin&3do. The two A;e el .an(areB deri6ed mea*ure* (inally *er6e to initiate, y way o( their new

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triadic orientation, the chaotic uzz o( another re&ion 2initiated y an .3ArootedB T#$!LU4, *i&nalin& the hectic conclu*ion o( the do&3(i&htin& *eEuence. Throu&h a lon& e6olution in6ol6in& cadential *u traction, alteration, and at thi* *ta&e 6erita le a *traction, the mi-olydian *ound* o( the %rairie can e heard (aintly echoin& in the chromatici*m o( thi* *%ace attle. (. Ch omatically /odulatin& Cadential +esolutions [F.1] )any o( Hollywood@* mu*ical con6ention* can e traced ac/ to the %roli(ic %en o( )a- Steiner, acti6e in the indu*try (rom 1929 until hi* death in 19I1. Steiner@* claim that Athere i* nothin& more e((ecti6e in motion3%icture mu*ic than *udden chan&e* o( mood cle6erly handledB could well e hi* com%o*itional motto, &i6en the %re%onderance and 6ariety o( mu*ical &ear3*hi(t* in hi* dramatic *corin& 2Steiner [19$I] 2#11, 22F4. Cadential *ynchronization i* an e*%ecially (a6ored Steineri*m. Con*ider the trium%hal conclu*ion o( hi* *core to the noir 3ey -argo 219!L4, who*e (inal (orty *econd* worth o( mu*ic i* or&anized into a *mall inary (orm, re%roduced in Example 21. >* i* ty%ical o( the*e *ort* o( *uccinct endin&*, Steiner %ull* o(( con(irmation and Euic/ re3con(irmation o( the tonic+ (ir*t with a 5>C 2mea*ure* 1FH1G4, then with a more rhetorical ii J HI motion 2mea*ure* 1IH194.

[F.2] The %la&al ta& recall* a common 6ariant o( the %aradi&m introduced at the e&innin& o( the article 2an )35C without the com%onent4. ?ut rather than (ocu*in& on the (inal cadence@* *u dominant orientation, let u* con*ider an a*%ect o( the &e*ture 2and the lar&er cue it occu%ie*4 that i* more uniEuely characteri*tic o( Hollywood tonal *ynta-+ the cou%lin& o( a ri*in& melodic trichord 2e.&., H H 4 and chromatici*m within a maDor3mode conte-t. The o6erall /ey *cheme o( thi* e-cer%tCC maDor *andwichin& , maDorCi* ena led y two (orce(ul cadence*. ?etween mea*ure* L and 9, a cadence 2locally 5>C, &lo ally HC4 to a tonicized < i* (ollowed y an unmediated modulation to , , without the aid o( em%ha*ized common tone* or linear continuity (rom melodic <! to ? !. Thi* tonal *hi(t accom%anie* a cut away (rom the heroine 20auren ?acall4 *tarin& out to *ea to a *hot o( the o Dect o( her %en*i6e &aze+ the hero 2Hum%hrey ?o&art4, who*e motor oat now return* a*hore a(ter a harrowin& con(rontation with *ea(arin& mo *ter*. >(ter dwellin& in , , Steiner initiate* a *econd modulatory &am it to reco6er the cue@* nominal home /ey. > *erie* o( nearly identical cadential motion* re*ol6e (ir*t to , in mea*ure* 1$ and 1!, and then to C maDor at mea*ure 1F. Pnli/e the (ir*t modulation, thi* reca%ture o( C i* accom%li*hed with linear continuity, u*in& the *ame *te%wi*e melodic moti6e , FH.!H<F, (ir*t to con(irm , , then C maDor. The 6ital ena lin& %ro%erty o( thi* cadential *witch i* the reinter%retation o( the melodic tone < a* 7C in*tead o( 7, . :hat wa* a diatonic authentic cadence in one /ey ecome* a 5icardy3aeolian cadence 2 VIH VIIHI4 in another. [F.$] Example 22 %re*ent* a (ore&round */etch o( the conclu*ion o( thi* cue that hi&hli&ht* the tonal ru%ture with the *hi(t to and (rom , . It al*o introduce* notation (or the re*olution* *o ra*hly denied with the*e modulation*+ a *u%%lementary *ta(( i* attached eneath the main a**3line, a *u *tratum o( unrealized harmonic im%lication, with arrow* indicatin& where Steiner@* cadence* 0ould ha6e &one had their re*olution* matched their %re%aration*. :a6y eam* in the main *y*tem connect dominant* to their *ur%ri*e de*tination*. The*e two moment* in 3ey -argo %ro6ide in*tance* o( a cate&ory o( tonal motion that *traddle* the line etween cadence and modulation+ the chro atically odulating cadential resolution 2C)C;4. Such occa*ion* o( in*tant harmonic reali&nment are common in *ym%honic (ilm mu*ic, and in certain &ui*e* mu*ical theater and %o%ular mu*ic. 2FI4 1(ten, ut not alway* a**ociated with cadential *ynchronization, C)C;* are a (a6orite (orm o( A*udden chan&e, cle6erly handled.B The %re%aration %ha*e o( a C)C; (eature* the initiation o( a %ro%erly eha6in& diatonic cadence, includin& determinate and indeterminate 6arietie*K 6ery o(ten, it contain* im%lication* o( oth HC and >C (unction, (allin& at the end o( a uildu% while elided in *ome manner with the to3 e3ca%tured tonic. The modulation %ha*e *ee* the %enultimate chord di*char&e not onto the e-%ected tonic ut to a root3%o*ition triad that *tand* in a chromatic relation*hi% to the antici%ated de*tination. Thi* triad i* treated a* a new tonic, and may initiate a new %hra*e *ecurely within it* own new diatonic %ur6iew, a* i* the ca*e with the re*tatement o( the 3ey -argo@* hymn theme at mea*ure 9 a(ter the C)C; into , , and in the concludin& %hra*e in C a(ter the C)C; out o( , at mea*ure 1F. [F.!] >n attri ute in6entory (or the chromatically modulatin& cadential &enre i* (urni*hed in Example 23. The %re*ence o( a chromatic root motion etween cadential and re*olution chord* 2attri ute 14 i* the in6entory@* mo*t im%ortant com%onent. ?ut de*%ite the *alience o( %itch, I include a &reater num er o( non3%itch attri ute* com%ared to %re6iou* in6entorie*K thi* i* to re(lect the e-ce%tional em%ha*i* com%o*er* %lace on the (orce* o( mu*ical rhetoric (or the*e harmonic *wer6e*. Cinematic

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C)C;* tend to adhere to a %redicta le %ro(ile, in their mu*ical *tructure a* well a* the a((ecti6e traDectory they in*tall (or their (ilm. 0i/e more con6entional, non3modulatin& cadence*, they are o(ten (ound at the conclu*ion o( a thematic unit@* con*eEuent %hra*e, %articularly in ca*e* where that %hra*e@* la*t ar* are *tretched out y 6ariou* re*olution3*tallin& techniEue*, *uch a* %edal %oint* or re%etition. 1ther mu*ical %arameter* ca%a le o( ma&ni(yin& ten*ion 2and there y %romi*in& re*olution4 *uch a* re&i*ter, dynamic*, and orche*tration den*ity are (reEuently increa*ed on the %re3modulatory end o( the C)C;. Concurrently, the*e *ame (actor* are li/ely to chan&e once the cadential down eat o( the new chromatic /ey occur*. The tonal de*tination o( the chromatic cadence i* radically di*tinct (rom it* %recedin& /ey, and com%o*er* tend to rein(orce thi* (re*hne** rather than undermine it with mi*%laced continuitie* o( te-ture or 6olume. [F.F] The (inal modulation in 3ey -argo demon*trate* a *trate&y com%o*er* can u*e to draw continuity etween the two di*tantly related harmonic *tation* on either *ide o( the cadence+ an a*cendin& cadential H or H line. ?oth o( the*e *u 6ert the ty%ical downward*3to3 tendency (or cadential melodie*, and there(ore etray a di*tant /in*hi% with the )35C. Example 24 %ro6ide* contra%untal model* (or *i- o( the a*ic dominant to tonic C)C;*, all o( which in6ol6e two maDor mode tonic*. 2FL4 The underlyin& diatonic cadential model they de6iate (rom i* al*o indicated, alon& with the *tandard dece%ti6e cadence, which in certain *%ecial ca*e* can eha6e a* a modulatin& cadence. :hile I u*e a*cendin& trichord* in all the*e %aradi&m*, it *hould e noted that C)C;*, %erha%* more*o than other &enre* we ha6e e-%lored, come in di6er*e &ui*e* in their melodic (i&uration*, and melodic continuity i* o(ten intentionally *acri(iced to ma-imize that u*e(ul Euality o( e-treme di*Dunction. Ne6erthele**, *ortin& y trichord* doe* hel% delineate di((erent (amilie* y *hared potential linear %attern*. The to% row ma/e* u*e o( the H H line o( the mi-ed %la&al cadence while in(lectin& or enharmonically reinter%retin& a* a triadic %itch o( the new tonicK a* a re*ult, they create chromatic third relation* etween the dominant o( the (ir*t /ey and tonic o( re*olution. ?y contra*t, the H H line* o( the ottom row &enerate *te%wi*e or tritonal relation* etween cadential chord*, and reEuire *har% in(lection o( the (inal note 2otherwi*e, the (inal chord would e a non3modulatory *oundin& diatonic chord, either IV or 6i4. In ca*e* that con(orm to the*e contra%untal model*, the u%ward linear dri6e (ul(ill* a (unction o( e-%an*ion and inten*i(ication, rather than termination and rela-ation. It i*, in the hand* o( (ilm com%o*er*, a harmonic de6ice that *tri6e* (or new mu*ical 6i*ta*, turnin& away (rom tonal de*tination* already 6ouch*a(ed y %re6iou* diatonic *ynta-. 2F94 [F.G] :hile *ome o( the C)C;* in6ol6e common3tone retention etween the chromatic chord o( re*olution and either the %recedin& dominant or the tonic it di*%lace*, *uch %ar*imoniou* characteri*tic* are not an intrin*ic (eature o( the*e motion*. Indeed, a *mall mea*ure o( 6oice3leadin& continuity mi&ht run counter to the de*ired ae*thetic o( the C)C;, %articularly i( a retained tone i* hi&hli&hted y the melody. The *ur%ri*in& im%act o( the*e re*olution* i* ma-imized y lo0ering the de&ree o( continuity etween re&ion*, while o%tionally (acilitatin& linear Alead inB throu&h %redicta ly eha6in& u%ward* *calar line* rather than held3o6er %itche*. It i* u*e(ul to thin/ o( the*e modulation* in term* o( tran*(ormation* o( an underlyin& diatonic %ro&re**ion. Example 2" recon(i&ure* the C)C;* into tran*(ormation networ/*, and mea*ure* their idealized 6oice3leadin& %ro%ertie* throu&h the neo3;iemannian o%erator*. 2G#4 > ATy%eB de*cri%tor di((erentiate* C)C;* y the*e root motion*. 1nce a&ain, the two con6entional model* 2>uthentic and "ece%ti6e4 are al*o *hown to draw contra*t with the modulatory alternati6e*. ,ach three3node networ/ *how* the relation o( the tonic to the new tonic, dominant to e-%ected tonic 2alway* +0, or %1/4, and dominant to new tonic. Note that the to line C)C;* reEuire more *emi3tonal di*%lacement* to reach their chromatic de*tination*, and they nece**itate chromatic alteration o( the tonic *cale de&reeK thi* commend* them to *cene* o( more inten*e mood3reorientation. [F.I] :hen com ined with ima&e, a *ucce**(ul chromatically modulatin& cadential re*olution can am%li(y, or in many ca*e* &enerate, a *en*ation o( wonderment. I de(ine the wonderment *en*ation a* a hi&hly %lea*ura le com ination o( two (orm* o( mu*ical *ur%ri*e, a0e and "risson, oth o( which "a6id Huron characterize* a* ae*thetic rechannelin& o( (ear re*%on*e*. 2G14 The (ormer corre*%ond* with the (eelin& o( ha6in& one@* reath ta/en away y a *u*tained 6iolation o( e-%ectation*, while the latter ca%ture* the inner6ation %roduced y a more a ru%t and unantici%ated e6ent. Huron note* that the (ri**on re*%on*e, which i* mani(e*ted in *tron& emotional and %hy*iolo&ical indicator* li/e *hi6er* and chill*, ha* een (ound to e correlated with A*udden chan&e* o( harmony and with a ru%t chan&e* in dynamic le6elB 2Huron 2##G, 2L1HL$4Ce-actly the *tu(( o( a C)C;. 2G24 :onder in6ol6e* oth awe and (ri**on ecau*e the in*tantaneou* modulation may e a rie( *ur%ri*e 2hence (ri**on4, ut the mu*ical A%ullin& ac/B *o o(ten accom%li*hed y the*e cadence* lead* to *u*tained, more e-%an*i6e %a**a&e* in the new /ey 2hence awe4. 2G$4

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[F.L] The inter%lay o( awe and (ri**on in a C)C; i* accom%li*hed y a (ru*tration o( local *tructural tonal e-%ectation* and a dee%er *ati*(action o( rhetorical cadential e-%ectation*. >* ten*ion accumulate* in the dominant, an increa*in&ly ine6ita le im%lication o( *oon3to3arri6e harmonic clo*ure i* %roduced. Thi* tele&ra%hed need (or relea*e in turn a((ect* the ima&e, %lantin& the e-%ectation (or a dramatic chan&e either in tone or in content, *uch a* would e realized y an editorial cut or %an to a new *u Dect o( 6i*ual (ocu*. :ith the a%%ro%riate de&ree o( an-iety or %re&nancy lent to the ima&e, the moment o( cadential di*char&e can occur. The re*ultin& chromatic *wer6e &enerate* a com ination o( *ur%ri*e and relea*e. The *hi6er*3 inducin& *ur%ri*e i* the %roduct o( *tructural tonal e-%ectation*, which %redict, e6en in the chromatic idiom o( many (ilm com%o*er*, that dominant* %roceed to their im%lied tonic*K the de*tination* o( mo*t C)C; ty%e* are (undamentally unpredictable (rom the lo&ic o( diatonic (unctionality. The element o( relea*e, on the other hand, ari*e* (rom lettin& &o o( the inten*i(ied dominant and *ettlin& on a con*onant maDor triad. Increa*ed no6elty in(u*e* the ima&e, a* doe* added *co%e and readth. 2G!4 :hen the *tran&e new de*tination i* (ully acce%ted, the re*idual *ur%ri*e can e channeled away (rom the (ri**on re*%on*e and into a more *u*tained (eelin& o( awe. In e((ecti6ely com%o*ed C)C;*, the re*ult o( thi* commin&lin& o( *hoc/ and re*olution can e nothin& *hort o( the %ure mu*ical %lea*ure that come* (rom an e-%ectation realized, ut in an une-%ected way. 2GF4 (I. Soa in& Sco in& [G.1] =ohn :illiam* i* %erha%* the mo*t %roli(ic em%loyer o( C)C;* in contem%orary (ilm mu*ic, with many o( the hea6ily (ore&rounded cue* (rom hi* iconic *core* ho*tin& *uch cadence*. Scene* o( wonderment and e-ultation are common occurrence* in the (anta*tic (ilm* he *%ecialize* in. Thi* i* dou ly true in (ilm* mar/eted (or, and (reEuently includin& a* character*, children+ 26&6, Ho e 'lone, Harry Potter, and *o on. The a((inity o( youn& %er*on*@ (ilm* and the*e *ort* o( chromatic modulation* ha* much to do with the air o( in&enuou*ne** *uch mu*ical e6ent* can con6ey. Stri%%ed o( the learned deli eration and im%re**ion o( e((ort attendant with more con6entional modulatory *trate&ie*, the C)C; %re*ent* it*el( a* a tonally and emotionally direct alternati6e, *omethin& that y%a**e* diatonic lo&ic and &et* to the AheartB o( mu*ical a**ociati6ity. 0i/e a child untrained in the way* o( %i6ot chord modulation* and clo*ely related /ey metric*, the C)C; a*/* Awhy not *im%ly mo6e directly to thi* /eyQB In :illiam*@* *core*, the *eemin& nai6etN o( thi* *trate&y mi&ht elie the re(inement o( local techniEue* that &o into manu(acturin& C)C;*. ?ut, li/e cadential mic/ey3mou*in&, tho*e de6ice* *er6e to ma/e the inherently di*continuou* and *ur%ri*in& *ound, retro*%ecti6ely, a* *eamle**Ce6en ine6ita leCa* %o**i le. [G.2] ,-am%le* 2G and 2I o((er two in*tance* (rom the li rary o( chromatic cadence* in :illiam*@* out%ut, oth (rom (ilm* aimed %rimarily at children and the youn& at heart. The /indred C)C;* (rom 26&65 &he 27tra &errestrial 219L!4 and Harry Potter and the .orcerer8s .tone 22##14 oth (ollow a %rotracted cre*cendo on a ten*e cadential chord, and accom%any moment* o( %o*iti6e emotional relea*e cou%led with a (re*hly un6eiled *ource o( wonderment. 2GG4 Example 2#, (rom :illiam*@* 2##1 *core to Harry Potter and the .orcerer8s .tone 2dir. Colum u*4 o((er* a Ate-t oo/B C)C;. "urin& the rie( AChan&e o( Sea*on*B *eEuence, Harry wal/* throu&h an em%ty courtyard with hi* Snowy 1wl, Hedwi&, and relea*e* the ird to (ly &race(ully o6er the ca*tle Ho&wart*. .or 5otter@* *troll, a *hort melodic %hra*e &e*ture* toward* a determinate cadence into < maDor 2mea*ure !4, an HC that %roDect* an o6erla% with the ne-t %hra*e, A ecomin&,B %roDecti6ely at lea*t, an I>C. 2GI4 >* *oon a* he relea*e* Hedwi&, the dominant %ro&re**e* to ? maDor, the tonic o( a new lyrical theme 2mea*ure F4, ma/in& thi* a Ty%e II C)C; 2down a maDor thirdCone o( :illiam*@* (a6orite *trate&ie*4. > melodic third in the woodwind* 2<!H>!H?!4 hel%* *titch the two +,3related chord* to&ether. 1nly three attri ute* 2L, 1#, and 114 are *u tracted, thou&h the har% ar%e&&io in*tall* *ome o( the (eelin& o( attri ute L and the determinate nature o( the C)C; o 6iate* 1# and 11 2*ee ,-am%le 2$4. The rhetorical (actor* are all at %lay+ the %re3re*olution *well, the %o*t3re*olution &rand orche*tral tutti, and the e-ultant and e-%an*i6e character a* Hedwi& (lie* (reely, e-%o*in& the ma&ni(icent readth o( the (anta*tic ca*tle. [G.$] > *omewhat le** Awell3 eha6edB C)C; occur* in 26&6 The %a**a&e (rom A,.T. i* >li6eSB re%roduced in Example 2$ (eature* a uild3u% o6er a %edal IV chord in " maDor. 2GL4 The tonal uildu% matche* the %rota&oni*t ,liot@* ra%idly dawnin& realization that hi* alien com%anion i* once more ali6e. ,.T.@* re*urrection i* con(irmed mu*ically with the landin& on C maDor and a Du ilantly re*tored rendition o( hi* character theme. Thi* con*titute* a Ty%e III C)C; 2*ee ,-am%le 2F a o6e4, with an adDu*ted attri ute F 2the cadential chord i* rooted on , not , %ro6idin& an e-tra tritonal Dolt to the a** motion4. The amor%hou* harmonic rhythm ma/e* thi* a &ood e-am%le o( an indeterminate cadence, yet the melody %oint*

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to a *%eci(ic moment o( re*olution. The melodic %itch C G i* ca%tured a* the terminu* o( an a*cendin& *calar %attern [C !HC F, ?!H?F]. The LVL *calar *cheme ali&n* the %itche* o( the "3maDor collection with the !7! meter *uch that a triadic mem er o( the e-%ected tonic 2either ", . , or >4 i* not %redicted on the down eat o( the *i-th mea*ureK the *ur%ri*in& C G i* in*tead 6irtually in*ured. The chromatic de*tination i* thu* oth a *ur%ri*e and, in a %ower(ul *en*e, antici%atedCa (ine demon*tration o( why callin& C)C;* Adece%ti6eB under%lay* their 6i6id correctne** in conte-t. Had :illiam* *im%ly cho*en to AcorrectlyB re*ol6e V 7" to " on the down eat o( ,.T.@* re6i6i(ication, the re*olution would *ound not only land, ut in it* own way ore *ur%ri*in& than C maDorCal eit *ur%ri*in& in an ina%%ro%riate way (or oth it* linear7metrical and dramatic conte-t. 2G94 [G.!] The*e two e-am%le* *how C)C;* ein& de%loyed a* one3o(( e6ent* in the intere*t o( *uddenly e-%andin& tonal *%ace. ?ut while mo*t *er6e a* *in&le cadential (ocal %oint* within a lar&er cue, *ome *eEuence* (eature *e6eral chromatic cadential modulation*, or e6en %roli(eration* o( them. 2I#4 1ne *uch %iece i* the C)C;3*aturated A.lyo6erB *cene (rom :illiam*@* *core to S%iel er&@* Jurassic Park 2199$4, and the concludin& analy*i* o( thi* cue will *er6e to demon*trate the (ull a((ecti6e and *tructural %ower o( the cinematic cadence. The A.lyo6erB mu*ic com%ri*e* the *econd o( (i6e *ection* within the continuou* com%o*ite3cue called A=ourney to the I*land,B in which (our character* are introduced to the %ar/ (or the (ir*t time. >t almo*t nine minute* in duration, A=ourneyB i* the *core@* mu*ical center%iece, hea6ily (ore&rounded in the (ilm@* *ound mi- a* it accom%anie* the %rota&oni*t*@ entrance to the titular %ar/ and their (ir*t awed e-%erience o( it* wonder*. The A.lyo6erB matche* two minute* worth o( nearly dialo&ue3(ree &eo&ra%hic *%ectacle (or the arri6al y helico%ter at the tro%ical i*land that hou*e* the mo6ie@* %rehi*toric attraction*.

[G.F] The tran*ition to A.lyo6erB (rom the (ir*t %ortion o( the com%o*ite3cue, A,ntrance to the 5ar/,B i* handled with the (ir*t o( many C)C;*, ca%tured in Example 2'. The mu*ic (or thi* tran*ition i* *omewhat tonally (loatin&, un*eatin& the %re6iou* /ey o( , y a *erie* o( a** motion* that con6er&e on , in mea*ure ! 2> H" H< H, H,O. 4. , &oe* on to %roDect *tron& %redominant (la6or, ut %redominant o( what /ey i* not certain. )ea*ure* !HG outline a %otential diatonic cadence into ? maDor, ut could al*o ea*ily e heard a* %ointin& toward* a modal cadence into > . 2I14 >t the tail end o( thi* %ro&re**ion, the camera clo*e* in on the (ace o( 5ar/ creator =ohn Hammond, who*e eye* li&ht u%, ha6in& cau&ht a &lim%*e o( the de*tination. :hate6er the li*tener@* e-%ectation* o( tonal relea*e (or the ultimate . maDor chord, the re*olution that (ollow* Hammond@* %roclamation Athere it i*B will not ha6e een antici%ated. :ith a 6i*ual cut to the helico%ter e-terior, %annin& to re6eal the (anta*tic i*land ahead, :illiam* u*her* hi* mu*ical %a**en&er* to the rilliant new harmonic de*tination. Not ? maDor 2the AdiatonicB re*olution4, nor > 2the AmodalB re*olution4, nor e6en to , maDor 2the AmonotonalB re*olution, &i6en the /ey %recedin& the material in ,-am%le 2L4 ut to B a9or. It i* a Ty%e III C)C; that reali&n* the cue@*, and indeed, *oundtrac/@*, entire tonal Dourney, initiatin& what i* to e the (ir*t (irmly monotonal, %eriod3 a*ed melody in the *core. [G.G] >rri6in& y C)C; Ty%e III to thi* new /ey, :illiam* commence* the ra**y AI*land .an(areB theme that dominate* the *eEuence. Intere*tin&ly, the modulation doe* not realize the im%lied melodic de*tination o( " G, which i* le(t unheard in oth the te-ture3*ettin& mea*ure I and theme3%ro%er mea*ure L. The dramatic rid&e (rom A,ntranceB to A=ourneyB i* thu* accom%li*hed y *u tractin& attri ute* G and I 2concernin& melodic continuity4 (rom an otherwi*e %aradi&matic C)C;. Neither i* the %itch " allowed to e*ta li*h it*el( harmonically at the end o( the theme 2mea*ure* 11H124, de*%ite &e*turin& toward* it a* the de*tination o( a hal( cadence that land* on > maDor. 2Thi* (ollow* on the heel* o( a *tron& tonicization o( ? @* *u mediant < minor in mea*ure* 9H1#, lendin& to the im%re**ion that " would act a* V7V o( a new /ey4. In*tead, :illiam* return* directly to another *tatement o( the theme, once a&ain in ? . Thi* e((ect* a Ty%e IV C)C;, an ironically /ey3preserving tonal *wer6e o6er the oundary etween mea*ure* 11 and 12, in which > maDor i* retro*%ecti6ely inter%reted a* a dominant3*u *titutin& VII $7? . [G.I] Example 2* %ro6ide* an o6er6iew o( the entire A.lyo6erB *eEuence throu&h a 6oice3leadin& reduction. "ramatic de6elo%ment* are indicated a o6e the main *y*tem, while a third *ta(( *how* the im%lied tonal re*olution* o( C)C;* a* in the reduction o( 3ey -argo 2,-am%le 224. :e *ee that the *eEuence initially clin&* to a *trai&ht(orward lin/a&e o( editorial rhythm to tonal %lannin&, with the C)C;3matched cut to the i*land land*ca%e 2e6ent 24 com%lemented with a 2non3chromatic4 modulation to < minor u%on the return to the helico%ter ca in 2e6ent $4. Thi* clean a**ociation o( cut* with

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tonal *hi(t* i* li(ted *oon therea(ter, thou&h arri6al* on ? are ne6erthele** retained (or cut* to the helico%ter. < minor@* dominant 2" maDor4 di*char&e* onto ? minor a* the %a**en&er* e&in uc/lin& their *eat elt* amid*t *udden tur ulence 2e6ent !4. > %rolon&ed dominant o6er C &e*ture* toward* . maDor 2and %erha%* ac/ to ? 4 a* one %a**en&er (ind* hi* *eat elt mal(unctionin& 2e6ent G4. :illiam* ha* other thin&* in mind, howe6er, and the dominant re*ol6e* 6ia a Ty%e IV C)C; to " maDor, which two mea*ure* later re6ert* to ? K thi* e6ent(ul *%an i* re%roduced in Example 3-. [G.L] The remainder o( A.lyo6erB am%li(ie* the %roli(eration o( C)C;*. >lternation etween interior and e-terior helico%ter *hot* ecome* Euic/er. > *econd (eint to " minor 2now with *u*%en*ion* to (urther wea/en it* claim to tonal *ta ility4 i* denied with a *hunt (rom > to ? with the re6eal o( the helico%ter@* landin& %ad 2e6ent 1#4. The de*cent o( the cho%%er onto it* landin& %ad 2e6ent 114 denie* " maDor in another (a*hion, *endin& it* dominant to the hitherto unheard /ey o( " 2Ty%e III, *an* attri ute* G and I4. )odulation* now occur without any direct 6i*ual im%etu*K the reathle** e-%ectancy o( *ucce**(ully landin& i* *u((icient Du*ti(ication (or :illiam* to in*ert new tonal area* into A.lyo6er.B The mo6e to " i* mirrored y *te%wi*e C)C;* to " 2a (ailed dominant to < once more4 and then , 2e6ent 1$4. >* Hammond di*em ar/* and randi*he* hi* *i&nature *ta(( trium%hantly, :illiam* %roclaim* one (inal cadential *lei&ht o( hand, *hown in Example 31. > , a larin& *u dominant o( , Cthe loude*t moment in the entire cueCi* *lun& to C maDor 2e6ent 1!4 with an e*%ecially old %la&al Ty%e IV 2*horn, li/e the ,.T. e-am%le, o( attri ute FCthe cadential chord i* not a dominant4. C maDor i* then con(irmed, in a manner not heard yet in the entire %iece 2or entire *core to thi* %oint, (or that matter4+ with an unam i&uou* IV3V3I 5>C. The %rota&oni*t* ha6e (inally arri6ed where they are *u%%o*ed to e 2e6ent 1F4, a* ha6e we, the li*tenin& audience mem er*. ?y thi* %oint, the 5>C in C actually *tic/* out a* mar/ed. :hat i* %erha%* mo*t characteri*tically A(ilmicB a out the chromatic /ey de*i&n o( thi* cue i* that it ta/e* a motion that in any normal diatonic conte-t the (inal 5>C would *ound innocuou* and render* it a* *ur%ri*in& a* the mo*t (ar3(lun& chromatic modulation. Such %lay with tonal a**um%tion*C%roducin& here a 6erita le une-%ected e-%ectationCi* only %o**i le in a harmonic conte-t *uch a* :illiam* concoct* here, where chromatically re*ol6in& cadence* ecome a de(ault rather than an e-ce%tion. [G.9] :illiam*@* mu*ic (or Jurassic Park illu*trate* the e-tent to which cadence* are not merely u*e(ul re*ource* ut *ometime* the 6ery uildin& loc/* o( a cue, e**ential (or dynamically *cul%tin& the (ilm&oer@* e-%erience o( a cinematic te-t. >* I ha6e ar&ued, *tudyin& cadence* o((er* a mean* to conduct ri&orou* analy*i* o( (ilm *core*Ca cor%u* hi&hly re*i*tant to traditional analytic *y*tem* that %re*u%%o*e lon&3ran&e tonal de*i&nCwhile remainin& (aith(ul to the re%ertoire@* dramatic idio*yncra*ie*. Thi* (ocu* in turn clari(ie* and e-%and* our under*tandin& o( cadence* acro** idiom*. )any harmonic routine* that are in*tantly reco&niza le in (ilm *oundtrac/* are etter treated a* thou&h they were &enre*, with inde%endent con6er&in& mu*ical %henomena, rather than a* e-%re**ion* o( a %re*cri%ti6ely de(ined conce%t. Thi* i* indicati6e o( the im%ortance o( theoretical (le-i ility and hi*torical3*en*iti6ity in de(inin& not3*o3*ta le mu*ical %rocedure*. >* *een with analy*e* ran&in& (rom (ilm lo&o* to %hra*al mic/ey3mou*in& in Robin Hood to mu*ic (or modern day :e*tern*, the %roce**e* o( *u *titution and *u traction allow com%o*er* to continually rein6ent what otherwi*e could ecome a *tale clichN, ada%tin& material* to new *corin& %ractice* and lin/in& lar&e *wathe* o( (ilm hi*tory to&ether (or attenti6e li*tener*. Studyin& the cadence in (ilm carrie* a %romi*e o( clo*e3analytic, *tyli*tic, and meta3theoretical (indin&*, and %ro6ide* u* with a ro u*t new tool (or under*tandin& that elu*i6e thin&, the AHollywood *ound.B

2 an3 0ehman %epa tment of /usic. Tufts 4ni5e sity 6 anoff /usic Cente 2- Talbot 75enue /edfo d. /7 2-1"" Camb id&e. /7 -213' f an3.lehman8tufts.edu

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>&awu, 8o(i. 2##9. Music as /iscourse5 .e iotic 'dventures in Ro antic Music. New 9or/+ 1-(ord Pni6er*ity 5re**. >ltman, ;ic/. 2#11. (il )*enre. 0ondon+ 5al&ra6e )acmillan. ?ec/erman, )ichael and :illiam ;o*ar. 2##9. AThe Idyllic Su lime+ > "ialo& on the 5a*toral Style in :e*tern*.B Journal o" (il Music 2, no. 2H!+ 2F1HG2. ?ur*tein, 5oundie. 2#1#. AAHal(, .ull, or In ?etweenQ "i*tin&ui*hin& Hal( and >uthentic Cadence*.B 5a%er %re*ented at the annual meetin& o( the Society (or )u*ic Theory, Indiana%oli*, Indiana, No6em er !3I. ?iamonte, Nicole. 2#1#. ATriadic )odal and 5entatonic 5attern* in ;oc/ )u*ic.B Music &heory .pectru , $2, no. 2+ 9FH11#. ?lom ach, >nn. 19LI. A5hra*e and Cadence+ > Study o( Terminolo&y and "e(inition.B Journal o" Music &heory Pedagogy 1+ 22FHF1. ?ordwell, "a6id, and Stai&er, =anet, and Thom*on, 8ri*ten. 19LI. &he Classical Holly0ood Cine a5 (il Production ;ntil 1<=0. New 9or/+ Colum ia Pni6er*ity 5re**. .tyle : Mode o"

?ri itzer3Stull, )atthew. 2##I. A.rom Ni elheim to Hollywood+ The >**ociati6ity o( Harmonic 5ro&re**ion.B 5a%er %re*ented at annual meetin& o( the Society (or )u*ic Theory, ?altimore, )aryland, No6em er 1!31L. ?rode, "ou&la*. 2#12. ACow oy* in S%ace+ .tar 1ars and the :e*tern .ilm.B In Myth% Media% and Culture in .tar 1ars5 'n 'nthology, ed*. "ou&la* ?rode and 0eah "eyne/a, 1H12. 5lymouth+ Scarecrow 5re**.. ?uchler, )ichael. 2##L. A)odulation a* a "ramatic >&ent in .ran/ 0oe**er@* ?roadway Son&*.B Music &heory .pectru $#, no. 1+ $FHG#. ?uhler, =ame*. 199G. AM?rea/throu&h@ a* CritiEue o( .orm+ The .inale o( )ahler@* .ir*t Sym%hony.B 1<th!Century Music 2#, no. 2+ 12FH!$. CCCCC. 2###. AStar :ar*, )u*ic and )yth.B In Music and Cine a, ed*. =ame* ?uhler, Caryl .linn, and "a6id Neumeyer, !FH!G. Hano6er+ :e*leyan Pni6er*ity 5re**. CCCCC. 2#12. A> 5o*tcolonial CritiEue o( )u*ical To%ic* in .ilm.B 5a%er %re*ented at )u*ic and the )o6in& Ima&e Con(erence, New 9or/, =une 13$. ?urt, <eor&e. 199!. &he 'rt o" (il Music. ?o*ton+ Northea*tern Pni6er*ity 5re**. Ca%lin, :illiam ,. 199L. Classical (or 5 ' &heory o" (or al (unctions "or the 4nstru ental Music o" Haydn% Mo#art% and Beethoven. New 9or/+ 1-(ord Pni6er*ity 5re**. CCCCC. 2##!. AThe Cla**ical Cadence+ Conce%tion* and )i*conce%tion*.B Journal o" the ' erican Musicological .ociety FI, no. 1+ F1H11L. Carroll, NoWl and )ar&aret )oore. 2#11. A)u*ic and )otion 5icture*.B In The Routledge Co panion to Philosophy and Music, !FGHGI. New 9or/+ ;outled&e. Carter, Chandler. 2##2. AS%iritual >*cent* and "e*cent*+ ;eli&iou* Im%lication* in 5ronounced )otion to the Su dominant and ?eyond.B in $oicing the 4ne""able5 Musical Representation o" Religious 27perience, ed. Si&lind ?ruhn. Hill*dale+ 5endra&on 5re**+ 2$$HG$. Cohen, >nna el =. 199$. A>**ociationi*m and )u*ical Soundtrac/ 5henomena.B Conte porary Music Revie0 9, no. 1H2+ 1G$HIL. CCCCC. 2###. A.ilm )u*ic+ 5er*%ecti6e* (rom Co&niti6e 5*ycholo&y.B In Music and Cine a, ed*. =ame* ?uhler, Caryl .linn, and "a6id Neumeyer, $G#HII. Hano6er+ :e*leyan Pni6er*ity 5re**.

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Cohn, ;ichard. 199L. A>n Introduction to Neo3;iemannian Theory+ > Sur6ey and Hi*torical 5er*%ecti6e.B Journal o" Music &heory !2, no. 2+ 1GIHL#. Coo/, Nichola*. 2##!. 'nalysing Musical Multi edia. New 9or/+ 1-(ord Pni6er*ity 5re**. Coo/e, )er6yn. 2##L. ' History o" (il Music. Cam rid&e+ Cam rid&e Pni6er*ity 5re**. Coo%er, "a6id. 2##1. Bernard Herr ann8s $ertigo5 ' (il .core Handbook. :e*t%ort+ <reenwood 5re**. "oll, Chri*to%her. 2#11. A;oc/in@ 1ut+ ,-%re**i6e )odulation in Ver*e3Choru* .orm.B Music &heory ,nline 1I, no. $. "un* y, =onathan. 19L#. ASchoen er& on Cadence.B Journal o" the 'rnold .choenberg 4nstitute !, no. 1+ !1H!9. ,6erett, :alter. 2##9. &he (oundations o" Rock. New 9or/+ 1-(ord Pni6er*ity 5re**. <oldmar/, "aniel. 2##F. &unes "or &oons5 Music and the Holly0ood Cartoon. 0ondon+ 1-(ord Pni6er*ity 5re**. <or man, Claudia. 19LI. ;nheard Melodies5 >arrative (il Music. ?loomin&ton+ Indiana Pni6er*ity 5re**. <Derdin&en, ;o ert 1. 2##I. Music in the *alant .tyle. 1-(ord+ 1-(ord Pni6er*ity 5re**. Hal(yard, =anet 8. 2#1#. A)u*ic >(oot+ Su%ernatural Horror3comedie* and the /iabolus in Musica.B In Music in the Horror (il 5 -istening to (ear, ed. Neil 0erner. New 9or/+ ;outled&e. 2#GH2$. Hatten, ;o ert. 199!. Musical Meaning in Beethoven5 Markedness% Correlation% and 4nterpretation. ?loomin&ton+ Indiana Pni6er*ity 5re**. He%o/o*/i, =ame*, and :arren "arcy. 2##G. 2le ents o" .onata &heory5 >or s% &ypes% and /e"or ations o" the -ate!2ighteenth! Century .onata. 1-(ord+ 1-(ord Pni6er*ity 5re**. Hu ert, =ulie. 2#11. Celluloid .y phonies5 &e7ts and Conte7ts in (il Music History. ?er/eley+ Pni6er*ity o( Cali(ornia 5re**.

Huron, "a6id. 2##G. .0eet 'nticipation5 Music and the Psychology o" 27pectation. Cam rid&e+ The )IT 5re**. =ohn, >ntony. 2##1. AThe )oment I "readed and Ho%ed .or.B Musical ?uarterly LF, no. $+ F1GH!!. 8alina/, 8athryn. 1992. .ettling the .core5 Music and the Classical Holly0ood (il . )adi*on+ Pni6er*ity o( :i*con*in 5re**. CCCCC. 2##I. Ho0 &he 1est 1as .ung5 Music in the 1esterns o" John (ord. ?er/eley+ Pni6er*ity o( Cali(ornia 5re**. 8alina/, 8athryn, ed. 2#12. Music in the 1estern5 >otes "ro &he (rontier. New 9or/+ ;outled&e. 8a**a ian, >nahid. 2###. Hearing (il 5 &racking 4denti"ications in Conte porary Holly0ood (il Music. New 9or/+ ;outled&e 5re**. 8it*e*, =im. 2##!. Hori#ons 1est5 /irecting the 1estern "ro John (ord to Clint 2ast0ood. 0ondon+ ?riti*h .ilm In*titute. 0aitz, Ste6en. 2#12. &he Co plete Musician5 'n 4ntegrated 'pproach to &onal &heory% 'nalysis% and -istening. New 9or/+ 1-(ord Pni6er*ity 5re**. 0ehman, .ran/. 2#11. AS0I",+ Illuminatin& a Shadow 5ro&re**ion.B 5a%er %re*ented at the annual meetin& o( the Society (or )u*ic Theory, )innea%oli*, 1cto er 2I3$#. CCCCC. 2#12. A;eadin& Tonality Throu&h .ilm+ Tran*(ormational Hermeneutic* and the )u*ic o( Hollywood.B 5h" di**., Har6ard Pni6er*ity. CCCCC. 2#1$. ATran*(ormational >naly*i* and the ;e%re*entation o( <eniu* in .ilm )u*ic.B Music &heory .pectru $F, no. 1+ 1H22.

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0erner, Neil. 2##1. ACo%land@* )u*ic o( :ide 1%en S%ace*+ Sur6eyin& the 5a*toral Tro%e in Hollywood.B &he Musical ?uarterly LF, no. $+ !IIHF1F. 0ewin, "a6id. 19LI. *enerali#ed Musical 4ntervals and &rans"or ations. New Ha6en+ 9ale Pni6er*ity 5re**. 0e-mann, =uraD. 2##G. &heory o" (il Music. .ran/(urt am )ain+ 5eter 0an& 5u li*hin& Inc. )eyer, 0eonard ?. 19G2. 2 otion and Meaning in Music. Chica&o+ Pni6er*ity o( Chica&o 5re**. )illin&ton, ?arry. 1992. AThe 1%era*.B In &he 1agner Co pendiu , ed. ?arry )illin&ton, 2I#H$I!. New 9or/+ Schirmer ?oo/*. )ir/a, "anuta. 2##9. Metric Manipulations in Haydn and Mo#art5 Cha ber Music "or .trings% 1@A@B1@<1. 1-(ord+ 1-(ord Pni6er*ity 5re**. )ur%hy, Scott. 2##G. AThe )aDor Tritone 5ro&re**ion in ;ecent Hollywood Science .iction .ilm*.B Music &heory ,nline 12, no. 2. CCCCC. 2#11. AScorin& 0o** in ;ecent 5o%ular .ilm and Tele6i*ion )u*ic.B 5a%er %re*ented at the Si-th International Con(erence on the >rt* in Society, ?erlin. )ay 9311. Neumeyer, "a6id. 199L. ATonal "e*i&n and Narrati6e in .ilm )u*ic+ ?ernard Herrmann@* The Trou le :ith Harry and 5ortrait o( Hitch.B 4ndiana &heory Revie0 19, no*. 1H2. LIH12$. CCCCC. 2###. AIntroduction.B In Music and Cine a, ed*. =ame* ?uhler, Caryl .linn, and "a6id Neumeyer, 1H29. Hano6er+ :e*leyan Pni6er*ity 5re**. No ile, "rew. 2#12. A;econ*iderin& the Notion o( MCadence@ ?a*ed on ,6idence (rom 5o% and ;oc/ )u*ic.B 5a%er %re*ented at )u*ic Theory Society o( the >tlantic, Pni6er*ity o( "elaware, )arch $#H$1. ;ichard*, )ar/. 2#1#. AClo*ure in Cla**ical Theme*+ The ;ole o( )elody and Te-ture in Cadence*, Clo*ural .unction, and the Se%arated Cadence.B Canadian Journal o" Music $1, no. 1+ 2FH!F. ;odman, ;onald. 2#11. AMCo%%eretta*,@ M"etectern*,@ and S%ace 1%era*+ )u*ic and <enre Hy ridization in >merican Tele6i*ion.B In Music in &elevision5 Channels o" -istening, ed. =ame* "ea6ille, $FHFG. New 9or/+ ;outled&e. ;o*ar, :illiam. 2##2. A.ilm )u*icC:hat@* in a NameQB &he Journal o" (il Music 1, no. 1+ 1H1L. 5almer, Chri*to%her. 199$. &he Co poser in Holly0ood. 0ondon+ )arion ?oyar* 5u li*hin&. Sa anee6, 0eonid. 19$F. Music "or the (il s5 ' Handbook "or Co posers and Conductors. 0ondon+ Sir I*aac 5itman and Son* 0td. Sayr*, ,liza eth. 2##$. ANarrati6e, )eta%hor, and Conce%tual ?lendin& in MThe Han&in& Tree@.B Music &heory ,nline 9, no. 1. Scheurer, Timothy. 2##L. Music and Myth aking in (il . =e((er*on+ )c.arland X Com%any, Inc. Schmal(eldt, =anet. 1992. ACadential 5roce**e*+ The ,6aded Cadence and the M1ne )ore TimeB TechniEue.B Journal o" Musicological Research, 12+ 1HF2. CCCCC. 199I. AComin& to Term*+ S%ea/in& o( Phrase, Cadence, and .orm.B 4n &heory ,nly 1$+ 9FH11F. CCCCC. 2#11. 4n &he Process o" Beco ing5 'nalytic and Philosophical Perspectives on (or 1-(ord+ 1-(ord Pni6er*ity 5re**. in 2arly >ineteenth!Century Music.

Schneller, Tom. 2#12. A,a*y to Cut+ )odular .orm in the .ilm Score* o( ?ernard Herrmann.B 5a%er %re*ented at the >l(red Newman Sym%o*ium (or )u*icolo&ical .ilm Studie*, 0on& ?each, >%ril 1231!.

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S/inner, .ran/. 19F#. ;nderscore. New 9or/+ Criterion )u*ic Cor%. Slo in, )ar/. 2##L. AThe Steiner Su%erculture.B In *lobal .oundtracks5 1orlds o" (il )iddletown+ :e*leyan Pni6er*ity 5re**. Music, ed. )ar/ Slo in, $GHG2.

Slot/in, ;ichard. 2#1#. AThe :e*tern a* Cold :ar .ilm+ <un .i&hter* and <reen ?eret*CThe )a&ni(icent Se6en and the )yth o( Counter3In*ur&ency.B In Holly0ood8s ' erica5 &0entieth!Century ' erica &hrough (il , ed*. Ste6en )intz and ;andy ;o ert*, 2#IH1L.. )alden+ ?lac/well 5u li*hin& 0td. Steiner, .red. 19L1. AThe )a/in& o( an >merican .ilm Com%o*er+ > Study o( >l(red Newman@* )u*ic in the .ir*t "ecade o( the Sound ,ra.B 5h" di**., Pni6er*ity o( Southern Cali(ornia. Steiner, )a-. [19$I] 2#11. AScorin& the .ilm.B In Celluloid .y phonies5 &e7ts and Conte7ts in (il Hu ert, 221H$#. ?er/eley+ Pni6er*ity o( Cali(ornia 5re**. Music History, ed. =ulie

Sto/e*, =ordan. 2#12. A)u*ic in the :e*tern+ The Cow oy@* ,%ic Situation.B 5a%er %re*ented at the )u*ic and the )o6in& Ima&e Con(erence, New 9or/, =une 13$. Swale*, =ohn ). 2##L. *enre 'nalysis. New 9or/+ Cam rid&e Pni6er*ity 5re**. Ta&&, 5hilli% and ?o Clarida. 2##$. &en -ittle &unes5 &o0ards a Musicology o" the Mass Media. New 9or/ and )ontreal+ )a** )edia )u*ic Scholar* 5re**, Inc. Van der )erwe, 5eter. 19L9. ,rigins o" the Popular .tyle5 &he 'ntecedents o" &0entieth!Century Popular Music. 1-(ord+ Clarendon 5re**. :hitmer, )ariana. 2#12. Jero e Moross8s &he Big Country5 ' (il .core *uide. 0anham+ The Scarecrow 5re** Inc. :illiam*, =. 8ent. 2##L. AThe 5la&al Si&h+ > Ne&lected <e*ture in 5o%ular Son&* o( the <olden ,ra.B 5a%er %re*ented at the )u*ic Theory Southea*t Con(erence, Pni6er*ity o( North Carolina at <reen* oro, .e ruary 29H)arch 1. :inter*, ?en. 2##I. 2rich 1ol"gang 3orngold8s &he 'dventures o" Robin Hood5 ' (il .core *uide. 0atham+ The Scarecrow 5re**, Inc. Y i/ow*/i, 0awrence. 2##2. Conceptuali#ing Music5 Cognitive .tructure% &heory% and 'nalysis. 1-(ord+ 1-(ord Pni6er*ity 5re**.

%isco& aphy
?ern*tein, ,lmer. 199L, 19G#. &he Magni"icent5 .even ,riginal M*M Motion Picture .oundtrack. Cond. ,lmer ?ern*tein. ;y/odi*/, com%act di*c. <old*mith, =erry. 19G9. 100 Ri"les5 ,riginal Motion Picture .oundtrack. Cond. =erry <old*mith. .ilm Score )onthly Sil6er >&e Cla**ic*, com%act di*c. CCCCC. 199$. Rudy5 ,riginal Motion Picture .oundtrack. Cond. =erry <old*mith. VarZ*e Sara ande, com%act di*c. Herrmann, ?ernard. 199F, 19FL. $ertigo ,riginal Motion Picture .core. Cond. =oel )cNeely. VarZ*e Sara ande, com%act di*c. Howard, =ame* Newton. 2##!. Hidalgo. Hollywood ;ecord*, com%act di*c. )oro**, =erome. 199F. &he Big Country5 Music by Jero e Moross. 5er(. 5hilharmonia 1rche*tra. Cond. Tony ?remner. Sil6a >merican, com%act di*c. 8orn&old, ,rich :ol(&an&. 2##9. &he 'dventures o" Robin Hood5 &he (irst Co plete /igital Recording. 5er(. )o*cow Sym%hony 1rche*tra. Cond. :illiam Strom er&. )arco 5olo, com%act di*c.

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Newman, >l(red, and :illiam*, =ohn. 199I. .tar 1ars ' >e0 Hope5 &he ,riginal Motion Picture .oundtrack. 5er(. 0ondon Sym%hony 1rche*tra. Cond. =ohn :illiam*. ;C> Victor, com%act di*c. Steiner, )a- et. al. 1991. Casablanca5 Classic (il .cores o" Hu phrey Bogart. Cond. Charle* <erhardt. ;C> Victor, com%act di*c. :illiam*, =ohn. 19L1. 26&65 &he 27tra &errestrial5 &he 20th 'nniversary 2dition. Cond. =ohn :illiam*. )C>. 2##2, com%act di*c. CCCCC. 19LI. Harry Potter and the .orcerer8s .tone5 ,riginal Motion Picture .oundtrack. Cond. =ohn :illiam*. >tlantic. 2##1, com%act di*c. CCCCC. 1992. J(35 ,riginal Motion Picture .oundtrack. Cond. =ohn :illiam*. ,le/tra ,ntertainment, com%act di*c. CCCCC. 199$. Jurassic Park5 ,.&. Cond. =ohn :illiam*. )C>, com%act di*c.

2ootnotes
1. I wi*h to than/ tho*e who contri uted in*i&ht and (eed ac/ at 6ariou* *ta&e* o( thi* %roDect, includin& )artin )ar/*, )ar/ ;ichard*, Tom Schneller, :illiam ;o*ar, :illiam Chen&, and the anonymou* re6iewer* (or )T1. Than/* e*%ecially to =anet Schmal(eldt (or &enerou* (eed ac/ on a dra(t o( thi* article, and to Scott )ur%hy (or hi* e-ten*i6e and in6alua le in%ut at *e6eral *ta&e* o( thi* article@* &ene*i*. ;eturn to te-t 2. The*e include nota le mono&ra%h* on mu*ic and 6i*ual media %ractice*, includin& 8a**a ian 2###, Coo/ 2##!, and 0e-mann 2##G. ;eachin& ac/ (urther, 8alina/ 1992 and <or man 19LI erect the (oundation* o( contem%orary (ilm mu*icolo&y and it* *tron& em%ha*i* on the *emantic and ideolo&ical dimen*ion* o( (ilm mu*ic. 1( them, only 8a**a ian 211FH1G4 con*ider* the to%ic o( cadence, and there %rimarily in a meta%horical, rather than mu*ic3theoretical, *en*e. ;eturn to te-t $. Studie* (rom ?ri itzer3Stull 22##I4 and )ur%hy 22##G and 2#114, i*olate *%eci(ic harmonic %ro&re**ion* (reEuently em%loyed in &enre cinema. Hal(yard 22#1#4 doe* *omethin& *imilar (or an inter6al 2the melodic tritone4. Some o( the*e AcellularB a%%roache* tar&et *%eci(ic com%o*er*. .or e-am%le, ;o*ar 22##24 con*ider* Euartal harmony in the mu*ic o( 0eith Ste6en*, and Schneller 22#124 i*olate* 6oice3leadin& %attern* in ?ernard Herrmann. ?uhler 22#124 *u&&e*t* that to%ic theory can e (ruit(ully a%%lied to (ilm analy*i* and critici*m. ;eturn to te-t !. .or a di*cu**ion o( the nature o( thi* %utati6e A(ilm mu*ic *ound,B *ee ;o*ar 2##2 and a re*%on*e (rom Carroll and )oore 22#11, !FGHF94. ;eturn to te-t F. >ll mu*ical e-am%le* and the analy*e* a*ed on them (or thi* article *tem (rom my own tran*cri%tion* (rom ori&inal motion %icture *oundtrac/*. )aDor chord* are re%re*ented y ca%ital letter*, minor y lower ca*e. Chordal in6er*ion i* indicated y *la*h notation. In many ca*e*, the richne** o( orche*tration, *ynco%ated counterline*, and harmonic (ili&ree i* lar&ely (or(eited. 9et ecau*e my attention lie* *olely on cadence*, which are *till clear, the lo** o( detail i*, I ho%e, an acce%ta le *acri(ice. ;eturn to te-t G. =. 8ent :illiam* 22##L4 call* thi* the A%la&al *i&h,B and note* it* wide*%read u*e in <olden ,ra >merican %o%ular *on&, where it i* o(ten lin/ed to *entiment* o( A*adne**, re&ret, re*i&nation, wea/ne**, or a dreamli/e *tate.B Thi* a((ecti6e dimen*ion can e *een to o6erla% with <olden >&e melodramatic (ilm mu*ic, which o(ten em%loy* a *imilar harmonic idiom to that o( the >merican *on& oo/. ;eturn to te-t

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I. ;omantic u*a&e* o(ten *er6e to re3color the con6entional %o*t3cadential %la&al A>men.B The twin *ummit* o( :a&ner@* 2rlCsung3de6oted ae*thetic, &ristan and *CtterdD erung, oth conclude their (inal act* with con*%icuou* iteration* o( thi* motion. So (ond o( the &e*ture wa* :a&ner that he e6en re3wrote the clo*in& ar* o( (liegende Hollander in it* 1LG# re6i*ion to incor%orate a IVHii[ GHI %ro&re**ion 2*ee )illin&ton 1992, 2I94. ;eturn to te-t L. See Carter 2##2 (or an e-%loration o( the *%iritual connotation* o( *u dominant harmony, and (lat3*ide re&ion* *uch a* VII and VI, in the conte-t o( ei&hteenth and nineteenth3century mu*ic. ;eturn to te-t 9. See ?ordwell, Stai&er, and Thom*on 19LI (or the de(initi6e accountin& o( the 6ariou* ha it* and techniEue* o( narrati6e con*truction and continuity editin& (or thi* %eriod. ;eturn to te-t 1#. ?uhler@* de*cri%tion relate* to Newman@* (an(are a* it i* u*ed to %re*a&e =ohn :illiam*@* *imilarly no*tal&ic *core* (or the .tar 1ars *a&a. ;eturn to te-t 11. Than/* to Scott )ur%hy (or directin& me to the*e two e-am%le*. ;eturn to te-t 12. ?ecau*e the natural *ettin& (or thi* routine i* at cue@* 2or *core@*4 endCone o( the mo*t rhetorically (rei&hted moment* in any com%o*itionCthe )35C@* tendency toward* o6er*tatement ri*/* *hi(tin& any tran*cendent a((ecti6e a*%iration* toward* chea%ne** and %arodic o6er*tatement. Thi* may e the rea*on com%o*er* tend to u*e mi-ed %la&al cadence* only in (iltered or allu*i6e way*. "e6iation* (rom the (an(aric model in ,-am%le $ 2 elow4 can e thou&ht o( a* Achee*ine**3*o(tenin&B *trate&ie*, aimed to %re6ent la%*in& into what theori*t o( %arlor harmony 5eter 6an der )erwe 2 19L94 would con*ider %ur6eyin& the Alate romantic *chmaltzB o( %o%3chromatici*m. ;eturn to te-t 1$. "a6id Neumeyer 2Neumeyer 199L4 o((er* a critiEue o( the con*tructi6e %otential o( tonality and the u*e o( traditional cate&orie* o( mu*ical analy*i* on a re%ertoire determined y the demand* o( cinematic contin&ency. The recent %re(erence (or a%%roache* that concentrate on *maller unit* o( mu*ical di*cour*e may e *een a* an an*wer to the */e%tici*m Neumeyer ha* e-%re**ed re&ardin& lar&e3*cale *tructural analy*i* o( (ilm *core*. ;eturn to te-t 1!. Thi* too i* in*%ired y Schmal(eldt 22#11, 94, in thi* ca*e her A ecome*B arrow, thou&h I will em%loy *uch notation in a more re*tricted manner, *olely with re&ard to cadence*. ;eturn to te-t 1F. :hile not a %*ycholo&ical *tudy, my e-%loration o( cadential e-%ectation draw* (rom the literature o( e-%ectancy and emotion in mu*ic, %articularly the co&niti6e a**ociationi*t model %ro%o*ed y Cohen 2199$4, and the in6e*ti&ation* o( dynamic antici%ation and emotional 6alence y Huron 22##G4, which i* (oundational to my a%%roach to chromatic modulation* in Section V. ;eturn to te-t 1G. <or man@* 219LI, I#H9L4 account o( the mu*ical *emiotic* and *ynta- o( Cla**ical Hollywood mu*ic *ynta- i* the canonical delineation o( the 6ariou* (unction* o( the *oundtrac/, with narrati6e cuein& and emotional *i&ni(ication ein& two o( her *e6en %rinci%le*. ;eturn to te-t 1I. <eor&e ?urt 2199!, L$4 cite* tonal re*olution a* one o( many com%o*itional *trate&ie* o( A%ointin& u% an e6entB in the (ilm@* narrati6e, lendin& it hi&her narrati6al *alience or *emantic *%eci(icity.

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;eturn to te-t 1L. 1( dominant %rolon&ation durin& cadential e-%an*ion, Ca%lin note*+ AThe hei&htened dramatic e-%re**ion inherent in thi* &e*ture ma/e* it ideal (or u*e in o%eratic and concerto &enre* . . .B 2Ca%lin 199L, 1#94. Huron de*cri e* a A6erita le ouEuet o( %*ycholo&ical e((ect*B in6ol6ed in *im%le delay in cadential %a**a&e*. He li/en* the im%act to Athe u*e o( *low motion in (ilm*,B a* oth ma&ni(y e-%ectation and in*tall tem%orary dou t a* to *ucce**(ul arri6al 2Huron 2##G, $1!H1L4. ;eturn to te-t 19. Ten*ion which Herrmann accom%li*he* throu&h e-%licit mu*ical re(erence* to &ristan und 4solde to (urther tie the (ilm@* theme* o( lo6e and death. The :a&ner7Herrmann3Hitchcoc/ connection i* e-%lored in de%th in Coo%er 2##1 and =ohn 2##1. ;eturn to te-t 2#. Ca%lin (ind* *tandin& on the dominant %a**a&e* in cla**ical (orm* o(ten *er6in& postcadential 2mo*t o(ten, %o*t3hal(3 cadential4 (ormal (unctionK their re*olution to tonic chord* are not a((orded cadential *tatu* 2See Ca%lin 2##!, 1G, 11$H1F, 1FIHF94. ?ecau*e (ilm mu*ic i* not a*ed on (ormal (unction* in Ca%lin@* *en*e, I admit entry o( the*e *tretched out ten*ion7relea*e %attern* into the cate&ory o( cadence* and entru*t the AindeterminateB la el to ca%ture their di((erence (rom Cla**ical model*. See Section III. ;eturn to te-t 21. "aniel <oldmar/ 22##F, G4 *tate* that the %hra*e Amic/ey3mou*in&B aro*e in the 19$#* a* a 2then dero&atory4 term (or %reci*e, (reEuent, and literal3minded mu*ic36i*ual *ynchronization in li6e3action *corin& . ;eturn to te-t 22. In addition to an analy*i* o( the *core@* un*ur%ri*in&ly den*e thematic we , :inter* %ro6ide* ac/&round on 8orn&old@* wor/in& method* and *ource* 2includin& *el(3 orrowin&*4. ;eturn to te-t 2$. ;ather than *temmin& (rom %ain*ta/in&ly determined *ynch3%oint* *uch a* tho*e utilized y the ma*ter o( mic/ey3 mou*in&, )a- Steiner, 8orn&old@* (acility with *ynchronization wa* lar&ely in*tinctual. The com%o*er o( Robin Hood wa* (amou* (or de6i*in& *uch mu*ic a* the rid&e (i&ht y %iano im%ro6i*ation, without the aid o( *ynchronization aid* li/e *to%watche*. ;emar/a ly, 8orn&old initially re(u*ed to *core Robin Hood out o( concern o6er the com%le- action *eEuence*, claimin& that he wa* Anot a mu*ical illu*trator (or a 9#\ action %icture.B 2Euoted in :inter* 2##I, II4 ;eturn to te-t 2!. > &ood way to demon*trate thi* a *or%ti6e Euality i* to a%%ly the Acommutation [*u *titution] te*t,B the %rinci%le* o( which are laid out in <or man 219LI, 1FH1L4 and e-%lored y Ta&& 22##$, 9L4. ;eturn to te-t 2F. The (ormer re*olution 2mea*ure* 1H$4 i* an in*tance o( an indeterminate cadence, one o( the (ew in the otherwi*e ti&htly determined cue, *mall metrical e-%an*ion* and contraction* notwith*tandin&. ;eturn to te-t 2G. In the Cla**ical *tyle, the*e VHI motion* Euali(y a* elided cadence*, in which the conclu*ion o( a mini3>C i* *imultaneou*ly the initiation o( a melodic %hra*e. See Schmal(eldt 1992 and Ca%lin 199L. ;eturn to te-t 2I. Ca%lin@* remar/* on the %la&al cadence 22##!, I1HI24 re*t* on what he claim* i* the *u dominant@* ina ility to %roDect *tructural e-%ectation* a* the leadin&3tone earin& V doe*. Thi* i* unEue*tiona ly not the ca*e in (ilm mu*ic+ *tructural %la&al cadence* are ri(e, a* are %la&al hal( cadence*. ;eturn to te-t 2L. Some a*%ect* o( Ca%lin@* cadential ty%olo&y ha6e een challen&ed y theori*t*K the*e include* the *trict di((erentiation o(

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cadence ty%e when eli*ion i* in6ol6ed 2?ur*tein 2#1#4, how cadence* are in(ormed y non3harmonic (actor* 2;ichard* 2#1#4, and the nece**ity o( a non3di**onant dominant at a hal( cadence 2Schmal(eldt 2#11, on the Anineteenth3century cadence4. ;eturn to te-t 29. :e *hould not *e%arate the*e two cate&orie* too in(le-i lyK *ynta-, %articularly in (ilm mu*ic, can e *omethin& o( a (unction o( rhetoric, thu* (orcin& a re6er*al o( the *tron& analytic ia* (a6orin& the (ormer o6er the latter. In (act, the cate&orie* may on occa*ion e indi*tin&ui*ha le. 8o(i >&awu, (rom whom Ca%lin@* notion o( ArhetoricB *tem*, caution* that Athere i* no *tructure without rhetoricK rhetoric doe* not merely adornCit de(ine*B 2>&awu 2##9, $14. The *yntactical7*tructural element* within a mu*ical wor/ are inherently rhetorical, and com%o*itional choice* o( more *eemin&ly Ae-%re**i6eB intent in6aria ly ha6e *tructural im%lication*. > *imilar %oint i* articulated y Neumeyer 2Neumeyer 199L4, *%eci(ically with re*%ect to (ilm mu*icK hi* cate&orie* o( tonal teleolo&y and a**ociati6ity ma% roadly to Ca%lin7>&awu@* *ynta-7*tructure and rhetoric, and he warn* that the (ormer on it* own i* not a meanin&(ul %arameter in (ilm mu*ic analy*i*. ;eturn to te-t $#. >l*o noteworthy i* the (act that 8orn&old re3%ur%o*e* mu*ic (rom the rid&e (i&ht (or two *u *eEuent mRlNe*, (ir*t the clum*y duel with .riar Tuc/, and later the climactic con(rontation with Sir <uy. In oth ca*e*, *mall chan&e* to tem%o and metrical addition* or *u traction* ena le *ometime* a*toni*hin&ly %reci*e *ynchronization. ;eturn to te-t $1. )a- Steiner, *omewhat di*mi**i6ely, call* thi* Ao6erallB *corin&+ mu*ical accom%animent that a6oid* re*%ondin& locally to the ima&e, rather o6erlayin& a *cene with a more holi*tic *ort o( e-%re**i6ity. See Neumeyer 2###, 1F, 2F. In %ractice, (ilm mu*ic rarely (all* ri&idly into cate&orie* o( Amic/ey3mou*in&B or Ao6erallB *corin&. >ll ut the mo*t intentionally cartooni*h cue* will only e6er re(lect a hand(ul o( %oint* o( *ynchronization while %layin& throu&h countle** other*. ;eturn to te-t $2. ]uoted in >ltman 2#11, L$. See al*o Swale* 2##L, $$HG1 (or a di*cu**ion o( :itt&en*teinian notion* o( (amily re*em lance with relation to (ilm &enre. ;eturn to te-t $$. The notion o( %aradi&m I am em%loyin& ear* it* own (amily re*em lance to that o( the %rototy%e, in which certain ty%e* etter e-em%li(y a &i6en cate&ory ecau*e they %re*ent more and *tron&er mem er* o( a ty%icality trait in6entory. 5rototy%e theory wa* de6elo%ed in the 19I#* y ;o*ch and later 0a/o((. It* mo*t nota le a%%lication to mu*ic theory i* in Y i/ow*/i 2##2. I maintain that my cinematic cadential &enre* are *tron&ly o( Y i/ow*/i@* ATy%e IB 6arietyC(ree o( nece**ary and7or *u((icient condition*. ;eturn to te-t $!. )y *y*tem o( attri ute* and %aradi&m* draw* in*%iration %artly (rom ;o ert <Derdin&en@* sche a theory (or ei&hteenth3 century mu*ic. It a&ree* %articularly with hi* attitude toward* *chematic e-em%lar* a* not nece**arily earin& all the (eature* a**umed o( the idealized %rototy%e. Thou&h <Derdin&en doe* not ado%t an attri ute3li*tin& *trate&y Euite a* I do here, hi* *chematic re%re*entation* and enumeration* o( central (eature* and 6ariation* accom%li*he* e**entially the *ame &oal. See <Derdin&en 2##I, 1#H1G and !F$HG!. ;eturn to te-t $F. ;o ert Hatten 2199!, !1H!2, 2GFHGI4 treat* cadence* a* *ite* o( %otential mar/edne** 2e*%ecially dece%ti6e cadence*4. ;eturn to te-t $G. Some attri ute* here may *eem to e mutually im%licati6e, ut an a%%arently redundant *u clu*ter o( trait* in a %aradi&m ca*e may turn out to e detacha le in a hea6ily altered 6ariant. ;eturn to te-t $I. >ltman@* analy*i* o( the :e*tern center* on it* radically contin&ent (ilmic ori&in*+ it orrowed element* (rom other e*ta li*hed &enre*, and to a certain e-tent wa* the %roduct o( (ilm critical di*cour*e it*el( 2>ltman 2#11, $!H$I4.

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;eturn to te-t $L. >n in(luential (ormulation o( the :e*tern &enre come* (rom *tructurali*t =im 8it*e* 22##!4, (or whom the &enre i* determined y a dialectic etween AThe :ilderne**B and ACi6ilization.B =ordan Sto/e* 22#124 o((er* a more recent e-%loration o( :e*tern &eneric Eualitie* in li&ht o( mu*ic and narration. > %eerle**, i( hi&hly in(ormal re*ource on *uch matter* i* the wi/i%a&e TVtro%e*.or& 2htt%+77t6tro%e*.or&7%mwi/i7%mwi/i.%h%7)ain7The:e*tern4. ;eturn to te-t $9. .or di*cu**ion o( %entatonic (la6or o( Cla**ic we*tern* 2*uch a* .tagecoach and .hane4, *ee S/inner 19F# and ?ec/erman and ;o*ar 2##9. >dditionally, *ee Scheurer 2##L, (or an o6er6iew o( thi* and many other %er*i*tent *tyle to%ic* in the (ilm :e*tern. ;odman 22#11, !$H!F4 draw* a connection etween %entatonici*m and the Cow oy *on& oo/ o( =ohn 0oma-. ;eturn to te-t !#. Neil 0erner 22##14 e-%lore* the u*e o( Co%land3e*Eue tro%e* in Hollywood. :hile he doe* not touch on %entatonic or *u tonic cadential archety%e*, hi* *ur6ey o( in(luence (rom .riedho(er to Horner cement* the %er*i*tence o( mu*ical %rocedure* that al*o &o into the *%eci(ic harmonic routine* *tudied here. ;eturn to te-t !1. >nother route, in*ti&ated y the %o%ularity o( ,nnio )orricone@* *%a&hetti we*tern *core* 2with *ome %recedent* in the mu*ic o( more e*ta li*hment (i&ure* li/e "imitri Tiom/in4, (a6ored in6enti6e and *%ar*e in*trumentation, accom%animent that alternate* etween e-treme* o( *u tle under*corin& and o6erwhelmin&ly (ore&rounded lyrici*m, and aeolian3 and dorian3moded theme* 2or %entatonic *u *cale* thereo(4. In the %a*t two decade*, harmonic (a*hion ha* deci*i6ely *wun& in the )orricone3direction o6er the Co%lande*Eue. > third way, on di*%lay mo*t %rominently in the *core* o( =erry .ieldin& 2&he 1ild Bunch, &he ,utla0 Josey 1ales4, ado%t* a more moderni*t tonal ae*thetic, ut e6en the*e Are6i*ioni*tB *core* (eature element* o( (ol/ *on& and hymnody characteri*tic o( the e*ta li*hed :e*tern idiom. ;eturn to te-t !2. The term A*u tonic hal( cadenceB i* *horthand (or A*u tonic to dominant hal( cadence.B >n HC that omit* V and dwell* *im%ly on VII would in6ol6e *u traction o( attri ute* 2, $, and ! (rom the cadence@* in6entory. ;eturn to te-t !$. + i* the o%eration that di*%lace* a triad@* non3)$ (ormin& %itch y whole3tone to %roduce another triad. , i* the o%eration that di*%lace* a triad@* non35F (ormin& %itch y *emitone to %roduce another triad. 0, the neo3;iemann &rou% com%letin& o%eration, di*%lace* a triad@* non3m$ (ormin& %itch y *emitone to %roduce another triad. .or an introduction to neo3;iemannian theory and analy*i*, *ee Cohn 199L. ;eturn to te-t !!. The *ame +, tran*(ormation underlie* another (ilmically wide*%read tonal %ro&re**ionC VIHIVCwhich, under certain circum*tance*, can a**ume a**ociati6e and (ormal dutie* *imilar to the S3HC. ;eturn to te-t !F. See, (or e-am%le, Ta&& and Clarida 2##$, $FIHG2, and Coo/e 2##L, 129H$#. Ta&& la el* thi* (in&er%rint the Acow oy hal( cadenceB in hi* di*cu**ion o( tonal characteri*tic* o( what he call* A i&3country modali*m.B :ithout a*cri in& direct in(luence, Ta&& note* that the cadence im%act* :e*tern3themed %o%ular mu*ic* a* well a* (ilm, %ointin& to the o%enin& 2non3cadential4 maDor triad T * * o( Credence Clearwater ;e6i6al@* A5roud )aryB and a num er o( in*trumental %iece* y the and The Shadow* in the 19G#* 2Ta&& and Clarida 2##$, $FIHG24. That the*e e-am%le* *hould arri6e *hortly a(ter )oro** and ?ern*tein@* widely heard *core* (urther *u&&e*t* a ca*e o( (ilm in(luencin& %o%ular mu*ic. ,6erett 2##9, 2I9, e-amine* the e-%lo*ion in the u*e o( thi* %ro&re**ion in 19G#* %o% mu*ic. ;eturn to te-t !G. :hitmer 2#12 o((er* e-ten*i6e analy*i* o( thi* *core, thou&h *he doe* not rin& u% the harmonic con*truction o( the title theme.

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;eturn to te-t !I. )any commentator* ha6e lin/ed )oro**@* cadential (in&er%rint to the *imilarly *u tonic3(a6orin& *tyle o( >aron Co%land. Howe6er, de*%ite a *tron& lin/ etween their two *tyle* 2and indeed, %ro(e**ional li6e*4, Co%land did not u*e the S3HC with any re&ularity, and claim* o( im%ortation into &he Big Country, *uch a* that made y Coo/e 22##L, 1294, lac/ concrete or accurate e6idence, and (ail to entertain the %o**i le in(luence o( other >merican com%o*er* li/e Thom*on or I6e*. )oro** u*ed the *u tonic hal( cadence throu&hout hi* career, includin& in wor/* %redatin& Co%land@* in(luential Red Pony 2(or e-am%le, in hi* 19!G $ariations on a 1alt#4. It i* %ro a le that )oro**, a com%o*er with a inclination to oth chromatici*m and %ure triad*, *im%ly arri6ed u%on the %ro&re**ion on hi* own a* a mean* o( harmonizin& the ine6ita ly %re*ent (ol/*y . ;eturn to te-t !L. :ith a de&ree o( unre*er6ed enthu*ia*m ty%ical o( account* o( thi* *core, Chri*to%her 5almer *ay* o( the theme+ AThe 6ery (ir*t ar* o( the titleCone o( the mo*t electri(yin& in (ilm mu*icCare in*%iredB 2199$, $1!4. ;eturn to te-t !9. )oro** wa* not a* con*i*tent in maintainin& the :e*tern &eneric tie* to the S3HC a* were the many other com%o*er* in(luenced y &he Big Country. .or e-am%le, )oro**@* *core to &he Cardinal, which ta/e* %lace in interwar ?o*ton and ;ome, (eature* the %ro&re**ion %rominently in it* main title theme. ;eturn to te-t F#. The IIIHV hal( cadence i* more characteri*tic o( the )orricone model (or :e*tern (ilm *corin&, and, li/e the S3HC, ha* enDoyed remar/a le a**ociati6e lon&e6ity, noticea le e6en in Han* Yimmer@* *core to the 2#1$ &he -one Ranger re oot. ;eturn to te-t F1. The *im%le*tCand mo*t radicalCchan&e i* *im%ly to eliminate the antecedent3concludin& dominant alto&ether 2thu* *u tractin& attri ute* 2H!4. Thi* lea6e* VII to *u%%ort and dimini*he* the *tren&th o( the hal( cadence, i( it can e heard a* *uch at all. >n e-am%le can e (ound in the main credit* *eEuence (or .upport your -ocal *un"ighter 2=ac/ ,lliott, 19GL4. Thi* chan&e o( the cow oy cadence %aradi&m tend* to end a theme@* harmonic traDectory toward* a IH VII o*cillation rather than a cadence3im%elled tonal %ro&re**ion, a %rocedure more characteri*tic o( Co%land@* A:e*ternB mu*ic than the line *tartin& with )oro**. ;eturn to te-t F2. 1ther dou ly iterated a%%lication* o( the S3HC can e (ound in <old*mith@* title mu*ic (or Bandolero, Breakheart Pass, and Hollister. > triple iteration 2S4 occur* in the modulatory rid&e o( hi* theme (or &he 1ild Rovers. ;eturn to te-t F$. In %o% mu*ic *cholar*hi%, the*e ha6e een called Adou le %la&alB %ro&re**ion*. See ,6erett 2##9, 2I!, and ?iamonte 2#1#. ;eturn to te-t F!. Thi* %ro&re**ion i* an in*tance o( the AS0I",B tran*(ormation, a* coined in 0ewin 19LI and con*idered in (ilm mu*ic conte-t* in 0ehman 2#1$. ;eturn to te-t FF. <old*mith@* theme to 1992@* &he -ove (ield 2li/e J(3, a 8ennedy a**a**ination drama4 al*o recruit* the %ro&re**ion a* a 5>C3%re%aration, thou&h there it i* the %roduct o( a hea6ily lue*3in*%ired harmonic idiom. ;eturn to te-t FG. The ethnic or (ol/ allu*ion *eem* (urther a *tracted away in S3>C* that occur in %atriotic (ilm* and tele6i*ion *how* *uch a* /ave 2=ame* Newton Howard, 199$4, 4ndependence /ay 2"a6id >rnold, 199G4, &he 1est 1ing 2:. <. Snu((y :alden, 1999H2##G4K (lyboy 2Tre6or ;a in, 2##G4, &he 3ennedys 22#124, and 1hite House /o0n 2Harald 8lo*er, 2#1$4. Than/* to an anonymou* re6iewer (or *u&&e*tin& *ome o( the*e e-am%le*. ;eturn to te-t

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FI. The techniEue i* e*t /nown in the*e other re%ertoire* a* the de6ice o( *hi(tin& a /ey y *emi3 or whole3tone at a climactic moment late in a *on&, (or which it ha* &arnered de*cri%tor* *uch a* Atruc/3dri6er@* modulationB 2,6erett 2##9, 2L$HL!4, A%um% u% modulationB 2"oll 2#114, and A*hot&un modulationB 2Sayr* 2##$, in the conte-t o( a Steiner *core (or the :e*tern Hanging &ree, no le**S4. The C)C; i* oth more *%eci(ic than the %um%3u% modulation 2in reEuirin& motion (rom a root %o*ition V to root %o*ition I4 and more &eneral 2 y includin& modulation* y inter6al* other than ic1H24. ,6en *o, the e-%re**i6e e((ect and (ormal im%lication* o( C)C;* are not di**imilar. :hile *u Dect to *imilar deri*i6e a**e**ment (rom critic* and commentator*, they too may e im%lemented art(ully. ,6en in crude in*tance*, e-%re**i6e *te%wi*e modulation* %o*e 6ital Eue*tion* a out the nature o( %rolon&ation in chromatically in(lected tonal mu*ic. ?uchler 22##L4 roache* the*e i**ue* in term* o( the (ormal and rhetorical e((ect* o( chromatic /ey3chan&e* i**uin& (rom the %en o( .ran/ 0oe**er. ;eturn to te-t FL. C)C;* to minor tonic* are %o**i le ut much le** (reEuent in (ilm mu*ic, *ince they lac/ the element o( Doyou* e-u erance and the (anta*tic that i* the e**ential rea*on (or their wide*%read u*a&e in &enre cinema. ;eturn to te-t F9. The clo*e*t analo&ue in *tandard diatonic theory to the*e a ru%t, &round3*hi(tin& dominant re*olution* i* the dece%ti6e cadence. Howe6er, there i* a crucial di((erence etween thi* cinematic techniEue and dece%ti6e %recedent* in the ei&hteenth and e*%ecially nineteenth3century re%ertoire. In a common3%ractice dece%ti6e cadence, the chord o( re*olution i* (elt a* a tonic *u *titute, and *till reEuire* a *econd attem%t at cadencin& to ca%ture the %ro%er ori&inal /ey. In a C)C;, y contra*t, the chord o( re*olution i* a *ta le tonic, (it (or either concludin& a cue or initiatin& a new mu*ical %ara&ra%h in it* own /ey. Certainly, the idea o( *huttlin& a ru%tly to /ey* located at chromatic remo6e* (rom each other i* an e**ential com%onent o( ;omantic tonal *ynta-. Howe6er, it remain* uncommon that the*e direct modulation* are achie6ed on the heel* o( a cadence. )ore o(ten, com%o*er* *im%ly war% directly (rom one tonic triad to another, with common tone* %otentially *o(tenin& the im%act o( otherwi*e unmediated tonal di*ru%tion. ;eturn to te-t G#. The*e networ/* are, o( cour*e, not uni6er*ally realiza le, due to their mi-ture o( duali*tic and tran*%o*itional tran*(ormation*. Thi* i* a non3i**ue, ecau*e the in%ut triadic mode need* to e maDor (or the*e to con*titute C)C;*. ;eturn to te-t G1. To Huron 22##G, $1H$F4, awe i* an ae*thetic A(reezeB reaction, Aa (orm o( %lea*ura le *ur%ri*e, one that mi-e* a *en*e o( a%%arent *u*tained dan&er with an a%%rai*al that the *ituation i* o/ay or &ood.B .ri**on, on the other hand, i* a 6ariation o( the A(i&htB re*%on*e, an Aincrea*e in %hy*iolo&ical arou*al.B ;eturn to te-t G2. Huron cite* here a *tudy y Slo oda that (ound that a ru%t modulation*, %articularly chromatic one*, are lin/ed with *hi6er re*%on*e*. ;eturn to te-t G$. The *tructural (i**ure* and rhetorical e-%an*ion o( the C)C; recall the )ahlerian *ym%honic *trate&y o( /urchbruch, or A rea/throu&h,B a* (ormulated y 5aul ?e//er and re(ined y Theodor >dorno 2See ?uhler 199G4. Indeed, the trium%hant e-%lo*ion into " maDor in the la*t mo6ement o( the &itan 2mea*ure* $I#HIF4 i* a %er(ect e-am%le o( a chromatically modulatin& cadential re*olution. =ame* ?uhler@* 199G article AM?rea/throu&h@ a* CritiEue o( .orm+ The .inale o( )ahler@* .ir*t Sym%honyB o((er* a rich in6e*ti&ation o( the (ormal and cultural a*e* o( thi* )ahler (in&er%rint. ;eturn to te-t G!. The emotional traDectory de*cri ed here i* a*ed around Huron@* IT5;> model o( e-%ectation 2Huron 2##G, 1H1L4. ?rie(ly+ the antici%ation o( correct diatonic cadential re*olution corre*%ond* to the ima&ination %ha*eK the &atherin& harmonic and metrical di**onance the ten*ion %ha*eK the (ailed antici%ation o( a diatonic re*olution to the %rediction %ha*eK the *heer Dolt an une-%ected chord to the reaction %ha*eK and the mi-ture o( met and unmet rhetorical e-%ectation* to a 6ery

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com%le- a%%rai*al %ha*e. ;eturn to te-t GF. C)C;*, li/e )35C re*olution*, can al*o ea*ily (all into the ae*thetic cate&ory o( *chmaltz. How *uch &e*ture* are recei6ed de%end* entirely on the &enre o( the (ilm and the %er*%ecti6e o( the audience 6iewin& it. Coo/e note*, o( Steiner+ ACertainly hi* wor/ contain* many cruditie* and clichN*, *uch a* the *accharine modulation* to the maDor when a *ic/ child reco6er* in .ierra Madre and a(ter the 6illain die* at the clima- o( 3ey -argoCa (ilm re%lete with %redicta le *tin&er* and melodramatic orche*tral (louri*he*B 2Coo/e 2##L, 924. Surely, there i* no (louri*h more melodramatic than a Hollywood cadence on the heel* o( a C)C;S ;eturn to te-t GG. :hile re%re*entati6e* o( C)C; Ty%e* IHV can ea*ily e (ound in :illiam*@* *core*, Ty%e VI 2VH IVOI4 a%%ear* to e an e-ce%tion. It* di*(a6or i* attri uta le to it* more rela-ational, a* o%%o*ed to inten*i(icatory, *ound. The li/ely melodic de*tination, o( the new /ey, i* relati6ely wea/ com%ared to the (ruit* o( and o( the other (i6e cadence*. ;eturn to te-t GI. The o6erla% o( cadential (unction* re*t* on a %lay o( %roDecti6e and retro*%ecti6e hearin&. 5roDecti6ely, we e-%ect thi* to e an elided authentic cadence o( *ome /ind, ut *ince it turn* out not to e an authentic cadence, the dominant " end* u% ein& the la*t *trictly AcadentialB chord heard. Thi* i* an in6er*ion o( the eha6ior *ometime* (ound with *tandin&3on3the3 dominant %a**a&e*, which e&in a* a (ormal HC and end with an elided 5>C, *uch a* Ca%lin o *er6e* in the PathEtiFue .onata 2199L, 2#F4. ;eturn to te-t GL. The %edal chord could %o**i ly e inter%reted a* a V , ut &i6en the inten*e lydian ent o( the 26&6 *core at lar&e, thi* cadential chord *hould count a* a *u traction o( attri ute F all the *ame. ;eturn to te-t G9. Thi* *en*e o( the Acorrectne**B o( non3diatonic cadential re*olution* i* noted y )eyer a* a characteri*tic o( nineteenth3 century harmony *ynta-. He claim* that Athe authentic cadence, a norm in cla**ical and early romantic mu*ic, *ometime* a%%ear* to e a de6iant in the *tyle o( the late nineteenth century. . . . [> chromatic cadence (rom 2in Heldenleben] lead* u* to e-%ect almo*t anythin& ut the tonicK and when the tonic doe* come, it i* de(initely (elt to e a de6iantB 2)eyer 19G2, GG4. ;eturn to te-t I#. See, (or e-am%le, ACadillac o( the S/ie*B (rom 2 pire o" the .un, analyzed in 0ehman 2#12, 1$HI$. ;eturn to te-t I1. The com ination o( a** motion 2C 2H. 24 and melodic line 2?F H C G4 in mea*ure* !HG could accommodate oth tonal hearin&*, either 2?+ IVHii IHV4 or 2> + VIHi6 IH VII4. I( the latter i* the ca*e, we ha6e an e-am%le o( an C)C; that ha* *u tracted attri ute F, re%lacin& the dominant with a 2admittedly (ilmic4 mi-olydian VII *u *titute. ;eturn to te-t

Copy i&ht Statement Copy i&ht : 2-13 by the Society fo /usic Theo y. 7ll i&hts ese 5ed. [1] Co%yri&ht* (or indi6idual item* %u li*hed in Music &heory ,nline 2M&,4 are held y their author*. Item* a%%earin& in M&, may e *a6ed and *tored in electronic or %a%er (orm, and may e *hared amon& indi6idual* (or %ur%o*e* o( *cholarly re*earch or di*cu**ion, ut may not e re%u li*hed in any (orm, electronic or %rint, without %rior, written %ermi**ion (rom the author2*4, and ad6ance noti(ication o( the editor* o( M&,6 [2] >ny redi*tri uted (orm o( item* %u li*hed in M&, mu*t include the (ollowin& in(ormation in a (orm a%%ro%riate to the medium in which the item* are to a%%ear+

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Thi* item a%%eared in Music &heory ,nline in [V10P), ^, ISSP, ^] on [">97)1NTH79,>;]. It wa* authored y [.P00 N>),, ,)>I0 >"";,SS], with who*e written %ermi**ion it i* re%rinted here. [$] 0i rarie* may archi6e i**ue* o( M&, in electronic or %a%er (orm (or %u lic acce** *o lon& a* each i**ue i* *tored in it* entirety, and no acce** (ee i* char&ed. ,-ce%tion* to the*e reEuirement* mu*t e a%%ro6ed in writin& y the editor* o( M&,% who will act in accordance with the deci*ion* o( the Society (or )u*ic Theory. Thi* document and all %ortion* thereo( are %rotected y P.S. and international co%yri&ht law*. )aterial contained herein may e co%ied and7or di*tri uted (or re*earch %ur%o*e* only. Prepared by Michael McCli on% 2ditorial 'ssistant

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