film music essay

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The Role of Music in Films' Success

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Published: Mar 3, 2020

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Importance of music in film (essay)

Works cited.

• Cooke, M. (2008). A history of film music. Cambridge University Press.
• Karlin, F. & Wright, R. (2004). On the track: A guide to contemporary film scoring (2nd ed.). Routledge.
• Kassabian, A. (2001). Hearing film: Tracking identifications in contemporary Hollywood film music. Routledge.
• Kerman, J. (1985). Contemplating music: Challenges to musicology. Harvard University Press.
• Lack, R. (2013). Film music and the sonic imagination. Routledge.
• Larson, R. (2013). Film music in the sound era: A research and information guide. Routledge.
• Pople, A. (2002). A composer's guide to film music. Yale University Press.
• Schellhase, E. (2014). Music and sound in documentary film. Routledge.
• Smith, G. (2010). A history of film music. Cambridge University Press.
• Wierzbicki, J. (2009). Film music: A history. Routledge.

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Filmic Techniques: How to Analyse Music in Film or TV

Need to analyse music in film but don't know where to start? In this article, we explain how to analyse music in film or TV and show you how to write about it!

Guide Chapters

• How to analyse poetry and prose
• Colour Palette
• Character Archetypes
• Foreshadowing
• Intertextuality
• In medias res
• Juxtaposition
• Lighting - Film
• Mise en scene - Film
• Montage - Film
• Music - Film
• Shot angles - Film
• Symbolism - Film

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Filmic Techniques – Music

Within a piece of media, whether it be a film, television show or even a video game, music is utilised as another means of expressing meaning to the audience.

The different pieces of music that appear, the timing of those pieces, and the way they develop over the course of a story reveal key ideas about characters, places and even plot points from the text.

Music is a great technique to discuss in essays written about films, as there are so many different ways that you can analyse it.

In this article, we’ll discuss

• What is music as a technique?
• What’s so important about music?
• How can I analyse music in my essay?
• How can I explain the effects of music in film?

Most students may be afraid to boldly state what they think music represents in the films or shows they are analysing, but fear not! The great thing about music as a filmic device is that, like metaphors and symbols, their meaning is entirely up to interpretation. So long as you are able to cite evidence to back up your idea, you are able to say whatever you want about a piece of music!

What’s so important about music?

A lot of students forget about music when writing essays in films, or television shows!

It is important to remember that markers are specifically looking for students to discuss techniques specific to the form of a text in their essays. So, an essay analysing a movie should focus on filmic techniques, or techniques specific to film. Camera shots, editing and the composition of a scene are all important examples.

Just as important as what you see in a film is what you hear!

Music is loaded with meaning, and students should do the best they can to use it in support of their arguments.

When students come across a piece of music in a film, the first step they usually take is to categorise it as either diegetic or non-diegetic .

• Diegetic music is music that exists in the world of the movie. For example, if a song is playing through a character’s earbuds, or radio, in a film, that music is likely diegetic.
• Non-diegetic music is the opposite; music that does not exist in the world of the film. This is music that only the audience can hear. This distinction is useful to keep in mind, as the effects of diegetic and non-diegetic music may be different.

How does music work in film or TV?

Music achieves a lot of things in film and television. Amongst other things, music:

• Establishes the tone, or atmosphere, of a scene.
• Gives meaning to the actions, thoughts and feelings of characters
• Helps to establish the setting.
• Foreshadows future narrative events.

The question is, how is this accomplished? Why does music create a certain effect? How does it make a scene scary, or funny, or emotional?

There are certain qualities that can make music sound a particular way. Even if you don’t know much about musical theory, the pacing and timbre (pronounced tam-ber) are two elements that you can easily keep in mind!

Pacing and timbre

With pacing , faster music can make a scene feel more tense , whereas slower music can feel more emotional .

The timbre of a piece of music is basically the tonal colour , or quality of that music . You can think of it in terms of how certain instruments inherently sound. For example, you may wish to describe sounds as brassy, bright, dark, scratchy, harsh, warm, mellow, peppy, heavy, light etc.

A slow, heavy piano solo in a sad scene can create a sombre atmosphere, whilst a fast, peppy piano solo might create a more comedic atmosphere. These words can help you describe why you think a certain piece of music makes a scene feel!

Musical leitmotifs

Music is also able to express the feelings and motivations of characters through the use of leitmotifs .

Leitmotifs are recurring musical phrases that appear throughout a film, associated with a particular character, place, theme or situation.

When these specific musical phrases appear at different moments in a film, or change over the course of a story, this can create a vast amount of meaning for the audience!

For example, let’s consider ‘ Hedwig’s Theme ’, originally composed by John Williams, from the Harry Potter movie franchise. ‘Hedwig’s Theme’ is a very famous leitmotif, and almost always the first song people think about when they remember the Harry Potter films!

The leitmotif is first heard in the very first scene of Harry Potter and the Philosopher’s Stone, when Harry is dropped off to the Dursleys as a baby. This piece of music could arguably represent the wizarding world as a whole, and signifies the existence of that world to the audience for the first time here.

The leitmotif appears countless times during the next seven films, but evolves most notably in the final film, Harry Potter and the Deathly Hallows Part II. In this film, ‘Hedwig’s Theme’ appears within a piece of music titled ‘In the Chamber of Secrets’, though the melody is cut off. The leitmotif is interrupted, and the audience is left feeling empty or uneasy as the iconic song is left unfinished. This could perhaps symbolise the destruction of the wizarding world at the hands of Voldemort.

Musical Foreshadowing

Musical Foreshadowing is another thing to keep in mind when listening to film music.

Sometimes, within a movie, a piece of music might play which signals to the audience what is about to happen next.

We may not realise it at first, but the ways in which music appears and sounds at key moments can spoil the story!

A great example of this appears in the 1975 film Jaws , in which the iconic two-tone motif (that famous duunnn dun… duuuuun dun) appears, and grows increasingly faster, whenever the shark is about to appear. Even though we may not see Jaws, the music itself creates a feeling of horror, or dread. The music directly foreshadows the appearance of the shark, and the terror that is about to come.

How to analyse music in film and TV – step-by-step

So now that we understand the importance and uses of music in films and television, let’s go step-by-step and see how we can analyse it as a technique within our essays!

• Is the music diegetic, or non-diegetic?
• What does the music represent? Is it tied to a certain theme, character, place or object in the film?
• Have you heard this music before?
• What does it sound like?
• Has it changed over the course of the film? Stayed the same?
• How does the music develop meaning?
• Discuss your insights using a T.E.E.L structure.

Step 1: Diegetic, or non-diegetic?

• If the music is diegetic , it is useful to consider: Where did it come from? How are the characters interacting with it?
• If the music is non-diegetic , you may instead wish to think about: What effect is this music having on the audience?

Step 2: What does the music represent?

Here, it is imperative to ask yourself: what do I think this music represents? Have you heard that melody before? What character, theme, place, object, etc. can you tie the music to?

Now, it is worth mentioning that leitmotifs are very much up for interpretation; I might say that ‘Hedwig’s Theme’ in the Harry Potter franchise represents the wizarding world, but you might wish to say it embodies the theme of hope.

Both are acceptable, so long as you can back up your argument!

Once you have decided what the music will represent, analyse the way it sounds!

• Is it fast paced, or more slow?
• What is the timbre like?
• What mood or atmosphere does it evoke?
• Does that music develop over the course of the film? Like ‘Hedwig’s Theme’, does the music change to symbolise a greater event, or plot point in the story?

It is very useful to pay attention to the way certain leitmotifs evolve throughout a film, or series, as these pieces of music become examples to illustrate how characters, places or themes change throughout the story! Leitmotifs that do not evolve at all are just as interesting; they might signal to the audience that the character, theme or place has remained the same!

Step 3: How does the music develop meaning?

How does this music fit into your overall argument? What is it saying about the thesis, or theme, that you are writing about?

Let’s use ‘Hedwig’s Theme’ as an example again. Here, if we argue that the leitmotif represents hope, then it’s appearance when Harry is dropped off a Dursley’s signifies that his character will become the hope for the wizarding world.

The theme can also be heard when countless owl’s deliver Hogwarts acceptance letters to the Dursley home later in the film, highlighting the hope Hogwarts brings to Harry after being abused by his Aunt and Uncle for so many years.

Step 4: Discuss music using a T.E.E.L paragraph:

T.E.E.L stands for:

• Technique : The technique used in the example
• Example : the quote/shot itself.
• Effect : Your explanation of the effect of this technique and how it develops meaning.
• Link : An explanation of how this example supports your argument.

Let’s use this structure to analyse ‘Hedwig’s Theme’:

• Technique : Music (the use of leitmotif)
• Example : The scene in which Harry receives his letter of acceptance to Hogwarts in the first film, and during the Battle of Hogwarts in the final film.
• Effect : This leitmotif represents the hope that Hogwarts is for Harry, and the way that hope can remain so long as Hogwarts is standing.
• Link : This music is used within the franchise to demonstrate the resilience of hope within even the darkest of situations.

Let’s put this together into a sample T.E.E.L paragraph:

Throughout the Harry Potter film franchise, the piece of music titled ‘Hedwig’s Theme’ appears countless times as a leitmotif to represent hope. In the first film, Harry Potter and the Philosopher’s Stone, the music plays when Harry receives his Hogwarts acceptance letter, despite his Aunt and Uncle’s attempts to hide it from him for so long. Here, the music becomes an embodiment of the hope that Hogwarts and the wizarding world bring to Harry after being neglected for so long. This leitmotif, and the hope it represents, pervades even through all of the struggles Harry faces throughout the films. In the final movie, Harry Potter and the Deathly Hallows Part II, Hogwarts is under siege by Voldemort and his Death Eater army. Though, ‘Hedwig’s Theme’ can still be heard. The leitmotif is slightly different; the rhythm is slower, and the melody is interrupted by the beating of a loud drum. This evolution of the theme represents the resilience of hope, and it’s ability to persist even in the darkest of situations.

If you are looking for a film or television series to analyse as a related text, these are some examples with particularly great music to unpack!

• Princess Mononoke (もののけ姫)
• Schindler’s List
• Made in Abyss (メイドインアビス)
• The Handmaid’s Tale
• How to Train Your Dragon
• Close Encounters of the Third Kind
• Sweeny Todd: The Demon Barber of Fleet Street

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3 (page 21) p. 21 Why does film music work?

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Film music has power over its audience. Why? Originally, music compensated for the lack of sound in film and covered up the noise of the projector and unruly spectators. Why has music in film survived the conversion to sound? What has made it so indispensable to film that it is hard to imagine a film without it? There has developed a lively body of theory that addresses the sources of film’s powers and pleasures and the way in which they are tied to the presence of music in film. “Why does film music work?” introduces two important theorical approaches to film music—the ideological and the psychoanalytical—and examines the work of key theorists in establishing this body of work. Queer film music, a recent development that has emerged largely since the publication of the first edition in 2010, is also covered.

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Film Music: A Guide to Research and Resources

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The Functions of Film Music: Essay Example

Introduction.

Music plays an important role in films. Music helps the audience to be able to capture the atmosphere of various scenes, and this enables the audience to understand the plot better.

By incorporating music in film, it is possible to arouse emotions through the characters in the movie or film so that the audience is able to share what the characters experience.

When music is played together with film, the audience is able to perceive through both sight and hearing. This paper will discuss how music has been used in the movie Curious Case of Benjamin Button.

Movie Overview

The movie is based on a short story by Scott Fitzgerald, which goes by the same title. The movie tells the story of reverse aging, and it is directed by David Fincher. The main character, Benjamin, is born while aged and grows younger and eventually dies as an infant. Music and dance have been incorporated to achieve different effects.

The music is directed by Alexandre Desplat, and features include various songs like a moment of greatness by immediate music, my body in a cage by Arcade Fire, the return by APM. Didn’t Leave Nobody but the baby, Ill fly away and a song by the beetles (twist and should). In total, the songs used in movie number forty-five and were used to produce the soundtrack and score for the movie.

The music played at the beginning of the movie is slow and soft but increases to become a little bit and then continues slowly again. The first scene in which the music plays lasts for around three minutes and five seconds during the introduction part of the movie.

When the soundtrack is played, it easily arouses emotions that lead to deep reflection, and as a consequence, the audience remains alert as it draws one towards being attentive. The soundtrack can also lead one to perceive that the visual images appearing on the screen are those of the countryside.

Therefore it can be said that the main role of the introductory music at the beginning of the movie is to set the geography and period for the movie, this mainly seeks to capture the attention of the audience before the story of the movie unfolds (Adapted from Functions of film Music by Oppenheim, 1997-2010, Para 1-4).

The music that plays in the scene where Benjamin is alone at night lasts for two and a half minutes.Through this piece of music, the audience is able to capture the feelings of sadness that characterize Benjamin’s life at this particular moment in his life, and it is conclusively be said that the use of this piece of music in this particular scene is to provide emotional focus.

A piano is used to create the musical beats used for the performance of the bethena song within the movie. The majority of the songs used for the soundtrack and score of the movie are jazz compositions by the Hall jazz band and various orchestra bands. Seven of the songs that are featured in this movie belong to the Hall Jazz Band.

The other music contributors are various orchestra groups like the Orchestra Del Teatro San Carlo, Frank Trumbauer and His Orchestra, Louis Armstrong and his cotton orchestra band and a host of other bands, individual and group singers(Reel soundtrack blog, 2008, para 1)

Based on this, it can be concluded that the source music for the movie is jazz. There is a prolonged play of music in the scene sunrise on Lake Pontchartrain, which lasts for about three and a half minutes.

This soundtrack is mainly used to capture the cool serenity associated with the lakeside, and this greatly enhances the imagination of the audience on how spectacular watching the sunrise near the lake would be like. The importance of using this piece of music at this point clearly helps to define the location in the movie (Oppenheim para 5-8).

A composition of jazz by Schubert is performed in a scene where the character Daisy goes to audition for ballet dance. Although the music plays for a very short period of time, the character Daisy is able to hear the music.

In another scene, Benjamin watches Daisy dancing during the night, and it seems like Benjamin was hearing the music playing in the background. Dasiy is also able to hear the music playing in the background again in another scene which takes place in her ballet school (Reel soundtrack blog para 1)

There is the probability that music appears in the plotline in order to build the characters of Daisy and Benjamin. The score in the two instances is sorrowful jazz, which also serves to elicit an emotional response from the audience.

Classical music has been used in the movie to set the location and time for different scenes in the movie. Classical jazz music, as used in the movie, seems to be majorly associated with the middle class. Benjamin Button and his friend Daisy are fond of Jazz music, and the music is used to develop their character and shape their roles in the movie.

Works Cited

Oppenheim, Yair. “The Functions of Film Music”.2010.

Reelsoundtrackblog. “ All 45 Songs from The Curious Case of Benjamin Button ”.2008.

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StudyCorgi. (2020, January 2). The Functions of Film Music: Essay Example. https://studycorgi.com/the-functions-of-film-music/

"The Functions of Film Music: Essay Example." StudyCorgi , 2 Jan. 2020, studycorgi.com/the-functions-of-film-music/.

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John Williams and His Important Compositions Essay (Critical Writing)

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Introduction

How to train your dragon, works cited.

While watching any film, one can see that, at times, the lack of specific musical effects or a drastic substitution with other types of compositions might make the movie less appealing. This is why composing can be considered a true kind of art. Among such well-known and recognized artists of the 21st century is John Williams. The works of this composer are used in such popular motion pictures as Jaws, Star Wars, and Superman. The reason for Williams’ popularity is due to the influence of his compositions and their strong connection with the environment, seen by the audience, which creates a unique atmosphere. Thus, the skillful combination of sound, expression, rhythm, and harmony allowed Williams to find the best way to represent the themes of the films.

Among the most recognizable movies for which John Williams composed soundtracks is Jaws . The movie was released in 1978 and involves countless parts which aim at making the audience feel stress combined with excitement (Williams). The general theme expressed in the film is the fragile character of humans and their vulnerability when exposed to nature. For instance, among the noteworthy examples in the movie is the episode with a young woman named Chrissie, who was attacked by a shark while swimming away from the shore (Williams). After the audience sees Chrissie in the water, the camera makes a transition and shows the girl from the water, which is accompanied by a musical effect.

Several elements are incorporated, including sound, harmony, and texture. As the camera moves toward the body of Chrissie, the sound elements start to indicate a higher pith, which involves a harmony of violin and drums. The element of expression used by Williams involved using the dynamics of gradually increasing the sound along with the tempo. As a result, the changes brought to the film made by Williams intensified the emotions of the viewers and, therefore, suited the motion picture. My personal emotional reaction changed as well since there was a drastic transition from the serene beach episode to intensifying terrifying musical composition to rapid camera movements.

The second film worth paying attention to is Star Wars , which is a collection of movies about Luke Skywalker’s adventures. One of the themes of the movie is Luke Skywalker theme, which resonates with the nature of the protagonist, illustrating his compassionate and moral character. From 1:38 to 2:50 of this composition, one can hear the elements, such as sound and expression, which are emphasized strongly (— “ Skywalker Theme ”). For example, the sound has a low timbre in the beginning and transitions to a piercing one at the end, symbolizing the change in the character. Another element, expression, is characterized by shifting dynamics, going from soft to loud volume. The tempo of the piece does not vary much, transitioning from slow to medium beats per minute. This introduces the audience to the protagonist and his role in the film, which captures the character of Luke and can be considered to suit perfectly by Williams. My personal emotional reaction changed as the level of excitement rose.

The final motion picture, Superman , has an intensifying musical composition as well. The movie was released in 1978, introducing a memorable character Clark Kent for the first time (— “ Prelude and Main Title March ”). The central theme of the film is the bold nature of individuals and their inner and outer strengths. Such a motif can even be felt through the beginning of the movie, the opening titles. From 1:12 till 1:41 into the start of the picture, the audience hears the intensifying music, which Williams created by implementing elements like expression, rhythm, and sound (— “ Prelude and Main Title March ”). The first element in this part, the sound, can be characterized as a warm, soft amplitude in the beginning, shifting toward strident vibrato toward the end.

Then, the rhythm, the organization of music in time, becomes evident when the peak of musical effect is the occurrence of the title Superman on the screen. At this point, the dynamics in the expression element are loud, and the tempo is medium, which is a change from the slow tempo in the beginning. Therefore, one can see that the work of Williams suits the film since it perfectly introduces the epic nature of a movie about a hero. My personal emotional reaction changed due to the variety of feelings I felt while listening to the score.

As can be seen from the works of John Williams, he is a composer of great talent, and it is undeniable that his efforts might have influenced countless predecessors in this field. For example, according to John Powell, Williams has an “unbelievably high quality of musical compositional sort of rigor” (Patches). The composer chose the correct score for each movie, picking the melodies that would best suit each individual film and its themes. As a result, John Powell, who is of Scottish descent, poured his inspiration into his creation, focusing on the suitability of the score within the motion picture’s framework.

Hence, sound, expression, rhythm, and harmony music elements incorporated by Williams allowed him to create memorable scores for the movies. For instance, Jaws combine the given elements to make the scene more intense. In turn, Star Wars show the transition of the main character, Luke. Lastly, in Superman, the composer was able to introduce Clark Kent via opening titles, slowly intensifying musical effects toward the occurrence of the Superman title. Consequently, the works of Williams inspired many future composers, such as Powell.

Patches, Matt. “ How the How to Train Your Dragon Trilogy Wound Up with the Most Thrilling Music since Star Wars .” Polygon, 2019. Web.

Williams, John. “ Chrissie’s Death – Jaws ” (Video). YouTube. Web.

• “ Skywalker Theme ” (Video). YouTube. Web.
• “ Prelude and Main Title March ” (Video). Youtube. Web.
• Beethoven's Symphony No. 9 Analysis
• The Opera "Rigoletto" by Giuseppe Verdi
• Colin Powell: General and Statesman
• Similarities and Differences between Iron Man And Super Man
• Colin Powell’s Positive and Negative Achievements
• Discussion of the Song Coward of the County
• The Magic Flute Symphony by Wolfgang Amadeus Mozart
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• Iskwe’s “Little Star” Song Analysis
• SOAP Case-Notes: Psychological Rehabilitation
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IvyPanda. (2023, December 23). John Williams and His Important Compositions. https://ivypanda.com/essays/john-williams-and-his-important-compositions/

"John Williams and His Important Compositions." IvyPanda , 23 Dec. 2023, ivypanda.com/essays/john-williams-and-his-important-compositions/.

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IvyPanda . 2023. "John Williams and His Important Compositions." December 23, 2023. https://ivypanda.com/essays/john-williams-and-his-important-compositions/.

1. IvyPanda . "John Williams and His Important Compositions." December 23, 2023. https://ivypanda.com/essays/john-williams-and-his-important-compositions/.

Bibliography

IvyPanda . "John Williams and His Important Compositions." December 23, 2023. https://ivypanda.com/essays/john-williams-and-his-important-compositions/.

How to Write a Music Essay with Examples

Writing an essay about music encourages you to think about how music influences emotions and behavior. Did you know that certain types of music can alter brain activity, influence memory, or even change how we perceive time? This kind of analysis can reveal insights that go unnoticed in everyday listening.

In this article, our custom essay writing service will walk you through the process of crafting an exceptional music essay. We've curated a list of thought-provoking topics to spark your inspiration. And to give you a clearer picture of what a stellar music essay looks like, we'll share a sample music paper.

What is Music Essay

A music essay goes beyond just describing your favorite songs or artists. It can merge analysis with personal reflection, allowing you to connect abstract musical concepts to real-world effects.

What makes an essay on music unique is its ability to dissect not just the sound but the meaning and context behind it. For instance, when analyzing a piece of classical music, you might consider how its composition reflects the political climate of the time or how it challenges traditional structures in music theory. If you're writing about a modern genre like hip-hop, you might explore its roots in social movements and how it has evolved as a voice for marginalized communities.

Related : Check our special guide on what is research essay .

Special Features of Writing About Music

Writing about music doesn't require you to be an expert in this field. The key is to listen attentively, reflect on what you hear, and share your unique insights. Like any effective paper, a strong music essay requires a clear thesis, logical structure, well-supported arguments, and polished writing. What makes essays about music distinct is the blend of specific musical analysis with imaginative language that brings the music to life.

Technical vs. Everyday Language

While technical terms can be useful for describing intricate details, they aren't always necessary. If you're not deeply familiar with musical terminology or if you're writing for a broad audience, focus on describing the music in your own words. The aim is to communicate your ideas clearly and concisely without overwhelming your readers with complex jargon.

For example, in discussing Debussy's Clair de Lune , you might say: "The melody flows gently, like moonlight shimmering on a calm lake. It's serene, yet there's a quiet intensity beneath the surface." Notice how this description uses everyday language to convey the piece's emotional atmosphere.

Metaphors can be especially powerful in illustrating the emotional impact of music. For instance, you might describe a jazz improvisation as "a spontaneous conversation between old friends, full of unexpected turns and familiar comfort." This metaphor helps readers visualize the music and grasp its underlying mood.

Well-chosen metaphors not only enhance your argument but also make your writing more engaging. However, it's important to ensure your metaphors are precise and relevant to the music you're describing. Always connect them to specific musical elements so that your readers can clearly understand your interpretation.

Note : Remember to use our medical school personal statement school help for your unique academic adventures.

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How to Write a Music Essay in 7 Steps

Now, follow these 7 easy steps to understand how to write an essay about music. This guide will walk you through everything you need to know to create an engaging and insightful paper.

Meanwhile, you can always leave your ' write my essay ' request to our expert writers and get a flawless music essay on any topic!

1. Listen and Note Initial Impressions

The first step in writing a music essay is to listen to the piece multiple times. Pay close attention to the music, noting your immediate feelings and reactions. What emotions do you experience? Are there any specific moments that stand out?

Here are some questions to consider:

• How does the music make you feel? Are there moments of joy, sadness, anger, or peace?
• What instruments are being used? How do their sounds contribute to the overall atmosphere?
• Is there a strong melody or rhythm? How do these elements shape the piece?
• Are there any recurring motifs or themes? What do they symbolize?

These observations will help you identify the key elements of the music and develop a deeper understanding of its meaning.

2. Analyze the Musical Elements

Once you've noted your initial impressions, analyze the various musical elements that contribute to its overall effect. Instead of simply listing the elements, try to understand how these elements work together to create a cohesive composition. For example:

• Melody and Harmony: How does the melody interact with the harmony? Does the melody follow the harmonic progression, or does it create tension and resolution?
• Rhythm and Timbre: How does the rhythm influence the timbre of the instruments? Do certain instruments accentuate the rhythmic patterns or create a sense of counterpoint?
• Form and Structure: How is the piece organized? Are there any recurring sections or themes? How does the form contribute to the overall narrative or meaning of the music?

3. Organize Observations Clearly

Afterward, organize your observations in a way that makes your essay easy to follow. Start by grouping similar ideas together. For instance, if you notice patterns in rhythm, melody, or instrumentation, keep those observations together in your essay.

Next, decide on the order in which you want to present these points. A logical progression usually works best—move from broader observations to more specific details. This structure guides your reader smoothly through your analysis, making it easier for them to understand your perspective.

Lastly, make sure each section of your essay transitions well into the next. Use connecting phrases or sentences to link your ideas so the essay reads like a continuous narrative rather than a series of disjointed points.

4. Develop a Strong Thesis

To develop a strong thesis, start by reflecting on your observations and analysis. What is the key insight or argument you want to convey?

Your thesis should be specific and debatable, not just a statement of fact. For example, instead of saying, "The music uses interesting rhythms," try something more pointed like, "The unconventional rhythmic patterns in this composition challenge traditional notions of time signature, creating a unique auditory experience that reflects the artist's innovative approach."

Make sure your thesis is focused and manageable. Throughout your essay, continually refer back to this thesis to ensure your analysis remains relevant and cohesive.

5. Add Historical Context

To add historical context, start by researching the time period and cultural background in which the music was created. Consider factors like the social, political, and musical trends of the time.

For example, if you're writing about a jazz piece from the 1920s, mention the impact of the Jazz Age on the music's style and composition. How did historical events or cultural shifts influence the artist's work?

Incorporate this context into your essay to show how the music fits into a larger narrative. Explain how historical events or cultural movements shaped the music and how it, in turn, reflects or challenges those influences.

6. Link Music to Broader Themes

Connecting the music to broader themes helps to show its relevance and significance beyond its immediate context. To do this, identify the larger ideas or issues that the music touches on. For instance, if the piece reflects themes of rebellion or innovation, explain how these themes relate to broader cultural or societal movements.

Start by examining how the music aligns with or challenges prevailing trends, beliefs, or experiences of its time. For example, if a piece explores themes of personal struggle, link it to universal experiences or social issues, such as mental health or resilience.

Additionally, consider how the music fits into larger artistic or cultural movements. Does it reflect or influence trends in its genre, or does it contribute to a broader dialogue about art and society?

7. Synthesize Into a Cohesive Narrative

To synthesize your analysis into a cohesive narrative, revisit your main points and ensure they align with your thesis.

Structure your essay so that each section flows logically into the next. Begin with an introduction that outlines your thesis and the main points you will cover. Follow this with a body where you present your observations and analysis, organized by theme or aspect of the music. Ensure each paragraph transitions smoothly to the next, maintaining a clear connection to your central argument.

In your conclusion, summarize how your analysis supports your thesis and highlight the broader significance of the music. Reinforce the key themes and insights you've discussed, showing how they come together to form a complete picture.

Music Essay Topics

When choosing a topic for your essay, consider your interests and the specific piece of music you want to analyze. Here are 15 potential music topics to write about:

• What is the relationship between musical form and narrative structure in Beethoven's symphonies?
• Discuss how music contributes to the storytelling and emotional impact of films or television shows.
• How opera reflects socio-political issues of its time.
• The Beatles' Influence on Rock Music: A look at their lasting impact.
• How does the concept of "syncopation" contribute to the rhythmic complexity of jazz music?
• What makes a song a classic?
• Discuss the issues surrounding music copyright and the fair use of copyrighted material.
• How has music been used to represent and challenge national identity in post-colonial contexts?
• What is the role of nostalgia in our appreciation of music, and how does it differ across cultures?
• The use of classical music in 20th-century film scores
• How does Mozart's use of coloratura singing enhance the dramatic impact of his operatic characters?
• Examine the connections between music and literary works, such as novels, poetry, or plays.
• Trace the development of rock over time.
• How does music help us cope with grief and loss, and what are the psychological mechanisms involved?
• Speculate on the future of the music industry and the potential impact of emerging technologies.

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Music Essay Examples

Here are the samples that illustrate writing about music examples and bring our earlier tips to life. Crafted by our thesis writing service , they show you how to explore music, develop your arguments, and spotlight key details effectively.

The Bottom Line

Writing an essay about music can be both fun and rewarding. With so many topics to explore, just follow our guide to create a standout essay every time. Be adventurous with your topic, keep the writing process straightforward, and stick to academic standards. Use our music essay samples as a model to craft your own polished paper.

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Though music essay writing is not the hardest job on the planet, there are still some questions that often pop up. Now that you have a writing guide and a list of essay topics about music, it's time to address the remaining inquiries. Keep reading to find the answers to the frequently asked questions. 

What is Music Essay?

How to start an essay on music, how does music affect your mood essay.

is an expert in nursing and healthcare, with a strong background in history, law, and literature. Holding advanced degrees in nursing and public health, his analytical approach and comprehensive knowledge help students navigate complex topics. On EssayPro blog, Adam provides insightful articles on everything from historical analysis to the intricacies of healthcare policies. In his downtime, he enjoys historical documentaries and volunteering at local clinics.

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Writing about Music: A Guide to Writing in A & I 24 . (n.d.). https://writingproject.fas.harvard.edu/files/hwp/files/ai_24_guide_to_print.pdf

On music’s potential to convey meaning in film: A systematic review of empirical evidence

• Psychology of Music 49(1):030573561983501
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Musical Syntax in John Williams’s Film Music Themes

• First Online: 31 May 2017

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• Konstantinos Zacharopoulos 3  

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John Williams’s thematic conception and construction, which has a prominent role in his musical style, is characterized by a high sophistication in his composition style that results in memorable and versatile themes. His thematic syntax in turn has its roots in the two fundamental forms of classical music, the sentence and the period. The analysis in this chapter is based on Caplin’s important study of these theme types, along with later views of sentential types, which can be identified in many of Williams’s themes. The essay shows that the connection with the classicism of the past is not a stagnant one in Williams’s oeuvre, but leads to a mature development of enriched and advanced structures. Formal characteristics of these works, such as repetition, contrast and cadence, are joined with clarity, precision and symmetry, resulting in solid structures that make up extraordinarily memorable themes that give us aesthetic pleasure. Notated musical examples (out of over 300 themes that have been studied) that represent each form will be used and analysed to help the reader understand these functional norms, while these thematic structures will be summed up in collected statistics, showing the frequency of each type.

This chapter is an abridgement of a chapter from my forthcoming doctoral dissertation (Konstantinos Zacharopoulos, ‘The Film Music of John Williams (1975–2015)’, University of Athens, Ph.D. diss., forthcoming). In the dissertation, I analyse 4–10 themes of each type, thus trying to consider many possible deviations from the most characteristic stereotypes, while in this essay the discussion is limited to one or two of the most typical themes of each type. Furthermore, an effort has been made to omit most technical harmonic references for reasons of brevity, as well as to make the text more comprehensible. The text was translated from Greek into English by Athanasia Agistriotou.

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Department of Music Studies, National and Kapodistrian University of Athens, Athens, Greece

Konstantinos Zacharopoulos

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As the analysis in this article is limited to one or two themes of each type, the appendix lists a more extensive selection of themes. It is a guide both for the general reader, who can listen to the themes and get a richer understanding of the issues discussed in the essay, and the scholar who can check my claims through a study of other representative themes.

Darth Vader’s Theme (Imperial March) , in John Williams, John Williams Conducts John Williams: The Star Wars Trilogy , Sony Classical, 1990, SK 46947, track 4: 0.09–0.36

Medallion Theme , in John Williams, Raiders of the Lost Ark , CD, DCC Compact Classics, 1995, DZS-090, track 6: 0.00–0.31

Phil’s Theme , in John Williams, Heartbeeps , CD, Varèse Sarabande, 2001, VCL 1101 1001, track 9: 0.30–0.45

Stanley and Iris Theme , in John Williams, Stanley and Iris , CD, Varèse Sarabande, 1990, VSD-5255, track 1: 0.35–1.05

JFK Theme , in John Williams, JFK , CD, Elektra, 1992, 7559-61293-2, track 1: 0.19–1.23

Piano Theme , in John Williams, Angela’s Ashes , CD, Sony Classical, 1999, SK 89009, track 1: 2.09–2.28

‘Lost’ Theme , in John Williams, A.I.: Artificial Intelligence , CD, La-La Land Records, 2015, LLLCD 1353, disc 3, track 13: 0.06–0.33

Sean’s Theme , in John Williams, Minority Report , CD, Dreamworks Records, 2002, 450 385-2, track 9: 0.23–0.53

Dobby Theme , in John Williams, Harry Potter and the Chamber of Secrets , CD, Warner Sunset/Nonesuch/Atlantic, 2002, 83574-2, track 9: 0.10–0.27

The Past Theme , in John Williams, Harry Potter and the Prisoner of Azkaban , CD, Atlantic Records, 2004, 7567837115, track 7: 1.09–1.34

Sentence with Dissolving Third Statement

Leia’s Theme , in John Williams, John Williams Conducts John Williams: The Star Wars Trilogy , Sony Classical, 1990, SK 46947, track 2: 0.15–1.12

Superman Theme B , in John Williams, Superman , CD, Warner Archives/Rhino, 2000, R2 75874, disc 1, track 1: 2.15–2.31

Dracula Theme , in John Williams, Dracula , CD, Varèse Sarabande, 1990, VSD-5250, track 11: 0.41–1.21

Cherry Theme , in John Williams, The Witches of Eastwick , CD, Collector’s Choice Music, 2006, CCM-685-2, track 9: 0.00–0.17

Main Title/House Theme B , in John Williams, Home Alone , CD, La-La Land, 2010, LLLCD 1158, track 3: 0.29–0.47

Prologue Theme , in John Williams, Hook , CD, Epic Records, 1991, 469349-2, track 1: 0.06–0.21

Sabrina Theme , in John Williams, Sabrina , CD, A&M Records, 1995, 540456-2, track 1: 0.12–0.34

Angela’s Ashes Theme , in John Williams, Angela’s Ashes , CD, Sony Classical, 1999, SK 89009, track 1: 0.10–0.40

Duelling Theme , in John Williams, The Adventures of Tintin: The Secret of the Unicorn , CD, Sony Classical, 2011, 88697975882, track 18: 0.06–0.20

Death Theme , in John Williams, The Book Thief , CD, Sony Masterworks, 2013, 379707, track 1: 0.06–0.36

Trifold Sentence

Military Theme , in John Williams, Close Encounters of the Third Kind , CD, Arista Records, 1998, 07822-19004-2 3, track 15: 0.00–0.15

The Fury Theme , in John Williams, The Fury , CD, La-la Land Records, 2013, LLLCD 1238, disc 1, track 1: 0.09–0.54

Friendship Theme , in John Williams, E.T. The Extra Terrestrial , CD, MCA Records, 2002, 088 112 819-2, track 7: 0.00–0.44

Main Title/House Theme A , in John Williams, Home Alone , CD, La-La Land, 2010, LLLCD 1158, track 3: 0.10–0.28

Charleston Theme , in John Williams, The Patriot , CD, Hollywood Records/Edel, 2000, 0112442HWR, track 3: 0.54–1.12

Love Theme , in John Williams, Far and Away , CD, MCA Records, 1992, MCAD-10628, track 19: 1.50–2.20

American Cause Theme , in John Williams, The Patriot , CD, Hollywood Records/Edel, 2000, 0112442HWR, track 1: 5.25–6.05

Flying Car Theme , in John Williams, Harry Potter and the Chamber of Secrets , CD, Warner Sunset/Nonesuch/Atlantic, 2002, 83574-2, track 5: 0.09–0.19

Dartmoor Theme , in John Williams, War Horse , CD, Sony Classical, 2011, 88697975282, track 1: 2.09–2.28

Unfolding Sentence

Schindler’s List Theme , in John Williams, Schindler’s List , CD, MCA Records, 1993, MCAD 10969, track 1: 0.17–1.05

Sayuri’s Theme , in John Williams, Memoirs of a Geisha , CD, Sony Classical, 2005, SK 74708, track 1: 0.09–0.46

Chiyo’s Theme , in John Williams, Memoirs of a Geisha , CD, Sony Classical, 2005, SK 74708, track 2: 2.41–3.13

Book Thief Theme , in John Williams, The Book Thief , CD, Sony Masterworks, 2013, 379707, track 1: 0.40–1.11

Schoebridge Theme , in John Williams, Family Plot , CD, Varèse Sarabande, 2010, VCL 1110 1115, track 3: 0.17–0.34

Ark Theme , in John Williams, Raiders of the Lost Ark , CD, DCC Compact Classics, 1995, DZS-090, track 9: 0.00–0.37

Monsignor Theme , in John Williams, Monsignor , CD, Intrada, 2007, Special Collection Volume 51, track 1: 0.18–1.22

Anakin’s Theme , in John Williams, Star Wars—Episode I: The Phantom Menace , CD, Sony Classical/Sony Music Soundtrax, 1999, SK 61816, track 3: 0.23–0.49

Rosewood Theme , in John Williams, Rosewood , CD, La-La Land, 2013, LLLCD 1244, disc 1, track 24: 0.00–0.32

Grail Theme , in John Williams, Indiana Jones and the Last Crusade , CD, Warner Bros, 1989, 925 883-2, track 13: 0.41–1.06

Kovic’s Theme B , in John Williams, Born on the Fourth of July , CD, MCA Records, 1989, MCAD 6340, track 10: 0.56–1.35

Holiday Flight Theme , in John Williams, Home Alone , CD, La-La Land, 2010, LLLCD 1158, track 7: 0.06–0.18

Island Theme , in John Williams, Jurassic Park , CD, MCA Records, 1993, MCAD-10859, track 4: 1.23–1.46

Nordic Theme , in John Williams, Seven Years in Tibet , CD, Mandalay Records, 1997, SK 60271, track 3: 0.00–0.38

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Zacharopoulos, K. (2017). Musical Syntax in John Williams’s Film Music Themes. In: Coleman, L., Tillman, J. (eds) Contemporary Film Music. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-57375-9_15

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Correction: Kahlil Joseph's name was misspelled in an earlier version of this essay. We regret the error. The online version has been updated.

In conversation with the music-video form, the Black essay film advances processes of remembrance that leverage the possibilities of digital streaming but work against its instrumental logic through the double haptics of audio and vision. This essay shows this refusal and leveraging at work in Kahlil Joseph's twenty-three-minute installation Fly Paper (2018) and the visual album he directed for Sampha Sisay's 2017 album Process .

The historical essay film, for all its critical value, also has a special character: it may tend toward a specific kind of engagement, projecting a generatively problematic nowness where demands made on receivers' attention and memory entwine with questions of historical memory and media memory. Chris Marker—for Timothy Corrigan, the paradigmatic practitioner of the film essay—prototypes in Sans Soleil (1983) "immersion" in the nowness of cinematic time as just this complex problem of memory—and just as "immersion" became a technical ideal in the design of "navigable" screens. 1 Made on the [End Page 157] cusp of transitions to digital production, Marker's film handles memory in ways that still resonate: indexed in the audiovisual image's memorializing power, historical memory matters all the more at the moment of crisis because it struggles to cohere in the interface of the historical and the medial. As the essay film has gained in its power to convey arguments about media power, historical memory, and the desire for a different world, Black audiovisual essayism—whether that of the Black Audio Film Collective, or the call-and-response between Isaac Julien's Looking for Langston (1989) and Marlon Riggs's Tongues Untied (1989)—has long explored this interface of media power, historical memory, and futural desire. For Corrigan, the essay film "subjects personal expression to the public domain of experience" to arrive at a moment of exterior belief "in a world always eliciting and refusing thought." 2 Yet Black essayism challenges more than just a resistance to thought. The fact of working from underrepresentation to exteriorize subjective thought in the audiovisual image reorders the audiovisual image's priorities and those of its historical archive. Black film essayism thus matters as a complex material process in its own right, as thought and as force, haptics entangled with argumentation.

A montage of home video, historical footage, and contemporary footage shot by Joseph, all set in Harlem, Kahlil Joseph's Fly Paper makes specific the problematic of reordering audiovisual priorities and, in so doing, the historical trajectory of the film essay. Alessandra Raengo points out this work's sampling of Marker's Sans Soleil , observing the work's concern with a man who "has lost the ability to lose" memory; the film "is determined to carry the lost object(s) along , regardless of the cost." 3 Fly Paper 's unidentified subject models a characteristic attributed to digital networks: the lengthening extent of media memory, in contexts where we may struggle to process experience as much in terms of how we orient our moving bodies toward media objects as in terms of subjective, psychic experience. As an immersive installation, the version of Fly Paper presented at the Museum of Contemporary Art's Pacific Design Center in Los Angeles in Fall 2018 suggests the renewed relevance of an "expanded cinema" amid the politics, economics, and aesthetics of digital streaming. Rumbling with bass that filters through spectators' bodies as they sprawl on cushions spread across the gallery floor, Fly Paper lifts Alexandra Stewart's reading of a key line from the English version of Sans Soleil : "At least they will see the black." As heard in Fly Paper , by auditor-viewers experiencing something on the order of a mediatic lucid dream, the Sans Soleil quotation is shorn of context, turned toward the Black essay cinema, so that the historicity and mediating power of the essay film prioritize Afro-diasporic memory. As bass washes through gallery space otherwise oriented toward the screen, the libidinal energies of the...

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Essay Film by Yelizaveta Moss LAST REVIEWED: 24 March 2021 LAST MODIFIED: 24 March 2021 DOI: 10.1093/obo/9780199791286-0216

The term “essay film” has become increasingly used in film criticism to describe a self-reflective and self-referential documentary cinema that blurs the lines between fiction and nonfiction. Scholars unanimously agree that the first published use of the term was by Richter in 1940. Also uncontested is that Andre Bazin, in 1958, was the first to analyze a film, which was Marker’s Letter from Siberia (1958), according to the essay form. The French New Wave created a popularization of short essay films, and German New Cinema saw a resurgence in essay films due to a broad interest in examining German history. But beyond these origins of the term, scholars deviate on what exactly constitutes an essay film and how to categorize essay films. Generally, scholars fall into two camps: those who find a literary genealogy to the essay film and those who find a documentary genealogy to the essay film. The most commonly cited essay filmmakers are French and German: Marker, Resnais, Godard, and Farocki. These filmmakers are singled out for their breadth of essay film projects, as opposed to filmmakers who have made an essay film but who specialize in other genres. Though essay films have been and are being produced outside of the West, scholarship specifically addressing essay films focuses largely on France and Germany, although Solanas and Getino’s theory of “Third Cinema” and approval of certain French essay films has produced some essay film scholarship on Latin America. But the gap in scholarship on global essay film remains, with hope of being bridged by some forthcoming work. Since the term “essay film” is used so sparingly for specific films and filmmakers, the scholarship on essay film tends to take the form of single articles or chapters in either film theory or documentary anthologies and journals. Some recent scholarship has pointed out the evolutionary quality of essay films, emphasizing their ability to change form and style as a response to conventional filmmaking practices. The most recent scholarship and conference papers on essay film have shifted from an emphasis on literary essay to an emphasis on technology, arguing that essay film has the potential in the 21st century to present technology as self-conscious and self-reflexive of its role in art.

Both anthologies dedicated entirely to essay film have been published in order to fill gaps in essay film scholarship. Biemann 2003 brings the discussion of essay film into the digital age by explicitly resisting traditional German and French film and literary theory. Papazian and Eades 2016 also resists European theory by explicitly showcasing work on postcolonial and transnational essay film.

Biemann, Ursula, ed. Stuff It: The Video Essay in the Digital Age . New York: Springer, 2003.

This anthology positions Marker’s Sans Soleil (1983) as the originator of the post-structuralist essay film. In opposition to German and French film and literary theory, Biemann discusses video essays with respect to non-linear and non-logical movement of thought and a range of new media in Internet, digital imaging, and art installation. In its resistance to the French/German theory influence on essay film, this anthology makes a concerted effort to include other theoretical influences, such as transnationalism, postcolonialism, and globalization.

Papazian, Elizabeth, and Caroline Eades, eds. The Essay Film: Dialogue, Politics, Utopia . London: Wallflower, 2016.

This forthcoming anthology bridges several gaps in 21st-century essay film scholarship: non-Western cinemas, popular cinema, and digital media.

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