Conclusion

This book aimed to contribute to the analytical tools for understanding the functions of music within film language from the perspective of a spectral approach to timbre that encompassed its varied capacity to provide meaning through interactions with the physical and the hyperreal. Therefore, it adds to the existing scholarship in traditional orchestration analysis, harmony, melody and motives, rhythm, tonality/atonality, and others. For instance, a melodic analysis of Loire Cotler’s “cry of the banshee” for the Dune score will certainly shed some light on its expressive meanings. Similarly, Thomas Newman’s open harmonies in Brooks Was Here reinforce the meaning of intimate nostalgia I outlined with the recording and processing of the piano. My analyses were constrained by the scope of this book, which allowed them to be more specific and become clear examples of what I was describing.