UNIVERSITY OF CINCINNATI Date:___________________

I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of:

in:

It is entitled:

This work and its defense approved by:

Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________

The Examination of the Appearance and Use of the French

Horn in Film Scores From 1977 to 2004

A Document submitted to the

Division of Research and Advanced Studies

of the University of Cincinnati

in partial fulfillment of the

requirements for the degree of

DOCTOR OF MUSICAL ARTS

in the Division of Performance Studies

of the College-Conservatory of Music

2005

by

Yi-Hsin Cindy Liu

B.M., University of Auckland, 1997

M.M., Manhattan School of Music, 2000

Committee Chair: Dr. Hilary Poriss

Abstract

This document explores the essential reasons why and how the sound of the French horn

has been adopted so prominently in symphonic film scores in Hollywood. The

examination begins with discussions on how music functions in film music in general,

why the sound of the French horn appeared frequently in films, and a general assessment

of how the French horn was used in Hollywood films scores from 1977 to 2004. The

document concludes with three case studies of three symphonic film scores composed by

Hollywood film composer, James Horner.

Acknowledgement

I would like to thank my advisor, Dr. Hilary Poriss, who has been so patient with

me throughout the whole process and is credited for thinking of this brilliant document

idea. I would also like to thank my editor, Kevin Burke, without whose assistance, I

would not have been able to complete this “impossible mission.” Many thanks to my film

music advisor, Dr. Jeongwon Joe, whose extensive knowledge on the subject of film

music really helped me to sort out a lot of difficult questions that appeared throughout my

research process. Also to my horn teacher of five years, Mr. Randy Gardner, whose

sophistication not only made him an intellectual mentor whom I have always looked up

to, but whose professional artistry also helped me become a better horn player. And

finally, I would like to thank my parents and my fiancé, whose endless love and

unconditional encouragement and support really serve as great comfort, especially when I

doubt my ability. Thank God for his continuous blessing, and I shall “Give thanks to the

Lord, for he is good! His faithful love endures forever” — 1 Chronicles 17:34.

1

TABLE OF CONTENTS

Introduction ………………………………………………………………………………… 1

Chapter 1: How music works in film scores?....................................................................... 4

Chapter 2: Why choose French horn?................................................................................. 13

Horn and its Development………………………………………………….... 13

The characteristics of French horn………………………………………….. 16

The Los Angeles Studio Horn Players………………………………………. 23

Chapter 3: The assessment of the appearance and use of French horn in film score…..27

The revival of symphonic film music…………………………………………27

The general appearances and uses of French horn in film………………….30

Where can we expect to hear French horn in films?.......................................31

(1) Science fiction – Case study: Cocoon……………………………………..32

(2) Epic – Case study: Braveheart…………………………………………….43

(3) Adventure/Disaster – Case study: The Perfect Storm……………………54

Conclusion…………………………………………………………………………………...66

Bibliography………………………………………………………………………………...67

Filmography…………………………………………………………………………………73

Appendix…………………………………………………………………………………….76

2

Introduction

The most talked-about motion picture in recent memory, The Lord of the Rings,

attracted millions of viewers not only for its gripping plot and amazing visual effects, but also

for the lush melodies and orchestration of Howard Shore’s soundtrack. Throughout the score,

Shore employs the French horn for many of his most alluring melodies. Long before the

advent of film, the French horn carried a host of associations. In opera and symphonic music

from the seventeenth century through the present, composers have employed this instrument

to represent hunting, chasing, and fighting scenes. My research shows that film composers

draw on these age-old associations, employing the sound of the horn for fight and chase

scenes, and music that highlights the heroism and victories of individual characters. For

example, in Gladiator (2000, directed by Ridley Scott), the horn utters the main theme in

each of the movie’s major fight scenes.

Film composers also frequently draw on the sound of the French horn for tender

occasions. In Glory (1991, directed by Edward Zwick), the solo horn is heard when a soldier

writes to his mother about the war. The soldier’s longing for his family during this very

difficult time is expressed deeply by a heart-felt horn solo. Another example appears in Field

of Dreams (1989, directed by Phil Alden Robinson). In this film, the horn joins the violins

towards the end of the movie when the main character, Ray, finally encounters the ghost of

his father. The sound of the French horn is heard when they talk about the baseball field as “a

place where dreams come true.” Here, the horn not only represents the spirit of hope, but also

signifies the achievement of Ray and his father’s long-term dream. The French horn’s

beautiful tone color and ability to represent myriad characters and moods has inspired

composers of symphonic film music to write for it. Unfortunately, the importance of the

French horn to these repertories has often been ignored or overlooked by music scholars and

the public because of film music’s pop and commercial nature. Therefore, this document

3

presents the first thorough examination of the appearance and use of the French horn in film

scores from the 1977 to the present.

The document is divided into three chapters. First, I discuss how music functions in

films from a general point of view and I analyze how directors employ music as a tool to

communicate their ideas to their viewers. The second chapter examines how the French horn

has become one of the favored instruments in film scores. I will first talk about the use of the

French horn in symphonic and theatrical repertories (in particular throughout the eighteenth

and nineteenth centuries). I show how Classical composers employed the sound of the French

horn to represent particular emotions and moods in their works and explore the possibility

that film composers have applied similar techniques in their film scores. Then, I will

introduce a group of Los Angeles-based studio horn players who have performed on a

number of film recordings. Their outstanding technique and rich tones have inspired film

composers to write prominent French horn parts in their scores. It is these musicians’

contributions to the film industry that made the French horn one of the most commonly used

instruments in symphonic film repertories up to today. Finally, chapter three presents three

case studies that explore the appearance and function of the French horn in three individual

films.

This document serves as the first thorough assessment of the use of French horn in

film scores. My hope is that it will not only help any musician understand the importance of

the instrument to film music, but also offer a more complete picture of how music functions

in film.

4

Chapter 1

Since filmmakers began to coordinate music with images in the late nineteenth

century (c. 1895-6), music has become an indispensable component of films. According to

composer Irwin Bazelon, “music evokes emotional responses, alters a viewer’s perception of

the dramatic links between words and images, and stimulates feelings and reactions.”1

However, what are the reasons that filmmakers wanted to include music as part of their films?

Does music really have the ability to describe or represent anything? Or, has it been added

only based on the directors’ caprice? The following paragraphs will explain how music

became an integral part in films and why it has become so essential that few films are

produced without music.

Ever since the advent of film, filmmakers felt the need to include music in the movie

theaters. According to Royal S. Brown, in the early part of the silent film era (c. 1890s –

1910s), music was used to cover up the noise from the projectors and the audiences, and also

to soothe the audience’s uneasy and insecure feelings while sitting in the dark theater

watching actors moving around on the screen without sound2 (Hanns Eisler said it created a

“ghostly effect” to the audiences).3 Bazelon also wrote that in many incidents, filmmakers

would just insert music excerpts from popular music, hymn tunes or symphonic repertories to

fill out the silence in the theater — even though the music may not have had any connection

to what was being shown on screen.4 In other words, music that appeared in early silent films

was not intended for audience attention — it only served as an aid for creating a comfortable

environment.

1Irwin Bazelon, Knowing The Score: Notes on Film Music (New York: Van Nostrand Reinhold, 1975),

22.

2Royal S. Brown, Overtones and Undertones: Reading Film Music (Berkeley: University of California

Press, 1994), 12.

3Hanns Eisler, Composing for the Films (London: Athlone Press, 1994) quoted in Roy Prendergast, Film

Music: A Neglected Art, A Critical Study of Music in Film (New York: W. W. Norton, 1992), 3.

4Bazelon, 22.

5

Starting in the second half of the silent film era (c. 1910), some of the more

“sensitive” filmmakers began to ask for “specific” music to be adopted for “specific” scenes.5

They employed pianists, organists, or conductors to choose appropriate types of music from a

compiled music collection categorized by scene-types. Music included in the collection

consisted mostly of excerpts taken from orchestral literature being performed in American

concert halls.6 For example, Rossini’s William Tell overture was used to reflect horse riding

and chase scenes, while Wagner’s Ride of the Valkyries emphasized intense and dramatic

events. By using the collection as a musical guide, the accompanists were able to incorporate

more suitable excerpts that they saw fit with the mood of each film sequence.

The use of pre-existent music excerpts may have helped film directors communicate

with their audiences to a certain level, but because the excerpts were taken from various

sources, they often created some very “awkward and interruptive” transitions, making the

whole music accompaniment disjointed.7 Hence, in order to ensure a consistent musical style,

film composers and conductors began to write their own musical accompaniments that would

better fit with what was on screen.

It was not until the late 1920s, with the invention of the “talkie,” that filmmakers

started to recognize the importance of music in film. They realized that only with the proper

addition of music and spoken words could they re-create scenes of the same quality as the

live theater.8 It was then that filmmakers began to hire composers to write music exclusively

for specific scenes instead of adopting music excerpts from the Classical repertories.

According to Kurt London, the music in the talkies was more functional as it could “establish

associations of ideas, and carry on developments of thought; and over and above all this,

5Prendergast, 5.

6Bazelon, 15.

7Prendergast, 11.

8Bazelon, 21.

6

intensify the incidence of climax and prepare for further dramatic action.”9 In other words,

music seems to have become associated with purpose and meanings in the early sound

movies.

However, for decades, film scholars and composers have disagreed on the power of

music and its relationship to the images in films. Inspired by the Greek ideology that the

visual perception is quicker and more efficient than the aural, classic film music theory

suggested that “sound was divided according to its function in relation to the image: either

parallel or in counterpoint to the visual image.” This means that “the meaning is contained in

the visual image and the sound can only reinforce or alter what is already there.”10

A similar

concept can be seen when composers such as Stravinsky talked about “absolute music”:

…. I consider that music is, by its very nature, powerless to express anything at all, whether a

feeling, an attitude of mind, a psychological mood, a phenomenon of nature. If, as is nearly

always the case, music appears to express something, this is only an illusion and not a reality.11

Bazelon also stressed,

The language of music expresses only musical aesthetics: it does not convey an image or

verbal impression…in its pure and absolute state [music] does not describe anything. By

acting directly on the central nervous system, it can, however, arouse an intensely emotional

response. Music is a potent stimulant. But the images it seems to conjure up in the listener’s

mind’s eye are not implicit in its pure sound environment. These responses are daydreams,

programmatically triggered by an individual’s own range of personal experience, by

undirected or lazy listening habits, and perhaps by associations deep-rooted in childhood.12

In other word, music itself does not express or represent anything. The emotional responses

9Prendergast, 27.

10Kathryn Kalinak, Setting the Score: Music and the Classical Hollywood Film (Madison University of

Wisconsin Press, 1992), 24.

11Igor Stravinsky, Chronicle of My Life (London: Gollancz, 1936), 91.

12Bazelon, 74.

7

we have when listening to music are the result of habits we have developed as listeners

through our daily experiences.

In 1980, film scholar Claudia Gorbman proposed a new theory to discuss the

relationship between music and image in film. Gorbman summarized the music-image

relationship as “mutual implication,” 13

or that “music can affect an image…but it is also

true that music is affected by the visual field.”14

In Unheard Melodies, Gorbman states:

Whatever music is applied to a film segment [it] will do something, will have an effect – just

as whatever two words one puts together will produce a meaning different from that of each

word separately, because the reader/spectator automatically imposes meaning on such

combination.15

Gorbman used the collaboration between French filmmaker Jean Cocteau and composer

George Auric as an example of such an effect. Cocteau took music that Auric had composed

for specific scenes in his films and intentionally rearranged them in incorrect order (a

technique what Cocteau called “accidental synchronization.”)16

Regardless of whether the

combination of elements was intended or not, “their corroboration will generate meaning.”17

Thus everything that appears in films (such as images, dialogues or sound effects) forms “a

combinatoire of expression.”18

Film scholar Anahid Kassabian believes that film music has always been composed

with a particular subject or emotion in mind. She points out that recent film scholars assume

13Claudia Gorbman, Unheard Melodies (Bloomington, IN: Indiana University Press, 1987), 15; quoted in

Kathryn Kalinak, Setting the Score: Music and the Classical Hollywood Film (Madison University of Wisconsin

Press, 1992), 29.

14Kalinak, 29.

15Gorbman., 15.

16Ibid., 15.

17Ibid., 15.

18Ibid., 15-16.

8

that Hollywood film music is a “communicative system that can be read by listeners.”19

Kathryn Kalinak also suggests in her book, Settling the Score, that music in film acts as a

“narrative agent.” Through the process of communicating with viewers it helps to generate

and transmit the essential meanings of the narrative information.20

She states:

Moods, emotion, characterization, point of view, even the action itself are constructed in film in

a complex visual and aural interaction in which music is an important component. Thus when

tremolo strings are heard, the music is not reinforcing the suspense of the scene; it is part of the

process to create it.21

But how exactly did film composers make music become narrative and functional in films?

How did film composers use music’s various elements to create specific effects in films that

have a great impact on the spectator? Kalinak suggests that film composers might use the

following two methods in their music to build communication with the viewer.

First, film composers employ variable musical “stimulants” (such as “rhythm,

dynamic, tempo and choice of pitch”) to elicit viewers’ responses so that the music can

capture their thought and attention. Hence, when composers alter the balance of these

stimulants, the sound creates different affects and arouses various emotions in spectators. For

example, regular rhythm may help viewers focus on the screen, but when an unstable

rhythmic pattern is introduced, the viewers will become suspicious about what is going to

happen next. Contrasting results can be achieved through changes in dynamics and tempo:

louder dynamics can heighten the viewers’ awareness while softer dynamics tends to drop out

of the range of human perception. Fast tempos speed-up the viewers’ heart rates while slower

tempos create a calm and peaceful atmosphere. Additionally, extreme ranges in pitch have a

19Anahid Kassabian, Hearing Film: Tracking Identification in Contemporary Hollywood Film Music

(New York, NY, Routledge, 2001), 17.

20Kaliank, 30.

21Ibid., 31.

9

direct impact on the viewers’ emotions and impressions.22

Secondly, due to their busy schedules, film composers often adopt “musical

conventions” for their music. They include conventions that the general public is familiar

with (whether it is a rhythmic pattern or a designate combination of intervals) and form

“associations” with a specific period of time or with the special characteristics of an ethnic

culture. For example, the combination of open fourth and fifth signifies Americana and the

pentatonic scale seems to suggest the “oriental.” Film composers also rely on various

instrumental timbres to express emotions or provoke psychological responses. For example,

composers often used strings to articulate more personal and internal feelings because of their

delicate and singing tone quality; and because of their military usage in history, brass

instruments are often used to convey emotions on a bigger scale such as patriotism or

heroism.23

Hence, as Brown describes the purpose of music’s existence in film: “[music fulfills

the need] to heighten the emotional impact of the significant moments of a given performance,

thereby distancing audiences even further from their own thoughts and fears of silence by

involving them more deeply.”24

Music can accomplish meanings that words leave behind.

No matter how dramatic the scene may be, or how intense the emotion being acted out,

filmmakers agree that when the right music is used, it will not only help them express their

ideas more easily, but also make their films more comprehensible for the viewers. As

Hungarian film composer Miklós Rózsa once said, “The final function of music is to

complete the psychological meaning of a scene.”25

Surprisingly, it is usually the directors (not composers) who are responsible for

22Ibid., 9-11.

23Ibid., 12.

24Brown, 15.

25Ibid., 271.

10

scoring the film. Towards the completion of a film, the director, the film composer, and

editors form the production team, gather together to mark “spots” in the film where music

should begin and end. These “spots” are included in a comprehensive cue sheet — a

“chronological listing of every event and sound effect throughout the film” — created by the

music editor, which is then given to the composer.26

Composers follow the cue sheet as an

instructional guide, and within a specific amount of time (anywhere from one month to one

year), compose about sixty minutes of music, since an average feature film is about two hours

in length.27

The reason why directors are responsible for scoring the film is because they develop

the cue sheets for the composers with an idea of what types of music should be expected in

those scenes. Therefore, when they commission a composer to do the work, it is almost as if

they are hiring someone to write out their musical ideas. Some directors state specifically

what they want, and ask the composer to follow that direction; but others invite the

composers to participate in parts of the shooting or read the script in advance so that they will

compose the music based on their personal reaction to the film.28

Composer/conductor John

Williams talks about his preference when a director first asks him to score a film:

I’d rather not read the script. I’m the kind of person who would rather react to the film. When

you read a novel, you cast it in your mind; you have a mental picture of the whole ambiance

of the thing. I have found that if you read a script and then go into the projection room and

look at the movie you are often disappointed – the characters do not conform to your

preconceptions, or the locations are not right. I would rather see a film fresh and react to its

own energies, without preconceptions from a script. Ideally I would like to go in with a clean

26Bernie Dobroski and Claire Greene, “Pass the Popcorn: An Interview with John Williams,” The

Instrumentalist (July, 1984): 6-7.

27Ibid., 7.

28Ibid., 7.

11

slate and just react to the rhythm of the picture.29

Nevertheless, it is not easy to be a composer in the film business. First, when film

composers write for a particular cue, they have to deal with all the sound effects and

dialogues happening simultaneously. They have to study the sounds associated with the film

in these areas and try to blend the music they have composed with those sounds. Second, film

composers are advised to be the conductor of their own score. Since the films are preciously

timed down to a second, film composers have to learn to be very precise with the exact

timing of the score. This way, it is easier to have the correct interpretation and timing of the

music fit with the filmed images.30

Yet, the biggest task composers face in the film business is to be flexible and willing

to make many compromises. As a member of the production team, film composers often have

to justify their musical ideas to different directors. Since not every director is musically

trained and musical tastes vary, it is sometimes difficult to find that “common consensus”

between the composer and the director.31

Therefore, their collaboration can be extremely

crucial and could possibly affect the overall presentation of a film. Nonetheless, if the

directors fail to understand the composer’s artistic approach to the film, no matter how good

the music may be, the director can and will reject the music. For example, in the recent epic

Troy, director Wolfgang Peterson replaced composer Gabriel Yared’s film score with James

Horner’s grandiose orchestral score just one month before the release of the film. Those who

have heard Yared’s original score for the film praise it as one of the best scores they have

heard in years. However, according to Yared, his score was rejected by Peterson because it

was “too overpowering and big, too old fashioned and dated for the film.” It is hard for us to

29Ibid., 7.

30Ibid., 7.

31Ibid., 8.

12

presume why Peterson abandoned Yared’s score, for he seemed happy with the music until

the very last minute. But as one of the viewers who went to see the movie in the theater, I feel

that Horner’s traditional and dramatic “Braveheart-like” score certainly matched the

enormous setting of the film and probably fulfilled the audiences’ expectation of hearing

grand orchestral sound throughout the film.32

Over the years, viewers’ cinematic experiences have trained them to hear certain

types of music during particular scenes: in dark, sad scenes for instance, film audiences are

accustomed to hearing melodies in minor mode; as the tempo starts to increase, spectators

know a chase or a fight scene is beginning. Similar expectations apply to the sound of the

French horn. As previously mentioned, due to its theatrical use in the past and its

distinguished tone color, viewers usually expect to hear the French horn in hunting, fighting,

and chasing scenes to represent the heroism and victories of individual characters. But unlike

other brass instruments, its lyrical and melodious sound has often been used in conjunction

with woodwinds and strings to show feelings of passion, sorrow, and love. One cannot help

wonder: why have film composers made the French horn one of their favorites instruments to

use? Were they inspired by how the French horn had been used in dramatic works such as

operas and ballets from the Classical repertories? Or did the horn players who work in the

Los Angles area inspire the film composers with their extraordinary talents? In the second

chapter of this document, I will discuss how film composers in Hollywood made the French

horn one of the most prominently used in Hollywood film scores today.

32“Troy” music review: http://www.filmtracks.com/titles/troy.html.

13

Chapter 2

Other than the violin, the French horn is probably the most popularly used instrument

in today’s Hollywood film scores. What is so special about the instrument that film

composers want to use it extensively in their film scores? To prepare the readers for further

discussion, a brief overview on the development of the French horn is presented. The

overview will help the readers to have a better understanding on why classical and film

composers often use French horn in their scores to suggest various types of emotions. It will

also help to explain on how the sound of the stopped horn is created which film composers

often use it to suggest danger and suspense. Finally, it will inform the readers about the

descant and triple horns that are often used in major symphony orchestras and recording

studios.

Horn and its development

At the beginning of the seventeenth century, the horn served as an outdoor instrument,

where the players wore a seven-foot helical shape instrument (known by the name “cor de

chasse,” horn of the chase or hunt) on their bodies for signaling or fanfare uses during Louis

XIV’s hunting parties. By the 1630s, composers started to incorporate the cor de chasse into

their works. For example, Michelanelo Rossi (c. 1602 – 56) used the horns to play fanfares in

his opera Erminio sul Giordano in 1633. Francesco Cavalli also used horns in his opera Le

Nozze di Teti e di Peleo to provide “special effects”: tone color and visual spectacle for a

hunting scene.33

On most of these occasions, the horns were not used as part of the orchestra:

they were used as an extra, separate feature.

In 1680, Count F. A. von Sporck (1662-1738), a wealthy Bohemian nobleman, heard

the cor de chasse in Paris during his Grand Tour of Europe, and brought the instrument back

to Bohemia. Interested in transferring the art of horn playing from the hunt to the concert hall,

33Barry Tuckwell, Horn (London: Macdonald & Co Ltd., 1983), 13.

14

von Sporck lowered the bell of the instrument and inserted his hand into the bell which made

the tone less direct and more reserved than the hunting horn. When brothers Michael and

Johannes Leichnambschneider of Vienna (influential horn makers) began to build a horn in

the 1690s that had a larger bore, smaller coil, wider throated bell, and produced a mellower

tone than the French hunting horn, the Waldhorn (i.e. the forest’s horn) was used as an

integral part of the orchestra.

As the horn became a solo and orchestral instrument in the eighteenth century,

changing performance demands necessitated an expanded range. New inventions such as the

“crook and coupler” system34

were invented by the Leichnambschneider brothers of Vienna

in 1715 to relieve players from having to carry different horns to suit various keys of the

music to one concert. However, since the system was not entirely practical, horn player Anton

Hampel and instrument maker Johann Werner in Dresden invented the Inventionhorn in 1750,

which allowed the players to change the crooks faster while keeping their lip and the right

hand in the same position at all times. Hampel has been credited with codifying the “hand

stopping” technique. He discovered that by inserting his right hand into the bell, the tone

color became nasal and closed, and the pitch raised a semi-tone. By adjusting various hand

positions in the bell, the player would finally be able to play chromatic notes without the

necessity of exchanging different crooks for the very first time.

Invention of the valves

While the invention of crooks and the development of hand-stopping technique in the

eighteenth century extended the chromatic capabilities of the natural horn, hand-stopping

technique can be challenging for some players, especially when playing fast chromatic

passages and pitches have marked differences in timbre. Therefore, several attempts were

made to render the horn chromatic without the use of hand-stopping.

34The “crook and coupler” system means, when a player wants to change keys during a performance, a

set of crooks (an additional length of tubing) is provided for the player to attach it directly to the lead-pipe

below the mouthpiece so they can alter the key of the instrument.

15

The evolution of the instrument underwent a significant breakthrough when Heinrich

Stölzel, a horn player from the Court of Pless in Upper Silesia, patented the invention of

valves with another German musician, Friedrich Blühmel, in 1818.35

According to Stölzel,

the reason for the invention of the valve was “to perfect the horn by making it possible to

play all the notes from the lowest to the highest with the same purity and strength without

having to stuff the hand into the bell.”36

At first, a two-valve horn was developed using

Stölzel’s tubular valves by Parisian makers Jacques-Charles Labbaye and Pierre-Joseph

Meifred. However, when the Leipzig manufacturer C. F. Sattler added a third valve to the

horn in 1819, the horn was finally considered a chromatic instrument (without relying on the

right hand) for the first time in history.37

In 1898, Edward Kruspe, a horn maker in Erfurt Germany, combined horns in F and

in B-flat to build the first double horn, the standard French horn in use today. In the golden

age of natural horn (the horn without valves), horn virtuosos found that the best keys for solo

playing were D, E-flat, E, and F. However, when Frédéric Duvernoy of Paris advocated a new

technique called cor mixte at the end of eighteenth century, the F horn soon became the most

popular key to be used among horn players. Several reasons explain Duvernoy’s exclusive

use of the key of F. On the F horn, players are able to play an extensive range that covers both

high and low registers of the French horn and it also produces the most beautiful and

brightest tone color of all. However, with the increasing demands made on them by

composers, horn players began to find the F horn too insecure and unpredictable in the high

register (because of its closely spaced harmonics). With the shorter tubing of the B-flat horn

giving more space between harmonics in the higher register, horn players were able to play

35The Grove Concise Dictionary of Music (1994), s.v. “Valve.”

36John Ericson, “Why Was the Valve Invented,” The Horn Call: Journal of the International Horn

Society 28, no. 3 (May 1998): 39.

37Humphrie, 32.

16

the high register with more confidence.

In order to improve accuracy in the high register, horn players began experimenting

with horns that have shorter tubing. The descant horn is a horn that is keyed in a shorter alto

key such as F alto. Most common is a descant horn in B-flat and F alto, B-flat and B-flat alto

or single F alto horns. Instrument makers now also produce descant horns in B flat and E flat

alto. The horn has a lighter and brighter tone color compared with the standard double horn

and is favored by many horn players because of its lighter weight. Also in the 1960s, the

London horn maker Paxman produced a triple horn, which is a regular double horn (F and

B-flat) with the addition of an F or E flat alto horn. These are specialty horns, used

predominantly by professional or studio recording artists.

The characteristics of French horn – how classical composers have used horn

For hundreds of years, composers have used the sound of the French horn to depict

their feelings and emotions, ranging from carefree exhilaration to the most impassioned

tragedy. The French horn’s extensive range, variable timbre, and enormous dynamic range

not only make it a perfect instrument for solo passages, but also uniquely compatible with

both woodwind and brass quintets. Henri Kling comments that because the tone of the French

horn has a sense of “romantic and poetic nature,” composers usually use French horn to play

“expressive” and heart-felt melodies in their compositions.38

Evolved from the horns of the French hunting field, the French horn is the obvious

instrument to use when composers want to represent hunting. As early as the 1630s, when

horns first appeared in opera, they were used to play fanfare-like passages to represent the

hunt and outdoor/festive events. Composers who recall the instrument’s tradition and heritage

by writing those brilliant and bright hunting calls remind us of what horns sounded like in the

hunting field. For example, Haydn used some traditional hunting horn figures in the opening

38Henri Kling, Modern Orchestration and Instrumentation (New York, NY: Carl Fischer Publisher,

1902), 122.

17

fanfare for four horns in his Symphony no. 31 (With the Hornsignal) [ex 1].

Ex. 1 – Haydn

Also, the energetic horn quartet that includes in the “Jäger chorus” (hunter’s chorus) scene of

Weber’s opera Der Freischütz clearly captured the rustic and primitive atmosphere that seems

to suggest that the hunt was enjoyable and successful [ex. 2].

Ex. 2 – Weber

As mentioned above, the French horn is also the instrument of choice when composers want

to represent heroism and bravery in their music. For example, Ricahrd Strauss used the

French horn to represent the hero (himself) in his Symphonic poem Ein Heldenleben (A

Hero’s Life) [ex. 3].

18

Ex. 3 – Strauss

In Wagner’s Ring Cycle, Siegfried plays a horn on stage to allure the dragon out of its cage.

Siegfried’s Horn Call shows musically that Siegfried is fearless and bold when he faces the

dragon [ex. 4].

Ex. 4 – Wagner

The French horn’s warm and noble tone color also inspired composers to write some

of the most beautiful cantabile solos for the instrument. For example, the second movement

solo of Tchaikovsky’s Symphony no. 5 [ex. 5], and the second movement solo of Brahms’

Symphony no. 1 [ex. 6], both highlight the French horn’s warm and rounded tone color,

especially in its middle register.

19

Ex. 5 – Tchaikovsky

Ex. 6 – Brahms

Opera composers such as Meyerbeer and Rossini also used the French horn in solo or

obbligato melodies to imitate the florid singing qualities of the vocal lines. Weber applied his

substantial knowledge of the instrument and wrote one of the most poetic and celebrated horn

quartets in the overture of Der Freischütz [ex. 7]. This excerpt shows how Weber used the

French horn’s natural characteristics to illustrate pastoral or legendary scenes; and in addition,

20

used it to mimic the human voice and perform expressive, beautiful melodies.39

Ex. 7 – Weber

The low register of the French horn has a dark and haunting character. It is not the best

register of the instrument for melodic lines because the sound projects poorly compared to

higher registers. However, the firm and bold low horn unison in the first movement of

Shostakovich’s Symphony no. 5 seems to suggest an emotion that is full of hatred and anger

[ex. 8].

39Ibid., 130.

21

Ex. 8 – Shostakovich

As mentioned earlier in this chapter, when valves were added to French horns in 1818,

horn players became able to play chromatic scales without assistance from the player’s right

hand. However, in the twentieth-century symphonic repertories, composers such as

Stravinsky and Mahler purposely employed “stopped notes” in their music for coloring or

special effects. Stopped horn has a very distinct and effective tone: when played softly, a

vague, weak, and buzz-like effect is produced; when played forte, the sound has a deadly and

terror-awakening quality that is extremely effective. For example, in the second movement of

his First Symphony, Mahler employed the entire horn section to play the same rhythmic

figure in stopped horn, which added a brilliant and interesting tone color to this movement

[ex. 9].

22

Ex. 9 – Mahler

The stopped horn’s distinctive tone color also appeared frequently in twentieth century film

scores to highlight the scenes that present danger and suspicion.

Another special effect is called the “lip glissando” or “rip.” This is achieved “by an

upward slur across a number of partials, executed by the lip with or without any shift of valve

configuration.”40

Stravinsky used many lip glissando figures to add excitement and dramatic

effects towards the end of The Rite of Spring [ex. 10].

Ex. 10 – Stravinsky

Hence, the French horn’s wide variety of tone colors and its ability to represent

different emotions and characters are some of the reasons that film composers favor the

instrument and use it extensively in their scores. However, I have also come to believe that

the exceptional talents of the Los Angeles studio horn players motivated Hollywood film

composers to expand their imaginations, and adopt the sound of French horn into a variety of

scenes.

40Andre Stiller, Handbook of Instrumentation (Berkeley and Los Angeles: University of California

Press), 75.

23

LA Studio Horn players

The history of horn playing in Los Angeles started in the early 1920s when movie

theaters hired horn players (immigrants from Germany, the Czech Republic, and Italy) to play

in the pit orchestras that accompanied silent films. Most of these studio horn parts were not

spectacular or difficult, because at the time French horn players were considered as band or

amateur musicians. Therefore, the players’ level was thought to be average, good enough for

what was required in the studio orchestra.41

However, when the famous British horn player

Alfred Brain moved to Los Angeles in 1923 to play principal horn with the Los Angeles

Philharmonic, the level of horn playing in the Los Angeles area increased.

Brain (1885–1966) was the uncle of the legendary British horn player, Dennis Brain

(1921–1957). Before coming to the United States, Alfred Brain had already established

himself as one of the best players in London. He was the only player who had played first

horn with all the top London orchestras from 1919-22, and by the end of his career, Brain had

played principal horn with a number of the major orchestras in United States and Britain.42

Brain first got involved with the film industry in 1927, when he was asked to play in the

MGM studio orchestra in addition to his Los Angeles Philharmonic duties. Horn players in

the area such as Gale Robinson and Jack Cave praised Brain for his extraordinary control of

sound and exceptional musicianship. Robinson recalled Brain as “an incredible player, an

incredible soloist.” Cave also described what it felt like to play right next to Brain:

When you would just listen to one note, you would say that it was not a pretty sound. But

listen to his performance and you would say that he was a genius. He could just phrase, and

the way he put it all together, and the sound, the best way you could describe it was

“thrilling.” It was his phrasing. He was just so musical…. I was sitting next to him when he

picked his horn up and I was swallowing the notes. I could hardly play. You couldn’t hear

41Howard Hilliard, The History of Horn Playing in Los Angeles [Article on-line]; available from

http://www.usc.edu/schools/music/LAhorn/history/; Internet; accessed 5 March 2005. chapter 1.

42Ibid., chapter 1.

24

anybody else. His sound just cut through like a knife. He had such an enormous chest and

volume of air. His tone simply filled the room.43

Due to his tremendous mastery of the instrument over his fourteen years of residency in LA,

Brain helped raise the playing standard of the LA studio hornists and “influenced film [score]

composers to write prominent parts for the French horn.”44

According to Don Christlieb,

who is a renowned recording artist on bassoon, Brain had “made Los Angeles the capitol of

horn playing in the country.”45

Another significant Los Angeles studio horn player who has made an impact on the

Hollywood film composers is Vince de Rosa. A protégé of Alfred Brain, de Rosa entered the

studio circle in the late 1930s while still a teenager. As a young but gifted horn player, de

Rosa gained playing experience through numerous freelance opportunities while most of the

studio players were restricted by contract to playing in only one studio. Hence, before long,

de Rosa successfully established himself as the “first-call” horn player in the film industry.

Many believed that de Rosa’s extraordinary accuracy in his horn playing is the key for

his success in this business. Accuracy is extremely crucial in the recording industry. When

enormous amounts of money are spent in one single recording session, the studio requires

players that can play the music correctly in the shortest amount of rehearsals. According to

Cave, de Rosa always demonstrated an extremely high level of discipline, even when he was

still a teenager playing in the studio orchestras. James Decker (another famous studio horn

player) also recalled that de Rosa hardly made any mistakes during those recording sessions.

He said that de Rosa could always concentrate fully under stressful conditions and still

maintain control even after numerous takes. However, Decker thinks what really made de

43Ibid., chapter 1.

44Ibid., chapter 3.

45

Don Christlieb, Recollections of A First Chair Bassoonist: 52 Years in the Hollywood Studio

Orchestras (Sherman Oaks, CA: Christlieb Products, 1996), 74.

25

Rosa successful in the business was his colorful and variable sound. Many Hollywood film

composers were very attracted to de Rosa’s warm and beautiful tone color and hence began to

write prominent horn solos in their film scores.46

According to Chrislieb, de Rosa’s

“phenomenal solo playing attracted composers to compete with each other, making horn the

favorite solo instrument of the film orchestra, and not just for horn calls alone.”47

Thus,

while Brain inspired film composers to write prominent French horn parts in their music, de

Rosa’s impact on the business “brought about a new standard for studio horn parts.”48

(Additional information on Vince de Rosa’s signature tone color and the various types of

instruments that are used in Hollywood recording studios is listed as Appendix 1).

The level of the LA studio horn players remained high when de Rosa retired from the

business in the late 1980s. The newest star who took over de Rosa’s reign and became the

number one studio horn player in Hollywood was one of de Rosa’s students – James Thatcher.

Born in 1951, Thatcher served as the second horn player in the Los Angeles Philharmonic

before de Rosa introduced him to the studio circle. Before long, Thatcher’s exceptional

talents were recognized among studio players and film composers. Today, Thatcher does

about 90% of Hollywood recordings and serves as its first horn player. Thatcher’s

outstanding horn playing also inspired many current film composers to write specific horn

solos for him to play. For example, James Horner (the composer who composed for the film,

Titanic) was so pleased with Thatcher’s playing in his movie Cocoon (1985) that he has often

written some of the most “exhilarating” passages for French horn and always asks Thatcher

to be the “first call” horn player in his productions.49

46Hilliard, chapter 4.

47Chrislieb, 75.

48Hilliard, chapter 4.

49Mathez Jeremy and Bob Watt, “The Horn of Hollywood: James Thatcher,” Brass Bulletin 106

(February 1999): 76-77.

26

Hence, even though film composers may have favored the French horn for their music

because of its unique tone color and its wide-ranging capabilities, the French horn would not

have become so prominent in film music without the strong influence from the talented LA

studio horn players. Not only have they made a great impact on Hollywood film composers

and their works, millions of viewers were moved by their extraordinary playing and have

fallen in love with this beautiful instrument. This shows that the influence of the LA studio

horn players is one of the important factors contributing to the French horn’s use in film

music today.

27

Chapter 3 – The Appearance and use of French horn in Film music

The revival of symphonic film music

As previously mentioned, film directors had only started to realize how important

music was by making music an integral part of film in the early 1930s. At this time, most

Hollywood film music was composed by European composers, such as Max Steiner and Eric

Korngold, who were immigrants to the United States. Most of them were active concert-hall

composers in Europe, but also had some previous experience scoring for theaters and movies.

However, what really distinguished their music from their contemporaries’ is that their

compositional style resembled that of nineteenth-century composers (for example:

Tchaikovsky, Rachmaninoff or Schumann) — very romantic in nature, with lush melodies

and variable tempo changes, usually played by a large symphonic orchestra. Well known

examples from this period include Max Steiner’s King Kong (1933), Alfred Newman’s

Wuthering Heights (1939) and Eric Korngold’s Oscar winning scores Anthony Adverse (1936)

and The Adventures of Robin Hood (1938). Unfortunately, their music was not well received

by either the critics or the public. Since music can easily be ignored by viewers, record

companies had little interest in releasing a movie-soundtrack, “the music was deemed neither

classical nor popular.”50

Throughout the 1950s and 60s, film directors began to employ popular songs instead

of symphonic music in their films. This “trend” started out with the overnight success of

Dimitri Tiomkin’s little ballad, “Do Not Forsake Me, Oh My Darling,” which was used in

Fred Zinneman’s film High Noon in 1952. The song was released months before the movie

and it was extremely well received by the public. Hence, when the movie had finally hit the

market, the popularity of the song had secured the movie’s high ticket sales. Tiomkin’s

success inspired many Hollywood producers to change their marketing plans: they began to

50

Jon Burlingame, Sound and Vision: 60 Years of Motion Pictures Soundtracks (New York, NY,

Billboard Books, 2000), 3.

28

ask composers to write a “hit song” for their movies and used radio stations to promote the

song. When the song became famous, the movie would receive instant publicity and

economic rewards of millions of dollars added to its box-office sales — all of this can be

done by simply including a hit song at the end of their movies.51

For this reason, film

composers such as Elmer Bernstein and Jerry Goldsmith found themselves employed less

frequently by Hollywood film directors.52

It was not until the end of 1972, when RCA released an album called The Sea Hawk:

The Classic Film Scores of Erich Wolfgang Korngold that movie critics and filmgoers started

to have second opinions of the classic symphonic film score. This new marketing idea

originally came from R. Peter Munves, director of classical music at RCA Victor. Wanting to

expand the classical music market in the record industry, Munves decided to produce this

film music album of Erich Wolfgang Korngold in collaboration with conductor Charles A.

Gerhardt. They chose Korngold’s music not only because he was a celebrated composer in

European concert halls in the 1920s to 30s, but his great symphonic sound and lush romantic

melodies had accompanied some of the best-known and memorable movies by Errol Flynn,

Bette Davis and Claude Rains.53

The record turned out to be a great success and movie critics began to judge

symphonic film scores more favorably. For example, film music critic/scholar Royal S.

Brown now praised that “the recorded sound simply dazzles in its realism and its richness.”

Also the New York Times critic Peter G. Davies raved about “the spectacularly rich and

full-bodied sound” and the composer’s “blazing fanfares, throbbing melodies to fit every

mood, all of it served up with extraordinary compositional skill and panache, bathed in the

51Ibid., 7.

52Laurence E. MacDonald, The Invisible Art of Film Music: A Comprehensive History (New York, NY,

Ardsley House Publishers, Inc., 1998), 177.

53Burlingame, 14

29

lushest purple hues of late German romanticism.”54

The impressive sales of the Korngold

recordings encouraged Munves to produce more albums featuring other classic film

composers such as Max Steiner and Alfred Newman; and ultimately, the albums became a

series called “Classic Film Scores.” Fourteen albums were released within a period of six

years. However, due to declining sales, RCA decided to pull the series off the market in

1978.55

The small audience of film-music fanatics and the dominant use of pop and rock

songs in film may have caused the gradual disappearance of the orchestral film score from

the Billboard charts in the 1970s. Nonetheless, when George Lucas’ futuristic film Star Wars

was released in 1977, its fully orchestrated soundtrack once again helped the symphonic film

score to regain its long-lost popularity. Before asking John Williams (who had his first

success with his Oscar-winning orchestral score Jaws in 1975) to compose for his film, Lucas

himself had constructed a “temporary soundtrack” that included music from Classical

composers such as Holst, Dvórak, and Walton. Lucas then asked Williams to compose a score

that is “firmly rooted in nineteenth-century romantic tradition, one similar in style to the

music from the past, like that of Erich Wolfgang Korngold’s film scores of the 1930s and

40s.”56

The music turned out to be a huge success: for older generations, Williams’s colorful

symphonic score reminded them of film music of the past; while for younger viewers, its rich

orchestrated sound was very new and refreshing.57

The success of Star Wars certainly inspired many film directors to re-consider the use

of orchestral music in their films. When Williams became the conductor of the Boston Pops

Orchestra in 1980, he was able to perform his works as part of the orchestra’s popular weekly

54Ibid., 15.

55Ibid., 16.

56Ibid., 17.

57MacDonald, 227.

30

television series, Evening at the Pops. This not only helped Williams make his works

well-known, but viewers also became more familiar with the content of film music outside its

cinematic background.58

The general appearances and uses of French horn in film

From a general point of view, the use of the French horn in film music shares a lot of

similarities with its use in classical music repertories. As the instrument frequently appears in

many operas, film composers often adapt the French horn’s robust and heroic sound in action

packed scenes such as chase, hunt, or fight. They also use the French horn to articulate the

soft and delicate emotions in love or farewell scenes by giving the instrument cantabile and

expressive melodies. To portray anxiety, and dangerous or evil scenes, film composers often

employ the stopped horn’s sharp and nasal tone color. Stopped horn’s tone color can help

dramatize a scene and make spectators feel scared or worried as they focus on the screen. All

in all, it is clear that Classical composers had a strong influence on Hollywood film

composers who have learned to adopt a similar musical language in their scores to create the

same dramatic effects needed for a given scene.

To summarize the appearances and uses of French horn in film efficiently, I have

decided to organize my film selections for this project by genre. My research shows that film

composers tend to highlight the sound of the French horn in the genres of action and

adventure, epic, science fiction, western, and war. The reason the French horn has appeared

so extensively in those types of films is because, since most of these films are action-packed

movies, directors often ask composers to write loud and explosive symphonic music (which

always includes a lot of brass) to go with the intense and fierce action. I have also decided to

analyze only films that were made between 1977 and 2004. There are several reasons for this

restriction: first, it was after John Williams’s outstanding score for Star Wars in 1977 that the

58Burlingame, 18.

31

symphonic film score regained its long-lost popularity; and second, it was also around this

time that the talents of the LA studio players started to be recognized. As previously

mentioned in chapter two, these musicians are one of the important reasons that film

composers started to write more prominent and elaborate French horn parts than before.

Lastly, for the case studies I have chosen to illustrate the use of French horn in film, I

have selected three films scored by James Horner. I am fully aware that there are many other

film composers, such as Howard Shore, John Williams, Hans Zimmer and David Arnold who

also wrote many interesting and exciting parts for the French horn in their music. However,

by limiting my research to only one composer, I am able to demonstrate that the French

horn’s multiple uses in film are the results of different “requirements” for many scene-types

and not solely from the unique styles of various composers.

Where can we expect to hear French horn in films?

Even though every film has its own storyline and characteristics requiring different

types of music, I propose that the appearance and use of the French horn in film can be

explained by the film’s genre and various scene-types. As I already mentioned, film

composers tend to highlight the sound of the French horn in action-packed movies, such as

action and adventure, epic, and science fiction. Why did film composers favor the French

horn in these types of films, and how did they use the sound of French horn to signify a

particular emotion or action? The following analysis demonstrates how film composers have

used the sound of the French horn in films of these genres. Each section begins with a general

analysis of how the French horn highlights the characteristics of each particular genre. A

detailed analysis case study will follow, which will show how film composers have employed

the sound of French horn to signify various types of actions and emotions within the genre.

Due to the difficulties of obtaining the original film scores, all of the musical examples

included in the analysis were transcribed aurally from the film itself.

32

Science fiction

Ever since John Williams’ overwhelming success for his score for Star Wars, directors

seem to favor the use of symphonic scores for depicting the mysterious world of other

galaxies, the strange features of aliens, and the spectacular visual effects that directors

emphasize in these films. Film composers must have considered the French horn’s round and

ringing tone color as the perfect sound to describe the depth and expansiveness of outer space.

Hence, this is probably why out of all the five genres given above, the French horn appears

most often in science fiction.

The sound of the French horn can be expected in many places throughout a science

fiction film. For example, at the very beginning of a film, when the opening credits run across

the screen, many composers rely on the French horn’s warm tone color to suggest the

mysterious galaxy presented at the beginning, one filled with numerous stars and planets.

Also, with the appearance of a gigantic spaceship or the discovery of aliens’ advanced

technology, film composers often use the sound of the French horn in forte to accompany

such scenes. For example, in Independence Day, when the scene shows several giant

spaceships moving toward the earth, David Arnold used the French horn to play this simple

yet effective melody to enhance on the atmosphere of the scene.

Ex. – Independence Day

33

Many low-range and stopped-horn entrances can also be expected in science fiction

films. Since the modern French horn no longer relies on the hand-stopping technique to

change pitches, and the trombones and tuba have replaced the French horn to be responsible

for the bass line in symphonic orchestras, film composers use either the French horn’s dark

and mellow tone color from its low register or use the stopped horn’s distinct and noticeable

timbre to attract the viewers’ attention when something dangerous or suspicious is about to

happen on screen. The sound of the stopped horn is definitely effective. Its harsh and nasal

timbre is not only distinctive but it also sounds different from every other instrument.

Therefore, it seems logical that film composers would use it to capture the viewers’ attention

so they become more engaged and focused on both the music and the big screen.

Besides John Williams, there are many other film composers who are also known for

writing interesting and exciting science fiction scores. For example, David Arnold was hired

by Ronald Emmerich to score all of his blockbuster science fiction films: Stargate (1994),

Independence Day (1996), and Godzilla (1998). It may be Emmerich’s preference to request

loud and explosive symphonic music for all those films. Nonetheless, it is Arnold who

skillfully employed the enormous sound of the French horn to go with the spectacular special

effects that portrayed massive destructions or explosive scenes characteristic of the science

fiction disaster-type film. James Horner is also known for his outstanding work in the science

fiction genre. He scored two films for the Star Trek series (Star Trek II: The Wrath of Kahn

and Star Trek III: The Search for Spock) in the early eighties; both received outstanding

reviews. However, it was not until 1985 when Horner was asked to score Ron Howard’s

Cocoon that his exceptional skill for scoring science fiction films emerged fully.

Case study 1 — Cocoon (1985, Director: Ron Howard; Composer: James Horner)

Synopsis: A science fiction film about a group of senior citizens who get a new lease on

34

life when they meet Walter (Brian Dennehy), the leader of a group of aliens who return to

earth to rescue twenty of their friends hiding in cocoons off the coast of Florida.

To succeed with his rescue missions, Walter hires a charter boat captain, Jack (Steve

Guttenberg), to take the aliens to the site where they buried their cocoons many years ago.

After they pick up the cocoons, they store them in a deserted swimming pool (which happens

to be located right next to the retirement village where the senior citizens lived). One day,

three men from the retirement village (Don Ameche, Wilford Brimley and Hume Cronyn)

sneak into the pool. After a swim, they miraculously find themselves feeling physically and

spiritually rejuvenated. They do not know why they feel this way, but suspect it has

something to do with what they believe are giant oyster shells stored in the swimming pool.

They think they have found the Fountain of Youth! Unfortunately, Walter finds out about the

break-in and asks the police to keep the old men away from the property. But after hearing

about the old men’s plea for health, Walter feels sympathetic and agrees to let them use the

pool as long as they keep it a secret.

However, the men’s frisky behavior causes some suspicion and jealousy around the

retirement village. One day, after someone breaks the news that the pool “is” the Fountain of

Youth, people from the retirement village rush into the pool hoping that they will also feel

rejuvenated. Sadly, this incident causes extreme damage to the cocoons in the pool and the

aliens have no choice but to put the cocoons back where they found them.

The compassionate aliens are sympathetic that these old men have to deal with the

fact that they are getting older. Hence, the aliens decide to offer the people from the

retirement village an opportunity to go back to their planet and live their life eternally. This is

a difficult decision for the old people: on one hand they feel reluctant to leave their families

behind, but on the other it is nice to know that they will live forever. The movie concludes

with a happy ending — as the old people finally board a spaceship with the aliens, they are

35

excited and look forward to their new life on another planet.

Music

As mentioned earlier in this chapter, the sound of the French horn appears most

frequently in science fiction films — and with James Horner’s colorfully orchestrated score

for Ron Howard’s Cocoon, that statement is certainly true. The use of horn in this science

fiction film may not be as “action-oriented” as most other films in this category, but Horner

certainly adopted the sound of the French horn in many memorable and heartfelt scenes very

carefully within the context of the movie.

The film begins with a little boy looking at the stars through a telescope before he

goes to bed. As expected, Howard used the shots of outer space to briefly illustrate the setting

of this film. With the French horn playing a two-note motive accompanied by celesta and

xylophone playing arpeggio figures, the music suggests that the atmosphere of outer space is

very secretive and mysterious [Ex. 1].

Ex. 1 –

This motive may look like a simple major third interval. However, when analyzing its

arpeggio accompaniment pattern, it soon becomes clear that Horner is alternating E and C

major to create a mystical and unsettling sound. This theme appears many times throughout

the film, primarily in scenes that are related to the aliens. It is interesting to consider Horner’s

technique in the context of the film’s story — because I think the two chords in this theme

capture the aliens’ “dual identity” throughout the film (they dress up as humans to complete

their mission).

36

When the aliens dive down to the deep sea in search of their cocoons, Horner uses

violins and electronic sound effects to show that the aliens are feeling uncertain about the

location of the cocoons buried many years ago. Nonetheless, when the scene shows that the

aliens have finally found the cocoons, Horner immediately adds the French horn to play an

expressive and noble melody and changes the tonality from e minor to G major. This quick

key change indicates that the mood has shifted from negative to positive. The French horn’s

full and rounded tone color suggests that the aliens are feeling relieved that they have found

their cocoons [Ex. 2].59

Ex. 2 –

Action The aliens search for the cocoon

down in the deep sea.

They find the cocoons and try to detach

them from a stone.

Sound Effects Dolphin’s squeaky sound. Sound of the electronic drill.

59Occasionally the images, dialogue, sound effects, and acting descriptions are included with the musical

examples. I have included this additional information to help clarify my statements and make the musical

examples more approachable for readers who have not viewed the movies.

37

Action They examine a cocoon by using

their advanced technical tools.

They lift the cocoon up and put them on

the charter boat.

Horner also used the French horn for another memorable cue in the scene entitled

“Reckless Behavior.” When one of the residents from the retirement village publicly reveals

that the pool might possibly be the “Fountain of Youth,” people from the retirement village

rush into the pool house, hoping they will also be rejuvenated by swimming in the magical

pool. However, because of this rude and unexpected trespassing, all the life force for the

aliens in the cocoons had been completely drained. Hence, not only have two of the aliens

died in this incident, but also the aliens will not be able to bring the rest of the cocoons back

with them because the cocoons have lost their life force.

As Walter mournfully looks at his dying friend in the broken cocoon, Horner calls for

the French horn to play a touching and heartfelt melody (which I call the “sad theme”) to

signify Walter’s despair toward this unfortunate incident. It is interesting to observe how

Horner uses the shape of this sequential melody to “describe” Walter’s emotion throughout

the scene. For example, when Walter and his friends are opening the cocoon, the range of this

melody remains within an octave [Ex. 3-1].

38

Ex. 3 -1 – Sad theme

Action Walter is stunned by the old people’s

unexpected trespassing.

Walter and his friends examine a broken

cocoon.

However, when Walter looks down on his dying friend from the broken cocoon, the melody

reaches up to the French horn’s high B which shows the pain and extreme sadness that Walter

feels for his friend’s death [Ex. 3-2].

Ex. 3-2 –

Action Walter inspects his fellow

alien who was stored in the

cocoon.

The alien seems to lose all the

life force that he needs and is

about to die.

Walter sheds a tear for his

dying friend.

Other

sound

effects

Oboe plays the “stuttering”

figure (ex. 4) here.

The violins play an ascending

E major scale.

39

Another noteworthy musical idea that appears in this scene is the short and stuttering figure

played by the oboe [Ex. 4]. Horner adds this stuttering figure to the French horn melody

when Walter looks down at his dying friend. The stuttering figure implies the dying alien’s

failing heartbeats, Walter’s feelings towards this tragic event, or a combination of both.

Ex. 4 – oboe

Horner supplies similar music for the scene when one of the old men, Ben (Wilford

Brimley) and his wife say goodbye to their daughter and grandson before departing for outer

space. What interests me musically about this farewell scene is Horner’s use of three different

instruments (guitar, oboe, and French horn) that all recite melodies derived from the sad

theme. First, when Ben tells his grandson what he will miss him when he goes to outer space,

Horner uses the solo guitar to subtly capture Ben’s gloomy emotion [Ex. 5].

Ex. 5 –

Then, when Ben’s wife tells her daughter how much they love her, Horner uses the oboe’s

expressive tone color to show that the couple feels reluctant to leave their daughter and

grandson. And lastly, when Ben’s wife cries in their car, Horner has the French horn play in

40

octaves with the oboe to stress that she feels heartbroken and sad that she is leaving her

family behind. However, the soft and rounded tone color of the French horn also indicates the

sense of assurance Ben gives his wife that they will have a better life ahead [Ex. 6].

Ex. 6 –

Action Walking out of her daughter’s house

after her last visit.

Hugging her daughter tightly before

she leaves the house.

Dialogue Mom: You know we love you right?

Daughter: Of course I do.

Action Saying goodbye to his daughter

and grandson before driving

away.

Ben’s wife feels heartbroken

and starts to cry in their car.

She also tells him that she is

having second thoughts about

the trip.

Ben assures his wife that they

will have a better life ahead

and wipes away her tear.

Dialogue Ben: You take care, young man.

Oh, and mind your mom.

Ben: Do you think it’s like

Bernie said, that we are

cheating nature?

Wife: Yes.

41

When Ben’s daughter finds out from her son that her parents are leaving for outer

space with aliens, she asks police to chase after the charter boat her parents boarded. Horner

employs French horn and trumpets to describe the pressing tension accompanying this

intensifying chase between the police and the aliens. However, Horner also uses the horn and

trumpet’s heroic and brilliant tone in forte to emphasize the strong police presence as the

helicopter and vessel pursue the charter in the dark [Ex. 7].

Ex. 7 –

Horner also used French horn and trumpet (playing similar musical passages) to describe the

grand arrival of the spaceship. When the spaceship illuminates in the middle of the night, the

noble and brilliant tone color of the horn and trumpet help emphasize the ship’s majestic

figure surrounded by bright lights and smoke [Ex. 8].

42

Ex. 8 –

Later, when the spaceship opens up to welcome old people on board, Horner again uses the

noble sounding French horn (this time accompanied by fast violin figures) to further

emphasize the magnificent sight of this giant spaceship [ex. 9].

Ex. 9 –

In addition, I feel this passage also signifies that the old people have finally succeeded in the

most important battle of their life — they can finally discard their fear of death and enjoy the

rest of their life eternally.

43

Overall, it is clear that the French horn can characterize outer space’s depth and

mysterious atmosphere in science fiction films with its ringing and rounded tone. Yet, the

French horn can also be applied to complement some of the most emotional scenes, as was

shown throughout Cocoon.

Epic

Another genre in which film composers tend to highlight the sound of the French horn

is epic (films that are based on the legendary life of a heroic character in history). In these

films, the hero’s heroism and bravery are usually the highlight of the film. While most

appearances of the French horn occur in scenes such as chase, hunt, and fight, film composers

for epic films favor the French horn’s noble and brilliant tone color and often adopt it to

signify the hero’s valiant presence. For example, in Mask of Zorro, James Horner employed

the French horn to play the exciting and Spanish-styled “theme of Zorro.”

Ex. – Mask of Zorro

This theme not only serves as a leitmotif for Zorro’s appearances throughout the entire film,

but also makes Zorro’s valiant actions on screen appear more believable.

Another scenario in epic films where composers tend to highlight the sound of the

French horn is victory. While horns and trumpets are two of the most commonly used

instruments to signify victory, their individual functions in these films are significantly

different. For example, composers often use the trumpet’s bright and direct tone to describe

victories won after a brutal fight or intensive killing.

44

Ex. – Robin Hood: The Prince of Thieves

In contrast, the noble and rounded tone color of the French horn suits victories that are more

sentimental and intimate.

Ex. – Braveheart

Case study 2 — Braveheart (1995, Director: Mel Gibson)

Synopsis: An Academy award-winning epic based on the life of a legendary thirteenth

century Scottish hero, William Wallace.

After the death of the heirless Scottish King Alexander III in 1286, Edward the

Longshanks (King of England) tries to capture the throne of Scotland, and imposes dictatorial

policies to control and threaten the freedom of all Scottish people. Many innocent Scottish

men were killed during the fights against these vicious English soldiers, including William

Wallace’s father and older brother. When Wallace finally returns to his homeland after

45

traveling around Europe for years with his uncle, he intends to settle down and start a family

of his own. However, after witnessing the suffering and torture the Scottish people have to

endure, Wallace decides to rally a group of amateur fighters to fight for the liberation of their

country. Even though this provisional force may be outnumbered by the English troops, their

patriotic actions and determination are vividly presented in the film’s breathtaking battle

sequences.

Music

One of the most interesting features of Horner’s score is his extensive use of Celtic

instruments. With his clever mixture of ethnic instruments and standard orchestral

instruments, Horner’s use of the French horn in this big and lush romantic score is also

noteworthy.

As previously mentioned, film composers rely on the sound of the French horn in

scenes that signify heroism and bravery. However, what is musically interesting about this

epic is that Horner uses the sound of the French horn to stand for the “spirit of William

Wallace” and applies it to this character’s actions and emotions in a number of scenes

throughout the film. For example, when young Wallace pleads to go to a meeting with his

father, Horner calls on the French horn to show young Wallace’s daring and fighting spirit

with a tender and distant-sounding melody. In addition, when Wallace tells his dad that he

wants to participate in the meeting, Horner wrote a melody that ascends to the French horn’s

high B-flat to show Wallace’s aspiration. However, the melody descends with his father’s

rejection [Ex. 10].

46

Ex. 10 –

Action Wallace’s father questions why

Wallace is hiding behind a tree.

Wallace insists on following…but is rejected.

Dialogue Wallace: Where are we going?

Father: MacAndrews. He was

supposed to meet us when the

gathering was over.

Wallace: but I want to go…

Father: No, go home boy.

Other than signifying the spirit of Wallace, the French horn also appears in contexts

such as battle scenes. For example, when an English soldier molests Wallace’s wife, Horner

gives the French horn a four-note motive in e-flat minor to express the dangerous situation

and risk of her death [Ex. 11-1]. Later, when Wallace comes in for the rescue, Horner recalls

the sound of the French horn — only this time it signifies Wallace’s heroic and courageous

actions as he fights several English soldiers all by himself [Ex. 11-2].

Ex. 11-1 –

47

Ex. 11-2 –

As stated earlier in this case study, film composers favor setting the French horn to

music that depicts heroism and victory. When Wallace gives an inspiring speech to the

Scottish rebellion before the battle at Stirling, Horner presents a firm and dignified theme

played by the noble sound of the horn (which I will call “Wallace theme”), to signify his

valiant and heroic bearing as he communicates the necessity of the rebellion and what the

future of Scotland shall be to his fellow comrades [Ex. 12].

Ex. 12 – Wallace theme

Following the battle, as Wallace feels relieved after defeating the English army, Horner again

48

uses the same musical passage to convey Wallace’s emotions. Since the victory represents

Wallace’s first triumph against the despotism of England, Wallace holds up his sword and

ecstatically yells, “AH!” Horner uses the chord progression: I – ii – V6/4 – V in D with a

dramatic crescendo on the leading note (C#) to create an effective and significant climactic

moment. Here the music not only signifies victory, but also the patriotism Wallace and his

fellow comrades possess to fight for the freedom for their country [Ex. 13].

Ex. 13 –

Action After the fight against the

English army, Wallace believes

they may have won the fight…

Wallace looks over the

crowd to see how many

people have survived….

He holds up his sword and

cheers to the crowd.

Dialogue Wallace: Alright……

Wallace: Ah!

Unfortunately, this sweet dream is short-lived. As Wallace and his fellow comrades face

the English’s brutal attack at Falkirk, Horner adopts the French horn’s dark and somber tone

to imply the cruelty and sadness of this tragic event [Ex. 14].

49

Ex. 14 –

It is interesting to note that when an arrow wounds Wallace, Horner has the French horn

melody sustain the note G (concert C) for several measures and lets the violins take over the

main melody. The sustained G seems to imply that Wallace’s valiant spirit has been put on

hold because he was wounded. However, when Wallace decides to attack the King himself,

the horn rejoins the violins in octaves to play the main melody. The sound of the French horn

seems to suggest that even though he was wounded, he was able to keep fighting because of

his strong volition [Ex. 15].

Ex. 15 –

50

Another notable scene where Horner uses the French horn to describe intimate and personal

emotions is Wallace’s discovery of Robert the Bruce’s betrayal. Wallace is stunned and

devastated after discovering that Bruce is the one trying to kill him. As he looks at Bruce with

extreme disbelief and regret, Horner draws on the French horn’s tender and mellow mid-

register to play a countermelody with the violins, signifying Wallace’s disappointment [ex.

16].

Ex. 16 –

Horner’s most effective and memorable use of the French horn is during the public

execution of William Wallace. In this scene where Wallace is humiliated and tortured on stage

by a military officer, Horner again calls on the sound of the French horn to play the Wallace

theme to depict his heroic and courageous spirit. A repetitive musical pattern begins in the

first two measures of the Wallace theme as the public starts to cry out for mercy for Wallace.

Then, as his torturing becomes more severe, the theme is simplified to a three-note motive,

C#－D－A, suggesting that Wallace’s strength is fading. The pattern then starts to change

again when the military officer announces that Wallace is about to say a final word. When

Wallace finally cries out “freedom,” Horner again supplies the chord progression I – ii –

V6/4 – V with a dramatic crescendo on the C# to reach the climax of the movie [Ex. 17].

51

Ex. 17 –

Action A woman cries out from

the crowd.

Wallace struggles on stage.

Dialogue Woman: Mercy!! Officer: cry out…mercy

Action The officer tries to convince

Wallace to surrender.

Two of Wallace’s fellow

comrades secretly watch his

execution from the crowd.

Dialogue Officer: just cry out….mercy Hamish: Mercy, William

Man: Jesus, Mercy

52

Action The officer announced that Wallace is about

to say his last word

Wallace finally called out “freedom”

as his final word before he died on

the execution table

Dialogue Officer: The prisoner wish to say a word…

Wallace: Freeeedommmmm

The effect is astonishing. Horner may have adopted the same musical segment that he used

earlier in the victory scene, but symbolically, the music suggests something else: Wallace

may have died now, but because he was able to hold on to his faith and belief until the

moment he dies, he has established himself as a spiritual father of the Scottish independence

movement.

Robert the Bruce had planned on paying homage to the English King and accepting the

endorsement of his crown. However, when he sees the handkerchief Wallace left behind, it

reminds him that he and his people should keep on fighting for their country’s freedom. For

this emotional and meaningful final scene, Horner employs the French horn and the Celtic

whistle in unison to play the Wallace theme. If the sound of the French horn represents the

spirit of William Wallace and the Celtic whistle symbolizes the spirit of his Scottish comrades,

the combination of the two instruments implies a strong spiritual unification, which suggests

that Wallace’s patriotic spirit remains inside his comrades’ hearts [Ex. 18].

53

Ex. 18 –

At the conclusion of the movie, when Bruce decides to ask his fellow comrades to

“bleed with him” one last time, Horner again uses another Scottish instrument, the Uilleann

pipes, to join the French horn in the final scene. However, instead of using both instruments

to play the Wallace theme, Horner uses the Uilleann pipes to play the opening theme (which

signifies the spirit of Scotland) and the French horn to play the Wallace theme. Evidently, the

combination of the two instruments and the incorporation of the two significant themes

strongly suggests that even though William Wallace is no longer with his people in Scotland,

his patriotism and uplifted spirit will not be forgotten [Ex. 19].

Ex. 19 –

54

Disasters and Adventures

A third genre for which film composers tend to use the sound of the French horn is

disaster and adventure film. In these films, dangerous and ominous scenes and atmosphere

seem to be highlighted by directors. Hence, film composers usually adopt the French horn’s

deep and dark tone color from its lower register, or the stopped horn’s sharp and distinct

sound to suggest that something unusual and unexpected is about to happen.

Film composers also use the French horn’s full and powerful tone color in forte to

dramatize the special effects included in scenes that show massive destruction or explosions.

It seems more logical to use the loud and explosive sound of the brass instruments to

accompany the massive scenes, because not only can they usually be heard on top of all the

sound effects, but their big sound can also helps to “fill up the spaces” so that the explosions

and special effects seem more vivid.

Composers also seem to favor the use of the French horn to signify heroism and bravery

that often occur in rescue scenes. As for similar scenes in epic films, composers often employ

the French horn’s noble and rounded tone to emphasize the valor and courage of rescue

workers who risk their own lives to save others in many dangerous situations. However, on a

number of occasions, the French horn is also used to signify that the victims feel safe and

secure after they have survived a life-threatening event.

Case Study 3 — The Perfect Storm (2000, Director: Wolfgang Peterson)

Synopsis: The story begins in Gloucester, Massachusetts, home of a sword fishing

boat Andrea Gail, captained by Bill Tyne (George Clooney). After several disappointing

catches during the season, Bill decides to change his run of bad luck by going beyond the

normal zone for New England fishing boats to Flemish Cap, a remote area known for its rich

fishing prospects. Bill takes a group of hopeful and desperate fishermen in hopes of making a

55

big catch for all.

Once at sea, Bill hears about a storm building offshore. Due to his own pride and the

promise that he made to his crew, Bill decides to stick with his original plan, believing that he

will beat the storm and bring an enormous catch back to Gloucester. The crew has no idea

that the storm they are about to face is extraordinary. The local TV weatherman (Chris

McDonald) reports that this storm is part of Hurricane Grace heading up the Atlantic. Grace

becomes even more powerful as it collides with two other weather fronts that are rapidly

gathering strength. The combined three storms will cause a storm more terrifying than anyone

has imagined, and far greater than any ever recorded in modern history.

The storm comes too suddenly for the National Weather Bureau to issue a warning to

all the vessels at sea. Hence, the crew of Andrea Gail never receives a warning about the

terrible storm. Courageous Air Force and Coast Guard rescuers try to save the vessels

(including Andrea Gail) caught at sea; but, the crew of the Andrea Gail never makes its way

back to Gloucester. Instead, the only thing that they left behind for their friends and families

was their love and passion for fishing.

Music

Like his Oscar winning score to Titanic, Horner took advantage of the powerful brass

and swelling strings to show the giant waves and heavy rains of this gigantic “perfect storm.”

However, according to the short interview included as a special feature in this DVD, Horner

states that he did not want the film score to become just another “seafaring score;” instead, he

wanted to write music not only to demonstrate the nobility and bravery of these fishermen,

but also to describe their families’ blissful and thankful emotions when they meet up with

their loved ones upon their return from the sea at the beginning of the film.60

Before the showing of the credits, Horner used both guitar and French horn to play a

60Paula Weinstein, Wolfgang Peterson, The Perfect Storm (CA: Warner Brothers, 2000).

56

simple, Americana-styled theme (which the violins later take over) to introduce the easy and

peaceful setting of Gloucester, Massachusetts [Ex. 20].

Ex. 20 – Main theme

However, as Bobby’s girlfriend (Diane Lane) has a nightmare about a terrible storm, Horner

gives the French horn dramatic crescendos and decrescendos on several long notes of the

“storm theme” to make the dark and stormy weather look more severe and dangerous [Ex.

21].

Ex. 21 –

When the boats return to the harbor safely, Horner combines two French horns and an

electronic guitar to play an energetic fanfare which shows the fishermen’s family and friends’

exciting emotions as they welcomed their loved ones’ safe return [Ex. 22].

57

Ex. 22 – Fanfare theme

As mentioned earlier in this case study, Horner intended to signify the fishermen’s

bravery and courage when they are out to sea. Hence, in the scene when the crew prepares for

their departure, the French horn plays a noble and heroic four-measure theme (with a chord

progression of I – I4/2– IV– I) which clearly captures the fishermen’s bravery in taking this

trip to the Flemish Cap — even though they know that the trip might be challenging and that

their lives are at risk [Ex. 23].

58

Ex. 23 –

Horner also relies on the sound of the French horn in many other emotion-filled

scenes. An interesting example occurs when Bill wakes up his crew in the middle of the night,

believing that he has caught some fish. As the crew gets ready to assist him, Horner gives the

French horn a beautiful and tender melody to accompany the scene [ex. 24].

Ex. 24 –

To the audience, this expressive melody (which seems to share some similarity with the

opening theme) sounds like a wake up call for the crew. On the other hand, this melody also

reflects the fishermen’s emotions as they wait anxiously to see if Bill has really caught some

fish. While they are all standing nervously along the side of the boat, Horner modulates the

59

horn melody from G major to B major, which seems to suggest growth in the team’s anxiety.

Moreover, the descending melody also seems to express Bill’s frustration and disappointment

when he finds no fish at the end of his first hook [Ex.25].

Ex. 25 –

Later, after a long crescendo played by the electronic guitar, Horner re-applied the fanfare

theme (played by the horns, electronic guitar, and the trumpets) to represent the crew’s

overwhelming excitement when they finally catch their first fish. The theme’s agitated

rhythm and brilliant tone help characterize the event as a successful triumph — especially

since the crew had little prior luck.

Another musical sequence worth mentioning is the scene entitled “Shark attacks.” As

Bobby (Mark Walhberg) is bitten by a giant shark, Horner uses the same squeaky,

high-pitched violin sounds as those in Bernard Hermann’s 1960 film score for Psycho to

describe Bobby’s fear during this attack [Ex. 26-1].

60

Ex. 26-1 –

As Bobby tries to get his leg out of the shark’s mouth, Horner adds French horns to play a

series of absurd yet striking tritones, which seem to signify Bobby’s urgent cry for help as the

others try to rescue him [Ex. 26-2]. This clamorous music ends dramatically in sudden silence

as Bill pulls out his gun and shoots the shark dead.

Ex. 26-2 –

Film composers are particularly fond of using the stopped horn in their film scores,

especially in ominous and dangerous scenes. Hence, as Murph (John C. Reilly) gets his hand

caught in the fishhook and is pulled into the water before anyone notices, Horner skillfully

adopts the sound of trumpets and stopped horns to “imitate” Murph’s struggling movement

61

while he tries to escape this life-threatening situation. As Murph tries to free himself from the

string, Horner uses a descending chromatic scale with rapid repeated notes to protray his

frustration and panic. As he sinks deeper into the water, the stopped horn rhythm starts to

appear on off beats instead of on each beat. When Murph starts to lose consciousness, the

tempo and rhythmic pattern slow down. Then, as he quits breathing, the sound of stopped

horn eventually disappears [Ex. 27].

Ex. 27 –

Action Murph’s hand accidentally

gets caught in a fish hook.

One of the fishermen (Sally)

jumps into water to save Murph.

Action Murph starts to lose

consciousness.

Sally and Bobby swim

towards Murph, hoping that

he is ok.

Murph becomes completely

still as Sally and Bobby try to

un-tie Murph and bring him

back to the boat

62

In addition, Horner also uses it to signify the courage and strength that fishermen have

as they struggle with this terrifying weather. For example, in the scene entitled “Middle of the

Monster Storm,” Horner uses the noble sound of French horn to show the rescue workers’

bravery and heroism as they risk their own lives to save those who have fallen from an

overturned boat. As Bill tries to pilot the Andrea Gail through dreadful weather, Horner gives

the French horn this highly elaborate melody (which goes all the way up to French horn’s

high C#) to show that Bill is feeling enthusiastic and excited about the wild ride, and that he

is confident he will be able to bring the crew home safely [Ex. 28].

Ex. 28 –

Loud brasses and swelling strings are used to describe the heavy rains and high tides

as the rescue workers and fishermen fight for their survival in numerous dangerous and

terrifying scenes. The music becomes extremely effective when Bill fights against this

monster storm one last time. Horner first uses trumpets to play a “death call” motive to

express the fearful emotion the fishermen feel as they begin to realize that they may not

survive the storm [Ex 29 -1].

63

Ex. 29-1 – death call

As Bill pilots the boat up an enormous wave forming in front of them, Horner uses loud

French horn and trumpet sounds to signify Bill’s determination and courage [Ex. 29-2].

Ex. 29-2 –

Finally, when the boat is overturned by gigantic waves, Horner has the French horn play a

series of harsh and discordant minor seconds, suggesting that the evil monster storm has won

the battle [Ex. 29-3].

64

Ex. 29-3 –

In the final scene, when Bill and Bobby decide to swim out of the sinking boat, it

seems that Horner wants to emphasize their bravery and courage by using the French horn to

play the noble and meaningful melody found earlier in the film to signify their daring

behavior. Moreover, the music also suggests that they have hope — because the melody

actually ascends when Bobby swims out of the boat, he may have a chance of surviving.

However, it turns out that none of them survive the deadly storm [Ex. 30].

Ex. 30 –

The Perfect Storm concludes with Bill’s colleague Linda (Mary Elizabeth

Mastrantonio) recalling Bill’s description of a perfect fishing day. Once again, Horner allows

the French horn to play a melody that signifies the fishermen’s bravery, and adapts it as the

scene’s musical accompaniment. This music reminds the viewers of all the fishermen who

died in this tragic event. However, the music also suggests that even though they are no

65

longer with their friends and families, their passion for being fishermen will always be

remembered by their loved ones.

66

Conclusion

This examination of why and how film composers adopt the sound of the French horn

demonstrates that the instrument is an indispensable and significant component of film music.

Its colorful tone not only allows film composers to convey emotions ranging from sadness to

exhilaration, but with its brilliant sound in forte provides composers with an effective and

powerful tool to dramatize intense and explosive actions, and to signify valiant traits such as

heroism and patriotism.

While my research provides readers with only an introduction to how the sound of the

French horn is used in film scores, further studies can expand on these ideas to explore other

relevant topics. For example, a comparison between styles of different film composers might

expose trends in using the French horn in both classical and contemporary film scores.

Additional analyses could focus on the French horn’s use in films that belong to war and

western genres, which also include significant and notable parts for the instrument.

This document serves as the first thorough assessment of the appearance and use of the

French horn in Hollywood symphonic film scores. I hope that my research will help film

scholars and musicians understand the importance of the French horn in film scores,

acknowledge the contribution of the Los Angeles studio horn players, and also encourage

viewers to listen to and enjoy film music from a different and refreshing perspective.

67

Bibliography

Books

Bazelon, Irwin. Knowing the Score. New York: Van Nostrand Reinhold, 1975.

Baxter, John. Sixty Years of Hollywood. South Brunswick, NJ and New York: A. S. Barnes,

1973.

Berlioz, Hector. Treatise on Instrumentation. New York, NY: Edwin F. Kalmus, 1948.

____________. Beethoven by Berlioz: A Critical Appreciation of Beethoven’s Nine

Symphonies and His Only Opera — Fidelio — With Its Four Overtures. Compiled and

translated by Ralph De Sola. Boston, MA: Crescendo Publishing Company, 1975.

Black Dave and Tom Gerou. Essential Dictionary of Orchestration. Los Angeles, CA: Alfred

Publishing Co., Inc, 1998.

Bohn, Thomas W and Richard Stromgren. Light and Shadows: A History of Motion Pictures.

Port Washington, NY: Alfred Publishing Co., 1975.

Bookbinder, Robert. The Films of the Seventies. Secaucus, NJ: The Citadel Press, 1982.

Bookspan, Martin and Ross Yockey. Andre Previn: A Biography. New York: Doubleday,

1981.

Bordwell, David and Kristin Thompson. Film Art: An Introduction, 4th ed. New York:

McGraw-Hill, 1993.

Brand, Neil. Dramatic Notes. Luton, England: University of Luton Press, 1998.

Brode, Douglas. The Films of the Eighties. Secaucus, NJ: The Citadel Press, 1990.

Brown, Gene. Movie Time: A Chronology of Hollywood and the Movie Industry from Its

Beginning. New York: Machmillan, 1995.

Brown, Royal S. Overtones and Undertones: Reading Film Music. Berkeley: University of

California Press, 1994.

Buhler, James, Caryl Flinn, and David Neumeyer. Music and Cinema. Hanover, NH:

Wesleyan University Press, 2000.

Burlingame, Jon. Sound and Vision: 60 Years of Motion Picture Soundtracks. New York, NY:

Billboard Books, 2000.

Cawkwell, Tim, and John M. Smith, (eds.). The World Encyclopedia of Film. New York:

World Publishing, 1972.

Collins, Jim, Hilary Radner, and Ava Preacher Collins, (eds.). Film Theory Goes to Movies.

New York: Routledge, 1993.

68

Cook, Nicholas. Analyzing Musical Multimedia. New York, NY: Oxford University Press Inc.,

1998.

Cooke, Deryck. The Language of Music. Oxford and New York: Oxford University Press,

1990.

Crary, Johnathan. Technique of the Observer: On Vision and Modernity in the Nineteenth

Century. Cambridge, MA: MIT Press.

Darby, Williams and Jack Du Bois. American Film Music: Major Composers, Techniques,

Trends, 1915-1990. Jefferson, NC: McFarland and Company, Inc., Publisher, 1990.

Daubney, Kate. Max Steiner’s Now, Voyager: A Film Score Guide. Westport, CT: Greenwood

Press, 2000.

Dickinson, Kay, (ed.). Movie Music, The Film Reader. New York, NY: Routledge, 2003.

Donnelly, K. J. Film Music: Critical Approaches. Edinburgh: Edinburgh University Press,

2001.

Duncan, Dean. Charms that Soothe: Classical Music and the Narrative Film. New York, NY:

Fordham University Press, 2003.

Eisler, Hanns and Theodor Adorno. Composing for the Films. New York: Oxford University

Press. Reprint, London: Athlone Press, 1994.

Evans, Marks. Soundtrack: The Music of the Movies. New York, NY: Hopkinson and Blake,

1975.

Ewen, Stuart and Elizabeth Ewen. Channels of Desire: Mass Images and the Shaping of

American Consciousness. Minneapolis: University of Minnesota Press, 1992.

Fiegel, Hugh. John Barry: A Sixties Theme. London: Constable and Company, 1998.

Finler, Joel W. The Hollywood Story. New York: Crown Publishers, 1988.

Gorbman, Claudia. Unheard Melodies. Bloomington, IN: Indiana University Press, 1987.

Grossberg, Lawrence. We Gotta Get out of This Place: Popular Conservatism and

Postmodern Culture. New York: Routledge, 1992.

Hagen, Earle. Scoring for Films; a Complete Text. New York: Criterion Music Corp, 1971.

Holden, Anthony. Behind the Oscar: The Secret History of the Academy Awards. New York:

Simon and Schuster, 1993.

Hollis, Richard, and Brian Sibley. The Disney Studio Story. New York: Crown Publishers,

1988.

Humphries, John. The Early Horn: A Practical Guide. New York, NY: Cambridge University

69

Press, 2000.

Kalinak, Kathryn. Settling the Score: Music and the Classical Hollywood Film. Madison:

University of Wisconsin Press, 1992.

Karlin, Fred. Listening to Movies. New York: Schirmer Books, 1994.

Karney, Robyn, (ed.). Chronicle of the Cinema. New York: Dorling Kindersley, 1995.

Kassabian, Anahid. Hearing Film: Tracking Identifications in Contemporary Hollywood Film

Music. New York, NY: Routledge, 2001.

Kennan, Kent and Donald Grantham. The Technique of Orchestration. Englewood Cliffs, NJ:

Prentice-Hall, Inc., 1990.

Kling, Henri. Modern Orchestration and Instrumentation. New York, NY: Carl Fisher

Publisher, 1902.

Kramer, Lawrence. Music as Cultural Practice. Berkeley: University of California Press,

1990.

Lloyd, Ann, (ed.). 70 Years at the Movies. New York: Crescent Books, 1988.

London, Kurt. Film Music. New York: Arno Press, 1970.

Lovelock, William. The Elements of Orchestral Arrangement. London: G. Bell and Sons, Ltd.,

1968.

MacDonald, Laurence E. The Invisible Art of Film Music: A Comprehensive History. New

York, NY: Ardsley House, Publishers, Inc., 1998.

Mancini, Henry with Gene Lees. Did They Mention the Music? Chicago: Contemporary

Books, 1989.

Manvell, Roger, and John Huntley. The Technique of Film Music. London, 1957. New York:

Hastings House, 1975.

Marks, Martin. Music and the Silent Film: Contexts and Case Studies, 1895-1924. New York

and Oxford: Oxford University Press, 1997.

Marmorstein, Gary. Hollywood Rhapsody. New York, NY: Schirmer Books, 1997.

Mason, Daniel Gregory. The Orchestral Instruments and What They Do. Westport, CT:

Greenwood Press Publishers. 1971.

Matthews, Charles. Oscar A to Z: A Complete Guide to More Than 2,400 Movies Nominated

for Academy Awards. New York: Doubleday, 1995.

Meyer, Leonard B. Emotion and meaning in Music. Chicago: University of Chicago Press,

1982.

70

Modleski, Tania, (ed.). Studies in Entertainment: Critical Approaches to Mass Culture.

Bloomington and Indianapolis: Indiana University Press, 1986.

Michael, Paul, (ed.). The American Movies Reference Book: The Sound Era. Englewood

Cliffs, NJ: Prentice Hall, 1969.

Morella, Joe, Edward Z. Epstein, and John Griggs. The Films of World War II. Secaucus, NJ:

Citadel Press, 1973.

Morgan, David. Knowing the Score: Film Composers Talk About the Arts, Craft, Blood,

Sweat, and Tears of Writing for Cinema. New York, NY: HarperCollins Publishers Inc.,

2000.

Norman, Barry. The Story of Hollywood. New York: New American Library, 1987.

Palmer, Christopher. The Composer in Hollywood. London: Marion Boyars, 1990.

Pavis, Patrice. Analyzing Performance, Theater, Dance and Film. Translated by David

Williams. Ann Arbor, MI: The University of Michigan Press, 1996.

Previn, Andre. No Minor Chords: My Days in Hollywood. New York: W. W. Norton, 1992.

Quirk, Lawrence J. The Great War Films: From “The Birth of a Nation” to Today. Secaucus,

NJ: The Citadel Press, 1994.

Read, Gardner. Orchestral Combinations: The Science and Arts of Instrumental Tone-color.

Lanham, Maryland: Scarecrow Press, Inc., 2004.

Rogers, Bernard. The Art of Orchestration: Principals of Tone Color in Modern Scoring. New

York, NY: Appleton-Century-Crofts, Inc., 1951.

Rona, Jeff. The Reel World: Scoring for Pictures. San Francisco, CA: Miller Freeman Books,

2000.

Russell, Mark, and James Young. Film Music Screen craft. Woburn, MA: Focal Press, 2000.

Schwaz. David, Anahid Kassabian, and Lawrence Siegel (Eds.). Keeping Score: Music,

Disciplinarity, Culture. Charlottesville: University Press of Virginia, 1997.

Smith, Jeff. The Sounds of Commerce: Marketing Popular Film Music. New York: Columbia

University Press, 1998.

Smith, Stephen C. A Heart at Fire’s Center: The Life and Music of Bernard Herrmann.

Berkeley: University of California Press, 1991.

Stiller, Andrew. Handbook of Instrumentation. Berkeley, CA: University of California Press,

1985.

Thomas, Tony. Film Score: The Art and Craft of Movie Music. Burbank, CA: Riverwood

Press, 1991.

71

____________. Music for the Movies. South Brunswick, NJ and New York: A. S. Barnes,

1973.

____________. The Great Adventure Films. Secaucus. NJ: Cotadel press, 1976.

Tietyen, David. The Musical World of Walt Disney. Milwaukee: Hal Leonard. 1990.

Tuckwell, Barry. Horn. London: Macdonald & Co (Publishers) Ltd., 1983.

Von Gunden, Kenneth, and Stuart H. Stock. Twenty All-Time Great Science-Fiction Films.

New Rochelle, NY: Arlington House, 1982.

Walker, John (Ed.). Halliwell’s Filmgoer’s and Video Viewer’s Companion. New York:

HarperCollins, 1997.

Wojcik, Pamela Robertson and Arthur Knight. Soundtrack Available: Essays on Film and

Popular Music. Durham, NC: Duke University Press, 2001.

Articles

Anderson, Gillian. “The Presentation of Silent Films, or, Music as Anaesthesia,” Journal of

Musicology 5, no. 2 (Spring 1987): 257-95.

Ahrens, Dennis. “John Williams Strikes Back! or, The Sountrack Continues,” Starlog, no. 37

(August 1980): 29-30.

Bernstein, Elmer. “What Ever Happened to Great Movie Music?” High Fidelity 22, no. 7

(July 1972): 55-58.

Burlingame, Jon. “John Barry,” Premiere 4, no. 4 (December 1990): 65-66.

Clement, Thom. “Composer Elmer Bernstein: Scoring Fantasy Films,” Starlog, no. 103

(February 1986): 68-71.

Cook, Page. “Bernard Herrmann,” Films in Review 18, no. 7 (August-September 1967):

398-412.

Cubitt, Sean. “Maybellene: Meaning and the Listening Subject,” Popular Music 4, 1984:

207-24.

Decker, James. “Double or Nothing: How tight money in Hollywood is popularizing Deskants

and Tuben,” The Instrumentalist 27:5 (December, 1972): 37-39.

Doane, Mary Ann. “The Voice in the Cinema: The Articulation of Body and Space,” Yale

French Studies 60, (1980): 33-50.

Dobroski, Bernie and Claire Greene. “Pass the Popcorn: An Interview with John Williams,”

The Instrumentalist 38, no. 12 (July 1984): 6-9.

72

Fink, Robert. “Orchestral Corporate,” in Echo: A Music-Centered Journal. University of

Minnesota Press, 2000.

Frith, Simon. “Mood Music: An Inquiry into Narrative Film Music,” in Screen 25, vol. 3

(May-June, 1984): 78-87.

Gallez, Douglas. “Theories of Film Music,” Cinema Journal 9, no. 2 (Spring, 1970): 40-47.

Hilliard, Howard. “Horn Playing in Los Angeles from 1920 to 1970.” The Horn Call,

February, 2000: 33-43.

Horton, Robert, “Miklos Rozsa: Music Man,” Film Comment 31, no. 6 (November-

December 1995): 2-4.

Houston, David. “Miklos Rozsa” Starlog, no. 31 (February 1980): 47-49.

Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” In Visual and Other Pleasures.

Bloomington and Indianapolis: Indiana University Press, (1989): 14-26.

Sciacca, Tom. “James Horner: New Melodies for the Starship “Enterprise.” Starlog, no. 63

(October 1982): 22-23.

Siders, Harvey. “Bill Conti,” BMI: The Many Worlds of Music, Issue 2 (1977): 35.

Simels, Steve and Gerald Carpenter. “Elmer Bernstein: The Dean of American Movie

Music,” Stereo Review 58, no. 9 (September 1993): 73-75.

Thelander, Kristin. “György Ligeti’s Trio.” The Horn Call, (November, 1999): 43-46.

Yakir, Dan. “The Men Who Score in Hollywood,” A & E Monthly 10, no. 11 (November

1995): 34-37.

73

Filmography

An American Tail (1986, USA), directed by Don Bluth, music by James Horner and Barry

Mann II. Universal City, CA: Universal Studios.

Apollo 13 (1995, USA), directed by Ron Howard, music by James Horner. Universal City,

CA: Universal Studios.

Backdraft (1991, USA), directed by Ron Howard, music by Hans Zimmer. Universal City,

CA: Universal Studios.

A Beautiful Mind (2002, USA), directed by Ron Howard, music by James Horner. Universal

City, CA: Universal Studios.

Braveheart (1995, USA), directed by Mel Gibson, music by James Horner. Hollywood, CA:

Paramount Studios.

Bicentennial Man (1999, USA), directed by Chris Columbus, music by James Horner. Los

Angeles: Touchstone Video.

Cocoon (1985, USA), directed by Ron Howard, music by James Horner. Fox Home

Entertainment.

Cocoon 2: The Return (1988, USA), directed by Daniel Petrie, music by James Horner. Fox

Home Entertainment.

Dances with Wolves (1990, USA), directed by Kevin Costner, music by John Barry. Los

Angeles: Orion Home Video.

Deep Impact (1998, USA), directed by Mimi Leder, music by James Horner. Hollywood, CA:

Paramount Studios.

The Day after Tomorrow (2004, USA), directed by Roland Emmerich, music by Harald

Kloser. Fox Home Entertainment.

Enemy of the Gate (2001, USA), directed by Jean-Jacques Annaud, music by James Horner.

Hollywood, CA: Paramount Home Video.

Far and Away (1992, USA), directed by Ron Howard, music by John Williams. Universal

City, CA: Universal Studios.

Field of Dreams (1989, USA), directed by Phil Aden Robinson, music by James Horner.

Universal City, CA: Universal Studios.

Gettysburg (1993, USA), directed by Ronald F. Maxwell, music by Randy Edelman. Warner

Home Video.

Gladiator (2000, USA), directed by Ridley Scott, music by Hans Zimmer and Lisa Gerrard.

Universal City, CA: Universal Studios.

74

Glory (1989, USA), directed by Edward Zwick, music by James Horner. Columbia Tri-Star.

Godzilla (1998, USA), directed by Roland Emmerich, music by David Arnold.

Columbia/Tristar studios.

Harry Potter and the Sorcerer’s Stone (2001, USA), directed by Chris Columbus, music by

John Williams. Warner Home Video.

Independence Day (1996, USA), directed by Roland Emmerich, music by David Arnold. Fox

Home Entertainment.

Indiana Jones and the Temple of Doom (1984, USA), directed by John McTiernan, music by

Basil Poledouris. Los Angeles: Paramount Home Video.

Jurassic Park (1993, USA), directed by Steven Spielberg, music by John Williams. Universal

City, CA: Universal Studios.

Lord of the Rings: The Fellowship of the Ring (2001, USA), directed by Peter Jackson, music

by Howard Shore. New Line Home Entertainment.

Lord of the Rings: The Two Towers (2002, USA), directed by Peter Jackson, music by

Howard Shore. New Line Home Entertainment.

Lord of the Rings: The Return of the King (2003, USA), directed by Peter Jackson, music by

Howard Shore. New Line Home Entertainment.

The Last of the Mohicans (1992, USA), directed by Michael Mann, music by Trevor Jones

and Randy Edelman. Twentieth Century Fox.

The Last Samurai (2003, USA), directed by Edward Ewick, music by Hans Zimmer. Warner

Home Video.

The Mask of Zorro (1998, USA), directed by Martin Campbell, music by James Horner.

Culver City, CA: Columbia/Tristar Studios.

The Man without a Face (1993, USA), directed by Mel Gibson, music by James Horner.

Warner Home Video.

The Missing (2003, USA), directed by Ron Howard, music by James Horner. Columbia

Tristar Home Entertainment.

The Mummy (1999, USA), directed by Stephen Sommers, music by Alan Silverstri. Universal

City, CA: Universal Studios.

Open Range (2003, USA), directed by Kevin Costner, music by Michael Kamen. Buena Vista

Home Video.

Patriot Games (1992, USA), directed by Phillip Noyce, music by James Horner. Paramount

Home Video.

75

The Perfect Storm (2000, USA), directed by Wolfgang Peterson, music by James Horner.

Warner Home Video.

Radio (2003, USA), directed by Michael Tollin, music by James Horner. Columbia Tristar

Home Video.

Rocky III (1982, USA), directed by Sylvester Stallone, music by Bill Conti.

Metro-Goldwyn-Mayer.

Robin Hood, Prince of Thieves (1991, USA), directed by Kevin Reynolds, music by Michael

Kamen. Warner Studios.

The Rockteer (1991, USA), directed by Joe Johnston, music by James Horner. Disney Studio.

Saving Private Ryan (1999, USA), directed by Steven Spielberg, music by John Williams.

Dreamworks Studios.

Searching Bobby Fischer (1993, USA), directed by Steven Zaillian, music by James Horner.

Paramount Home Video.

Silverado (1985, USA), directed by Lawrence Kasdan, music by Bruce Broughton.

Columbia/Tristar Studios.

Stargate (1994, USA), directed by Roland Emmerich, music by David Arnold. Lionsgate.

Star Trek II — The Wrath of Khan (1982, USA), directed by Nicholas Meyer, music by James

Horner. Paramount Home Video.

Star Trek III — The Search for Spock (1984, USA), directed by Leonard Nimoy, music by

James Horner. Paramount Home Video.

Star Wars (1977, USA), directed by George Lucas, music by John Williams. Beverly Hills,

CA: CBS/Fox Video.

Star Wars II — Episode II, Attack of the Clones (2002, USA), directed by George Lucas,

music by John Williams. Twentieth Century Fox Home Video.

Troy (2004, USA), directed by Wolfgang Peterson, music by James Horner. Warner Home

Video.

Titanic (1997, USA), directed by James Cameron, music by James Horner. Paramount

Studios.

Willow (1988, USA), directed by Ron Howard, music by James Horner. Twentieth Century

Fox Home Video.

76

Appendix 1 – The Instruments that were used among the LA studio horn players

One of the most distinguishing characteristics of the LA studio horn players is their

exclusive use of the nickel silver Conn 8D. At the end of World War II, the Conn 8D double

horn slowly became the standard instrument used in major symphony orchestras, such as

New York, Cleveland, Philadelphia, and Los Angeles. The Conn 8D, famous for its “large,

dark and heavy sound” was modeled on the Kruspe horn that was design by the former

principal French horn of the Philadelphia Symphony Orchestra, Anton Horner. However, it

was James Chambers (the principal hornist of the New York Philharmonic from 1946 to 1969)

who was the first prominent horn player to promote the Conn 8D, and successfully carry on

Anton Horner’s tradition with its warm and resonant tones. 61

The Conn 8D was first introduced in LA around 1948 by Fred Fox, one of the most

influential teachers in LA. Nonetheless, the instrument was not commonly used by the LA

studio players until Vince de Rosa heard Chambers’ performance on his Conn 8D. De Rosa

was very attracted to its big, full, dark, and rich German Kruspe sound, and decided he would

play a Conn 8D. Soon after, the Conn 8D sound became one of de Rosa’s hallmarks, and

eventually, it became the “signature sound” of the LA studio hornists.62

James Decker once talked about the preference of the Conn 8D in the studio instead

of the Alexander double horn (which was used earlier by Alfred Brain). He said that because

the Alexander’s bell caused the sound to become edgy sooner than the Conn 8D, it was harder

to get that noble and melodious tone that film composers usually preferred. Also, as recording

technology evolved toward a larger number of tracks, recording artists usually placed the

microphones right next to the instrument’s bell rather than in front of the orchestra. Hence, it

became more important for a player to project his best sound up close, rather than far away,

so that it would be easier for the rest of a section to follow the first horn. Furthermore, de

61Hilliard, chapter 3.

62Ibid., chapter 3.

77

Rosa articulated the importance of having the same instrument in one section due to the

“wild” overtones that often produced by the diverse instruments. He said that because of the

overwhelming use of unisons in studio writings, intonation became extremely crucial and

sensitive. Hence, if all of the players in one section were to use the same instrument, it would

be easier for them to blend with each other, no matter which parts they were playing.63

Besides the exclusive use of the Conn 8D, common use of the Wagner tuba and the

descant horn also distinguished the playing of the LA studio horn players from elsewhere in

the world. According to Decker, the use of Wagner tuba in studios began with an adventurous

young hornist Dave Duke, who took a Wagner tuba to a rock ‘n’ roll recording session in

Hollywood back in 1964. The composer was very impressed with the Wagner tuba because of

its fuller sound and clearer attacks, consequently, he decided to use it in a section that he

originally scored for the French horn.64

The Wagner tuba is an instrument originally developed by Franz Strauss and Richard

Wagner at the end of nineteenth century. It had been used prominently in all of Wagner’s Ring

Cycle operas and also in many other symphonic works from the late nineteenth to early

twentieth century. Initially, Wagner wanted to create an instrument that can intone the opera

motives somberly like a trombone, but less incisively like a French horn. Hence, he

assembled a brass instrument that has a body that looks like a small tuba (with the bell

pointed towards the front) and uses a French horn mouthpiece. The Wagner tuba’s bell-front

design made its sound more focused and clear in the distance compared to the French horn.

As result, it was not only an easier instrument to record but it has also become the instant

cure for conductors who often complain about a French horn’s late entrance and missed beats.

This is probably why ever since its popular debut in 1964, film composers have been using

63Ibid., chapter 3.

64James Decker, “Double or Nothing: How tight money in Hollywood is popularizing Deskants and

Tuben,” The Instrumentalist 27:5 (December, 1972):38.

78

the Wagner tuba extensively in films, television and pop music.

Another type of instrument that has recently become popular among the recording

hornists is the descant horn. It is a specialty horn that is commonly used when the first horn

player has to play in the extremely high register for a long period of time. There are two kinds

of descant horns — the single descant horn in F alto and the double descant horn in B-flat and

F alto. Even though a hornist can usually play the same high register on a standard double

horn, the shorter tubing of the a descant helps the players to secure their accuracy in the high

register, and ease the worries out of the players’ mind. The sound of the descant is much

lighter than the standard double horn; hence, the descant horn serves as an ideal instrument

for small chamber ensembles and recordings.

In addition to the musical demands that the LA studio horn players use Wagner tubas

and descant horns during recording sessions, they may have enjoy playing these instruments

for financial reasons. According to Decker’s 1972 article “Double or Nothing,” if horn

players bring two instruments into one recording session, they are entitled to receive an extra

half pay of the service:

[When the studio symphony orchestra fell apart and Television became the king, music

budgets were notoriously low.] Consequently, to the hornists who earn their keep in

Hollywood’s recording studios, the word “double” has a new meaning. It doesn’t mean two

men on a part, and it doesn’t mean a Horn that can play in E-flat as well as F. It means playing

a second instrument….The musician who plays two instruments on one job earns 50% more.

Conversely, the employer pays 50% less for a second instrument than a second musician.65

So this is probably why most of the top LA studio horn players are able to make a large

income, sometimes even more than horn players who play in the major Symphony orchestra.

65Ibid., 37.