The Music in Stanley Kubrick's 2001: A Space Odyssey

5/17/2018 The Music in Stanley Kubrick's 2001: A Space Odyssey

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Joris HoogstederMusic 556

04/13/2015The Use of Sound, Silence and re!e"istent Music in 2001: A Space Odyssey.

Stanle#$u%ric&'s 2001: A Space Odyssey (as a )ost a)%itious and influential *ro+ect

the fil) caused )an# -*ositi.e and negati.e contro.ersies, featured the )ost inno.ati.e s*ecial

effects, and e.en toda#, *eo*le are still s*eculating and anal#sing the fil)'s )an# narrati.e

la#ers

Stanle# $u%ric& had a significant a**roach in the use of )usic in 2001: A Space

Odyssey 'll %e stressing ho( and (here he used this )usic, and (hat the underl#ing )eaning of

the )usic is lso, the cle.er use of silence and sound effects (ill %e discussed, as the third act of

2001contains al)ost no )usic

2001's )usic score is certainl# not an ordinar# one $u%ric& used the )usic of four

concert )usic co)*osers and edited the )usic into his fil) Ho(e.er, %efore he )ade this

decision, $u%ric& hired fil) co)*oser le" orth to (rite the original score fter orth

co)*leted the score, $u%ric& decided to re+ect this score and use his o(n co)*ilation ha.e

anal#sed %oth scores and ha.e )ade a %rief co)*arison of the t(o There has %een a lot of

de%ate (hether $u%ric& )ade the right choice re+ecting orth's score and using his o(n

co)*ilation ro*onents *raise the co)*ilation score for its )eta*horic and s#)%olic )eaning

and its )an# narrati.e la#ers, (hich *erfectl# align (ith the fil) **onents clai) the score is

not a fil) score, as the )usic that $u%ric& uses is not *la#ing the dra)a of the fil), and that the

cues (ould feel rando)l# *laced 2001: A Space Oddysey, directed %# Stanle# $u%ric&,

co)%ines *re!e"istent )usic (ith sound effects and silence to create a uniue fil) score in

(hich the *lace)ent of these ele)ents s#)%olie *arts of the fil)'s narrati.e

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Stanle# $u%ric&

Stanle# $u%ric& (as %orn on Jul# 26th, 1728, in e( 9or&, the :ron" He ca)e fro) a

Je(ish fa)il# His *arents (anted hi) to stud# hard, %ut Stanle# sho(ed little interest in school

His father taught hi) chess, (hich (ould %eco)e a lifelong o%session, and is referenced to in

)an# of his fil)s t age 13, he started stud#ing *hotogra*h# and fil) techniues He often

s&i**ed classes to see and stud# dou%le!feature fil)s s he graduated (ith *oor grades, his

*arents sent hi) to relati.es in ;os ngeles for a #ear, ho*ing it (ould hel* (ith acade)ic

gro(th

t age 16, his talent for *hotogra*h# (as disco.ered %# Helen ':rian, the head ofLook's

*hotogra*hic de*art)ent


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$u%ric& )o.ed to Fngland to start (or&ing on his o(n fil)s, so he had control o.er e.er#

*ara)eter He li.ed li&e a recluse he (or&ed on the fil)s (ithout telling the )edia or doing

inter.ie(s During these #ears he )ade the fil)s he is reno(ned for his fil)s contained a lot of

contro.ersial su%+ects and often feature a%stract and .isual ele)ents F.er# single fil) he )ade

in Fngland are considered )aster*ieces and cult!classics, and ha.e had a great influence on fil)s

that follo(edB$. Stangelo%e -1764"2001: A Space Odyssey -1768,A 'lock(ok Oange

-17E1 and of course, one of the )ost fa)ous horror fil)sB The Shining -1780

Stanle# $u%ric& (as an enor)ousl# *erfectionistic in e.er# (a# of fil))a&ing He

de)anded a lot of his cre(, and (as &no(n to shoot )an# ta&es %efore he (as satisfied


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The fil) (asn't al(a#s na)ed 2001: A Space Odysseythough Kn Monda#, @e%ruar# 22,

Metro!>old(#n!Ma#er announced that it (ould finance *roduction of Stanle# $u%ric&'s ne"t

)otion *icture,)o!ney *eyond the Stas -@igure 1L6;ittle did the# &no( that the fil)

ulti)atel# K(ould go 4,500,000 %e#ond the original %udget,L as the fil)'s total cost (ere a%out

10,500,000E

$u%ric& hired fil) co)*oser le" orth to (rite the soundtrac&, %ut e.entuall# decided to

re+ect this soundtrac& and co)*ose a co)*ilation score using *re!(ritten (or&s n addition,

$u%ric& also e)*hasied silence and sound effects This decision had a lot of conseuences and

e.en led to a la(suit There has %een a lot of de%ate a%out (hether $u%ric& )ade the right

choice or not So)e *eo*le thin& $u%ric&'s co)*ilation score does not )atch the i)ages at all,

or does not fit the stor# Ao)*oser Jerr# >olds)ith e.en (roteB

re)e)%er seeing Stanle# $u%ric&Ns 2001: A Space Odysseyand cringing at (hat consider to %e an a%o)ina%le use of )usic t is a )ista&e to force )usic into afil), and for )e 2001(as ruined %# $u%ric&Ns choice of )usic His selections hadno relationshi*, and the *ieces could not co))ent on the fil) %ecause the# (ere not

a *art of it a score is a fa%ric (hich )ust %e tailored to the fil)

8

$u%ric& reall# (anted to )a&e an i)*act on *eo*le and ha.ing the) thin& a%out (hat the# +ust

e"*erienced, he saidB


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$u%ric& di.ided 2001 into four acts These acts feel inde*endent at first, %ut turn out to %e full#

connected and *art of a %igger stor# The fil) starts (ith roughl# t(o )inutes of ;igeti's

Atosph/es, cuts to the M>M and o*ens (ith the )ain titles, acco)*anied %# Strauss'Also

Spach aath!sta.

S#no*sis

ct 1 o*ens in a *re!historic setting, (here a*es roa) a deserted landsca*e, loo&ing for

food and (ater fter a leo*ard &ills one of a*es, and a ri.alling tri%e attac&s the grou*, the grou*

is dri.en out of a (ater s*ringthe# found The ne"t )orning, the grou* (a&es u* onl# to

disco.er a giant %lac& rectangular )onolith has ine"*lica%l# a**eared ne"t to the) fter

disco.ering the )onolith, the a*es see) to ha.e acuired the first stage of hu)an intelligence,

de)onstrated %# their a%ilit# to use a %one as a tool lso, the a*es ha.e %eco)e hunters as the#

hunt ta*irs and eat their )eat The ne"t da#, the grou* goes %ac& to the (ater s*ring, and &ills the

leader of the ri.alling tri%e ne of the a*es thro(s a %one in the air and (e shift to a satellite

scene using a )atch cut -@igure 2

During ct , )illions of #ears ha.e *assed Hu)anit# has e.ol.ed and has de.elo*ed

technolog# to the *oint (here s*ace tra.eling is a co))on thing ?e see satellites and

s*acecrafts t(irling, al)ost


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of hi%ernated


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The roduction

Oegarding the *roduction of 2001" it is safe to sa# that $u%ric& (as far ahead of his ti)e,

inno.ating s*ecial effects and (as using rigorous a**roaches Most of the fil)'s interiors and

e"teriors (ere fil)ed on set, ho(e.er, the first act features a scene (ith a leo*ard attac&ing the

)an!a*es This scene (as fil)ed in frica, and featured a real leo*ard and a real dead horse,

(hich (as *ainted to loo& li&e a e%ra The scene (as fil)ed (ith tranuilier guns at the read#

KDue to the horse's stench, the leo*ard and ca)era cre( (ere unenthusiastic a%out doing the

sceneL10ther nota%le locations the fil) used for shooting 2001 (ere He%rides and Monu)ent

=alle# these locations (ere fil)ed for the


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Aontro.ersies

2001 caused )ore contro.ersies than $u%ric& could ha.e e.er &no(n (hen he started it @irst of

all, the )o.ie recei.ed e"tre)el# )i"ed res*onses fro) the general audience


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to su**lant Strauss'aath!sta, it (ould not satisf# $u%ric&''14$u%ric& (ould )a&e a

co)*ilation score, using the concert )usic of Oichard Strauss, Johann Strauss Jr, >#Rrg#

;igeti and ra) $hachaturian

The use of *re!e"istent )usic caused $u%ric& a lot of trou%le He used four of ;igeti's

*ieces in 2001BAtosph/es,L! Aetena,3e4!ie andAd%ent!es. Ho(e.er, it's

uestioned (hether ;igeti (as treated fairl# in this *rocess $u%ric& did )anage to o%tain

licenses to use ;igeti's )usic as %ac&ground )usicB %ac&ground )usic


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(hat he earned and e"acted at the ti)e the fil) (as released -ca 5,000 for the %ac&ground!use

*lus ca 4,000 (ith the settle)ent, he )ust ha.e had a tre)endous inco)e fro) record sales

and )ost nota%l# through ro#alties fro) >FM -the >er)an eui.alent of SA an

organiation *rotecting the co*#rights of co)*osers and )usiciansL1E

le" orth's original score (as .er# different fro) the co)*ilation score To %riefl#

co)*are le" orth's score to the co)*ilation score that $u%ric& e.entuall# decided to use, 'd

li&e to refer to orth's )ain titles for 2001 first: *ones. s (e (atch 2001, it %eco)es clear that

$u%ric& has a


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The Use of re!e"istent Music and its S#)%olic Meaning

t's .er# clear $u%ric& has had a strong .ision a%out (hat co)*ositions he (anted to use

in his fil) F.er# cue he uses has a grand s#)%olic and narrati.e function for the stor#

lthough, the *ieces he used in 2001(ere not as fa)ous as the# are toda# t's safe to sa# that

K(hen 2001 ca)e out, onl# a )inorit# of fil)goers &ne( the )usic of >#Rrg# ;igeti''18The

sa)e can %e said a%out Oichard Strauss' e"cer*t and $hachaturian's *iece due to 2001, these

*ieces (ere disco.ered %# a (ide audience, and ha.e %eco)e (ell &no(n toda# ?hen (e're

loo&ing at these *ieces on a dee*er le.el, (e find out these co)*ositions (or& *erfectl#, %oth on

a narrati.e and a s#)%olic le.el Since the *re!e"istent (or&s $u%ric& used in 2001are .er#

different fro) each other, %oth in genre and in narrati.e function, these are di.ided these in su%!

sections to ta&e a closer loo& at each of the)

>#Rrg# ;igeti,Atosph/es

>#org# ;igeti'sAtosph/esis a sound )ass co)*osition for full orchestra t features

co)*le" )o.e)ent and dense )icro*ol#*hon#, (hich causes the listener to lose the sense for

tonalit# and ti)ing ;igeti's *ieceis used at t(o *oints in the )o.ie (here there is nothing

dis*la#ed on screen the o.erture, %efore the )ain titles, and after the inter)ission -Ta%le 1 The

screen is full# %lac&, and the .ie(er e"*eriences the co)*le" orchestral te"tures of the

co)*osition This sound )ass co)*osition sets a rather dar&, o)inous )ood and )a&es the

.ie(er unsure of (hat to e"*ect This *ro.es $u%ric&'s cle.er and inno.ati.e narrati.e .ision

once again He does not need an i)age or a dialogue to set a certain )ood, the right )usic at the

right ti)e does all the (or&, (ithout feeling out of *lace

18Michel Ahion,K!#ick-s 'inea Odyssey-;ondonB :@ u%, 2001, 71

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The %lac& screen co)%ined (ith ;igetiNs )usic can %e also inter*reted as theannounce)ent of the seriousness of (hat (e are going to see ossi%ilitiesfor)an# different inter*retations of the fil)Ns structure -(hich (as alread#

deter)ined %# ;igetiNs t)os*hres sho( $u%ric&Ns readiness to sti)ulate thei)agination of scholars and


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(ritesB


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scientists a**roach the )onolith The end of an era has arri.ed, an era (here hu)ans are the onl#

creatures that *ossess %oth intellect and e)otions, as (e are introduced to the h#*er!intelligent

H;!7000, a su*er!co)*uter that turns out to ha.e hu)an e)otions as (ell The third ti)e

3e4!ie is used, is (hen :o()an confronts the )onolith, and enters the Stargate n this scene,

3e4!ie could re*resent the end of the era of ti)e and s*ace as (e hu)anit#I are fa)iliar (ith

The stargate scene sho(s us that ti)e and s*ace is li)itless, and :o()an tra.els through it, onl#

to arri.e in the strange %edroo) (here he (ill ulti)atel# transfor) into the Star!Ahild

aulus (ritesB KMusical )o.e)ent is not e"*erienced as the )usic (hich is added to the

*icture, %ut as the )usic (hich is the *art of the *icture, as if an


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dance

The *l!e $an!#e is a )agnificent *iece of )usic for the %eautiful, graceful )otion of thes*ace station To )e it +ust see)ed li&e a *erfect re*resentation of (hat (as going on

lso, it hel*ed to get a(a# fro) the idea that s*ace (ould %e eerie and strange S*acetra.el (ill %eco)e ordinar# .er# soon, and it (ill %e *articularl# significant for its%eaut# t see)ed to )e The *l!e $an!#e(as a )agnificent *iece of )usic to use,*articularl# since had decided to use e"isting )usic and not original )usic26

The use of this *iece during the s*ace scene (as hea.il# discussed eo*le told $u%ric& that The

*l!e $an!#e(ould create a strong association (ith grand hotels and =iennese o*erettas n

'hanging T!nes, Alaudia >or%)an sa#s the use of The *l!e $an!#e K*ro.es %oth ironic and

sincerel# a**ro*riate,L %ecause science fiction )usic nor)all# (as )ade of sounds of )#ster#

and futuristic other(orldness, (hich is the total o**osite of this (ell &no(n elegant (alt2Ef

$u%ric& had used originall# (ritten (alt )usic for 2001, it (ould ha.e see)ed out of *lace, %ut

since )ost *eo*le ha.e such a strong association (ith The *l!e $an!#e, it (or&s *erfectl#, as it

%eautifull# s#)%olies a lu"urious, class# #et co)forting )ood

>#Rrg# ;igeti,L! Aetena

;igeti'sL! Aetena is also a sound )ass co)*osition Ho(e.er, as o**osed to

Atospheesand3e4!ie, it has a s)ooth, al)ost di.ine, %ut still a)%iguous ti)%re The dense

)icro *ol#*hon# inL! Aetenais introduced (hen the scientists are on their )ission to the

)oon to e"a)ine the crater and the )onolith -Ta%le 5 The .ie(er does not &no( (hat the

scientists are after #et, and ;u" eterna sets an un*redicta%le at)os*here The single *itch that

e.ol.es into this co)*le" sound )ass, sung %# altos and so*ranos, is a *erfect introduction to the

3e4!ie6


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too is %ased on an unintelligi%le singing .oice, and on a sort of shi))ering of high notes on the

edge of for)lessness''28The ti)%res connect in such a good (a# that *eo*le could ha.e

%elie.ed it (as all *art of one *iece The sound )ass characteristics ofL! Aetenaha.e %eco)e

a (ell!&no(n techniue in fil) scoring, as )an# science fiction fil)s used it as in ins*iration

lso, the single, e.ol.ing *itch see)s to ha.e a )eta*horical )eaning the scene it is used in,

starts (ith the scientists a**roaching, the .ie(er &no(s .er# little a%out the )ission Ho(e.er,

as the scene continues, it %eco)es )ore and )ore clear (hat Dr @lo#d's real intentions on the

)oon areL! Aetenashares this narrati.e as it starts out as %eing a consonant single *itch, %ut

as ti)e *asses, it unra.els )ore dissonance and co)*le"it#

$hachaturian,Adagio fro)Gayane :allet Suite

During ct , (e hear e"cer*ts fro) $hachaturian'sAdagio-Ta%le 6 This *iece has

the least i)*act, co)*ared to the other *ieces, as it (or&s in a (a# )an# fil) co)*osers (ould

ha.e handled these *articular scenes as (ell The stor# is set 18 )onths after the e.ents on the

)oon Dr :o()an and Dr oole are on their )ission to Ju*iter, acco)*anied %# their

hi%ernated colleagues, held in a cr#oslee* t first glance,Adagiossad character re*resents a

certain sense of loneliness, %ut also %oredo) a)ong the scientists, as the# %arel# ha.e contact

(ith earth, and their )ain source of co))unication is H;!7000 lso,Adagiosets an

a)%iguous )ood, (hich tells the .ie(er that so)ething's off a%out the scientist's )ission Man#

critics (rite a%out $hachaturian'sAdagioas %eing


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)a&esAdagio actual fil) )usic, according to one of Alaudia >or%)an's fa)ous, influential

*rinci*les of fil) )usic, stating that K(hile the )usic is of course intended to %e heard %# the

audience, it is not ! e"ce*t in rare instances ! )eant to %e heard consciousl#L30

Da.id Aode has an interesting .ie( on this *articular e"cer*t He states that


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e)otion as (ell Da.id Aode's theor# a%out the *iece's *lace)ent in these scenes, along (ith the

fact thatAdagio is a duet for t(o celli, %rings )e to the follo(ing conclusion a%out this *iece

actuall# re*resents the dualit# of technolog# .ersus hu)anit# in 2001: A Space Odyssey.

>#Rrg# ;igeti,Ad%ent!es

During the Star gate scene, $u%ric& cle.erl# crossfades -unnoticea%le s(itching %et(een

audio trac&s %et(een ;igeti's3e4!ie,Atosph/esandAd%ent!es The scene starts (ith

:o()an entering the Stargate due to the )onolith s3e4!ie is the )onolith's ;eit)oti.,

$u%ric& starts (ith that one s the *s#chedelic i)ages and te"tures turn into landsca*es,

$u%ric& s(itches toAtosph/es This goes al)ost unnoticed as the dense ti)%res fit each other

*erfectl# fter the landsca*es, $u%ric& focuses on :o()an, and the .ie(er sees )ulti*le close!

u*s of his face and his e#e This is (hereAd%ent!es co)es in -Ta%le E, and literall# re*resents

:o()an's ad.enture to the %edroo) (here he (ill %e transfor)ed into the Star Ahild fter the

arri.al in the %edroo), the trac& slo(l# fades out and lea.es the .ie(er (ith silence, creating an

o*en at)os*here that *erfectl# fits the %are (hite roo)

Silence and Sound

side fro) using *re!(ritten )usic in 2001: A Space Odyssey, $u%ric& )ade cle.er use of

sound effects and silence as (ell During ct , little )usic is heard during the first cou*le of

scenes (here Dr oole, Dr :o()an, H;!7000 and the hi%ernated cre( is %eing introduced,

$u%ric& uses $hachaturian's Gayanes *allet S!iteto create the a)%iguous at)os*here

Ho(e.er, during the act's )ost thrilling scenes, $u%ric& decides not to use )usic at all

Oegarding the narrati.e use of silence and sound effects, $u%ric& creates a realistic at)os*here

%# letting the .ie(er hear e"actl# (hat the )ain characters (ould %e hearing as (ell ?hen Dr

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oole lea.es s*aceshi* to re*lace the teleco))unication unit, onl# to %e )urdered %# H;!

7000, the .ie(er onl# hears Dr oole's %reathing .er# loudl#, )a&ing the .ie(er full#

e"*erience this scene fro) his *oint!of!.ie( The %reathing sound creates a lot of tension and

reall# sets the at)os*here for the scene, and therefore co)*letel# ta&es o.er the need for )usic


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)a+estic o*ening and its strong association to


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Figure 1: Newspaper announcement of lming of 2001: A Space Oddysey (Agel, !

**endi"

21


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Figure 2: !e famous &"atc! cut': t!e one and t!e satellite$ (2001: A Space Odys

@igure 3B Dr :o()an's *orta%le ta%let co)*uter -2001: A Space Odyssey D=D Stanle#$u%ric&, 1768, ;os ngeles, AB Metro!>old(#n!Ma#er, 1768

22


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Ta%le 1B >#Rrg# ;igeti Atosph/es-e"cer*ts

ct Ti)ecode Duration of F"cer*t Scene

.erture 00B00B00 02B23 The screen is full#%lac&

nter)ission 01B2EB54 03B40 ate

seuence

Ta%le 2B Oichard Strauss !Also Spach aath!sta -e"cer*ts


Main Titles 00B03B15 01B20 ?e see the uni.erse,a *lanet and theo*ening titles

ct 00B15B30 02B2E The a*e %eco)es ahunter, learns ho( to

use tools

ct = 02B17B00 01B30 Dr Da.e :o()an%eco)es the Star!

Ahild

Ta%le 3B >#Rrg# ;igeti 3e4!ie


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Ta%le 5B >#Rrg# ;igeti L! Aetena -e"cer*ts


ct 00B45B38 01B20 The .ie(er isintroduced to the

)oon

ct 00B47B10 01B45 n.estigation on the)oon goes on

Ta%le 6B ra) $hachaturian Adagio fo Gayane *allet S!ite -e"cer*ts


ct 00B54B45 03B25 The .ie(er isintroduced to the

#Rrg# ;igeti Ad%ent!es -e"cer*t


ct 02B11B22 03B08 The Star!>ateSeuence

24


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:i%liogra*h#

rint Sources

gel, Jero)e The ,aking of K!#ick-s 2001 e( 9or&B e( )erican ;i%rar#, 17E0

:arron, ;ee K


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$ol&er, Oo%ert hili*, ed Stanley K!#ick-s 2001: A Space Odyssey: >e( 7ssays, e( 9or&B"ford Uni.ersit# ress, 2006$u%ric&, Stanle#, and >ene hilli*s Stanley K!#ick: +nte%ie(s, Jac&sonB Uni.ersit# ress ofMississi**i, 2001

;igeti, >#Rrg#Atosph/es =iennaB Uni.ersal Fdition, 1761

;igeti, >#Rrg#L! Aetena e( 9or&B Fdition eters, 1766

Mc$a#, @rances Tho)*son KMo.e)ent in Ti)e and S*aceB the S#nthesis of Music and =isual)ager# in ;uchino =iscontiNs$eath in &eniceand Stanle# $u%ric&Ns 2001: A Space Odyssey"81782

McWuistion, $ate


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udio =isual Materials

2001: A Space Odyssey D=D Stanle# $u%ric&, 1768, ;os ngeles, AB Metro!>old(#n!Ma#er-M>M, 1768

2001: Space Odyssey D Oiginal So!ndtack udio AD O Strauss, > ;igeti, J Strauss , $hachaturian, Son# ustralia, 2010

Ale >oth-s 2001: ?old Peiee 3ecoding.udio AD le" orth, =arese Sara%ande, 1773

Stanley K!#ick: A Life in Pict!es. D=D Jan Harlan, 200E, ;os ngeles, AB ?arner :ros,200E

nternet Sources

E2001: A Space Odyssey.8 nternet Mo.ie Data%ase htt*B//(((i)d%co)/title/tt0062622/-accessed Ma# 14, 2015

52001: A Space Odyssey-1768'' @il)site Mo.ie Oe.ie( htt*B//(((fil)siteorg/t(otht)l-accessed Ma# 14, 2015

Jo#ce, aul, 2001: The ,aking of a ,yth. 9ouTu%e @lash .ideohtt*sB//(((#outu%eco)/(atchG.Y@EH>(=P@M-accessed March 31, 2015

2E
http://www.imdb.com/title/tt0062622/http://www.filmsite.org/twot.htmlhttp://www.filmsite.org/twot.htmlhttps://www.youtube.com/watch?v=F7HGwVqI_FMhttp://www.filmsite.org/twot.htmlhttps://www.youtube.com/watch?v=F7HGwVqI_FMhttp://www.imdb.com/title/tt0062622/

Documents

The Music in Stanley Kubrick's 2001: A Space Odyssey