Original Music Composition on the Silent Film Ben Hur (1907) by Sidney Olcott.

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Date of Submission

Spring 2024

Academic Program

Music

Project Advisor 1

James Sizemore

Abstract/Artist's Statement

For my Senior project, I composed an original music score for Sidney Olcott’s 1907 silent film, "Ben Hur”, focusing on the last two scenes of the film. My intent was to explore the role of music in silent cinema, particularly its capability to influence and inform a narrative deprived of dialogue.

I was drawn to the themes of defeat, redemption, and human resilience in "Ben Hur,” and it provided a canvas that required music to act not only as an accompanying element, but rather as a driving narrative tool. I aimed to use music to bring depth and color to the emotional landscape, while guiding the audience through the visual story. “Ben Hur” is an epic drama about the clash between two former friends, a Jew from Judea, Ben Hur, and a Roman, Messala. Ben Hur is wrongly accused of attempting to kill a Roman official. He is enslaved and later returns to win a chariot race against Messala.

Overall, I created a musical theme for the opening, which I continued to develop throughout the score, creating repetition while varying the theme and rhythm with different instrumentation based on the visuals. My goal was to create a memorable melody which would represent the film in the mind of the listener.

In my score, I sought to assign each instrument to specific elements of the film’s narrative and characters. Harps were used to convey the tranquility and simplicity of village life, while oboes and choral arrangements voiced the internal and spiritual journey of Ben Hur, enhancing scenes of personal struggle and growth. Clarinets were tasked with adding a layer of complexity to Messala, reflecting his conflicted nature. Percussion was strategically implemented to heighten drama and tension during critical action scenes, effectively driving the narrative forward at pivotal moments. Specifically, percussion was used during the marching sequence to evoque a rhythmic feel and a forward motion because it has a militaristic sense; the use of triplets and syncopation creates this energy. I also used timpani to create a wide sound and epic feel. Tremolos in the strings during the Chariot race suggest speed and rhythm of the horses running.

In addition to employing digital instruments, I used a microphone and an audio interface to record a Bard Conservatory student playing the snare drum and bass drum. This gave a realistic feel and authentic vibe to the movement on screen, and allowed me to capture a sound with a better timbre, as I did not feel the digital instrument options sufficed. At the end of the film I opted to use an organ because I wanted to add a religious/ceremonial feel and I sought to pay homage to the use of organs which historically accompanied silent films.

My creative process integrated a combination of audio recording and digital software. I used Digital audio workstations (DAW) such as Logic and Digital performer. I also used a MIDI keyboard. The aim was to create a score that honored the historical essence of the film.

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Furthermore, I also had in mind the common musical associations when relating to music and film. This hybrid approach allowed for a richer, more textured musical accompaniment.

Collaboration played a crucial role in this project, involving extensive sessions with fellow musicians and iterative feedback from advisors. This interactive and reflective process not only refined my compositions but also deepened my understanding of the integral relationship between music and visual storytelling. It underscored the importance of adaptability and the value of diverse perspectives in the creative process.

The obstacles I faced when approaching a project of this caliber were not few. The primary obstacle was staying focused on the project and meeting the daily goals I had set for myself. The second challenge was orchestration and transitions from one musical element to another, while maintaining the integrity of the idea. The third difficulty was tempo mapping, trying to make the music and film match together.

This project reaffirmed my newfound passion for film scoring and illuminated the essential role of music in enhancing cinematic experiences. It was a significant milestone in my artistic development, teaching me to balance creativity with technical expertise and to thoughtfully integrate different elements to enhance a film's narrative through sound. Looking ahead, I am enthusiastic about applying the insights gained from this experience to future projects, continuing to explore the dynamic interaction between music and film storytelling. All in all I had a lot of fun doing this project. If I had more time I would have executed the project entirely through recorded musicians in the Bard music studio.

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