Hisaishis Compositional Works for Animation and Live Action - Essay Example

Music …………… 19 August 2007 A comparison between Joe Hisaishi’s compositional works for animation and live action: (Spirited Away & Kikujiro) Introduction Joe Hisaishi, was born Mamoru Fujisawa in Nagoya, Japan. He is considered as one of the most influential musical personalities in modern theatrical music. He stands alongside great composers such as Japan’s Kanno Yoko (known for her work on the “Ghost in The Shell” series, as well as the motion pictures and the anime legend, “Cowboy Bebop”) and Hans Zimmer, who worked on the soundtracks for “Gladiator”, “Black Hawk Down”, and “Batman Begins” (Anime and its musical progeny). Hisaishi has a number of works, Japanese as well as English to his credit like orchestral music, electronic music, exercises in minimalism and avant-garde, piano work and rock and pop. As he says, “In Disney films, in order to explain the type for each character, specific cues are married to their appearance. When I composed for the English version of Laputa, we actually did this Hollywood method so I understand the mechanics very well. The way I [normally] compose, however, is that none of my cues are necessarily married to any character. What I do instead is discern what the director is trying to convey in a scene and try to do the same with the music thematically” (Will The Real Joe Hisaishi Please Stand Up?). Hisaishi’s work spans well over three decades. He has accomplished 100 musical scores acting as soundtracks. Some of his finest achievements are his scores for films like “Howl’s Moving Castle”, “Spirited Away”, and “Princess Mononoke”. Hisaishi is also known in anime, for nine long-form works comprising of eight theatrical films and one OAV. They are Nausicaa (1984), Arion, Laputa (both 1986), Totoro (1988), Venus Wars, Kiki's Delivery Service (1989), Porco Rosso (1992) and, after a relative gap, Princess Mononoke (1997). In the anime arena, Hisaishi has also scored such TV series as Sasuga no Sarutobi, Two Down Full Base (both 1982), Sasrygar (1983), Futari Taka (1984) and Honoo no Alpen Rose (1985). Hisaishi is notable for his use of unconventional openings such as the organ and piano opening to the film. This helps draw the audience into the imaginary world of the film. In certain pieces, his style is very simple, is neither static nor drab; its melodies draw the listener into the sphere of what he watches on the screen. Similarly at other times, Hisaishi makes use of a variety of emotional themes and complements them with the music that he produces. Such pieces, along with captivating the listener, do not distract from the film. Enhancement is the most important characteristic of Hisaishi’s work. There has been a trend in Japan, which focuses on the instruments rather than the lyrics or the pop-culture. Hisaishi is assumed to be following this aspect of music making; very similar to that of contemporary American films. Most of his anime films seem to be influenced by this. However as one critic has pointed out, “this trend was borrowed by the Japanese and originally was pioneered by Walt Disney” (Anime and its musical progeny). What Hisaishi is doing is simply taking the trend further. His efforts can be seen in evolving the style and thereby revive the animated films with classicism. The role of music in films Music is basically used in films so that the audience becomes involved emotionally. As the story line spreads out before the members of the audience, the accompanying music helps to realize the emotions of the characters. According to Brown (1994), “it is the combination of the visuals with music that makes the viewers feel those emotions”(Techniques used in film music). There are two types of music used in the films: diagetic and non-diagetic (Techniques used in film music). Diagetic refers to music which takes place within the narrative of the film. It results out of some source presented in the film, such as a radio, a musical instrument, or an orchestra in a concert hall. The characters within the film are able to hear this music. On the other hand, non-diagetic music refers to that music which is neither a part of the narrative, nor the result of any source in the film. It is also not heard by the characters in the film. This type of music is usually used to provide a touching aspect to the film, and call upon the emotions of the audience. It can be used to signal the audiences towards feelings of uneasiness, to build up tension; to define an impending catastrophe or to gesture a love affair. This type of music is basically used to signify events in the narrative. To compose music suited for films requires some skills. The visuals that accompany the music in the film are a decisive factor in paying little or no attention to the music. Also the film composer's musical narrative is usually constrained in some ways by the narrative of the film. Further, there are editing as per the whims of the director which however, makes no large-scale musical sense. In addition, music cues being short, they restrict the development of coherent musical form. Thus film music necessarily needs to build upon an elaboration and extension of a particular theme linked with a character. This is called a leitmotif. Dramatic creation can be created in a variety of ways in music. For example, “increasing degrees of “dissonance” in music, broadly characterized as the number of small intervals occurring in chords, or the number of notes not in the current key used in a given passage, often create increasing dramatic tension. Colloquially, dissonant music is often described as “more jarring” than consonant music” (Techniques used in film music). The common major and minor modes, that is, different kinds of musical scale have very different dramatic implications. “A more specific kind of musical manipulation is the generation of active expectation, where musical structures are allowed to develop (or perhaps simply repeat) in some predictable way. Dramatic (and musical) tension can then mount in a gradual build-up, or, more shockingly, in sudden denial of a very strong expectation” (Techniques used in film music). Analysis of Joe Hishaishi’s works All the above elements of music are vividly seen in two Japanese films, Spirited Away (2001) and Kikujiro (1999). Both the films are scored by the composer Joe Hishaishi. The visuals of Spirited Away are inextricably intertwined with the music that goes along with it. The score mainly comprises of the orchestra and is accompanied with the piano. Similarly in Kikujiro the emotional impact of the film is captured well by the accompanying piano driven music. The only difference is that there is a very light orchestra. But the major film is scored with piano. The first 20 tracks of Japanese anime, Spirited Away, are modern orchestral pieces with certain overtones of traditional Japanese musical pieces here and there. Though they are in strict adherence to the genre, they virtually sound like movie recording music. (Intro for the beginning of spirited away 1) 18There is a strong percussion-driven opening and the closing is strong with quiet string interludes. Conducted by Hisaishi, the orchestra is performed by the New Japan Philharmonic. The film's orchestral music is largely influenced by the West, with Eastern tones thrown in between. The soundtrack echoes the significant number of darker and tension-driven tones. However, it prevents itself from falling too deeply. Joe Hisaishi skillfully takes us along with the protagonist, Chihiro on her supernatural journey. There is an invigorating intermingling of strings, brass, woodwinds, percussion, and, the miraculous piano theme. The music definitely evokes the surreal ambiance of the film, and at the same time captures a bit of its flight of the imagination. Right from the haunting opening theme to the dark, ominous tones that accompany Yubaba's first appearance and the ghostly, almost steel-drum-like “leitmotif” of No Face, the music absolutely matches the dreamlike imaginative visuals and deepens the emotional significance of the film. The music is used to create a mood to take in the audience; rather than explain what is happening in the movie. The mix of orchestral and vocal music lends beauty, charm and emotion to each individual song. The underlying creepy tone makes it all the more fascinating. As one critic says, “the compositions stand alone as compelling pieces that are at once neo-traditional and modernistic, recalling the once-coherent, moral, mythic past from a disjointed, amoral, technology-driven present” (Superb Music for a Masterwork Film). In short, the pieces are completely intertwined with the film. The Japanese orchestra along with the solo and accompanied piano pieces is exceptionally played and psychologically proportionate. Stylistically, the texture of the music outlines the colorful visuals of the movie. For instance, during the scene which describes the spirits and gods taking a bath, there is an enchanting melody of notes playing in harmony as the spirits jump from one note to the next. This playful style along with lending warmth and color to that particular scene also pleases both the visual and acoustic senses. Another particular instance when the images are enlivened with images is when No Face who is depicted as a mysterious character that longs for friendship, makes an appearance. Every time this character appears, an unusual blend of sounds is played where the exact pitch of these sounds is obscured. This technique of harmonizing sounds with images signals the audiences’ emotions by helping them to feel a certain way every time that character makes an appearance. In the case with No Face, a creepy insecurity is evoked. The intrigue, danger, and love evoked by the pieces breathe as much life into the film as the visuals do. Spirited Away Directed by Hayao Miyazaki, the lead character of Spirited Away, a 10-year-old girl, is indifferent about her life as she prepares to move to a new home and new school. But soon she is spirited off on an adventure, during which she discovers an enchanted world and experiences. Now there is a newborn excitement and an objective to achieve. En route to their new home, Chihiro and her parents lose their way and find themselves in a fascinating hillside tunnel. They find themselves in a vivid land where flowers bloom in all the hues and delicacies are irresistible. At the center of this exotic world is a majestic shrine which appears to serve as a bathhouse for Japanese gods and spirits. Chihiro has to devise plans and work hard to save her parents, who have been transformed into pigs. She meets eccentric characters, in charge of a snarling sorceress, and is helped by a kind, enigmatic boy. There are noticeable elements from Eastern religions and Japanese legends adding to the ethereal, supernatural quality of the film. The whole film is animated with soft piano, and woodwinds, which are at turns playful and somber. Gorgeous melodies, created out of a melancholic piano invites us to join the hallucinating trip, shaping in a perfect way the surreal world proposed by Miyazaki. The main theme opens with “One Summer’s Day”, a splendid melody which is played with a soft piano and seldom string instruments. The theme for a lost child is perfectly captured in the sweet melody, as Chihiro rides in the back of the car to her family's new home. It ends with the fast-paced ride to the abandoned amusement park. Sen's journey by train from Yubaba's onsen bath to Zeniba's house one short and rather transitional scene has no dialogue and very little action, other than a 10-year-old girl looking out a train window is considered to be action. However, in that short time the accompanying music unfolds Sen's personal transformation better than with words or action. As Sen looks out the train window Passing images outside the train coincide with the rhythm of Joe Hisaishi's score and “create an extremely arresting and magical cinematic moment--something that couldn't be captured by prose or poetry; something that couldn't be captured on canvas by paint” (Miyazaki's Own Private "Yukiguni"). The steadiness between the images & the music is enchanting. The music & the images are inextricable from each other. With “Road To Somewhere” the slight creepiness of the movie sets in. “The Empty Restaurant” is more frightening. In it you can imagine everything that is going on in t he movie. It evokes a feeling of urgency and fear. “Road To Somewhere” and “The Empty Restaurant” are some of the smoothest and most delicate passages that go together with another moments of vigorous orchestra at the most spectacular moments of the film, like “Kaonashi (No Face) or "Dragon Boy", managing to transmit the epic spirit of the story.” “Nighttime Coming” continues the eerie theme as there is a regular beat at the beginning and then a tumble of notes reflecting fear and panic. “Nighttime Coming” is very dramatic and sympathetic as the changes go on around Chihiro and the music that plays seems to complement the scenery of the spirit world. “The Dragon Boy” with its typical release of those Japanese sounding strings, is a dramatic little piece which evokes numerous feelings. It is lovely at times, loud at other times, and even slightly scary at other moments. “Sootballs” is a cute little thing, amusing and adorable. It fits the charming figure of the sootballs perfectly with their slightly bizarre personalities but their overall endearing aspects. "Yubaba" which comprises of eerie and tense notes, is easily characterized as the villain's theme. “The slow, isolated piano plinks really establish the setting of the piece.” (Spirited Away By This Score) Hishaishi also includes synthesizers in the orchestration, producing an almost comedy effect. This is noticed in the animated phrase heard in “Processions of The Spirits”. At the same time there is children choir and instruments with strong Eastern accent. This is also one way of bringing out the connection between innocence and purity. (Will The Real Joe Hisaishi Please Stand Up?). Again in “Sootballs”, the piano adding the playful effect to a next level clearly conveys the struggle that takes within. The sadness and the beauty of “The Sixth Station” are wonderfully evoked by the accompanying melodies. It seems to pursue Chihiro as she travels on the train through the flooded region. All the sad strings signifying the depression within it also convey that there is a glimmer of hope, which is easily distinguished. They reveal that they are also strings of struggle, and possible triumph. “Procession of the Gods” sweeps with the swerving of the spirits in the bathhouse, as well as sustains the characteristic of a simple type of Japanese rhythm at the same time. There is a mix of orchestral music and solo instruments together which seems to waltz, moving from vocals to peculiar instrumentation to a magical surrounding overall. “The Stink God” opens weirdly with stomping percussion leading to a fanfare laden variation on the piano theme, and seems to be transformed magically towards the end. “Yubaba's Panic” is a panic-sticken song with Yubaba's theme woven around it. Though it is orchestrated similarly, it is fast paced and done with a couple of additions. “It's Hard Work” is a bit less of the western orchestral type of song and more different and has a very different sort of rhythm. “The Stink Spirit” has a strong beat throughout most of the song, and the song indicates a bit of creepiness and fear again. “Sen's Courage” is a little more wary and faltering. “The Bottomless Pit” is strong, loud, and almost frightening. “Kaonashi (No Face)” has several different themes in it, all describing the character and his rapid headway through the bathhouse. A recurring theme is contained in “Day of the River”. A gentle piece full of emotion, the piano, and a soft orchestra enhances its dreamlike quality. This is one of the best parts of the score, and is simply wonderful. The most moving piece “Reprise” is filled with drama, sadness, exultance, and joy. The scene accompanying it is equally beautiful, but is greatly helped by the piece, which can easily stand on its own. “Reprise” also combines emotional and elevating music with a finale which signifies the best of divine hopefulness. “Return” has an exciting opening that drifts into the theme of Spirited Away, as well as a sad overture towards the end. “The Return” begins with amazing energy and a terrific abundance of brilliance before the piano theme returns to finish it in elegance. “Always With Me”, the final track is a lilting lullaby and a bit of a disappointment as the ending love song sung in Japanese in a simple Western style with a solo acoustic guitar accompaniment. Kikujiro Kikujiro is very similar to Spirited Away; in the sense that it has the same ability to evoke feelings that draw the audience into the film and helps him sympathize with the protagonist; this time a young boy. Kikujiro is a 1999 film starring, written, and directed by Japanese filmmaker Takeshi Kitano. Its score was composed by Joe Hisaishi.This plot here is about a young boy named Masao who just got out from school for the summer vacations. He doesn't have many friends nor does he have much to do. After getting what appears to be a package of photos and address of his mother who Masao has never met before, he decides to take a journey to find his mother. A friend of his grandmother decides to let her husband Kikujiro take Masao on the journey. Misfortunes and comedy follows them. Though the young boy is disappointed, this journey is finally a self-revealing journey for him and Kikujiro. As in the anime work, in this live action film, piano work seems to dominate and the score is comprised of a couple of themes. The main theme “Summer” seems to be light and catchy. Hisaishi’s music runs through an array of emotions from elevating to sad, playful to mournful. However, the “main theme”, is inspiring, poignant and persistent. Besides the "main theme", the highlight of this album is a beautiful instrumental with piano and violin. For instance, “The Rain” seems serenely classical with heavenly attributes. The theme of the film perfectly evokes the image of nine-year old Yusuke Sekiguchi as Masao running resolutely on the bridge with his baby-blue knapsack flying in the breeze suggestive of angel wings. The music of “Kikujiro” takes you from happy to sad and back again. Hisaishi even includes a percussive, Asian-flavored version called “Mad Summer”. There are other tracks that serve to color the atmosphere of certain scenes in the film along with several beautiful interludes. Masao's nightmare after being nearly molested (the synthesizer-heavy “Nightmare”), the heartbreaking moment he sees his mother in the distance (the delicate “Mother”) and the bonding that occurs between Masao and Kikujiro on the beach (the poignant “Angel Bell”) are some of the scenes which are complemented with music that goes along with it. As one critic says, “The main theme evokes memories of being little and running around outside like crazy, just playing and laughing and having a carefree time.” (Natsukashii). Variations on this theme fill the entire album. While capturing the innocent start of summer, through pain and sadness does the music develop and finally, after having known pain and agony, does it return to a more mature version of the main theme, simple happiness after pain has been known. Conclusion Thus it is seen that there are not many differences between the music that Joe Hishaishi has scored for anime film and the live action film. Both draw the audience into the emotional world of the films and both the films make a lot of use of piano. As one critic has pointed out, “Joe Hisaishi's work has always been eclectic, a cross between Japanese modal tones and western neo-classicalism, synthesizer and quiet piano” (Deeply Moving…). Works Cited Escushion. “Spirited Away By This Score.” September 2003. August 18, 2007. http://www.amazon.com/gp/product/customer-reviews/B00006HCT7/ref=cm_rev_next/002-5678712-8583231?ie=UTF8&customer-reviews.sort%5Fby=-SubmissionDate&n=5174&s=music&customer-reviews.start=31 Farray, Nathan. “Anime and its musical progeny.” June 2007. August 18, 2007. Joe. “Miyazaki's Own Private ‘Yukiguni’.” April 2005. August 18, 2007. Mateo. “Superb Music for a Masterwork Film.” September 2005. August 18, 2007. Mattfuller83. “Deeply Moving...” September 2002. August 18, 2007. Osmond, Andrew. “Will The Real Joe Hisaishi Please Stand Up?” April 2000 August 18, 2007. http://www.awn.com/mag/issue5.01/5.01pages/osmondhisaishi2.php3 R. Gallagher. “Natsukashii.” July 2005. August 18, 2007. . Robertson, Judy. “Techniques used in film music.” Oct 1998. August 18, 2007. http://www.cogsci.ed.ac.uk/~judyr/ghostwriter/music/paper/node7.html Read More