In this micro-analysis I'll be discussing the presence and effect of film music in Harry Potter & The Prisoner of Azkaban, including the use of leitmotifs, congruence, and visual/audio synchronization.
Storified by jdemers ·
Mon, May 23 2016 00:28:42
Film music often go far beyond the underlying emotional sentiment which some audiences expect. Scores are used as a whole other dimension in the dynamic of a film, presenting another plane for a director and composer to express on. Music in films can symbolize characters, set emotional tone, imply implicit material, and further establish setting/aesthetic choices. All of these techinques are present in Harry Potter & The Prisoner of Azkaban.
In the third installment of the Harry Potter series, John Williams presents audiences with an effective and efficient use of leitmotifs, or short recurring themes associated with characters or ideas. One leitmotif in particular is the "longing" leitmotif, which is used several times throughout the film in which Harry's late parents are mentioned. The theme is first heard after Harry's dinner debacle with his Aunt:
Later on, the same theme can be heard once Harry has arrived at Hogwarts and is discussing his parents with Professor Lupin:
The first time this leitmotif is heard, Harry was alone. The theme is played with a single melodic line. However, in this scene, the theme is on a flute with strings layering underneath. This represents Harry's recurring isolation throughout his life, while the strings represent Lupin giving him some form of endearment.
The theme occurs again later on, this time with Sirius Black:
So the idea for this leitmotif being: longing, loneliness, isolation, and the aftermath of Harry's parents' death.
Film music does not only symbolize aspects of plot, but can also work with setting and aesthetic choices. This is where musical congruence plays in.
Boltz (2004)'s results of musical congruence concluded that films paired with congruent music were better received and better remembered, and mood congruent music allows for joint encoding with the scene itself. Congruence is all about how well music fits the mood of the visuals. A comedic scene should have somewhat major, faster paced music paired with it, while a sad scene should include slow, minor, tonally somber music. The musical congruence in Harry Potter is presented immedietly with the Aunt Marge dinner scene:
A scene can be congruent based on setting as well. The aesthetics of Hogwarts are very 18th/19th century feeling, with the long tables and candles from the ceiling. The harpichord music and choir singers used in the scene present a congruence of this type:
Finally, musical congruence can present the severity of certain themes in the narrative. They can also imply certain implicit material. While Harry learns dark arts defense from Lupin, choir voices are paired with serious, omninous music. This may imply some relgious aspect, while also presenting the seriousness of the situation:
On the other hand, musical congruence can lighten moods and match tone for light-hearted comedic tone: