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Summary

Final Assignment - Guardians of the Galaxy...

Description

Independent Assignment Film: Guardians of the Galaxy (2014)

For the course MUS 2310 Professor G. Bazinet

November 28, 2016 University of Ottawa

Part 1-Cue Sheet:

Diegetic (source of the music?) or Nondiegetic (empathetic, neutral or anempathetic?)

Name of the cue (give a name to the original underscoring or provide the song title) I’m Not in Love

Composer and performer

Action associated with the cue or scene description

Composer: Eric Stewart and Graham Gouldman Performer: 10CC

Music is shown to be Music Fades as Diegetic, The source is Peter’s headphones are taken off and ends the Walkman when his Walkman is shut off

0:00:580:03:17

To The Stars (original score)

Composer: Tyler Bates Orchestral music

The sound is nondiegetic and is empathetic to the scene due to the long notes matching the sadness of the scene

0:03:390:04:09

Main Title Theme

Composer: Tyler Bates Orchestral music

As Peter enters the hospital room the piano plays soft and long notes accompanied later by other strings. Upon his mother’s death louder brass take over the piano while the other strings also become louder Played by some strings and percussion while predominantly Brass instruments are heard

0:04:140:06:08

Morag (original score)

Composer: Tyler Bates Primarily played by strings

Peter is observing the planet Morag as the song is playing. Music stops shortly after he enters the cave he is looking for

Non-diegetic and empathetic to ominous and dark setting that is Morag

Timing of the cue (ex.: 0:00:000:00:30)

0:00:000:00:51

Non-diegetic and empathetic suiting the action film genre with loud brass notes

0:06:130:07:53

Come and Get Your Love

Composer: Lolly Vegas Performer: Redbone

Peter wears his headphones and turns his Walkman on as he walks through the cave in search of the “Orb” all while he’s dancing to the music

Diegetic given that the source of the music is on-screen but also heard by at least Peter himself

0:08:000:08:18

Plasma Ball (original score)

Composer: Tyler Bates Primarily played by large brass instruments

Korath and Ronan’s men land as Peter is retrieving the orb

Non-diegetic and empathetic as the arrival of the men seems to pose danger indicated by the long notes

0:09:120:10:55

Quill’s Big Retreat

Composer: Tyler Bates Played primarily by strings in short low notes with a fast tempo

Peter is escaping from Ronan’s men and planet Morag, Music stops twice when Peter shoots Korath and when his ship hits a geyser

Non-diegetic and empathetic as the escape is fast paced and the accompanying music plays at a fast tempo

0:11:280:12:01

Go All The Way

Composer: Eric Carmen Performer: The Raspberries

After Peter’s escape the stereo system begins playing this song until Yondu calls

Non-diegetic and empathetic given that Peter’s escape is accompanied by high tempo music

0:13:100:14:35

Ronan’s Theme

Composer: Tyler Bates Primarily strings

Ronan’s Theme begins playing as we enter the Kree Warship. The music fades during dialogue and reappears when there is tension in the scene

Non-diegetic and empathetic as the low notes and long notes add a mysterious element whereas the higher tempo parts of the song build up the tension seen on screen

0:14:250:17:42

Everyone’s an Idiot (original score)

Composer: Tyler Bates Orchestral music

The music is played at various parts throughout the audiences introduction to Xandar as well as Peter’s transaction

Non-diegetic and empathetic as the higher notes are often long which is reflective of the peaceful Xandarian culture

0:18:120:22:30

What a Bunch of A Holes (original score)

Composer: Tyler Bates Orchestral Music

Non-diegetic and empathetic as the chase scene is fast paced just as the music is played with short notes at a fast tempo. Slightly anempathetic while being played in the background as the prisoners appear calm while the music is fast in tempo

0:22:350:23:15

Busted (original score)

Composer: Tyler Bates Orchestral Music

The music is played as Gamora is trying to obtain the orb while Groot and Rocket try and capture Peter. The Music starts and stops every time the action on scene does while also playing in the background when the “prisoners” are being examined The prison where the four prisoners will be kept is shown while the music is playing

0:24:070:25:46

Hooked on a Feeling

Composer: Francis Zambon Performer: Blue Swede

Diegetic audio dissolve into non-diegetic as the music being played through the Walkman plays continues to play in the next setting. Overall the music is neutral

0:26:150:27:10

The New Meat (original score)

Composer: Tyler Bates Orchestral Music

Peter sees one of the guards playing the song on his Walkman but despite his anger he cannot retrieve it and the Music is played for the rest of the scene introducing the prison Played when peter is confronted by a prisoner referring to him as new meat, music fades once we see prisoners surrounding Gamora

Non-diegetic and empathetic as the loud dissonant notes characterize the vastness of the prison

Non-diegetic and Neutral the music does not seem to have a large impact on the scene

0:27:150:27:50

Morag (original score)

Composer: Tyler Bates Primarily played by strings

Played as Gamora is being hounded by the other prisoners and makes eye-contact with Drax

Non-diegetic and empathetic. The music as previously noted is ominous with some long notes reflecting the inner worries of Gamora.

0:28:280:29:30

The Destroyer (original score)

Composer: Tyler Bates Orchestral Music

As Drax appears to kill Gamora his theme begins playing and is made louder when tension rises

Non-diegetic and empathetic as the music is reflective of Drax’s inner rage through many dissonant sounds

0:32:080:34:03

The Sanctuary (original score)

Composer: Tyler Bates Played primarily by brass

Played while Thanos summons Ronan and gets louder as tension rises and ends along with the scene

Non-diegetic and empathetic as the loud and dissonant notes represent Thanos’s immense power

0:35:220:42:50

The Kyln Escape (original score)

Composer: Tyler Bates Orchestral Music

Played throughout the entire escape scene with varying volumes until Peter realizes his Walkman is missing

Non-diegetic and empathetic where the rich texture and fast tempo match the action in the escape scene

0:42:550:43:27

Don’t Mess With My Walkman (original score)

Composer: Tyler Bates Orchestral with a lot of percussion

Played as Peter goes to retrieve his Walkman and ends when he does and begins to return to his ship

Non-diegetic and empathetic as Peter’s anger over the guards messing with his Walkman is represented by the dissonant and sudden percussion sounds

0:43:280:44:24

Escape (The Pina Colada Song)

Composer: Rupert Holmes Performer: Rupert Holmes

Plays as Peter gets his Walkman back and is only played when he’s present on screen

Diegetic audio dissolve into non-diegetic as the music plays after the Walkman is turned off. The music represents Peter’s Happiness

0:48:250:49:30

Moonage Daydream

Composer: David Bowie Performer: David Bowie

0:48:400:49:04

The Road to Knowhere (original score)

Composer: Tyler Bates Played by strings

Played in Peter’s ship until he’s very quickly interrupted by the other guardians as they approach the Knowhwere and resumes playing as they enter Knowhere The music is present when Knowhere is seen and fades as the guardians enter Knowhere

Diegetic and the source is the stereo system on Peter’s ship that we’ve previously seen, music fades as Peter goes upstairs and reappears and is assumed to be heard by the people in the ship Non-diegetic and empathetic as the high notes indicate something mysterious characteristic of Knowhere’s appearance

0:52:040:53:30

Fooled Around and Fell in Love

Composer: Elvin Bishop Performer: Elvin Bishop

Music plays through the walkman throughout the whole conversation between Peter and Gamora at varying volumes

Diegetic the source being the Walkman and the music volume increases when either character is wearing the headphones

0:55:130:58:52

The Collector (original score)

Composer: Tyler Bates Orchestral Music

Plays through various points of the scene involving The Collector

Non-diegetic and neutral to the scene the music is very much in the background and doesn’t end up influencing the scene too much

1:00:581:01:28

Ronan’s Arrival (original score)

Composer: Tyler Bates Primarily Brass instruments playing loud long notes

Plays upon Ronan’s landing in Knowhere and continues until the guardians enter the pods to begin their chase

Non-diegetic and Empathetic as the very long dissonant notes are reflective of the dread caused by Ronan’s arrival

1:01:281:05:12

Pod Chase (original score)

Composer: Tyler Bates Full Orchestral Music

Plays throughout the pod chase and through Drax and Ronan’s fight, Music stops with Gamora’s pod being shot and destroyed

Non-diegetic and empathetic as the fast tempo and loud notes played by both strings and brass reflect the up tempo chase

1:05:141:08:37

Sacrifice (original score)

Composer: Tyler Bates Entirely played by strings

Plays as Drax and Gamora are about to die and play until Gamora is saved by Peter

Non-diegetic and empathetic with the scene as the very long notes indicate the sadness experienced by Peter as well as Drax’s failed revenge

1:09:331:11:00

We All Got Dead People (original score)

Composer: Tyler Bates Orchestral mainly involving trumpet

The Music is played as Drax realizes his futility and his mistake by calling Ronan.

1:11:001:12:29

Ronan defying Thanos

Composer: Tyler Bates Orchestral Music

The music gets louder as Ronan defying Thanos’s orders matching Ronan’s evil theme

Non-diegetic and empathetic as the long trumpet notes are reflective of the selfrealization that Drax goes through as well as the empathy shown by Groot and Rocket Non-diegetic and empathetic as the crescendo of the music is built up along with Ronan’s rebelling

1:13:421:14:35

Peter and Yondu back together them

Composer: Tyler Bates Orchestral Music

The music builds suspense through its repetitive notes and increasing volume until Yondu decides to join Peter and steal the orb from Ronan

Non-diegetic and empathetic as the built up tension by the music represents the turning point in the film setting up the final battle

1:17:201:19:43

To The Stars (original score)

Composer: Tyler Bates Orchestral Music

To The Stars is played once again this time in the build up to the guardians deciding to defy Ronan and is again observed as a theme.

Non-diegetic and empathetic as the music is a theme for major turning points in the film where characters must face certain obstacles

1:19:501:22:17

Cherrybomb

Composer: Kim Fowley and Joan Jett Performer: The Runaways

Diegetic audio dissolve into non-diegetic. The music’s fast tempo matches the on scene action

1:23:021:26:20

The Final Battle Begins (original score)

Composer: Tyler Bates Full Orchestra

1:26:421:28:10

The Ballad of the Nova Corps (original score)

Composer: Tyler Bates Full orchestra

Plays as the Guardians align with Yondu and his men and Peter notifies Xandar of Ronan approaching them as we build up to the final battle Begins as the Guardians begin attacking Ronan’s ship and continues until they’ve infiltrated the ship with the help of Xandar’s forces Begins as the Nova Corps star building a wall against Ronan’s ship and ends when we return to the inside of the ship

Non-diegetic and empathetic to the seen as the constant up tempo and repetitive notes are reflective of an action filled scene

Non-diegetic and empathetic as the constant notes by the trumpet are very patriotic and indicative of planet Xandar unifying against Ronan

1:28:121:29:11

Groot Spores (original score)

Composer: Tyler Bates Primarily played by strings and woodwinds

Played as Groot releases spores to light up the interior of Ronan’s ship

Non-diegetic and empathetic to bonding experienced between the guardians through long smooth notes by strings and woodwinds

1:30:541:33:32

Guardians United (original score)

Composer: Tyler Bates Full Orchestral Music

Played as the guardians are fighting begin fighting on Ronan’s ship

Non-diegetic and empathetic as the dissonant sounds and fast pace match the action on screen

1:33:521:36:35

The Big Blast (original score)

Composer: Tyler Bates Full Orchestral Music

Played as The guardians continue through the ship to find Ronan

Non-diegetic and empathetic to the scene through dissonant, loud and fast tempo music

1:37:301:39:36

Groot Cocoon (original score)

Composer: Tyler Bates Primarily played by strings

Non-diegetic and empathetic as the music’s long string notes match the selfless sacrifice and sadness Groot is showing on screen

1:39:541:40:48

Ooh Child

Composer: Stan Vincent Performer: The Five Stairsteps

As Groot realizes the condition of his fellow guardians and begins to protect them the music begins and end when Ronan’s ship begins crashing into planet Xandar As the ships have crashed on to planet Xandar we hear the music from Peter’s stereo playing the song until Ronan shows up

Diegetic as the Music is heard coming from Peter’s Cassette player/stereo system found in the rubble

1:42:281:44:52

Black Tears (original score)

Composer: Tyler Bates Orchestral Music

Peter grabs the infinity stone before Ronan and as Guardians hold hands in attempt to control the stones power

Non-diegetic and empathetic as the drama of the situation is reflected by the fast tempo and similar notes being played frequently

1:46:351:47:40

Citizens Unite (original score)

Composer: Tyler Bates Played by the strings primarily

The aftermath of the battle against Ronan is accompanied by this music until a time skip into the Nova Corps headquarters

Non-diegetic and empathetic indicating the fatigue of the battle that has just ended by long high pitch string notes

1:48:051:49:50

A Nova Upgrade (original score)

Composer: Tyler Bates Played by the strings

The Guardians are congratulated by the Nova Corps and are accompanied to their renovated ship

Non-diegetic and empathetic of the relief, happiness and peace that is there by long notes by the strings

1:50:121:51:08

To The Stars (original score)

Composer Tyler Bates Orchestral Music

Peter reads his mother’s gift to him while the music from the opening scene in the movie is played once again where Peter’s mother had died

1:51:111:53:00

Ain’t No Mountain High Enough

Composers: Nick Ashford and Valerie Simpson Performers: Marvin Gaye and Tammi Terrell

Peter places a second cassette “Awesome mix vol.2 in to his cassette player as it plays the song to close out the movie

Non-diegetic and anempathetic as the music has reflected Peter’s sadness throughout the film with its long notes however the mood is a bit happier in this scene as there Peter seems to be at peace Diegetic and nondiegetic as the scenes in Peter’s ship have the music playing through the stereo whereas the music is not heard on Xandar. The Music has a fast tempo and reflects the happy ending in the film

1:53:001:54:10

I Want You Back

Composers: Freddie Perren, Fonce Mizell, Berry Gordy and Deke Richards Performers: Jackson 5

The Music begins as the guardians set out on their trip for “a little bit of both” and continues into the credits

Diegetic as all the lyrical music in the film was played by cassette reader/stereo in Peter’s ship and therefore we can assume that this is still the source of the music

Part 2-Scene Analysis

Scene name: Guardians of The Galaxy; Final Scene

Scene timing: Start time:

1:51:00

Principal characters: Peter Quill, Gamora, Drax, Rocket, Groot and Yondu

Speech

Music

Quality

Style 1st Cue; “To The Stars” orchestral with piano and brass added later on 2nd Cue; “Ain’t No Mountain High Enough” Fast Tempo and Happy Theme 3rd Cue; “I Want You Back” Fast Tempo and Happy Theme

All speech is spoken at a moderate pace and volume

Tempo Moderate tempo, Peter’s mother’s dialogue at the beginning being slightly slower

Voiceover Peter’s mother reading the letter given to him 26 years ago is the only non-diegetic dialogue

End time:

1:53:20

Summary of Action: Peter opens his mother’s gift and plays the cassette after reading the letter that was given to him, the first song from the cassette concludes the guardians’ journey and the second one set them up for their future journey. Sfx General Comments Physical source Unwrapping the gift, placing the cassette in the player, laughter, doors sliding open, Ships engine

Balance Minimal dialogue, the music represents everyone’s mood at the end through sound link, indicative of a typical happy ending

Tempo 1st Cue: Slow 2nd Cue: Fast 3rd Cue: Fast

Ambience Noticeable sounds as music is not heard during sfx and sweetened cassette noise as well

Blurring N/A

Diegetic/nondiegetic 1st Cue: non-diegetic 2nd Cue: both 3rd Cue: could be either, assumed diegetic

Sweetening The cassette being placed into the player early in the scene is sweetened

Offscreen sound Music at times is offscreen

Volume Moderate throughout

Volume: 1st Cue: Moderate 2nd Cue: Moderate to Loud 3rd Cue: Moderate/Loud Narrative functions (motif, mood emotion, etc.) 1st Cue: A sad theme previously heard in multiple scenes 2nd Cue: Happy “feelgood” theme 3rd Cue: Similar happy/”feel-good” music

Volume Moderate throughout aside from the sweetened effect

Unusual use of sound N/A

Narrative functions (mot...