“The Meaning of Romance”
Popular Song and Historical Narrative from Arthurian Literature to American Graffiti
DOI:
https://doi.org/10.1558/jfm.27582Keywords:
film music, popular song, historical romance, medievalism, American ArthurianaAbstract
This article argues that a fundamental connection between music and narrative has existed since the age of medieval romance, and is still noticeable in the uses of popular song in modern cinema. The allusions to a code ultimately originating in medieval romance in George Lucas’s American Graffiti are a key clue to unraveling a complex history going back to the longing for a lost age in Arthurian romance, through the use of song in medieval drama, nineteenth-century melodrama, and historical romance, the integration of theme songs and compilation scores in film narrative, and the nostalgia for the age of rock ‘n’ roll in early-1970s America. The analysis of such connections points to the perennial function of old songs, by means of their familiar tunes and their allusive words, and occasionally their links with dances, in the affective, yet also ironic, recreation of a harmonious dreamed-up past in film.
References
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Dell, Helen. 2011. “Yearning for the sweet beckoning sound”: Musical longings and the unsayable in medievalist fantasy fiction. Postmedieval: A Journal of Medieval Cultural Studies 2: 171-85. https:/doi.org/10.1057/pmed.2011.3
———. 2008. Desire by gender and genre in trouvère song. Cambridge: Boydell & Brewer.
Donaldson, William. 1988. The Jacobite song: Political myth and national identity. Aberdeen: Aberdeen University Press.
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Grassic Gibbon, Lewis. 1950. A Scots quair. London: Hutchinson.
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Hagen, Earle. 1971. Scoring for films. New York: E.D.J. Music.
Happé, Peter. 1991. Song in morality plays and interludes. Lancaster: Medieval English Theatre Monographs, 1.
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Hubbert, Julie. 2014. The compilation soundtrack from the 1960s to the present. In The Oxford handbook of film music studies, ed. David Neumeyer, 291-318. New York: Oxford University Press.
Huot, Sylvia. 1987. From song to book: The poetics of writing in Old French lyric and lyrical narrative poetry. Ithaca, NY: Cornell University Press.
Inglis, Ian, ed. 2003. Popular music and film. London: Wallflower Press.
Jameson, Fredric. 2009. Post-modernism. Or, the cultural logic of late capitalism. London: Verso.
Janata, Petr, Stefan T. Tomic and Sonja K. Rakowski. 2007. Characterization of music-evoked autobiographical memories. Memory 15, No. 8: 845-60. https:/doi.org/10.1080/09658210701734593
Kay, Sara. 1996. “The contradictions of courtly love and the origins of courtly poetry: The evidence of the Launzengiers. Journal of Medieval and Early Modern Studies 26, No. 2: 209-53.
Khannanov, Ildar. 2009. High Noon: Dimitri Tiomkin’s Oscar-winning ballad and its Russian sources. The Journal of Film Music 2, Nos. 2–4. Accessed March 9, 2015. https:/doi.org/10.1558/jfm.v2i2-4.225
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Koelsch, Stefan and Walter A. Siebel. 2005. Towards a neural basis of music perception. Trends in Cognitive Sciences 9, No. 12: 578-84. https:/doi.org/10.1016/j.tics.2005.10.001
Kreutziger-Herr, Annette. 2005. Imagining medieval music: A short history. Studies in Medievalism, XIV: Correspondences: Medievalism in Scholarship and the Arts, ed. Tom Shippey with Martin Arnold, 81-109. Cambridge: D.S. Brewer.
Krohn, Bill. 2004. Friedkin out. Rouge 3. Accessed November 7, 2016. http://www.rouge.com.au/3/friedkin.html
Lev, Fred. 2010. American films of the 1970s: Conflicting visions. Austin: The University of Texas Press.
Lewis, C.S. 1977. The allegory of love: A study in medieval tradition. Oxford: Oxford University Press.
Lewis, Jon. 2014. The road to romance and ruin: Teen films and youth culture. New York: Routledge.
Longyear, Rey M. 1970. Beethoven and Romantic irony. The Musical Quarterly,56, No. 5: 647-64. https:/doi.org/10.1093/mq/LVI.4.647
Lowenthal, David. 1989. Nostalgia tells it like it wasn’t. In The Imagined Past: History and Nostalgia, ed. Malcolm Chase and Christopher Shaw, 18-32. Manchester: Manchester University Press.
Lucas, George. 1999. Interviews. Ed. Sally Kline. Jackson, MS: University Press of Mississippi.
Lucas, George, Gloria Katz and Willard Huyck. 1973. American Graffiti (Screenplay). New York: Ballantine Books. Accessed April 3, 2014. http://www.lc.ncu.edu.tw/learneng/script/AmericanGraffiti.pdf
Malory, Thomas. 1485. Le Morte d’Arthur. Ed. William Caxton. Accessed April 23, 2014. http://www.sacred-texts.com/neu/mart/
Martin, Adrian. 2014. Where do cinematic ideas come from? Journal of Screenwriting 5, No. 1: 9-26. Accessed September 19, 2016. https:/doi.org/10.1386/josc.5.1.9_1
Mendelssohn, Felix. 1993. Song without words. Ed. Willard A. Palmer. Van Nuys, CA: Alfred Publishing Company.
Monaco, Paul. 1987. Ribbons in time: Movies and society since 1945. Bloomington: Indiana University Press.
Murray, Christopher John, ed. 2004. Encyclopedia of the Romantic Era: 1760–1850. London: Fitzroy Dearborn.
Nestrovski, Arthur. 2000. Beethoven’s ironies. In Musicology and sister disciplines: Past, present future. proceedings of the 16th International Congress of the International Musicological Society, London, 1997, ed. David Greer, 428-38. Oxford: Oxford University Press.
Neumeyer, David, ed. 2014. The Oxford handbook of film music studies. New York: Oxford University Press.
Notesworthy, J.M. 1958. Music and its function in the Romances of Shakespeare. Shakespeare Survey, 11: 60-69. https:/doi.org/10.1017/CCOL0521064244.006
O’Neill, Norman. 1910–1911. Music to stage plays. Proceedings of the Musical Association, 37th Sess., 85-102. Accessed September 7, 2011. http://www.jstor.org/stable/765702
O’Sullivan, T., B. Dutton, and P. Rayner. 1998. Studying the media. 2nd ed. London: Arnold.
Pisani, Michael V. 2014. Music for the melodramatic theatre in nineteenth-century London and New York. Iowa: University of Iowa Press.
Platte, Nathan. 2011. Nostalgia, the silent cinema, and the art of quotation in Herbert Stothart’s score for The Wizard of Oz (1939). The Journal of Film Music 4, No. 1: 45-64. https:/doi.org/10.1558/jfm.v4i1.45
Preston, Catherine L. 2000. Hanging on a star: The resurrection of romance film in the 1990s. In Film genre 2000: New critical essays, ed. Wheeler W. Dixon, 227-44. Albany: State University of New York Press.
Renart, Jean. 1993. The Romance of the Rose, or Guillaume de Dole. Trans. Patricia Terry and Nancy Vine Durling. Philadelphia: The University of Pennsylvania Press. https:/doi.org/10.9783/9780812292350
Rockwell, John. 1976. Art rock. In The Rolling Stone illustrated history of rock & roll, ed. Jim Miller, 322-325. New York: Random House.
Riethmüller, Albrecht. 1999. Words and music studies: Defining the field. ed. Walter Bernhart et al. Amsterdam: Rodopi.
Rosar, William H. 2009. Film studies in musicology: Disciplinarity vs. interdisciplinarity. The Journal of Film Music 2, Nos. 2–4: 99-125.
Schoener, S.E. Motion picture sound part 2. Accessed December 1, 2005. http://history.acusd.edu/gen/recording/motionpicture.html
Scott, Walter. 1805. The lay of the last minstrel. Ed. David Hill Radcliffe. Edinburgh: Constable. Accessed April 23, 2014. http://scott-minstrel.cath.vt.edu/index.php
———. 2013. Waverley, or ’tis sixty years since. The Pennsylvania State University, Electronic Classic Series. Accessed April 11, 2014. http://www2.hn.psu.edu/faculty/jmanis/w-scott/waverley.pdf
Shumway, David R. 1999. Rock ’n’ roll sound tracks and the production of nostalgia. Cinema Journal 38, No. 2: 36-51.
Smith, Jeff. 1998. The sounds of commerce: Marketing popular film music. New York: Columbia University Press.
Smith, Jeff. 2014. The tunes they are a-changing: Moments of historical rupture and reconfiguration in the production and commerce of music in film.” In The Oxford handbook of film music studies, ed. David Neumeyer, 270-90. New York: Oxford University Press.
Smoldon, William M. 1980. The music of the medieval church dramas. London and New York: Oxford University Press.
Spengler, Oswald. 1991. The decline of the West: An abridged edition. Oxford: Oxford University Press.
Spring, Katherine. 2013. Saying it with songs: Popular music and the coming of sound to Hollywood cinema. Oxford: Oxford University Press. https:/doi.org/10.1093/acprof:oso/9780199842216.001.0001
Stanfield, Peter. 2002. Horse opera: The strange history of the 1930s singing cowboy. Urbana and Chicago: University of Illinois Press.
Steiner, Fred. 1976. An examination of Leith Stevens’ use of jazz in The Wild One. Filmmusic Notebook 2: 27-35, and 3: 27-34.
Stevens, John. 1986. Words and music in the Middle Ages: Song, narrative dance, and drama, 1050–1350. Cambridge: Cambridge University Press.
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Published
2017-05-03
Issue
Section
Articles
How to Cite
Valdés-Miyares, J. R. (2017). “The Meaning of Romance”: Popular Song and Historical Narrative from Arthurian Literature to American Graffiti. Journal of Film Music, 7(1), 53-76. https://doi.org/10.1558/jfm.27582
