Brief Analysis of Music Essay Example for Free

outline Analysis of Music EssayIn Joel and Ethan Coens unique take on referencing Homers Odyssey in the form of a 1930s Great Depression comedy-adventure movie theater, O Brother, Where Art kilobyte? , the to a greater extent or less noticeably intelligent attribute was the genius song and music choice that, in more shipway than one, dictated icon build-up, characteristic, and transition, thus keeping the theme of the old-time, old-country atmosphere well intact throughout. The variety of American roots music songs used in the scenes gives cinematic emphasis to the characters circumstances and plot situations. Moreover, the assortment highlights the naive realism of time and setting presentation in telling the story of trio convicts and just where, when, and how their adventure unfolds. outline Analysis of Music Selection in Joel and Ethan Coens O Brother, Where Art gravitational constant? As the get hold of opens with a lengthy line of hard-toiling inmates along the r ail-road iron linings, collectively and heavily chanting verses from a kinda hauntingly soothing blues tune entitled Po Lazarus (Track 1), the audience is at once audio-visually oriented and introduced into the posit of the times, surroundings, over-all atmospherics, and mood of the film.The relative simplicity of life through the rather depressed and trying times is kept through notable scenes. An example of which is when the odd trio of Ulysses Everett McGill, Delmar ODonnell, and Pete, together with Cousin Wash, all enjoyed an after-meal, quality-entertainment receiving set offering via Norman Blakes country classic You are My Sunshine (Track 3).Moreover, the music presented in separately of the scenes not only offers musical genre variety of roots country and folk, blues, bluegrass, gospel, and much in amongst through certain scene transitions, but more authorizedly highlights the tone of each separate scene in between dialogue, one distinct from the other, effectively an d memorably. An example of this was the on-going quarrel of Everett and Pete which was overshadowed by the mass baptismal gathering and singing of a traditional gospel hymn Down to the River to Pray (Track 4), wherein all notwithstanding Everett opted to clean his spiritual slate.Another was the scene seduction by the sirens, which is musically accompanied with Didnt moderate Nobody but the Baby (Track 10) by Emmylou Harris, Alison Krauss, and Gillian Welch, and as well as with Tommys would-be hanging in the hefty of O Death. All of these scenes are observably different from one another, but the rather musically delight versed sung melodies even give the scenes both an emotionally accessible and later-on cinematically nostalgic feature which stay with the viewers even after the film is over.The song selection provides the proper build-up, eventual transition through, and even main story twists which fuel the storys eventualities. An example of this was when the trio headed to a local tuner station in hopes of garnering a means of self-financial aid, they sang Man of Constant Sorrow (Track 7), disguised on the airwaves as the Soggy Bottom Boys accompanied by musically skillful, guitar-equipped Tommy Johnsonwho played a particularly important scene role for the films story.The song performed was not only quite entertaining, but its definitions also constituted what a traditional American folk song truly is, which gave the scene much credibility and realness in every extent. The music also provides the film with a sense of scene consent without compromising the story and, as the quality of song recordings are kept to its truest form even more enriching the old-time aspect of the film. As Evan Cater (2009) points out, These recordings, which were made without the meddling clarity of digital technology, give the film much of its power and authenticity (n. p. ).The excellent selection and execution of music and scene inter-play gives the film a characteris tic of its own and none like other. References Burnett, D. (2000). Man of Constant Sorrow D. Tyminski, H. Allen P. Enright. O Brother, Where Art Thou Soundtrack CD. capital of Tennessee hydrargyrum Records. Cater, E. (2008). O Brother, Where Art Thou?. AllMusic. com. Retrieved January 21, 2009 from http//www. allmusic. com/cg/amg. dll? p=amgsql=10hifixqu0ldse. Coen, J. (2000). O Brother, Where Art Thou?. California Touchstone and Universal Pictures. Davs, J. Mitchell, C. (2000). You are My Sunshine N. Blake.O Brother, Where Art Thou Soundtrack CD. Nashville hectogram Records Harris, E. , Krauss, A. , and Welch, G. (2000). Didnt Leave Nobody but the Baby E. Harris, A. Krauss, G. Welch . O Brother, Where Art Thou Soundtrack CD. Nashville Mercury Records. Lomax, A. (2000). Po Lazarus J. Carter. O Brother, Where Art Thou Soundtrack CD. Nashville Mercury Records. Traditional (2000). Down to the River to Pray A. Krauss. O Brother, Where Art Thou Soundtrack CD. Nashville Mercury Records . Traditional. (2000). O Death R. Stanley. O Brother, Where Art Thou Soundtrack CD. Nashville Mercury Records.