Thirteenth International Conference on The Arts in Society

Abstract

Compiled soundtracks – those containing both pre-existing and original score music — are ubiquitous in contemporary cinema. Directors are often celebrated (and occasionally berated) for constructing hybrid soundtracks that transcend genre and stylistic boundaries. However, although compiled soundtracks are comprised of disparate musical works, each instance of music is not heard in isolation but rather is part of an integrated whole. Therefore, to provide meaningful analysis and critique of compiled soundtracks, it is absolutely vital to consider the soundtrack in entirety. While this line of reasoning seems relatively straightforward, the challenge for students and researchers is that no standard or recognised frameworks for compiled soundtrack analysis exist. What prevails is the practice of Speculative Reduction — isolating specific musical moments without placing music in the context of the aggregated soundtrack. This paper will demonstrate the inherent limitations of non-contextual soundtrack analysis by offering examples of Speculative Reduction relating to the films of Wes Anderson. In addition, it will offer a new, more holistic and empirically evidenced framework for the investigation of compiled soundtracks suitable for interdisciplinary researchers (with limited musical backgrounds) for the examination and critique of film music.