Conclusion

After analyzing the musical features and elements in both pieces, I have come to conclude that there are strong links between both “Time” by Hans Zimmer and the second movement of “Symphony No. 94” by Joseph Hadyn. 21st century movie soundtracks and 18th century classical opera are separated by both time and culture, however do share many qualities and features.

Musical Links: Structure, Melody, Harmony

The melody in “Symphony No. 94” can be interpreted as being written in a modified strophic verse-refrain form. The first two phrases can be labeled “AA” despite the final chord in the second verse being changed from a piano to forte (in final copy include key/chord change). The third phrase and fourth can be labeled as “BB”, though in the fourth phrase the melody is handed off to the flute section. Phrases five and six can be labeled “A’A’” as they feature the same theme as A however include more melodic movement.

Similarly the melody in “Time” is also written in strophic form, however much more static than “Symphony No. 94”. “Time” follows the form “AAA...” as much of the pieces’ notable changes occur in the harmony. “Time” also shares the legato style melodies of the “BB’B’’...” phrases of “Symphony No. 94” bar the staccato notes in “Symphony No. 94”.

The harmony of “Time” consists of mainly quarter notes, however when the electric guitar comes in, it plays sixteenth notes at a higher octave than the melody but at a lower dynamic level. “Symphony No. 94” also does this first in phrases “BB” when the violins enter with sixteenth notes, also at a higher octave than the melody however at the same dynamic level as the melody, at times at a higher dynamic level. Also, apart from the pick-up sixteenth notes, the first two are slurred and the next two played staccato, repeating this pattern whereas the sixteenth notes in “Time” are played normally.

(elaborate on links later, add more links, include measure numbers if applicable otherwise use times in songs, potentially include instrumentation)

Musical Link: Dynamics

“Time” begins at a pianissimo dynamic with the timpanis and piano, gradually crescendoing to a fortissimo including all of the instruments. After the last measure of the “climax” of the piece at 3:33, it drops back down to a piano with a decrescendo to pianissimo through the remainder of the song, piano and violas playing this final phrase.

Comparatively “Symphony No. 94” is more static in dynamic movement, using dynamic contrast in “levels” rather than gradual changes. However this piece does share the dynamic drop from fortissimo to piano between the penultimate and ultimate phrases at measures 142-143 as well as the decrescendo over the final phrase. Furthermore in both “Time” and “Symphony No. 94”, the dynamic change between the final two phrases of the songs are done with both many of the other instruments (notably the wind section) dropping out with rests and the instruments which continue to play do so at a lower dynamic level.

So, are these really different cultures?

The definition of culture is; the arts and other manifestations of human intellectual achievement regarded collectively. By this definition we can say that both 21st century american film soundtrack and 18th century European orchestra are indeed from different cultures. Music in american films are subdirectly used for entertainment, but their main use is to bolster the viewing experience of a film by adding more immersiveness for the viewer. 18th century European orchestra however was used explicitly for entertaining an audience.

Background

“Time” is a song which Hans Zimmer wrote for the movie Inception in 2010. Of all the songs which Zimmer had composed for the movie, “Time” was the song which the public had enjoyed the most, the multiple reinterpretations are proof. The song was written for a small orchestra consisting of one french horn, one baritone, two trombones, one tuba, two timpanis, two bass drums, one piano, one electric guitar, five violins, three violas, six cellos, and four double basses.

The “Symphony No. 94” is an orchestral piece written by Joseph Haydn in 1791. Haydn was known to play jokes on his audience in his music, the “Surprise Symphony” is an ideal example of this. The opening theme of the second movement begins at a piano dynamic level, as the song progresses to the end of the opening theme there is a sudden fortissimo chord before continuing through the rest of the movement. Many have speculated that this was placed in the piece because Haydn was tired of his audience falling asleep during his pieces, so he wanted to “wake them up”. Haydn, however, has been recorded saying otherwise, “I wanted to surprise the public with something new, and in making a brilliant debut, so that my student Pleyel, who was at that time engaged by an orchestra in London and whose concerts had opened a week before mine, should not outdo me”. Haydn composed this piece for a classical orchestra which consisted of two flutes, two oboes, two bassoons, two clarinets in C, Bb, or A, two horns, two trumpets, two timpanis, ten violin ones, eight violin twos, six violas, four cellos, and two double basses.

Music of different times, linked

Over two-hundred years separate the Classical era and modern day, it’s only reasonable to believe that music has evolved over the centuries, and it has. We now have many different genres of music, much more than there were back in the day. However, we can still see shared musical elements between the music of today and the music in the previous eras. For example, music in the 21st century used in the movie industry represented by the song “Time” by Hans Zimmer, and the second movement of “Symphony No. 94” better known as the Surprise Symphony written by Joseph Haydn for 18th century European orchestra.