1.0 Research Context

The aim of this thesis is to establish the use of audiation, often unintentionally, in film. This is the musical equivalent to interior monologue, which is the technique where the audience hears what the character is thinking. Although the possibility has been raised that this musical equivalent exists (Frith; 1986, Gorbman; 1987), as yet there have been no analyses or studies of film music to support the evidence. The TV comedy Ally McBeal episode "Theme of Life" (1998) uses the technique deliberately, in keeping with the show's visual techniques that allow the audience to experience Ally's innermost thoughts (Isaacs, 1999, 133). This particular episode introduces the concept in an explicit manner (see Appendix 1). Generally, the use of audiation in film/TV is inadvertent and context analysis is required to determine if the music is audiation.

To understand how audiation can be used in film, it is necessary to understand how music functions in film. A brief background to the two films chosen as case studies is vital to set the context. Audiation will then be explained in full, beginning with an introduction to audiation and the use of audiation, and progressing to musical imagery, another term for audiation which seems to be used more in context with composers. In order to understand how audiation works and how it is utilised, an explanation of the sonic structure of an individual follows, which details the acquisition of musical memory, the processes of memory and hearing, and emotion and the construction of meaning in music. Musical meaning and representation calls for a brief look at the leitmotif, as the origin of the musical symbol, and the relationship of the theme song or leitmotif to the character necessitates an outline of the character in film, including metadiegetic scenes and interior monologue. This then leads to a discussion of psychoanalytic theories of film music, and finally, an outline of the pilot study, conducted in 1999, which formed the basis of the parameters of audiation used in the data analysis of the case studies in this thesis.

It is widely accepted that music has a variety of functions, though its influence has yet to be fully explored. New ways of looking at the process of interpreting music, within a specific context or not, opens the door not only to future research within film music critiques, but also has an impact upon (and is influenced by) music therapy, psychoanalysis, education, cultural and historical studies, and innovations in the approach to the treatment and understanding of deafness. An explanation of the significance of audiation for each of these areas is as follows:

Film music applications and theoretical implications - Music directors would have access to another musical technique to make a character more three-dimensional and sympathetic. Film composers may choose to score original music as a character's original audiation. Film theorists and analysts would have an alternate and more comprehensive way of interpreting characters and film music.

Psychoanalysis and music therapy - Audiation can be interpreted much in the same way as dreams, giving valuable insight into personal problems. An example of this is an episode of Everybody Loves Raymond where the main character, Raymond, indicates that he has "Cats in the Cradle" playing in his head because he's spending too much time working and not enough time with his kids. To anybody who knows the lyrics to "Cats in the Cradle" this makes immediate sense, and shows audiation taking on the role of Raymond's conscience. In terms of music as therapy, the Ally McBeal episode "Theme of Life" describes it best. This is valuable because music as therapy (in the form of audiation) can be with a patient 24 hours a day, unlike the therapist.

Education - Edwin Gordon saw the potential for audiation in music education as early as 1979. However, his techniques are not widely used in Australia and a better understanding of audiation could help that.

Cultural and historical studies - There may be cultural differences with regards to audiation. It would also be interesting to investigate whether non-musicians/composers audiated before music became a widespread commodity. Audiation may be a result of a saturation of music upon the brain, and it is possible that it was a rare ability before music became so accessible.

Deafness - It may be possible for the totally deaf to be given an internal framework of sounds (through electrostimulation of the auditory cortex), so that audiation is possible. Cultivation of audiation may also provide some form of comfort for those who lose their hearing in later life.

This thesis will contextually analyse two films (cinematic) through the use of case studies to establish the presence of audiation. The thesis will specifically examine the pre-existing music in each film. The films are A Clockwork Orange (1971) and 10 Things I Hate About You (1999). In addition, an interview with a TV and theatre composer/director will be discussed and applied to the research problem and to film music conventions in general.