La Strada Fellini And Rota Use The Different Musical Themes Essay

La Strada Fellini And Rota Use The Different Musical Themes Essay

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Music in film is normally either used to color the emotion of a scene and fitting the setting (Dyer 250), or to inform the audience about a character. In La Strada Fellini and Rota use the different musical themes to tell the audience about the characters, and their development (Van Order 53). Through the diegetic and nondiegetic playing Il Matto, they show characters transition from ignorance about their self importance, to a state of cognizance, and then to their eventually understanding their levels of importance in the world.
The major and minor keys in music are used to represent and characterize different contrasting emotions. The major key is used to represent feelings of happiness and a completed event while the minor key is associated with sadness discord or lack or resolution of an event (Mansfield 516). Together, the two keys complement each other as they are able to represent a full range of emotions. By using the two different tonal structures together, a director is able to show a characters shift from one side of the emotional spectrum to the other. The use of the major key signifies the completion of an event or positive event in the story while the minor key is used to show when a character is feeling unfulfilled not complete or sad.
Nina Rota uses the key of Il Matto, and the key of Gelsomina’s theme to create a intrinsic connection between the two themes. Il Matto, the fool’s theme, is written in F major, and Gelsomina’s theme is written in D minor, the relative minor of F major. In music, the relative minor and its major are connected because they have the same accidentals, so they share the same sharps and flats. By having the same accidentals, it is easier to modulate between keys, change the key from o...


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... the scene by helping the audiences understand, the internal transformation that Zampanò may have underwent By playing Il Matto, the director assert that Zampanò started his moment of realization, but he may not have finished. By not finishing the song, the director suggests that Zampanò may not have finished his moment of realization, so he may overvalue his self importance.
Because La Strada doesn’t let the audience into the head of any charater, the growth of the characters must be implied through their actions, their clothes, the set, or the music. By using diegetic, and nondiegetic music to create meaning, Fellini and Rota help the audience feel the internal mental transitions of characters. The use of music in La Strada shows the importance of music as it allows the directors to convey emotional feelings with a complexity that words cannot express (248 Dyer).

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