{"id":21088,"date":"2024-09-28T08:40:16","date_gmt":"2024-09-28T13:40:16","guid":{"rendered":"https:\/\/online.berklee.edu\/takenote\/?p=21088"},"modified":"2025-10-09T10:38:41","modified_gmt":"2025-10-09T15:38:41","slug":"horror-music-from-the-shining-main-title-explained","status":"publish","type":"post","link":"https:\/\/online.berklee.edu\/takenote\/horror-music-from-the-shining-main-title-explained\/","title":{"rendered":"Horror Music from \u2018The Shining\u2019 Main Title Explained"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\" id=\"h-how-wendy-carlos-and-rachel-elkind-turned-a-medieval-chant-into-one-of-film-s-most-unnerving-themes\">How Wendy Carlos and Rachel Elkind Turned a Medieval Chant into One of Film\u2019s Most Unnerving Themes<\/h2>\n\n\n\n<div id=\"excerpt-callout-block_0cb9d968355aff8fb8eaa2d1b3d8329a\" class=\"excerpt-callout style-default\">\n    <div class=\"excerpt-content\">\n        <p>The following information on horror music from <em>The Shining<\/em> is excerpted from the Berklee Online course <em><a href=\"https:\/\/online.berklee.edu\/courses\/music-composition-for-film-and-tv-1?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;tum_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Music Composition for Film and TV 1<\/a><\/em>, written by <a href=\"https:\/\/online.berklee.edu\/instructors\/ben-newhouse?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;tum_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Ben Newhouse<\/a>, and currently enrolling.<\/p>\n    <\/div>\n<\/div>\n\n\n\n<p>In many ways, the idea of using twentieth-century concert music to elicit fear and suspense in film was pioneered by <em>The Shining<\/em>\u2014a wildly successful film in the genre, and one that included music by Bartok, Penderecki, Gorecki, and other twentieth-century composers in the soundtrack. Here we\u2019ll look at the main title sequence from <em>The Shining<\/em>, scored by Wendy Carlos and Rachel Elkind, examining melody, tone color, tempo and rhythm, harmony, and time associations.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"The Shining (1980) Opening Scene\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/LjLip2FZLuA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">The \u201cMain Title\u201d of <em>The Shining<\/em> composed by Wendy Carlos and Rachel Elkind.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-melody\"><strong>Melody<\/strong><\/h2>\n\n\n\n<p>The main title in <em>The Shining<\/em> uses a traditional melody known as \u201cDies irae.\u201d Translated from Latin as \u201cday of wrath,\u201d it is a somber chant dating back to the Middle Ages. The melody was originally used as part of funeral church services.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Why this creepy melody is in so many movies\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/-3-bVRYRnSM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">The history of \u201cDies irae\u201d in film, featuring Berklee professor Alexander Ludwig.&nbsp;<\/figcaption><\/figure>\n\n\n\n<p>In classical music, the \u201cDies irae\u201d melody has been used by composers to symbolize death, perhaps most prominently in <em>Symphonie Fantastique<\/em> by Hector Berlioz.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Berlioz - Symphonie Fantastique - Dream Of A Witches Sabbath\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/5n7qfRNzS3s?start=208&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">\u201cDream Of A Witches Sabbath\u201d from <em>Symphonie Fantastique<\/em> by Hector Berlioz.&nbsp;<\/figcaption><\/figure>\n\n\n\n<p>In film scoring, the melody has been used by multiple composers as an emotionally dark theme or leitmotif. In <em>The Shining<\/em>, the use of \u201cDies irae\u201d in the main title foreshadows the ominous nature of the story. Set in Dorian mode, the first phrase begins on scale degree 3 and works its way around to scale degree 1. The second phrase begins on scale degree 5 and ultimately resolves to scale degree one. Carlos and Elkind placed the melody in the key of B\u266d.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"758\" height=\"217\" src=\"https:\/\/online.berklee.edu\/takenote\/wp-content\/uploads\/2024\/09\/Screen-Shot-2024-09-13-at-12.09.15-PM.png\" alt=\"\" class=\"wp-image-21092\"\/><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-tone-color\"><strong>Tone Color<\/strong><\/h2>\n\n\n\n<p>Carlos and Elkind placed the melody in low register synthesized brass. The brass tone color enhances the ominous character of the melody. In between phrases of \u201cDies irae,\u201d Carlos and Elkind created ambient collages of creepy sounds. The texture includes highly processed vocals and exotic percussion layered above a synthesized low drone. The passages are particularly creepy, an emotional result achieved by the unique instrumentation and creative effects processing.<br><\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-tempo-and-rhythm\"><strong>Tempo and Rhythm<\/strong><\/h2>\n\n\n\n<p>The main title is performed at a very slow tempo of approximately 56 BPM. \u201cDies irae\u201d uses a plodding rhythm of steady quarter notes. The effects passages are particularly free rhythmically, seeming to float by without any sense of pulse. It is somewhat common for horror cues to have little or no pulse.<br><\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-harmony\"><strong>Harmony<\/strong><\/h2>\n\n\n\n<p>Carlos and Elkind placed a low drone beneath the \u201cDies irae\u201d melody, strengthening the sense that B \u266d is tonic. The melody isn\u2019t otherwise harmonized, with the only sense of harmony coming from the low drone and the melodic scale. As we established earlier, the melody uses Dorian mode\u2014B\u266d-C-D \u266d-E \u266d-F-G-A \u266d.<br><\/p>\n\n\n\n<p>The vocal\/synth passages introduce chromaticism and dissonance beyond these initial harmonies. First, the vocal line makes prominent use of pitches outside B Dorian mode, including D\u266e and E\u266e. Second, the vocal processing introduces frequencies outside our system of equal temperament. In essence, the vocal effects could not be performed on a traditional piano, as the effects use frequencies that don\u2019t correspond to the 12 pitches of the piano keys.&nbsp;<br><\/p>\n\n\n\n<p>In the vocals, a note may start on an F\u266e and then bend towards an E\u266e, touching on all frequencies in between those two notes. The result is creepy and strange to our ears, eliciting emotions of tension and fear.<br><\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-time-associations\"><strong>Time Associations<\/strong><\/h2>\n\n\n\n<p>Listeners have a variety of associations that link certain musical ideas to specific times and locations. In <em>The Shining<\/em>, Carlos and Elkind use several ancient musical ideas. As we discussed, \u201cDies irae\u201d is a melody dating back to the thirteenth century or earlier. The \u201cmelody plus drone\u201d structure was common in chant and other historical musical styles. The vocals and percussion have a primitive tone color. All of these characteristics are associated with ancient and primitive times.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Dies Irae - Gregorian Chant (with lyrics and translation)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/2OBB5-bP6qs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">\u201cDies irae\u201d as a thirteenth-century Gregorian chant.&nbsp;<\/figcaption><\/figure>\n\n\n\n<p>Simultaneously, several aspects of the music are perceived as modern and futuristic. The synthesizers are recently invented instruments. Sure, they were invented in the twentieth century, but that\u2019s still \u201crecent\u201d when we\u2019re also including the thirteenth century in this discussion! Electronic instruments of all kinds are still often perceived as modern and contemporary. The vocal processing effects\u2014pitch bending, echoes, delays, vocoders\u2014are recently developed recording techniques.<br><\/p>\n\n\n\n<p>From the listener\u2019s perspective, the music seems to exist simultaneously in the past and the future. Or perhaps time simply doesn\u2019t exist and all musical ideas are present at once. This phenomenon mirrors the plot of the film, which was released in 1980. The setting shows modern cars, clothing, and televisions. The audience believes the story is set in something not too far off from the present day. Then\u2014Spoiler Alert!\u2014at the end of the film, the main character is shown in a ballroom photograph dated July 4, 1921.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"The Shining Ending HD\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/Abey64kpZws?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">The ending scene of <em>The Shining.<\/em><\/figcaption><\/figure>\n\n\n\n<p>How did the main character get into a photograph that is more than 50 years old? Regardless of our interpretation, it is clear that time is not behaving normally in the story. And regardless of our interpretation, it is clear that our typical associations of time and music are being challenged by the score in <em>The Shining<\/em>.<\/p>\n\n\n\n<p><a href=\"https:\/\/online.berklee.edu\/music-for-film-tv-and-games?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;tum_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"STUDY FILM COMPOSITION WITH BERKLEE ONLINE (opens in a new tab)\">STUDY FILM COMPOSITION WITH BERKLEE ONLINE<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In many ways, the idea of using twentieth-century concert music to elicit fear and suspense in film was pioneered by <em>The Shining\ufeff<\/em>. In this excerpt from Ben Newhouse\u2019s <em><a rel=\"noreferrer noopener\" aria-label=\"Music Composition for Film and TV 1 (opens in a new tab)\" href=\"https:\/\/online.berklee.edu\/courses\/music-composition-for-film-and-tv-1?campaign_id=7010Z000001ZkQgQAK&#038;pid=&#038;utm_source=takenote&#038;tum_medium=blog&#038;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\">Music Composition for Film and TV 1<\/a><\/em>  course, you\u2019ll examine melody, tone color, tempo and rhythm, harmony, and time associations from the main title sequence of the movie.  <\/p>\n","protected":false},"author":56,"featured_media":21486,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":true,"footnotes":""},"categories":[1,7579,9569,9586],"tags":[163,9454,6098,9453,9451,9452],"class_list":["post-21088","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","category-lesson-content","category-music-for-film-tv-and-games-articles","category-music-for-film-tv-and-games-lessons","tag-ben-newhouse","tag-dies-irae","tag-film-scoring","tag-rachel-elkind","tag-the-shining","tag-wendy-carlos"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.8 (Yoast SEO v25.8) - 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