Nota Bene: Canadian Undergraduate Journal of Musicology

Volume 5 | Issue 1

Adventure is out there!: Pastiche and

Postmodernism in the Music of Up
Bradley Spiers
Wilfrid Laurier University

Recommended Citation
Spiers, Bradley (2012) "Adventure is out there!: Pastiche and Postmodernism in the Music of Up," Nota Bene: Canadian
Undergraduate Journal of Musicology: Vol. 5: Iss. 1, Article 7.
Available at: http://ir.lib.uwo.ca/notabene/vol5/iss1/7

Article 7

Adventure is out there!: Pastiche and Postmodernism in the Music of Up

Abstract

Film music scholarship has historically focused its attention between two clear-cut scoring practices; the
classical Hollywood score and the popular music score. This study attempts to break that mould by
investigating the pluralistic trends found in Michael Giacchinos film score for the film Up(2009), examining
the motivic growth of specific leitmotif, and charting how that musical theme is set in a variety of musical.
Unlike the classical Hollywood scoring model that is outlined by writers like Claudia Gorbman and Jeff Smith,
these diverse musical settings pass through a plethora of distinct genres and stylesboth highbrow and
lowbrowthat have hitherto been unseen in film music history. These musical settings allow Giacchino to
imbue specific leitmotifs with connotation of diverse musical histories, styles and traditions. The ultimate
result is a binary system of signification, with the leitmotifs introversively signifying themes and characters
within the films diegesis, while the diverse musical settings extroversively signify sights and sounds in the
wider world. By synthesizing diverse musical styles into one musical thread, Giacchinos film scores illustrate
the power of music to draw on well-known musical genres from Western culture to enhance audiences
narrative understanding. In this way, Giacchinos work in Up straddles inspiration from both the classical and
popular Hollywood score, adopting the diverse timbres, styles and aesthetics of the popular score, while still
retaining the consistent use and development of a leitmotif that is found in the classical score. I call this new
hybridized scoring practice the pastiche score.
Keywords

Film Music, Film Sound, Pixar, Giacchino, Semiotics

This article is available in Nota Bene: Canadian Undergraduate Journal of Musicology: http://ir.lib.uwo.ca/notabene/vol5/iss1/7

Postmodernism in the Music of Up

NN
B B
Adventure is out there!: Pastiche and
Postmodernism in the Music of Up
Bradley Spiers
Year V Wilfrid Laurier University

In his collaborations with Pixar Animation Studios,

Michael Giacchino has consistently crafted film scores that
reflect a diverse range of musical genres and styles. These
works, which include Up (2009), Ratatouille (2007), and The
Incredibles (2004), are examples of musical pluralism as they
draw on a myriad of musical traditions: from eighteenth
century romanticism, to early big band, and contemporary
popular styles. Given the large and diverse range of musical
genres that Giacchinos film scores manifest, a new
postmodern trend in film music can be seen to emerge which
draws from a range of styles that has hitherto been unheard
of in traditional Hollywood scoring practices. By synthesizing
diverse musical styles into one musical thread, Giacchinos
scores illustrate the power of music to draw on well-known
genres from Western culture to enhance audiences narrative
understanding. This article will explore this musical hybridity
by examining how Giacchinos score for the film Up reflects
diverse musical traditions.

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In film music scholarship, theories of postmodernism
have largely remained uncultivated; they are typically
referenced in the writings of major film music scholars, but
without the terminology that traditionally accompanies the
discourse. In Claudia Gorbmans seminal study on film music,
Unheard Melodies, she writes: [Music] inflects the narrative
with emotive values via cultural music codes. A music cues
significationeerie, pastoral, jazz-sophisticated, romantic
must be instantly recognized as such in order to work.1 Jeff
Smith would later remark in his study, Sounds of Commerce, that:
The romantic idiom continued as an option
throughout the fifties, but it no longer
wielded as strong an influence as
Hollywood composers began to broaden
the classical scores range of styles. At one
end of the spectrum, strong dissonance,
polyphonic textures, modal writing and
atonality surfaced more regularly in the
works of Bernard Herrman, Miklos Rozsa,
Leonard Rosenman and Jerry Goldsmith.
At the other end, various jazz and pop
elements appear in the scores of David
Raksin, Elmer Bernstein, Johnny Mandel
and Henry Mancini. And despite a major
revival in the Korngold-styled score of John
Williams, Romanticisms hold on film
scoring was further weakened by the
incorporation of rock, folk and soul
1. Claudia Gorbman, Unheard Melodies: Narrative Film Music
(Indiana: Indiana University Press, 1987), 4.
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elements in the 1960s and 1970s, and

electronics, minimalism, and even New Age
elements in the 1980s. By the 1990s,
romantic-styled film music was still being
composed, but it was merely one stylistic
option among many.2
Although both Gorbman and Smith do not declare the
presence of postmodernism in Western film scoring practices,
their writing certainly suggests that postmodern trends can be
found. Their focus has, instead, largely rested on two welldefined scoring practices that have been used in Hollywood
since the sixties: the popular music score and the classical
Hollywood score. I, however, suggest a third option which
accounts for stylistic traits found in both Hollywood scoring
practices: the pastiche score. This option reflects the influence
of postmodern aesthetics on the scoring procedures of
Hollywood, yielding a score that displays a hitherto unseen
diversity and range of musical content.
Giacchinos pastiche scores logically contain elements
from both the popular and classical schools of scoring. On
one hand, Giacchinos motivic use is reminiscent of the
leitmotif technique that is traditionally seen in the classical
Hollywood score. As film scholars have employed the term,
leitmotifs are musical motives associated with characters,
settings, narrative themes, or other filmic ideas. A memorable
leitmotifsuch as David Raksins Laura melody, or John
Williams Star Wars themeimmediately encourages the
audience to recall specific cinematic content that mimics the
2. Jeff Smith, The Sounds of Commerce: Marketing Popular Film Music
(New York: Colombia University Press, 1998), 7.
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themes initial sounding.3 On the other hand, the pastiche
score also features many staples of the popular music score:
the use of song forms, rhythmic and coloristic expressions,
melodic functionality (including blues notes or
pentatonicism), and non-standard timbres. For the most part,
these elements pertain less to the actual melodic content of
the score, and instead, they are more concerned with how
those melodies are articulated. While the classical Hollywood
model is typically restricted to romantic and contemporary art
music genres, the popular music score (and, by extension, the
pastiche score) encapsulates most musical traditions: jazz,
blues, Latin, rock, funk, and many more. Within the pastiche
score, these diverse traditions function fluidly, allowing for a
single leitmotif to be orchestrated in any number of musical
settings. I refer to these musical setting as a motifs framing
function.4 Although Giacchinos Up score features leitmotifs that
reoccur consistently throughout the film, each reoccurrence
of a leitmotif is often articulated using a different framing
function. As a result, a single melodic unit can be set in a
3. Smith, The Sounds of Commerce, 8. While popular scores utilize a
similar device, their thematic organization serves a different purpose; they
makes use of riffs and hooks which do not undergo the rigorous variation
and development that occurs with a leitmotif. Instead, as Smith asserts, they
are used to sell the song by providing a memorable musical idea that is
shaped by economic means.
4. My theory of framing function should not be confused with
terms such as orchestration or musical setting. While orchestration
descriptively describes how a musical work is arranged for performance
(for example, its style, instrumentation, rhythm, harmony, tempo,
dynamics, etc.), the framing function engages in a more egalitarian
collaboration with a leitmotif to articulate narrative understanding.
Through the use of the framing function, a leitmotif can be orchestrated in
a diverse array of musical environments.
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variety of musical environments, each of which provides the

audience with valuable narration.
Although it is tempting to view the leitmotif and framing
function as two autonomous entities, these elements are, in
fact, constantly influencing one another. For instance,
according to Gorbman, the leitmotif acquires meaning because
it absorbs the diegetic associations of its first occurrence.5
In this sense, every reoccurrence of the leitmotif functions as
an auditory sign for its original context. By extension of
Gorbmans theories, I argue that the nondiegetic framing
function of a leitmotifs first occurrence will also dictate how
we understand subsequent occurrences of that leitmotif in
different framing functions. This theory emerges from the
basic tenets of the primacy effect, which states that items
introduced at the beginning of a set are more readily available
for recall than the material following it.6 As a result, the
framing function of a leitmotifs first statement will always
provide the maximum signification to that initial diegesis; it
functions as home for the motif and it is in that context
that the theme is most readily understood. I call this first
framing function the primary framing function. For instance, in
Giacchinos score for the film, The Incredibles, the glory days
motive (Ex. 1) is heard at the beginning of the film and
becomes associated with the driving jazz-rock rhythm of its
initial statement. This becomes the films primary framing
function. Although the glory days motive does reoccur
throughout the film in different framing functionsuch as
5. Claudia Gorbman, Unheard Melodies: Narrative Film Music
(Indiana: Indiana University Press, 1987), 26-27.
6. David Bordwell, Minding Movies, Observation on Film Art
(blog) (March 5, 2008) http://www.davidbordwell.net/blog/?p=2004.
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when it is stated in an Afro-Cuban jazz or Western classical
stylethese statements function as only subtle references and
it is only in the context of 1960s big band style that the theme
is able to most fully signify its initial diegesis.7

Example 1: The Glory Days Motif

The basic leitmotif and framing function dichotomy is a

reflection of two distinct sign systems: one looking inward to
themes and ideas embedded in the score, while the other
looks outward to sounds that take root in external reality. As
Mark Slobin has previously examined in his collection Global
Soundtracks, these two sign systems are based on the theories
of introversive and extroversive semiotics.8 The leitmotif
functions as an introversive sign, signifying sounds that
point to other sounds or musical events within the work
7. In many cases leitmotifs will often have implied contexts where
specific musical elements are demonstrative of genrewhether these are a
specific mode or scale, a chordal implication or a particular rhythm. For
instance, a leitmotif that is composed in the jazz tradition might be
constructed to imply a certain chord progression or make use of blues
notes. Statements such as these make the implication of genre more
concrete.
8. Mark Slobin, ed., Global Soundtracks: Worlds of Film Music,
(Middletown: Wesleyan University Press, 2008), 8.
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itself, whereas the framing function is an extroversive sign,

signifying sights and sounds in the external world (typically
outside of the films diegesis).9 The implied mixing of melody
and orchestration allows Giacchino to craft a score that yields
almost infinite potential for hybridity, taking diverse styles
and genres and removing them from their original context.
These assorted musical traditions are used as culturally coded
signs supplementing the audiences narrative understanding
and creating a score that is most assuredly postmodern.10
Giacchino uses this hybridization to great effect in his score
for the film Up, where, restricting himself to only a few
leitmotifs, he weaves a musical narrative that skillfully augments
the viewers emotional and narrative understanding of the
film.
Up, directed by Pete Doctor, was Giacchinos third
score for Pixar and it featured a nostalgic look back to the
days of the fearless explorers as they traversed the globe
and explored exotic lands. The film draws its inspiration from
a wide variety of adventure sources: from the early
Hollywood adventure serials, to more contemporary
exploration works such Indiana Jones or Land of the Lost. As M.
Keith Booker remarks: Up is essentially an entry in the
adventure film genre, a sort of eccentric, childrens version of
the Indiana Jones films, with a dash of The Lost World,
9. Richard Taruskin, The Oxford History of Western Music, vol. 2,
Music in the Seventeenth and Eighteenth Century (Oxford: Oxford University
Press, 2005), 539-542. Taruskin writes that these basic distinctions began
to emerge during the 18th century with the rise of harmonically governed
forms articulated through thematische Arbeit.
10. Culturally coded musical signs is here defined as signs that
connote themes, settings or elements that are commonly understood in
Western culture
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thrown in for good measure.11 Embedded in this action
adventure tale are aspects of the melodrama: exploring the
idea of love and loss as is demonstrated through several main
characters in the film. Musically, Giacchino instills a sense of
nostalgia into the score by infusing the work with styles and
aesthetics that belong to the generation of Karl and Muntz,
the films geriatric protagonist and antagonist respectively.
The film follows Karl Frederickson, an older man
coping with the recent loss of Ellie, his wife of many years.
To fulfill both of their dreams, Karl attaches thousands of
helium-inflated balloons to his house in order to fly to the
exotic land of Paradise Falls (located somewhere in South
America). At the same time, Charles Muntz, the discredited
explorer/colonizer (and boyhood idol of Karl and Ellie), has
become obsessed with finding the elusive giant bird
nicknamed Kevin (similar in look and stature to the now
extinct moa bird). When Karl and a stowaway, Russell,
stumble across the object of Muntzs desire, they are forced
to fight their way through the jungle in order to save Kevin
and get to Paradise Falls.

11. M. Keith Booker, Disney, Pixar, and the Hidden Message of

Childrens Films (Santa Barbara: Praeger, 2010), 110.
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Example 2: Ellies Motif and Muntzs Motif

Musically speaking, almost the entire work is
constructed from two main leitmotifs: Ellies motif which
depicts Karls relationship with his deceased wife Ellie and
Muntzs motif which depicts Karls relationship with Muntz
(Ex. 2). Like Giacchinos previous Pixar scores, these motifs
are articulated using a variety of musical styles and undergo
constant transformation throughout the work.
Muntzs motif is the first musical material heard in
the work, introduced during the opening title sequence.12 The
first statement of this motive can be heard as the young Karl
returns from the theatre, balloon in hand and emulating his
12. Composing for Characters, Up, DVD, directed by Pete
Doctor and Bob Peterson (Burbank: Walt Disney Home Pictures. 2009).
Muntzs motif is first heard diegetically as source music for the newsreel
at the opening. Recorded on a 16mm optical track, the undulating sound
interjects a sense of authenticity into the news excerpt. Even though this
settingwhich, is deeply evocative of early adventure film music such as
the Max Steiner score King Kong (1933)is the first instance of Muntzs
motif, the sound quality destabilizes the audibility of the theme, making it
almost indiscernible for the average listener.
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role model, Muntz. The motive, which features a simple
construction, emphasizes the ii-V-I harmonic framework that
is a staple of jazz and Tin Pan Alley writing. This
interpretation is emphasized by its smaller jazz ensemble. The
theme is played by the muted trumpet while the saxophone,
violin, clarinet, bass, drum set, and a range of other
percussion provide accompaniment. This setting provides an
allusion to the swing style of the twenties and thirties in an
attempt to elicit the experiences and histories of both Karl
and Muntz.13 In this way, the use of jazz becomes part of the
nostalgia and melancholy that are seen in those two
characters; he uses an older musical style to depict an older
generation. In the same way that both characters dwell on the
pastKarl grieving for Ellie and Muntz obsessing over his
reputationthe jazz setting of the primary framing function
provides signification for their own past. The simplicity and
innocence of this setting (along with the image of Karls
child-like exuberance) provides the primary framing function
for Muntzs theme.
The second major statement of the motive ventures
out of the early big band style and instead becomes aligned
with the music of the late Romantic era. Occurring after Karl
and Russell have been introduced to the explorer (following a
13. InterviewMichael Giacchino [video]. (2009). Retrieved
November 1, 2010, from
http://www.filmsnmovies.com/video/4218/up_michael_giacchino; As
Giacchino says: I kept thinking about what styles of music must Karl
have lived through in those seventy-eight years. Starting back to the early
thirties, which was still pulling from the end of the twenties and moving
into some swing stuff, then moving into big bold adventure music. For
me, I kept drawing on what are some of the things he enjoyed as he was
growing up, and how can incorporate all of these into the film?
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misunderstanding when Muntzs dogs take them prisoner),

the new statement of Muntzs motive underscores Karl and
Russells first sight of Muntzs famous airship, The Spirit of
Adventure. In this statement, the jazz-like rhythms of the
leitmotifs primary framing function are supplanted to
highbrow romanticism, marked by dense enveloping
harmonies, extensive sequential activity, and large
orchestration. The initial piano display, evoking the piano
music of composers like Tchaikovsky or Rachmaninoff,
features expansive chords (typically spanning several octaves)
and elaborate sequential activity: both of which are staples of
the late romantic piano concerto. This style can be readily
heard in such works as Rachmaninoffs Variations on a Theme
by Paganini, Tchaikovskys Piano Concerto no. 1 or even
Gershwins Variations on I Got Rhythm. Muntzs motif now
features a sophistication that was not present in the primary
framing function. In his book, Why Classical Music Still Matters,
Laurence Kramer explores how the romantic concerto setting
works to sentimentalize a theme. He writes,
In the Romantic concerto the piano
encounters an objective expression of
feeling in the orchestra and proceeds to make
it subjectiveinternal, personal, authentic,
deepby combining it with expressions of
response: rippling scales and arpeggios;
countermelodies, often in inner voices;
enrichments of texture; sensuous chord
progressions; changes of harmony. The
resulting dialogue is the defining characteristic
of the genre. It depends on carefully
preserving both the objective and subjective
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perspectives, neither of which is meaningful
without the other: the objective lacking
meaning, the subjective lacking
referenceThe genre helps create and uphold
the dream, the myth, of a deep subjectivity
immune from manipulation or constraint by
external force.14
Giacchinos use of these expressions of response
subjectively transforms Muntzs theme around the ideals of
piano concerto genre. While the leitmotifs primary framing
function embodied a simplicity and naivety of youth, this new
framing function instead civilizes the theme by placing it in a
setting that is deeply evocative of high romanticism.
Furthermore, this musical union further augments the
viewers narrative understanding, representing Karls own
idealized and matured view of Muntz.
Karls idealized version of Muntz comes crashing to
the ground when the explorers obsession is revealed. Like the
colonialists that Muntz represents, the explorers disposition
turns sour when he learns that Karl and Russell possess the
key to locating the giant bird, Kevin. As a result, he turns to
lying, treachery, and deceit to overpower the duo and
accomplish his goal. Giacchinos score plays a pivotal role in
the deconstruction of Muntzs identity, accomplished by
distorting the leitmotif by changing the framing function. In
this setting, the motif is moved to the minor mode, where it is
played slowly in haunting low register of the flute.
Accompaniment is now provided by an arpegiating
14. Laurence Kramer, Why Classical Music Still Matters (Berkley:
University of California Press, 2007), 100.
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vibraphone and tremolo strings (Ex.3). The dissonance of the

framing function creates suspense and tension while
providing a foil for both the jazzy primary framing function
and the passionate and romantic setting of the previous scene.
This anxiety-ridden framing function becomes evocative of
the suspenseful scores of Bernard Hermann, playing on the
famed composers use of quiet dynamics, minor modes, and
increased dissonance to convey tension and anxiety. As Slobin
writes:
All films are intertextual, meaning any
given viewing evokes memories of
earlier moviegoingMusics basic
nature of being composed of many
different elementsrhythm, tempo,
instrumentation, melodic line, tone
colour, etc.allows it to comfortably
control levels of transtexuality, from the
very hidden to the most blatant
quotation.15
Using the style and aesthetic of Hermann, arguably the master
of the suspense film, Giacchino uses culturally coded signs
that have entered into the discourse of film music. The
evocation of these styles (along with the psychological
response that the suspense score elicits in listeners) twists and
distorts Muntzs original theme, and functions as a musical
signifier for Muntzs demonization.

15. Mark Slobin, ed., Global Soundtracks: Worlds of Film Music,

(Middletown: Wesleyan University Press, 2008), 29.
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Example 3: The Explorers Motel, mm. 1-8; Muntzs theme

Muntzs antagonism continues throughout the film and,
appropriately, the simple and jazzy setting of the primary
framing function is rendered obsolete; it can no longer
suitably represent young Karls admiration for his boyhood
hero. Instead, Muntz is stripped of his original theme and
dons the role of the primitive.16 Giacchino underscores this
antagonism in the music with common primitivist tropes:
heavy use of drums (specifically tom-tom and timpani),
angular dissonant harmonies, and unconventional and
inconsistent rhythms (all stylistic elicitation of Stravinskys
Rite of Spring). In the end, Muntzs motif undergoes extensive
development and the framing function traverses a diverse
range of musical genres and styles. These differing musics
ranging from light jazz, intense romanticism, and subtle
suspenseeach function as culturally coded signs that a
postmodern audience will be able to grasp and use to provide
further understanding of the narrative.

16. Interestingly, as was seen in previous Disney films like Tarzan

(1999) and The Lion King (1994), Pixar sidesteps any colonialist or racial
underpinning by excluding indigenous peoples into the Paradise Falls
landscape. In this case, the primitive Muntz fulfills that role in this
adventure narrative. See M. Keith Booker, Disney, Pixar, and the Hidden
Message of Childrens Films (Santa Barbara: Praeger, 2010), 65.
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Giacchinos mixture of framing function and leitmotif

is a manifestation of postmodern styles and ideas. Through
the use of the framing function, Giacchino exercises a
masterful control over the contents of his scores and draws
from an almost unlimited supply of musics to provide a
setting for specific meaningful motives. While Giacchinos
scores denote both internal aspects of the narrative
(introversive semiotics) and external sights and sounds of the
real world (extroversive semiotics),17 his real innovation is
found in the remarkably broad palette of his extroversive
allusions. By drawing from an extensive range of musical
styles and traditionsjazz, Western art music, minimalism,
contemporary popular genres, Latin, and other diverse
musical stylesGiacchinos music features a postmodern
pluralism that exploits the audiences understanding of these
individual tropes. The use of diverse musical signs imbues the
films with an additional layer of narrative depth and
subsequently enhances the audiences understanding of these
works. While it would be the height of hubris to suggest that
Giacchinos Pixar scores are alone in their employment of the
pastiche score, it cannot be denied that Michael Giacchino
has been a major innovator in musical practices of
17. Richard Taruskin, The Oxford History of Western Music, vol. 2,
Music in the Seventeenth and Eighteenth Century (Oxford: Oxford University
Press, 2005), 539-542. As Taruskin writes, these sign systems have their
basis of harmonically organized form. While prior to this innovation,
composer were forced to represent the sights and sounds of the natural
world and the mood and feeling of the human world, the new forms of
the Classical period allowed for introverted sign systems such as key
relations and modulations to convey meaning (the most basic being the
relationship between tonic and dominant or home keep and subordinate
key).
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signification. Giacchinos use of the pastiche scores diverse
array of allusions to a multitude of Western musical styles
yields a film score in Up that is not simply evocative of a
single musical tradition, but instead succinctly reflects the
postmodern aesthetic.

My thanks to Dr. Katherine Spring and Dr. Kirsten Yri for their
incredible help and support with the original version of this paper.

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