{"title":"迪士尼安魂曲?《狮子王》(1994)配乐中反复出现的“末日”","authors":"Daniel Trocmé-Latter","doi":"10.5406/19407610.15.1.03","DOIUrl":null,"url":null,"abstract":"Abstract:In Hans Zimmer’s score to The Lion King (1994), the “Dies irae” melody not only functions as a standard shorthand for death (as in many scores) but is also of underlying structural importance in several of the film’s cues. Thus, the tune retains a sense of secularized association with death while reclaiming some of its spiritual associations with the Requiem Mass.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":null,"pages":null},"PeriodicalIF":0.5000,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"A Disney Requiem? Iterations of the “Dies irae” in the Score to The Lion King (1994)\",\"authors\":\"Daniel Trocmé-Latter\",\"doi\":\"10.5406/19407610.15.1.03\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract:In Hans Zimmer’s score to The Lion King (1994), the “Dies irae” melody not only functions as a standard shorthand for death (as in many scores) but is also of underlying structural importance in several of the film’s cues. Thus, the tune retains a sense of secularized association with death while reclaiming some of its spiritual associations with the Requiem Mass.\",\"PeriodicalId\":41714,\"journal\":{\"name\":\"Music Sound and the Moving Image\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.5000,\"publicationDate\":\"2022-04-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Music Sound and the Moving Image\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5406/19407610.15.1.03\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Music Sound and the Moving Image","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5406/19407610.15.1.03","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
A Disney Requiem? Iterations of the “Dies irae” in the Score to The Lion King (1994)
Abstract:In Hans Zimmer’s score to The Lion King (1994), the “Dies irae” melody not only functions as a standard shorthand for death (as in many scores) but is also of underlying structural importance in several of the film’s cues. Thus, the tune retains a sense of secularized association with death while reclaiming some of its spiritual associations with the Requiem Mass.
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