A score complete without themes: Henry Mancini and the frenzy experience

This dissertation examines the musical features of, and circumstances surrounding, the film score composed in 1971 by Henry Mancini for director Alfred Hitchcock's penultimate work, Frenzy. Mancini's music was rejected by Hitchcock, and replaced with a markedly different work written by British composer Ron Goodwin.

A summation of characteristic traits emerging from Mancini's compositional style is herewith considered, as recurring features found in his thematic writing - aspects of melody, harmony, rhythm, timbre, and form - were most apparent to the non-musician film directors who engaged his services. This summation also includes an examination of the composer's dramatic underscore writing; an aspect of film music often overlooked in its minutiae by viewers and filmmakers alike, and, in the case of Mancini's Frenzy music, characteristic of his scores for Laslo Benedek's 1971 production, The Night Visitor, and Terrence Young's Wait Until Dark, from 1967.

Mancini's Frenzy cue sheets, holograph, and recording were supplied by the composer's estate, allowing for an analysis which considers cue placement and length, systems of pitch and rhythmic organisation, aspects of arrangement and orchestration, and conducting and recording methods as practised by this composer. A comparison to the Goodwin score, reproduced by way of transcription from the film, is undertaken in order to explore aspects of filmic point-of-view as they play on the composer of its accompanying music, and to attempt a rationalisation of Hitchcock's displeasure with Mancini's music.

Socio-cultural considerations pertaining to Mancini, Goodwin, and the three composer's most favoured by the director for his American productions - John Waxman, Dmitri Tiomkin and Bernard Herrmann - are included in a brief biographical study of each man, as are the musicological characteristics found in the work they undertook for Hitchcock; characteristics primarily of melodicism, and the subjection of melody-based thematic material to extensive modification and repetition.

This work suggests that Mancini's admitted refusal, both in his 1987 autobiography Did They Mention the Music? and in subsequent interviews, to construct melodic themes as a unifying element within his score, opting instead to craft timbral unifiers through orchestration, was at the heart of his artistic conflict with Hitchcock.