Abstract
Three years before the world witnessed what was arguably Leonard Bernstein's finest synthesis of musical and dramatic elements in West Side Story, he composed his first and only film score for Elia Kazan's On the Waterfront. Several scholars and critics have commented on the separate historical and artistic significance of these dramatic works, but virtually no one has made connections between these Bernstein contributions beyond noting similarities in orchestral timbre, rhythmic intensity, and overlapping thematic material. For instance, some have pointed out the shared melodic contour between the Love theme in On the Waterfront and Something's Coming, yet neglected to suggest why this might be significant. This paper addresses this question; it also demonstrates that in each work Bernstein employs similar techniques to comment effectively on narratives that emphasize what it means to be an individual in the 1950s.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
