Game of Thrones : Music in Complex TV - Leah Broad Music and the Moving Image, Volume 13, Issue 1, Spring 2020, pp. 21-42 (Article) Published by ...
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Game of Thrones : Music in Complex TV
Leah Broad
Music and the Moving Image, Volume 13, Issue 1, Spring 2020, pp. 21-42
(Article)
Published by University of Illinois Press
For additional information about this article
https://muse.jhu.edu/article/751015
[ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ]Game of Thrones: Music in Complex TV
LEAH BROAD
Abstract. The past thirty years of American TV has seen the rise of what televi-
sion scholar Jason Mittell terms ‘Complex TV’. These are TV series that prioritise
narrative complexity, balancing between serial and episodic storytelling modes.
This article explores the role that music plays in this serialized form, using Ramin
Djawadi’s score for Game of Thrones (HBO) as its focus.
The global success of shows like Game of across an array of genres.”3 Complex TV
Thrones (henceforth GoT) indicates a long- is particularly associated with American
term shift in US television practice. Jason shows. Examples include The Sopranos
Mittell writes that “in the past 15 years, televi- (HBO); The Wire (HBO); Mad Men (AMC);
sion’s storytelling possibilities and practices and GoT (HBO), an adaptation of George R.
have undergone drastic shifts specific to the R. Martin’s fantasy novels entitled A Song of
medium. . . . Expectations for how viewers Ice and Fire. As illustrated by this list, HBO
watch television, how producers create sto- has traditionally dominated this mode, and
ries, and how series are distributed have all complex TV programs are central to the
shifted.”1 The proliferation of TV providers network’s ambitions to be a “premier site” for
in the US, the success of pay cable networks “high quality original programming.”4
such as HBO, and the rise of series box-set These series are emerging as a home for
releases means that the criteria for a program’s musical innovation, with original scores
economic success have shifted. Producers can commissioned for multiple shows. Ramin
target shows at more dedicated, niche markets Djawadi’s score for GoT is this article’s focus,
than previously. These may not necessarily but similarly innovative scores include those
be “regular” TV audiences, but they are dedi- for Westworld (also Djawadi, HBO), Lost
cated viewers willing to invest time into long- (Michael Giacchino, ABC) and Stranger
running television series. Things (Kyle Dixon and Michael Stein, Net-
Mittell terms the resulting shows complex flix). Despite their popularity among fans
TV, defined as a television series with “a and critics, these scores have yet to receive
sustained narrative world, populated by a substantial musicological attention.5 In this
consistent set of characters who experience article I argue that although music for com-
a chain of events over time,” in a narrational plex TV functions similarly to film music
mode that is complex, i.e., “episodic forms in many ways, its serialized narrative form
under the influence of serial narration.”2 It allows for the adoption of medium-specific
is not a genre, but “a storytelling mode and musical strategies. Divided into two main
set of associated production and reception categories, “‘Plot complexity” and “Multiple-
practices that span a wide range of programs level viewer engagement,” I highlight four
music and the moving image 13.1 / spring 2020 21
©2020 by the board of trustees of the university of illinois22 music and the moving image 13.1 / spring 2020
characteristics unique to complex TV that “quality” (“complex” TV is not “simple” TV,
impact on how music functions: and is therefore “better”), but it does at least
offer analytical consistency in a way that
Plot complexity “quality TV” does not. Trying to determine
the possibilities for music’s functions in qual-
1. It involves multiple narratives, sometimes ity TV becomes an impossible quest. Mittell’s
with hundreds of named characters.
category of complex TV is more concrete;
2. Its prolific running hours allow for more
nuanced and sustained character develop- GoT clearly falls into this category, regardless
ment than in film. of whether it is quality TV. Although critical
and scholarly consensus now largely falls in
Multiple-level viewer engagement favor of describing GoT as quality TV, this is
hardly unanimous.10 Objections repeatedly
3. It caters to viewers with different expected focus on the series’ unrelenting inclusion of
levels of engagement. sex and violence (although widely accepted
4. It encourages narrative innovation to keep in “realist” programs like The Sopranos) in a
viewer’s interest over several years. fantasy setting; Ginia Bellafante for the New
Since the 1980s, some programs in this York Times, for example, lambasted GoT
narrative mode have been labelled quality as “boy fiction patronisingly turned out to
TV. However, I choose to adopt Mittell’s reach the population’s other half. . . . When
complex TV over the more widely recognized the network ventures away from its instincts
quality TV for two related reasons. The first for real-world sociology . . . things start to
is the inconsistency with which the label feel cheap.”11 Determining whether GoT con-
quality TV is applied, making it a vague ana- stitutes quality TV is not my goal here. GoT
lytical term. As Robert Thompson states, “no is HBO’s most popular series to date, averag-
one can say exactly what ‘quality television’ ing 18.4 million viewers per episode in sea-
means,”6 as evidenced by various scholarly son four and 25.7 million in season six, be-
attempts to define what does or does not fore taking into account downloads, streams,
constitute televisual “quality.”7 Thompson and viewers accrued by DVD releases.12
concludes that quality TV is “best defined Within the first week of release, DVD sales
by what it is not. It is not ‘regular TV.”8 This covered the whole $60 million budget for
comment illustrates my second reason for season one.13 Love it or hate it, GoT is con-
avoiding the term, which is that the category sumed by a vast number of people, and its
of quality TV implies aesthetic judgement— popularity is making it a benchmark for nar-
it is not “inferior,” “substandard,” or just rative serial television. Djawadi’s score has
plain “bad” TV. This partly explains the lack largely been lauded as central to the series’
of agreement on the terms’ boundaries and success. These factors, for me, justify atten-
indicates an implicit validation of a scholar’s tion to its musical strategies, and allow it to
choice of analytical object. If something is serve as a basis for some provisional conclu-
“quality,” then it is “worthy” of study in a way sions about how music can function in series
that “worthless” television is not, because that adopt a similar narrative mode.
only quality TV is “aspirational, driven at I first discuss how complex TV’s narra-
least in part by some high cultural impulse tive mode impacts on musical construction,
to make television ‘better.’”9 before turning specifically to GoT and iden-
Mittell’s “complex” TV label perhaps suf- tifying eight ways in which Djawadi’s score
fers linguistically from a similar problem as functions within the series so far. The con-LEAH BROAD : Music in Complex TV 23
clusions drawn here can only be provisional make little sense. Except when characters
steps toward analysis of the musical pos- are first introduced, GoT makes no attempt
sibilities within this narrative mode, and the to remind viewers of who characters are or
categories offered for how music functions what their relationship is to others. Adopt-
in GoT are not intended to be exhaustive. ing this strategy, however, potentially limits
Instead I hope to begin a discussion about the viewership—it demands a huge time and
how to analyze music in complex TV, and to energy commitment in a way that a self-
demonstrate the centrality of Djawadi’s score contained two-hour film does not. This is,
when considering why and how GoT has therefore, a medium-specific strategy. TV
attained such widespread success. Episode programs can hope for a regular viewership
numbers are referenced in the format season. partly because of their ease of access—it is
episode. much easier to watch TV than to go to the
cinema, and as the success of long-running
Music for Complex TV soap operas demonstrates, TV can become
part of the fabric of everyday life in a way
Mittell describes two aspects of storytelling
that film does not. TV producers can also
and reception practice associated with com-
take this risk because of budget; although
plex TV that I wish to focus on here: first,
GoT’s $90 million budget for season eight
plot complexity, and second, multiple-level
(six feature-length episodes) is, by TV stan-
viewer engagement.
dards, astronomical, it comes nowhere near
To sustain interest over long time peri-
the Avengers: Infinity War reported budget of
ods (at the time of writing, GoT constitutes
$500 million.16 Big-budget Hollywood film
seventy hours of television), complex TV
serials cannot risk alienating viewers who
programs interweave multiple narrative arcs
have not seen previous installments of the
and have more named characters than is ex-
series; the Avengers series attempts to make
pected either from film or noncomplex nar-
each film comprehensible as a stand-alone
ratives. As Mittell writes, “Few storytelling
entity, often sacrificing character develop-
forms can match serial television for narra-
ment as a result.
tive breadth and vastness,” and series involve
The serial emphasis makes GoT’s music
“cumulative plot lines and character backsto-
crucial for helping viewers to orientate
ries accruing far beyond what any dedicated
themselves within its world, particularly if
fan could reasonably remember.”14 This is
they have not read the books. GoT is aired
at least part of GoT’s appeal.15 Even within
at weekly intervals, with a year or more
a mode that is dominated by plot complex-
between each series, meaning that audi-
ity, GoT is exceptional; it has approximately
ences have to recall a substantial amount
one hundred and fifty named characters (the
of detail to appreciate the plot subtleties of
books contain over two thousand), requir-
each episode. By indicating place and mark-
ing viewers to engage a highly concentrated
ing characters thematically, music can act
viewing mode to keep track of storylines.
as a memory aid for viewers trying to keep
This is one of the main differences be-
track of who is who and where their loyalties
tween complex TV and serial film franchises
lie. Thematic recurrence is an established
(such as Marvel’s Avengers); the former has
film music strategy for assisting a viewer’s
an emphasis on the serial aspects of the
memory, acting, in Irena Paulus’s words, as a
narrative, while the latter focuses on the
“signpost for spectators,” which is especially
episodic. GoT assumes a regular viewership,
useful in serialized forms.17 Djawadi makes
and watching any episode in isolation would24 music and the moving image 13.1 / spring 2020 extensive use of both themes (thematic ma- named characters are killed.20 A separate terial that remains the same and indicates channel’s “Reactions to the Red Wedding” a particular character or place) and leitmo- video is currently at 13.6 million views, docu- tives (thematic material that is varied and menting viewers’ reactions to episode 3.09 in developed, indicating an idea or character’s which three main characters are murdered.21 development). This is one of music’s primary The popularity of videos such as these functions within the series, comparable to points to the main reception practice that strategies employed by John Williams for Mittell identifies as being associated with Star Wars and Harry Potter, and Howard complex TV—active fan engagement. He Shore in The Lord of the Rings. writes that “this brand of television storytell- Music can also differentiate between kernel ing encourages audiences to become more (narratively essential) and satellite (narratively actively engaged . . . ideas and potential an- inessential) characters, according to who is swers to narrative questions are frequently or is not afforded music. In GoT, thematic articulated within fan communities, turning music is only assigned to kernel characters, internal hypothesizing into the cultural prac- signaling that we should invest in seeing the tice of theorizing.”22 This active engagement world from their perspective. Mittell writes is fostered by the gaps between episodes that television norms dictate that “we all as- and series, which “allow viewers to continue sume that main characters are bound to stay their engagement . . . [by] participating in on their programs and highly unlikely to die fan communities, reading criticism, consum- or depart the story,”18 but GoT is notorious for ing paratexts, and theorizing about future subverting this norm and killing off its kernel installments.”23 GoT, therefore, is catering for characters. Often, a character will be granted three audiences: the first are casual audiences, music, only for them to be unceremoniously who have not read the books and watch the dispensed with a few episodes later. GoT’s show without participating in fan communi- subversion of this norm was initially highly ties; the second are semi-engaged audiences, controversial, and some viewers unfamiliar who have read the books and watch the show with the books threatened to cancel their without participating in fan communities; and HBO subscription when one of the show’s the third are highly engaged audiences, who main characters, Eddard Stark (Sean Bean), have likely read the books, participate in fan was executed in season one.19 But the show’s communities, and use the lacunae between lack of concern for its protagonists’ safety has episodes to analyze the episodes and theorize since become one of its main appeals, to the about multi-episode/series narrative arcs. extent that watching GoT has in itself become The music needs to function accordingly, a performative practice. Fan engagement has working on three levels. The first is to act resulted in an entire subcategory of YouTube as signpost and memory aid for the casual videos entitled “Reactions to watching Game viewer who comes to the show with no prior of Thrones,” in which individuals or groups knowledge of the universe and the character are filmed reacting to GoT episodes. Predict- relationships therein. The second is to enrich ably, the most grisly episodes with multiple the world substantially enough to appeal character deaths attract the highest numbers to the semi-engaged viewer who is already of views. “Reactions at Burlington Bar,” one aware of the major plot points, and there- of the most popular GoT reactions channels, fore does not need music as an additional racked up 4.8 million views for the season six memory aid. The third is to challenge the finale (6.10, discussed below), in which eleven highly engaged audience. Djawadi’s score
LEAH BROAD : Music in Complex TV 25
provides ample material for each level of en- bestowing power on characters, 5) signifying
gagement, ranging from the obvious (themes place, 6) sound bridges, 7) underscoring for
for each of the main character houses) to the tense/emotional scenes, and 8) subverting
extremely inconspicuous (which might take intrinsic norms.
several rounds of rewatching to notice; e.g., Before embarking on this analysis, a plot
the implications of Petyr Baelish’s theme, précis and character outlay will be beneficial
discussed below). These become increasingly for readers unfamiliar with the series. In
important when the series is released on broad terms, GoT is a political drama in a
DVD, allowing highly engaged fans to par- fantasy setting. Four main houses (Lannis-
ticipate in a “more immersive and attentive ter, Stark, Baratheon, and Targaryen) fight
viewing experience” than in serialized form, to sit on the Iron Throne, the main seat of
seeking out clues for plot analysis.24 power located at King’s Landing in Weste-
ros. They are supported by the more minor
Music in Game of Thrones houses (Bolton, Frey, Greyjoy, Mormont,
and Tyrell). So far so political, but these
When he was approached by the show’s pro-
play out against the backdrop of a battle
ducers, Djawadi reports that he was asked
between the living and the dead, whose two
not to use flutes, to avoid comparison to
kingdoms are divided by a three hundred
Howard Shore’s soundworld for Lord of the
mile magic wall of ice descriptively named
Rings.25 “The biggest challenge was just find-
“The Wall,” guarded by a group of soldiers
ing the right tone for the show,” he says, so
(“The Night’s Watch”) at Castle Black. The
“that when you hear the score that you know
narrative construction in GoT is an example
this is Game of Thrones.”26 The cello is the
of centrifugal complexity, in which “there
most used instrument on the soundtrack,
is no single narrative center, as the action
defining the GoT soundworld. From the
traces what happens between characters and
basis of this core timbral identity, changing
institutions as they spread outward.”27 As
instrumentation is used to identify character
characters travel across the universe, their
development and indicate different places.
personal musical themes develop, and they
In terms of the quantity of music included,
acquire new themes in the process. The lack
the conventions have slowly changed over
of narrative center allows both for the deaths
the course of the series. All the episodes are
of major characters and for narrative tension
primarily dialogue-driven, but season one
across episodes as there are always several
incorporates very little music at all. The main
storylines running parallel to each other,
musical functions are to introduce central
only some of which will be resolved in each
themes and to underscore moments of ten-
season or episode.
sion. The amount of music has increased
with every season, to the point where the 1) Intradiegetic Framing
final two episodes of season six included
In his analysis of television music’s func-
scenes with foregrounded music for up to
tions, Ronald Rodman elaborates on the dual
ten minutes at a time. The following sec-
function of theme music. It is intradiegetic
tion describes eight main functions that
“as it signifies aspects of the story world of
music serves in GoT, fulfilling the demands
the TV program,” but also has extradiegetic
for both plot complexity and multiple-level
properties as it works as “a transition from
viewer engagement. These functions are as
flow to story.”28 The theme, therefore, has
follows: 1) intradiegetic framing, 2) char-
to grab the viewer’s attention and pull them
acter identification, 3) character growth, 4)26 music and the moving image 13.1 / spring 2020 into the show’s diegesis. Djawadi achieves of cases, the music continues from the final this by beginning with a forte falling fifth, scene, which will set up a cliffhanger to be announcing the C minor theme (Example resolved in the next episode. “The Rains of 1, creating a I–V–I between the HBO logo, Castamere,” theme of house Lannister, plays which ends on a held C, and the start of the throughout the credits of 2.09 after Tyrion theme, solidifying the sense of seamless tran- Lannister defeats Stannis Baratheon in the sition). The theme establishes the primary Battle of Blackwater Bay, for example. Oc- musical identity of the show, with an orches- casionally, however, the credits are used as a tra, drums, and solo cello melody. It accom- means of musical commentary in episodes panies a camera panning over a mechanical with a particularly shocking final scene. “The map of the GoT universe, the camera’s mo- Rains of Castamere” (3.09) concludes with tion seemingly driven by the theme’s driving the Red Wedding, where Catelyn Stark, Robb dotted rhythms. This map shows the main Stark, and his wife, Talisa, are all murdered places in which the episode will play out, at a wedding feast. The final credits roll in orientating viewers and giving some idea of complete silence, indicating the family’s loss the universe’s geography. The title theme, of power and emphasizing the gravity of the therefore, is associated with the global and is massacre. only quoted in the show at moments of such Earlier in the season (3.03), warrior and significance that they have ramifications Lannister family heir, Jaime, has his fight- across multiple plot arcs. ing hand cut off by a Bolton soldier. From The credit music changes with every epi- Jaime’s scream, the credits then jump to rock sode but serves a similar transitional effect, band The Hold Steady’s version of “The Bear this time from story to flow. In the majority and the Maiden Fair,” a drinking song that is Example 1. Game of Thrones Title Theme (piano reduction)
LEAH BROAD : Music in Complex TV 27
sung earlier in the episode by the Boltons as sode concludes with Brandon, the second
they transport Jaime in captivity. The juxta- youngest son, become paralyzed from the
position of the visceral scene with the upbeat waist down after being pushed from a tower
rock rendition is so extreme that when the window by Jaime. Accordingly, the Stark
episode aired, many viewers thought there theme involves a solo cello, tempo rubato
had been an error and they were watching a in a melancholic G minor that does not im-
faulty recording.29 But this was a deliberate mediately resolve. The first phrase of the
choice, making the musical framing con- theme ends in an imperfect cadence and is
sistent with an episode full of uncomfort- repeatedly used in isolation to give an effect
able and shocking scenes (including two of yearning, indicating the Stark’s collec-
attempted rapes). D. B. Weiss notes that “it’s tive desire to continue their self-contained,
such a shocking ending. . . . There’s no ver- happy existence at Winterfell, a desire that
sion of a traditional score that would keep is continually flouted by their being subject
you as off balance as we wanted that scene to to the King’s whims.
leave you feeling.”30 Here, the act-out’s tran- This is contrasted with the tonally over-
sitional status is fully exploited; music that determined Baratheon theme, first intro-
is consistent with the show’s internal norms duced when the King’s entourage arrive
would make the credits more intra- than ex- at Winterfell. King Robert is a bombastic
tradiegetic, but deliberately subverting these figure, and this characterization is created
norms encourages viewers to step outside through his theme. In Dorian mode in
the GoT universe and to consider how this Bb, the Baratheon theme is distinguished
episode is placed within their own world. by driving rhythms and, initially, an in-
This is an ending that is supposed to have strumentation that invokes a “medieval”
lasting impact, leaving the moral questions affect. Djawadi uses cello, tambourine,
it raises and the feelings it provokes with the and a bodhrán, a musical shorthand for
viewer beyond the hour of broadcast time. the Middle Ages and attendant chivalric
pomposity that is ubiquitous in films and
2) Character Identification computer games (see, for example, Roland
At its broadest level, the GoT music mainly Rizzo’s “France (The Medieval Era)” on the
constitutes themes associated with the main soundtrack for Civilisation VI). The instru-
houses fighting for the Iron Throne—Stark, mentation is changed, however, when the
Baratheon, and Lannister (Example 2. I re- theme is passed on to Robert’s decidedly
turn later to house Targaryen because they more threatening son, Joffrey, one of the
are mainly represented by Daenerys and few unambiguously evil characters in the
therefore present a musical special case). show. Joffrey’s iteration of the Baratheon
This is the most important musical aspect theme (“You Win Or You Die”) is modu-
for the casual viewer with no prior knowl- lated to D minor, including chords that
edge of the universe, as it helps the casual contribute dissonance to the theme. Jof-
viewer to orientate themselves within the frey’s musical representation indicates that
multiple plot arcs. The “character” of each unlike his father, he is somebody to truly be
house is established through their music; feared.
the Starks, for example, are a Northern Particularly in the first season, these clear
house, laconic but loyal, and beset by trag- themes are invaluable for helping audiences
edy. In the first season, Eddard Stark is be- navigate the notoriously complex plot of
headed by the King (1.09), and the first epi- GoT. They immediately establish characters’28 music and the moving image 13.1 / spring 2020 Example 2. Themes of houses Stark, Baratheon, and Lannister personalities, indicate who we are supposed it becomes visually apparent (e.g., 2.07, to foster allegiance with, and designate on- where sonic confirmation precedes visual for screen characters’ loyalties. This becomes both the Stark and Lannister armies). especially useful in battle scenes. In season two, which involves several armies march- 3) Character Growth ing toward the capital, the house themes are Roberta Pearson argues that “the repeti- used to identify the army in question before tive nature of the television series dictates a
LEAH BROAD : Music in Complex TV 29 relative state of stability for its characters,” “Valar Morghulis,” first introduced to accom- and therefore, “in television, it’s more ac- pany Jaqen H’ghar (an assassin). Musically, curate to talk about character accumulation Arya is therefore associated with the Face- and depth than it is to talk about character less Men (the society of assassins to which development.”31 GoT, I argue, presents a H’ghar belongs) before she leaves for Braavos counter to this position. GoT’s substantial to join their order, which becomes her major character development is repeatedly high- plot arc throughout seasons four to seven. lighted by the show’s actors when discussing The character who undergoes the great- their characters. Nikolaj Coster-Waldau says est growth, however, is Daenerys Targaryen. of Jaime Lannister that for “a character like Anne Gjelsvik and Rikke Schubart write that this in a movie—you’d have to put across the “Female characters are . . . key to the origi- nastiness of him in the first ten minutes. But nality and, thus, to the appeal and popular- developing the character over the course of ity of the GoT universe,” and Daenerys is a series, to have more time, it’s so fun and paradigmatic in this regard.35 At the start of rewarding.” Similarly, Iain Glen observes of season one, Viserys, Daenerys’s brother, sells Jorah Mormont that “his journey is a slow her to the Dothraki warlord Khal Drogo in burn through the course of many seasons. exchange for an army that Viserys believes Such roles offer the opportunity to develop will help him conquer the Iron Throne. She character more roundly.”32 is a rape victim and pawn in Viserys’s quest Partly, this is because it is adapted from a for power. But by the end of season six, novel and therefore follows the book’s char- Daenerys is a queen with unique magical acter development in a way that eschews powers, commanding an army, fleet, and such staticism. But it is also because many three dragons, and she has outlived both of the central characters are children in Viserys and Drogo. Emilia Clarke, who plays season one. As the screenwriters point out, Daenerys, commented that reading her part GoT is unique for the fact that “the weight of was “the first time . . . that I’d found a char- so much adult material rests on the shoul- acter that’s so multidimensional.”36 Far from ders of people under the age of fifteen.”33 Pearson’s definition of static TV characters, Therefore what Mittell labels as the model Daenerys is a dynamic personality who de- of character growth—“the process of matu- fies stereotypes about the female fantasy pro- ration in which a character becomes more tagonist. As D. B. Weiss puts it, “There are realized and fleshed out over time . . . their plenty of opportunities for young women to physical and emotional maturation fulfils a be scared, abused, and terrorized in film and coming-of-age narrative”—is built into the television, but there are virtually no roles series narrative.34 Adult characters like Robb that let them step into the fire . . . and come Stark remain relatively static, but his younger out the other side reborn as a leader and siblings Arya, Sansa, and Brandon undergo a warrior with an otherworldly poise and significant change over the seasons (Rickon strength.”37 Stark is relatively tangential to the central Daenerys receives the most complex story, remaining off-screen for most episodes musical treatment of all the characters, ac- before being killed in season six). They are cumulating motifs as the seasons progress all identified by the Stark theme in season (Example 3) that are then combined with one but slowly acquire their own leitmotives both the title music and other houses’ as they grow in individuality—“Needle,” for themes as Daenerys builds political al- example, is Arya’s leitmotif, played on the legiances. Musically, the first episode es- hammered dulcimer. This then develops into tablishes Daenerys’s status as goods to be
30 music and the moving image 13.1 / spring 2020 traded between one man and another, with passive victim to individual agent by both no indication of how powerful her charac- adopting and adapting Dothraki practices.40 ter will become. For her very first appear- This argument is supported by the musical ance in Pentos (1.01), she is stripped naked underscore. While Daenerys’s handmaiden and molested by Viserys, underscored is teaching her, the motif that will become by Viserys’s theme (“A Golden Crown”). Daenerys and Drogo’s love motif (“Love in When she is then presented to Khal Drogo, the Eyes”) begins. This motif is a variation an extract from the Dothraki theme is of the music used for both Daenerys’s pre- played (“To Vaes Dothrak”), which is re- sentation to Drogo and subsequent rape— prised during their wedding-night scene. the instrumentation, and rhythmic and This scene has been the subject of heated main melodic contours remain approxi- debate, particularly as it differs from the mately the same, but E-flat becomes E-natu- books. In Martin’s books, there is at least ral in the love theme. In this form, the motif some indication that Daenerys consents to provides the pitches for Daenerys’s primary sex with Drogo in a way that is completely motif (F, A-flat, E-natural, F). This is first absent in the TV series, making even more heard, faintly, in episode one when the problematic the narrative trajectory of dragon eggs are presented to Daenerys as a Daenerys falling in love with her husband/ wedding gift. But in this instance the motif rapist throughout season one. The impli- is centered on A (A, C-natural, G-sharp, A), cations of Daenerys’s gender politics are and it is not until episode two, immediately beyond the scope of this article and have preceding the Drogo sex scene, that this been discussed in detail elsewhere,38 but motif is heard on F, as the camera pans over musically the image of Daenerys cultivated the dragon eggs. Musically, the intimation throughout season one concurs with Schu- is that by equipping herself to gain control bart’s labelling of Daenerys as “postfemi- of her marital situation, Daenerys is learn- nist” character, i.e., an “individual [who] ing resourcefulness, leadership, agency, and is not determined . . . but can choose her self-belief—qualities that will enable her to actions.”39 In both the novel and the TV become the “Mother of Dragons” and fu- series, Daenerys takes command of her ture Queen. Thanks to this transformation, situation, partly adapting to the new Do- the dragons inside the eggs now answer to thraki culture that she finds herself in while Daenerys, in her key, bestowing on her the retaining individual agency. power to play for the Throne. Daenerys’s learning to work her situation From here on in, Daenerys’s music grows to her advantage is central to this narra- alongside her character narrative. She gains tive. In season one, this means learning to motifs when her dragons learn to weapon- love Drogo and be loved by him in return. ize breathing fire (“Dracarys”), and when This transformation begins in episode she becomes Queen of Meereen (“Mhysa”). two, where Daenerys willingly has sex “Mhysa,” a development of the motifs intro- with Drogo. She first learns how to please duced in season two (“Mother of Dragons”), Drogo from her handmaiden, then posi- is particularly significant because it brings tions herself on top to have sex looking together all of Daenerys’s previous motifs into Drogo’s eyes while fully clothed, as and incorporates a variant of the title theme. opposed to sex from behind while naked As discussed above, the title theme encom- as in episode one. Schubart writes that this passes the entirety of GoT’s world, setting the scene symbolizes Daenerys’s growth from parameters in which the story plays out. It
Example 3. Daenerys’s Themes
32 music and the moving image 13.1 / spring 2020 is only quoted intradiagetically at moments 4) Bestowing Power on Characters that shift the power dynamic so radically GoT is a story about power. Its narratives that all the narrative arcs are impacted (the explore the lengths that individuals will go to other most noticeable example is in “The to obtain—and keep—power, the many rea- Light of the Seven,” discussed below). Here, sons why people seek power, and the impact however, the title theme’s falling fifth is al- that this has both on people close to them tered to a falling fourth to fit in counterpoint and on those who they do not know and with Daenerys’s “Love” motif. In “Mhysa,” who have no power at all. the world musically alters to suit Daenerys, Music is a strong indicator of who holds rather than the other way around. As with power at any given moment. This manifests her development of the Dothraki theme, in four ways. The first, as discussed above re- she adopts and adapts in a way that puts garding Daenerys, is by characters accruing her in positions of increasing power. The themes as they gain power, forming part of instrumentation also indicates Daenerys’s their character growth. The second involves character growth—these themes are sung more static, adult characters being given by a choir, symbolizing Daenerys’s reputa- themes to add depth to their personality, tion as a “Queen of the people,” seeming to rather than as a result of character growth. speak for the on-screen inhabitants of Meer- An example of this technique is Petyr Bael- een who carry her aloft in adoration as this ish, who becomes associated with a theme theme is sounded (3.10). In “The Winds of (“Chaos is a Ladder,” Example 4) in 3.06. Winter,” played in season six after Daenerys Baelish is a spy and a schemer, a self-made has forged an alliance with Yara and Theon man whose mantra is “knowledge is power.” Greyjoy, all of Daenerys’s established motifs He makes his name by working behind the are sung in combination with the Greyjoy scenes, keeping his cards close to his chest, theme. This is Daenerys’s most significant and making it impossible to tell where his moment in seasons one through seven, when loyalties lie. Throughout the first two sea- she appears to be closest to her goal of claim- sons, therefore, he has very little associated ing the Iron Throne. Her growth in stature music, the lack of musical affiliation giving is mirrored by her accumulation of musical no clues as to what his underlying motives motifs, developed and adapted to her own might be. The first indication that he will desires and needs. have a theme is in 1.07, when he encourages Example 4. “Chaos is a Ladder,” Petyr Baelish’s Theme
LEAH BROAD : Music in Complex TV 33 Eddard to marry Sansa to Joffrey and pre- the whole GoT narrative, prompting Robert tends to be unaware of Joffrey’s illegitimacy. to ask Eddard to the capital. When Catelyn Here we hear a few notes from what will receives the raven and relays the information become “Chaos is a Ladder,” but it is hardly to Eddard, a theme is heard that, in episode enough to constitute a theme and, as dis- one, appears to be an unassociated theme. cussed below, it is unclear that it should be In season three, the narrative enigma of who associated with Baelish specifically. murdered Jon Arryn is solved: Lysa Arryn It only becomes apparent in 3.06 precisely poisoned him under Baelish’s instructions. It how powerful and dangerous Baelish is. is only in retrospect, having watched season Preceding the scene in which Baelish is fully three, that the music that accompanies the associated with this theme, Varys, the court’s raven in episode one can be recognized as “Master of Whisperers,” has secretly plotted part of Baelish’s theme. The raven is a musi- to marry Sansa Stark to Loras Tyrell to rescue cal “clue” for the plot reveal in season three, her from Joffrey and Cersei’s cruelty. Varys but it is a clue that is impossible to spot on is assisted by Ros, a prostitute in Baelish’s first viewing, and unlikely to be spotted employ. Varys’s plan is thwarted, however, by without several repeated viewings. Djawadi’s Tywin Lannister demanding that Sansa marry score therefore contributes to the “cognitive his son, Tyrion, and Cersei marry Loras. It workout” that Steven Johnson identifies as is only in the scene where Baelish receives one of the key pleasures of watching complex his own music that he reveals that he was TV, and this aspect of his music caters only behind Tywin’s decision and has secretly been to the most highly engaged audience level.41 manoeuvring events to his own advantage. Music is also used to change the power Baelish’s theme underscores a rare moment dynamics in a particular scene, rather than of voiceover; the scene begins with Baelish indicating a more permanent shift. In 2.01, confronting Varys in the throne room, and he Cersei and Baelish have a conversation—be- keeps speaking as the camera cuts to Ros, who ginning in silence—in which he insinuates has been murdered by Joffrey, and then to that he does not need to follow Cersei’s or- Sansa, sobbing. Baelish’s voice and music put ders because he knows the truth about her him in the position of omniscient narrator, incestuous relationship with Jaime. “Promi- controlling multiple plot lines simultaneously nent families always forget a simple truth, and setting in motion a series of events that I’ve found,” he says, “Knowledge is power.” leads to further destruction and death, rather Cersei’s response to this threat is to com- than the peaceful route that Varys seeks. mand her guards to seize Baelish, at which Clearly assigning this theme to Baelish point underscoring begins with a drum roll. also has retrospective implications. Mittell As Cersei intimidates Baelish, telling the makes the point that releasing TV series on guards first to cut his throat, then that she DVD is crucial for developing an engaged has changed her mind, the Lannister theme fan base. The ability to rewatch episodes plays as Cersei informs Baelish that “Power multiple times allows for the formation of is power.” On its own such a statement would fan theories and for fans to spot “clues” about be banal, even risible, but the underscore cross-season plot arcs that are unlikely to be suggests that Cersei has the authority to spotted on first watching. Baelish’s theme is make good on her threats, reminding both a good example of this. In 1.01, Catelyn re- viewers and Baelish that she has the might of ceives a raven from King’s Landing inform- her “prominent family” behind her. ing her of the death of the King’s Hand, Jon If music can be used to grant power, it Arryn. This event is the spark that begins can also be used to take it away. Fourth and
34 music and the moving image 13.1 / spring 2020 finally, music—or lack thereof—is used to far less likeable characters. Theon is first in- indicate a loss of power, sometimes through troduced as a ward of the Starks, and accord- comic effect. (In a world where fear and re- ingly, Robb trusts him as one of his battle spect keep you alive, being the butt of a joke advisers. Robb sends Theon to his birth is an exceptionally dangerous mistake.) The family, the Greyjoys, to rally support for his contrast between Tyrion and Theon’s season cause. Instead, Theon betrays Robb and takes two battle speeches demonstrates the vast dif- a Greyjoy raiding party to capture Winterfell. ference between the two characters’ command Adding murder to his perfidy, Theon burns of power. In 2.09, Stannis Baratheon lays siege two children he claims are Robb’s younger to King’s Landing and Tyrion is charged with brothers, Bran and Rickon (later revealed planning the city’s tactical defense. When Jof- to be two farm boys). In retaliation, Robb frey abandons the front lines, Tyrion is left sends an army to retake Winterfell. When with a choice—abandon his soldiers to die, this army arrives at Winterfell’s gates, Theon or lead the military charge himself, a role for proceeds to give his rallying speech. Theon which he is unprepared and has no experi- is a truly pathetic figure—mocked by his ence. Adding to the import of the moment is father and weaker than his sister, his attack that Tyrion is a dwarf and is both reviled and on Winterfell is a desperate attempt to gain ridiculed throughout the show because of it. his family’s respect and admiration. But his His own father likes to remind him that he battle speech tells the futility of this cause. would have preferred to kill Tyrion as a child When he says, “They say every Ironborn than let him live, and it was only the Lannister man is worth a dozen from the mainland,” name that protected him. But throughout the Greyjoy theme begins, following the the first series, Tyrion repeatedly outwits and same pattern as Tyrion’s speech as his men outmaneuvers those who underestimate him, start shouting their support. Theon screams, building himself a power base strong enough “What is dead may never die,” the Greyjoy that he is eventually smuggled out of King’s motto, the music swells toward a climax . . . Landing when wrongly accused of Joffrey’s and is cut off midphrase as Dagmer (Theon’s murder and therefore faced with execution. second in command) knocks him out from Tyrion’s Blackwater battle speech is emblem- behind. Silence ensues. “I thought he’d never atic of how he garners true respect because of shut up,” says Lorren; “Was a good speech,” his actions, not because of his family name. Dagmer replies, “Didn’t want to interrupt.” When the moment comes for him to lead, This is precisely the kind of writing that has he steps forward, even though both he and earned GoT such a loyal fanbase: it has well his men realize that it will most likely lead to developed characters with believable motiva- his death. A cello begins playing as he takes tions and consistent actions, but simultane- control of the situation, recognizably becom- ously plays wryly with fantasy tropes and ing the Lannister theme when he says, “Don’t conventions, making it impossible to predict fight for your King, and don’t fight for his which direction a scene will swing. The kingdoms.” It’s hardly a stereotypical rallying music is crucial for building up this joke at speech, but it is precisely Tyrion’s unprincely Theon’s expense. To be effective, the viewer personality that inspires the soldiers to follow has to see the scene from Theon’s perspective him. By the time he is finished, he has the and believe that the parallel with Tyrion’s whole orchestra’s support, intoning the Lan- speech means that this is about to be Theon’s nister theme as he leads the army forward. moment of glory. Within the narrative con- The succeeding episode has a mirroring ventions of GoT, music is power. Without it, battle speech from Theon, one of the show’s Theon is helpless, given up by his men to be
LEAH BROAD : Music in Complex TV 35
tortured, mutilated, and castrated by Ramsay multaneously aware of the imminent danger,
Bolton. and reinforces the cello as a sound tied to the
power battles between Westerosi houses.
5) Signifying Place Drogo and Daenerys’s wedding (1.01),
The music has several markers to signify by contrast, includes drumming and danc-
place, the most prominent of which are in- ing, establishing the sound of the taiko with
strumentation, diegetic music, and sound Essos. At this early stage, the Dothraki are still
effects. Djawadi has repeatedly highlighted viewed from Daenerys and Viserys’s perspec-
the importance of instrumentation for creat- tive—and they are more accustomed to West-
ing sonic markers of place throughout the erosi practices. The drumming, therefore,
GoT universe—the Westerosi houses (south is used to here to orientalize, emphasizing
of the Wall) are represented by the symphony the Dothraki’s alterity and “exoticism.” It is
orchestra, with a heavy emphasis on the coupled with images of women dancing with
cello; the Wildlings (north of the Wall) have a their breasts exposed, couples publicly having
didgeridoo included in their music; and taiko sex, and two men fighting over a woman. Vis-
(Japanese drums) and the Armenian duduk erys is shown wrinkling his nose in disgust,
create the sound of the Dothraki (Essos, while Daenerys turns away in horror as one
across the Narrow Sea).42 Djawadi has com- man disembowels the other. As Daenerys
mented that the producers “wanted a ‘global becomes better acquainted with Dothraki
sound’” because the geographic scope of Mar- customs, however, the drums are used in
tin’s world is enormous, and the vast variety a less explicitly orientalizing way. They ac-
of instruments is a swift and effective way to company formal rituals in which Daenerys
signify geographic difference, particularly herself partakes—she eats a stallion heart as
important for casual viewers without prior part of a pregnancy ritual, and afterwards her
knowledge of the GoT universe.43 reception feast is accompanied by drums and
These instrumentations are used for di- dancing (1.06). This time it is the Dothraki
egetic music in each location. Diegetic music who view Viserys with disgust after he inter-
occurs rarely, but when it does it is often rupts the feast drunk and screaming, calling
foregrounded and therefore memorably as- his sister a whore. The drums remain constant
sociated with particular places and events. as a Dothraki signifier, but the way in which
At the Red Wedding (3.09), it is the musi- they are presented diegetically corresponds
cians beginning to play “Rains of Castamere” with Daenerys’s viewpoint, aligning the view-
that alerts both Catelyn and the viewer to ers with her perspective.
something being wrong. Initially, a string Bells occupy a liminal space between di-
ensemble plays music unassociated with any egetic music and sound effect. From the first
house, and Talisa comments on the quality episode, the sonic identity of King’s Landing
of the musicians, highlighting their presence is defined by bells and birdsong. The bells’
to the viewer. But when the Freys close the symbolic import is not highlighted until
doors to stop the Starks escaping, the music’s season two (2.09), in a conversation between
tone changes. A solo cello emerges from the Varys and Tyrion. The bells sounding to
texture, and the camera cuts to the cellist. announce the presence of Stannis’s ships in
Unusually, the onscreen characters can hear Blackwater Bay are discussed as follows:
the musical thematic cues indicating house
allegiance that are usually audible only to Varys: I’ve always hated the sound of bells.
They ring for horror: a dead king, a city
viewers. The diegetic music allows both the
under siege.
viewer and the wedding guests to become si-36 music and the moving image 13.1 / spring 2020
Tyrion: A wedding. tion. Partly, the reasons for this are practical.
Varys: Exactly. The first season needs to unambiguously
establish themes with particular people,
This signals that royal weddings are likely to
families, and locations. For the same rea-
be a source of horror (this kind of ominous
son, Djawadi reserved several of the house
exchange is aimed particularly at viewers
themes (including the Greyjoys) for later
who have already read the books and know
seasons so that viewers did not get confused:
that Joffrey, for example, will be murdered
“We couldn’t have too many themes right
at his own wedding), and communicates
away . . . [it] would have been confusing for
to viewers the importance of the bells as a
the audience, so we . . . held off with themes
diegetic signifier within King’s Landing. This
for certain characters.”45
is reiterated by Lord Davos’s comment when
By season three, however, the associations
the camera pans to Stannis’s ships, with the
of musical themes are established enough
bells still tolling in the background:
that they can be used to elide between scenes
Davos: I’ve never known bells to mean surren- and locations. Music is particularly used
der. They want to play music with us? Let’s to provide elision between a conversation
play. Drums! and the absent conversation subject. In 3.07,
Daenerys’s theme starts while Tywin and
Drums are then heard in the background
Joffrey discuss her and the camera is still in
when the camera cuts to the battlements of
King’s Landing, and continues playing as the
King’s Landing, underscoring Tyrion and
camera cuts to Daenerys in Yunkai. Eliding
Joffrey’s ensuing conversation. Both bells and
the scenes in this way gives the show more
drums serve to rally the Lannister and Bar-
forward momentum and accelerates the epi-
ratheon troops, respectively, and to menace
sode’s pacing, but it also contributes to the
the opposite side by serving as a “means of
sense of in-episode puzzle-solving in piv-
territorial oppression.”44 Crucially, alternat-
otal conversations where the subject is not
ing between Tyrion’s and Davos’s perspective
named. In 5.03, Roose and Ramsay Bolton
in this way allows the viewer to experience
discuss Ramsay’s need to marry so that he
the battle from both standpoints. Both
can maintain his position, at which point
Tyrion and Davos are well-liked characters,
strings enter playing a descending octave
and both are fighting—potentially dying—on
G–D–G. The strings hold for two seconds
behalf of others. Switching sonic allegiance
after Roose finishes saying, “As it happens,
encourages the viewers to align their sym-
I’ve found the perfect girl to solidify our
pathies with both characters, generating a
hold on the North,” before the camera cuts to
sense of futility to this particular battle. In
Sansa Stark and a full sounding of the Stark
other battles, it is clear who the audience is
theme in C minor. This technique is used
supposed to root for, such as in the Battle
repeatedly for conversations that have major
of the Bastards (6.09) when Jon Snow fights
narrative impact, the inclusion of the music
Ramsay Bolton for Winterfell—the music is
giving viewers a couple of seconds to piece
aligned only with Jon.
together who the subject of the conversation
6) Sound Bridges is, and therefore how the plot is going to
unfold. That viewers at multiple engagement
In season one, music is self-contained within
levels “puzzle-solve” in this way is demon-
particular scenes. If the Stark theme sounds
strated by “Reactions” videos: “Jay Burgins
when the Starks are on-screen, the music
Reactions” video for this episode shows him
stops before the camera cuts to another loca-
saying, “Oh, it’s not going to be Sansa,” be-LEAH BROAD : Music in Complex TV 37
fore the scene changes.46 A similar instance Jon that if he attacks first, he will inevitably
is found in 6.10, when the long-standing lose, but Ramsay will find some way of push-
narrative enigma of Jon Snow’s parentage ing Jon into doing so. A synthesized cello
is revealed. A solo cello plays the opening plays as Ramsay leads Rickon out, creating
interval of the Stark theme after Lyanna says, an atmosphere of terror and suspense that
“You have to protect him, promise me Ned,” escalates as Ramsay lifts a knife above his
giving the first sonic clue that the baby is head as though to stab Rickon, before im-
Jon Snow. “Hogwarts Reacts” responds to mediately falling silent as Ramsay instead
this clue by saying, “Is that Jon?” before the cuts Rickon’s bonds and explains the terms
camera cuts to Jon Snow and a full sounding of his “game.” The underscore begins again
of the Stark theme, confirming the child’s as soon as Ramsay picks up his bow, with
identity.47 drums and strings accompanying Rickon
and Jon’s dash to reach each other. The
7) Underscoring for Tense/Emotional camera cuts between Ramsay, Rickon, and
Scenes Jon as the music crescendos, encouraging
Nonthematic material is used for moments the viewer to identify with Rickon and Jon’s
of heightened emotional tension when there emotions. The most manipulative use of
are plot-sensitive reasons for concealing music, however, comes at the end of Rickon’s
the person responsible for a narrative twist, run. As pitch and dynamic reach an apex,
or multiple onscreen characters with equal an arrow lands just short of Rickon and the
power dynamics. It is also used to build underscore immediately falls silent, replaced
suspense, either as the source of acousmatic by the sound of Jon’s horse and Rickon’s
threats are revealed, or in the build-up to an breathing. For a full seven seconds the lack
inevitable negative outcome. This is not only of underscore tricks the viewer, suggesting
crucial for orientating casual viewers who that Rickon might win the game and make it
have no prior knowledge of the universe but to Jon, before an arrow hits him in the heart
also for encouraging investment in the series and the soundtrack remains silent except for
from casual viewers who have already read the sound of his dying breaths. Underscore
the books. As plot twists are not a source begins again when the camera cuts first to
of surprise for these viewers (at least, until Ramsay and then to Jon’s point-of-view look-
season six), how these plot arcs are rendered ing down on Rickon’s body, signaling that
on-screen becomes of paramount impor- Ramsay has won. It is unambiguous who the
tance for keeping these viewers tuning in viewer is supposed to identify with here. The
each week.48 music is completely aligned with Jon’s per-
Djawadi uses techniques familiar from spective, encouraging viewers to empathize
horror and action films. An example of with his anger and sorrow, and therefore his
building tension before a negative outcome otherwise foolish decision to attack first and
accompanies Rickon’s death (6.09). Ramsay thereby lead his army to their deaths.
and Jon are facing each other in battle, and
Ramsay has captured Rickon, bringing him 8) Subverting Intrinsic Norms
onto the battlefield to try and goad Jon into Mittell observes that “one of the most ex-
attacking first. “Let’s play a game,” he says, citing pleasures of contemporary fictional
before instructing Rickon to run toward Jon television is when a series breaks from its
while he fires arrows at him. The stakes are intrinsic norms to offer a new take on its
obvious as soon as Ramsay brings Rickon conventional storytelling mode.”49 Of all
onto the field. Sansa has previously warned the uses of music listed here, this is one ofYou can also read
