One often neglected aspect of animated film is the use of
music, both pre-existing and original, when in fact this represents one of the
most vital ingredients for success. Music and animation are in many respects separate
media, and yet dependent on each other at the same time. Since the late 1920s,
the cartoon has boasted sound synchronisation as one of its most prominent
appeals. One of the most famous examples of this is Steamboat Willie, the first cartoon with sound synchronisation, released
on 18th November 1928. Written and directed by Walt Disney and Ub
Iwerks, the short combines simple rubber hose animation with traditional
melodies, such as Turkey in the Straw.
Other animated shorts of the same period utilise sound in
the same manner, so much so that little distinguishes the films of one studio
from those of another. Most often in these films, sound synchronisation takes
precedence over storytelling, as is the case with the first Looney Tunes cartoon Sinkin’ in the Bathtub (1930), which
follows protagonist Bosko in pursuance of his girlfriend Honey. Essentially a
copy of your typical music-driven rubber hose animation of the era, the cartoon
is hardly unique. Nonetheless, at the time, the potential of the merging of
sound and picture was only just being recognised, and thus paved the way for
future experimentation. Indeed, it could be stated that these early experiments
served as a precursor of things to come.
One of the most notable uses of music in animation is Disney’s
Fantasia (1940), a near-perfect
spectacle demonstrating the very best of music and animation combined.
Presented in a formal, theatrical manner by Deems Taylor, and backed by an
orchestra conducted by Leopold Stokowski, the feature showcases eight segments
set to such classical pieces as Tchaikovsky’s Nutcracker Suite, Stravinsky’s Rite
of Spring and Beethoven’s The Pastoral
Symphony. Showcasing stunning visuals, beautiful animation and flawless
presentation, the experimental extravaganza successfully transforms sound into
visuals, consequently conveying music through imagery; a true work of art. In
1999, Disney released a rather weak follow-up, Fantasia 2000, a feature which, while notably attempting to secure
the essence of the original, failed due to both its lack of vigour and
sincerity, with Taylor
A far more entertaining musical experience is the 1948
package film Melody Time, a forgotten
gem which presents various segments set to contemporary 1940s music. Although
far less substantial and grand than Fantasia
itself, the film nonetheless stands on its own. Amongst the most memorable
segments are Bumble Boogie – a jazz-infused
1940s interpretation of Rimsky Korsakov’s Flight
of the Bumblebee, and a tuneful retelling of The Legend of Johnny Appleseed. Unlike the previous package films
of the 1940s, every sequence is a success.
The animated short also developed in terms of music
utilisation. Initially, as the owners of a publishing company, Warner Bros
bought the early Looney Tunes cartoons
of the 1930s to exploit their songs, implying that early cartoons were essentially
elaborate music videos. After a while, Warner Bros established the Merrie Melodies cartoons, which focussed
more so on musical numbers, enabling them to compete with Disney’s Silly Symphonies. Living up to its
initial purpose however, the Warner Bros cartoon continued to lampoon the likes
of Fantasia in music-driven shorts
such as A Corny Concerto (1943), in
which Elmer Fudd appears in the role of Deems Taylor. Their efforts, though
most often in the style of light-hearted parodies, were themselves praised for
their juxtaposition of visuals alongside pieces of classical music. Amongst the
most notable examples of music-inspired cartoons are Rabbit of Seville (1950) and What’s
Opera, Doc? (1957), arguably Chuck Jones’ crowning achievement. Even as
cartoons entered the 1940s, often cited as the ‘golden age’, popular music continued
to be used in the background. Carl Stalling, who composed music for the Warner
Bros shorts, had a particular fondness for the use of pre-existing music. In
addition, the directors’ decisions to have the onscreen characters performing
contemporary music also made them appear more accessible to audiences.
To this day, certain classical and contemporary pieces are
still used in animated features and TV shows. The cartoon has even popularised a
great number of these pieces. In fact, it could be argued that their usage has
become so prolific, that the pieces themselves have become reminiscent of the
cartoons in which they were featured. Try thinking of Camptown Races without thinking of Foghorn Leghorn, or the William Tell Overture without thinking
of a classic cartoon chase sequence. Music has changed animation profoundly in
many forms, providing and reinforcing humour, pathos, tragedy and joy, amongst
a vast array of other emotions. It’s as expressive as the visuals, serving as a
vital accessory to the animated film, amplifying what we see onscreen and
ensuring that it hits all the right notes.
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