Korngold's composition in The Adventures of Robin HoodOne of the things that stands out most about Erich Wolfgang Korngold's music is that, as discussed in the module, his music is very symphonic. Many of the works from earlier films such as Gone with the Wind (1939), composed by Max Steiner, and The Birth of a Nation (1915), composed by Joseph Breil, seem a bit stuck in their composition because the music seemed to jump from leitmotif to leitmotif. That's not to say the music wasn't good, just that it was more stuck. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay In The Adventures of Robin Hood (1938), the music seems more organic to me because although there are leitmotifs in them, Korngold weaves many more melodies and blends them together. For example, many of the leitmotifs in both The Birth of a Nation and Gone with the Wind were monophonic or had only one melody and one countermelody. In Korngold's work in The Adventures of Robin Hood, the music is more complex with many countersongs going on at once. I find that individual songs or leitmotifs seem more balanced in terms of instrumentation. For example, Scarlett O'hara's (Vivian Leigh) leitmotif in Gone with the Wind featured woodwinds, with strings in counterpoint, but above all the melody was carried by flutes and piccolos. In contrast, during the lumberjack festival, the music begins with the lower brass and woodwind instruments, then the strings get louder, and then the piccolos take up the melody. Then all the other instruments drop out leaving only the strings. This makes the music more interesting and less blocked because each instrument has more equal representation in a single song. Another big difference I noticed between Korngold's music and Steiner's is that Korngold seems to use fewer silly mice. In the scene we saw of Gone with the Wind, the opening song played chromatically as Scarlett descended the stairs. Next, the music was very synchronized with the visuals, such as the music stopping when he threw the vase against the wall and increasing when he slapped Ashley (Leslie Howard). The same thing happens in another Steiner work, King Kong, albeit more subtly, where the booming bassoon imitates Kong's steps. In contrast, the music in The Adventures of Robin Hood does not align synchronously with the images. In a sword fight between Robin Hood and Friar Tuck (Eugene Pallette), the music is intense but the rhythm is not in line with their choreography.