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Harry
Potter
The
scene
begins
at
the
Great
Hall
of
Hogwarts,
with
a
soft
flute
melody
playing
in
the
background,
evoking
a
relaxed,
festive
mood,
as
its
the
end
of
the
school
term.
Everyone
greets
St
Nicholas,
the
Gryffindor
ghost
as
he
floats
by.
The
screen
follows
St
Nicholas
as
he
floats
down
the
long
tables.
At
00:17,
the
screen
reveals
Hermione
standing
at
the
end
of
the
Great
Hall.
As
St
Nicholas
welcomes
Hermione,
the
music
changes
into
a
grand
but
graceful
melody
of
harps
and
strings,
evoking
a
warm
feeling,
as
someone
dear
is
back.
At
00:28,
this
feeling
blooms
fully
into
a
song
evoking
friendship
and
sincerity
as
Harry
and
Ron
noticed
Hermione
standing
at
the
doors.
The
music
reaches
a
crescendo,
underlining
the
expected
reaction
of
the
audience,
as
Hermione
runs
up
to
Harry
to
hug
him,
the
reunion
of
two
good
friends.
Prior
to
this,
either
of
them
could
have
lost
their
lives
to
the
curse
of
Tom
Riddles
Diary.
At
00:43,
there
is
a
momentary
break
in
the
music,
followed
by
a
quieter,
slightly
more
introverted
theme
to
establish
the
awkwardness
between
Hermione
and
Ron.
The
music
stays
as
Ron
tries
to
make
up
for
his
awkwardness
with
a
handshake,
and
Hermione
shows
her
appreciation
to
both
Harry
and
Ron
for
solving
the
puzzle.
At
01:13,
as
Dumbledore
stands
up
to
address
the
school,
sentimental
strings
enter
the
music,
evoking
an
atmosphere
of
anticipation,
as
the
audience
is
curious
to
hear
what
he
has
to
announce
to
the
school.
He
gives
the
honor
to
Madam
Pomfrey
and
Professor
Sprout
for
healing
the
petrified,
and
as
the
school
applauds
for
them
at
01:33,
the
strings
pick
up
in
volume
and
momentum.
Similarly
at
01:51,
the
music
picks
up
even
further
to
the
celebratory
cheers
of
the
students
after
Dumbledore
announces
the
cancellation
of
exams
as
a
school
treat.
Thus,
in
this
section,
the
music
rises
along
to
the
mood
of
the
plot.
At
02:07,
the
doors
of
the
Great
Hall
opened.
At
this
moment,
the
music
blooms
with
a
glissando
in
the
harp,
with
a
final,
resounding
high
note
on
the
strings
and
flutes
at
02:10
as
the
screen
zooms
in
to
Hagrids
appearance.
It
seems
that
this
is
a
moment
everybody
has
been
anticipating
all
along.
True
enough,
for
the
rest
of
the
ending
scene,
Hagrid
is
the
focus.
Hence,
the
music
played
an
important
role
in
highlighting
the
importance
of
a
scene.
It
also
played
a
physical
role,
in
bringing
the
attention
of
the
audience
to
what
is
happening
on
screen.
The
music
keeps
its
suspense
with
the
high
notes
in
the
strings,
as
everyone
took
time
to
drink
in
the
meaning
of
Hagrids
presence,
and
his
lateness.
As
Hagrid
walks
down
the
aisles,
he
talks
about
how
his
release
papers
were
delivered
by
a
confused
owl
called
Errol.
Ron
realizes
that
it
was
his
owl,
and
he
was
utterly
embarrassed,
much
to
the
amusement
of
Harry.
This
was
supported
by
the
light-
hearted
flute
response
at
02:26.
Dumbledore
gave
him
a
reassuring
nod.
This
is
mickeymoused
by
the
music
at
02:34,
as
the
music
went
up
and
down,
to
the
motion
of
Dumbledores
head.
At
02:39
as
Hagrid
goes
up
to
Harry,
Ron
and
Hermione
to
thank
them,
a
low
sentimental
melody
is
played
on
strings,
evoking
a
profound
emotion
of
gratitude.
At
02:55,
as
Hagrid
talks
about
how
hed
be
you
know
where
if
not
for
their
help,
the
main
theme
comes
in
on
the
clarinets,
answered
by
bells.
We
realize
this
leads
on
to
03:11,
when
Harry
says,
Theres
no
Hogwarts
without
you,
Hagrid,
and
them
embraces
him.
At
03:28,
as
Dumbledore
leads
the
clapping,
bells
and
harps
come
into
the
background
music.
It
evokes
an
airy
atmosphere
and
an
image
of
movement,
both
emotionally
and
physically.
It
also
serves
as
a
prelude
to
the
build
up
in
emotion
that
is
about
to
occur
subsequently.
At
03:35,
as
Harry
joins
in
the
clapping,
the
strings
come
in,
and
the
key
changes.
At
03:43,
the
build-up
continues
as
the
masses
join
in
the
applause,
with
the
addition
of
contrabass
to
provide
a
stronger,
fuller
sound.
The
key
of
the
music
modulates
constantly,
to
evoke
the
celebratory
mood.
Something
special
occurs
at
04:01,
when
the
background
music
comes
into
the
foreground
as
the
hall
erupts
in
applause.
It
gives
the
audience
the
idea
that
its
the
finale,
and
serves
as
form
of
technical
function,
smoothly
building
the
previous
section
of
the
movie
to
the
ending
section,
usually
depicted
by
grand,
epic
orchestral
music.
At
04:25,
as
Hagrid
raises
his
fists
into
the
air
triumphantly
and
Harry
gives
an
approving
nod,
the
timpani
rolls
and
the
music
reach
the
climax.
Though
the
hit
point
of
the
timpani
roll
isnt
synced
perfectly
with
Hagrids
fists
or
Harrys
nod,
it
still
manages
to
serve
as
a
psychological
function,
evoking
the
emotions
of
the
actors,
and
conveying
the
same
emotions
to
the
audience.
Finally
at
04:43,
the
theme
of
Harry
Potter
plays
to
the
continuum
of
the
powerful
music
on
horns
and
builds
up
gradually,
bringing
the
episode
of
Harry
Potter
and
the
Chamber
of
Secrets
to
a
conclusive,
decisive
ending.
Frida
The
film
begins
at
00:00
with
a
song
score,
a
folk
song
in
Spanish,
as
the
title
and
the
producer
of
the
film
are
introduced.
The
music
serves
to
evoke
the
physical
location
and
time
period
this
story
is
based
in,
Mexico
City.
The
first
scene
at
00:29
opens
in
a
garden
with
all
sorts
of
exotic
plants
and
animals.
The
music
that
accompanies
it
is
spiritual,
evoking
the
physical
atmosphere
of
the
location.
As
we
look
closer,
there
are
figurine
statues
all
over
the
place.
Thus,
the
music
portrays
the
sacredness
and
mystery
of
the
place
too.
The
screen
slowly
zooms
in
unto
the
men
carrying
a
bed
frame
and
they
seemed
to
be
moving
out
of
the
place.
As
of
this
moment,
as
the
audience
has
no
idea
of
the
context
and
plot
of
the
story,
the
spiritual
music
also
serves
to
underline
the
audiences
mood
and
prepare
them
for
what
is
to
come.
At
01:03,
the
location
changes,
but
the
details
is
nevertheless
still
seemingly
unknown
to
the
audience.
The
men
seemed
to
have
reached
the
entrance
of
the
shrine.
But
the
music
transits
from
the
prior
airy
instrumentation
to
a
type
of
harmonica,
accompanied
by
a
form
of
harp,
albeit
still
playing
the
same
harmony
and
melody.
Though
this
still
evokes
the
air
of
mystery
of
the
shrine,
it
also
serves
as
a
form
of
physical
function,
ensuring
a
smooth
change
in
music
to
what
is
to
follow.
At
01:29,
the
music
becomes
purely
harp,
however
playing
with
the
same
atmosphere
of
sacredness,
as
the
background
noise
becomes
more
apparent.
The
scene
moves
to
the
roadside,
where
the
men
start
to
lift
the
bed
frame
onto
the
pick-up
truck.
Here,
the
main
character
is
revealed
to
the
audience.
At
01:54,
the
harp
melody,
which
has
no
prior
resolution,
finally
resolves
in
a
major
chord,
as
the
title
of
the
movie
Frida,
is
shown
on
the
backboard
of
the
pick-up
truck.
This
serves
to
tell
the
audience
that
this
is
a
cadence
point
signaling
the
conclusion
of
the
introduction,
and
things
will
move
on.
The
truck
then
moves
on
its
journey.
At
01:59,
the
music
changes.
With
the
rhythms
of
the
ethnic
percussion,
harp
and
harmonica,
the
music
suggests
movement,
and
is
highly
representative
of
the
moving
truck
along
the
road.
We
realize
that
at
02:21,
as
Frida
flashes
back
to
her
schooling
years,
the
music
remains
as
it
is.
The
ethnical
taste
of
the
music,
especially
the
plucking
strings
of
the
harp,
furthermore
evokes
the
location
and
time
period
of
the
storys
setting,
which
is
revealed
to
be
Mexico
City
in
1922.
As
Frida
runs
along
the
corridors
and
then
tries
to
catch
the
boys
attention,
this
scene
is
one
comprising
of
a
fair
amount
of
movement
as
well,
thus
the
prior
music
fits
exactly
into
this
scenario,
both
psychologically
and
physically.
Then
at
02:49,
the
music
fades
away
gradually
as
Frida
and
the
boys
sneak
into
the
theatre
on
the
railing,
suggesting
that
theyre
up
to
no
good,
and
it
serves
to
bring
the
audiences
attention
to
the
foreground,
making
them
focus
on
what
is
actually
happening
in
the
theatre.