Hinterland series 2 and 3
- Submitting institution
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University of South Wales / Prifysgol De Cymru
: B - B – Royal Welsh College of Music and Drama
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies : B - B – Royal Welsh College of Music and Drama
- Output identifier
- 4821039
- Type
- J - Composition
- Month
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- Year
- 2015
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- ‘‘Hinterland’: Series 2 and Series 3’’ is a compositional output consisting of the music for an acclaimed television series, which has enjoyed world-wide success. The televised series is presented here because the music is best heard in conjunction with the dramatic moving images for which it was conceived. John Hardy was commissioned to compose the music for this Welsh and English detective series. He selected and led the team (John Hardy Music) that composed the music. John Hardy Music is a team of composers, sound engineers and multi-instrumentalists based in Cardiff. Because the drama was to exist in an almost mythical place, the role of music to draw the audience into this world became crucial. Hardy’s innovative approach was to dispense with the conventional written score and re-engage on 21st-century terms with techniques drawn from earlier treatments of music drama: real-time improvisation, characteristic of the silent film; and the leitmotif, here extended to include location, situation and mood as well as character. Through these techniques, and through encouraging each member of the collaborative team to contribute to every part of the process, Hardy found a rigorous scheme that allowed not only for invigorating artistry, but also an ability to work with speed and to a tight budget through the entire production process. Reverbs became a signature element and were useful to place maximum dramatic significance onto percussive hits as well as melodic themes for the main characters and for landscapes. Episode-specific motifs help to establish ‘the story of the week’. A strong element of ‘found’ sonic ingredients is present throughout the series, thereby becoming emblematic of the sound world. Use is made of prepared pianos, reversed instrument notes, a limestone slab dragged across concrete, woodland branches and twigs, bleeps, radio frequency chatter, and stretched harmonica notes.
- Author contribution statement
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- Non-English
- No
- English abstract
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