Building upon my initial spotting session and intuitive inclination towards Mickey Mousing and melodies reminiscent of Joe Hisaishi’s compositional style, I undertook further research to examine their applicability to my audiobook dramatised adaptation.
Notably, in Takeshi Kitano’s films, such as Brother (2000), Hisaishi’s compositions are deeply sentimental, often juxtaposed against Kitano’s deadpan characters. Additionally, Hisaishi frequently omits music from action sequences while employing scores for static shots (Rusli, 2010). This contrast between sound and visual narrative intrigued me, as it presents a method of musical storytelling that transcends conventional synchronisation.
Although Hisaishi’s work primarily pertains to film rather than dramatised adaptations, I found that his compositional strategies could still inform my approach. If one equates the “action sequences” in Thicker Than Blood to moments dominated by sound effects, while the “static shots” align with sections where Altaluna’s narration stands alone sans sound effects or soundscapes, then a parallel emerges. In these moments of narrative stillness, Hisaishi’s approach suggests a strategic placement of underscore, allowing music to fill the emotional space rather than compete with active sound design.
A particularly compelling aspect of Hisaishi’s methodology is his tendency to distance his music from on-screen violence. He achieves this by employing playing techniques such as pizzicato and staccato strings in major key signatures, creating a whimsical effect often associated with movements like tiptoeing (Rusli, 2010). This stylistic choice is reminiscent of Mickey Mousing—a technique that synchronises musical gestures closely with on-screen action—something I found myself experimenting with in my adaptation.
However, in retrospect, I discovered that Hisaishi’s compositional methods did not seamlessly align with the artistic and thematic essence of my work. While the whimsical nature of his musical techniques could symbolise childhood innocence and its eventual loss or tarnishing, the exaggerated synchronisation of music and action felt incongruous within the dramatic tone of my story. Rather than enhancing the narrative, it introduced a stylistic dissonance that detracted from the intended emotional depth and I believe overwhelms the listener, working against my intended purpose to create immersive art. Consequently, I reassessed my approach, opting for a subtler and more thematically cohesive method of underscoring that could support, rather than dictate, the auditory experience of the adaptation.
Through this research, I have gained a deeper understanding of how different scoring techniques function within their respective media. By analysing Hisaishi’s juxtaposition of music and silence, as well as his strategic detachment from violent sequences, I have identified alternative scoring methods that better align with the dramatic and atmospheric demands of my project. Instead of adhering strictly to Mickey Mousing or Hisaishi, I now aim to integrate underscore in a manner that complements narrative pacing, enhances emotional resonance, and maintains artistic cohesion throughout my adaptation. How? By underscoring moments of pure narration or silence only.
Bibliography
Brown, N. (2022). The Oxford handbook of children’s film. New York, Ny: Oxford University Press, pp.342–351.
Rusli, R. (2010). Hisaishi’d Away: An Analysis of Joe Hisaishi’s Film Scoring Technique. [online] Middletown, Connecticut: Wesleyan University. Available at: https://citeseerx.ist.psu.edu/document?repid=rep1&type=pdf&doi=447e1145f0d457899d97c2313ffe37c31826b0fb [Accessed 11 Mar. 2025].
Tian, W. (2018). Study of Harmony in Hisaishi Joe’s Animated Music. Advances in Computer Science Research, [online] 83(8), pp.1268–1271. doi:https://doi.org/10.2991/snce-18.2018.267.