This chapter focuses on the wider cultural and psychological ramifications of chromaticism in film music. It is argued that pantriadicism strives for a specific affect: wonderment, and with it two subsidiary psychological states, frisson and awe. Both literary and cognitive/psychological accounts are given for this affect’s connection with harmony, with particular emphasis on the relationship of emotion and musical expectation. Frisson and awe have distinctive temporal profiles, leading to an evaluation of theoretical and empirical work on subjective temporality in connection with chromaticism. The analytical ramifications of this theory of chromatic temporality are examined with respect to a single large-scale case study, Howard Shore’s music for the Lord of the Rings trilogy. In the process, the author finds ways of integrating two traditionally separate analytical approaches: transformational networks and cognitive models of musical expectation.
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