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*Sonic sfumato, schizophonic, trans-diegetic—the rhree main characteristics of Lynch's sonic style are epitomized in his approach to timbre. Timbre is the one musical parameter that cannot be caught in words or even in musical scores. is the most dreamlike of all musical qualities; the moment you try to describe it, it fades away. It refuses description, allowing only the vague approach of adjectives: dark, light, raw, angelic. Interestingly, it is precisely the indescrib-able "grain of the voice"39 (whether this voice is human or instnimenral) that expresses the themes in Lynch's work most poignantly. Since it lacks rhythm, melody, and harmonic progression, timbre is the only actual quality of the white noise that is Lynch's foremost sonic trademark. His soundtracks are conceived as thick textures in which acoustic sounds are mixed into the background and made fuzzy by an overlay of white noise. The timbre of this white noise can best be described by metaphors of air blowing through meta( pipes, or the whirring of elettrical cables, or the sound of wind in trees. It travels through all the diegetic, extra-diegetic, and meta-diegetic timespaces of his films. It is heard in room tone, all through Eraserhead, under the fan in Twin Peaks, at the trailer park in Fire Waik with Me (1992), in Fred Madison's flat in Lost Highway, in the taxi to Club Silencio in Mulhollmul Drive, in the rooms behind the door maiked "Axxon H" in Infami Empire. (Isabella Van Elferen, "Dream Timbre: Notes on Lynchian Sound Design", in James Wierzbicki (a cura di), [https://books.google.it/books?id=NAiB35WxARcC Music, Sound and Filmmakers: Sonic Style in Cinema], New York, Routledge, 2012, p. 185)
 
*Conventions for the function and placement of music which coalesced during the silent era became institutionalized in Hollywood within the first decade of sound production. Music performed a variety of functions in the classica! film score, all designed to sustain the narrative and absorb the spec-tator into it. As a result music gravitated to moments of emotional drawing upon musical associations in the culture to produce quick and pre-dictable responses from the spectator. (There are literally hundreds of such associations based on form, rhythm, hannony, and instrumentation, among the most recognizable being tremolo strings for suspense and soaring violins for romantic passion.) In a process not unlike the Kuleshov effect, emotion stim-ulated in the spectator by music is transferred to the image which seems to produce it. Feeling thus resonates between the spectator and the image in such a way as to entourage the perception that the emotions depicted on the screen are not only natural, but ours. (Kathryn Kalinak, "Disturbing the Guests with This Racket: Music and Twin Peaks", in David Livery (a cura di), Full of Secrets: Critical Approaches to Twin Peaks, Detroit, Wayne State University Press, 1995, p. 83)
 
*There are so many other aspects of Twin Peaks' music that I haven't touched upon here: the unresolved quality of many of the cues (like the ending of the Main Title or the prelude to Laura's theme) which forni a kind of musical loop, repeating the same motif over and over without coming to rest either melodically or harmonically; the interesting fusion of synthesized sound and acoustic instruments with an entire orchestra on synth and say, for example, an acoustic piano or saxophone; the odd practices of mixing where music drowns out dialogue and distracts from narrative events; the loopy blend of musical genres throughout the series and within individuai selections (bebop, swing, jazz, and country and western, sometimes all in one cue); Badalamenti's habit of manipulating the music track by slowing it down once it is recorded. (Kathryn Kalinak, "Disturbing the Guests with This Racket: Music and Twin Peaks", in David Livery (a cura di), Full of Secrets: Critical Approaches to Twin Peaks, Detroit, Wayne State University Press, 1995, p. 90)
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