Electronic music has grown to a broad field of investigation, taking in historical movements such as musique concrète and elektronische Musik, and contemporary trends such as electronic dance music and electronica. The fast-paced changes wrought by electrification, from the microphone via the analogue synthesiser to the laptop computer, have led to a wide range of new musical styles and techniques. The soundtrack of the film contains, then, two main musical elements: the organisation of processed sounds to represent the noises of extraterrestrial elements and atmospheric moods, and the use of electronic instrumentation to imbue the orchestral film score with a futuristic sheen.Musicians are always quick to adopt and explore new technologies. Thanks to their unfamiliarity to the listener, their characteristic gliding sound endows the music of the film with an otherworldly quality by visual association with UFO imagery. As the film progresses, the leading musical themes are played by two Theremins.
Within The Day The Earth Stood Still (1951), the real and the imaginary become one through the magic of the soundtrack. The sound of a short servomechanism punctuates the landing. People run and scream as the object prepares to land and the sound becomes more intense: a strong wind, static electricity, a motor sound all fuse in and out of a pitch-bending tonal hum. Now both the pulse and the flying roar seem to modulate together varying in speed and timbral colour. A high-pitched bleep is heard momentarily as the disc flies overhead. As you see a bright gigantic white disc overfly the Capitol, you recognise the familiar sound of some kind of aircraft. You think you recognise the swelling of a tam-tam roll, but there is also a strange low pulsing sound which does not seem to match anything you have ever heard before. A strange low pulsing sound fills the air it has a bell-like quality.
Washington, Virginia, USA, 1951 the Washington Obelisk Lincoln Memorial. In the composer, sought not the author of music, but the organiser of audio space of the film.
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