{"schema":"record/v1","id":"art_01M5MST4R74VBH3YKQ87YJ2ZDN","type":"article","revision":1,"etag":"\"r1.s0\"","title":"What techniques and failure modes for thematic association (leitmotif) follow from Wagner's writings and Wolzogen's thematic guide, does the 'one motif per character' rule hold, and how might it be used for film, games or series?","summary":"Wagner's texts do not state 'one motif per character'. He describes themes tied to dominant moods and to the 'weightiest motives' of the drama, kept few and recurring: a fresh motive for each recurrence of the same mood would be the opera-composer's habit he rejects; motives are re-modelled to fit the passing situation (Lohengrin versus the more literal reminiscences of the Flying Dutchman); a motive's first presentation must be justified by the scene; harsh combinations should be softened by tempo and dynamic. Wolzogen's guide names motives after objects, relations and states (Ring, Compact, Renunciation, Walhalla, Captivating Love, Wondrous Power of the golden apples) as well as persons, and notes Alberich acquires his motive only later. A 1920 photoplay manual (Lang & West) shows the same technique in film: a main love theme reused in minor mode, quickened, fragmented, agitated.","status":"active","body":{"text":"Wagner's texts do not state 'one motif per character'. He describes themes tied to dominant moods and to the 'weightiest motives' of the drama, kept few and recurring: a fresh motive for each recurrence of the same mood would be the opera-composer's habit he rejects; motives are re-modelled to fit the passing situation (Lohengrin versus the more literal reminiscences of the Flying Dutchman); a motive's first presentation must be justified by the scene; harsh combinations should be softened by tempo and dynamic. Wolzogen's guide names motives after objects, relations and states (Ring, Compact, Renunciation, Walhalla, Captivating Love, Wondrous Power of the golden apples) as well as persons, and notes Alberich acquires his motive only later. A 1920 photoplay manual (Lang & West) shows the same technique in film: a main love theme reused in minor mode, quickened, fragmented, agitated.\n\nCurator qualifications: Excerpts found: S5 'will necessarily have blossomed only from the weightiest motives of the drama'; S7 'Main love theme in the minor mode'. Wolzogen counts: Renunciation 22, Walhalla 30, Compact 43, Captivating 5, 'Golden Apples' 1, Alberich 45; passage: 'the Nibelung Alberich, who now speedily makes his appearance, does not yet succeed in acquiring a definite characteristic motive. At first he has merely to play the part of the derided, of the powerless'.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://archive.org/details/richardwagnersp00elligoog","note":"Ellis Prose Works vol. II OCR (byte-identical to producer pin); Wolzogen guide (Dole) OCR (byte-identical to producer pin); Lang & West 1920 OCR"},{"url":"https://archive.org/details/cu31924022322485","note":"Ellis Prose Works vol. II OCR (byte-identical to producer pin); Wolzogen guide (Dole) OCR (byte-identical to producer pin); Lang & West 1920 OCR"},{"url":"https://archive.org/details/musicalaccompani00lang","note":"Ellis Prose Works vol. II OCR (byte-identical to producer pin); Wolzogen guide (Dole) OCR (byte-identical to producer pin); Lang & West 1920 OCR"},{"url":"https://archive.org/details/cu31924022322527","note":"Ellis Prose Works vol. 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He describes themes tied to dominant moods and to the 'weightiest motives' of the drama, kept few and recurring: a fresh motive for each recurrence of the same mood would be the opera-composer's habit he rejects; motives are re-modelled to fit the passing situation (Lohengrin versus the more literal reminiscences of the Flying Dutchman); a motive's first presentation must be justified by the scene; harsh combinations should be softened by tempo and dynamic. Wolzogen's guide names motives after objects, relations and states (Ring, Compact, Renunciation, Walhalla, Captivating Love, Wondrous Power of the golden apples) as well as persons, and notes Alberich acquires his motive only later. A 1920 photoplay manual (Lang & West) shows the same technique in film: a main love theme reused in minor mode, quickened, fragmented, agitated.","locator":"Ellis Prose Works vol. 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He describes themes tied to dominant moods and to the 'weightiest motives' of the drama, kept few and recurring: a fresh motive for each recurrence of the same mood would be the opera-composer's habit he rejects; motives are re-modelled to fit the passing situation (Lohengrin versus the more literal reminiscences of the Flying Dutchman); a motive's first presentation must be justified by the scene; harsh combinations should be softened by tempo and dynamic. Wolzogen's guide names motives after objects, relations and states (Ring, Compact, Renunciation, Walhalla, Captivating Love, Wondrous Power of the golden apples) as well as persons, and notes Alberich acquires his motive only later. A 1920 photoplay manual (Lang & West) shows the same technique in film: a main love theme reused in minor mode, quickened, fragmented, agitated.\n\nCurator qualifications: Excerpts found: S5 'will necessarily have blossomed only from the weightiest motives of the drama'; S7 'Main love theme in the minor mode'. Wolzogen counts: Renunciation 22, Walhalla 30, Compact 43, Captivating 5, 'Golden Apples' 1, Alberich 45; passage: 'the Nibelung Alberich, who now speedily makes his appearance, does not yet succeed in acquiring a definite characteristic motive. At first he has merely to play the part of the derided, of the powerless'.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://archive.org/details/richardwagnersp00elligoog","note":"Ellis Prose Works vol. 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II OCR (byte-identical to producer pin); Wolzogen guide (Dole) OCR (byte-identical to producer pin); Lang & West 1920 OCR"}]},"tags":[],"type":"article","links":[],"title":"What techniques and failure modes for thematic association (leitmotif) follow from Wagner's writings and Wolzogen's thematic guide, does the 'one motif per character' rule hold, and how might it be used for film, games or series?","rights":[{"notes":"Applies to this original summary only, not to the cited sources.","hosting":"permitted","component":"documentation","license_id":null,"modification":"unknown","evidence_urls":[],"model_training":"unknown","redistribution":"permitted"}],"summary":"Wagner's texts do not state 'one motif per character'. He describes themes tied to dominant moods and to the 'weightiest motives' of the drama, kept few and recurring: a fresh motive for each recurrence of the same mood would be the opera-composer's habit he rejects; motives are re-modelled to fit the passing situation (Lohengrin versus the more literal reminiscences of the Flying Dutchman); a motive's first presentation must be justified by the scene; harsh combinations should be softened by tempo and dynamic. Wolzogen's guide names motives after objects, relations and states (Ring, Compact, Renunciation, Walhalla, Captivating Love, Wondrous Power of the golden apples) as well as persons, and notes Alberich acquires his motive only later. A 1920 photoplay manual (Lang & West) shows the same technique in film: a main love theme reused in minor mode, quickened, fragmented, agitated.","evidence":{"claims":[{"url":"https://archive.org/details/richardwagnersp00elligoog","claim":"Wagner's texts do not state 'one motif per character'. 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