TLDR;
This video analyzes Ludwig Göransson's score for Black Panther, emphasizing the importance of the relationship between the composer and director Ryan Coogler, the extensive research done in Africa, and the modular construction of the character themes. The analysis focuses on how Göransson uses specific instruments and motifs to represent characters, their relationships, and the shifting dynamics of the story.
- The success of the Black Panther soundtrack is attributed to the close collaboration between composer Ludwig Göransson and director Ryan Coogler, along with ample time and resources for research.
- T'Challa's theme consists of talking drums, an 808 pattern, and royal brass, while Killmonger's theme includes a Bach-inspired piano line, 808s, and a Fulani flute.
- Göransson uses these themes to reflect the story's unfolding events, shifting character circumstances, and underlying messages.
Intro [0:00]
The video begins by highlighting the significance of the relationship between a film's composer and director, using the collaboration between Ludwig Göransson and Ryan Coogler as a prime example. It emphasizes that their pre-existing relationship and shared history, including previous film collaborations and a deep understanding of the film's context, greatly contributed to the success of the Black Panther score. The composer's ability to conduct thorough research in Africa, meet local musicians, and explore African musical resources is also noted as a crucial factor. The video sets the stage for an analysis of how Göransson's score effectively enhances the film's narrative and thematic elements.
T'Challa's Theme [2:22]
The video breaks down T'Challa's theme into three main components: the talking drum, an 808 pattern, and royal brass. The talking drum is used to mimic the sound of speech, with performers saying "T'Challa" to create the rhythm. The 808 pattern, derived from the Roland TR-808 drum machine, is a nod to hip-hop's influence. The brass evokes a sense of royalty, befitting T'Challa's status as king. These elements combine to form T'Challa's musical character, with different components emphasized depending on the scene.
Killmonger's Theme [3:59]
Killmonger's theme is constructed in a similar modular way to T'Challa's, featuring a piano/string line inspired by Bach's St. Matthew Passion, 808s, and a Fulani flute. The Bach-inspired line represents Killmonger's intellect, while the Fulani flute adds a traditional African element. The use of 808s in both themes may reflect Göransson's hip-hop background or serve as a meta-statement about the film's setting in Oakland and its connection to the Black Panther movement.
Linking Themes [6:39]
Göransson links T'Challa and Killmonger through a theme representing T'Challa's father and the notion of royalty. This theme is heard when T'Challa interacts with or thinks about his father. The themes are used to reflect the story's events, such as when Killmonger reveals himself to the court, mirroring the meticulous planning of his actions.
Shifting Instruments [8:01]
Göransson uses the shifting of instruments and light motifs to demonstrate the changing circumstances of the story. During T'Challa's fight with M'Baku, T'Challa's brassy figure is heard when he starts winning, followed by the fatherly motif, as he is fighting for the throne. When Killmonger shows Klaue that he's from Wakanda, the father motif is played on the Fulani flute, representing Killmonger's perspective on his family line.
Killmonger's Coronation and T'Challa's Return [10:08]
When Killmonger is crowned king, his Bach line and motif are played in low brass, demonstrating his menacing royalty. When T'Challa returns from the dead and faces off against Killmonger, the scene opens with Killmonger's theme, but as soon as T'Challa appears, his father's theme is heard in voices, transitioning into T'Challa's theme with the voices doubling the brass. This is the only time voices are used with T'Challa's theme, suggesting that T'Challa has earned the mantle of king of Wakanda.
Additional Motifs and Details [11:09]
The Dora Milaje have their own light motif, a vocal line. In the opening scene, a kora is heard when the kid is talking to his dad, and again when T'Challa is thinking of his father before going to the ancestral plane. When T'Challa wins the fight against M'Baku, a slightly altered version of the father motif is heard, which also plays during Killmonger's visit to the ancestral plane and when Killmonger dies. This different cadence conveys a sense of finality, representing closure for both T'Challa and Killmonger.
Conclusion [13:26]
The video concludes by emphasizing the constant presence of light motifs in the film, conveying aspects of the story and the messages the director and composer were trying to send. The video encourages viewers to check out Göransson's breakdown of the score and thanks patrons for making the video possible.