Indrawan, et.
Resital: Journal of Performing Arts .
Vol 25.
No.
3 Desember 2024 https://doi.
org/10.
24821/resital.
The Sacred and the Sinister: A Musicological Inquiry into Ave Satani in The Omen Andre Indrawan1*.
Christofer Julio 2.
Edward C.
Van Ness 3 Department of Music.
Faculty of Performing Arts.
Institut Seni Indonesia Yogyakarta.
Indonesia Program Taiwan International Graduate Program: Social Network and Human-Centered Computing.
National Chengchi University.
Taiwan E-ISSN 2338-6770 Sumatra Conservatoire.
Medan.
Indonesia Submitted date : February 2 , 2025 Revised date Accepted date : March 6th, 2025 : April 9 , 2025 Correspondence Address:
Abstract : No horror Alm song has won the Academy Award for Best Original Song, yet Jerry Goldsmith's Ave Satani from The Omen .
remains the only nominee.
Its fusion of Latin liturgical elements, ritualistic rhythms, and dissonant harmonies Jurusan Musik.
FSP ISI Yogyaikarta enhances the Alm's dark symbolism.
This study analyzes Ave Satani through a Jalan Parangtritis Km 6,5.
Sewon, musicological approach, exploring its composition, thematic role, and cultural impact.
Bantul.
Daerah Istimewa Yogyakarta.
Findings reveal its signiAcance in reinforcing The Omen's conCict between good and E-mail: indrawan_andre@isi.
evil, highlighting the importance of interdisciplinary perspectives in Alm music analysis and the potential of thematic scoring to deepen cinematic storytelling.
Keywords: horror Alm.
theme song.
Alm music A 2023 The Author.
This work is licensed under a Creative Common Attribution 4.
0 International License Page 414 Indrawan, et.
Resital: Journal of Performing Arts .
Vol 25.
No.
3 Desember 2024 https://doi.
org/10.
24821/resital.
Introduction Horror Alm music has long played a crucial role in shaping cinematic experiences, yet it remains an anomaly in the Academy Awards' Best Original Song category.
Despite the genre including some of the most memorable and evocative musical scores, no horror Alm song has ever won this prestigious award.
The only exception is Ave Satani from The Omen .
, the sole horror music ever nominated in the history of the category.
This raises an intriguing question: why has horror music, despite its undeniable impact, been largely overlooked in this speciAc award category? A deeper musicological examination of Jerry Goldsmith's Ave Satani reveals its innovative qualities as a chilling hymn but also as a key narrative device that ampliAes the Alm's underlying theme of the battle between good and evil.
Understanding how Ave Satani achieves its haunting effectiveness sheds light on the broader role of music in horror cinema and its continued struggle for recognition within mainstream Alm awards.
This lack of recognition suggests a need for further examination of how horror Alm music functions within both cinematic and cultural contexts, a gap this study seeks to address through a musicological analysis of Ave Satani.
Film music studies have explored various contextual themes, including socioeconomics, nationalism, and identity, emphasizing Alm music's role beyond mere Research highlights how Alm scores shape cultural narratives, as seen in studies on transnational identity in Kungfu Alms and Malay nationalism (Johan.
McGuire, 2.
Despite the growing interest, detailed musical analysis in Alm music remains scarce, though motif and intertextual analyses have been applied to speciAc works like The Lord of the Rings (CheCkowska-Zacharewicz & Paliga, 2020.
Jorgensen, 2.
Horror Alm music, in particular, draws from avant-garde inCuences, with Arnold Schoenberg's athematic serialism inspiring unsettling cinematic scores (Black & Dunsby, 1993.
Boon, 2023.
Hilewicz, 2021.
Jewell, 2007.
oa, 2.
However, horror Alms also face religious scrutiny, as seen in Malaysia, where religious authorities monitor content to align with Islamic principles (Opir et al.
, 2.
Despite these developments, there is a noticeable lack of detailed musicological analysis of horror Alm music, particularly of religious-themed compositions such as Ave Satani.
We argue that given its religious themes.
The Omen exempliAes how horror Alm music navigates artistic, cultural, and ideological boundaries.
This study aims to provide a focused analysis of Ave Satani from The Omen.
Despite its iconic status.
Ave Satani has not received substantial academic scrutiny, especially in relation to its role as both a sacred and sinister construct.
This research examines its compositional elements, including its rhythmic and melodic framework, harmonic language, and textual integration, in efforts to reveal how it evokes an Page 415 Indrawan, et.
Resital: Journal of Performing Arts .
Vol 25.
No.
3 Desember 2024 https://doi.
org/10.
24821/resital.
unsettling atmosphere while reinforcing the Alm's religious themes.
Ultimately, this study seeks to position Ave Satani as a signiAcant yet underexplored work within horror Alm music scholarship, offering deeper insights into the intersection of music, horror, and religious symbolism.
While previous studies have analyzed the role of Alm scores in shaping narrative and thematic elements, a detailed examination of how Ave Satani constructs its ominous and ritualistic atmosphere through its musical components is still lacking.
This raises critical questions: What speciAc compositional techniques contribute to the unsettling nature of Ave Satani? How do its musical elements reinforce the Alm's portrayal of supernatural and religious conCict? And in what ways does Ave Satani exemplify the intersection of horror, music, and ideology within cinematic storytelling? Addressing these questions not only enhances our understanding of Ave Satani as a musical work but also sheds light on broader patterns in horror Alm scoring that continue to shape audience perceptions and critical reception Literature Review The academic study of Alm music in Indonesia has received limited scholarly attention, particularly from a musicological perspective.
Most existing research focuses on technical and production aspects, such as scoring techniques (Ariani & Neta, 2.
, the arrangement of Alm music illustrations (Rosiana Dewi, 2.
, and the role of music in shaping cinematic atmosphere (Syukma, 2.
Other studies examine the use of classical music compositions in Alms (Panggabean et al.
, 2.
, sampling strategies in Alm scoring (Purwacandra & Nainggolan, 2.
, and the interplay between visuals and music in Alm choreography (Utami, 2.
However, these studies are largely descriptive and do not explore in depth how Alm music conveys symbolic meanings, particularly in shaping narrative and aesthetic elements tied to speciAc themes.
For instance, research on Tenggelamnya Kapal Van Der Wijck Pratama & Rozak .
discusses its musical characteristics but does not examine how these contribute to the Alm's narrative dimension.
Likewise, studies on music in Amadeus.
Panggabean & Simangunsong .
focus primarily on historical aspects rather than the dramatic role of music in Alm storytelling.
Moreover, research on horror Alms in the Indonesian academic context remains scarce, particularly in investigating how music contributes to building tension, atmosphere, and symbolism within the genre.
Some studies have explored audio elements in Alm, such as the role of sound effects and musical illustrations in creating mood and ambiance (Manesah & Damanik, 2021.
Supiarza, 2.
, as well as postproduction approaches in background music composition (Suryanto & Deli, 2.
Page 416 Indrawan, et.
Resital: Journal of Performing Arts .
Vol 25.
No.
3 Desember 2024 https://doi.
org/10.
24821/resital.
Another study focused on Alm scores (Rosiana Dewi, 2.
while the other demonstrates how music contributes to narrative development (Rukmana et al.
However, no research has speciAcally examined how horror Alm music can symbolize the tension between sacred and profane elements.
This gap is particularly striking given that many horror Alms utilize religious musical elements to heighten fear and antagonism, as exempliAed by Ave Satani from The Omen .
Furthermore, the study of the relationship between Alm music and cultural identity in Indonesia remains underexplored.
Some research has addressed the process of music curation in Alms, the economic impact of the Alm industry on the music industry (Sokowati, 2.
, and the role of Alm scores in establishing mood and narrative tone (Wibowo et al.
, 2.
However, most of these studies focus on industrial and technical perspectives rather than the symbolic and narrative functions of music.
A study by (Hidayat & Sejati, 2.
highlights musical construction in animated Alms, but no research has speciAcally examined how musical elements create deeper symbolic meanings in horror Alms.
This gap underscores the need for further exploration into how Alm music constructs symbolic narratives that juxtapose the sacred and the sinister.
This study seeks to address this gap by analyzing how Ave Satani in The Omen employs musical symbolism within the horror genre.
Building on the limited scholarly attention to music in horror AlmsAiparticularly those with religious themesAithis study aims to provide a focused analysis of Ave Satani from The Omen.
From a musicological perspective, this research examines its compositional elements, including its rhythmic and melodic framework, harmonic language, and textual integration, to efforts to reveal how it evokes an unsettling atmosphere while reinforcing the Alm's religious themes.
Ultimately, this study seeks to position Ave Satani as a signiAcant yet underexplored work within horror Alm music scholarship, offering deeper insights into the intersection of music, horror, and religious symbolism.
Method The material object of this study is Jerry Goldsmith's composition.
Ave Satani, the iconic choral piece from The Omen .
This song was selected for analysis due to its distinctive melodic theme, which is built using only notes within a single pitch, creating a stark, unsettling effect.
Unlike conventional Alm scores that employ melodic variation to enhance narrative Cow.
Ave Satani relies on a rigid, chant-like structure that reinforces the Alm's ominous and sinister atmosphere.
The central motif of the theme sounds intentionally non-melodic, almost mechanical, and seems disconnected from other soundtracks within the Alm, further emphasizing its role as Page 417 Indrawan, et.
Resital: Journal of Performing Arts .
Vol 25.
No.
3 Desember 2024 https://doi.
org/10.
24821/resital.
an antagonist's theme rather than a conventional leitmotif.
This study examines the musical structure of Ave Satani, its development of motives, and its functional role in The Omen, particularly how its composition and orchestration contribute to the Alm's overall horror aesthetic and psychological impact.
Musicological analysis is a crucial tool in Alm music studies, as it provides insights into how musical elements contribute to narrative structure and emotional Film scores are more than just background music.
they serve as active components in shaping audience perception and cinematic storytelling (Provenzano.
In the case of Ave Satani from The Omen, a musicological approach helps uncover how its use of Gregorian chant inCuences, dissonant harmonies, and dramatic orchestration create an atmosphere of supernatural dread.
By analyzing its compositional techniques and stylistic choices, this study demonstrates how Ave Satani functions as more than a theme songAiit is a musical embodiment of the Alm's antagonist, reinforcing the horror genre's conventions and psychological impact on Musicology, as an interdisciplinary Aeld, provides a diverse set of methods for understanding the role of music in cultural and cinematic contexts.
It encompasses perspectives from bio-musicology (Fitch, 2.
, religious and liturgical (GustovaRuntso, 2023.
Horst, 2.
), and even geographical and gender-based analyses (Kirby.
McClary, 1.
These varied approaches highlight the necessity of integrating musicological analysis into Alm studies to uncover deeper meanings behind musical Previous research has emphasized that Alm music is not merely an auditory element but a complex signiAer within a Alm's visual and narrative framework (Ghirardini, 2.
By applying these musicological perspectives to Ave Satani, this study reinforces the importance of Alm music as a subject of rigorous academic inquiry, demonstrating that its function extends beyond aesthetics to shaping cinematic experience and meaning.
This study processes data with musical form and motifs analysis to understand the musical work construction, including its elements and the central motif There are two models of music Alm analysis.
The Arst relates musical works within a Alm and links it to its audience .
ee CheCkowska-Zacharewicz & Paliga.
The second model contextualizes Alm music with world music elements in different Alms and media (Stock, 2.
This study is closer to the Arst but focuses on a Alm theme song.
An effort was made with the support of theories through literature studies and qualitative data through free interviews to obtain evidence of the musical role within the Alm (Bjyrk et al.
, 2021.
Kvalsvik & yogaard, 2021.
Ravn, 2.
Page 418 Indrawan, et.
Resital: Journal of Performing Arts .
Vol 25.
No.
3 Desember 2024 https://doi.
org/10.
24821/resital.
This study was conducted in several structured stages to thoroughly analyze Ave Satani and its role in The Omen.
The Arst stage involved reducing the transcribed orchestral full score of Ave Satani into a simpliAed piano score, arranged in treble and bass staves, to facilitate detailed analysis.
Next, the primary melodic line was isolated from its accompaniment, allowing for a clearer examination of its structural characteristics and thematic development.
After identifying the fundamental motifs within the composition, we compared these motifs to the sections of the Alm where Ave Satani is prominently featured, particularly in the opening and ending credits.
further understand the song's contribution to the Alm's overall atmosphere, we also traced modiAed versions of Ave Satani's motifs within the illustrated musical passages that accompany speciAc scenes.
This step helped determine how variations of the theme were adapted to enhance tension, foreshadow events, and establish the Alm's dark, supernatural tone.
Results Richard Donner's The Omen .
stands as a seminal horror Alm, weaving a chilling narrative around the rise of the Antichrist and the eternal struggle between demonic and holy forces.
At the heart of its unsettling atmosphere is Jerry Goldsmith's score, a composition that deAed convention and solidiAed his reputation as an innovator in Alm Goldsmith, already an established composer, crafted an unconventional soundtrack for The Omen, with Ave Satani as its centrepiece.
More than just an accompaniment, his music functions as an essential narrative force, shaping the Alm's tension and amplifying its ominous themes.
Examining the unique qualities of Ave Satani reveals why it remains one of the most distinctive and inCuential horror scores in cinematic history.
Rhythmical motives Jerry Goldsmith employs a slow, steady, ritualistic tempo in Ave Satani, deliberately mirroring the measured pace of religious chanting.
This choice reinforces the sense of solemnity and ritual, making the piece feel as though it belongs to a sacred ceremony rather than a conventional Alm score.
Traditional liturgical music, such as Gregorian chants, follows a similar rhythmic structure, using sustained, evenly paced phrasing to encourage meditation and spiritual contemplation.
By adopting this method.
Goldsmith transforms Ave Satani into an eerie, almost hypnotic invocation, subverting expectations associated with sacred music.
The deliberate pacing ampliAes the song's unsettling atmosphere and could be said to blur the boundary between sacred and profane, evoking a dark inversion of religious reverence.
As a result, the piece becomes Page 419 Indrawan, et.
Resital: Journal of Performing Arts .
Vol 25.
No.
3 Desember 2024 https://doi.
org/10.
24821/resital.
an essential element of The Omen's horror aesthetic, reinforcing themes of demonic inCuence and unholy ritual through musical structure alone.
The central motif, coded as 'a,' serves as the foundation of Ave Satani's thematic structure.
Arst introduced in the prologue .
easures 1Ae.
as a two-measure phrase.
This motif is constructed by combining a two-note Agure with a three-note Agure .
easures 1 and .
, forming a complete Ave-note pattern within a single pitch.
Its distinct repetition reinforces the thematic identity of the composition.
Embedded within this motif is the Latin phrase AuSanguis bibimus, corpus edimusAy, which strengthens its ritualistic and ominous character.
The entire composition contains fourteen motifs derived from motif 'a,' with four primary derivativesAia1, a2, a3, and a4 .
ee Figure .
These derivatives further develop into sub-derivations, expanding the motif's structural complexity.
Throughout Part One and the antecedent phrase of Part Three, the central motif is transposed up by a perfect fourth, becoming motif a1.
However, in Part Three, the motif reappears as a.
1, a further derivation of a1.
Through systematic transformation and repetition, motif 'a' not only deAnes the thematic core of Ave Satani but also evolves across different sections of the composition, enhancing its ritualistic and unsettling quality.
Figure 1: The simple rhythmical motif in slow tempo mirroring religious chanting (Source: Authors' The consequent phrases of Period A and A1 introduce a rhythmically shortened version of the central motif, which Alls only one measure, as seen in m.
16 and m.
ee Figure This rhythmic compression is a key reason for naming this modiAed motif 'a2,' Page 420 Indrawan, et.
Resital: Journal of Performing Arts .
Vol 25.
No.
3 Desember 2024 https://doi.
org/10.
24821/resital.
highlighting a diminutive transformation of motif 'a.
' The rhythmic alteration speciAcally articulates the last note, contributing to its distinct identity.
Within this rhythmic diminution, the melodic line undergoes a shift from monotonic to melodious, demonstrating an essential transformation in musical expression.
In Part Three, motif a2 evolves into its derivative, a.
This transformation involves a change in melodic direction, though not in contrary motion.
SpeciAcally, the Arst Agure, corresponding to the word Tolle, moves in an opposite vertical direction, while the second Agure, associated with Corpus, retains the same movement pattern as motif a1 .
This interplay between altered and retained motion contributes to the motif's evolving Additionally, the two subsequent measures .
18Ae19.
see also mm.
26Ae.
following motif a2 should be motif a3, marking another stage in the motif's This transformation reCects Goldsmith's nuanced approach to thematic variation, reinforcing structural coherence while allowing for expressive Cuidity.
Through these modiAcations.
Ave Satani achieves a dynamic evolution of its central motif, balancing thematic repetition and inventive variation.
By altering rhythmic structure and melodic contour.
Goldsmith crafts a motif that retains its core identity while adapting to different sections of the composition, contributing to the piece's eerie and ritualistic atmosphere.
Harmonic characteristic The harmony in Ave Satani plays a crucial role in intensifying the tension and unease that permeate the piece.
Goldsmith deliberately employs minor chords, which are naturally associated with sadness, foreboding, and melancholy.
This choice reinforces the dark and ominous tone of the composition.
The unsettling quality of the harmony is further heightened through deliberate dissonances, such as the clash of sharp intervals that disrupt harmonic stability.
For example, the use of sharp second intervals prevent harmonic resolution, leaving the listener in a constant state of discomfort.
Additionally, tritones and minor second intervalsAioften referred to as the Audevil's intervalAy in Western music theoryAiare strategically placed within the composition to enhance its ominous and menacing quality.
These harsh dissonances not only create an eerie soundscape but also evoke a sense of chaos and instability, mirroring the Alm's supernatural themes.
By avoiding traditional harmonic cadences and continuously building tension without release.
Goldsmith ensures that the audience remains unsettled, reinforcing the music's role as an auditory representation of evil.
a result, the harmony in Ave Satani creates a deeply haunting effect, making the composition feel increasingly dissonant and spiritually discordantAian approach that perfectly aligns with the Alm's portrayal of dark, ritualistic evil.
Page 421 Indrawan, et.
Resital: Journal of Performing Arts .
Vol 25.
No.
3 Desember 2024 https://doi.
org/10.
24821/resital.
Figure 2: Minor harmony atmosphere in simple polyphony passage (Source:
Authors' transcriptio.
The consequent phrases of Period A1 and A2 introduce a rhythmically shortened version of the central motif, occupying only one measure, as seen in m.
16 and m.
ee Figure .
This rhythmic compression justiAes naming the modiAed motif 'a2,' marking a diminutive transformation of motif 'a.
' The alteration emphasizes the last note, distinguishing it from the original.
This rhythmic diminution also shifts the melodic line from monotonic to melodious.
In Part Three, motif a2 develops into motif 1, with its melodic direction changing in an imprecise contrary motion.
The Arst Agure (Toll.
moves in an opposite vertical direction, while the second (Corpu.
retains the same movement as motif a1 .
Additionally, the following two measures .
18Ae19.
see also mm.
26Ae.
should be identiAed as motif a3, marking another stage in its development.
These modiAcations demonstrate Goldsmith's balance between repetition and variation.
By altering rhythmic structure and melodic contour, the motif retains its identity while evolving, reinforcing the composition's eerie and ritualistic atmosphere.
Controversial Lyric The distinctiveness of Ave Satani lies in its use of Latin lyrics, which contribute to its unsettling effect.
Unlike many Alm scores that rely on traditional instruments and harmonies to establish atmosphere.
Ave Satani applies language to evoke uneasiness.
Latin is inherent to Catholic rituals, conveying a sense of solemnity and reverence.
However, in Ave Satani, its use within a dark and ominous context subverts these expectations, transforming what is usually sacred into something deeply unsettling.
This contrast ampliAes the Alm's eerie atmosphere and heightens the audience's psychological tension.
By repurposing a language traditionally linked to religious sanctity.
Ave Satani manipulates audience expectations, reinforcing its role as an iconic and chilling horror Alm score.
Page 422 Indrawan, et.
Resital: Journal of Performing Arts .
Vol 25.
No.
3 Desember 2024 https://doi.
org/10.
24821/resital.
Table 1: Ave Satani lyric in Latin and its translation .
able created by the author.
Lines Latin English Sanguis bibimus Corpus edimus Tolle corpus Satani Ave! Ave, ave versus Christus! Ave Satani We drink the blood We eat the Cesh Raise the body of Satan Hail! Hail, hail the Anti-Christ! Hail Satan! The structure of the lyrics in Ave Satani is characterized by a concise arrangement of repeating verses.
This deliberate repetition enhances the composition's chant-like quality, reinforcing its ritualistic and ominous atmosphere.
As shown in the table above, the lyrics feature short yet impactful phrases, such as "Sanguis bibimus, corpus Tolle corpus Satani, ave.
" The creation of these lyrics resulted from a consultation between the composer and a London orchestral choirmaster, an expert in Latin, ensuring linguistic accuracy and authenticity (Lysy, 2.
The strategic use of repetition and the expertise behind the lyrics contribute to the composition's haunting and ceremonial effect, aligning with the Alm's dark themes.
Discussion The Jerry Goldsmith's Ave Satani stands out as a singular anomaly in the history of Academy Award nominations for Best Original Song, diverging sharply from traditional Alm compositions.
Unlike previous nominees.
Goldsmith crafted a chilling Aublack massAy chant that subverts sacred Latin hymns by reversing their meaning and praising Satan instead of God.
This deliberate manipulation of religious themes creates immediate discomfort, reinforcing the song's sinister tone.
Musically.
Ave Satani draws from Gregorian traditions but distorts them through deep, ominous male voices that evoke unsettling ritualistic imagery.
The harmony, laden with sharp dissonant intervals and monotonous melodic motifs, generates anxiety, while the minor scales deepen the sense of darkness and dread.
Additionally, the use of organs and choirsAitypically associated with sacred musicAiironically ampliAes the song's tension rather than providing solace.
These elements collectively make Ave Satani an unnerving and unique contribution to horror Alm music, cementing its status as one of the most distinctive and daring compositions ever recognized by the Academy.
Ave Satani serves a crucial function in The Omen, extending beyond its role as background music.
By positioning this chant as both the opening and closing theme, the Alm establishes an atmosphere of darkness and malevolence while reinforcing the Page 423 Indrawan, et.
Resital: Journal of Performing Arts .
Vol 25.
No.
3 Desember 2024 https://doi.
org/10.
24821/resital.
underlying thematic conCict.
The use of Ave Satani at the Alm's opening primes the audience for a narrative centred on sinister forces, immediately setting the tone for the unfolding horror.
The composition intensiAes the tension between the divine and the demonic, not merely evoking general dread but directly aligning with the Alm's central theme of a cosmic struggle between God and Satan.
This conCict deAnes the story's tone, with Ave Satani reinforcing the pervasive sense of evil surrounding the Additionally, by incorporating this chant.
Goldsmith creates a subconscious cue for viewers, foreshadowing the horrors that will soon unfold.
Through its strategic placement and thematic signiAcance.
Ave Satani solidiAes the Alm's ominous atmosphere, ensuring that its sense of dread lingers from beginning to Despite its innovation and distinctiveness, horror Alm music has historically received limited recognition.
This lack of recognition perhaps is due to the genre's tendency to push musical boundaries, often resulting in unsettling or unconventional compositions that may not align with mainstream tastes.
Ave Satani exempliAes this phenomenon through its use of a Latin chant that intentionally subverts traditional religious music, creating an unsettling atmosphere.
Such compositions challenge conventional musical norms, making them less accessible and harder to categorize within award systems that typically favour more familiar and harmonious The experimental nature of horror Alm music often positions it outside the realm of what is traditionally celebrated, despite its artistic merit.
Ultimately, while Ave Satani stands as a testament to horror's innovation in Alm music, the genre's divergence from uplifting or romantic compositions has contributed to its underrepresentation in major award categories.
The motifs in Ave Satani shape The Omen's musical identity, enhancing both joyful and tragic moments.
Motif a and motif b evolve strategically to contrast emotions.
Motif b, introduced as a triadic broken chord in the prologue, transforms into a lyrical love theme .
:06:48 Ae 00:07:.
during Robert .
ain actor, protagonis.
and Katherine's .
ain cast suppor.
happiness, continuing through scenes like Damien's .
assive antagonis.
Afth birthday .
:10:27 Ae 00:10:.
However, the same motif darkens in tragic moments, such as Katherine's distress over her pregnancy .
:45:51 Ae 00:47:.
and Robert's grief after her death.
Its melancholic variation recurs during Robert's return home .
:26:32 Ae 01:27:.
, intensifying his realization about Damien's identity .
ee Donner, 1.
The dynamic development of Ave Satani's motifs highlights their versatility, seamlessly shifting between emotions.
This nuanced musical storytelling deepens the Alm's emotional weight, reinforcing its horror and dramatic elements.
Page 424 Indrawan, et.
Resital: Journal of Performing Arts .
Vol 25.
No.
3 Desember 2024 https://doi.
org/10.
24821/resital.
Ave Satani merges traditional song structures, dissonant harmony, and church music elements, crafting a unique horror Alm composition.
Its atonality, motif development, and orchestration heighten the Alm's supernatural atmosphere.
Following a three-part song form, the piece relies on two main motifs which generate Dissonant intervals, a key feature of atonal music, sustain unease throughout, aligning with post-1950 Gothic and supernatural horror scores.
Lowregister instruments like cello, contrabass, and bassoon further deepen its dark tonal An Indonesian composer interviewed for this study emphasized the importance of these elements in crafting an ominous soundscape.
Through sophisticated motif development, harmonic tension, and orchestration.
Ave Satani exempliAes the musical demands of horror cinema, solidifying The Omen's Academy Award nomination for Best Original Song.
integrating traditional song structures, dissonant harmony, and church music elements.
Ave Satani achieves a distinctive horror Alm composition.
Its atonality, motif development, and orchestration enhance the supernatural atmosphere.
The piece follows a three-part song form and utilizes two main motifs, with variations Dissonant intervals, characteristic of atonal music, create unease, aligning with post-1950 Gothic and supernatural horror scores.
Low-register instruments like cello, contrabass, and bassoon add to the dark tonal palette.
The importance of these elements in creating an ominous soundscape is evidence through its intricate motifs, harmonic tension, and orchestration.
The importance of these elements in creating an ominous soundscape is evidenced through its intricate motifs, harmonic tension, and orchestration.
Ave Satani deploys these elements to meet the unique demands of horror Alm scoring, contributing to The Omen's Academy Award nomination for Best Original Song.
Conclusion Jerry Goldsmith's Ave Satani in The Omen marks a signiAcant innovation in horror Alm By integrating Latin liturgical elements, ritualistic rhythms, and dissonant harmonies.
Goldsmith crafted a theme that is both haunting and narratively essential.
Its fusion of post-1950s horror harmonic language with sacred music conventions reinforces the Alm's themes of good versus evil.
Functioning as both an opening and closing motif.
Ave Satani heightens tension, ampliAes emotional depth, and underpins the Alm's dark symbolism.
As the only horror Alm theme ever nominated for an Academy Award for Best Original Song, its recognition underscores its lasting impact on horror cinema.
This study addresses the space between traditional musicological analysis and Page 425 Indrawan, et.
Resital: Journal of Performing Arts .
Vol 25.
No.
3 Desember 2024 https://doi.
org/10.
24821/resital.
emerging interdisciplinary approaches, particularly through psychological and cultural perspectives.
By examining horror Alm music within a broader analytical framework, it underscores the aesthetic and narrative power of theme songs in shaping cinematic experiences.
This research not only contributes to contemporary Alm music studies but hopefully also offers insights for composers and scholars seeking to reAne and innovate horror Alm scoring.
We believe this encourages a deeper exploration of how Alm music can evolve while maintaining its emotional and symbolic Acknowledgment This study received no external funding and was entirely Ananced by the authors.
extend our gratitude to Edward C.
Van Ness for his valuable editorial assistance in Analizing this manuscript.
References