Podcasts about leitmotifs

Settling is out there! Al is setting off the balloons for this one as the bros take a long awaited adventure to Paradise Falls. Ev's score: 8.8 / Al's score: 9.7 / Ky's score: 9 Musical term: Thematic transformation Instrumental Instrument: Muted Trumpet 00:00 We're back! 00:11 Hans Zimmer and the Great Baltimore Disaster 02:22 Dedicating the Episode 04:37 Analyzing the Emotional Impact of 'Up' 06:56 Pixar's Journey and Giacchino's Contribution 13:18 Musical Themes and Leitmotifs in 'Up' 17:59 Emotional Evolution of the Film 20:00 Partnership and Adventure 23:10 Hope and Thematic Transformation 25:36 Musical Techniques and Analysis 27:39 Nostalgia and Instrumentation 29:52 Scoring the Score If you like what you hear, follow us on Spotify and opt-in to get notified when we drop future episodes. Better yet, get in touch and keep up with our score-settling antics on TikTok or Instagram

Welcome aboard our Safe Space Ship!   Your Co- Captains, Ariana Perry and Amanda Catron, will be hosting this completely spoiled, totally unofficial, deep dive into Our Flag Means Death every Tuesday!   This week we are talking about Leitmotifs in Our Flag Means Death! We will be talking about Stede's library, rumors, toys, whims, humble wanderers, ambush, gouging, panic, fear, afraid, parties, intention, scoundrels, light houses, and coward.    CW: just whatever is in the show   Episode Mentions:  Never Left Pateron   Don't forget to follow us on social media (@NeverLeftPod on Twitter, NeverLeftPodcast on Ig, Never Left on FB), and check out our new Pateron.. The links are in our linktree, as we prepare to dive in!  Feel free to contact us at neverleftofmd@gmail.com with any thoughts or questions   Please remember to #DontStreamOnMax and #FireDavidZaslav If you want you can also let Netflix, Amazon Prime and Apple + know that you would still love to see Our Flag Means Death on their platforms. #SaveOFMD #AdoptOurCrew   Our artwork was created by Amy Gleason, you can see more of her art @AmysBirdHouse on instagram and in the comic series Mighty Mascots.   Our theme music is Gnossienne 5 by Erik Satie, preformed by La Pianista   Image Description: A lighthouse stands above the inn, wrapped in a purple Kraken tentacle. The text reads "Never Left: Our Flag Means Death"    

Well if it isn't our old friend, the LEITMOTIF. Kind of amazing we haven't done this one before so fair play to debuting guest co-host Seán Connolly - a man you may know from online broadcasting behemoth The TRY Channel, where he puts in a Herculean shift both in front of and behind the camera - for suggesting it. But what is a leitmotif? Why, it's a musical theme associated with a character in media such as films, television, and video games, of course. As such, the boys duel it out accordingly, shouting out their favourite individual pop culture signatures from the rooftops. Beforehand, a busy news section awaits. Also waiting for you - our latest episode of the NO ENCORE Album Club. Head on over to Patreon.com/noencore to sign up and listen. ACT ONE (3:03): Steve Albini RIP, Kendrick vs Drake goes into overdrive, Macklemore continues to be a hero, and the 'Bambie Thug and Eurovision' debate finally arrives at its inevitable conclusion - it's the news. ACT TWO (40:28): Top 5 Leitmotifs. -Follow Seán Connolly on Instagram / XWatch The TRY Channel on YouTube Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Notes:We mention several different musicals, songs, and moments throughout this episode. Here are a few: Wicked - I'm Not That Girl / I'm Not That Girl (Reprise) “Notes/Twisted Every Way” songs from Phantom of the Opera YouTube Video of Last 1:25 of Hamilton on Disney Plus The Verbivore mentions the leitmotifs that come together in Hamilton's “Who Lives, Who Dies, Who Tells the Story”. Leitmotifs are a recurrent theme throughout a musical or literary composition, associated with a particular person, idea, or situation.Musicals Mentioned:- Fiddler of the Roof Broadway Cast by Jerry Bock and Sheldon Harnick - Wicked Broadway Cast by Stephen Schwartz - Hadestown Broadway Cast by Anaïs Mitchell - Phantom of the Opera London Cast by Andrew Lloyd Webber - Dear Evan Hansen Broadway Cast by Benj Pasek and Justin Paul - Les Misérables Broadway Cast by Alain Boublil and Claude-Michel Schönberg - Come From Away Broadway Cast by Irene Sankoff and David Hein - Hamilton Broadway Cast by Lin-Manuel Miranda Music from:https://filmmusic.io ‘Friendly day' by Kevin MacLeod (https://incompetech.com) Licence: CC BY (https://creativecommons.org/licenses/by/4.0/)

Number 8!!!In this EIGHTH episode, J&E talk about:- The underlick- The importance of a catchy intro- Writing bilingual songs without alienating your audience- Re-using the hook in different sections of the song- Contrast in the bridges- Trading space- Word economy- Rule of Three- Using arrangement to enhance emotions- Making unconventional song structures work- The use of breath to convey emotions- Writing about universal topics- How to check if your hook is catchy (earworms!)`- Melodic spiking- Tools, not roolz.- Repetition x3- Using references- Leitmotifs- and moreSong of the day:Emily's choice: Kesha - Fine LineJamie's choice: Kendrick Lamar - King KuntaSongs reviewed:Aryek Kunstler - Pischu LiPolar Mind - Don't Leave Me Now Mike Lemmons - Hey MindEarth to Ariadne - A String Between TinsLesson time:What makes a really good hook? -------------Book a free coaching call with Jamie: https://calendly.com/jamiekarlcoupe/60minBook a free call with Emily right here or by going to calendly.com/emilytallmanEmily's personal Instagram: @therealemilytallman ---------------Book a free consultation call with Jamie: https://calendly.com/jamiekarlcoupe/60minJamie's Instagram: @jamiekarlcoupeJamie's Website: jamiekarlcoupe.comGet your song reviewed: send an MP3 or download link to iwishiknewthatpod@gmail.comSend us videos of you playing, suggestions or questions on Instagram. Be well, write well.YouTube: https://www.youtube.com/@iwishiknewthataboutsongwritingEdited and mixed by Tiki Horeatikihorea.com@tikiproducer

X-tra! X-tra! Hear all about it! Double Xs, double Ns, and two-for-one words mean twice as much fun here at T&B. This week we're BENEFIT(T)ING from alt spellings; leading the way on LEITMOTIFs; and getting the LOWDOWN on compounds. Oh, and Sam, we accept your apology.

In this exciting episode, Brendan Child breaks down Leitmotifs, or musical themes! Learn the power behind narrative composing as we learn the function of themes, the most famous theme of all time, and the development of themes. 

On quite possibly the nerdiest episode of OSTeam yet Max and Ash discuss video game battle themes that use Leitmotifs. We go into what a Leitmotif actually is and discuss how they can add emotional weight to different pieces of music. OSTeam is a part of the Encyclopodia Network. Find other people talking about the things they love and support the network:Website: www.encyclopodia.netTwitter: www.twitter.com/EncyclopodiaNetPatreon: www.patreon.com/encyclopodia

Discover new audio drama by music. How I Make Music is where audio drama composers get to tell their own stories. Visit https://howimakemusic.com and subscribe in your podcast app. TRANSCRIPT The piece of music we're listening to in the background is called The Trial. It's featured in the soundtrack from the fiction podcast Marsfall. Today we'll break it down and get into why and how it was made. You're listening to How I Make Music, where audio drama composers get to tell their own stories. In this show, we break apart the music of a fictional podcast and take a trip into how it was made. My name is Sam Boase-Miller. I'm a composer, producer and voice actor from the US and this is How I Make Music. Welcome back to How I Make Music, The Trial by me Sam Boase-Miller. Thanks for listening in. 1:06 ABOUT Marsfall is a sci-fi/fantasy story about the first colonists to settle on Mars. We follow them starting in the year 2047. So maybe 2047 is actually the year that we'll get people on Mars. Mini helicopter that's flying around from the Perseverance lander. And yeah, it's pretty incredible the strides that we're making. Life imitating art! The scene takes place in the trial for ANDI, our colony AI. It's his trial for closing the door on a particular colonist who was about to create havoc for the rest of the colony. That philosophical debate, the trolley debate: should you pull the lever and try to avoid most people knowing that you'll kill one person? Or should you just let the trolley kill all five people to save the one. So this was the trial that we're all of our main characters kind of come together for the first time. And in this scene, we hear interjections from several of our characters. 2:52 CELLO I started playing cello in school. Sort of like a string music petting zoo. My good friend at the time was playing viola. And so I thought, I really want to play viola. So I expressed this to the director of the orchestra and she was like, “no, you don't want to play viola. Your hands are big. You should play the cello.” So I was already at nine years old being told what to do! Like what musical instrument I should be taking up. It's actually the closest instrument (other than the trombone) to the range of the human voice. Both really, really low and it also gets into that high coloratura kind of soprano end of things 4:38 P-FUNK & INFLUENCES I'm a big George Clinton fan. And part of what I love about Parliament Funkadelic is that they're very imaginative harmonically and melodically and rhythmically. Yeah, I just I love that era. funk music from the 70s. Right around, you know, ‘75, ‘76. The orb is an electronic music group, I really got into their ethereal and ambient music where you're just like taking on a whole journey. The place where you end up is certainly very different from where you started. 6:03 ERIC SARAS My co creator and music editor, he's director extraordinaire, Eric Saras. He's also one of our writers of the show, he and I first connected through music, we both went on an orchestra tour to China together. And as you can imagine traveling to another country and touring and performing music brings people close together pretty quickly. And so I met him and we realized that we were very similar in our outlook on music, and that just got a lot of things kind of kicked off creatively. We wanted music to be featured really heavily. He kind of realized that there was more or less these like kind of pillars or buckets that the majority of our music was falling into. And we called them a numbering system essentially like one through six being silence to total music taking over and being the focal point of the scene. So going through that and knowing that ahead of time helps me really plan. Okay, my workload, is this seen a one or is it a six? Or is it somewhere in between that, and the way that 07:15 LEITMOTIFS & MUSICAL TRANCE I write music in leitmotifs, which are little motives for each character or place or emotion. What you're hearing now is the claps. I picked up clapping after cello, you know. I phased it so that it's actually kind of moving around your ears. Even though you're hearing that over and over again. Since it's panning around and moving around your head a little bit subconsciously, it's keeping the rhythm driving and moving. This point, I would consider myself a professional clapper. There are several speakers during the scene of the trial. We'll hear interjections from Jeff. He's the finance officer of the colony. That low cello by being that that's actually one of the first themes that I wrote of the entire series. We hear Kyla, our medical doctor's theme. She's got several horn pads. So you'll hear those horn chords. Chip Huddleston, the character I actually play, he interjects a couple of times. So you'll hear this kind of muddy patch just really jokingly kind of come in and dip out because all of his interjections are just jokes, they're just little quips. So I wanted the attitude of the character to be represented or representative of the music that you're hearing. You know, the beats that I sampled from Ableton and bring in drop in and then highlight at different times, they help to kind of break up you know, the monotony of that clapping rhythm. There's a whole cadre of composers from the 60s 70s 80s that was using minimalism to try and get you into musical trance almost like you're looking through a kaleidoscope. So a lot of what I tried to do here was take this continuous beat and then add a little something to it, or take away a little something that would highlight or dampen the inherent, strong or weak parts of the beat that you'd hear. 10:11 PLUS ONE With podcast or film or television, all of that is collaborative. And so you, you immediately have to shelve your ego and say, What's the best thing for this whole artwork? Rather than what's the best thing for my track? Or what's the best thing for, for me as the composer, none of that matters? What matters is how does the whole thing come together? And how am I adding to it? How am I plus one-ing rather than deterring, or covering something up? That seems to be of the main thing that I've learned over the last...this entire project working on Marsfall. Sometimes I just want people to just listen. The best way for you to know me and to know my music is to just like, check it out. Just go and slap on some really good headphones, or go stand in the dark with some giant speakers and like, you know, close your eyes and like, just get swallowed up by the sound. And then you'll know. The one thing about music is the ability to communicate with people around the world on a different level that almost has nothing to do with what language you speak, but it is that other language right? 11: 42 OUTRO And that's about it for this week's episode. We'll listen to the full track in just a moment. Thanks for listening to How I Make Music. Catch new episodes on HowIMakeMusic.com or wherever else you get your podcasts. We've been listening to music featured in the audio drama called Marsfall. To hear the full story or to check out my other work, follow the links in the show notes. We video recorded the making of this episode, check it out and support the musicians of audio drama by becoming a patron at https://patreon.com/howimakemusic. Top tier patrons get mentioned right here in the credits of every episode. How I make music is created by John Bartmann. And now here's The Trial, a quirky, minimal electronic soundtrack in its entirety. My name is Sam Boase-Miller, and thanks for listening to How I Make Music. Catch you next time. SHOW NOTES Marsfall audio drama https://marsfallpodcast.com/ Sam Boase-Miller https://sjboase-miller.com/ MUSIC CREDITS Music: Sarabande in D Major from Suite No.6 by J.S.Bach (performed by Sam Boase-Miller) Music: The Cave Paintings by Sam Boase-Miller Music: One Nation Under a Groove by Funkadelic Music: Little Fluffy Clouds by The Orb ABOUT THIS SHOW Discover new audio drama musically. How I Make Music is where audio drama composers get to tell their own stories. In a dramatically edited sound experience, we challenge fiction podcast music composers to break apart a song, soundtrack or composition and get into why and how it was made. Subscribe to How I Make Music https://pod.link/howimakemusic Support How I Make Music https://patreon.com/howimakemusic Visit How I Make Music https://howimakemusic.com How I Make Music is created by John Bartmann https://johnbartmann.com

Iconic musical themes from games such as The Legend of Zelda, Final Fantasy, or Undertale are deeply ingrained into the minds of any avid gamer. This week, With a Terrible Fate video game analyst Laila Carter joins us for an exploration of how these and many other leitmotifs frame, complement, constitute, or even subvert video game stories. Support us on Patreon! Main Story 00:05:04 Musical Leitmotifs (with Laila Carter) 8-bit Music Theory The Legend of Zelda Theme, Kōji Kondō Zelda's Lullaby, Kōji Kondō Ballad of the Goddess, Hajime Wakai & Takeshi Hama Temple of Time Theme, Kōji Kondō Hyrule Castle, Manaka Kataoka & Yasuaki Iwata Ballad of the Wind Fish, Ryo Nagamatsu Gwyn, Lord of Cinder, Motoi Sakuraba Hollow Knight Title Theme, Christopher Larkin Sealed Vessel, Christopher Larkin Karma (Tales of the Abyss Opening), BUMP OF CHICKEN Meaning of Birth, Motoi Sakuraba, Shinji Tamura, & Motoo Fujiwara Unbreakable Chains, Yoko Shimomura Octopath Traveler Theme, Yasunori Nishiki Super Metroid Soundtrack, Kenji Yamamoto & Minako Hamano Magmoor Caverns Theme, Kenji Yamamoto & Kouichi Kyuma Angel Island Zone Act 1, Brad Buxer, Michael Jackson, Cirocco Jones, Bobby Brooks, Darryl Ross, Geoff Grace, Doug Grigsby, Sachio Ogawa, Tatsuyuki Maeda, & Jun Senoue Angel Island Zone Act 2, Brad Buxer, Michael Jackson, Cirocco Jones, Bobby Brooks, Darryl Ross, Geoff Grace, Doug Grigsby, Sachio Ogawa, Tatsuyuki Maeda, & Jun Senoue Hydrocity Zone Act 1, Brad Buxer, Michael Jackson, Cirocco Jones, Bobby Brooks, Darryl Ross, Geoff Grace, Doug Grigsby, Sachio Ogawa, Tatsuyuki Maeda, & Jun Senoue Hydrocity Zone Act 2, Brad Buxer, Michael Jackson, Cirocco Jones, Bobby Brooks, Darryl Ross, Geoff Grace, Doug Grigsby, Sachio Ogawa, Tatsuyuki Maeda, & Jun Senoue UNDERTALE Soundtrack, Toby Fox Publication | Twitter | Facebook

In this episode, we cover four prominent musical themes in minutes 6-10 of Star Wars Episode 8: The Last Jedi, including one that didn't make it to the commercial soundtrack. Otherwise, the music in this scene basically follows with the "Main Title and Escape" track on the album. All of these themes will show up again later in The Last Jedi, and most of them are present in all of the sequels as well. Topics: What is a leitmotif? Leitmotifs vs. themes. Piano walkthrough of four leitmotifs. Analysis ideas. Sound design of the resistance bombers, and how that relates to the frequency spectrum. Resource mentioned: Frank Lehman's Complete Catalogue of the Musical Themes of Star Wars, with specific reference to the Thematic Census on pp. 64-5. It's awesome! Email podcast@starwarsmusicminute.com if you have questions or suggestions!

Before we get to Golden Wind, we take a look back at this... sigh ...Bizarre Adventure...

In this episode of Leitmotifs, host Fredrika Brillembourg talks with pianist and conductor Benjamin Hochman. He has performed in major cities and festivals around the world, both as a soloist and chamber musician. Currently, Hochman is a research associate with Bard College Berlin and concert curator for the American Academy. Fredrika spoke with him about Mozart and Hochman's approach to music.

In this episode of Leitmotifs, host Fredrika Brillembourg talks with pianist and conductor Benjamin Hochman. He has performed in major cities and festivals around the world, both as a soloist and chamber musician. Currently, Hochman is a research associate with Bard College Berlin and concert curator for the American Academy. Fredrika spoke with him about Mozart and Hochman's approach to music.

In this episode we discuss what a leitmotif is, how film composers can use them, and how to go about creating them. Contact info: composerish@gmail.com Bryan Teoh: http://sleepfacingwest.com Twitter: @sleepfacingwest Instagram: @sleepfacingwest Youtube: https://www.youtube.com/channel/UCvyxqBpnrzFqw7VW1UxR2hA Kevin Macleod: http://incompetech.com twitter: @kmacleod

Host Fredrika Brillembourg Opera singer Fredrika Brillembourg talks to Michael Naumann.Opera singer Fredrika Brillembourg is back with another episode of Leitmotifs, this time with Michael Naumann. He served as commissioner for cultural affairs in the German federal government from 1998 to 2001 and since 2012, Naumann has been the director of the Barenboim-Said Academy.

Every movie has music but what exactly is that music doing?This week, Georgia Mae Ayling talks about the significance of music in the movies of Stanly Kubrick along with a discussion of jump Scares, leitmotifs and diegetic music.

Every month, opera singer Fredrika Brillembourg hosts “Leitmotifs”, but this month is different: all three opera houses in Berlin are closed and productions are on hold due to the coronavirus pandemic. Producer Monika Mueller-Kroll checked in with Fredrika on how she is spending her time during the outbreak without her colleagues and curtain calls.

In the latest segment of our series “Leitmotifs,” Fredrika Brillembourg talks with soprano Alma Sadé. Sadé has been with the Komische Oper ensemble since 2014 and is known for roles such as Maria in “West Side Story” and Hodel in “Anatevka,” among others.

What do Star Wars, The Ballad of Sweeney Todd, and Wagner's Ring Cycle have in common? They all make use of leitmotifs! Pour a beer and learn about this popular musical device that can be found in everything from opera to Hollywood blockbusters.

In this special Holiday Episode of LIGHT TALK, the Lumen Brothers talk about everything from Nutcrackers to The Secret Lives of Lighting Designers. Join David, Steve, and Stan as they pontificate about: Remembering Neil; The Art of the Blackout; Lighting your Nutcracker; Themes and Leitmotifs; Dance Towers vs. Booms; Sliding T's vs. C-Clamps; "I Absolutely Hate Christmas Lights" from Illigitimate Panda; Hue Programming Training; Lighting your house for the holidays; HueTube; Chris Barecca's Christmas Tree; Stan's Menorah, Steve's Skeletons, and David's pathetic house lighting; Lumen Brothers' Christmas Wishes; and The Secret Lives of Lighting Designers. Nothing is Taboo, Nothing is Sacred, and Very Little Makes Sense.

Join Marie-Claire Gould (@mariecgould) as we explore the Music of Star Wars in our segment Meta Music this week with special guest Frank Lehman (@fmlehman) of Lehman’s Leitmotifs fame. We will explore everything from how it’s done to perhaps what it means. Unfortunately Christy Carew was unable to make this episode at the last minute. We look … Continue reading "Meta Music: Frank Lehman on Leitmotifs"

In this first edition of “Leitmotifs,” host Fredrika Brillembourg is joined by Anisha Bondy, an assistant director at the Komische Oper Berlin. Their talk focuses on Brody’s career, her work with directors such as Barrie Kosky and Andreas Homoki, and her involvement in the Komische Oper’s outreach program “Selam Opera!” – an intercultural program that brings opera to the city.

Music and shaving, our two passions! Basically, we talked about • Shaving and costs of old timey tools • Album Exchange! And fail! • Pretenders II • Not spoiling Stranger Things 2 • Repeatedly viewing other films • The first time we saw Star Wars (1977) • Leitmotifs in SW • Inspiration for John Williams’s Star Wars score • Failing to remember seeing The Empire Strikes Back the first time (1980) • Trashing a small town we lived in • The first time we saw Return of the Jedi (1983) • Playing the Star Wars D6 RPG • Freedom Rock http://mentalfloss.com/article/70861/turn-it-man-remembering-freedom-rock• Failing to wrap up the show and theoretical sponsors  Thank you for listening, reading the show notes, keeping the faith, and being ever more awesome. Contact us at ijc2bs@gmail.com, and on Twitter: @ijc2b 

Carolin Rindfleisch, (Faculty of Music, University of Oxford), gives a talk for the 2016 Digital Humanities at Oxford Summer School. Richard Wagner’s music, and particularly his composition with ‘leitmotifs’ (musical entities with a characteristic identity, that are used to construct musical form and to convey musical meaning) have been interpreted differently in a wide variety of academic as well as audience-aimed introductory literature. A comprehensive analysis of these interpretations can help us find out how Wagner’s music-dramas have been heard, seen and understood in different historical and cultural environments. Using this example, the lecture presents how methods and techniques of Linked Data and Semantic Web can facilitate a large-scale reception study that can deal with a wide range of source material and still compare interpretations in detail. It will discuss different ways of digitally enhancing the study of the reception and interpretation of artworks, and address the question of how we can reconcile these methods with more traditional methodologies in the Humanities. It will focus particularly on presenting the design of an ontology that not only enables the linking and structuring of digitised source material, but also enables the systematic representation and comparison of the interpretations contained in the sources.

Andy Farber Interview. Star Trek Continues picks up the story of The Original Series right where it left off in 1969. Essentially a fourth season, the independent production features a talented cast that includes Vic Mignogna as Captain Kirk and Chris Doohan in the role made iconic by his father. Since 2013, Star Trek Continues has brought us five incredible stories from the 23rd century, with two more on the way—the next of which, "Come Not Between the Dragons," is set to premiere at FedCon in Germany on May 13, 2016. In this episode of Melodic Treks, host Brandon-Shea Mutala is joined by Andy Farber to discuss his contributions to the fan series. As a teacher at the famous Juilliard School and a renowned saxophonist and composer, Andy has been lending his talents to the sound of Star Trek Continues. We talk with him about the influences on his music, what a leitmotif is, and why he feels that the music of the next Star Trek series should still be composed in a traditional manner. Chapters "M18 Flyby" (00:01:28) Listener Feedback (00:01:43) "M15 Flyby" (00:03:55) "M13 Little Girl" (00:06:45) Meeting Andy (00:07:13) Conductor vs Orchestrator vs Composer (00:23:30) Composing for a Documentary (00:31:37) Leitmotifs (00:34:00) Composing Continues (00:37:55) The Process (00:40:28) Discussing Rejected Scores (00:44:30) The Changing Face of Scoring (00:49:28) Star Trek Should Be Classically Scored (00:57:27) Andy Farber: Composer for Star Trek 2017? (01:05:48) Current Projects (01:17:25) "M36" (01:20:38) (All cues by A. Farber from the Star Trek: Continues episode "White Iris") Host Brandon-Shea Mutala Guest Andy Farber Production Brandon-Shea Mutala (Editor and Producer) C Bryan Jones (Executive Producer) Matthew Rushing (Executive Producer) Norman C. Lao (Executive Producer) Charlynn Schmiedt (Executive Producer) Richard Marquez (Production Manager) Will Nguyen (Content Manager)

The leitmotifs or "leading motives" in Strauss's Der Rosenkavalier are explored by our Education Director, Nicolas Reveles, in a podcast first posted on August 16, 2010. After defining the leitmotif and its use by Richard Wagner, we'll listen to those used by Strauss to help tell the story of this wonderful opera.

Something common to many operas composed after the death of Richard Wagner is the use of the leitmotif, a musical idea, tune or melodic "germ" used by a composer to unify a complicated score.   Richard Strauss was one of the earliest inheritors of the leitmotif system and he uses it with abandon in Der Rosenkavalier.  Let's explore some of the leitmotifs used in that opera.