Editorial: Leafing Through The Musical Genres of Star Wars

New Orleans has Dixieland-jazz, Brazil has carnival, and Tokyo has J-pop. Wherever your travels may take you, our world is rich in musical culture. Each city or region holds an indigenous musical style influenced by its past, present, and (by way of musical innovation) future. These “genres” have become synonymous with the region from which they hail, and are often immediately identifiable to the listener. And the Star Wars galaxy is no different.







As an ethnomusicologist (one who studies music in its social and cultural contexts), I have found it most interesting and entertaining when the native sound of a particular genre narrows into a more focused sub-genre sometimes evolving two -- or even three -- times over. During this process, not only does the music become more esoteric, but the titles given to these newly formed styles are equal parts descriptive and amusing. Metal evolves to math-metal, emo gives way to screamo, laptop-pop, cuddle core… These meticulously myopic sub-genres are so beloved by both musician and consumer that they become a way of life… a sub-culture.







Thanks to the brilliant work of a fraternity of composers, this phenomena is acutely depicted in the Star Wars universe. From the very beginning, the work of John Williams has set the precedent for limitless sonic world-builders imagining the musical tones of planets and systems across that galaxy, bringing their respective cultures to life. The following are but a few systems among countless worthy of admiration. The work of Kevin Kiner and animation could fill an entire article, so I’ll save that for side B. While I begin with the OG, I have intentionally focused on composers and planets from the most recent Star Wars live-action releases. In each highlight, I intend to celebrate a composer, analyze their created musical culture, and appoint an appropriate sub-genre title. The last of which, admittedly, I enjoyed a bit too much.



Endor: Tree-Folk



As seen in the closing minutes of Return of the Jedi, everyone is a musician at an Ewok party. From primitive drums played with animal skin mallets to alphorn-inspired wind instruments, the achieved sound is that of tribal celebration. Though not all instruments are fashioned by the forest's offerings, a drum set comprised of trooper helmets is another resourceful contribution to the frenzy of percussion, of which I hear the scout trooper to be of highest pitch... Take that to your next trivia night.







John Williams is of course the sonic architect behind the native sounds of Endor. However, this final sequence isn’t without controversy. The original 1983 version used the vocally driven ‘Yub Nub’ (celebrate the love) while the 2004 re-release replaced the song with an entirely separate instrumental. Whichever you prefer, I urge you not to play either too loudly for fear of conjuring a Force ghost.



Composer: John Williams

Album: Star Wars: The Complete Score -- Return of the Jedi (Original Motion Picture Soundtrack)

Track: 'Ewok Celebration' (Yub Nub)



https://www.youtube.com/watch?v=BEi9WB18vwE


<p>Ferrix: Stone and Sky-Metal</p>


On Ferrix, rhythm and tone are a means of communication. In fact, the first glimpse of Andor we saw from the teaser trailer featured maybe my favorite new minor character in all of Star Wars, the Time Grappler, announcing the beginning of the day by hammering a beskar anvil while perched atop a bell tower… That’s gotta be the most stone and sky-metal thing ever. Later in the same trailer, we saw multiple inhabitants playing a regionally recognized triplet figure on hanging sheets of scrap metal to inconspicuously warn others of interloping threats. Needless to say, the sons and daughters of Ferrix are dependent on music as a means of survival.







Andor, for me, has been an enjoyable addition to the palate of offerings. Among many impactful sequences was an artfully scored and emotionally stirring funeral processional down Rix Road in lament of Maarva Andor during the finale. Nicholas Britell utilizes woodwinds, brass, and a single drum beat in this hauntingly beautiful adaptation of a New Orleans-style funeral march. The drone tuba and fluid intonation bring an authentic feel as though these events were recorded live on the street. As I mentioned previously, Andor has been a surprise delight, and I believe the work of Britell has much to do with it. If this somber chorale doesn’t make you cry, then the toppling-over of B2EMO will. Fight the Empire!



Composer: Nicholas Britell

Album: Andor Vol.3 (Episodes 9-12) [Original Score]

Track: 'Forming Up/Unto Stone We Are'



https://www.youtube.com/watch?v=BRzDeHe2GYc


<p>Alderaan: Combustible-Classical (yeah, I went there)</p>


In Obi-Wan Kenobi episode 1, fans were finally afforded a proper glimpse at the tragically beautiful Alderaan. With its lush woods and majestic mountains, this hub for culture and commerce was truly a marvel to behold. Sadly, its impending demise only hits harder now that we’ve been given the pleasure of seeing and hearing it.







Composer Natalie Holt matches the stately terrain using a sweeping string melody against a pulsing percussive backdrop heard in the track 'Days of Alderaan' from the Obi-Wan Kenobi original soundtrack. For you music theory nerds, note that Holt has written this composition in the Phrygian mode thus creating a regal and unresolved chordal structure. Whether this is a coincidence or intentional, I must say there are no two better words to describe Alderaan but regal and unresolved.



Composer: Natalie Holt

Album: Obi-Wan Kenobi (Original Soundtrack)

Track: 'Days of Alderaan'



https://www.youtube.com/watch?v=I_eJVNJCFP4



Tatooine: Gaderffii-Chant



If you’re a working musician, you may just want to keep moving past Tatooine. The Max Rebo Band has laid claim to that gig for years. Surviving sail barge disasters and avoiding venue explosions likely isn’t on their rider, but they remain the staple crew on the sandy planet.







If the sound of Tatooine space ports are lively and jazz-centric, then the Dune Sea is quite antithetical. In episode 2 of The Book of Boba Fett, composer Joseph Shirley brings a worthy soundtrack to the customs of the Tusken raiders. During the track 'Aliit Ori'shya Tal'din' (family is more than blood), we witness the transformation of Boba Fett from a lone bounty hunter to a member of the tribe. Shirley begins with aboriginal yips accompanying a brass chorale... which slowly gives way to a reworking of the main theme melody (composed by Ludwig Göransson). The track ends with an absolutely beautiful Gregorian-style chant harkening to an ancient time long forgotten. Utilizing a mashup of cultural sounds, Shirley has added a spiritual density to the Tusken people, bringing much more complexity and substance to their unexpected arc.



Composer: Joseph Shirley

Album: The Book of Boba Fett Vol. 1 (Original Soundtrack)

Track: 'Aliit Ori'shya Tal'din'



https://www.youtube.com/watch?v=ie9eQfX-2aQ



The Star Wars Universe is a visual marvel. But next time you sit down to experience your favorite episode or movie, I encourage you to close your eyes for a bit and listen to the world created in the sound waves. And if you really want to have a laugh, go ahead and create your own sub-genre names. Okay, here are two examples:



Niamos: Space-Wave
Should you ever travel to Niamos, don’t forget your glow sticks. Yeah it’s Imperial-occupied, but it slaps. The pulsing synth and electronic drums keep the space raves going. Just don’t end up in a KX chokehold.



Concord Dawn: Chunk-Rock
I crack myself up…



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