Revolutionary Girl Utena - Music

Music

The series' musical score, by J.A. Seazer, is one of the show's most memorable features. Utena's signature song is "Zettai Unmei Mokushiroku" (Absolute Destiny Apocalypse), which plays every time Utena makes her way to the dueling arena. This song, along with those played during the duels, is composed in a choral rock style. The texture of the chorus is primarily monophonic, although there is some homophony within the inner voices of the chorus. The melody of the chorus is written in transposed Aeolian mode or natural minor. It's also interesting to say that the melody does not use a major five chord at the cadence which is usually the norm for minor mode; it uses a minor five chord instead. The lyrics that often appear to be little more than themed words strung together. While the show's creative team hasn't offered any official explanations of the lyrics, some fan websites suggest interpretations.

The non-vocal background music was composed by Shinkichi Mitsumune, and is largely orchestral in character, though it often features significant jazz influences. One notable song is "The Sunlit Garden," a recurring duet piano piece which plays during nostalgic scenes. Its ubiquity in the series makes it iconic in its own right. Mitsumune also handled the arrangement of the first eight duel choruses.

The soundtrack of Adolescence of Utena is similar in style to the series, containing a mixture of orchestral pieces and choral rock. Masami Okui's track, the J-pop ballad "Toki ni Ai wa" (At Times Love is...), is atypical of the series' sound, although it enjoys considerable popularity among fans.

Read more about this topic:  Revolutionary Girl Utena

Famous quotes containing the word music:

    ... the majority of colored men do not yet think it worth while that women aspire to higher education.... The three R’s, a little music and a good deal of dancing, a first rate dress-maker and a bottle of magnolia balm, are quite enough generally to render charming any woman possessed of tact and the capacity for worshipping masculinity.
    Anna Julia Cooper (1859–1964)

    Nothing is capable of being well set to music that is not nonsense.
    Joseph Addison (1672–1719)

    I think sometimes, could I only have music on my own terms; could I live in a great city and know where I could go whenever I wished the ablution and inundation of musical waves,—that were a bath and a medicine.
    Ralph Waldo Emerson (1803–1882)