In a typical anime, there are two ways to gauge a successful soundtrack: one, the music is so awesome that viewers are hyped every time it plays in the background, or two, the score matches the setting so well that it complements the scene without drawing attention to itself. For anime about music, there is inevitably more pressure for an appropriate, if not superlative, soundtrack.
Probably the trickiest subject matter for the arts to express is the arts themselves; despite music being a concept with which every audience is familiar, relying on that familiarity would only result in clichés. Just as mecha anime will focus on technology and politics, and fantasy anime will explore mythical creatures and powers, music anime must prioritize the creation of and experience unique to music. Staples of music-themed anime approach sound not only from an audio standpoint, but visually and narratively as well. The integration of the soundtrack to progress the plot, develop the characters, and engage audiences is key, as evidenced by the success of the following three shows.
2004’s BECK—or Mongolian Chop Squad, as it was rebranded in America due to overlap with artist Beck—follows Koyuki, a junior high school student who joins a garage band of teens struggling to make it big. The soundtrack makes sure that the band itself is in focus. Many scenes are silent outside of dialogue, so the majority of music viewers experience is in-universe performances. Not only does the quiet enhance the indie film feeling of the series overall, it invites realism. Koyuki lives a life without rock before BECK, so the audience does, too. As he learns to play guitar, the show treats viewers to the sounds of his stumbling through chords and butchering songs too advanced for his skill level. When Koyuki improves, so does the soundtrack; when he attends more shows and plays more often, music fills the previous silence.
The background score’s rarity also indicates to viewers when something noteworthy is happening. An early interaction between Koyuki and leading lady Maho results in his singing his favorite song and impressing her with his voice. While his first performance is acapella, Koyuki and Maho later harmonize a rendition of the song that the soundtrack accompanies with background guitar. This scene is one of the audience’s first clues that Maho isn’t just any girl for Koyuki, and the inclusion of background music communicates this by giving a moment they share alone the feel of a full performance. This song serves as a leitmotif for Koyuki and Maho’s relationship, both with and without accompanying music, and stands out as one of the few mellow tracks on an otherwise grunge- and rap-heavy soundtrack.
When BECK is just getting its start playing live shows, the tracks don’t vary much. Viewers quickly get used to hearing the opening bars of the same few songs, with new tracks only added over time, adding again to the realism of the series. As the band adds new songs, the chord progressions increase in complexity while the lyrics mature, reaching tongue-twister speed in the case of raps. With little other music in the series, the audience’s full attention is on BECK’s work, heightening their skill and progression as a band. The quality of their music mirrors the cast’s coming together and transforming from a ragtag bunch of teens with instruments to a solidified band performing at the Greatful Sound music festival, keeping the stakes always on the rise.
A common thread in music anime is the sense of identity that comes with playing an instrument. Where Koyuki is bored with his life until rock music ignites his interest, the protagonist of another series, Kids on the Slope, doesn’t realize his passion for piano until he finds the right songs to play. Set in the sixties, Kids on the Slope introduces Kaoru as a sheltered rich kid and classically-trained pianist who discovers jazz music and all the joy that comes with it through a surprising friendship with class troublemaker Sentarou and girl-next-door Ritsuko.
Director Shinichiro Watanabe and composer Yoko Kanno are best known for their work on Cowboy Bebop, which melded big band jazz and space cowboys, and 2012’s Kids on the Slope proves their range in creating a jazz-infused story. The show references icons like Chet Baker and Bill Evans, and its episodes are all titled after songs that appear in them, weaving soundtrack and plot. Kaoru starts off playing the right notes but without the swing and style characteristic of jazz, which Sentarou corrects; this interaction over music sets up Kaoru’s character arc for the series.
Unlike BECK, Kids on the Slope has an active score outside of the characters’ playing. It incorporates not only jazz instruments and technique but the style of sixties music. Just as BECK’s sparse soundtrack echoed the grungy feel of the series, this score communicates a simpler time gone by and does well to remind the audience of the show’s setting. The soundtrack differentiates score and characters’ playing, though. When the characters come together in Ritsuko’s basement to play, the high-energy jazz they create contrasts the softer background score. For the full experience of Kids on the Slope’s impressive soundtrack, audiences needn’t look further than Kaoru and Sentarou’s mid-series duet, a medley of Bill Evans’ “Someday My Prince Will Come”, John Coltrane’s “My Favorite Things”, and Art Blakely’s “Moanin’”.
The current spring 2015 season includes the latest slice-of-life series from Kyoto Animation, Hibike! Euphonium. Kumiko, who played in her middle school concert band, didn’t plan continue in high school but ends up joining with two new friends and playing euphonium despite hoping for a more recognized instrument. KyoAni’s penchant for slice of life is as strong as ever in this series, but once again the studio shows its work. Between sound and animation, Hibike! Euphonium places emphasis on learning to play not only as an individual or part of a small group but as a member of a larger-scale competitive team.
While Hibike! Euphonium does have a score outside of its band, the focus is still on the cast’s practice and improvement. Even a viewer untrained in music can hear when members are off during early practices on the show, as well as the progress made over time. Perhaps even more so than the audio of this series, the animation speaks to its knowledge of music. Details like emptying a spit valve and having to clean one’s instrument aren’t overlooked. When the camera is on any given member of the concert band, their playing and breathing visibly match the song.
Balancing sound and score in a music anime requires attention to detail. Whether it’s timing the soundtrack to just the right moments, balancing the music the characters create with the background score, or incorporating knowledge of the music world, anime studios have their work cut out for them ensuring that their audiences feel connected to the art within their art.
