ABSTRACT
This chapter discusses David Lynch's typical use of non-diegetic music in his films. There is a special emphasis on the role that Angelo Badalamenti plays in the composition of the non-diegetic music and a discussion of the reuse of pre-existing music by other composers in non-diegetic contexts. The chapter also features interviews with Lynch collaborators Dean Hurley and Marek Zebrowski. There is also a discussion of main title music for several films including Dune and Mulholland Drive. In Lynch's films, there tends to be a sonic distinctness in the non-diegetic music, much of which derives from Lynch's collaborations with Badalamenti. The most striking characteristics of this music are sustained chords with slow-moving harmonies and shrieking sounds in the upper strings and suspensions. Many of Badalamenti's scores for Lynch have a characteristic rising and falling sequential movement. The orchestration and use of the cue blocks are also a constant among Lynch's works that create a specific sonic profile that is recognizable to the viewer.
