#encanto soundtrack analysis | Explore Tumblr Posts and Blogs

betweenthescarletmoon · 2 years

Text

An Encanto OST Analysis: The Madrigal Motif :D

(Fair warning: this video is four and a half minutes long and my analysis of the Encanto soundtrack will be tremendously long. We'll first organize this as the presence of what I call the Madrigal/Miracle Motif, its nuance and transformation throughout the plot, and then discuss why it is absolutely absent from certain songs.)

Tldr: this motif does not exactly represent the perfection or pure magic of the family, but the love and bravery and unity of the family in spite of the pain and fear that threaten to tear the family apart. It's not that this motif shows that the family is now absolutely healed, but that they're reunited. Now they know to rely on empathy, patience, and growth. And I believe this is the message that the Madrigal Motif wants to portray for all families.

So let's begin with the most important thing here! We must introduce the Madrigal Motif. I call it this because, even though the entire movie begins with Mirabel's Theme (technically called Mirabel's Cumbia later on), the most repeated motif of chords and melody, and the one that appears to first introduce, and then portray many indispensable parts of the plot, is the Madrigal Motif. In the video you hear many versions, though not all, of this motif, and I tried to limit them to twice per song.

The Madrigal Motif is usually heard in minor, but it holds so much nuance for the family and the miracle it represents. I believe Madrigal and Miracle Motif can be interchangeable, since in All Of You the characters nail down on the meaning that the miracle is the family in itself, instead of the gift bestowed on them. The gift is merely a metaphor, so whenever the gifts are showcased in a sense of belonging, like when Antonio received his gift, it strengthens the meaning of family.

Appearances of the Madrigal Motif

1. Abre Los Ojos [*]: Right after being introduced to Mirabel's Theme, there is a crescendo, and a surge of a gorgeous song. This is literally the introduction to the magical family of the Madrigals! The beauty of this song is that you hear this motif three times, in three different ways (I didn't add the second one, but it's a lot softer and full of ethereal wonder), and by the time the third time it's heard, the motif is cemented and you feel goosebumps and nostalgia and excitement for what's to come of the Madrigals. You're musically and emotionally invested. You may even wish to feel what it's like to be part of a family like this.

2. Meet La Familia [*]: Pretty self-explanatory, the family is introduced beyond the idealistic song Mirabel sang to the kids of the town. Mirabel's Theme* is heard throughout the whole song until the end, where Mirabel is decorating the doorsteps. This is right before Abuela Alma tells Mirabel that she would help the family most by stepping aside. The motif is a little bittersweet, as if it's trying to portray the love of the family, but at the same time showing how imperfect it's beginning to seem.

3. I Need You: The motif was trying to to build, yet was incomplete, but when Mirabel's failed ceremony contrasts Antonio's current one, the motif is truly sorrowful. This is when we see the root of the brokenness of the miracle/family, but then it soars into the beauty of it when Antonio's door comes alive and gives him his gift.

4. Antonio's Voice: Now this song is the most victorious one in the entire soundtrack, even more than ¡Hola Casita! Why? Because of the sheer representation of Antonio's culture, ethnicity, natural wildlife, and his own individual identity and voice! The Colombian cantadoras sing the following words, according to what my ears could pick up: “Antonio viene! Viene Antonio! El niño tiene su don— Ah! Ah! Cuando tiene su don— Ah!” (Translation: Antonio's coming! Here comes Antonio! The child now has his gift! When he has his gift—) The incomplete sentence here could be finished with the simple statement that was already sung: He's coming. And yet, despite implying that, the cantadoras proceed to sing the Madrigal Motif! This is what the magic of the miracle is! This is what the wonderful love of the family is! We're finally seeing it all with our own eyes! But then, the music and the cantadoras' melody descends into chords of loneliness, because Mirabel is left invisible to the family. This is quite literally a contradiction to what the Madrigals and their motif are supposed to represent.

5. Tenacious Mirabel [*]: The motif was, again, trying to build, yet incomplete, as Alma spoke to Pedro and asked him for a sign. What ceases the motif from forming is the fear and helplessness Alma feels, and that she hides from the rest of the family. I John 4:18 words this perfectly for me: “There is no fear in love; but perfect love casts out fear, because fear involves torment. But he who fears has not been made perfect in love.” However, it is only when Mirabel determines to spring into action to save the miracle, without balking at the idea of asking for clues, help, and guidance from her family, she shows that her love for her family defeats her fear and turns it into bravery. This is why we hear an adventurous style of the motif.

6. Mirabel's Discovery: A very eerie, disturbing, corrupted version of our main motif, most likely because of two reasons. First, Mirabel is afraid of being in the midst of Bruno's tower and cave, because she's been taught to fear him (directly against loving him as part of the family). Secondly, we feel along with her the sheer horror of being at center, even probable cause of the destruction of the miracle, her home, and her family. Hence, the motif is corrupted by the real danger of her family tearing apart, as well as fear.

7. The Rat's Lair: Now I'm not even sure if this is a stretch, or if it's a Luigi's Mansion-esque style for the Madrigal Motif. Maybe it's just similar chords. (Unfortunately I'm not entirely formed in my music minor, so music experts please confirm for me!) But as Mirabel's fear and misconceptions of Bruno are fading away during her time with him and seeing his temporary home, it feels like a hesitant, mysterious beginning in seeing Bruno as part of the family.

8. Tío Bruno: Now, here, Mirabel truly sees Bruno as a Madrigal, who disappeared out of a mix of well-meaning love and fear, to protect her. It's also, noticeably, the first time she calls him uncle, like the name of this song implies. It's tragic, that the family has been so convoluted and complex and dysfunctional, that we feel the love as well as the tired pain in the Madrigal Motif here.

9. Isabela La Perfecta: It's beautiful to me that, in the midst of Mirabel succumbing to the family temptation of gossiping and choosing bitterness towards another family member, Bruno quite literally snaps her out of it (and promptly apologizes; I think he noticed immediately she was doing something he's been at the brunt of far too many times). But he then reminds her of her worth, and the importance of her empathy, bravery, and love in saving the family and the miracle. This is why we can hear the Madrigal Motif!

10. The House Knows [**]: First a haunting cello, then haunting vocals (in a stunned silence right after Alma accused Mirabel of hurting the family), before the song succumbs into pure dissonance. Then the melody becomes the desperate one from The Cracks Emerge. This was the moment that the Madrigal Motif faded to pure dysfunction, because Alma would not bend, and Mirabel came to the bitter and furiously heartbroken realization that her worth and the unity of the family would never be acknowledged.

11. El Río: This song takes place after Dos Oruguitas (😭) where Mirabel truly comes to an understanding of Abuela Alma's trauma. She effectively empathizes with her in such a tender, moving way (again, this is her gift! She's an empath!). It is this empathy, “the oxygen of the soul” (in Bill and Kristi Gaultiere's words, founders of Soul Shepherding), that triggers the rebirth of the Madrigal Motif, soft and gentle like Mirabel's words. The song transitions to Dos Oruguitas again, with Alma's beautiful words: “I asked my Pedro for help. Mirabel, he sent me you.”

12. It Was Me: Bruno for the Pedro-esque win! Anyway back to the motif; the song actually begins the moment Alma hugs him, and it crescendoes when the three get on the horse. Bruno asks where they're going; the moment Mirabel says: “Home,” is when there's a true resurgence of the Madrigal Motif, with hope.

13. ¡Hola Casita!: And finally, the magic is restored, with strings, harps, soprano vocals, everything! This is the most ethereal and elysian form of the Madrigal Motif, and it seems to have been perfected and finished. This is not to say the family has been fixed, perfected, or completely grown, but they've learned, and they're going to stay together as they go through external or internal trials to come. After all, the Madrigal Motif was present even in the darkest of moments of the family. This motif, unlike we may have thought in the beginning, does not symbolize the perfect, trauma-less family, but the love and unity despite the imperfections, trauma, fear, and hurt.

Notable Absences of the Madrigal Motif

The Cracks Emerge [**]: When Mirabel sees the danger of Casita and everyone else is celebrating Antonio's gift. Obviously, she is alone, and her family hasn't noticed the very real danger, nor her absence.

Breakfast Questions: This is a typical perfectionist morning, where we see Alma in action, disciplining Mirabel like a child, enforcing the marriage (and future children) on Isabela, and other responsibilities for the day for the rest. It is subtle, but there is not an exact sense of emotional connection in the family (this is emotional neglect in action). This is why we can't hear the motif here.

Bruno's Tower: Like mentioned before, Mirabel feels far more fear than love here. It doesn't leave room for sense of family with someone she barely even knows and also fears.

The Dysfunctional Tango: I don't need to explain this one. Emotional neglect and family pretenses at its finest. Plus gossip.

Chasing The Past: Again, this song portrays fear but also an adrenaline-filled desperation to get answers. It still misleads us into thinking Bruno doesn't belong in the family anymore.

Family Allies: The chords here feel like a darker version of, perhaps, Mirabel's Theme? Not sure. But the title here is ironic. It's like a certain war is beginning, with members of the family taking sides, either for or against Mirabel, or remaining neutral. Explains the lack of the motif.

The Ultimate Vision [***]: A foreshadowing of the climax, where the candle fades and Casita is destroyed. But this is a great song to also empower Bruno individually; just not reuniting him to the family yet.

Las Hermanas Pelean: The title translates to “The Sisters Fight”. Heh. No family unity there.

La Candela [***]: Like in The Ultimate Vision, it's a crisis, the theme of the dissolution of family. It's the antithesis of the Madrigal Motif.

La Cumbia/ El Camino de Mirabel [*]: Since both are only Mirabel's Theme, emphasising her qualities and strengths individually, the songs in the movie work in giving her a spotlight the family didn't give her.

* Song includes Mirabel's Theme

** Songs are connected with a theme of a coming disaster. The Cracks Emerge first foreshadows The House Knows

*** Songs are connected with a theme of Bruno's power, clairvoyance. Bruno's vision visually and musically foreshadows the climax of the movie, and it's just genius. Thanks Germaine

80 notes · View notes