orchestral fanfares during opening and closing credits. otherwise, diegetic music: characters whistle or sing, "Bury Me Not on the Lone Prairie" for death of Steve (Richard Arlen). trail drives, romantic interludes, final gunfight without music (Darby an Du Bois, American Film Music 1990, p. 9).

Farewell to Arms - original love theme during opening credits and at key moments. Italian atmosphere established by opening of Mendlssohn's Fourth Symphony, "La donna é mobile" from Verdi's Rigoletto and traditional "Santa Lucia". Borrowings from Wagner: "Ride of the Valkyries" during battle scene, brassier treatment of Wagner while Frederic searches for Catherine, music from Tristan and Isolde while Catherine dies in Frederic's arms. (Darby and Du Bois, American Film Music, 1990, p. 13)

Tony whistles "Slaves' Chorus" from Verdi's Nabucco in opening murder scene.

strings during opening credits. dance music. Italian-sounding music. "only conventional musical effects in obvious places." (Darby and Du Bois, American Film Music, 1990, p. 12).

Original theme during opening credits. Grand Appasionata by Giuseppe Becce - standard silent film rep - during end credits. (Darby and DuBois, American Film Music, 1990, p. 12).

"I'm Forever Blowing Bubbles" during opening credits and later at nightclub and again on gramophone in Powers' home - mood of song contrasts with events'. "There are Smiles" and "Toot, Toot, Tootsie" at nightclub. Putty Nose dies while singing. "Romantic musical kitsch" during romantic scene. (Darby and Du Bois, American Film Music, 1990, p. 12-3).

Original rain theme at beginning. Saide Thompson identified with jazz mostly from her radio. No music for (religious) Davisons. (Darby and Du Bois, American Film Music, 1990, p. 14)

"Oriental" theme by drummer in street and native singer. Foreign Legion represented by marches as soldiers leave and return. waltz at high society party. "What Am I Bid for My Apples" symboizes heroine's sordid past. (Darby and Du Bois, American Film Music, 1990, p. 9-10).

more music than most contemporary films. usually occurs in scenes with little or no dialogue. officially by Arthur Kay but others involved. soaring strings for snow falling on pioneers and hero. idyllic air by brass when settlers have survived first winter and heroine prays for Coleman's return. love theme by harp and violin. martial music during fight into "Abide with Me" during mourning. also honky-tonk, "Indian," hoedown music. (Darby and Du Bois, American Film Music, 1990, p. 11).

march for opening credits, military and sober (Broekman). diegetic music sung or whistled by characters. German volunteers sing patriotic songs. (Darby and Du Bois, American Film Music, 1990, p. 10).