something half-done (cooking analogy half-brewed) doorbraak pitch goes up or down tremolos looking down descending looking left right and centre pitch confusion stinger for the eye? spirit in unrest (Thank-Thuk Thank-thuh) 5/4 or 6/4 tremolos in groups of 5 (PArr-ra-ra-ruh-ra) come from the back and catch (pitch? effect?) destabilisation leading to stability buzzing-hissing-whirring-back isolated third intervals fizzing out back and forth, the motion diverging and converging look at it helpless confusion what really scares isnt really there colours red herrings
the ghost definitely is evil
leitmotifs (mean danger) - downward melodies repetitive motifs + crescendos dissonance atonality dim and aug intervals excess of harmonic overtones destabilising glissandos extremely small intervals or extremely large leaps thickly filled textures or sparse instrumentation fast crescendos or slow diminuendos pp vs ff extremely fast rhythms against drones or repetitions that seem to stop time influences from spiritual music to make it more sinister Musically,a glissandos slide upwards or downwards functions as a radical destabilisation of harmonic grounding.As the pitch goes up and up and up,or down and down and down,the cognitive embedding of what is heard gets negated and negated and negated: we are in that key,no,we are in this key,no,this one,et cetera,ad infinitum.The glissandos destabilising effect is caused by a seemingly endless chain of transgressions,crossings over of the boundaries between individual tones and keys.Over the course of music history the boundary crossings of the glissando have often been employed to symbolise other types of transgression extremely high-pitched or low-pitched melodies excess stingers, booming double basses, creeping drones non-linearity of time continual buildup and consequent release of tension cycles can get longer or shorter
you can also use motionlessness, repetitive drones
return of a return musical folding of time depicts transformation.