The use of music as a motif in (Stanley Kubrick, A Clockwork Orange 1962)] creates a lens for the viewer to recognize the trend behind it. violence must destroy an individual's identity. Although Alex (Malcolm McDowell) clearly associates violence with his own individual identity and self-esteem, he consistently reveals the impossibility of remaining an individual in the face of group violence. The images created by the music coincide with the destruction of Alex's identity, either through adherence to a group's style of violence or an inability to embrace the sameness of group actions associated with violence. As the film progresses, the musical imagery follows the exit and return of his personal identity as a role for his involvement in violence. The musical references highlight the power of violence to eliminate individual identity in favor of group identity, showing the destructive effect of violence on the human personality. All of these factors show how music is used as a motif to show the rollercoaster of Alex's journey throughout the film. One musical image, the “ode to joy” from Beethoven's Ninth Symphony, illustrates how violence steals the identity of an individual and replaces it with that of a group. As Alex sings the last movement of Beethoven's symphony, he "feels the old tigers leaping within [him]", and he forces himself on the two young girls he has brought with him to his den. Alex's rape of these two girls appears to constitute an individual act of self, and indeed the vocal section of the final movement of Beethoven's Ninth Symphony begins with an individual voice, without any accompaniment. Alex offers this explanation: “I am serious with you, my brothers, about this. ...... middle of paper ...... dominant group identity. Alex’s association of violence and joy allows the viewer to understand Beethoven’s “Ode to Joy.” " as a direct commentary on the universal interdependence of those who engage in violence. The connection between Alex's personal violence and a concerto contradicts the notion of a personalized style of violence: the concerto soloist cannot exist outside the combined identity of the group. Group violence in prison leads to a dream in which Alex literally becomes an instrument of the orchestra, a material object without character or individual identity. a violent lifestyle, which heralds the return of individual identity clarify the role that violence plays in the destruction of individual identity, the musical references in Kubrick's work reveal the annihilation of the self as an end. ultimate violence.