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Are all the specific "inspirations" for the various familiar-sounding Spence compositions acknowledged in the liner notes for the big set, or else catalogued anywhere by Spence fans?
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Posted: |
Feb 10, 2016 - 7:56 AM
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By: |
jackfu
(Member)
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Are all the specific "inspiarations" for the various familiar-sounding Spence compositions acknowledged in the liner notes for the big set, or else catalogued anywhere by Spence fans?
No, not all, and I don’t know if they are catalogued elsewhere. I’ve seen comments on other websites about Spence’s use of familiar works, and some have been quite negative. Indeed, Spence’s version of “Hit and Run” is nearly identical to the original by Ralph Dollimore (APM/KPM). However, it is useful to remember that much of the music in the various production music libraries was clearly derived from classical, jazz and popular music, etc., much of it practically “lifted” from original songs. I can’t help but think that some if not most of the “borrowing”, if you will, came from the composers, but in addition, much of that was driven by requests from the folks at the music libraries themselves. I can see some executives, producers, etc., telling a composer something like “Let’s try to capture some of that twangy guitar and fuzzy bass sound so popular with young folks nowadays, you know, that soulful ‘Theme From Shaft’ and all that.”
There is an insert with composer information (listing the tracks by composer).
As far as the “'inspirations'”, Spence makes this comment:
“Over the years, a lot of our most popular pieces have come from folk songs: Up She Rises, Men of Harlock, Bonnie Blue Gal. Cossack Charge is based on a Russian folk song called Meadowlands.” – Sam Spence, Autumn Thunder, pg 24.
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Posted: |
Feb 10, 2016 - 10:08 AM
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By: |
jkannry
(Member)
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Are all the specific "inspiarations" for the various familiar-sounding Spence compositions acknowledged in the liner notes for the big set, or else catalogued anywhere by Spence fans?
No, not all, and I don’t know if they are catalogued elsewhere. I’ve seen comments on other websites about Spence’s use of familiar works, and some have been quite negative. Indeed, Spence’s version of “Hit and Run” is nearly identical to the original by Ralph Dollimore (APM/KPM). However, it is useful to remember that much of the music in the various production music libraries was clearly derived from classical, jazz and popular music, etc., much of it practically “lifted” from original songs. I can’t help but think that some if not most of the “borrowing”, if you will, came from the composers, but in addition, much of that was driven by requests from the folks at the music libraries themselves. I can see some executives, producers, etc., telling a composer something like “Let’s try to capture some of that twangy guitar and fuzzy bass sound so popular with young folks nowadays, you know, that soulful ‘Theme From Shaft’ and all that.”
There is an insert with composer information (listing the tracks by composer).
As far as the “'inspirations'”, Spence makes this comment:
“Over the years, a lot of our most popular pieces have come from folk songs: Up She Rises, Men of Harlock, Bonnie Blue Gal. Cossack Charge is based on a Russian folk song called Meadowlands.” – Sam Spence, Autumn Thunder, pg 24.
And many of the classical and some??? Early scire composers used european folk themes. He did nothing wrong.
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I don't think there's anything morally or legally wrong with it either, but I've never agreed with the approach of brushing it under the carpet. Above, Jim Phelps proposes that Spence could've had a fruitful career, and enthusiastic following, if he'd scored science fiction films. Sure, you mean like Horner did?
Why assume that mentioning a piece's similarity to a pre-existing piece need necessarily be seen as a negative criticism? Even using the big bad P word (plagiarism) isn't necessarily negative, if you're just being an attentive listener. No one is making any moral judgment about what happens, but it obviously happens! Are we being MORE scholarly or LESS scholarly if we don't acknowledge it?
Incidentally . . . Does Spence's "The Magnificent Eleven" remind anyone here of anything?
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