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Only one I can think of: I find myself far less enmaored with "The Rocketeer" than I used to be.
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I don't think I have an example of a score that I loved and that my opinion of it changed to the worse.
It's usually the opposite.
I appreciate scores that I didn't at first.
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but then the kinds of movies I watch tend not to have that overblown, bombastic space opera stuff everyone worships around here ("The Childhood Effect"). I can barely listen to that kind of stuff along with the film (my preferred way of hearing film music anyway) so hearing it on its own must be truly excruciating.
I'm sorry, but if i understand correctly here (English is not my native language), you're implying that whoever loves such scores is due to the fact that they remind him of his childhood and that these scores have no artistic value whatsoever? eg. would that include scores like Empire Strikes back, Ben-Hur etc. or just the more modern bombastic scores?
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Perhaps some low-profile Media Ventures scores from the 1990s. I'm not playing those too much now.
On the other hand, I'm even MORE into electronic 1980s scores now than I was before.
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I'm not sure what Jim means, but for me it's any kind of bombastic score, really (old or new). Partially it has to do with my tinnitus, partially it has with a maturation in taste; an attraction towards the calm and ambient.
That doesn't mean, however, that I can't enjoy a good rambunctious romp now and then. It's a kind of score that has been with me forever, and I will probably continue playing untill the day I die. But taste evolves, and preferences come and go.
So, mature means calm and ambient, and immature means large symphonic scores?
I don't think it goes that way.
Then whoever loves Rite of Spring, or Daphnes and Chloe is being childish?
mature can be either a simple flute piece or a large symphony orchestra piece.
It's not the size that counts.
it's the melody, harmony, counterpoint, structure etc, and the sophistication of the composer that count..
A small ensemble piece doesn't mean it's better or more mature than a large symphonic piece.
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Of course I didn't mean that. Big symphonic scores can be calm too!
What I meant is that I no longer have the energy of my youth, and not the same listening stamina in terms of listening to loud action music over extended periods of time. Combined with my tinnitus, it has meant a higher focus on calmer and more textural material.
ok, i should have looked up what tinnitus means.
Anyway, it's just that you said "it has with a maturation in taste", and I took it like you were implying that when someone is being mature in taste (meaning his taste and aesthetics become better) he doesn't like the "immature" symphonic scores..
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Posted: |
Sep 20, 2014 - 1:06 PM
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By: |
Chris Avis
(Member)
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I'm not sure what Jim means, but for me it's any kind of bombastic score, really (old or new). Partially it has to do with my tinnitus, partially it has with a maturation in taste; an attraction towards the calm and ambient.
That doesn't mean, however, that I can't enjoy a good rambunctious romp now and then. It's a kind of score that has been with me forever, and I will probably continue playing untill the day I die. Same with my psytrance and goth metal or whatever. But taste evolves, and preferences come and go.
Thor, thanks for your comments about tinnitus. I too suffer from tinnitus, probably in part because of listening to bombastic film music too loudly. I still like the bombastic stuff if it's well crafted (most of post-2000 action music does nothing for me). But, as my wife doesn't particularly care for film music, I tend to do most of my listening at work through headphones and, like you, I find that prolonged periods of listening to very loud action music tends to aggravate my tinnitus and so my score listening habits are changing.
While I like some modern, more ambient music (e.g. something like Drive), increasingly I'm listening to more late Golden Age and early Silver Age scores. There's no way that I'd have picked up something like the Bernstein G.E. Theatre album a decade ago, but I ordered it last week. While some of this music is undoubtedly bombastic, it doesn't quite have the extremes in dynamics of something like Star Wars or 80s action/adventure scores and I find it much better to listen to without constantly having to be on the volume control. Plus, I find it easier to concentrate on work with it as background music. Again, I still love a good bombastic score… I was just listening to First Contact this morning and marvelling at how well that score stands up, but it's getting less frequent.
As for scores that I used to like, Dragonheart would be one. I love the main theme from that score, but the thinness of the orchestration and much of the rest of the thematic material lead me to fall out of love with it. Another candidate would be Seven Years in Tibet, which I still really enjoy, but overplayed to the point that I was totally sick of it.
Chris
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If "electronic tonalities" count as a score, then it would be Forbidden Planet. Growing up watching the film I rather dug the screeches and whines on the soundtrack. Now as an adult it grates on my nerves like fingernails on a chalkboard. I still love the film but wish something else was there.
David Rose was the original composer on this and his theme is on "The Best Of David Rose" CD.
Lovely yet atmospheric.
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