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LOG IN Forgot Login? Register General Discussion • Trading Post • Non-Film Score Discussion  Profile • Preferences • Community Rules • Help/Contact • Search Board Search Terms:  Search Within:  topics posts since 2019 2018 posts 2017 posts 2016 posts 2015 posts 2014 posts 2013 posts 2012 posts 2011 posts 2010 posts 2009 posts 2008 posts 2007 posts 2006 posts 2005 posts 2004 posts 2003 posts 2002 posts 2001 posts 2000 posts users  search tips  You must log in or register to post.   Go to page:  1 2 3      General Discussion: FSM Blog Post: Early FSM CDs—Low Quantities    FIRST   PRIOR   1 2 3    NEXT   LAST   Last Post  This is a comments thread about Blog Post: Early FSM CDs—Low Quantities by Lukas Kendall    Posted:   Sep 11, 2009 - 4:11 AM     By:   Thor   (Member) The other 'C' means 'Chronological', what you call 'sequential'. As for "avant garde" music, I actually enjoy some of that. My dislike of LOGAN'S RUN has only to do with how the tracks are presented. A dose of "avant garde" music is certainly warranted there, but it has to be placed at the appropriate spot, so that it REPRESENTS that aspect of the score sufficiently without wearing out its welcome simply because it has to follow the film's musical chronology and quantity.    Posted:   Sep 11, 2009 - 5:28 AM     By:   Bill Cooke   (Member) You should have. I've yet to hear someone properly justify why any given soundtrack should be C&C out of purely musical reasons (and not filmical). Because if you think of film scores as being something akin to the tone poem -- a story told in music -- you want that musical drama to unfold in the correct order with all its sequences intact. I realize you don't listen to film music with "drama" or "story" in mind, and that's fine -- but I would say most people who listen to film music do.    Posted:   Sep 11, 2009 - 6:12 AM     By:   Thor   (Member) I realize you don't listen to film music with "drama" or "story" in mind, and that's fine -- but I would say most people who listen to film music do. Actually, I often do, but it's my OWN "narrative" that doesn't necessarily have anything to do with the film's narrative. I think it's the record producer's responsbility to represent the film's drama - or rather its thematic "essence" - in purely musical logic and terms, and then we're free - since music is a non-representative medium - to associate with it whatever we wish. The reasons you cite are primarily filmical, not musical.    Posted:   Sep 11, 2009 - 6:19 AM     By:   Jim Phelps   (Member) As for the thread's original topic... I'm surprised that CONQUEST/BATTLE...APES hasn't sold out. Perhaps the APES cult isn't as widespread as I thought. Damn that Hasslein!    Posted:   Sep 11, 2009 - 6:37 AM     By:   Miragliano   (Member) I realize you don't listen to film music with "drama" or "story" in mind, and that's fine -- but I would say most people who listen to film music do. You do, do you? Care to post a link to some evidence to back that up? I have a large number of soundtracks to films i've never seen. I love the music and it has NOTHING AT ALL to do with the drama and story.    Posted:   Sep 11, 2009 - 6:57 AM     By:   Bill Cooke   (Member) I have a large number of soundtracks to films i've never seen. I love the music and it has NOTHING AT ALL to do with the drama and story. I'm very happy for you. I have some soundtracks to films I've never seen, too, but I like to at least familiarize myself with the subject matter or story of the film to get an idea of what the composer is attempting to illustrate. It's the same as listening to a tone poem. You may not always know what is happening in the story moment to moment, but you certainly get an idea of development. Admittedly not all scores develop their material -- in these cases it doesn't matter quite so much to retain C&C order. LOGAN'S RUN is a great concept score; it has an ingenious architecture. And it develops ideas through the course of the C&C presentation. This is how I like to listen to it. If you don't, as I said, that is FINE. To each his own.    Posted:   Sep 11, 2009 - 7:05 AM     By:   Miragliano   (Member) have a large number of soundtracks to films i've never seen. I love the music and it has NOTHING AT ALL to do with the drama and story. I'm very happy for you. I have some soundtracks to films I've never seen, too, but I like to at least familiarize myself with the subject matter or story of the film to get an idea of what the composer is attempting to illustrate. It's the same as listening to a tone poem. You may not always know what is happening in the story moment to moment, but you certainly get an idea of development. Admittedly not all scores develop their material -- in these cases it doesn't matter quite so much to retain C&C order. LOGAN'S RUN is a great concept score; it has an ingenious architecture. And it develops ideas through the course of the C&C presentation. This is how I like to listen to it. If you don't, as I said, that is FINE. To each his own. That's all cool, I don't have a problem there. What I do object to is people who state things as fact without evidence to support their claim. Saying that most people enjoy film music because of the drama and story falls into that category.    Posted:   Sep 11, 2009 - 7:29 AM     By:   TerraEpon   (Member) It's funny, because I full agree with Thor that a music on CD should be fully separated from it's original source of being from a film. I also fully disagree that muisic should be left off the CD, or put out of order, at least if you're going for a CD release of "the score" (as opposed to a 'suite' or whatnot which is a different story). But this argument has been on this board many, many, times.    Posted:   Sep 11, 2009 - 7:32 AM     By:   Miragliano   (Member) But this argument has been on this board many, many, times. It will crop up many times in the future as well.    Posted:   Sep 11, 2009 - 7:37 AM     By:   Bill Cooke   (Member) What I do object to is people who state things as fact without evidence to support their claim. Saying that most people enjoy film music because of the drama and story falls into that category. If you care to reread my post you'll see I did not state any hard facts. I said "I would say most people.." which is a lot different from stating "Most people..." That said, I continue to believe that the majority of people who listen to film music carry film/story associations with the music. It just makes sense that they would. After all, if it weren't for the film/story, there would be no music in the first place. Sorry for keeping this thread derailed. I will stop now.    Posted:   Sep 11, 2009 - 7:50 AM     By:   Thor   (Member) What I do object to is people who state things as fact without evidence to support their claim. Saying that most people enjoy film music because of the drama and story falls into that category. If you care to reread my post you'll see I did not state any hard facts. I said "I would say most people.." which is a lot different from stating "Most people..." That said, I continue to believe that the majority of people who listen to film music carry film/story associations with the music. It just makes sense that they would. After all, if it weren't for the film/story, there would be no music in the first place. Sorry for keeping this thread derailed. I will stop now. And it was also my point that many film score fans - like myself - ALSO enjoy the dramatic/story-driven aspect of film music, yet without having the ACTUAL FILM's story in mind.    Posted:   Sep 11, 2009 - 7:53 AM     By:   Miragliano   (Member) I just remembered the limited edition 500 copy Sheena release that sold out faster than you can say "Whereisit?" The film was obscure and I can't even remember the composer's name but the score was snapped up ridiculously fast. There are only two reasons I can think of why it went so quickly: 1) It was a very limited release. That's the scent of blood to a collector's nose. 2) It has some ridiculously memorable themes and melody. I don't own the CD and I haven't seen the film in about 15 years but I can still hum the main theme. So, does this provide evidence that films with instantly accessible, i.e. hummable after one viewing, scores sell faster, even if the film itself is obscure? It also helps that the film was made in the 80's and features Tanya Roberts. Actually Tanya Roberts and the music are the only things I can remember about the film. Can you hum the themes in Prince Valiant and the Commancheros? I know I can't hum any of the themes to Logans Run. It did have Jenny Agutter in it though.    Posted:   Sep 11, 2009 - 8:05 AM     By:   AlexCope   (Member) Logan's Run has a memorable and beautiful love theme. You should learn it!    Posted:   Sep 11, 2009 - 8:18 AM     By:   Miragliano   (Member) Logan's Run has a memorable and beautiful love theme. You should learn it! LOL, I didn't realise this was school    Posted:   Sep 11, 2009 - 8:26 AM     By:   AlexCope   (Member) I'm sure someone around here could teach you how to hum better.    Posted:   Sep 11, 2009 - 8:29 AM     By:   Miragliano   (Member) I'm sure someone around here could teach you how to hum better That's fighting talk, mate. How do you know what my humming is like? I challenge you to try humming a piece of avant garde music. Good luck with that!    Posted:   Sep 11, 2009 - 8:31 AM     By:   AlexCope   (Member) Since when is the love theme from Logan's Run avant garde? Now, the disco version, maybe...    Posted:   Sep 11, 2009 - 8:35 AM     By:   Miragliano   (Member) Do you mean the version done by Geoff Love and his Orchestra? I can actually remember that and I haven't listened to it in about 20 years. Unlike the version on the soundtrack CD. One memorable cue on a disc does not constitute a good listen. If you read upthread a bit you'll see I did actually like certain tracks on Logan's Run. I can't remember the love theme specifically but I bet that was one of them.    Posted:   Sep 11, 2009 - 8:52 AM     By:   Tom Servo   (Member) Since when is the love theme from Logan's Run avant garde? Now, the disco version, maybe... Indeed, the love theme is very memorable and easy to hum... it's first incarnation in the score, however, is a very dry, cold, Bartok-like presentation, which I love, and then it finally flowers in "The Monument". Anyone listening to "The Monument" who can't hum along needs to make sure they can hum anything at all!    Posted:   Sep 11, 2009 - 8:58 AM     By:   Miragliano   (Member) The real test is, can you hum it afterwards? A day afterwards, a week, a month? I can do that with the theme from Sheena even though I haven't seen the film since around '94 or '95. Anybody can hum along with something as they're listening to it! What kind of fool test of hummability is that? EDIT: I came out of Star Trek humming Giacchino's main theme, that made me buy the CD and I still hum it now, even though I haven't listened to the CD for about a month. THAT'S hummability. I'd argue that if the old scores that haven't sold out yet had themes like that, they would be long gone by now, including Logan's Run.     General Discussion: FSM Blog Post: Early FSM CDs—Low Quantities    << < 1 2 3  > >>  Go to page:  1 2 3   First Post    General Discussion • Trading Post • Non-Film Score Discussion  Profile • Preferences • Community Rules • Help/Contact • Search Board You must log in or register to post.   Go to page:  1 2 3

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