I think there should be a separate distinction for the 80's and 90's because the style is vastly different from what we have in the 2000's forward.
I agree wholeheartedly. I try not to use labels for art since what makes up genres and periods is so subjective, but I also disagree with lumping together everything from the 80s to the present as a period.
That said, I've found myself listening to everything from Prokofiev's Alexander Nevsky and Huppertz's Metropolis to M83 and Joseph Trapanese's Oblivion. If it grabs me I listen, regardless of period, though the past holds far more of interest for me than the present.
It's a little unfair to coin the film score era after 2000 as a Dark Age. On occasion, there has been good film music written, nothing like attempts of the past though in terms of uniqueness and style as far as I'm aware of, I think.
Just watched 1967's Tobruk, a film I hadn't seen before. Hudson and Peppard saving the North African desert for the allies. There were one or two interesting angles to an otherwise conventional war film but what stood out for me was the Kaper score. A perfect example of a golden age score written during the silver age. Everything about it screamed 50s biblical epic crossed with 50s western. Not a bad score in itself but for a different film. Tiomkin managed largely to avoid that trap in Guns of Navarone, as did Rozsa in The Green Berets.*
Which shows that, try as one might to pigeonhole eras, there's bound to be a bleed over between the categories.
TG
* any more examples of a 1960s war film scored by an established golden age composer would be welcomed...
Just watched 1967's Tobruk, a film I hadn't seen before. Hudson and Peppard saving the North African desert for the allies. There were one or two interesting angles to an otherwise conventional war film but what stood out for me was the Kaper score. A perfect example of a golden age score written during the silver age.
Yup, & a great stereo release from Intrada, one of the all too few Universal original score releases from them.
