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Posted: |
Jun 5, 2015 - 3:45 AM
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By: |
The Thing
(Member)
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I've read through this thread a few times since it first appeared, and was previously going to reply, but wasn't entirely sure I was clear on the three categories mentioned in the original post.
But I thought I'd give it a go, now that plenty other people have contributed to the thread.
1.
I listen to film music for the listening experience, so I guess I listen to it as "music", rather than "film music". If it's something I like, then it doesn't really matter if it's from TV/Films or not. As a few posters have mentioned, if they don't think they're going to listen to something, they don't bother keeping it any more. I'm the same, had a considerable downsize of my collection, and got rid of things I just don't think I'll listen to in preference to other stuff. The reason might be because I don't like the music, or the archival nature of a recording just doesn't make it so enjoyable. In the case of the latter, I'll usually prefer a re-recording as it sounds better, so the listening experience is definitely more important to me than having an exact souvenir of the fim music.
I like checking out obscure new releases for things I've never heard of by up-and-coming composers, than looking for that last remaining unreleased score by a big name favourite composer just to be a completist (and maybe one reason for it having remained unreleased is simply because it isn't worth bothering about). So I've got plenty of things by newer composers that don't get much discussion on here, because it's the music that counts, and their output is very good, and I wish more people on here would open up and try and discover them, instead of playing it safe with the big familiar names. There's plenty of great but unknown stuff coming out, not all modern scores are banging and clattering noisy soundscapes.
Any lack of big themes doesn't bother me if something works well as a whole. Often that will draw me into listening to an album more times to try and gain the familiarity that I didn't get from the first listen, often revealing more interesting layers and textures the more I hear it.
2.
Not really applicable, I think for reasons mentioned in Point 1 above. I'm not going to listen to something just because it's from a film. It's the music that counts, particularly as I'm listening to it in isolation away from its visual source context.
3.
I've got a few things for nostalgic reasons, but not much. As for collecting, well I've been collecting Morricone scores, some a few of which aren't to my taste, but I'll keep them because of the collecting aspect. Even something downright weird I'll listen to, just because it's still interesting. However, if the same score was written by any other composer, I'd probably not be interested. I'm not sure why I chose Morricone, perhaps because his repertoire is vast, maybe a bit of an enigma, maybe because his work is so diverse it allows me to keep something weird that I wouldn't usually bother with. James Horner is my favourite composer, but even a few of his that I don't like I got rid of (Gorky Park, Red Heat, 48 Hrs). But maybe I would have kept them if they were written by Morricone, because they wouldn't have seemed so out of place.
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Reverse cowgirl
Glass bottom boast
The spit roast
Personally, I only _really_ enjoy film music during the Glass Bottom Boat.
Huh, how did I miss that...
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