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The piece of music you are referring to that plays during this scene is not from Christopher Young, it's an original piece from the band Ulver called "Silence Will Teach You To Sing". I can see where you think both pieces of music sound similar, but to suggest Herrmann should get recognition for it is a stretch. The Ulver piece runs 24 minutes long, you're only hearing a very small portion of it.
A better question is, why isn't it Chris Young - why was this two minutes from some other source necessary? Answer that, please.
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I've just been comparing recordings on Spotify. At 3:30, Ulver's tune is definitely based on a segment of Herrmann's The Hill - the "melody" and accompaniment are identical, if the instrumentation and noise/atmosphere around it is new. It's treated like a sample, though newly performed for different musical forces.
Ulver: Silence Teaches You How to Sing (starting at 3:30)
https://play.spotify.com/track/0cQwkxigHc576dIpoKCwjY
Herrmann: The Hill (Psycho)
https://play.spotify.com/track/7KjwPgQxkqJR59T2hIoFps
I don't have a stake in the issue, and certainly Ulver's piece overall does not emulate Herrmann, but that segment is pretty much undeniable.
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You all can't possibly be serious? In the Ulver it's four descending notes in half-steps. Four notes. In Psycho, yes, it's four notes but they KEEP descending and the counterpoint is the POINT and that's not in the Ulver at all. Let's just try and figure out how many pieces of music half four notes descending in half steps - I'm sure they all ripped off Psycho, too. This kind of thing is just silly. Maybe Ulver was inspired by the first four descending notes of The Hill but if so why didn't they do the second set and keep descending and why didn't they add the counterpoint melody while they were at it?
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Because they treated it exactly as many DJs and other current artists do - they took a tiny segment (can't be a sample in this case because it's not taken from a recording) and put it on repeat. Again, as artists are wont to do over the last 20+ years.
My first thought was the same as yours, Bruce, that it's just a coincidence. But it's obviously not - what it is is a snippet of the exact same combination of descending notes and repeating/rising notes. I think it highly unlikely they just came at that out of the blue, especially in a culture of artists who have been dipping into classic soundtracks for segments and samples and snippets for many years.
Re-reading your post you say they didn't include the counterpoint melody, but they do, that's why I am showcasing both.
Again, I'm not outraged or worried about this, but I was interested in listening to both because I'm always interested when artists integrate the work of others, and hearing samples of film music threading into other areas of the culture.
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Well put, Onya. Inspired by Herrmann is the best way to say it.
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