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I turn 44 next week and have grown VERY grey -- at least my beard has. Do I qualify to join the "Old Club"? Maybe not, since I'm also a huge fan of Zimmer. I can listen to Zimmer, Stockhausen and Waxman with equal enthusiasm.
I started going grey when I was around 11/12. Still not fully but close. Anyone remember The Mallens?
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I feel a little sad that many young collectors, on a diet of post 70's formulaic retreads, may never experience the wealth of inspiration and originality that we oldies have been entranced by for decades.
Formulaic retreads have been a hallmark of film music as long as there has been film music. It's just the style of tire that changes over the decades.
Not that there's anything wrong with that. I enjoy retreads of every vintage.
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Posted: |
Apr 15, 2023 - 1:42 PM
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By: |
WillemAfo
(Member)
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I am bumping up this thread because I lately encountered someone who challenged my tastes based on my preferences for "symphonic" scores.
i can say without doubt that he has NOT been paying attention, because my main preference has always been for GOOD music, whether performed by a symphony orchestra, on a piano or on synths. As long as it is GOOD music and not the type of nonsensical noodling that just about anyone is capable of performing on modern electronic equipment.
I love anything that is both supportive of what is going on and that also speaks to my intellect, such as it is.
Droning doesn't do it for me.
People who describe film scores as "symphonic" scores usually have no idea what they're talking about. The only valid use I've found is describing scores that are actually structured classically.
Assuming Zimmer as the layman's polar opposite to "symphonic" scores, I bring forward my favorite interview with Hans Zimmer and Edwin Black as the interviewer. It's older but full of gems:
Zimmer: "Within any year I see 90--no, maybe 98--percent horrible stuff and two percent quality."
Zimmer: "Ironically, despite all the scores I've written, there are very few I'm proud of."
One of the last questions the interviewer asks is ironically one that Zimmer doesn't answer:
Interviewer: "So do you see soundtrack music becoming more creative, more inspired, or is it all going to homogenize into sound effects--what I call museffex?"
Zimmer probably couldn't have given an answer to that last question because he had yet to fulfill the interviewer's prophecy.
But while this is an old interview, the point is that even Zimmer provided an extremely honest assessment that not all film scores are great. The significance of this is that I find of late there is an unusually large amount of people who like a film score and have a very low threshold for criticism.
Which brings me to my point: there is a difference between people who put music on and generally "like" it vs. people who actually listen to music. Most people don't listen, they put music on in the background and say they like it. It broadly sets a mood or provides a form of social currency than makes them feel included in what everyone else likes. People who listen to music spend the time full experiencing it and all of the component parts and techniques that go into it. They learn the history, they do the research, and they pursue music that may not be an obvious choice to listen to but has specific qualities worth exploring by listening. I trust the perspectives of people who listen and can actually explain their experience of the music more than people who just generally like music.
Anyone can like music. It requires zero intention and effort. Not everyone listens to music. That requires intention and effort.
For people who actually do like music and are worth your time, they will probably listen to, appreciate, and understand almost every genre and type of music there is. Spend time with those kinds of people and ignore the others.
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I turned 22 a few months ago. I feel so old...
Are you having a laugh. As I right with aged , withered , gnarled fingers. 
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