As we are subjected to constant sound bytes almost anywhere we go, from radio to television, iPhones to iPods, bursting movie theater speakers to loud restaurant conversation, our ears become inundated with noise and desensitized and thus start to lose a highly evolved perception of sound relative to silence which is golden.
Why everyone's a friend of Dorothy 1. The Wizard of Oz Composer: So we'll be having none of this 'incidental scores only' snobbery in our list. Fitting, then, that our number one contender is a cross-generic masterpiece is it a jolly kids' singalong? A dark adult fairy tale? A subversive camp classic?
Even a snuff movie? Legend has it that studio executives wanted to cut Judy Garland's 'Over the Rainbow' because it dragged out the downbeat Kansas opening.
Certainly a reprise of the song was trimmed Music in film the final cut, but 'Rainbow' survived to become one of Music in film most memorable anthems of the century.
Other recognisable hits from the movie include 'Follow the Yellow Brick Road', 'Ding Dong the Witch is Dead', and 'We're Off to See the Wizard', all of which have since passed into popular parlance, ensuring that everyone not just Elton John can call themselves a true friend of Dorothy.
Early soundtrack fans had to make do with a Judy Garland 78rpm disc and a creaky Decca LP which featured key songs re-recorded by the Ken Darby Singers, but today's buyers can enjoy all the remastered originals, alongside outtakes like the 'Jitterbug' song.
Rumours that a stagehand can be seen committing suicide on screen as Dorothy trots down the Yellow Brick Road are baloney it's a bird stretching its wingsbut have simply added to the film's growing cult cache.
Pink Floyd's Dark Side of the Moon has long been alleged to provide an 'alternative' soundtrack, thanks to a number of 'coincidental' cross-matchings. Personally, I'd rather listen to Judy. Yet Psycho remains Herrmann's most cutting-edge work, establishing an iconic shrieking strings motif which has become internationally recognisable as the quintessential sound of terror.
Hitchcock, who had originally planned to play the shower sequence without accompaniment, later admitted that '33 per cent of the effect of Psycho was due to the music', and doubled the composer's salary as a reward.
Herrmann studiously matched the black and white visuals of Hitch's masterpiece by draining the 'colour' from his orchestrations, stripping away all but the stringed instruments to create a monochrome wall of aural unease.
Over the years, various versions of Herrmann's score have battled for fans' affections, ranging from a recording conducted by the composer himself, to a performance by the Royal Scottish National Orchestra under the baton of Joel McNeely which some consider definitive.
InDanny Elfman oversaw a new production of the Psycho score which is generally regarded as the only positive aspect of Gus van Sant's dismal remake. Whichever version you favour, there's no doubting the work's killer punch. He was persuaded to change his mind and the famous 'chomping' of the low strings is one of the most instantly recognisable themes of all.
In contrast, the moment when the bicycles soar though the air in E. The music in the film up to that point is quite low-key but it finally takes flight with a magnificent thrilling melody on the high strings.
Nor is his more recent work any less potent. A score like Harry Potter and the Prisoner of Azkaban is a masterpiece of colour. Unlike so many contemporary scores, it explores the whole range of orchestral possibilities. Further, he succeeds in capturing the flighty wit of Catch Me if You Can with crisp, jazzy textures, while Minority Report conveys a disturbing futuristic vision through dissonant strings.
And, like all his scores, there are moments of unexpected beauty. My mum was a Bharatanatyam dancer and always played a lot of Indian classical music in the house, so I was always aware of great sitar playing, of Ravi Shankar, Vilayat Khan and Imrat Khan.
The film, my favourite of all time, is the directorial debut of Satyajit Ray. It contains a lot of themes, all of which concern family, love and redemption.
Each raga you play as an Indian classical performer is associated with a different time of day, or a different mood, and as Ravi Shankar is the great exponent of Indian classical music, he was able to play in a lot of different ways, incorporating the myriad mood changes of the film.
Apparently Ravi Shankar created the music in 11 hours straight, in one session, because he was in the middle of a tight touring schedule. Unsurprisingly, he couldn't actually finish it all himself, meaning that some of the music was written by Subrata Mitra, Satyajit Ray's cinematographer.
Subrata actually also played the sitar on some parts, but it is Ravi Shankar throughout most of the film. Although Pather Panchali was made in the Fifties, it's a timeless story - and because Shankar used an equally enduring medium, Indian classical, the music doesn't really date either.
The way Shankar approached the music for Pather Panchali definitely influenced the soundtrack I've just finished for a film called The Namesake, which is about a Bengali family and, shamelessly, pays homage to his fantastic score.
After toying with Pink Floyd's Atom Heart Mother the cover of which can still be glimpsed in the finished filmdirector Stanley Kubrick enlisted Carlos to provide a futuristic accompaniment for A Clockwork Orange, adapted from Anthony Burgess's controversial novel about tearaway teens.Mar 29, · A woman leaves an Austrian convent to become a governess to the children of a Naval officer widower.8/10(K).
The musical film was a natural development of the stage musical after the emergence of sound film technology. Typically, the biggest difference between film and stage musicals is the use of lavish background scenery and locations that would be impractical in a theater. While filmmaking is a visual art form, the importance of a gripping score can't be ignored.
Let's look at the emotional impact of music in film. Film soundtracks are a broad church, encompassing classic orchestral scores and pop jukebox compilations, spoken word and sonic effects. So we'll be having none of this 'incidental scores only. Film Music Magazine is a monthly trade publication for professionals in the film and television music business, and includes news, feature articles, investigative reporting, and an event calendar Filmtracks Modern Soundtrack Reviews.
Music, Film, TV and Political News Coverage Unreleased George Michael music will feature in the film 'Last Christmas,' a romantic comedy inspired by the Wham! holiday classic.