In a message dated 5/27/2007 5:20:23 AM Pacific Standard Time, [EMAIL PROTECTED] writes:
> People who won't stand for certain sounds in the concert hall, enjoy > experiencing them in movie theaters. > Aha! A new thread, and an important one. With the exception of songs (either in musicals or as introjects/backgrounds) and themes (as in "The Theme From..."), film music doesn't play by the same aesthetic rules as concert music. Put as simply as possible, it's normally used as an aural midwife to the delivery of visual information. Since the visuals command such a huge proportion of the audience's attention, all sorts of strange things are possible, just as David says. That there are formulaic linkages between dramatic gestures on the screen and their aural support structures has always been true. But that doesn't mean that someone like Bernard Herrmann didn't extend the vocabulary of film music in very interesting ways. My favorite story in this regard: a student went to the UCLA film score library and asked to check out the score for Hitchcock's "Psycho." The librarian replied that complete scores do not circulate outside the library. So the student said, "OK then, just the string parts." David Lawrence ([EMAIL PROTECTED]) ************************************** See what's free at http://www.aol.com. _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
