BRIAN TYLER

Yes, that's what I mean. I would go with the FSM chronology, which says that 1960 is the date change. Though some people call "Mutiny on the Bounty" the ultimate Golden Age work.

First of all, "The Golden Age" is a term denoting a PARADIGM, not a strict timeframe! It's as much about industrial organization as it is a type of film and a period. It is generally considered to meet its first real setback with the Paramount verdict of 1947, making an effective end to the vertical integration that made Hollywood so powerful as an industry. Plus several other things happening in post-war USA - baby boom and the introduction of TV, for example, which made families stay home with their kids rather than go to the movies.

That said, it is true that Herrmann broke through as a film composer in the tailend of this period. However, since the term is also very much about a certain STYLE of composition, it would be more fair to call him one of the first to BREAK with the Classical Hollywood paradigm, the "Golden Age" mode. It would NOT be fair to put him in the same category as the European immigrants who established the neo-romantic, symphonic style a couple of decades before he came to the scene!

OK, now we're REALLY off-topic!

When you think about Golden Age film composers who are the names you think of... Steiner, Newman, Tiomkin, Waxman, Rozsa and Herrmann. While all of their styles were different, and yes, Bernard Herrmann managed to break from the mold, they are all still considered Golden Age film composers. While in most circles the Golden Age of Hollywood is considered to take place in the 30's and 40's but most would say that the Golden Age would continue up until 1962 with Mutiny on the Bounty. The major shift would take place with new wave of young directors and producers who would drastically change the way films were made and marketed with fresh subject matter the likes Hollywood had never seen before. This MAJOR change took place during the early 1960's and in that time there was a major shift in the sound of the Hollywood film score. As directors and producers became more experimental, so did the scores.

-Erik-

Agreed

It is roughly speaking the period between the late 20's and late 40's we're talking about, but no set time frame has been established. As I said, it's just as much a description of a type of industrial organization and a standardized formal system as it is a time period.

Good!

That's sideways-y diminishing the actual value of such modern contributions and new releases of music, imo. What's wrong with that? Old classics are timeless and their value has been long established but most of those composers are either not with us anymore or not active at all today, how do you seriously expect a forum about these eras exclusively to be as active? What can you seriously talk about it ALL DAY about a score which has been acknowledged and talked about TO DEATH for many, many years before you?

New music is the evolution of the past, things proceed, things are new, experimental, challenging, refreshing. Old values are always there to support you and provide the basis but the tip of it all will always be the new creations whether some like it or not and it has nothing to do with consumerism and stuff like that, imo.

Well, there are some who agree with MY assessment.

-Erik-

I never said that. It's an interpretation.



Good point!

-Erik-

I knew I would get on someone's nerves by saying that.
It is the system however. These companies rarely flourish by selling old stuff that happened way back when.

And on the question of whether a forum can flourish by focusing on the older stuff - there are forums more active than this one.

I feel there's a hidden message being flagged in the use of the word LUTELY. Can someone get the codebreakers onto it?

And can I say - I never would have thought a Brian Tyler thread would make for such interesting discussion.

Agreed. Obviously he didn't include Alexandre Desplat in that extreme statement.

I was perched there, waiting for a Michael Giacchino onslaught.

Well, everybody has their own views and Desplat (and Morricone and Williams!) have written some great, great stuff over the last five years, but I'd include Newman in any list of the top film composers of this period.