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[Closed] Now Playing XIX

General Discussions » Now Playing XIX (Posts 1321 to 1350 of 2001)

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  1. Steven wrote
    franz_conrad wrote

    Why do we listen to music that makes us sad?


    That right there is a bloody excellent question. I suppose sad music is inherently beautiful or elegant, so I imagine that has a lot to do with it. But then that's dodging the question, because it's a tricky one to answer. Any ideas?

    I think, for me anyway (and from past experience), sad music resonated with how I sometimes felt - and that was somehow comforting. Maybe that sort of powerful emotional "lifeline" somehow stays with sad music you hear later in life and it's a comfort?
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorSteven
    • CommentTimeApr 9th 2009
    Speaking of which....

    Legends Of The Fall     James Horner

    cry
  3. FalkirkBairn wrote
    I've had a chance to listen to some of the cues from Golijov's The Man Who Cried and I have to say that I'm having difficulty really enjoying them. They'll definitely need re-listening to give them a proper chance.


    I think you have to like that mixture of the classical sound and Eastern European folk music* to really get into it. I love the melody for the lullaby, and the dark tremolos of 'Cesar's Song' as it builds to its barnstorming climax. As you know from a certain Alberto Iglesias score / Zodiac / Caveman's Valentine / Birth, I love these dark chamber orchestra-based scores. wink

    * I listen to this and think - 'this is what DEFIANCE could have sounded like without the typical choices that its composer made'.
    A butterfly thinks therefore I am
  4. franz_conrad wrote
    I think you have to like that mixture of the classical sound and Eastern European folk music to really get into it. As you know from a certain Alberto Iglesias score, I love these dark chamber orchestra-based scores.

    Yes. And I expect you to keep bombarding me with these types of scores until I like them!

    NP: The Rebel - Christopher Wong
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorSteven
    • CommentTimeApr 9th 2009
    Steven wrote
    Speaking of which....

    Legends Of The Fall     James Horner

    cry


    Wait, I mean power tools... cars... naked women... rugby... :manly:
  6. FalkirkBairn wrote
    franz_conrad wrote
    I think you have to like that mixture of the classical sound and Eastern European folk music to really get into it. As you know from a certain Alberto Iglesias score, I love these dark chamber orchestra-based scores.

    Yes. And I expect you to keep bombarding me with these types of scores until I like them!


    In the words of someone else - 'hey, you came to me!' wink
    A butterfly thinks therefore I am
  7. franz_conrad wrote
    FalkirkBairn wrote
    franz_conrad wrote
    I think you have to like that mixture of the classical sound and Eastern European folk music to really get into it. As you know from a certain Alberto Iglesias score, I love these dark chamber orchestra-based scores.

    Yes. And I expect you to keep bombarding me with these types of scores until I like them!


    In the words of someone else - 'hey, you came to me!' wink

    You said somewhere else that you don't remember posting a list of people and the composers you associate with them but you remember this? rolleyes
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorDemetris
    • CommentTimeApr 9th 2009
    FalkirkBairn wrote
    NP: The Libertine - Michael Nyman

    Listening to some choice tracks at the moment: "Upon Leaving His Mistress" is a lovely cue.


    Excellent score.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeApr 9th 2009
    FalkirkBairn wrote
    Steven wrote
    franz_conrad wrote

    Why do we listen to music that makes us sad?


    That right there is a bloody excellent question. I suppose sad music is inherently beautiful or elegant, so I imagine that has a lot to do with it. But then that's dodging the question, because it's a tricky one to answer. Any ideas?

    I think, for me anyway (and from past experience), sad music resonated with how I sometimes felt - and that was somehow comforting. Maybe that sort of powerful emotional "lifeline" somehow stays with sad music you hear later in life and it's a comfort?


    We listen to that music 'cause it evokes musical beauty and sentiments of our own that are stronger, more intense and more emotionally stirring than any other type of music out there, imo. It has always been, with the vast majority of what's considered "classics" in our civilization and musical culture.
    Love Maintitles. It's full of Wanders.
  10. FalkirkBairn wrote
    franz_conrad wrote
    FalkirkBairn wrote
    franz_conrad wrote
    I think you have to like that mixture of the classical sound and Eastern European folk music to really get into it. As you know from a certain Alberto Iglesias score, I love these dark chamber orchestra-based scores.

    Yes. And I expect you to keep bombarding me with these types of scores until I like them!


    In the words of someone else - 'hey, you came to me!' wink

    You said somewhere else that you don't remember posting a list of people and the composers you associate with them but you remember this? rolleyes


    To be fair, that was 1 and a half years ago. I seem to remember your interest in THE MAN WHO CRIED was considerably more recent. wink (I remember DU well enough though - feeling a bit embarrassed for having hyped it so much!)
    A butterfly thinks therefore I am
  11. franz_conrad wrote
    FalkirkBairn wrote
    franz_conrad wrote
    FalkirkBairn wrote
    franz_conrad wrote
    I think you have to like that mixture of the classical sound and Eastern European folk music to really get into it. As you know from a certain Alberto Iglesias score, I love these dark chamber orchestra-based scores.

    Yes. And I expect you to keep bombarding me with these types of scores until I like them!


    In the words of someone else - 'hey, you came to me!' wink

    You said somewhere else that you don't remember posting a list of people and the composers you associate with them but you remember this? rolleyes


    To be fair, that was 1 and a half years ago. I seem to remember your interest in THE MAN WHO CRIED was considerably more recent. wink (I remember DU well enough though - feeling a bit embarrassed for having hyped it so much!)

    I'm still glad that I had the opportunity to listen to it.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  12. Sharing interesting experiences is what it's all about. ;-)

    NP: Carried Away (Bruce Broughton) on shuffle with Wrestling Ernest Hemingway (Michael Convertino)

    Two of the softest, gentlest, affecting scores I've heard recently. 'Funeral' from Carried away gets me every time.
    A butterfly thinks therefore I am
    • CommentAuthorTimmer
    • CommentTimeApr 9th 2009
    Steven wrote
    Nautilus wrote
    NP:Prince of Egypt (Zimmer)

    I think we are all together, even Zimmer haters, that prince of Egypt is an amazing score.


    Never really appealed to me that one.


    Me neither, it's not unlistenable, not by a long way but it also does nothing for me either.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeApr 9th 2009 edited
    Steven wrote
    Steven wrote
    Speaking of which....

    Legends Of The Fall     James Horner

    cry


    Wait, I mean power tools... cars... naked women... rugby... :manly:


    tsk tsk tsk tsk TSK!!!

    On the floor....

    Gimme fifty.....

    HUP 1

    HUP 2

    HUP 3

    HUP 4

    .....no stopping ya noodle armed silky boy.....

    HUP 5

    HUP 6

    HUP 7

    ................
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  15. NP: Jacob's Ladder (Maurice Jarre)

    My favourite Jarre melody is the main theme of this score.
    A butterfly thinks therefore I am
    •  
      CommentAuthorMiya
    • CommentTimeApr 9th 2009
    Timmer wrote
    Steven wrote
    Nautilus wrote
    NP:Prince of Egypt (Zimmer)

    I think we are all together, even Zimmer haters, that prince of Egypt is an amazing score.


    Never really appealed to me that one.


    Me neither, it's not unlistenable, not by a long way but it also does nothing for me either.


    Me neither, actually... I haven't played it for a while. Burning Bush is indeed beautiful, but other than that, this score doesn't appeal to me so much. Even though I think it's a good score. Probably it's because I'm not a fan of orchestral Middle-Eastern sound. (I do like native Middle-Eastern music though)
    Labels are for cans, not people. - Anthony Rapp
  17. Finished listening to the Prometheus Records CD "Victory" (Bill Conti).

    It's a shame this didn't sell very well (as the limited edition number on mine shows).

    It's a terrific march-like theme, and some wonderful scoring (though a repetitive at times -- but it's not a long score, so...). Listenign to it it sort of makes me feel the scoring is sort of along the lines in style and feel, occassionally, to a film that would have been made 20 years prior and maybe scored by Alfred Newman or Alex North.

    http://www.screenarchives.com/title_detail.cfm?ID=4965


    I encourage you all to give it a shot -- there's no reason for this score to not sell better. There are some samples at the link provided.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    •  
      CommentAuthorMiya
    • CommentTimeApr 9th 2009 edited
    NP: The Chronicles Of Narnia: The Lion, The Witch And The Wardrobe - Harry Gregson-Williams

    Whatever critics say... I love this score. The themes are beautiful, even if they're not so catchy (as John Williams' themes for famous movies?). smile

    The Wardrobe is the best scene and cue. I love how they introduced Narnia to Lucy and audience. Not overdramatic, not too spectacular... The music and visual don't say "Hey it's NARNIA! LOOK AT THIS PLACE!!!". They just lead Lucy and us to the beautiful fantasy world quietly and naturally...
    Labels are for cans, not people. - Anthony Rapp
    •  
      CommentAuthorBhelPuri
    • CommentTimeApr 9th 2009
    Been listening to just one score over and over in the last few days-

    Yehia el Mougy & Kamal el Tawil - Le Destin

    Fantastic!
  20. NP: The Curious Case of Benjamin Button (Desplat)

    Something of Jarre lives on in this man's remarkable music.
    A butterfly thinks therefore I am
    •  
      CommentAuthorSouthall
    • CommentTimeApr 9th 2009
    justin boggan wrote
    Finished listening to the Prometheus Records CD "Victory" (Bill Conti).

    It's a shame this didn't sell very well (as the limited edition number on mine shows).


    Like so many Conti scores, this features the kind of full-on orchestral spirit that so many people like, so I am also surprised. (A great theme, too! - though the Patton lifts are rather amusing in a way.)
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorMartijn
    • CommentTimeApr 9th 2009
    Christodoulides wrote
    FalkirkBairn wrote
    Steven wrote
    franz_conrad wrote

    Why do we listen to music that makes us sad?


    That right there is a bloody excellent question. I suppose sad music is inherently beautiful or elegant, so I imagine that has a lot to do with it. But then that's dodging the question, because it's a tricky one to answer. Any ideas?

    I think, for me anyway (and from past experience), sad music resonated with how I sometimes felt - and that was somehow comforting. Maybe that sort of powerful emotional "lifeline" somehow stays with sad music you hear later in life and it's a comfort?


    We listen to that music 'cause it evokes musical beauty and sentiments of our own that are stronger, more intense and more emotionally stirring than any other type of music out there, imo. It has always been, with the vast majority of what's considered "classics" in our civilization and musical culture.


    While that kind emotional magnifying mirror is certainly an aspect of it, I think it may be way more simple psychologically: it gives us a "button" for emotional release without having to actually abandon emotional or psychological control. We get all the benefit of a free flow of unrestrained emotion, which is very cathattic, but when the record ends, we can collect ourselves and move on.
    In that way it's much like a sneeze, or indeed an orgasm.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  23. I think I agree with your thoughts.
    A butterfly thinks therefore I am
    • CommentAuthorTimmer
    • CommentTimeApr 9th 2009
    Martijn wrote
    Christodoulides wrote
    FalkirkBairn wrote
    Steven wrote
    franz_conrad wrote

    Why do we listen to music that makes us sad?


    That right there is a bloody excellent question. I suppose sad music is inherently beautiful or elegant, so I imagine that has a lot to do with it. But then that's dodging the question, because it's a tricky one to answer. Any ideas?

    I think, for me anyway (and from past experience), sad music resonated with how I sometimes felt - and that was somehow comforting. Maybe that sort of powerful emotional "lifeline" somehow stays with sad music you hear later in life and it's a comfort?


    We listen to that music 'cause it evokes musical beauty and sentiments of our own that are stronger, more intense and more emotionally stirring than any other type of music out there, imo. It has always been, with the vast majority of what's considered "classics" in our civilization and musical culture.


    While that kind emotional magnifying mirror is certainly an aspect of it, I think it may be way more simple psychologically: it gives us a "button" for emotional release without having to actually abandon emotional or psychological control. We get all the benefit of a free flow of unrestrained emotion, which is very cathattic, but when the record ends, we can collect ourselves and move on.
    In that way it's much like a sneeze, or indeed an orgasm.


    How very insightful!?

    I think I agree with you.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorDemetris
    • CommentTimeApr 9th 2009 edited
    Martijn wrote
    Christodoulides wrote
    FalkirkBairn wrote
    Steven wrote
    franz_conrad wrote

    Why do we listen to music that makes us sad?


    That right there is a bloody excellent question. I suppose sad music is inherently beautiful or elegant, so I imagine that has a lot to do with it. But then that's dodging the question, because it's a tricky one to answer. Any ideas?

    I think, for me anyway (and from past experience), sad music resonated with how I sometimes felt - and that was somehow comforting. Maybe that sort of powerful emotional "lifeline" somehow stays with sad music you hear later in life and it's a comfort?


    We listen to that music 'cause it evokes musical beauty and sentiments of our own that are stronger, more intense and more emotionally stirring than any other type of music out there, imo. It has always been, with the vast majority of what's considered "classics" in our civilization and musical culture.


    While that kind emotional magnifying mirror is certainly an aspect of it, I think it may be way more simple psychologically: it gives us a "button" for emotional release without having to actually abandon emotional or psychological control. We get all the benefit of a free flow of unrestrained emotion, which is very cathattic, but when the record ends, we can collect ourselves and move on.
    In that way it's much like a sneeze, or indeed an orgasm.


    Very nice thoughts indeed; i'd say it acts simultaneously with the aspect that i mentioned; not necessarily catastrophically wink
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorkeky
    • CommentTimeApr 9th 2009 edited
    Miya wrote
    NP: The Chronicles Of Narnia: The Lion, The Witch And The Wardrobe - Harry Gregson-Williams

    Whatever critics say... I love this score. The themes are beautiful, even if they're not so catchy (as John Williams' themes for famous movies?). smile

    The Wardrobe is the best scene and cue. I love how they introduced Narnia to Lucy and audience. Not overdramatic, not too spectacular... The music and visual don't say "Hey it's NARNIA! LOOK AT THIS PLACE!!!". They just lead Lucy and us to the beautiful fantasy world quietly and naturally...


    I completely agree! Great score for a surprisingly good film - and never mind the critics! tongue
    •  
      CommentAuthorNautilus
    • CommentTimeApr 9th 2009 edited
    I was Playing : Forst/Nixon (Zimmer)

    It's one of the few Zimmer scores where the theme doesn't really work for me, at least overall.

    but the sound and some tracks are really enjoyable:"watergate", "insanely risky" and "final interview" (With a gorgeous piano solo).

    NP:13th Warrior (Goldsmith)

    "exiled", "Semantics", " Sword maker", "Horns of hell", "fire the dragon" and "underwater escape"
    beer beer beer beer beer beer beer beer beer beer beer
  28. NP: Old Gringo (Lee Holdridge)

    Superbness incarnated. 'Harriet's Theme' is such a beauty.
    A butterfly thinks therefore I am
    •  
      CommentAuthorSteven
    • CommentTimeApr 9th 2009
    franz_conrad wrote
    NP: Old Gringo (Lee Holdridge)

    Superbness incarnated. 'Harriet's Theme' is such a beauty.


    But is it rare?
    •  
      CommentAuthorMartijn
    • CommentTimeApr 9th 2009
    Not a big fan of the score. I find it drags a little after a promising start.

    NP: Lincoln - Alan Menken

    Pretty by-the-numbers "epics-for-the-masses" Civil War fare, but for all its obvious lifts quite enjoyable for its melodic approach.
    The (few) tracks with narration are annoying, though. No idea who is doing Lincoln, but he tends to sound more like Winstomn Churchill than like how I would imagine Lincoln to sound.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn

1321 to 1350 of 2001

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