Analysis Of The Movie ' Dark Souls Ost '

The music industry has undeniably evolved over time and through the betterment of technology, music has the ability to be heard worldwide. Most artists become popularized through the internet and social media, but numerous composers have become well-known through the music they produce for movies. Soundtracks are extremely popular today, especially with the ever growing entertainment industry. One cannot simply hum a tune from a classic Disney film or any other well-known film without others recognizing the piece. The relevance of soundtracks in our culture today would make the main theme from the film “The Good, The Bad, and The Ugly” a perfect piece to include in this course.

Godspell is a musical that explains various parables from the Gospel of Matthew (and a few from the Gospel of Luke.) The production of Godspell put on at Carthage took a modern approach to the Broadway classic. Instead of philosophers debating religion during the opening, it was college students venting on the internet. Additionally, the actors chose not to don clown makeup after choosing to follow Jesus, but instead, each wore a pin to demonstrate their allegiance. The music is set to modern beats but the lyrics are derived from popular hymns.

This essay explores the influence composers had on the musical output of John Williams. Throughout his career, Williams has been able to provide his audiences with emotions and thoughts that were brought upon with the use of his musical compositions. Williams’ work has been able to capture the thoughts and feelings of individuals both onscreen and off screen. His film scores were able to tell a story in ways that previous composers were not able to.

After its’ splendid performance at the Royal Albert Hall in London two years ago, Danny Elfman’s Music from the Films of Tim Burton will finally land on stage of the Lincoln Center in New York. The New York Philharmonic Orchestra will be presenting some of the most “darkly sonorous” musical melodies by Danny Elfman and

The concert starts, the lights dim in the gallery. The President and CEO Tim P. Young takes the stage to inform us that this evening 's concert is being recorded to be aired at a later date on KNPB channel 5. Mr. Young introduces, Ms. Laura Jackson she introduces the principal violinist to a standing ovation. Followed by Mr. Benjamin Bielman enters the gallery to thunderous applause. The concert begins. Starting like a warm spring day full of happiness, joy birds a fluttering.Mr. Beilman 's expression shows an intense passion with every note played. Dark tones turn into light in the next movement. Like a lost loved one who has been found. From light to dark the music plays. Hopefulness swells like a playground full of young vibrant children, running, laughing enjoying the sunshine beating down on their smiling faces. Leaves appear blowing in the wind one by one until the crescendo of the deep dark tones reaches the top of the concert hall. A Lonely

“The most exciting moment is the moment when I add the sound… At this moment, I tremble.” (Akira Kurosawa) Sound is arguably the most important concept in cinema studies, being there ever since the beginnings. It can radically change the way a motion picture is looked at and it can render what the director may sometimes find hard to depict using only his camera. Looking upon silent cinema one discovers an era which wasn’t at all silent, but rich in sound of different forms, from the simple narration of the images shown on screen, accompanied by a piano, to the complex score later composed specifically for that film. An example of that complex score is shown in Sunrise, a film by F.W. Murnau, which lies at the border between silent cinema and sound cinema. Considered to be one of the first films with an actual score, Sunrise is a great example of the multitude of dimensions and effects sound can have.

A comparable approach is used in the melodious and patiently-driven “Bright Abyss”, another fantastic original that quickly connects to our senses through a sober, alert, and provocative instrumentation. The emotional grandeur brought into its final section, which is magnified by voices, has become McCaslin’s signature over the

With any genre (old or new) that experiences a boost in popularity, there comes a certain lack of originality after a while. Post-CHVRCHES, Future Islands, and Twin Shadow, there aren’t many rising synthpop acts that exhibit similar originality. Thomas Arsenault’s Mas Ysa project is a refreshingly and genuinely unique one, and that’s at the heart of why Seraph, his debut album, is so good - Arsenault takes synthpop’s established aesthetic and turns it on its side, all while injecting intimate emotional power into it. It’s a remarkably unique album to make, but one that seems so simple and personal. Mas Ysa has made one of the year’s better debut records; there certainly won’t be one so assured in its originality.

From 2001: A Space Odyssey a number of musical pieces were involved. The first piece that was played was Gyorgy Ligeti’s Atmospheres. First hearing this I had no idea what was going on. It all felt so random and out of place and I almost thought to myself there was no way this could be a piece of art. Then I realize this perfectly described the deep space because of its sense of mystery and the unknown. I was a little too quick

Ta-Ta-Ta-Taaa. Ta-Ta-Ta-Taaa. The famous motif and most iconic statement from Beethoven’s 5th Symphony, it was viewed as if “fate [was] knocking at the door”. My first experience with classical music was watching the film, Disney’s “Fantasia 2000”, featuring the world-renowned Chicago Symphony Orchestra. I had never heard an orchestra before, but it lured me in like a duck to water. The TV had my undivided attention; I could not look away. I kept watching it over and over again, enjoying the music with the same enthusiasm.

The Sound of Music debuted in 1965 thanks to the music of Richard Rodgers, lyrics by Oscar Hammerstein II, and direction of Robert Wise. The Sound of Music originally premiered on Broadway in 1959, but Robert Wise produced and directed the 1965 film version. The lyrics featured in the 1965 version are hardly changed from the original. The popularity of the 1965 film allowed for the soundtrack to live a life of its own with many of the songs being released as singles. Even the song “Sixteen Going on Seventeen” has recently been remixed for a State Farm commercial. On the surface, the song seems to be a typical love song. Unfortunately, the song has lyrics that covertly portray women in a negative light. These negative aspects were not uncommon thoughts during the 1960s. In the 20th century, women were still seen as inferior to men. This idea is accentuated by the way the male character treats his female love interest in the song. Oscar Hammerstein’s lyrics and Robert Wise’s stage direction in “Sixteen Going on Seventeen” purposefully echo the subconscious thought people had that women should have a lower status than men in the workplace.

The orchestra is punctuated by occasional quick, loud harp glissandi which become more prominent and varied as the orchestra falls to mezzo piano. As the piece comes to a close it grows to fortissimo and finishes with a literal bang, or rather several, from the percussion section. I believe one of the intended purposes of this song is to set an unsettling atmosphere that adds to the movie's awe-factor, however I found it chilling in an unpleasant way.

"Enter Sandman" is the opener of the album with a clean start of a eerie guitar with a side effect of wah-wah accompany. The whole basis of the song picks up with drums on the toms and snare varying each other. When you first hear this opening, you realize this is so different to their early work it is quite interesting how the outcome will be. The outcome is extraordinary with James' vocals lower than normal and music is in a different style. The only similar touch to the song is the electrifying solo that is excellent. The bridge is very effective with James praying with a child which really goes with the music. The rhythm of the guitar carries the song along till the end. This was a great release and possibly one of the best on the

Choosing the soundtrack for a movie is another difficult task that a director has to do because they have to find a perfect song or an instrumental track that will fit or compliment the scene that they are editing. The soundtrack of a movie is also a guaranteed way of effecting the emotions of the audience members. As a result, directors spend a great deal of time in choosing the right soundtrack for the movie. They want to make sure that they target the correct emotions for each scene. The sequence of “Eternal Sunshine of the Spotless Mind” featured many different sounds; such as, speech, music and sound effects.

Orchestra concerts are an example of music being presented in an emotional and artistic manner. Often people, mainly think of contemporary music when they hear about orchestra concerts. Music composed in the late 1970s to 1990s. But its music extends to much further than that. Scores have been performed from many composers in grand concerts that originate from many sources. These sources include movies, television shows, and even video games. The level of emotion that these concerts express varying from excitement, sadness, intensity, and many others. As a listener, you feel absorbed in the dramatic conducting of the composer and the unity of the orchestra as a whole. Even the setting of the concert can be cinematic as other displays show the grandeur of an orchestra. Our bodies were meant to take in the sounds of music more so than the images. What we derive happens automatically as we drown in the mixture of emotions orchestra has to offer.