Thanks

k

1. a position of ascendency (above others).
2. the ability to act or produce an effect.
3. the time rate at which work is done or energy transferred.

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Originally posted by Lancelot:
[b]power - (as it applies here?)

1. a position of ascendency (above others).
2. the ability to act or produce an effect.
3. the time rate at which work is done or energy transferred.

[/B]

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I don't quite understand this more philosophical approach to the subject. Is it possible that you make this a bit clearer for the non-native speakers of the American language such as me?

Thanks,
k

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Originally posted by Lancelot:
You speak of "power" in music, and I am trying to offer a definition of "power".

"Power", in an applicable definition, does not need to be "surging heavy brass". One might feel that the subtleness of Alan Silvestri's Cast Away is "powerful", if it produces or evokes an effect. The two inital notes of "Jaws" is powerful, because it produces an effect in a shorter amount of time.

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Now i understand what you are trying to say, and the latter is the sort of "power" i always try to find in film music. What confuses me is the fact that very often i do find people who claim that "true" power is the first "surging heavy brass." Somehow i find that approach possibly a bit immature?? I get the impression that they get so excited by loud music that it wouldn't make a difference to them whether it's an orchestra playing or a rock band(i don't have anything against GOOD rock bands). On the other hand, i don't like using examples of music that other people love just for the sake of bashing composers i don't like, but for some reason, i find music from the films which merely offer simple sentiments (plain heroism, love etc) not being enough to cover my needs for music. Then again, i might be mistaken...

k

np: i'm about to put Close Encounters.

Most often, it's as simple as a cymbal clash or an orchestra swell. Other times it can be just a lovely piano melody that comes in at the right moment.

Also, I would add the ending of "The Restored United States" cue from The Postman. The strings with that Rob Roy percussion just gets me every time. Last night, I finally re-did that stupid CD. I was sick of scanning through six minutes to get to the good stuff, and I was sick of my player ALWAYS shuffling to track 10, which is one of those awful, awful, AWFUL songs. So, now it runs 16 tracks, and near 50 minutes. Phew!

In my reviews, I generally use the term "power" to describe the music's ability to move me, rather than the orchestral forces at work.

However, you are absolutely right that often people use the term "power" to refer to heavy brass and whatnot. I have myself, although in less formal settings than the reviews I have written.

However, I must say that while I would consider the main theme from Debbie Wiseman's Wilde or the finale from Elliot Goldenthal's Titus extremely powerful works, I would also consider the bold, brass and percussion-laden "Raisuli Attacks" from Jerry Goldsmith's The Wind and the Lion powerful as well; what I am trying to say is that while in general the power of a cue may not have any relationship to the boldness of its orchestration, many pieces I consider powerful do, indeed, fall into that category.

Please forgive this momentary self-serving plug.

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Originally posted by jeffy:

NP: Main Title from "The Red Violin" -- that's a good example of power

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YES!

K

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Originally posted by Swashbuckler:

However, I must say that while I would consider the main theme from Debbie Wiseman's Wilde or the finale from Elliot Goldenthal's Titus extremely powerful works, I would also consider the bold, brass and percussion-laden "Raisuli Attacks" from Jerry Goldsmith's The Wind and the Lion powerful as well; what I am trying to say is that while in general the power of a cue may not have any relationship to the boldness of its orchestration, many pieces I consider powerful do, indeed, fall into that category.

Few cues in any film scores can be quite as powerful as "Boo Who?" in Elmer Bernstein's To Kill A Mockingbird. The power comes from the simplicity of the orchestration combined with the georgeous melody. It is beautiful; it moves me. It's powerful. It's memorable. And I play it all the time.

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First of all, let me congratulate you on the quality of your reviews!
I agree with you and understand the way you feel "power" in film music. I also like the fact that you mention simplicity...
I think that simplicity in a film score is a great thing. Even in the most complicated fantasy films were a powerful, sweeping orchestration is needed, i believe that in such cases too the orchestration can be done with a simple and meaningful way. Take for example Elliot Goldenthal's Final Fantasy score. It's powerful in both ways (bold brass orchestrations/every note has a meaning) yet it is very SIMPLE. This is why i call Goldenthal and Goldsmith music, "Beethoven" music because of its strictly programmatic nature, and i refer to John Williams, James Horner etc as the "Rachmaninoffs" of film music, due to their complex, lush orchestrations. BUT; In my opinion, there is GOOD Rachmaninoff and BAD Rachmaninoff. Good Rachmaninoff might be his piano pieces/concertos, where there are great themes alongside with his trademark sweeping orchestrations. This is where John Williams's Star Wars comes in; Clear sweeping orchestrations, great themes. Bad Rachmaninoff comes in when we listen to his Symphonies. Themes not as great as his piano music, AGAIN sweeping orchestrations. What do we get from this? I personally feel empty when i listen to the majority of Rachmaninoff's symphonies;it's just one impressive arpeggio after the other(except maybe the third part of the 2nd Symphony). And this is where i feel James Horner comes in. I don't question his ability to write good music but i think that the "HUGE, complicated orchestration" is not one of his advantages. I can't stand listening to Willow for more than 5 minutes. I don't know why. Is that type of complex orchestration HIS style-the way he is interpreting things??, or is he merely TRYING to write in such way. ??

k

that caused the hair on the back of your neck to rise, and goosebumps to appear on your skin? Do you listen to a piece of music and get a lump in your throat.

Those physiological changes caused by listening to music is an example of the power of music.

Power defined as the ability to affect changes.

This happens to me when I listen to Cadillac of the Skies from Empire of the Sun.

It is a wonderful feeling.

Jz

H E A R T B E E P S

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i find music from the films which merely offer simple sentiments (plain heroism, love etc) not being enough to cover my needs for music.

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