Art of the Score
By Andrew Pogson, Nicholas Buc and Dan Golding
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Art of the Score is the podcast that explores, demystifies and celebrates some of the greatest soundtracks of all time from the world of film, TV and video games. In each episode we’ll be joined by Andrew Pogson, Dan Golding and Nicholas Buc as we check out a soundtrack we love and break down its main themes, explore what makes the score tick and hopefully impart our love of the world of soundtracks.
||CleanEpisode 17: Gladiator||In the year 2000, the sword-and-sandal epic was revived, with Russell Crowe trebucheted to international stardom as the star of Ridley Scott’s hugely successful film, Gladiator. But fame was also found for Hans Zimmer, today the biggest music man in Hollywood, but who along with Australian composer and singer Lisa Gerrard wrote some of the most influential film music in decades for Gladiator. In Episode 17, we take a look at what makes Zimmer’s sound so pervasive, how Lisa Gerrard’s voice intensifies the film’s emotions, and just where all that strength and honour comes from. Episode notes: 3:02 – Gladiator as the breakthrough Hans Zimmer score 5:09 – Some background on the significance of Gladiator, sword and sandal films, epics, and peplum 14:24 – Hans Zimmer style and the 1990s action film 21:00 – Hans Zimmer and the synth 23:52 – The unusual instrumentation of Gladiator 25:25 – A duduk demonstration 27:10 – The themes of Gladiator – Commodus’ theme 33:15 – The power of Lisa Gerrard’s voice 39:48 – Maximus’ hymn 43:00 – Maximus’ polyrhythms 45:32 – Zimmer’s Vangelis’ moment 48:01 – Once Upon a Time in Ancient Rome 53:11 – The Earth theme – Gladiator’s musical soul 1:00:56 – Lucilla’s theme 1:05:17 – The Gladiator waltz 1:08:15 – A Holst heist? 1:12:34 – Gladiatorial piracy 1:16:41 – The death of an emperor (or, Mozart’s Da Vinci Code) 1:21:02 – To Zuccabar 1:24:00 – Gladiator’s establishing music (and a surprise) 1:29:21 – Zimmer’s answering horns 1:31:43 – The Might of Wagner 1:39:18 – The Hans Zimmer Olympics 1:41:27 – Gladiator’s finale: Now We Are Free We love to hear from our listeners – get in touch via Twitter, Instagram, and Facebook, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.||4 6 2018||Free||View in iTunes|
||CleanEpisode 16: The Force Awakens - Part 2||In Episode 16, we finish our look at Williams’ seventh entry into the Star Wars universe by looking at what’s returned and what hasn’t. We take apart the reoccurring Star Wars themes and how they’re used in The Force Awakens, and make a number of bold and possibly a little reckless predictions for The Last Jedi (then unreleased). Episode notes: 3:01 – Yes, this was recorded before The Last Jedi was released, and we’re sorry 4:04 – What were our reactions to The Force Awakens’ music when it was released? 9:50 – Ice Landing and the Rebel Fanfare 12:48 – Han Solo and the Princess in The Force Awakens 20:06 – Scherzo for X-Wings and the undanceable dance 26:02 – The Force Theme Awakens 30:00 – The Homestead Burns Again 36:20 – The sonic signature of The Force Awakens 37:30 – Williams’ emotional mood shifts and the journey to Luke Skywalker 39:54 – The brief return of Darth Vader 41:35 – Nick promises to walk out of The Last Jedi in disgust (Narrator: he did not) 48:54 – Andrew embarrasses himself with some music-inspired Last Jedi predictions 52:15 – The Skywalker map and the tritone 56:12 – Snoke’s supreme choir – and Andrew embarrasses himself again 1:04:29 – The death scenes of The Force Awakens and John Williams’ string lament’s across episodes 1:19:50 – Finn’s Phantom Confession 1:21:09 – Maz Kanata’s Jabba Flow 1:24:03 – Dan hopes for some more zany Williams jazz (Narrator: he got it) We love to hear from our listeners – get in touch via Twitter, Instagram, and Facebook, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.||11 5 2018||Free||View in iTunes|
||CleanEpisode 15: The Force Awakens - Part 1||In Episode 15, we return to the galaxy far, far away and take a look at how the musical landscape of Star Wars changed between the almost 40 years between A New Hope and The Force Awakens. In the first of a two part episode we look at Rey’s Theme, Kylo Ren’s motifs, and The March (or is that the fugue?) of the Resistance. Recorded last year in eager anticipation of The Last Jedi, we’re finally getting this episode to you just in time for its release on Blu-Rey (see what we did there?), so sit back and enjoy our return to perhaps John Williams’ greatest musical franchise. Episode notes: 0:00 – A disclaimer (and possibly an apology!) 5:15 – Dan is writing a book about Star Wars 7:51 – The weight of expectation for The Force Awakens 10:00 – The legacy film 16:30 – The return of little-known composer John Williams 17:35 – Rey’s theme 22:40 – Rey’s riff 26:32 – Rey eats her lunch, on solo flute 30:41 – Rey’s abduction 33:11 – Rey’s impassioned bridge 36:15 – Comparison to other John Williams work: Potter and The Terminal 44:35 – Williams bringing Rey and The Force together in the end credits 46:40 – Rey’s theme – the dance remix 49:10 – Musically, Rey is a Jawa 50:33 – Kylo Ren’s theme 55:50 – The Kylo Ren B motif – the call of the dark side 1:00:00 – Ren and the Imperial March 1:01:45 – The March of the Resistance 1:04:51 – The March or the Fugue? 1:10:00 – Poe’s theme 1:16:39 – Finn’s rhythmic motif 1:19:00 – The mixed-meter Falcon theme 1:28:10 – John Williams as the bloodline of Star Wars 1:29:34 - …and more to come in Part Two! We love to hear from our listeners – get in touch via Twitter, Instagram, and Facebook, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.||2 4 2018||Free||View in iTunes|
||CleanEpisode 14: Stranger Things||After a short break, Art of the Score enters the new year with a trip to the Upside Down to take a close listen to Stranger Things. With the help of synth expert, musician, and podcaster Seja Vogel, we pull apart this wonderfully analogue score, its influences, and how it all works over the course of Season One of the Netflix hit. Episode notes: 2:35 – Welcome to special guest Seja Vogel. Find Seja’s podcast, ‘Hear Sej’ here (https://itunes.apple.com/bw/podcast/hearsej/id1168366353?mt=2), and her amazing Etsy store for felt synth models here (https://www.etsy.com/shop/pulsewidth). 5:20 – Into the nostalgic world of Stranger Things 8:41 – The ‘nostalgia film’ and Fredric Jameson 10:30 – Michael Stein and Kyle Dixon and their analogue synth band S U R V I V E 13:24 – ‘Dirge’, the track that formed the Stranger Things sound 15:05 – The influences and musical tools of S U R V I V E 19:00 – How the music works in Stranger Things – a scene comparison with Williams’ E.T. 25:14 – The main title – is it E minor or C major? 28:51 – Seja breaks down the synths involved 31:47 – Seja’s meticulous reconstruction of the Main Title 34:00 – Square waves and pulse waves, filter sweeps and resonance 44:33 – ‘Kids’ and keying between worlds 51:55 – Nancy and Barb 55:06 – Eleven’s theme and its development throughout season one 1:05:45 – Lay-Z-Boy couch theme 1:10:20 – The Upside Down 1:13:55 – The Demogorgon 1:18:11 – Searching the woods 1:20:42 – The government evildoers in portamento bass 1:26:37 – ‘This isn’t you’ 1:32:01 – Linking sound with image – was Stranger Things written to footage? 1:35:45 – How each kiss is scored 1:40:04 – Pop music in Stranger Things: The Clash – Should I Stay or Should I Go? 1:44:02 – Stranger Things’ secret pop: We Can Be Heroes We love to hear from our listeners – get in touch via Twitter, Instagram, and Facebook, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.||10 1 2018||Free||View in iTunes|
||CleanEpisode 13: Harry Potter and the Philosopher's Stone||From Hedwig’s theme to Quidditch matches, the musical world of Hogwarts may be one of the most iconic musical contributions to the film world this millennia. John Williams worked orchestral magic and brought us a unique contribution of fantasy, off-beat fanfares, and even a bit of jazz harmony. But what makes this great score tick? Join us as we dissect the power, the charm, and the enchantment of Harry Potter and the Philosopher’s Stone. Show notes: 07:00 – a brief history of the franchise 10:45 – Harry Potter, one of the largest franchises of the 21st century 11:22 – John Williams on how he came to be involved with Harry Potter 15:00 – Hedwig’s Theme 16:42 – the celeste and its use in other films and, famously, Tchaikovsky’s Dance of the Sugar Plum Fairy 18:15 – Andrew drops a bombshell 20:10 – Breaking down Hedwig’s Theme 26:20 – a recounting of the day the musicians first encountered the score 28:00 – Hedwig’s Theme and its variations 31:25 – is Hedwig’s Theme the last John Williams melody to enter pop culture? 33:00 – the Flying Theme or the Nimbus 2000 Theme 44:15 – Harry’s Theme or the Family Theme 50:27 – the appearance of the tri-tone 52:30 – Harry’s Wondrous World Theme 1:00:08 – the Hogwarts School Song 1:02:00 – we apologise for what is about to happen… 1:04:50 – Philosopher’s vs Sorcerer’s (Stone) and some of the localisations 1:08:10 – the Stone motif 1:16:00 – the Voldemort motifs 1:23:00 – the music of Diagon Alley 1:31:10 – some banquet music from Harry Potter and other films 1:36:50 – the Quidditch Fanfare and its similarity to other “arena” cues 1:40:30 – John Williams’ use of synthesizer for the Invisibility Cloak 1:43:10 – the diegetic (harp) music of Harry Potter 1:47:00 – the action music compositional style of early 2000s John Williams We love to hear from our listeners – get in touch via Twitter, Instagram, and Facebook, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.||13 11 2017||Free||View in iTunes|
||CleanEpisode 12: Back To The Future||After a short hiatus, we’re Back – from the future – with a good look at Alan Silvestri’s score to the Robert Zemeckis time-travel classic. Back to the Future is, at its core, about a small group of characters, and yet it possesses a huge scale of feeling and mood, much of which can be attributed to Silvestri’s impressive orchestral score. Join us as we take in the jazz roots of this classic, the fanfares and motifs, and of course, the classic hit songs that power the film. Episode notes: 0:45 – We’re back, from the future 4:40 – Following in the Spielbergian mould 13:10 – Romancing the Silvestri-Zemeckis relationship 16:10 – The main theme 20:00 – Asking questions through tritones 26:00 – Mysterious origins of the time machine 29:14 – Main theme variations 32:32 – Going through the gears 39:41 – The main theme, romantically 41:47 – Marty’s theme 44:39 – The time motif and the Back to the Future sound 49:05 – Doc’s turning wheels 53:00 – The octatonic scale 55:02 – The Biff motif 57:08 – Back to the Predator 59:33 – Art of the Score dissects the climactic suite 1:07:00 – Is it the best climax suite in film music? 1:09:54 – The songs! The Power of Loving Back to the Future 1:15:50 – Mister Sandman 1:26:10 – Night Train 1:32:13 – Earth Angel 1:37:19 – Andrew’s Johnny B Goode telephone authorship theory of doom We love to hear from our listeners – get in touch via Twitter, Instagram, and Facebook, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.||18 10 2017||Free||View in iTunes|
||CleanEpisode 11: There Will Be Blood||There Will Be Blood, Paul Thomas Anderson’s relentlessly dark exploration of Daniel Plainview, an American oil baron, now comfortably sits among the greatest films of the century so far. Yet Jonny Greenwood’s score - who is best known from his days on guitar for Radiohead - may well be even greater and more original still. In this episode of Art of the Score, we take a look at Greenwood’s incredibly unusual music, and with the help of There Will Be Blood expert and conductor Hugh Brunt, take apart what makes it tick, its fresh musical influences and style, and jointly, drink its milkshake. We love to hear from our listeners – get in touch via Twitter, Instagram, and Facebook, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.||2 8 2017||Free||View in iTunes|
||CleanEpisode 10: Batman||Today, Batman is undergoing yet another renaissance – fresh off the Dark Knight trilogy, he’s heading up a whole new Justice League. But in 1989, Batman was only starting to become the Dark Knight of popular culture – and Danny Elfman’s landmark score to the Tim Burton film helped him along the way. In this episode of Art of the Score, we take a look at the 1989 score, and pull apart its main themes, its musical influences and style, and ask the ultimate question: just where does he get those wonderful (musical) toys? Show notes: 2:50 – An intro to Danny Elfman 4:20 – Batman (1989), Tim Burton, and franchising in Hollywood 10:42 – Is this the most iconic Batman theme ever? 12:45 – Breaking down Elfman’s Batman theme 16:10 – The influence of Herrmann on Elfman 21:00 – The Dark Knight rides again 23:56 – The versatility of the Batman theme 26:00 – The Batutsi 26:55 – 6/8 versus 3/4 timing for Batman 30:20 – How does the Elfman theme fit into the history of Bat-music? The 1949 serial, the TV series, Goldenthal, and Zimmer 35:05 – Is Zimmer’s theme just the bare elements of Elfman’s? Dan says yes: https://vimeo.com/193995233 36:40 – Or is it all just building on Wagner? 38:00 – How does Prince’s music work with the score? Listen to the Love Theme and find out 42:00 – Beautiful Dreamer, the Joker’s Parlour Song 46:00 – Dancing with the Devil in the Pale Moonlight 53:44 – Waltzing to the Death (and Dan’s frustration) 58:11 – The Henchmen’s piano 1:01:35 – Alfred Hitchcock directs Batman 1:05:52 – The henchmen’s boom box 1:08:45 – It’s a Hot Time in the Old Town Tonight 1:11:50 – Advertising for the Joker 1:18:30 – Nick’s favourite cue in the score 1:22:30 – Dan has a bone to pick with Batman 1:26:50 – The finale to Batman – the Light Knight? We love to hear from our listeners – get in touch via Twitter, Instagram, and Facebook, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.||22 7 2017||Free||View in iTunes|
||CleanEpisode 9: Star Wars - Part 3||In our third and final Star Wars episode, we take a look at some of the lesser known cues that round out this incredible score. We discuss the giant bantha in the room: the musical influences that inspired Williams and the temp music that helped to shape some of his artistic choices. Finally, we take a whirlwind tour of the action music, explore the groovy Cantina Band tunes and debate whether Star Wars is in fact the greatest film score of all time. Is it? Show notes: 3:20 – the music for the Jawas 5:40 – finding the downbeat in “The Little People” 7:28 – is this the highest Tuba line ever? 11:03 – the music for the Sand People 14:39 – Williams’ family relations and a link to Toto 15:28 – use of the Timpani 18:08 – a comparison with Jerry Goldsmith’s Planet of the Apes 20:26 – discussing the Bantha in the room: the musical influences on Star Wars 26:05 – The Dune Sea of Tatooine vs Stravinsky’s Rite of Spring 30:17 – The Rebel Blockade Runner vs Holst’s The Planets 32:02 – Some Bernard Herrmann references in Star Wars 36:56 – The Throne Room vs Dvorak and Elgar 42:21 – The Throne Room’s reappearance in Return of the Jedi 44:55 – rude trumpets and the performance/recording of the score 47:03 – the musicians who made contributions to Star Wars 48:53 – the action music of Star Wars and Williams’ hip grooves 53:11 – Dan’s dissapointment in Star Wars’ lack of musical numbers 56:15 – The Battle of Yavin vs The Battle of Britain 1:02:35 – The Cantina Band, is it jazz or jizz? 1:06:20 –Sing Sing Sing as temp music 1:08:48 – the 2nd Cantina Band song 1:11:18 – the original Star Wars trailer music and Vivaldi’s Four Seasons 1:15:46 – the studio’s woeful attempt at marketing Star Wars 1:17:42 – is Star Wars the greatest film score of all time? We love to hear from our listeners – get in touch via Twitter, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.||3 7 2017||Free||View in iTunes|
||CleanEpisode 8: Star Wars - Part 2||In our second Star Wars episode, marking the fortieth anniversary of the film, we complete our exploration of the themes for this landmark film and score from 1977. We take on the franchise’s most defining melody: the Force Theme, and also throw in the Rebel Fanfare, Vader’s motif, and the Death Star, before ending on that eternal question: what links Star Wars and Metallica? Episode notes: 2:15 – The Force Theme (or Ben Kenobi’s theme) 2:50 – Binary Sunset 7:25 – the Alternate Binary Sunset cue 12:30 – the Burning Homestead cue 14:50 – Rogue One: The Master Switch cue 17:10 – the first encounter with Ben Kenobi 18:55 – development with Kenobi, Tales of a Jedi Knight 22:45 – The Force Theme as anxious suspense 24:50 – Luke mourns Ben 26:30 – the martial Force Theme at the Battle of Yavin 28:30 – Use the Force, Luke 32:10 – The Force Theme in Superman? 34:40 – The Rebel fanfare motif 37:21 – The Blockade Runner and Imperial Attack, combining the Rebel and Imperial motifs 42:10 – Rebel fanfare as dramatic relief after the destruction of the Death Star 43:49 – Darth Vader’s motif 49:00 – development in Imperial Attack 55:00 – Ben’s recollections of Vader for solo clarinet 57:50 – Is Vader’s theme really Metallica in disguise? 1:01:11 – the Death Star motif 1:03:00 – Burning Homestead as a theme showcase We love to hear from our listeners – get in touch via Twitter, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.||8 6 2017||Free||View in iTunes|
||CleanEpisode 7: Star Wars - Part 1||Forty years ago today, in 1977, the film universe was turned upside down by a galaxy far, far away. Star Wars may have changed the film industry forever, but John Williams’ score might just be as influential for the film music landscape. In this episode, our first of three on Star Wars, we take a look at the influence of John Williams’ music, and two of its major themes: the Main Theme (or Luke’s Theme) and Princess Leia’s theme. Episode notes: 2:30 – The influence of Star Wars, the music, the film 4:30 – How Star Wars changed film history and the film school generation 8:00 – Star Wars and nostalgia 11:20 – Was there anticipation for Star Wars? 13:40 – This was not what films were supposed to sound like at the time 15:00 – Before the main titles: the 20th Century Fox fanfare 16:20 – The main Star Wars theme (Luke’s theme) 18:50 – The orchestration of the main theme 20:45 – The jazz-inspired harmony of the main theme 23:33 – “War drums in space” 25:03 – Development of Luke’s theme – first playing 26:55 – Luke’s theme begins to mature with the hero’s journey 32:00 – Luke’s theme on the Death Star 34:44 – The shootout on the Death Star, Luke’s “boy’s own adventure” moment 39:15 – Influences on Luke’s theme: Ivanhoe and King’s Row 50:06 – The uses of Luke’s theme in the final Death Star dogfight 53:15 – The (mis)uses of the main theme (?) in Rogue One 54:45 – Leia’s theme and the development of ‘concert versions’ 1:01:10 – John Williams and the romantic major sixth 1:03:14 – The first time we hear Leia’s theme 1:05:18 – Help me Obi-Wan Kenobi, you’re my only hope 1:07:38 – The full Leia’s message 1:10:10 – Luke meets Leia for the first time 1:11:30 – The Death of Obi-Wan and the abandonment of leitmotif 1:15:30 – High romance in the Leia concert suite 1:17:45 – The Star Wars NPR Radio Serials We love to hear from our listeners – get in touch via Twitter, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.||24 5 2017||Free||View in iTunes|
||CleanEpisode 6: Dances With Wolves||In 1990, Kevin Costner’s Dances With Wolves set the film world alight, and won seven Academy Awards in the process. But what about the score? In this episode, we take a look at the music of John Barry – who, although best known for his Bond scores, here manages to create something at once completely Barry-esque and wholly unique for a film about the flawed myth at the heart of American cinema’s greatest genre: the Western. Episode notes: 2:58 – Dances With Wolves as a Western 6:00 – An indie production and adaptation 9:30 – John Barry 10:21 – Basil Poledouris’s near miss with Dances With Wolves 12:40 – The John Dunbar theme, and comparisons with Lonesome Dove and Legends of the Fall 14:30 – The John Barry ‘mythic’ mode, comparison with Out of Africa and Chaplin 18:30 – The ‘breathing’ nature of the John Dunbar theme, and his pop music origins 21:50 – Solo trumpet version of the Dunbar theme, comparison with Legends of the Fall 24:00 – Dunbar theme on harmonica, and the use of harmonica in Barry’s work 26:11 – The threatening, solo flute version of the Dunbar theme 28:24 – Mournful version of the Dunbar theme for the slaughtered Buffalo 30:35 – The ‘album version’ of the Dunbar theme during the hunt, with comparison to Barry’s 007 theme 34:15 – The ‘film version’ of the hunt theme, with comparison to The Big Country 37:25 – The love theme 41:35 – The ‘Two Socks’ wolf theme 44:37 – Comparison with A View To A Kill 46:33 – The Sioux motif 49:50 – Traditional musical representations of Native American clichés, comparison with The Searchers 52:10 – The Pawnee motif 55:00 – Development of Pawnee motif with threatening children’s themes 59:23 – Brusque French Horn performance of the Pawnee theme 1:00:25 – Comparison with The Living Daylights 1:02:33 – Leaving Fort Sedgewick and the travelling music 1:06:22 – The Buffalo motif, and comparison with The Living Daylights 1:10:10 – Andrew’s argument that the music represents the film’s geography 1:11:25 – The fire dance by Peter Buffett 1:14:05 – Barry’s compositional style and his legacy We’d love to hear from our listeners – get in touch via Twitter, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.||3 5 2017||Free||View in iTunes|
||CleanEpisode 5: Star Trek (TV)||Star Trek is one of the most enduring television series of all time, with more than 700 episodes over 30 seasons. Even disregarding the films, it’s also seen some great composers: Alexander Courage, Jerry Goldsmith, Dennis McCarthy, and Jay Chattaway. In our fifth episode of Art of the Score, we’re shifting to the small screen as we take a look at how the music of Star Trek has defined the final frontier over 50 years. Episode notes: 2:40 – Overview of the Star Trek series, and how each series changed 8:50 – The original series theme by Alexander Courage 11:30 – The three elements of the main theme and its optimism 13:45 – The beguine rhythm 17:00 – the jazz harmonies underpinning the original theme 19:00 – Lost in Space comparison 21:10 – Cue from ‘Amok Time’, Season 2 Episode 5 by Gerald Fried 25:30 – ‘The Doomsday Machine’, Season 2 Episode 6 by Sol Kaplan 28:00 – Emphasis on action music in the original series 29:33 – The Next Generation theme by Jerry Goldsmith 32:00 – Differences between minor sevenths and major sevenths for the fanfare 33:45 – ‘The Best of Both Worlds, Part One’, Season 3, Episode 26 by Ron Jones 38:33 – ‘The Inner Light’, Season 5, Episode 26, Jay Chattaway 46:06 – Deep Space Nine theme by Dennis McCarthy 51:20 – Fanfare for the Common Man by Aaron Copland 54:50 – ‘The Changing Face of Evil’, Season 7, Episode 20, Jay Chattaway 59:57 – Voyager theme by Jerry Goldsmith 1:06:00 – ‘The Year of Hell’, Season 4, Episode 9, Dennis McCarthy 1:08:00 – Drama versus action in Star Trek scoring 1:10:29 – Enterprise theme by Diane Warren 1:17:17 – Archer’s Theme by Dennis McCarthy 1:21:05 – Andrew’s favourite Star Trek moment We’d love to hear from our listeners – get in touch via Twitter, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.||14 4 2017||Free||View in iTunes|
||CleanEpisode 4: Vertigo||For our fourth episode, we’re moving to a different great director-composer collaboration from a different era. It’s Alfred Hitchcock and Bernard Herrmann with perhaps their greatest work: 1958’s Vertigo. This film recently dethroned Citizen Kane as the greatest of all time according to the American Film Insitute – but how good is Herrmann’s score, and how does it work? Join us as we take a look at the central musical ideas at work here – and how Bernard Herrmann creates a musical landscape of the subconscious. Episode Notes: 3:25 – Historical context for the film and the Hitchcock-Herrmann relationship 5:00 – Why did people dislike Vertigo at the time? 8:10 – Herrmann’s compositional style 9:30 – The musical landscapes of Hitchcock-Herrmann films 11:00 – Nick on conducting Psycho live in concert, 13:10 – The Vertigo main titles 16:20 – The ‘Hitchcock chord’ 20:15 – Musical spirals in Vertigo reflecting visual and thematic spirals 26:30 – The love theme 29:40 – The sad romance of the love theme 31:35 – Nick blows our minds by revealing that the love theme is hidden in the Prelude 32:50 – Similarities to Wagner’s Tristan and Isolde and the inability for the music to truly resolve 37:25 – Close analysis of the Scene D’Amour 39:40 – Discussion of Ludovic Bource’s score for The Artist 42:25 – Did Herrmann reference and develop this musical idea in other Hitchcock films? 46:10 – Is Herrmann developing a musical language or is he self-plagiarising? 47:10 – Torn Curtain 50:35 – The Ostinato motif in Vertigo 52:40 – The Habañera rhythm 55:45 – A link to Ravel 58:20 – The development of the Herrmann-Hitchcock ostinato across other films 1:03:00 – The Hitchcock style versus the Herrmann style? 1:05:05 – Alternating polychords in the tower sequence and similarities to The Matrix 1:06:45 – Danny Elfman’s inspiration from Herrmann 1:08:13 – Source music and Mozart in Vertigo 1:12:10 – The musical resolution at the beach 1:14:00 – The film’s finale and musical conclusion – is Herrmann’s music less ambiguous than the images? 1:17:20 – Hitchcock crediting Herrmann with the quality of Vertigo We’d love to hear from our listeners – get in touch via Twitter, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.||27 3 2017||Free||View in iTunes|
||CleanEpisode 3: Jurassic Park||For our third episode, we look at another great Williams-Spielberg collaboration with the 1993 score to Jurassic Park. This landmark film redefined special effects and Hollywood itself, but what did it do for film music? Join us as we take a look at the main themes for the score and the hidden gems – and go from gospel, to jazz, to hymns along the way. Episode Notes: - 2:30 Notes on Jurassic Park as a Spielberg film and its place in film history - 7:10 Theme From Jurassic Park - 10:00 The main theme as a hymn - 15:00 The structure of the main theme - 17:20 The end credits version of the theme - 21:00 The ‘Journey to the Island’ theme - 23:30 Comparison with ‘Summon the Heroes’ - 26:00 The ‘sheen’ to the thematic orchestration - 29:56 The ‘panic’ theme - 31:45 Comparison with Dies Irae - 41:10 Comparison with later John Williams ‘suspense’ music - 43:45 Petticoat Lane - 47:00 Comparison with other John Williams celeste writing - 49:00 Triceratops music - 53:32 Dennis’s music and comparison with JFK - 55:40 Williams’ jazz influences - 57:15 The development of the action music - 1:00:25 The raptor motif - 1:01:00 The animation jazz and comparison with Gershwin - 1:03:30 Williams’ use of synth - 1:08:50 ‘Incident at Isla Nublar’ - 1:12:00 Comparison with 1990s synth action music We’d love to hear from our listeners – get in touch via Twitter, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.||27 2 2017||Free||View in iTunes|
||CleanEpisode 2: Raiders of the Lost Ark - Part 2||In the second episode of Art of the Score, we’re going even deeper into John Williams’ 1981 score for Raiders of the Lost Ark. In the previous episode, we looked at the main themes for the score – in this episode, we’ll uncover the hidden moments and orchestrational genius that makes Raiders a film score for the ages. Episode Notes: - 2:50 The opening cue of the film – ‘In the Jungle’ - 9:40 Indiana Jones’ introduction in the film, both musical and visual - 11:45 ‘The Idol Temple’ and the spider pizzicato - 16:40 Comparison with the restless strings in E.T.: The Extra-Terrestrial and Bernard Herrmann’s Psycho - 20:45 The stealing of the Idol - 23:40 The rolling boulder, killer trumpet triplets, and Williams’ respect for sound effects - 28:40 The development of Marion’s theme across the score, from wistful, to tragic, to overblown romance - 36:50 The development of the Indiana Jones theme across the score, starting with its introduction - 41:20 Indiana Jones the sad and lonely professor, played on clarinet - 44:00 Indiana Jones the action star - 47:15 Our favourite performance of the Indiana Jones theme: the swim to the submarine - 49:00 Comparison with The Sea Hawk (Korngold) - 52:00 The travelling and map sequences of the film, ‘To Nepal’ and ‘Flight to Cairo’ - 1:00:00 The action cues of Raiders - 1:01:55 ‘The Basket Game’ and melodies in action sequences - 1:06:15 ‘The Fist Fight / The Flying Wing’ - 1:09:00 ‘Desert Chase’ and the trials of the orchestra - 1:12:40 John Williams does the Macarena - 1:14:00 The unscored bar fight - 1:15:50 The religious moments in the score - 1:16:30 ‘The Map Room: Dawn’ and turning religious awe into musical certainty - 1:22:50 Comparison with ‘The Lighting of the Beacons’ from Howard Shore’s Return of the King - 1:25:50 ‘The Medallion’ theme (or is it the Ark’s B theme?) - 1:29:10 ‘The Miracle of the Ark’ and the power of the Ark - 1:31:40 Williams’ use of horror music and slapsticks for the terror of the Ark - 1:35:14 The final cue of the film, and ending on the Ark theme We’d love to hear from our listeners – get in touch via Twitter, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.||16 2 2017||Free||View in iTunes|
||CleanEpisode 1: Raiders of the Lost Ark - Part 1||In Art of the Score, we dissect the greats of film music from top to bottom. For our first two episodes, we’re starting with John Williams’ 1981 score for Raiders of the Lost Ark, one of the most iconic collaborations between Williams and Spielberg. In episode one, we take a look at the themes of Raiders in detail – how they work, why they’re perfect for their characters, and the blueprint that they set up for the film. Episode Notes: - 3:05 Where Raiders of the Lost Ark sits in film history, why it was made, and how - 8:00 The visual look of Raiders - 10:00 John Williams’ musical style in context - 13:52 An introduction to leitmotif - 16:42 The Raiders March (Indiana’s Theme) - 27:40 Marion’s Theme (and what is Raiders about, anyway?) - 37:10 John Williams and the major sixth in romantic contexts - 45:20 The Ark Theme - 50:30 Comparison with the Grail Theme from The Last Crusade - 55:30 The Nazi theme and comparison with Imperial Music from Star Wars - 59:35 Comparison with the Nazi theme from The Last Crusade Join us for Episode Two as we go even deeper into the score, uncovering the hidden moments and orchestrational genius that makes Raiders a film score for the ages. We’d love to hear from our listeners – get in touch via Twitter, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.||15 2 2017||Free||View in iTunes|
What a show!
There are 3 stars in this podcast, so I gave them 5(?)
Fascinating, fun and educational
One episode in and absolutely loving it. It's ABC Keys to Music meets a Hollywood Golden Era Documentary. Listening brings back the same nostalgia as the films, the scores and the games.
The best part is it's both accessible and educational. I studied two instruments, voice and theory, have listened to first episode's soundtracks scores of times and still learned a LOT from this.
A job very well done and I can't wait to listen to more. Subscribed!
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