hello All,
I definitely hear all your positions.
I do most of my writing for either the concert hall or contemporary dance (yes, I'm broke!). So, I'm always straddling the gap between "stand-alone" music and "support" music. However, over the last couple of years I've become acutely aware of the presence of a strange sort of status quo in holding the opinion that the music _must_ serve the other form (dance in my case, film for this discussion). And I used to simply accept it... but I no longer feel so sure that it's in any way valid. I mean, when audiences first saw Le Sacre du Printemps (sorry to mention it again!), they... well, they rioted... but they were not under any illusions as to the fact that they were seeing _two_ great artists - Najinsky and Stravinsky. And this was the case with virtually all ballet music. People _expected_ to be swept up in the music at one point, then drawn back into the dance the next. This was, in fact, the whole point of these interdisciplinary forms. The two forms were in dialogue, and that dialogue could often generate a level of meaning all its own. It was complex, and even potentially confusing or overwhelming, but it was the foundation for interdisciplinary work. (As an aside, I do realize that in ballet, dance generally interpreted the music, which is no longer the case. However, I don't think that means the music should now take a secondary position, or that it should assume the role of interpreting the dance.)
Now, clearly I'm talking about art, and to assume that the majority of Hollywood production houses have any interest in producing "art" is a mad assumption. So, there's certainly is a wide berth given for conventional films, with conventional music -- they are the little money-makersj, the films that keep companies afloat. But I've always wondered whether there's any validity in this....? Would audiences really fail to respond to films with higher artistic goals? I doubt it. In fact, they generally respond quite well (you all have your own examples). It's similar in the pop music world, where major labels seem to assume that it will "work" to simply sign artists who are reasonable copies of their (or the competition's) major stars. This is what dragged music down in the 80's, and I sincerely believe it's what's killing the labels now. File sharing is very likely a symptom, not the disease, but it will take a great deal of courage for major labels to accept that position (please, let's leave that discussion for another century!)
The main thing for me is challenging the assumption that film music _should_ sit in the background... I challenge that assumption now when I write for contemporary dance, and believe me, that world is steeped in simlar opinions. Ever since dance found its feet (pardon the pun) as an autonomous form, that could exist without music, it's increasingly become an unwritten rule that music must now support.... I don't buy it anymore. And, yes, it is a _huge_ challenge to make music that is effective as an interdisciplinary element, but at the same time strong in itself. I've no idea whether I can do it...
you're all an impressive lot -- it's good to hear people thinking so much about what they do!
James.
I definitely hear all your positions.
I do most of my writing for either the concert hall or contemporary dance (yes, I'm broke!). So, I'm always straddling the gap between "stand-alone" music and "support" music. However, over the last couple of years I've become acutely aware of the presence of a strange sort of status quo in holding the opinion that the music _must_ serve the other form (dance in my case, film for this discussion). And I used to simply accept it... but I no longer feel so sure that it's in any way valid. I mean, when audiences first saw Le Sacre du Printemps (sorry to mention it again!), they... well, they rioted... but they were not under any illusions as to the fact that they were seeing _two_ great artists - Najinsky and Stravinsky. And this was the case with virtually all ballet music. People _expected_ to be swept up in the music at one point, then drawn back into the dance the next. This was, in fact, the whole point of these interdisciplinary forms. The two forms were in dialogue, and that dialogue could often generate a level of meaning all its own. It was complex, and even potentially confusing or overwhelming, but it was the foundation for interdisciplinary work. (As an aside, I do realize that in ballet, dance generally interpreted the music, which is no longer the case. However, I don't think that means the music should now take a secondary position, or that it should assume the role of interpreting the dance.)
Now, clearly I'm talking about art, and to assume that the majority of Hollywood production houses have any interest in producing "art" is a mad assumption. So, there's certainly is a wide berth given for conventional films, with conventional music -- they are the little money-makersj, the films that keep companies afloat. But I've always wondered whether there's any validity in this....? Would audiences really fail to respond to films with higher artistic goals? I doubt it. In fact, they generally respond quite well (you all have your own examples). It's similar in the pop music world, where major labels seem to assume that it will "work" to simply sign artists who are reasonable copies of their (or the competition's) major stars. This is what dragged music down in the 80's, and I sincerely believe it's what's killing the labels now. File sharing is very likely a symptom, not the disease, but it will take a great deal of courage for major labels to accept that position (please, let's leave that discussion for another century!)
The main thing for me is challenging the assumption that film music _should_ sit in the background... I challenge that assumption now when I write for contemporary dance, and believe me, that world is steeped in simlar opinions. Ever since dance found its feet (pardon the pun) as an autonomous form, that could exist without music, it's increasingly become an unwritten rule that music must now support.... I don't buy it anymore. And, yes, it is a _huge_ challenge to make music that is effective as an interdisciplinary element, but at the same time strong in itself. I've no idea whether I can do it...
you're all an impressive lot -- it's good to hear people thinking so much about what they do!
James.