The bone cut to the space station. To show the evolution of man from the moment of realization of how to become the top of the food chain by way of a tool to a vision (in the 60s) of the year 2001 where man has used tool upon tool to the point where we are living OFF the planet.
Mathis points out the uses of incredibly striking silence. Lingering shots of vast landscapes, silent and holding. But also, what most people don't realize, probably because they've seen so many countless times the bone cut recapped with the Zarusthra music, both in homages, and in parodies, ... is that the realization to the bone throw, the bone throw itself, the bone flying, and the cut to the space station, is ALL IN SILENCE. A few seconds later a LIGHT waltz introduction begins, as we begin what Kubrick called, the "docking dance".
Also of interesting note, is how Kubrick made the greatest decision ... to throw out Alex North's score. Although ordinary, it did not do what Kubrick was about to do. instead, Kubrick chose to use familiar tonal music to give the viewer a sense of foundation and trust for the first portions of the film. Even the horrific early scenes were nothing more than sound design type music (Ligeti).
however, as the movie progresses it becomes more serious, and it starts to loosen it's grip on familiarity as we move towards the more atonal, the more modern.
It was Kubrick's genius. And it is also why I teach that the film composer IS a filmmaker, and there is no correlation between film scoring and writing music for film. A film composer is best when he/she is a score editor who happens to have the budget and time to write exactly what they would have edited in. Had I been the composer on Pulp Fiction, it would have been no different than it is now.
Evan Evans
Mathis points out the uses of incredibly striking silence. Lingering shots of vast landscapes, silent and holding. But also, what most people don't realize, probably because they've seen so many countless times the bone cut recapped with the Zarusthra music, both in homages, and in parodies, ... is that the realization to the bone throw, the bone throw itself, the bone flying, and the cut to the space station, is ALL IN SILENCE. A few seconds later a LIGHT waltz introduction begins, as we begin what Kubrick called, the "docking dance".
Also of interesting note, is how Kubrick made the greatest decision ... to throw out Alex North's score. Although ordinary, it did not do what Kubrick was about to do. instead, Kubrick chose to use familiar tonal music to give the viewer a sense of foundation and trust for the first portions of the film. Even the horrific early scenes were nothing more than sound design type music (Ligeti).
however, as the movie progresses it becomes more serious, and it starts to loosen it's grip on familiarity as we move towards the more atonal, the more modern.
It was Kubrick's genius. And it is also why I teach that the film composer IS a filmmaker, and there is no correlation between film scoring and writing music for film. A film composer is best when he/she is a score editor who happens to have the budget and time to write exactly what they would have edited in. Had I been the composer on Pulp Fiction, it would have been no different than it is now.
Evan Evans