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101-578: AYO's history includes the premiere of Tan Dun 's Symphony 1997 with cellist Yo-Yo Ma, and concerts in venues such as Beijing's Great Hall of the People , New York's Avery Fisher Hall , California's Hollywood Bowl , Amsterdam's Concertgebouw , Berlin's Shauspielhaus, Vienna's Konzerthaus, Northern Virginia's Wolf Trap, and the Sydney Opera House . The orchestra has also performed in the White House and at

202-506: A film . The score comprises a number of orchestral, instrumental, or choral pieces called cues , which are timed to begin and end at specific points during the film in order to enhance the dramatic narrative and the emotional impact of the scene in question. Scores are written by one or more composers under the guidance of or in collaboration with the film's director or producer and are then most often performed by an ensemble of musicians – usually including an orchestra (most likely

303-957: A symphonic poem for piano for pianist Yuja Wang titled "Farewell My Concubine for Peking Opera Soprano and Piano". The work was commissioned by Guangzhou Symphony Orchestra and made its world premiere on 31 July 2015 in Xinghai Concert Hall with the orchestra conducted by Long Yu and Wang as piano soloist. Though not explicitly opera, many of Tan Dun's works borrow operatic elements, in terms of both melody and staging. For example, his violin concerto, Out of Peking Opera (1987, revised 1994), quotes jinghu fiddling music often heard in Peking opera. Additionally, Ghost Opera (1994), for pipa and string quartet, includes minimal sets and lighting. Originally composed on commission for Kronos Quartet and Wu Man , Ghost Opera has been performed globally and recorded by Kronos for Nonesuch Records . Some of

404-457: A symphony orchestra ) or band, instrumental soloists, and choir or vocalists – known as playback singers – and recorded by a sound engineer . The term is less frequently applied to music written for media such as live theatre , television and radio programs, and video games , and said music is typically referred to as either the soundtrack or incidental music . Film scores encompass an enormous variety of styles of music, depending on

505-441: A video artist . The video artist for the 1999 premiere was Elaine J. McCarthy . Many of Tan Dun's works call for instruments made of materials such as paper, stone, or water, but the compositions that he classifies as "organic music" feature these instruments most prominently. The first major work for organic instruments was his Water Concerto for Water Percussion and Orchestra (1998), dedicated to Toru Takemitsu . According to

606-518: A "source cue") comes from an on screen source that can actually be seen or that can be inferred (in academic film theory such music is called " diegetic " music, as it emanates from the " diegesis " or "story world"). An example of "source music" is the use of the Frankie Valli song "Can't Take My Eyes Off You" in Michael Cimino 's The Deer Hunter . Alfred Hitchcock 's 1963 thriller The Birds

707-724: A Nation (a sequel to The Birth of a Nation ) and Camille Saint-Saëns ' music for The Assassination of the Duke of Guise in 1908. It was preceded by Nathaniel D. Mann 's score for The Fairylogue and Radio-Plays by four months, but that was a mixture of interrelated stage and film performance in the tradition of old magic lantern shows. Most accompaniments at this time, these examples notwithstanding, comprised pieces by famous composers, also including studies. These were often used to form catalogues of photoplay music , which had different subsections broken down by 'mood' and genre: dark, sad, suspense, action, chase, etc. German cinema , which

808-484: A background chord. Though "the scoring of narrative features during the 1940s lagged decades behind technical innovations in the field of concert music," the 1950s saw the rise of the modernist film score. Director Elia Kazan was open to the idea of jazz influences and dissonant scoring and worked with Alex North, whose score for A Streetcar Named Desire (1951) combined dissonance with elements of blues and jazz. Kazan also approached Leonard Bernstein to score On

909-458: A character's car radio), are not considered part of the score, although the score's composer will occasionally write an original pop song based on their themes, such as James Horner 's " My Heart Will Go On " from Titanic , written for Celine Dion . A film score may also be called a background score , background music , film soundtrack , film music , screen composition , screen music , or incidental music . The composer usually enters

1010-449: A companion documentary on the DVD, Spielberg gave Williams complete freedom with the music and asked him to record the cue without pictures; Spielberg then re-edited the scene later to match the music. In some circumstances, a composer will be asked to write music based on their impressions of the script or storyboards without seeing the film itself and has more freedom to create music without

1111-413: A defining genre of classical music in the late 20th century, if only because it is the brand of classical music heard more often than any other. In some cases, film themes have become accepted into the canon of classical music . These are mostly works from already noted composers who have done scores; for instance, Sergei Prokofiev 's score to Alexander Nevsky , or Vaughan Williams ' score to Scott of

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1212-404: A fee. Sometimes called library music, the music is owned by production music libraries and licensed to customers for use in film, television, radio and other media. Examples of firms include Warner Chappell Production Music, Jingle Punks, Associated Production Music, FirstCom Music, VideoHelper and Extreme Music. Unlike popular and classical music publishers, who typically own less than 50 percent of

1313-406: A film score been released on CD. The origins of film music are disputed, although they are generally considered to have aesthetic roots in various media forms associated with nineteenth-century Romanticism . According to Kurt London , film music "began not as a result of any artistic urge, but from a dire need of something which would drown the noise made by the projector. For in those times there

1414-404: A gushing, and the violins are played as percussion instruments. Orchestral Theatre II: Re (1992) expands the concept of ritual by involving the audience. The orchestra is split, with the strings, brass, and percussion onstage, while the woodwinds surround the audience. The score also calls for two conductors, with one facing the stage, and the other facing the audience. The latter conductor cues

1515-470: A hybrid of orchestral and electronic instruments. Since the invention of digital technology and audio sampling , many modern films have been able to rely on digital samples to imitate the sound of acoustic instruments, and many scores are created and performed wholly by the composers themselves, by using music composition software , synthesizers, samplers, and MIDI controllers . Songs such as pop songs and rock songs are usually not considered part of

1616-417: A leeway of 3–4 frames late or early allows the composer to be extremely accurate. Using a technique called Free Timing, a conductor will use either ( a ) a stopwatch or studio size stop clock, or ( b ) watch the film on a screen or video monitor while conducting the musicians to predetermined timings. These are represented visually by vertical lines (streamers) and bursts of light called punches. These are put on

1717-412: A major influence on their own forays into film scoring. When sound came to movies, director Fritz Lang barely used music in his movies anymore. Apart from Peter Lorre whistling a short piece from Edvard Grieg's Peer Gynt , Lang's movie M – Eine Stadt sucht einen Mörder was lacking musical accompaniment completely and Das Testament des Dr. Mabuse only included one original piece written for

1818-449: A metronome value (e.g. 88 Bpm). A composer would use a written click if he or she planned to conduct live performers. When using other methods such as a metronome, the conductor has a perfectly spaced audible click playing. This can yield stiff and lifeless performances in slower more expressive cues. A standard BPM value can be converted to a written click where X represents the number of beats per bar and W represents time in seconds by using

1919-525: A mixing of original compositions (in this case by Giuseppe Becce ) and library music / folk tunes, which were artistically included into the score by the composer. Much of this influence can be traced further back to German Romantic forms of music. Richard Wagner 's ideas on Gesamtkunstwerk and leitmotif in his operas were later picked up on by prominent film composer Max Steiner . Steiner and his contemporary Erich Korngold both immigrated from Vienna, bringing with them musical structures and ideologies of

2020-624: A rice planter on the Huangjin commune. He joined an ensemble of other commune residents and learned to play traditional Chinese string instruments . Following a ferry accident that resulted in the death of several members of a Peking opera troupe, Tan Dun was called upon as a violist and arranger. This initial success earned him a seat in the orchestra, and from there he went to study at the Central Conservatory of Music in Beijing in 1977. While at

2121-415: A same director. John Williams ' professional relationship with Steven Spielberg and George Lucas is one of the most prominent in film history, with Williams scoring all but five of Spielberg's films, and all the installments of both of Lucas' blockbuster franchises ( Star Wars and Indiana Jones ); Williams won all five of his Oscars in his collaborations with the two. Additionally, Danny Elfman did

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2222-545: A score that plays almost continuously throughout. In some instances, film composers have been asked by the director to imitate a specific composer or style present in the temp track. On other occasions, directors have become so attached to the temp score that they decide to use it and reject the original score written by the film composer. One of the most famous cases is Stanley Kubrick 's 2001: A Space Odyssey , where Kubrick opted for existing recordings of classical works, including pieces by composer György Ligeti rather than

2323-478: A solo instrument. The first concerto in the series, Yi1: Intercourse of Fire and Water (1994), was written for and premiered by cellist Anssi Karttunen . The second work, Yi2: Concerto for Guitar and Orchestra (1996), combines flamenco and pipa techniques and was premiered by Sharon Isbin . Originally titled Secret Land , Tan Dun wrote a concerto for 12 solo cellos and orchestra called Four Secret Roads of Marco Polo (2004). Commissioned and premiered by

2424-762: A specially built set of 50 ceramic percussion, string, and wind instruments, designed in collaboration with potter Ragnar Naess. To emphasize the shamanistic nature of Qu Yuan's poetry, the actors dance and move in a ritualized manner. Tan Dun's second work in the genre, Marco Polo (1996), set to a libretto by Paul Griffiths , is an opera within an opera . It begins with the spiritual journey of two characters, Marco and Polo, and their encounters with various historic figures of literature and music, including Dante Alighieri , William Shakespeare , Scheherazade , Sigmund Freud , John Cage , Gustav Mahler , Li Po , and Kublai Khan . These sections are presented in an abstract, Peking opera style. Interwoven with these sections are

2525-505: A unique and grabbing sound that create a memorable scene. One example of this is in the "Lord of The Rings" score where Howard Shore used specific melodic idea to refer to The Shire using a tin flute to evoke a Celtic feel. He does this many times through all three films in the trilogy to refer back when a character is feeling nostalgic or reminiscent ( Lawson, Macdonald ,2018). In other scores you'll find not only original orchestration but also an incorporation of popular music, that represents

2626-494: A weather forecast is played. The final piece in the series, The Gate (Orchestral Theatre IV) (1999), focuses on three women of literary fame: Yu from The Hegemon-King Bids His Concubine Farewell , Juliet from Romeo and Juliet , and Koharu from The Love Suicides at Amijima . Based on the theme of sacrifice for love, The Gate is structured as a theme and variations . The style of each section corresponds to its respective character's country of origin. Additionally, Yu

2727-874: A whole includes operas, orchestral, vocal, chamber, solo and film scores , as well as genres that Tan terms "organic music" and "music ritual." Born in Hunan , China, Tan grew up during the Cultural Revolution and received musical education from the Central Conservatory of Music . His early influences included both Chinese music and 20th-century classical music . Since receiving a DMA from Columbia University in 1993, Tan has been based in New York City . His compositions often incorporate audiovisual elements; use instruments constructed from organic materials, such as paper, water, and stone; and are often inspired by traditional Chinese theatrical and ritual performance. In 2013, he

2828-654: Is John Williams ' score for the Star Wars saga, and the numerous themes in Star Wars music associated with individual characters such as Darth Vader , Luke Skywalker , and Princess Leia . Similarly, the music of the Lord of the Rings film series featured recurring themes for many main characters and places. Another notable example is Jerry Goldsmith 's Klingon theme from Star Trek: The Motion Picture (1979), which later composers in

2929-589: Is a Chinese-born American composer and conductor. A leading figure of contemporary classical music , he draws from a variety of Western and Chinese influences, a dichotomy which has shaped much of his life and music. Having collaborated with leading orchestras around the world, Tan is the recipient of numerous awards , including a Grawemeyer Award for his opera Marco Polo (1996) and both an Academy Award and Grammy Award for his film score in Ang Lee 's Crouching Tiger, Hidden Dragon (2000). His oeuvre as

3030-504: Is an example of a Hollywood film with no non-diegetic music whatsoever. Dogme 95 is a filmmaking movement, started in Denmark in 1995, with a manifesto that prohibits any use of non-diegetic music in its films. The artistic merits of film music are frequently debated. Some critics value it highly, pointing to music such as that written by Erich Wolfgang Korngold , Aaron Copland , Bernard Herrmann , and others. Some consider film music to be

3131-450: Is capable of performing the music as written, and even allowing them to introduce performance techniques and flourishes to enhance the score. In many cases, time constraints determined by the film's post-production schedule dictate whether composers orchestrate their own scores, as it is often impossible for the composer to complete all the required tasks within the time frame allowed. Over the years several orchestrators have become linked to

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3232-401: Is known as "spotting". Occasionally, a filmmaker will actually edit their film to fit the flow of music, rather than have the composer edit their score to the final cut. Director Godfrey Reggio edited his films Koyaanisqatsi and Powaqqatsi based on composer Philip Glass 's music. Similarly, the relationship between director Sergio Leone and composer Ennio Morricone was such that

3333-512: Is led by both a human conductor and a virtual conductor who appears on the monitors. While the human conductor leads, the monitors depict a variety of images from the 1960s and the Cold War : a collage of Mao Zedong , the Cultural Revolution , Martin Luther King Jr. , John F. Kennedy , The Beatles , Nikita Khrushchev , and hydrogen bomb testing. In addition to the video, an audio recording of

3434-574: Is played by a Peking opera singer ( Shi Min ), Juliet by a Western opera soprano (Nancy Allen Lundy), and Koharu by a Japanese puppeteer ( Jusaburō Tsujimura ). As in Orchestra Theatre II: Re , the orchestra is distributed onstage and amongst the audience. The Gate also incorporates video, but unlike the prerecorded images used in Red Forecast , a projection screen displays live images of the three actress-soloists, manipulated in real time by

3535-418: Is required for the film in terms of style and tone. The director and composer will watch the entire film, taking note of which scenes require original music. During this process, composers will take precise timing notes so that they know how long each cue needs to last, where it begins, where it ends, and of particular moments during a scene with which the music may need to coincide in a specific way. This process

3636-593: The Star Trek film series quoted in their Klingon motifs, and which was included on numerous occasions as a theme for Worf , the franchise's most prominent Klingon character. Michael Giacchino employed character themes in the soundtrack for the 2009 animated film Up , for which he received the Academy Award for Best Score. His orchestral soundtrack for the television series Lost also depended heavily on character and situation-specific themes. " Source music " (or

3737-615: The Beaux Arts Trio and trumpeter Hakan Hardenberger are among those who have performed with AYO. Conductors include Sergiu Comissiona , Alexander Schneider , Tan Dun , Okko Kamu , Eri Klas , principal conductor James Judd, and the orchestra's co-founders, Yehudi Menuhin and Richard Pontzious. https://web.archive.org/web/20110707175553/http://www.asianyouthorchestra.com/index-hear.html Tan Dun Tan Dun ( Chinese : 谭盾 ; pinyin : Tán Dùn , Mandarin pronunciation: [tʰǎn tu̯ə̂n] ; born 18 August 1957)

3838-603: The Berlin Philharmonic , the work is a musical exploration of the Silk Road . To achieve these sounds, the cello soloists employ sitar and pipa techniques. Tan Dun wrote a concerto for Lang Lang titled Piano Concerto: "The Fire" (2008), a commission by the New York Philharmonic . The concerto is reportedly inspired by the composer's love for martial arts, and the soloist is instructed to play certain passages of

3939-685: The London Symphony Orchestra (performing film music since 1935) the City of Prague Philharmonic Orchestra (an orchestra dedicated mostly to recording), the BBC Philharmonic , and the Northwest Sinfonia . The orchestra performs in front of a large screen depicting the film, The conductor and musicians habitually wear headphones that sound a series of clicks called a "click-track" that changes with meter and tempo, assisting to synchronize

4040-768: The Philippines , Singapore , Thailand and Vietnam . Chosen through auditions held throughout the region, the orchestra members spend six weeks together each summer: first, they participate in a three-week rehearsal camp in Hong Kong , and then they travel for another three weeks on a tour with conductors and soloists. Cellists Yo-Yo Ma , Mischa Maisky , Jian Wang and Alisa Weilerstein , violinists Sarah Chang , Vadim Repin, Gidon Kremer , Gil Shaham , Elmar Oliveira , Young Uck Kim , Yu-Chien Tseng, Suwanai Akiko and Cho-Liang Lin , soprano Elly Ameling , pianists Alicia de Larrocha , Cecile Licad , Leon Fleisher , Anna Tsybuleva,

4141-444: The Qin dynasty , and his relationship with the musician Gao Jianli . Like Tan Dun's previous operas, The First Emperor calls for Chinese instruments in addition to a full orchestra, including guzheng and bianzhong . The original Met production was directed by Zhang Yimou , with whom Tan Dun had collaborated on the film Hero . Tan Dun earned more widespread attention after composing

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4242-706: The United Nations . A formation committee of Hong Kong businessmen and women created the organizational structure for the Asian Youth Orchestra in 1987 and established it as a tax-exempt non-profit organization qualified under Section 88 of the Hong Kong Inland Revenue Ordinance. In 2017, the orchestra made its debut at Young Euro Classic . The members of the Asian Youth Orchestra (AYO) are pre-professional musicians from China , Taiwan , Hong Kong , Indonesia , Japan , Korea , Malaysia ,

4343-632: The 250th anniversary of the death of Johann Sebastian Bach , the work for chorus, orchestra, and water percussion follows the Gospel of Matthew , beginning with Christ's baptism . The chorus doubles on tingsha , and the soprano and bass soloists double on xun . The score also requires Mongolian overtone singing from the soloists. As with Orchestral Theatre I: O , members of the orchestra play their instruments with techniques borrowed from non-Western traditions. Tan Dun's next major organic work, Paper Concerto for Paper Percussion and Orchestra (2003), explores

4444-451: The Antarctic . Others see the great bulk of film music as meritless. They consider that much film music is derivative, borrowing heavily from previous works. Composers of film scores typically can produce about three or four per year. The most popular works by composers such as John Williams are still far from entering the accepted classical canon, although there is a growing appreciation for

4545-480: The Conservatory, Tan Dun came into contact with composers such as Toru Takemitsu , George Crumb , Alexander Goehr , Hans Werner Henze , Isang Yun , and Chou Wen-Chung , all of whom influenced his sense of musical style. In 1986, he moved to New York City as a doctoral student at Columbia University , once again studying with Chou Wen-Chung, who had studied under Edgard Varèse . At Columbia, Tan Dun discovered

4646-562: The Earth) , which in turn draws from the poetry of Li Po. Ceramic instruments include percussion instruments similar to those Tan Dun had used in previous works, as well as wind instruments and xun. In the mid-1990s, Tan Dun began working on another series of orchestral works known as the Yi series, named for the I Ching (Yi Jing in pinyin). Each numbered work in the series builds upon the original, Yi°: Concerto for Orchestra (published 2002), by adding

4747-572: The Grand Opening Theme Song of Shanghai Disney Resort . On 1 August 2019 he was appointed as dean of the Bard College Conservatory of Music . During his time at Columbia University, Tan Dun composed his first opera, a setting of nature poems by Qu Yuan called Nine Songs (1989). The poems are sung in both Classical Chinese and contemporary English alongside a small ensemble of Western and Chinese instruments. Among these are

4848-624: The Waterfront (1954) and the result was reminiscent of earlier works by Aaron Copland and Igor Stravinsky with its "jazz-based harmonies and exciting additive rhythms." A year later, Leonard Rosenman , inspired by Arnold Schoenberg , experimented with atonality in his scores for East of Eden (1955) and Rebel Without a Cause (1955). In his ten-year collaboration with Alfred Hitchcock , Bernard Herrmann experimented with ideas in Vertigo (1958) and Psycho (1960). The use of non-diegetic jazz

4949-651: The acoustic range of paper. Instruments constructed from differing thicknesses of paper are used as cymbals, drums, or reeds. Additionally, sheets of paper are shaken or struck. These sounds are amplified primarily through wireless microphones worn by the musicians. This work was commissioned by the Los Angeles Philharmonic for the opening of the Walt Disney Concert Hall . Earth Concerto for stone and ceramic percussion and orchestra (2009) draws from Gustav Mahler's Das Lied von der Erde (The Song of

5050-403: The audience to hum along with the orchestra in certain sections of the music. The work's namesake derives from humming the solfège pitch "re". The third piece in the series, Red Forecast (Orchestral Theatre III) (1996), involves more staging elements than its predecessors, adding television monitors, lighting, and even stage directions for the musicians. In this multimedia work, the orchestra

5151-460: The broader contribution of composers such as Williams among some classical composers and critics; for example, the Norwegian contemporary classical composer Marcus Paus has said that he considers Williams to be "one of the great composers of any century" who has "found a very satisfying way of embodying dissonance and avant-garde techniques within a larger tonal framework" and who "might also have come

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5252-430: The capacity that they had no need to mask the sounds of a projector mechanism. As these early films began to move out of exhibition spaces and into vaudeville theaters, the role of film began to shift as well. Given that vaudeville theaters typically employed musicians, it is likely that this is the point when it became commonplace for film to be accompanied by music. Audiences at the time would have come to expect music in

5353-531: The closest of any composer to realizing the old Schoenbergian utopia that children of the future would be whistling 12-tone rows." Even so, considering they are often the most popular modern compositions of classical music known to the general public, major orchestras sometimes perform concerts of such music , as do pops orchestras . In 1983, a non-profit organization, the Society for the Preservation of Film Music ,

5454-661: The composer, the sounds made by the soloist are inspired by the sounds of everyday life growing up in Hunan. Basins are filled with water, and the contents are manipulated with bowls, bottles, hands, and other devices. Other water instruments used include the waterphone . Various means of amplification are used, including contact microphones on the basins. The techniques devised in the Water Concerto were used again in Tan Dun's Water Passion After St. Matthew (2000). Written to commemorate

5555-493: The copyright in a composition, music production libraries own all of the copyrights of their music, meaning that it can be licensed without seeking the composer's permission, as is necessary in licensing music from normal publishers. This is because virtually all music created for music libraries is done on a work for hire basis. Production music is therefore a very convenient medium for media producers – they can be assured that they will be able to license any piece of music in

5656-432: The creative process towards the end of filming at around the same time as the film is being edited , although on some occasions the composer is on hand during the entire film shoot, especially when actors are required to perform with or be aware of original diegetic music. The composer is shown an unpolished "rough cut" of the film before the editing is completed and talks to the director or producer about what sort of music

5757-538: The death of the protagonist's love. Percussionists play on pitched flowerpots, referred to as "Ceramic chimes" in the score. Tan Dun's most recent opera, The First Emperor (2006), was commissioned by the Metropolitan Opera with the title role created for Plácido Domingo . Co-authored by Tan Dun and Chinese novelist Ha Jin , the opera focuses on the unification of China under Qin Shi Huang , first emperor of

5858-711: The era and or the character being portrayed. Many films do this like " Guardians of the galaxy", or the " Back to the Future". In the Robert Zemeckis, Alan Silvestri orchestrates a composition that is accompanied by tracks such as; "The power of love", and "Back in Time" both by Huey Lewis and The News. This creates a sense of lightness that deviates from the fanfare-like main theme.( Lawson, Macdonald ,2018). Many scores often try to draw from worldly influence to create sound that cements itself into popular culture. An example of this would be

5959-456: The film by the Music Editor at points specified by the composer. In both instances, the timings on the clock or lines scribed on the film have corresponding timings which are also at specific points (beats) in the composer/conductor score. A written click track is a method of writing bars of music in consistent time values (e.g. 4 beats in :02⅔ seconds) to establish a constant tempo in lieu of

6060-461: The film or on the album and are contracted individually (and if so, the orchestra contractor is credited in the film or the soundtrack album ). However, some films have recently begun crediting the contracted musicians on the albums under the name Hollywood Studio Symphony after an agreement with the American Federation of Musicians . Other performing ensembles that are often employed include

6161-414: The film's score, although songs do also form part of the film's soundtrack. Although some songs, especially in musicals , are based on thematic ideas from the score (or vice versa), scores usually do not have lyrics, except for when sung by choirs or soloists as part of a cue. Similarly, pop songs that are dropped into a specific scene in a film for emphasis or as diegetic music (e.g., a song playing on

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6262-405: The filmmaker prior to the final orchestral recording. The length of time a composer has to write the score varies from project to project; depending on the post-production schedule, a composer may have as little as two weeks or as much as three months to write the score. In normal circumstances, the actual writing process usually lasts around six weeks from beginning to end. The actual material of

6363-671: The finale of The Good, the Bad and the Ugly and the films Once Upon a Time in the West and Once Upon a Time in America were edited to Morricone's score as the composer had prepared it months before the film's production ended. In another example, the finale of Steven Spielberg 's E.T. the Extra-Terrestrial was edited to match the music of his long-time collaborator John Williams : as recounted in

6464-465: The following equation: 60 b p m ( x ) = W {\displaystyle {\frac {60}{bpm}}(x)=W} Written clicks are expressed using 1/3 second increments, so the next step is to round the decimal to either 0, 1/3, or 2/3 of a second. The following is an example for 88 BPM: 60 88 ( 4 ) = 2.72 {\displaystyle {\frac {60}{88}}(4)=2.72} 2.72 rounds to 2.66, so

6565-435: The generic classifications included below are Tan Dun's own concepts, including "organic music" and "music ritual." "Organic music" refers to musical works performed on non-traditional instruments, typically involving organic materials such as paper, water, or stone. "Music ritual" refers to works derived from Chinese spiritual traditions. Film scores A film score is original music written specifically to accompany

6666-401: The history of music as an integral part of spiritual life, as ritual, as partnership in enjoyment and spirit, is as old as humanity itself. In the first piece of the series, Orchestral Theatre I: O (1990), members of the orchestra make various vocalizations—chanting nonsense syllables , for instance—while playing their instruments using atypical techniques. For examples, the harp is played as

6767-608: The late Romantic period. In France, before the advent of talkies, Erik Satie composed what many consider the first "frame by frame" synchronous film score for director René Clair 's avant-garde short Entr'acte (1924). Anticipating "spotting" techniques and the inconsistencies of projection speeds in screenings of silent films, Satie took precise timings for each sequence and created a flexible, aleatoric score of brief, evocative motifs which could be repeated and varied in tempo as required. American composers Virgil Thomson and Aaron Copland cited Satie's music for Entr'acte as

6868-564: The lives of China's Tujia , Miao , and Dong ethnic minorities . The musicians onstage, including the cello soloist, interact with the musicians onscreen—a duet of live and recorded performance. The work was premiered and commissioned by the Boston Symphony Orchestra with Yo-Yo Ma . Tan Dun's most recent multimedia work, Nu Shu: The Secret Songs of Women (2013), is a 13-movement work for video, solo harp, and orchestra. Following years of ethnomusicological research in Hunan,

6969-428: The movie by Hans Erdmann played at the very beginning and end of the movie. One of the rare occasions on which music occurs in the movie is a song one of the characters sings, that Lang uses to put emphasis on the man's insanity, similar to the use of the whistling in M . Early attempts at the synchronization of sound and image were failures, in large part due to mechanical and technological limitations. Phonographs ,

7070-456: The music of composers such as Philip Glass , John Cage , Meredith Monk , and Steve Reich , and began incorporating these influences into his compositions. He completed his dissertation, Death and Fire: Dialogue with Paul Klee , in 1993. Inspired by a visit to the Museum of Modern Art , Death and Fire is a short symphony that engages with the paintings of Paul Klee . On 15 June 2016, he created

7171-664: The music to create the Crouching Tiger Concerto for cello, video, and chamber orchestra. Containing edited footage from the film, this work reverses the role of music in film by treating video as secondary. This same technique was later applied to his film scores for Hero and The Banquet , resulting in the larger work known as the Martial Arts Cycle . In 2002, Tan Dun continued experimenting with application of video in music The Map , also for cello, video, and orchestra. The Map features documentary footage depicting

7272-545: The music with fists and forearms. Other more tranquil sections evoke ancient Chinese instruments such as the guqin . In 2008, Tan Dun was commissioned by Google and YouTube to write an inaugural symphony for the YouTube Symphony Orchestra (YTSO) project. The resultant work, Internet Symphony No. 1 "Eroica", was recorded by the London Symphony Orchestra and uploaded to YouTube in November 2008, thus beginning

7373-552: The music with the film. More rarely, the director will talk to the composer before shooting has started, so as to give more time to the composer or because the director needs to shoot scenes (namely song or dance scenes) according to the final score. Sometimes the director will have edited the film using "temp (temporary) music": already published pieces with a character that the director believes to fit specific scenes. Most films have between 45 and 120 minutes of music. However, some films have very little or no music; others may feature

7474-471: The nature of the films they accompany. While the majority of scores are orchestral works rooted in Western classical music , many scores are also influenced by jazz , rock , pop , blues , new-age and ambient music , and a wide range of ethnic and world music styles. Since the 1950s, a growing number of scores have also included electronic elements as part of the score, and many scores written today feature

7575-513: The need to adhere to specific cue lengths or mirror the emotional arc of a particular scene. This approach is usually taken by a director who does not wish to have the music comment specifically on a particular scene or nuance of a film and which can instead be inserted into the film at any point the director wishes during the post-production process. Composer Hans Zimmer was asked to write music in this way in 2010 for director Christopher Nolan 's film Inception ; composer Gustavo Santaolalla did

7676-410: The only medium available for recorded sound in the early twentieth century, were difficult if not impossible to synchronize with the rotation of film projectors. In the cases where an attempt was made, sound was further limited by an inability to properly amplify it. However, in the 1920s improvements in radio technology allowed for the amplification of sound, and the invention of sound on film allowed for

7777-647: The open call for video audition submissions. Voted on by members of the YouTube community as well as professional musicians, the YTSO was assembled of 96 musicians from over 30 countries. In April 2009, a mashup video of the submissions was premiered at Carnegie Hall, followed by a live performance of the work. Tan Dun has also conducted the BBC Scottish Symphony to record parts of the album Away from Xuan by fellow composer Chen Yuanlin , released in 2009. He composed

7878-430: The orchestrator with copious notes outlining which instruments are being asked to perform which notes, giving the orchestrator no personal creative input whatsoever beyond re-notating the music on different sheets of paper as appropriate. Other composers are less detailed, and will often ask orchestrators to "fill in the blanks", providing their own creative input into the makeup of the ensemble, ensuring that each instrument

7979-404: The orchestrator's job is to take the single-line music written by the composer and "flesh it out" into instrument-specific sheet music for each member of the orchestra to perform. Some composers like Ennio Morricone orchestrate their own scores themselves, without using an additional orchestrator. Some composers provide intricate details in how they want this to be accomplished and will provide

8080-742: The same name . Directed by Peter Sellars in its original production, Tan Dun's work is performed entirely in English, though one of the characters must be trained in Peking or Kunqu style. The small ensemble of six musicians performs electronics and Chinese instruments onstage with the actors. Stylistically, the music is a blend of Western avant-garde and Chinese opera . At this point in his career, Tan Dun had created many works for "organic instruments," i.e. instruments constructed from materials such as paper, water, ceramic, and stone. For his fourth opera, Tea: A Mirror of Soul (2002), co-authored by librettist Xu Ying , organic instruments factor prominently into

8181-497: The same thing when he wrote his Oscar-winning score for Brokeback Mountain . When writing music for film, one goal is to sync dramatic events happening on screen with musical events in the score. There are many different methods for syncing music to picture. These include using sequencing software to calculate timings, using mathematic formulas and free timing with reference timings. Composers work using SMPTE timecode for syncing purposes. When syncing music to picture, generally

8282-706: The score by Alex North , although Kubrick had also hired Frank Cordell to do a score. Other examples include Torn Curtain (Bernard Herrmann), Troy (Gabriel Yared), Pirates of the Caribbean: The Curse of the Black Pearl (Alan Silvestri), Peter Jackson's King Kong (Howard Shore), Air Force One (Randy Newman) and The Bourne Identity (Carter Burwell). Films often have different themes for important characters, events, ideas or objects, an idea often associated with Wagner 's use of leitmotif . These may be played in different variations depending on

8383-459: The score depends on several different variables that factor into how a composer may write. Things like; the emotion the composer is trying to convey, the character on screen, the scenery and geography of the set, along with multiple more different variables. A composition could consist of different instrumentation, varying genres, and different influential styles. Each composer has their own Inspirations and their own pragmatic impressions that create

8484-412: The score for Ang Lee 's Crouching Tiger, Hidden Dragon (2000), for which he won an Academy Award , a Grammy Award , and a BAFTA Award . Other film credits include the aforementioned Hero ( Zhang Yimou , 2002), Gregory Hoblit 's Fallen (1998), and Feng Xiaogang 's The Banquet (2006). Following the composition of the film score for Crouching Tiger, Hidden Dragon , Tan Dun rearranged

8585-3842: The score for all the movies directed by Tim Burton , with the exception of Ed Wood (score by Howard Shore ) and Sweeney Todd: The Demon Barber of Fleet Street (score by Stephen Sondheim ). Other documented instance of director-composer relationships includes: Bernard Herrmann with Alfred Hitchcock ; Jerry Goldsmith with Joe Dante and Franklin Schaffner ; Ennio Morricone with Sergio Leone , Mauro Bolognini , and Giuseppe Tornatore ; Henry Mancini with Blake Edwards ; Georges Delerue with François Truffaut ; Alan Silvestri with Robert Zemeckis ; Angelo Badalamenti with David Lynch ; James Newton Howard with M. Night Shyamalan ; Éric Serra with Luc Besson ; Patrick Doyle with Kenneth Branagh ; Dave Grusin with Sydney Pollack ; Howard Shore with David Cronenberg , Peter Jackson , and Martin Scorsese ; Carter Burwell with Joel & Ethan Coen ; Bill Conti with John G. Avildsen ; Lalo Schifrin with Don Siegel , Stuart Rosenberg , and Brett Ratner ; Hans Zimmer with Ridley Scott and Christopher Nolan ; Harry Gregson-Williams with Tony Scott and Andrew Adamson ; Clint Mansell with Darren Aronofsky ; Dario Marianelli with Joe Wright ; Trent Reznor and Atticus Ross with David Fincher ; Steve Jablonsky with Michael Bay , Mychael Danna with Ang Lee and Atom Egoyan , Terence Blanchard with Spike Lee , Randy Newman with John Lasseter ; Thomas Newman with Sam Mendes ; David Newman with Danny Devito , Brian Levant , and Stephen Herek ; John Debney with Jon Favreau and Garry Marshall ; Gabriel Yared with Anthony Minghella ; Joe Kraemer with Christopher McQuarrie ; Michael Giacchino with J. J. Abrams and Brad Bird ; James Horner with James Cameron and Ron Howard ; John Barry with Bryan Forbes , Anthony Harvey , Terence Young , and Guy Hamilton ; Elmer Bernstein with John Landis , John Sturges , and Robert Mulligan ; Maurice Jarre with David Lean , Peter Weir , and Georges Franju ; Philip Glass with Godfrey Reggio ; Cliff Martinez and David Holmes with Steven Soderbergh ; Akira Ifukube with Ishirō Honda ; A. R. Rahman with Mani Ratnam ; George Fenton with Richard Attenborough , Nicholas Hynter , Ken Loach , and Stephen Frears ; Klaus Badelt and Ernst Reijseger with Werner Herzog ; Randy Edelman with Ivan Reitman and Rob Cohen ; Marc Shaiman with Rob Reiner ; Elliot Goldenthal with Julie Taymor and Neil Jordan ; Rachel Portman with Beeban Kidron , Lasse Hallström , and Jonathan Demme ; Christophe Beck with Shawn Levy ; Arthur B. Rubinstein and David Shire with John Badham ; John Powell with Doug Liman and Paul Greengrass ; Trevor Rabin with Renny Harlin and Jon Turteltaub ; Harald Kloser with Roland Emmerich ; David Arnold with Michael Apted and John Singleton ; Michael Kamen with Richard Donner , John McTiernan , and Terry Gilliam ; Jorge Arriagada with Raúl Ruiz ; Zbigniew Preisner with Krzysztof Kieślowski ; Mark Isham with Alan Rudolph and Robert Redford ; Basil Poledouris with John Millius ; Joseph Trapanese with Joseph Kosinski ; Jonny Greenwood and Jon Brion with Paul Thomas Anderson ; Brian Tyler with Justin Lin and Sylvester Stallone ; John Ottman with Bryan Singer ; Marco Beltrami with Wes Craven and Guillermo del Toro ; Tyler Bates with James Gunn , Zack Snyder , and Rob Zombie ; Pino Donaggio with Brian De Palma ; and Alexandre Desplat with Wes Anderson , Roman Polanski , and George Clooney . Many companies provide music to various film, TV and commercial projects for

8686-541: The score from " The Good, The Bad, and The Ugly". In this score by Ennio Morricone he uses a culmination of post-tonal music theory, celtic song, gregorian chant, and mariachi trumpets to create the sound of the spaghetti western, that is often associated with the wild west ( Kalinak 2010 ). Once the music has been written, it must then be arranged or orchestrated in order for the ensemble to be able to perform it. The nature and level of orchestration varies from project to project and composer to composer, but in its basic form

8787-401: The situation they represent, scattered amongst incidental music. The themes for specific characters or locations are known as a motif where the rest of the track is usually centered around the particular motif and the track develops in line with the motif. This common technique may often pass unnoticed by casual moviegoers, but has become well known among genre enthusiasts. One prominent example

8888-647: The spotting session has been completed and the precise timings of each cue determined, the composer will then work on writing the score. The methods of writing the score vary from composer to composer; some composers prefer to work with a traditional pencil and paper, writing notes by hand on a staff and performing works-in-progress for the director on a piano, while other composers write on computers using sophisticated music composition software such as Digital Performer , Logic Pro , Finale , Cubase , or Pro Tools . Working with software allows composers to create MIDI-based demos of cues, called MIDI mockups , for review by

8989-563: The structure of the opera itself. The title of each act corresponds to the materials of the instruments being used, as well as the opera's plot. The first act, entitled "Water, Fire", opens with a tea ceremony onstage while percussionists manipulate glass bowls of water. The second act, "Paper", features music on rice paper drums and depicts the characters' search for The Classic of Tea , the first book to codify tea production and preparation in China. The third and final act, "Ceramic, Stones", depicts

9090-405: The synchronization thereof. A landmark event in music synchronization with the action in film was achieved in the score composed by Max Steiner for David O. Selznick 's 1933 King Kong. A fine example of this is when the aborigine chief slowly approaches the unwanted visitors to Skull Island who are filming the natives' sacred rites. As he strides closer and closer, each footfall is reinforced by

9191-595: The travels of the real-life Marco Polo , presented in a Western operatic style. Though the score calls for traditional Western orchestral instrumentation, additional instruments are used to indicate the location of the characters, including recorder , rebec , sitar , tabla , singing bowls , Tibetan horn , sheng , and pipa . The opera won the Grawemeyer Award for Music Composition in 1998. That same year, Tan Dun premiered his next opera, The Peony Pavilion , an adaptation of Tang Xianzu 's 1598 Kunqu play of

9292-679: The vaudeville space, and as such live musical accompaniment to films grew out naturally. Before the age of recorded sound in motion pictures, efforts were taken to provide suitable music for films, usually through the services of an in-house pianist or organist, and, in some cases, entire orchestras, typically given cue sheets as a guide. A pianist was present to perform at the Lumière brothers' first film screening in 1895. In 1914, The Oz Film Manufacturing Company sent full-length scores by Louis F. Gottschalk for their films. Other examples of this include Victor Herbert 's score in 1915 to The Fall of

9393-424: The video are used in counterpoint to the live music. In the 1990s, Tan Dun began working on a series of orchestral pieces that would analyze the relationship between performer and audience by synthesizing Western classical music and Chinese ritual. According to the composer, If we look at the idea of 'art music' with its firm separation of performer and audience, we see that its history is comparatively short. Yet

9494-509: The work captures the sounds of Nüshu script , a phonetic writing system devised by women speakers of the Xiangnan Tuhua dialect who had been disallowed from receiving formal education. Considered a dying language , Tan Dun's research resulted in a series of short films of women singing songs written in Nüshu, which are presented alongside the orchestral performance. As with The Map , the songs in

9595-451: The work of one particular composer, often to the point where one will not work without the other. Once the orchestration process has been completed, the sheet music is physically printed onto paper by one or more music copyists and is ready for performance. When the music has been composed and orchestrated , the orchestra or ensemble then performs it, often with the composer conducting. Musicians for these ensembles are often uncredited in

9696-543: The written click is 4 beats in :02⅔ seconds. Once the composer has identified the location in the film with which to sync musically, he or she must determine the musical beat this event occurs on. To find this, conductors use the following equation, where bpm is beats per minute, sp is the sync point in real-time (i.e. 33.7 seconds), and B is the beat number in 1/3 increments (i.e. 49⅔). b p m ( s p ) 60 + 1 = B {\displaystyle {\frac {bpm(sp)}{60}}+1=B} Once

9797-416: Was another modernist innovation, such as jazz star Duke Ellington 's score for Otto Preminger 's Anatomy of a Murder (1959). The following list includes all composers who have scored one of the 100 highest-grossing films of all time but have never been nominated for a major award (Oscar, Golden Globe etc.). Sometimes, a composer may unite with a director by composing the score for many films of

9898-465: Was as yet no sound-absorbent walls between the projection machine and the auditorium. This painful noise disturbed visual enjoyment to no small extent. Instinctively cinema proprietors had recourse to music, and it was the right way, using an agreeable sound to neutralize one less agreeable." On the contrary, film historian James Wierzbicki asserts that early film showings (such as the Lumière brothers ' first film screening) would have been social events to

9999-445: Was formed to preserve the "byproducts" of creating a film score, including the music manuscripts (written music) and other documents and studio recordings generated in the process of composing and recording scores which, in some instances, have been discarded by movie studios . The written music must be kept to perform the music on concert programs and to make new recordings of it. Sometimes only after decades has an archival recording of

10100-616: Was highly influential in the era of silent movies, provided some original scores such as Fritz Lang 's movies Die Nibelungen (1924) and Metropolis (1927) which were accompanied by original full scale orchestral and leitmotific scores written by Gottfried Huppertz , who also wrote piano-versions of his music, for playing in smaller cinemas. Friedrich W. Murnau's movies Nosferatu (1922 – music by Hans Erdmann ) and Faust – Eine deutsche Volkssage (1926 – music by Werner Richard Heymann ) also had original scores written for them. Other films like Murnau's Der letzte Mann contained

10201-455: Was named a UNESCO Goodwill Ambassador . Tan Dun was born in 1957 in a village in Changsha in Hunan , China. As a child, he was fascinated by the rituals and ceremonies of the village shaman, which were typically set to music made with natural objects such as rocks and water. Due to the bans enacted during the Cultural Revolution , he was discouraged from pursuing music and was sent to work as

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