source file: m1370.txt Date: Mon, 30 Mar 1998 14:45:43 -0600 (CST) Subject: Re: Subject: Re:microtonality in popular music From: Paul Hahn > > A casual listen to the things being released today show (to me anyway)a > > rising desperation.The > > 'Jungle/Drum&Bass' scene seems to me to be a natural result of the > > impossibility of writing a 'new' > > song in 12 TET. Lenny Bernstein wrote a nice sonnet about why he continued to write tonal music despite the arguments presented by atonal/serial advocates that tonality had been exhausted. (If I get a chance, I'll look it up and post it.) I don't feel that 12TET has been "played out" any more than tonality has. > > As something of an aside to this discussion, I have long thought that > > movie music is be a great avenue for microtonal composers to get their > > ideas to the proverbial masses. > [snip] > > Seriously, movies have such a huge budget you can't expect too much > experimentation, especially as the people who hold the purse strings > aren't going to be big musos. Now, if an established film composer > were to go microtonal, then we'd be in business. If the audience > don't realise they're listening to microtonal music, they might > accidentally like it! "There are more things in Heaven and Earth, Horatio . . . " Some pretty far-out things happen in film scores; often in spite of the producers, but sometimes because of them. To add another example to the ones already cited, I think (according to Manuel's list) there's some microtonal stuff in the "Genesis Effect" cue of the _Star Trek II : The Wrath of Khan_ soundtrack. I forget who did it; it wasn't James Horner, who did most of the score. Trek movies have a not completely insignificant audience, I believe. 8-)> --pH http://library.wustl.edu/~manynote O /\ "You just ran nine racks but you won't give me a spot?" -\-\-- o "I can't; I haven't seen you shoot yet." NOTE: dehyphenate node to remove spamblock. <*>