Quote:
Originally Posted by walkingwikipedia
Film music is music made to the dictates of the mass-markets and can be said to have crowd-pleasing as a requirement.
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The important thing here, is "
can be said...".
An effective filmscore does not cater to a public, but rather serves the purpose of underlining and supporting the film for which it is written.
I can name a number of filmscores that I would be hard-pressed to describe as "crowd-pleasing":
Goldsmith's
Alien? Planet of the Apes? Outland?
Goldenthal's
Sphere? Alien 3?
Williams' (large parts of)
A.I.?
Young's
Bless the Child?
I get the impression your attitude vis-a-vis filmscores is based solely on "block-buster" excerpts and opening-title "marches" and fanfares.
Some scores, while clothed in more accessible harmonic language, remain seminal works:
Broughton's
Silverado
Copland's
The Red Pony
Goldsmith's
Legend
Gordon's
on the beach
Vaughan-Williams'
Scott of the Antarctic
And while I may not personally feel that Howard Shore's score to
Lord of the Rings makes a successful transition from screen to concert hall, the fact remains that it is a monumental work that demonstrates an astute and brilliantly thought-out thematic development and leitmotif plan.