[Fmpro] FMPRO Digest, Vol 38, Issue 4

[Ted Peterson]

Shore is interesting. I was completely taken with his score for "Ed  
Wood" then went back and rewatched "Plan 9. . ." and Shore's score is  
a knockoff from that score. I still think it works for the film. I  
think Shore is a good composer just not innovative in the sense that  
Luigi Nono or Penderecki or Stockhausen are. I don't know how many of  
you read the LA Times but a couple of weeks ago, Mark Swed wrote a  
great column about some of the so-called "modern" composers who are  
being rediscovered and getting lots of airplay and cropping up in  
concerts once again. I think Licht is a flawed work but monumental in  
many ways. The libretto is really hack work and I wish Karlheinz  
would have used an editor or at least a good writer.  I write all of  
my libretti and all the words I use in music so the same sentiment is  
probably uttered about me too.  After we finish with the minimalistic  
foolishness and the return to neo-postromanticism, I think the  
"moderns" will have the last laugh. I think the American Academic  
school will probably die out because so much is not forward leading  
with a couple of notable exceptions. But one can never know the  
future and who knows, maybe music will head in the direction as  
depicted in "Demolition Man" where everyone listens to today's  
commercials.

In the Star Trek IV movie, there is a great line in a discussion  
between Kirk and Spock about how the 20th century is. Kirk mentions  
the writers Jacquline Susan, Sidney Sheldon and such. Where as Spock  
intones: "Ah yes, the giants." It is sarcasm at it's best but closer  
to the truth than I care to entertain. It's like reading Trollop  
novels as great literature compared to Tolstoy or Dickens.

Musically, we may enter a dark age because of world politics. It's  
possible that the whole classical aesthetic may go away or become  
more compartmentalized than it already is. And yes, The Fly is a good  
score.

I don't agree that Goldsmith opened the language at all. He certainly  
used current trends but the stuff people thought was so innovative  
was already over 20 years old. Still he's a good composer and one of  
the better in my opinion.

Ted Peterson

On Jun 2, 2008, at 6:33 PM, <bipcress at comcast.net> wrote:

> THANK YOU: Shore's THE FLY is a truly superb film score. - JohnB
>
> ----- Original Message -----
> From: "The Composer Collective" <general at thecomposercollective.com>
> To: <fmpro at nxport.com>
> Sent: Monday, June 02, 2008 7:55 PM
> Subject: Re: [Fmpro] FMPRO Digest, Vol 38, Issue 4
>
>
>>>
>>> Message: 13
>>> Date: Mon, 2 Jun 2008 14:03:47 -0700
>>> From: Ted Peterson <ted.peterson at tcsn.net>
>>> Subject: Re: [Fmpro] "Where are the Distinctive Voices In Scoring?"
>>> To: d-dmusic at rogers.com, fmpro at nxport.com
>>> Message-ID: <AE3F207A-9F04-40CA-B121-B30E7CEB58A1 at tcsn.net>
>>> Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
>>>
>>> You mistake my position on Williams and other film composers.
>>
>>
>> No not at all. I was being serious. I think you and I are in direct
>> alignment.
>>
>>