- Biển số
- OF-79841
- Ngày cấp bằng
- 9/12/10
- Số km
- 2,328
- Động cơ
- 439,823 Mã lực
- Nơi ở
- Nơi tình yêu bắt đầu
The music of Star Wars consists of the scores written for all six Star Wars films by composer John Williams from 1977 to 1983 for the Original Trilogy, and 1999 to 2005 for the Prequel Trilogy. It includes the Star Wars: The Clone Wars music written by Kevin Kiner. More broadly, it also refers to any music that is used to depict the larger Star Wars Universe, which would include music for Star Wars video games and other media. John Williams' scores for the double trilogy count among the most widely known and popular contributions to modern film music
The scores utilize an eclectic variety of musical styles, many culled from the Late Romantic idiom of Richard Strauss and his contemporaries that itself was incorporated into the Golden Age Hollywood scores of Erich Korngold and Max Steiner. While several obvious nods to Gustav Holst, William Walton and Igor Stravinsky exist in the score to Episode IV, Williams relied less and less on classical references in the latter five scores, incorporating more strains of modernist orchestral writing with each progressive score. The reasons for Williams' tapping of a familiar Romantic idiom are known to involve Lucas' desire to ground the otherwise strange and fantastic setting in well-known, audience-accessible music. Indeed, Lucas maintains much of the trilogy's success relies not on advanced visual effects, but on the simple, direct emotional appeal of its plot, characters and, importantly, music.
Star Wars often is credited as heralding the beginning of a revival of grand symphonic scores in the late 1970s. One technique in particular is an influence: Williams's revival of a technique called "leitmotiv", which is most famously associated with the operas of Richard Wagner and, in film scores, with Steiner. A "leitmotif" is a phrase or melodic cell that signifies a character, place, plot element, mood, idea, relationship or other specific part of the film. It commonly is used in modern film scoring, as a device mentally to anchor certain parts of a film to the soundtrack. Of chief importance for a "leitmotif" is that it must be strong enough for a listener to latch onto while being flexible enough to undergo variation and development.
Nguồn: hdvietnam
The scores utilize an eclectic variety of musical styles, many culled from the Late Romantic idiom of Richard Strauss and his contemporaries that itself was incorporated into the Golden Age Hollywood scores of Erich Korngold and Max Steiner. While several obvious nods to Gustav Holst, William Walton and Igor Stravinsky exist in the score to Episode IV, Williams relied less and less on classical references in the latter five scores, incorporating more strains of modernist orchestral writing with each progressive score. The reasons for Williams' tapping of a familiar Romantic idiom are known to involve Lucas' desire to ground the otherwise strange and fantastic setting in well-known, audience-accessible music. Indeed, Lucas maintains much of the trilogy's success relies not on advanced visual effects, but on the simple, direct emotional appeal of its plot, characters and, importantly, music.
Star Wars often is credited as heralding the beginning of a revival of grand symphonic scores in the late 1970s. One technique in particular is an influence: Williams's revival of a technique called "leitmotiv", which is most famously associated with the operas of Richard Wagner and, in film scores, with Steiner. A "leitmotif" is a phrase or melodic cell that signifies a character, place, plot element, mood, idea, relationship or other specific part of the film. It commonly is used in modern film scoring, as a device mentally to anchor certain parts of a film to the soundtrack. Of chief importance for a "leitmotif" is that it must be strong enough for a listener to latch onto while being flexible enough to undergo variation and development.
Nguồn: hdvietnam
Chỉnh sửa cuối:
