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Which composers are easiest to recognize stylistically?

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If you were exposed to excerpts of music you had never heard before from familiar film or classical composers, which ones do you think you'd be able to recognize as coming from a certain composer? In other words, who are the most stylistically recognizable composers to you?

 

I'd probably recognize Miklos Rozsa and Maurice Jarre pretty easily, at least. Many others too, assuming I had longer chunks to listen to.

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1 hour ago, JJA said:

If you were exposed to excerpts of music you had never heard before from familiar film or classical composers, which ones do you think you'd be able to recognize as coming from a certain composer? In other words, who are the most stylistically recognizable composers to you?

 

I'd probably recognize Miklos Rozsa and Maurice Jarre pretty easily, at least. Many others too, assuming I had longer chunks to listen to.

Rozsa is definitely very easy to recognize.  I'd also venture to say that Vivaldi and Mozart are, too.  Bach's choral music is unmistakable as well.  As for Williams, it depends.

At any rate, if one is extremely familiar with the classical repertoire, I suppose all composers become quite recognizable!

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5 hours ago, Bespin said:

It's starts really seriously for a 10th post.

 

JWfan rule #1082

 

- Don't start a new thread unless you chose an avatar.

 

Mercy....


That's quite a load of poo for a rule. Also choose not chose. Present not past. 

I chose the "Fuck Her Right In The Pussy" guy on purpose just to flaunt that one. 

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2 minutes ago, NL197 said:


That's quite a load of poo for a rule. Also choose not chose. Present not past. 

I chose the "Fuck Her Right In The Pussy" guy on purpose just to flaunt that one. 

 

I wanted to write "Fuck you", but I changed my mind!

 

😀

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If it has a false ending, then you can be pretty sure it's written by Williams, considering that he's the only person in the universe who doesn't think that false endings are a retarded concept.

 

 

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Syntax and verb tenses... that’s the most difficult part for me!

 

You know in french, the syntax is pratically the inverse of the english one.

 

It may be not easy and pleasant to read my posts... but the important thing is that you know I made a discography!!!

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I would never claim a 100% success rate, but Williams, Horner, Elfman, the Newmans (especially Randy), and Giacchino usually tip their hand pretty quickly for me - not that that's inherently a bad thing.

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Are we talking film composers?

I that case; Williams; Goldsmith; Barry; Morricone; Hermann; Korngold; Newman: T; Horner; J.N.Howard;

Jarre: M; Rozsa.

This is not because I have any technical knowledge of music, either on a theoretical, or practical level. Rather, it comes from listening to the music, of these people (sometimes for more than forty years), and picking up an "ear", or a "feel", for the music.

Non film music composers' "signature" that I would identify, would be Steve Hackett, and Tony Banks.

 

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On 10/27/2018 at 3:07 PM, Loert said:

If it has a false ending, then you can be pretty sure it's written by Williams, considering that he's the only person in the universe who doesn't think that false endings are a retarded concept.

 

 

 

What do you mean by false ending?

 

 

And to me, it just takes a lot of listening to a certain composer to really grasp his style and recognize it easily. I can quite easily identify the ones I listen to the most (Williams, JNH, Horner, Zimmer, Shore, maybe Giacchino)

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9 minutes ago, Richard said:

Think HEDWIG'S THEME (album version), and THE CHAMBER OF SECRETS.

 

Oh ok haha I wasn't sure it meant literally that x)

I like those though!

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Yoda's Theme is my go-to example of the weird false ending. Here there's a perfectly fine and valid ending halfway through the piece! I never want it to keep going, it doesn't get better from there.

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