DarthDementous

Holy shit dude, there's a trilogy of films coming out from Rowling's wizarding world, exclusively set in the US. It stands to reason that the community there operates very differently to their UK counterparts, including the language they use. She's continuing to build this universe. Just because she didn't come up with the term the day she started writing the first book doesn't mean she's not entitled to create these details now.
 
Myrtle's first name is part if a fictional biography of the character that the author though would be fun to write and share with people. That's. It. There's no grand conspiracy to rewrite your childhood dude, just calm your farm.

Star Wars fans. despite his meme-status he's a very well-liked Star Wars character, been the subject of many parodies and praised for his charming performance in ROTJ. he was also brought back in for TFA so clearly there's some love going on with ol' fish-face.

I'd be more annoyed at Hooper's output if it wasn't for the fantastic soundtracks to the games OoTP and HBP done by James Hannigan, that was certainly a more worthy successor to the Williams sound.

Star Wars fans. despite his meme-status he's a very well-liked Star Wars character, been the subject of many parodies and praised for his charming performance in ROTJ. he was also brought back in for TFA so clearly there's some love going on with ol' fish-face.

Thanks everyone! I agree that Hannigan did a great job, though he blew it with HP7 and 8.

Griskey's scores were quite decent same with Soule. In Soule's case a live orchestra would have been a boon and Griskey's ensemble could have been a lot bigger to be satisfying. While McNeely's composition doesn't sound SW for most of the time it is still the conceptually strongest of these and works as a whole very well.

In my current campaign, I'm playing as a dark side female and am nearly done with Kashyyk, but I might have to go back to Dantooine because I'm not nearly far enough in my conversation with Mission to try and find her brother.
I may just finish it in its current state, so I can better experiment with allegiances towards the end game.
Don't know who wrote it, but I'm sure Mr. Lucas approved it. Anyways, that sounds pretty cool. Star Wars is a blend of high technology with spaceships and weaponry, but also retro/medieval concepts like swords and monarchies. Gamorrean guards carry battle axes, and in the time of KotOR, real metal swords were used by non-Jedi. Darth Vader is a Dark Lord of the Sith and he has his own castle, so it's not a stretch that the title carries the ability to decree knighthood upon subjects. Since he's not officially supposed to have an apprentice, the Emperor couldn't knight the secret apprentice, so Vader does it. And why shouldn't Vader have an apprentice, because after all, the Emperor had his Hands, such as Mara Jade.
I suppose that the Jedi would just wave their hands, snap their fingers, or take a vote to bestow Jedi Knighthood, and that all sounds so mediocre. Vader embraces the Sith teachings and he's knighting a Sith follower, and so the dark side approach would be to ignite the light saber and all but touch the shoulder of the recipient. In a way, that is the greatest respect the apprentice could show his master, that he would trust him in such a dangerous situation. A master could deceive his apprentice and kill him right there. A real sword placed at your shoulder would be no threat because it would do little damage unless super-sharp or raised to swing down again, a dead giveaway; a lightsaber could kill be the slightest graze. I like this concept of knighting.

Oh, really? I'm not so sure about that. I mean, I don't think TFU, with its Williams imitations, beats the incredible mood KOTOR2 establishes. But it's still awesome. Favorite track: "General Kota and the Control Room."

I wish they could've gotten the team that did the score for The Old Republic, which also happens to include Mark Griskey and Gordy Haab. I thought that game had some awesome music.
That being said, I like most of the tracks Kiner posted on his website, especially the tracks for the last four episodes of Season 5, where he used a live orchestra. I hope the score for Rebels is similar to that and not as cartoony as the theme he posted sounds.

Why don't they use Mark Griskey...he's the only one who composed Star Wars music that doesn't suck (besides Williams)

Sad to hear of his passing. Really glad he got to reprise his role in TFA before he went. 

It is indeed a passing resemblance that I am referring to; it seems the rhythm is there, even if not the whole obvious melody.
But I like to think that part is still deliberately inspired by ATSSC.

The ultimate Doctor Who musical moment?
 
Either the Derbyshire, or Howell arrangements, in 5.1. Whack that sucker up to 11, and....dum-de-dum, dum-de-dum, dum-de-dum, dum-de-dum, etc.
 
Also, Vale 10 is just great. When DT says "I don't want to go"...oh, wow!

I'm listening to the suite now but other than a few passing resemblances to ATSSC I don't think it makes an appearance. maybe you're getting mixed up with the Doctor Forever theme which features heavily.
 
on another note, here's a very lovely morose piece that I almost forgot about:
 

not at all, I'd like to think this is the general 'Murray Gold' thread. it'll be interesting to hear a different outlet for his new style of scoring.

Yeah it's extremely impressive.  He's probably the virtuoso of virtual instruments.  If not for his music, I'd have a much different opinion of the value of sampling beyond rough mockups - even Zimmer's demos leave you wanting something, but Soule takes it all the way.

Truth be told I like most of the music from Star Wars universe, so I will be content as long as new pieces are created by all those talented composers.

this is my favourite rendition of March of the Resistance. many thanks to the dedicated jwfanner that ripped all this unreleased music:
 
I really love this theme.
 
 

It's A=445, or thereabouts, and something like Pythagorean tuning but not exactly.  That and the overblown acoustics are big parts of it, but there's also something I love about every note being played by the composer, sort of like what Hans was saying about his original mockup score for Interstellar.  I think at this point, Soule is just like Zimmer or Vangelis, in that even when they're writing for "real" instruments, I'd rather hear their version of it than the real thing, unless as Zimmer often does, they'd rather us hear the real thing.

It's not necessarily this music vs. the Starkiller music. Assuming the music for Han's death starts at 1:25 in the clip, the music is about 40 seconds long. The film/album version takes about 30 seconds before going into the Starkiller Reprise. Doesn't quite match, but this clip seems to only cover the beginning of the moment, not Han's body falling away, Leia's reaction, and so forth.

It's incredibly annoying to be able to point out exactly which Williams cues Haab drew from to write his own. One of the above (Sullust's Harsh Terrain?) is at least partially based on REVENGE OF THE SITH's They're Coming Around, for example.

I'd expect a series 9 CD release in the interim. The series 8 release came out in May 2015, so I could see it happening in the next few months.

true, maybe this can serve as the intermediary between news by being more musically focused.

you'll be disappointed to know that there's only about four occurrences of it that's been officially released (tonnes of unreleased cues though, it was played a lot during the show)
 
Series 3 - All the Strange Strange Creatures
 
 
Series 3 - YANA (Excerpt)
 
Series 4 - The Final Days
 
Series 4 - A Pressing Need to Save the World (appears in some capacity around 1:30)
 
and as a bonus here's when it was played at the Doctor Who Proms