GerateWohl

I am not completely indifferent. I dislike the pan pipes.

Yes, he did. I didn't say, I dislike it. I said, I have no love for it. I just just indifferent to this score.

No.

Yes. It is. But I guess,that isn't typical German either.

Maybe you mean this one? https://de.m.wikipedia.org/wiki/Posthorn

Yes, it is like the food in the foreign restaurant around your corner which in 90% of the cases is presented in a rather localized or americanized flavour than in its original way.

That's true. And that has always been that way. If you look at the ethnical elements in Holywood scores from the 50s you hear the parodies even clearer. And I understand you. The rare cases when american film composers decided to incorporate German folkloristic Bavarian music to illustrate Germans or German locations are really bad, I guess for everyones ears. I think, these pan pipes are guilty for my disturbed relation with Morricone's music in general.

The issue I see here is, I mean, these things were not invented by film composers. They come out of dedicated musical cultures and history. And within their original context you experience these things completely differently. These crooning female voices were Natasha Atlas trademark in her oriental music long before she was asked by several film composers to perform that for their motion picture scores. I don't like to blow my nose over musical elements that I don't know a fuck about, but don't like when it for what ever reason becomes a fashion in certain motion picture scores. As I said, even this techno sound, that I dislike in certain action scores has an original context in club culture from the 90s where it has its place. But even though I often dislike the way it is mostly used in film music I wouldn't discredit the instrument or the music style itself. Only one exception: Pan pipes. Sorry. I hate them. But even these might sound nice when played by a shepherd in Chilean mountains.

I love them, when Kate Bush used them in her songs.

Yes, this pretty much nails it quite well. It is more about the "how" and not the "what". I horribly dislike when a composer uses the orchestra like a DJ just mixing several ostinato layers over each other, a repeating drum layer, a repeating percussion layer, then a sting ostinato, then fill it with some majestic horns and some blaring trumpets to create the impression this is actually an orchestral composition, then more drums, more percussion, now let's put a synth techno ostinato above it all. Ready is the pulsating action cue. That is what impresses me and excites me everytime when I listen for example to the Dial of Destiny score. No matter how many instruments or ostinaty or percussion I hear, it is always well balanced and at every time composed and developing. That is a pure joy for me of listening to orchestral action music. And not the result of a kid playing with a multitrack composition software program.

Ok. Maybe I should specify, I don't have and issue with drum loops and sequencers in electronic or pop music. I just don't like it in orchestral music. I mean, there were some interesting combinations of this in the Matrix sequel scores. But in general I dislike it very much. That was terrible.

Any programed looping synthetical stuff.

At least, different from Admiral Holdo in episode 8, Mothma explained the plan to everyone in episode 6.

Yes, that's what I thought in the last episode. Why she, as supreme chancellor does not take any part in the discussion if any of the suspicions of Harra might be reasonable. She just talks with Hara after the hearing.And she just lets the senator, who says, he doesn't believe anything, do all the talking. If Leia hadn't saved the day, Hara would have gone to jail, even though Mon Mothma showed in the discussion with Hara afterwards, that she isn't as convinced of Hara's guilt like the other senator. No moderation from Mothma's side, nothing. Really a terrible supreme chancellor at first glance.

Gambon surely was a great actor. But he was a lousy Dumbledore. R.I.P.