Sharkissimo 1,973 Posted April 1, 2014 Share Posted April 1, 2014 No. Link to comment Share on other sites More sharing options...
BloodBoal 7,538 Posted April 1, 2014 Share Posted April 1, 2014 Well, that was worth bumping a 3 years old thread! Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted April 1, 2014 Share Posted April 1, 2014 Indeed it was. Link to comment Share on other sites More sharing options...
Dixon Hill 4,234 Posted April 1, 2014 Share Posted April 1, 2014 such serial wow very tone row much retrograde Ludwig 1 Link to comment Share on other sites More sharing options...
Faleel 5,359 Posted April 8, 2014 Share Posted April 8, 2014 Why so serial? Link to comment Share on other sites More sharing options...
Dixon Hill 4,234 Posted April 8, 2014 Share Posted April 8, 2014 Think I've posted this before... but relevant.https://www.youtube.com/watch?v=5piBoZBlIhI Link to comment Share on other sites More sharing options...
filmmusic 1,838 Posted May 27, 2018 Author Share Posted May 27, 2018 12-tone rows in Knight bus (bars 3-8*) (although you don't hear 2 of them in that spot in the film. better use the ost track). *they are repeated later in the track with the same rhythm on top well, these sound like out of the blue just to create a musical chaos, rather than having a formal (or otherwise) meaning in the cue. Link to comment Share on other sites More sharing options...
Biodome 714 Posted June 4, 2018 Share Posted June 4, 2018 Not a film score, but John Williams was one of the composers for Gloria Cheng's album. There were some atonal piano pieces there, although I don't know if they used the 12-tone technique. Link to comment Share on other sites More sharing options...
Serafino 8 Posted June 10, 2018 Share Posted June 10, 2018 I have no expertise in this area but shouldn't one be very careful to distinguish 12-tone the specific compositional procedure, from instances in which chromaticism and very advanced harmonies arguably stemming from 12-tone technique are used but in an essentially tonal structure and environment? I would argue that as long as the overall structure is tonal, what you're hearing in any given moment should be considered something other than 'atonal' per se. 'Atonal', from what I've picked up over the years, could easily be called 'anti-tonal', which makes it pretty easy distinguish it from something like for instance Goldsmith's score for Planet of the Apes, which although often called 'atonal' is actually tonal, albeit in a way that stretches the envelope considerably for a film score. Link to comment Share on other sites More sharing options...
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