Composer Roundtable On The Art Of The Film Soundtrack
The half-dozen film composers brought together by The Hollywood Reporter for their Composer Roundtable, the latest in their Roundtables Series, discussed a fascinating topic: what it's like to create a musical reality that can transport audiences into the worlds of cinema.
"[Music is] like anything else in art. It's going to trigger an emotional response," began Giacchino. But then he noted the paradox of music's power, saying that "sometimes in order to feel something, you need the absence of music first."
The musicality of his upcoming Pixar film Coco is so effective that the GRAMMY Music Education Coalition has launched in conjunction with it.
Discussing what it was like to score her first project ever, the 2017 film Mudbound, Tamar-kali said almost everything flowed as she scrambled to pull together 40 minutes of final music in four weeks. The exception was a difficult cue for a climactic, violent scene. To bring her own honest emotional response to the challenge, she played along with the scene again and again until she knew she had it right. Finding that kind of authentic connection within themselves is part of the art of transporting an audience.
Tamar-kali also made an important observation about avoiding a "numbers game" while trying to correct the gender imbalance in Hollywood hiring.
"Before you can get more [women], you have to find out what exists. So there needs to be a shift in culture," said Tamar-kali. "Horizons need to be expanded. How can you hire more women if you don't even know who the women composers or directors are?"
Another issue discussed during the event was how to communicate about music with professionals who live for film. Glass admitted that he enjoys being able to do anything he wants while writing opera but he acts more like a guest in someone else's home when writing soundtracks.
"It's a different vocabulary, words, grammar, everything," agreed Desplat. "You have to know what cinema is about. We're part of this collective artwork."
In Desplat's case that led to GRAMMY wins for The Grand Budapest Hotel and The King's Speech.
See Noel Gallagher's Spacey Stop-Motion "It's A Beautiful World" Video
Noel Gallagher, co-founder of GRAMMY-winning rock outfit Oasis and creative force behind his current musical venture Noel Gallagher's High Flying Birds, has a new music video out for "It's A Beautiful World," the latest single from his forthcoming new album, Who Built The Moon?
Featuring a mid-song apocalyptic monologue from French avant-garde performer (and current scissors player for the High Flying Birds) Charlotte Marionneau, the song's video continues the trend of spacey imagery and cosmic themes that played a heavy role in the art direction for the official trailer for the album, which the band first teased back at the end of September.
The new record will feature bold collaborations from names such as Paul Weller of pioneering English new-wave/punk group the Jam, and Johnny Marr, who co-founded post-punk trendsetters the Smiths with Morrissey.
Gallagher's producer David Holmes has hinted the LP is expected to make a big splash with music fans.
"People are going to be surprised," Holmes told Rolling Stone. "I think people love Noel and they’re desperate for him to make a really big, bold, up-tempo beast of a record."
Who Built The Moon? is due out on Nov. 24.
Warren "Pete" Moore, Founding Member Of The Miracles, Dies
Warren "Pete" Moore, one of the original members of the hit Motown group the Miracles fronted by Smokey Robinson, died Nov. 19. The news was confirmed by Motown's Berry Gordy, but no cause of death was given. He was 78 years old.
Moore met Robinson as a child growing up in Detroit where the two formed a singing group called the Five Chimes — later renamed the Matadors — before ultimately signing with Gordy in 1959. The group was soon rebranded the Miracles. Moore served with the Miracles until their dissolution in 1978.
Not only did he provide the bass foundation of the Miracles' vocal blend, Moore co-wrote many Miracles hits, including "The Tracks Of My Tears," "Ooo Baby Baby," "My Girl Has Gone," and "Love Machine." He also wrote hits for other artists on the Motown roster such as GRAMMY winners Marvin Gaye ("Ain't That Peculiar") and the Temptations ("Since I Lost My Baby").
Moore earned a GRAMMY nomination for 1967 as a member of the Miracles for Best Rhythm & Blues Group Performance, Vocal Or Instrumental for "I Second That Emotion." The unforgettable quartet also has four recordings in the GRAMMY Hall Of Fame: "Shop Around," "The Tears Of A Clown," "The Tracks Of My Tears," and "You've Really Got A Hold On Me."
The Miracles were inducted into the Rock & Roll Hall of Fame in 2012.
— Rock Hall (@rockhall) November 20, 2017
"I am deeply saddened to hear of the passing of Warren 'Pete' Moore, a fine human being and valued member of the Motown family," Gordy said. "Pete was an original member of my very first group, the Miracles. He was a quiet spirit with a wonderful Bass voice behind Smokey Robinson's soft, distinctive lead vocals and was co-writer on several of the Miracles hits."
SoundCloud's "Creator-Focused" Path To Survival
Even top streaming services are struggling to find profitability. Last summer, SoundCloud's struggle for survival made it the center of attention, as Chance The Rapper promised it was "here to stay." Seen by many as the leading online home for underground and emerging artists, SoundCloud is betting its own future on the helpfulness of statistical insights it provides to up-and-coming talent. Its latest insight is stats on Plays from Recommendations.
Selling a subscription service to music artists might seem a little backward while subscriptions are being sold to consumers, and platforms and rights organizations generally offer analytic insights to members and users. But SoundCloud is a unique online community, especially focused on artists who are just getting started. Now two paid tiers for artists and SoundCloud's Pulse app leverage the service's data for newcomers' real-time benefit, per its "Creator Guide."
In today's data-driven internet platform environment, music recommendations mean the platform takes what it knows about you (a lot), and tries to guess from that what you would like to do next. Because each recommendation reflects a cutting-edge analysis of trends and personal info, for an artist to see where their popularity is gaining traction can help them know who to target in order to break through. This is especially applicable to SoundCloud's community because of its proven niche helping emerging artists break out.
What SoundCloud needs most from artists now is for more of them to use its creator-focused tools to succeed. It makes sense this would be the business strategy at the edge where up-and-comers compete to make music into their full-time livelihood. For example, CD Baby has cultivated the DIY Musician for years. How should creators expand their minds and schedules to engage with SoundCloud's valuable analytics? That one is still a work in progress.