Response to Reviews Opinions given by following writers are agreeable. In brief, this is an album which perfectly captures the mood of a film whose success was almost entirely due to its mood. James Newton Howard proves himself once again a master of his craft. A film score’s primary function is to serve the film for which it is written, and as such, James Newton Howard’s The Sixth Sense is a nigh-perfect example of superior craftsmanship. It makes for quite a listening experience. Howard’s score is mostly very intimate and quiet, with orchestrations based on soft strings, piano and woodwinds and focusing on sounds and texture more than thematic material.
Although there are themes, they are not that memorable and easy to spot. The Sixth Sense really is a score that is easier to appreciate if you know what the music is written for, so it helps to have seen the film. And since the film many times are downright scary and frightening, so are parts of the score, such as the dark and tensed “Suicide Ghost”. It opens with a loud bang and is followed by some atonal dissonant music, which is one of the reason the scene it was written for is one of the most frightening scenes. Music’s first offering, an eclectic, disparate, but mostly functional compendium of influences from 5000 B.C. to present day, hints that this trend’s time may not only have fully arrived, but is already on the wane,” Schreiber wrote.
... now recognize as an effective film score it is important to examine the music behind a silent film. No film was actually ever completely silent ... of the symphonic film score. This was the time in which many great composers began to write the scores for films. The scores were not simple ... us for the next scene. The unoriginal score is music that has been written by somebody else but has been placed in ...
“If music has any chance of keeping our interest, it’s going to have to move beyond the same palatable but predictable notes, meters, melodies, tonalities, atonalities, timbres, and harmonies.” The review has split the music community, with many decrying lukewarm reception of music as a contrarian move designed to propel the publication’s tastemaker status. Despite music’s defenders, the review has made a deep impression on the thousands of music fans who slavishly follow the website’s advice when it comes to enjoying things. Like the world of newspapers, the classical music scene has changed much in the last 50 years. More people than ever before attend concerts and buy recordings; fewer people than ever before have an active interest in the music they hear. Classical music, once considered an art, has become a commodity. Some listeners still go to concerts in order to be challenged or to be stimulated in other ways by compositions from the present as well as the past. Most listeners, I suspect, go in order to be entertained. They do not want to have to work at it, intellectually or emotionally; they simply want to enjoy the event, in the same way they enjoy a Broadway show or a TV suspense show.
Samuel Lipman, in one of the essays included in his provocative new book ”Arguing for Music: Arguing for Culture,” explains the phenomenon. Among the things he sees when he examines the situation are a continuing increase in ”the scale on which classical music is done,” an audience ”ever larger in numbers but knowing ever less about what it is hearing,” an explosion of programs tailored to ”the demands of mass marketing,” a generation of young talents ”beaten down by the pressure to make themselves into imitators of past successes,” composers in the classical tradition ”increasingly unable to write music in a consistent style,” ”an imminent collapse, fostered by the glamour of television and the desires of every supposed art form to have a piece of the action, in the present efforts to raise the level of disciplined suspense music composition.” Bibliography American Music in the Post-War Years (book, part of the “Music in Its Time” series), under contract with Greenwood Press, in progress, forthcoming in 2004.
... . In summation, we can say that Classical music represents one approach to Music. The Classical composer or performer has a long and ... period of Beethoven, and Bach's sons. The classical period of music coordinated harmony, melody, rhythm, and orchestration more effectively ... then earlier periods of music. During the classical era the social function of music began to change from earlier ...
Forbidden Planet (book, part of the “Film Score Guide” series), under contract with Scarecrow Press, in progress, forthcoming in 2004. “Sound as Music in the Films of Terrence Malick,” chapter of Poetic Visions of America: The Cinema of Terrence Malick (London: Wallflower Press), forthcoming in 2003. “Banality Triumphant: Iconographic Use of Beethoven’s Ninth Symphony in Recent Films,” forthcoming in the Beethoven Forum, 2003. “Grand Illusion: The ‘Storm Cloud’ Music in Hitchcock’s The Man Who Knew Too Much,” forthcoming in the Journal of Film Music, 2003..