April 28th, 2003

THE MONA MAILART SHOW

April 28th, 2003

14 4 30: Online and print Journal of experimental/minimal writing

ben.art

April 28th, 2003

ben vautier, French Fluxus artist, once signed my arm.

score.art

April 28th, 2003

BARRY GRAY – an interview by Randall D. Larson

CS  What is your view of the use of electronic music in the
place of, or in addition to, symphonic music in film scores?

Gray  Well, I’m afraid that electronic music is mostly
suitable only for visuals that are concerned with such
things as laboratories, space, very weird and perhaps even
strange situations, astral sequences, etcetera. I’m not
enamored of writing orchestral music and producing it on
synthesizers. Much as I appreciate the use of a synthesizer
today, I don’t go along with scoring ordinary music for a
bundle of synthesizers. An outstanding example of this, for
me, is CHARIOTS OF FIRE. A very simple musical theme, but
produced on multi-track synthesizers, and although the music
was very suitable to the film, because the action of the
film was ’round about 1924, I did not really care for the
synthesized sound. Although it had a semblance of a large
orchestra, you could still tell that it was synthesized
sound. Electronic music, I feel, is suitable only for the
other situations that I’ve mentioned.

:::sigh:::

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