MarcHedenberg
Active Member
Hello all!
UPDATE: Thank you to everyone who got in touch. This is now complete, so no longer seeking interviewees.
I'm putting together a dissertation on why Vangelis' Blade Runner score cemented him as a pioneer in not just electronic music, but the wider scoring world. As such, I can't think of a better place to pose questions to working composers who I'd love to feature commentary from.
If you're interested, please begin with a brief description of your name and experience in the industry. You may answer as many or as few of the questions below as you see fit, and as is relevant to your experience.
IMPORTANT NOTE: If you do want to participate, I'm required by the Academy of Contemporary Music in Guildford/Middlesex University to get your consent in a participation form, which can be found here: https://drive.google.com/drive/folders/1fvP572HR3Czt3nCtlmY4CXCb0dQdQK-Z?usp=sharing.
If you prefer to email me your answers, you can send them to [email protected] along with the consent form above.
I look forward to hearing from you!
All the best,
Marcus
UPDATE: Thank you to everyone who got in touch. This is now complete, so no longer seeking interviewees.
I'm putting together a dissertation on why Vangelis' Blade Runner score cemented him as a pioneer in not just electronic music, but the wider scoring world. As such, I can't think of a better place to pose questions to working composers who I'd love to feature commentary from.
If you're interested, please begin with a brief description of your name and experience in the industry. You may answer as many or as few of the questions below as you see fit, and as is relevant to your experience.
IMPORTANT NOTE: If you do want to participate, I'm required by the Academy of Contemporary Music in Guildford/Middlesex University to get your consent in a participation form, which can be found here: https://drive.google.com/drive/folders/1fvP572HR3Czt3nCtlmY4CXCb0dQdQK-Z?usp=sharing.
If you prefer to email me your answers, you can send them to [email protected] along with the consent form above.
- Why do you think Vangelis was a pioneer?
- Vangelis once described computers as ‘extremely helpful and amazing for a multitude of scientific areas,’ but ‘insufficient and slow’ for the immediate and spontaneous creation,’ even going so far as to call them ‘the worst thing that has happened for the performing musician.’ Do you agree with this? Have composers become too dependent on the mouse?
- As a composer, how do you approach technology generally to assist the writing process?
- How big a part of the composition process is improvisation for you? What do you think the merits of an improvisational style are in scoring? Has the age of editing music in the DAW killed the emotion of music?
- It's been said that Vangelis p"lays with the reverb, same way an organist plays with the sound in the church." What role does reverb, or the acoustic resonance of a space, play in creating emotion?
- Why was the Lexicon 224 so special? Have you as a composer gone out of your way to use vintage hardware like it? If so, why?
- With regards to vintage to sounds, certain plugins like Valhalla notably introduce deliberate noise and downsampling of reverb algorithms for some of their modes to produce audibly noisy artifacts (as opposed to more modern, clean sounds). Why do you think people like that sound?
- Which effect used by Vangelis, e.g. PulseWidth Modulation, Reverb modulation, detuning, etc., particularly stands out to you and why? Do any of these have a noteworthy impact on people's emotional response to a scene?
I look forward to hearing from you!
All the best,
Marcus
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