As of 2020, Gerrard has released four solo albums and collaborated on sixteen albums. She composed and contributed the scores to more than 48 movies. She received a Golden Globe Award for the music score to the 2000 film Gladiator, on which she collaborated with Hans Zimmer. She wrote the score of Balibo which went on to win an ARIA award for Best Original Soundtrack and an APRA Screen music award for Best feature film score. Overall she has won 11 awards receiving 23 nominations. Gerrard has been nominated for a Grammy Award twice.
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Gerrard first began forming bands and creating original music as a member of Melbourne's Little Band scene, an experimental post-punk scene which flourished from 1978 until 1981.[3] It was in this scene that she first met Dead Can Dance co-founder Brendan Perry.[3] Perry recalls, "It never occurred to me that we would one day collaborate musically together because at the time I thought her music was too avant-garde. I particularly remember one song that she sang about finding a man in the park and asking her mother if she could bring him home to keep in her wardrobe as she attacked this chinese dulcimer with two bamboo sticks".[4] Around this time, Gerrard became the lead vocalist of Microfilm, which released "Window", and one single, "Centrefold", in 1980, via Unforgettable Music label.[5] The group issued a third song, "Summer House", on Ron Rude's From Belgrave With Love compilation, which was released by Cleopatra Records in 1981.[5]
In 2007 a retrospective album,The Best of Lisa Gerrard, a compilation of fifteen songs, was released covering her career in Dead Can Dance, solo work and film work.[27] It was released on 12 February 2007 in the UK and 7 November 2007 in the US.[27] The album peaked at No. 5 on the Billboard New Age albums chart on 16 February 2008 and stayed in the chart for ten weeks.[28] A world tour was undertaken in 2007 beginning in April in Melbourne, Australia.[22] The tour marked the first time that Gerrard toured in Australia, with a performance in three cities.[22] The tour was followed by performances in Europe and North America.[29][30] More performances took place in Europe and Russia from 30 October[31] to 22 November 2007.[32] In November 2007, Gerrard collaborated with German electronic musician Klaus Schulze on the double-album Farscape.[33] The album was released on 4 July 2008, followed by a European tour, and the release of a DVD, Klaus Schulze featuring Lisa Gerrard: Rheingold, Live at Loreley, recorded during the Night Of The Prog Festival III in Loreley, Germany on the 18 July 2008.[34]
Gerrard's first experience in composing music for a film came with the 1989 Spanish film El Niño de la Luna, directed by Agustí Villaronga. The film score was composed by Dead Can Dance and the film featured Lisa Gerrard in her first acting role. El Niño de la Luna describes the story of David, a young orphan with special powers, escaping an institution with the help of a fellow institute inmate, Georgina, played by Lisa Gerrard.
Gerrard participated in a number of musical scores but came to fame as a film composer after recording The Insider in 1999, with Pieter Bourke, and Gladiator in 2000, with Hans Zimmer, which received an Academy Award nomination for best music score, although only Zimmer was nominated. It did, however, win a Golden Globe Award for both composers. Gerrard's score for the New Zealand independent film Whale Rider consisted entirely of solo material; a soundtrack album was released by 4AD.
A film score is any movement or piece of music over a specific scene in a film, whereas the soundtrack is a generic term referring to the entire score of a film. Similarly, if a film includes licensed or tailored songs, they come under the term soundtrack.
The first step to film scoring is spotting. It is the step when you sit down (in real or virtually) with the director and, if needed, producers to determine what style of music is required in each key part of the film. Use the timecode to keep things organized.
Spotting is also when you should decide if the localization of music is necessary. For example, if you are scoring a scene taking place in a country with notable cultural influence, consider using ethnic or native instruments from that place. Localization can also include time, like using traditional instruments in a medieval era film.
Whether you are into film or game scoring, sound design, or music production, Ashlight offers a lot of exciting colors to add to your pallet. It delivers a solid start point with production-ready sounds, from monochrome landscapes and pulsing textures to even leads, hits, and transitions.
The film music spectacle brings the most popular soundtracks from Harry Potter, Pirates of the Caribbean, Star Wars, The Dark Knight, E.T., Schindler's List, Gladiator, Jurassic Park and many more live to the stage. more
"It was very important to me that the music not pay any attention to the genre of the film," Nolan said, explaining that he simply asked Zimmer to come up with some ideas (presumably, of course, not telling him the name either. That'd be quite a giveaway).
Zimmer's early involvement in this Oscar-winning flick appears to be a break from the norm. Seemingly most films use other music while working on the early stages. But Nolan was always using Zimmer's work.
Word, Mr. William Anderson! I worked with Hans Zimmer in the early 90s as a studio musician in the ARCO Studios in Munich Germany. I can confirm everything you wrote in your article! I will keep it shorter than you did, William: Hans Zimmer is the André Rieu of film music! Cheers!
Take a listen and you'll hear that it's 7/8! This means that there are 7 quavers (8th notes) per bar and the odd number of beats gives the music a very unbalanced and abrupt feel. Unusual time signatures like 7/8, 7/4, 5/8, and 5/4 are used frequently in film music, especially in action cues, as they add tons of tension and help keep the audience on the edge of their seats.
We also talked about the difference between similar time signatures like 3/4 and 6/4 and how we can determine our time signatures through the strength of the emphasis on each beat, as well as how time signatures can be used in film music to represent characters, objects and ideas.
What do you hear? If you know these films, you might recall the music that accompanies these events. A musical version of a motif that allows filmmakers to communicate a signature characteristic of a story in an engaging and immersive way.
A leitmotif is a repeating melodic phrase in music that is used to represent a character, setting, emotion, or theme. Translated from the German, leitmotivs were popularized by German composer Richard Wagner and used chiefly in the opera during the 19th and 20th centuries. These musical motifs are now most recognizable in soundtracks for film and television, and are widely synonymous with the works of John Williams.
So, what is a leitmotif? At its core, a leitmotif is a tool that allows artists to build continuity in their story. They can be used to create suspenseful music, romantic music, or help guide the audience's emotions in whichever direction you want. The main goal of a recurring theme is to create unforgettable music that elevates the film towards become a cinematic icon.
The problem with this approach for low-budget filmmakers is that it costs sometimes insane amounts to license that music. That's why your best bet is probably to use copyright free music or royalty free music. Again, you're going to have to sift through thousands of tracks to find the right piece but it's there and it's waiting to become your next leitmotif.
There's no great film without music! Since the very first silent films, music has accompanied and illustrated the storyline. The direction and soundtracks are closely tied to give birth to the film's atmosphere and thus create an emotional link between the work and those watching.
Pianists, through this article, re-discover ten cinematic masterpieces, as well as the soundtracks which contributed to their success, and immerse yourselves in the story of their composition. For each piece, we have included a link to the Tomplay sheet music for the piano, which contains an audio recording of the work and/or a play-along recording of the orchestra to accompany you. Don't miss either of our Collections of the most beautiful film sheet music to play on the piano:
It was therefore a real challenge, as it was necessary to balance emotion and simplicity, without creating an excess of either, in order to musically illustrate the film's tragic story where the action takes place during the Second World War.
The composer, conductor, and pianist Joe Hisaishi has composed most of the music for Miyazaki's cinematic productions - an unmissable reference in popular Japanese culture - and its reputation is just as excellent as that of the films.
Hans Zimmer's name is one of the first to come to mind when thinking about film music. With nearly one hundred and fifty productions to his name over more than thirty years, this German composer is a master in this field.
Although we instantly associate Hans Zimmer with Christopher Nolan, we're not going to be interested here in the music of one of this director's feature-length films. Although their collaboration is well-known, Zimmer has created a true soundtrack factory and works on a multitude of other projects.
Badelt had very little time to write the music, just a few weeks, and Zimmer's team had to call on no less than eight composers and nine orchestrators to write the additional music for the film, ie nearly half of it.
The film music composer James Horner (who has several successful Hollywood films to his name) needs no further introduction and was particularly well known for regularly using instruments of Celtic origin in his compositions. 2ff7e9595c
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