Sentences with phrase «orchestral music score»
New Orchestral Music Score!
https://gamingintel.com/ Not exact matches
But the music does help things along, as Alexandre's Desplat's largely orchestral, strings - led score often brings notes of almost Hermann-esque intrigue and mystery to scenes that otherwise lie there flatly.
Previously out - of - print, Debney's acclaimed thrill - ride of an orchestral score, performed by the London Symphony Orchestra, returns to the hearts and ears of film music enthusiasts everywhere!
Howard's finest scores come when he is writing thrilling, dynamic, colourful orchestral music in Wyatt Earp or Dinosaur or King Kong, with incredibly variable results elsewhere.
The unmemorable orchestral score is supplemented by contributions from Alan Parsons, whose synth - driven music has an electronic dance beat and sounds like discarded tracks from «I, Robot.»
And it seemed more accessible to my music skills, or lack thereof shall we say, rather than Indiana Jones or something that's a fully orchestral score and dizzyingly complex when you're fifteen or twenty.
Leone - style close - ups fetishise narrowed eyes under low, wide brims; horses gallop across widescreen plains in clouds of dust; a rowdy saloon falls deafeningly silent upon the entrance of a stranger; low - slung shots worship the seven walking in a line; a thrilling orchestral score features breakout horns, plucked banjo strings and hints of Elmer Bernstein's galvanising original music; and Red Harvest dons Stars»n' Stripes war paint.
Wallfisch's score blends rich, beautiful orchestral themes with influences from traditional East African music.
The score explodes to life in «Ship in a Painting», which is far more satisfying to the listener - immense orchestral and choral forces combine for some fine old - fashioned gothic horror music à la Jerry Goldsmith or Christopher Young.
It's become something of an axiom of modern film music that music for any kind of serious film set in the modern day will not have a traditional orchestral score - were Oliver Stone to make Born on the Fourth of July today, I seriously doubt he would have John Williams score it - and so he turned to Craig Armstrong, still primarily known for his instrumental pop music and song arranging for popular singers.
Each delivers consistently audible dialogue and a clean presentation of Riz Ortolani's score, a terrific combination of orchestral music and sci - fi inspired synth.
What partially redeems the score are the times when the composer sticks more to the orchestra — not just because it's orchestral, but because there seems to be more of an energy to those sections, the music is frankly just much more interesting.
The suitably dramatic, tense, even rueful orchestral music was composed by Howard Shore, winner of multiple Grammys, Oscars and Golden Globes, and probably most familiar for his scores for the Lord of the Rings movies.
Pre-existing licensed songs or traditional orchestral score wouldn't suffice for these sections; the music had to be something fresh and impactful.»
Bava's choice of music (and composer) has sometimes been very uneven: Carlo Rustichelli's romanticized and treacly music for Whip and the Body detracted from the film's pinched, sadistic sequences; Libra's prog - rock score for Shock felt at times like an effects - ridden mimic of Goblin's supernatural score for Dario Argento's Suspiria; and Stelvio Cipriani's muzak for the original Italian version of Baron Blood deserved to be replaced by Les Baxter's more eerie, orchestral score when AIP initially released that film in North America.
-- Movie Poster — Orchestral Sheet Music from recording session at Abbey Road Studios signed by Alexandre Desplat — Soundtrack on CD — 2nd CD with additional score
«The type of orchestral music we're all most familiar with now is movie scores — and a lot of the vocabulary of that music is drawn from the symphonies of Shostakovich and his contemporaries.»
''... Microsoft Publishing is pushing the epic «Halo Wars 2,» which combines a 80 - piece orchestral score by Gordy Haab (recorded with union players on Fox's Newman Stage) combined with electronic music written and performed by Brian Trifon and Brian Lee White of Finishing Move.
Our audio team worked closely with leading music producers and artists to create a unique mash up of classic movie orchestral scoring and London grime — we are very proud of it and think it adds a totally new dimension to the game.
As part of the special music promotion, the donations we receive from this prize category go directly to help fund an all - out, full orchestral score in the game, recorded in a live studio!
As part of the special music promotion, the donations we receive from this prize category go directly to help fund an all - out, full orchestral score for the game, recorded in a live studio!
Music has always been a strong point with the Castlevania series, atmospheric orchestral / rock scores with gothic undertones.
He offered an accomplished Game Gear port of Sonic the Hedgehog's music, groovy techno scores to the Streets of Rage series, and a modernist orchestral score to Eternal Oasis.
(«The Knights» Theme», The Order 1886 [shared w / Jason Graves]-RRB-; nominated — Hollywood Music in Media Awards, «Best Score — Videogame» (ABZU); nominated — Movie Music UK 2015, «Best Video Game Score» (Assassin's Creed: Syndicate); winner — Movie Music UK 2015, «Best Original Song» («Underground,» Assassin's Creed: Syndicate [shared w / Tripod]-RRB-; winner — International Film Music Critics Association, «Best Original Score for a Video Game» (Assassin's Creed: Syndicate); winner — Annual Game Music Awards, «Best Score, Cinematic / orchestral» (Assassin's Creed: Syndicate); nominated — Annual Game Music Awards, «Artist of the Year: Western Composer» (Assassin's Creed: Syndicate, Sunset); nominated — MundoBSO.com, «Best Videogame Soundtrack» (Assassin's Creed: Syndicate); winner — IGN.com, Best of 2015, «Best Original Music» (Assassin's Creed: Syndicate); nominated
(«Underground», Assassin's Creed: Syndicate [shared w / Tripod]-RRB-; nominated — Game Audio Network Guild Awards, «Best Audio for an Indie Game» (The Banner Saga); winner — Game Audio Network Guild Awards, «Best Soundtrack Album» (The Banner Saga); nominated — Game Audio Network Guild Awards, «Best Original Instrumental» («Of Our Bones, The Hills», The Banner Saga); nominated — BSO GoldSpirit Awards, «Best Score for a Video Game» (The Banner Saga); nominated — International Film Music Critics Association, «Best Original Score for a Video Game» (The Banner Saga); nominated — SXSW Gaming Awards, «Excellence in Musical Score» (The Banner Saga); nominated — NAVGTR Game Awards, «Original Dramatic Score, New IP» (The Banner Saga); nominated — Annual Game Music Awards, «Best Score, Cinematic / orchestral» (The Banner Saga); nominated — Annual Game Music Awards, «Artist of the Year: Outstanding Contribution, Western Composer» (The Banner Saga, Soul Fjord); nominated — Annual Game Music Awards, «Outstanding Achievement: Music Production» (The Banner Saga); winner
The music was composed by David Garcia Diaz, and is another wonderful orchestral gem of a score.
It serves as a preview of both the game's orchestral score by composer Takeshi Furukawa and the «Last Guardian Composer's Choice PS4 Music App» that Sony announced in early November.
Pros: - Orchestral Score - new music for old fans - Show off your 4K TV with some absolutely beautifully painted art - Each character's fighting style is a new way to play the game, and with branching stories and levels there is plenty to do - It's Dragon's Crown.
As stunning and uniquely designed as the ecosystems are, the high level of presentation falls down just a bit when it comes to facial animation and lip syncing and an orchestral musical score that is initially stirring, before becoming turn - down - the - music repetitive.
Austin Wintory will compose the music for the event which will feature three acts delivered live on - stage (with full orchestral score) by three of the world's greatest living scientists.
Both scores reflect an interplay between electronic and orchestral music that has been a central theme of the musicians» careers.
The 2003 score Tomb Raider: Angel of Darkness, written by Peter Connelly and performed by the London Symphony Orchestra, was one of the first recorded orchestral video game soundtracks, and was a galaxy away from the bleeps and snicks that had defined the medium's music.
It is bland orchestral music that sounds better suited for a film score.
He is currently scoring music for orchestral ensemble and choir recording stateside as co-composer on a forthcoming key nex - gen AAA title TBA.
The sweeping orchestral scores are here, but there's also plenty of other, less majestic music.
Its lack of bass is more apparent in atmospheric titles with orchestral scores, and music doesn't perform particularly well either, but for everyday gaming usage, it's hard to find anything better for a mere fifty bucks.
It recognizes your handwritten music, and converts it into a beautifully typeset score and even lets you play it back, drawing from a full orchestral sample library.