Sentences with phrase «use of the musical score»

Gaines» use of musical scores in his work along with past collaborative exhibitions with musical performances demonstrates his close attachment to music.

Not exact matches

Describing himself a panentheist, one who believes God is in all things and that all things are in God, and the use of the analogy of the composer still writing the musical score, responding to the musicians, as descriptive of God's relations to an ongoing, creative evolutionary process, does share common themes and ideas with the process - relational vision.

Still another trend — and this one should have caught Easum's attention, given his interest in «sound tracks» — is the use of music that draws on classical idioms in the composition of musical scores for films of high drama, serious feeling or intense introspection.

Needless to say, this film is hardly as driven by its musical aspects as its 1969 counterpart, and makes sure to remind you by underusing Richard Addinsell's score, which, upon actually being used, is typically not fleshed out to the fullest, and is all too often tainted by a degree of conventionalism that further disengages, but ultimately does only so much damage to Addinsell's efforts, which are still spirited enough and recurring enough to play something of a hefty part in breathing some liveliness into this generally dry project.

Using an innovative gameplay system, enemy AI is affected by the beat of the musical score overseen and inspired by RZA of Wu - Tang Clan fame and composed and produced by Howard Drossin.

After the excitement of David Arnold's three scores for Emmerich and then the brief diversion to the great John Williams on The Patriot, the change in musical approach since Kloser (later joined by Wander) took over is so extreme, it doesn't really make sense — it's hard to talk about any of the previous four Kloser / Wander scores for Emmerich without repeatedly using the word «bland» — I've just never been able to reconcile the outlandish extravagance of every other aspect of the films with the understated timidity of their scores, which seem to serve no purpose whatsoever.

The attendant 5.1 DTS - HD MA track proves that Zemeckis is still capable of turning on the afterburners with regards to mixing set - pieces (there's an almost musical quality to the Blitz as bombs clobber the subwoofer and hails of gunfire flank the viewer), yet when I think of Allied, I think of its restrained use of score — much of the music is diegetic — and of how Zemeckis finds a remarkable number of variations in the sound of the air around Max and Marianne's loaded silences.

The Hateful Eight opens with an unavoidably pretentious but nonetheless sublime musical overture that gives centre stage to Ennio Morricone's suspenseful original score — the majority of which was written for John Carpenter's The Thing back in 1982 but never used — which is more Hitchcock in tone than Leone.

Shore describes the period musical styles that came to his mind after watching a quartet of primo bad Ed Wood films, and his decision to use the theremin in his jazzy score.

Distinguishing the musical compositions is an aggressive use of the violin, played by Hilary Hahn (who is covered in the scoring featurette) and more apt at encouraging emotional response than the characters or story.

He uses Baby's own personal constant musical score to form the pulsing foundation of his film, with even the most innocuous action following the beat of the song.

The 5.1 track has increased depth, particularly where the low end is concerned, and makes more expansive use of the surround channels for the musical score.

Argento's films are all marked by an elaborate use of camera work, lighting and musical score.

Presumably included for the entire family is a sing - along feature that presents three of the film's seven musical numbers karaoke style, but given how weak the song score is, I can't imagine anyone getting much use out of this feature.

Adding to the game is the unique musical score (comprised of 8 original tracks) that play in the background as you reminisce about how video games used to look (in a completely enchanting and charming way).

Add in the Surface Pen (for an additional cost of course), and you've got a powerful note - taking machine for those who may not type during a meeting or class as fast as they can write (not forgetting you can also use it to sketch a quick diagram, add notes to the margins of your PDF files, and paint with it on - screen as if were a brush on canvas... heck, you can even handwrite musical scores or do your crossword puzzles easily using the pen as long as you are willing to pay for the requisite titles like the New York Times Crossword app in the Windows store).

The combination of the stellar musical score, which uses much of the music from the original movie (remastered of course) and the sound effects — from the grunts and growls of the Alien to the creaks and groans of an aging space station in the process of being decommissioned and moth - balled — create an experience that many fans have been longing for from the Alien franchise for decades.

Audio is equally as good as the graphics, thanks to the engaging musical score, professional voice acting and great use of sound effects.

Matsuo used the score as a vector for musical expression and felt relatively unrestrained by style, form, texture, and the expectations of listeners.

Featuring an all new re-imagined contemporary art style, hand - drawn and presented in 1080p, complete voice over by members of the original Monkey Island ™ franchise cast, a re-mastered musical score using live instruments, plus scene - for scene - hot swap to seamlessly transition between Special Edition and Classic modes at anytime.

and, like most Kirby games, a beautiful musical score that will, sadly, probably become underappreciated (the game playfully uses orchestral pieces for most stages, whether original or remixed tunes, while the aforementioned secret stages pull a classic track right out of Kirby's past).

There are also gaming experiences such as Dragon Age: Inquisition who use such a fantastic musical score that it turns an RPG adventure into an epic journey, setting it vastly apart from other games because of how much detail and time has gone into the music and atmosphere.

In 2008 I had a breakthrough when I used a musical score that I found in a box in my grandmother's garage to develop an entire body of work.

In the Use of Others for the Change, begins with a new musical score created by Audra Wolowiec, and opens in an atmosphere of sketches and studies traced and drawn by artist Austin Thomas.

For sculptural works, using materials such as steel plates, cubes and horizontal stone slabs, Khan sandblasts the surface with templates of musical scores or prayers, continuing his investigation into the ways in which cultural, visual, cinematic and temporal memories coalesce into a dense, synesthetic whole.

It established a unified system of recording movement using numbers and a minimal alphabet of symbols in a grid format, offering dancers and choreographers a systematized tool to compose and notate dance in a fashion similar to the way a composer writes a musical score.

«If I were to pinpoint the exact moment that initiated the process of bringing this exhibition to fruition, it would be the acquisition of the artist's graphic score Graffiti Composition,» says Whitney curator David Kiehl, referring to a project undertaken from 1996 to 2002, in which Marclay papered the streets of Berlin with 5,000 sheets of blank staff paper, used for musical notation.

The exhibition will be accompanied by a new publication in which essays by Michael Tooby and Iris Priest explore the Hugonin's way of working and, in particular, his use of handwritten notebooks; plotting the course of each painting, much like a musical score.

Dropping pieces of cut paper onto a surface and gluing them down where they lay; dripping or flinging paint across a canvas; letting the progressive decay of organic materials determine a composition; and flipping coins to compose a musical scores — these are some of the processes used by artists included in the volume that both tap into the creative potential of chance and control its operation.

And as a departure from Wilner's self imposed representational parameters of the year, Making History: September 2009 made use of selections from musical scores to create a kind of soundtrack to the cinematic visuals of the rest of the year, a nocturne composed from the detritus of daily events.

We see a lone puppet, one of scores used by the Egyptian artist Wael Shawky in his «Crusades Cabaret,» a brilliant two - video marionette - musical consideration of early contact between the Arab and European cultures.