The Theme of Alexia Type I
Well colored me impressed! It’s been a while since a piece of music inspired me to dedicate a post to it. From its original composition from Code: Veronica X, it has transformed into a lush piece of excitement, action, bravery, and even romance to my mind. I am not quite sure if the added length of composition was added by the original composer from Code: Veronica X, or by the orchestrator Yoshihisa Hirano, but I know that this piece of music made me reminiscence of the piece “Der Hölle Rache kocht in meinem Herzen“, from Mozart’s German Opera “Die Zauberflöte” (The Magic Flute).
Der Hölle Rache kocht in meinem Herzen
Tell me that those high-note executions and triplets aren’t killer? Phew! Mozart sure did know how to write for Soprano! One of his letters to his dear sister Narnel even mentions his thought on singing:
“The human voice vibrates naturally-but in such a way-to such a degree that it all sounds beautiful-it is the nature of the voice. We imitate such effects not only on wind instruments, but also with violins-even on the clavier-but as soon as you go beyond natural limits, it is no longer sounds beautiful-because it is contrary to nature.”
The quote above is taken from Robert Spaethling’s Mozart’s Letters, Mozart’s Life, an entertaining compilation of selected letters of Mozart. I highly recommend the book to everyone if you’re looking for a relaxing read about Mozart and his personal life. I wrote a paper focusing on this book in regards to Mozart’s thoughts on singing and Opera…if anyone is interested I can upload it and send it your way, just ask for a link to the paper.
Zip to Orchestrator ->
Because I was so impressed with the orchestration and composition, I made it a point to search out information about the composer and orchestrator (Little did I know what I would find!). When I read the discography of Hirano = Mind Shattered. I was not aware that he has done arranging for Ali Project and I completely forgot that he worked on Death Note! Because of this newly obtained, and freshly renewed, info I want to make it a small project to gather as much information about Hirano and listen to his other arrangements. I’ll end here and catch everyone next time. :3
Thanks to Jesse “Main Finger” for pointing this piece out!
It’s been well over a year since my last actual music post–my deepest apologies–but I assure you that I have been using that time wisely in regards to both education and the study of music. When i say study of music, I refer to the [additional] historical study of composers, their music, and the cultural surroundings that assisted in shaping both (yes, the composer and the music). It was a very pleasurable study that has greatly broadened my horizon in not only musical matters, but also the social implications that surrounded the composer and their compositions. But, that’s enough of talk of that; what about game music? Hrm…that’s a good one.
Actually, my views on video game music has not changed much from the last time I posted here. I greatly respect the field in both academic means and hobby listening. I originally wanted to bring the two into matrimony…and well, that still reigns true today–only without the pretensions that I had originally bore while making such a claim. I began many projects on the field, only to have them halt within days of research. At each roadblock, a inkling came to me as not to take that road of intense research, so as not to begin to abhor it. Me? Abhor video game music and academic research? I never. Well, guess what? it was happening.
This is when I began to take things easy and focus my academic research on Music History, while separating game music as a form of pleasurable enjoyment. Good Idea! But you know what? You would think that would have been the best answer, separate the two and keep them at bay; don’t turn your hobby into a job. Nope, not true! In fact, I shattered that theology’s hold on me when I wrote my [J.S.] Bach Seminar paper on his music in video games, in the form of an ethnography dealing with the youtube community. I had a blast writing! (Thanks YouTube users, horror film writers, and game composers!)
So where does this leave me and video game music research through [intense] academic means? DON’T! Instead, research video game music in a more practical manner that is both fun and educational. It took me a long time to learn that. I’ve always been a bit slow with these things–especially with some technology–so I wasn’t too surprised. So, where does that leave me now? What do I have planned for you guys in the future? Well, nothing really, except my musical musings and soliloquies that will become part of the rustling of the wind that will grace your twitter feed and inbox, ever so sweetly.
The name “Winifred Phillips” isn’t a stranger around these parts, and there’s a darn good reason for that! Her compositional style is not only fascinating in construction, but varied in mood and genre. Little Big Planet 2’s Toy Story DLC is an example of how varied her arsenal is with genres. In this DLC project we see three genres reign supreme: Big Band, Bluegrass, and Symphonic.
What better way to start the Toy Story DLC than presenting the players with a Big Band piece. Toy Story Big Band Theme’s swing-like-feel and mellowness draws out a casual adventure for the players as well keep things really relaxed and hip. I appreciate the nice Andante tempo used than blasting through the piece in a faster tempo. I’m surprised on the fluidity of this piece, as well with that tasty Trumpet and Piano solo halfway into the piece. Good construction and layering.
Toy Story Western Theme’s Honky-tonky-ness and Bluegrass-ness is wonderful. It must haven been a headache trying to layer together all these samples into one solid work. Banjo, fiddle-playin, piano, mouth harp, percussion, ect, filling in one another and falling out for one another; it’s most definitely a treat for the ears. Near the end of the piece you get a taste of Evil-Railroad-Villain piano playing that would fit any Silent Black and White film. This piece was very imaginative and fun, and a genre that I do not think Winifred Phillips has treaded upon until now. Great job!
If you’re a symphonic kind of person, then your ears will swoon to Winifred’s Toy Story Space Theme. Adventerous, dark, and epic are choice words to describe this piece. I would go on even describing this piece as some sort of Tone Poem with its variety in direction and sense of Bravado. Winifred’s forte of the Symphonic style is evident in her past soundtracks, so we could have only expected such quality work from Winifred!
While the music of the DLC may have been limited to only three tracks, they nevertheless prove to be an excellent production of work from Winifred Phillips. Knowing now that her ability to work with genres outside her norm and achieving astounding success is possible, I’d like to hear different genres of music from her in future projects. Much thanks to Winifred Phillips as well her producer, Winnie Waldron, for this exceptional musical product!
After sending my last paper to my professor, classes have [finally] become completed for this semester. Looking over Copland’s “What to Listen For in Music” and Video Game Music is next on the docket. Check you inbox every Friday for a new post. Thanks for your patience, I’ll do my best on writing a semi-interesting post.
The beginning of a New Year has always presented me a feeling of adventure, a fresh start, and an opportunity to try new things. You can also call it a reason for me to act lazy towards the end of the year (;)). If you are a frequent at Rhythmroo.com, then you’ll know that this blog is going to be taken quite a radical change from what I normally post (free game albums/osts and reviews). The plan: Bring together topics I find intriguing from my Classical training as a Musician to my listening experiences of Video Game Music. The results will be quite satisfying I assure you.