Biography
Joe Hisaishi was born on December 6, 1950 in Nagano, Japan under the name Mamoru Fujisawa. His musical training started early on, when he began to take violin lessons at age five. It was around this time that he first discovered his passion for music. Fujisawa truly began to explore this passion in the 70’s, during which, a cultural menagerie of Japanese popular music, new-age, and early electronic music flourished. Inevitably, those genres influenced Fujisawa's early compositions. (Wikipedia) Fujisawa was highly influenced by the new-wave of Japanese electronica such as the Yellow Magic Orchestra and Ryuichi Sakamoto group. It was not until 1975, that he made his first public performance, and it is not until a decade later that he dawns his stage name, Joe Hisaishi, on his first solo album Alpha Bet City. (Dasnoy & Tsong, 2013) Hisaishi developed his name from the American artist, Quincy Jones. The kanji for "Hisaishi" is read similarly to the Japanese pronunciation of "Quincy," and "Joe," came from "Jones."(IMDB)
In 1983, a record company recommended Hisaishi to Hayao Miyazaki as a possible candidate to create the Image Album for Nausicaa of the Valley of Wind, which, at the time, was being made into a movie. (Team Ghiblink, Nausicaa.net) Hisaishi’s soundtrack for Nausicaa of the Valley of the Wind was a balance between electronic and classical music, a blending of new compositions along with covers of Handel and Brahms's music. (Dasnoy & Tsong, 2013) Miyazaki, inevitably, was highly impressed with Hisaishi’s Image Album and frequently listened to it during the production of the film. The soundtrack for the film was slated to be composed by its producer, Isao Takahata. However, after Miyazaki’s strong recommendation f...
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Team Ghiblink (n.d.). Joe Hisaishi in Budokan. In GhibliWiki. Retrieved from http://www.nausicaa.net/wiki/Joe_Hisaishi_in_Budokan
Team Ghiblink. (n.d.). Joe Hisaishi. Retrieved from http://www.nausicaa.net/miyazaki/hisaishi/
Wikipedia. (n.d.). Joe Hisaishi. In Wikipedia. Retrieved from https://en.wikipedia.org/wiki/Joe_Hisaishi
Wondercity Inc. (2011). Wondercity Inc. Official Fanpage Biography. Retrieved from https://www.facebook.com/JoeHisaishi.official/info
Wu, C. Y. (2007). A Study of Joe Hisaishi's Film Music in Hayao Miyazaki's Animation. (Master's thesis, Taipei University of the Arts, Taipei, Taiwan), Available from National Digital Library of Theses and Dissertations in Taiwan. (003604684)Retrieved from http://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi/login?o=dnclcdr&s=id="095TNUA5249003".&searchmode=basic
music to analyse—in fact, the music runs almost constantly throughout the film without very little
The film soundtrack was an important element in creating the juxtaposed world that Taymor desired. Taymor selected Elliot Goldenfall, a veteran composer for the stage and screen whom she had known for twenty years, to head the scoring. Their long association served them well in this endeavor - the final film score was both stunning and effective in combining ancient and modern musical elements. Goldenfall manipulated four main musical styles to score the film (symphonic, jazz, hard rock, and aria), and each style represented particular emotions.
Moonrise Kingdom, directed by Wes Anderson, is a film that uncovers a heartwarming tale about young love, and investigates what it means to fit in. The film follows a pair of lovestruck children, creating a whimsical and young atmosphere full of innocence. This innocence is portrayed throughout the film, especially when one of the main protagonists states, “We’re in love. We just want to be together. What’s wrong with that.” This theme is supported greatly by using original scoring and popular music. Techniques alike to these can be derived from classic films such as George Lucas’s Star Wars films. Although his films utilize wall-to-wall scoring, this film uses original scoring to achieve similar effects. Also, by utilizing small orchestra
After listening to all four movements of Beethoven’s Symphony No. 5 in C minor, I have suddenly been awakened to the tremendous influence that the Classical Form of music has had on modern day works, especially in the area of the film industry which it is used to create drama, tension, and joy. History owes a debt of gratitude to composers such as Ludwig van Beethoven, who build upon the legacy of pioneers such as Joseph Haydn and Wolfgang Amadeus Mozart to create his own unique blend of symphonic compositions which will be revered throughout generations because of their continued appeal to the
Steve Reich was born in New York on October 3, 1936. His parents soon divorced, leaving Reich to constantly commute between New York and California via passenger train. Reich has stated that is was the sound of the wheels on the train tracks that helped to develop his strong rhythmic sense at an early age (Ross, 541). He studied philosophy at Cornell University with a minor in music before switching to composition full-time at Juilliard School and Mills College with Luciano Berio and Darius Milhaud (Mertens, 47). Although both great composers, Reich didn’t fit well within either of their styles. In the early seventies, Reich studied with a drummer of the Ewe tribe in Ghana and participated in a Balinese gamelan seminar where he began to develop a strong concordance with world music. This influence is clearly evident in many of Reich’s compositions.
The Day The Earth Stood Still is acknowledged for its use of dramatic music to depict the mood that the audience should feel. “While these unusual instruments and recording techniques had previously been utilized in Hollywood film music, Herrmann’s score for The Day the Earth Stood Still was undoubte...
Elizabeth Weis, John Belton (1985) Theory and Practice Film Sound, New York: Columbia University Press, pp 346.
As an audience we are manipulated from the moment a film begins. In this essay I wish to explore how The Conversation’s use of sound design has directly controlled our perceptions and emotional responses as well as how it can change the meaning of the image. I would also like to discover how the soundtrack guides the audience’s attention with the use of diegetic and nondiegetic sounds.
...ifferent visual concepts and musical composers, recently Phillip Glass. There is one thing for certain, music still becomes a primary component of her work. Take for example the words of Paola Ferreiro speaking about Neshat's recent work Zarin (2005), “There is practically no dialogue in the video. With the omission of voice, dramatic acting and soundtrack become the communication devices for the narrative. The lack of dialogue gives the viewer interpretative freedom, especially if they are ignorant of the original inspirational text.” (Ferrairo) I will undoubtedly keep Turbulent, Rapture, and Soliloquy close to my heart, as they are her most powerful works of art due to the fact that the sounds drive the entire emotional interpretation of the pieces. However, it is just as intriguing analyzing how Shirin Neshat
Every musical system around the world is a complex cultural phenomenon. The culture underlie a series of concepts which impart the musical system into the other basic cultural activities of the society. It is then defined and conceptualized by the society at large and then ingrained in the cultural phenomena. Thus, in order to fully understand a specific music of a particular culture, we must examine it in its cultural context along its musicological context.
Throughout this semester we have discussed an array of musical periods ranging from the Middle Ages and Renaissance to more recent modern times. As music progressed through time certain concepts such as melody, harmony, and texture changed along with the introduction of different instruments. In the early phases of music it was more directed toward religious ceremonies, but as time went on it became integrated into everyday life. Even though musical dynamics seem to change as the years go on, it has never failed to create some form of emotional response such as laughter or sadness.
Miyamoto Musashi was born in 1584, in a Japan struggling to recover from more than four centuries of internal strife. The traditional rule of the emperors had been overthrown in the twelfth century, and although each successive emperor remained the figurehead of Japan, his powers were very much reduced. Since that time, Japan had seen almost continuous civil war between the provincial lords, warrior monks and brigands, all fighting each other for land and power. In the fifteenth and sixteenth centuries the lords, called daimyo, built huge stone castles to protect themselves and their lords and castle towns outside the walls began to grow up. These wars naturally restricted the growth of trade and impoverished the whole country.
Sound is what brings movies to life, but, not many viewers really notice. A film can be shot with mediocre quality, but, can be intriguing if it has the most effective foley, sound effects, underscore, etc. Sound in movies band together and unfold the meaning of the scenes. When actors are speaking, the dialogue can bring emotion to the audience, or, it can be used as the ambient sound. Music is one of the main things to have when filmmaking. The use of Claudia Gorbman’s Seven Principles of Composition, Mixing and Editing in Classical Film gives audiences a perspective of sound, and, how it can have an impact on them.
The use of sound has been greatly developed and is now considered as "one of the richest sources of meaning in film art." (Giannetti, 2002). When sound in film is being examined, two positions must be assumed; digetic sound and non-digetic sound. These positions relate to the basis of the sound in film and television. For example, digetic sound refers to the sound that materialises inside the creation of the film (if a character h...
The importance of music in movies is highly regarded for manipulating the viewer’s emotions and helping them immerse into the story. Music is one of the prime elements in cinema. Without it a movie would feel dull and unexciting. There are three elements in a movie: one is acting, the second is picture, and the third one is music. It is a holy trinity; if incomplete, there would be a lack of sensation and excitement. Both acting and picture can stand independently from one another, but music is the one that makes the movie memorable.