这张可以将就一听下，呵呵
看见你的跟贴，我心里不禁一阵犯紧：是不是又拍了什么烂片需要踩踩了

02. 格列佛游记 作曲：Henry Jackman

配乐有几段还不错，整体是以管弦乐为主的配乐，主弦律和有几段还不错，但总体没有能给我留下多少深刻的印象。不过在新生代里，好配乐家不多。我又很久不淘原声，不太熟悉了。
[flash]http://www_xiami_com/widget/2620148_1769936887,1769936895,_235_300_FF8719_494949_0/multiPlayer.swf[/flash]

116. Henry JackmanHenry Pryce Jackman (born 1974 in Hillingdon, Middlesex) is a British film score composer and keyboard player.

Life and career

Jackman studied classical music at St. Paul's Cathedral Choir School, Eton College, Framlingham College and University of Oxford.
Jackman has done programming and production work with artists including Mike Oldfield (Voyager), Sally Oldfield (Flaming Star), Trevor Horn/Art of Noise (The Seduction of Claude Debussy), Elton John and Gary Barlow. He co-produced Seal's unreleased 2001 album Togetherland. "This Could Be Heaven", released from the album, was also co-written by Jackman and used on the movie The Family Man and included on the deluxe edition of Seal's compilation album Hits.

Jackman has released three albums, Utopia (2003), Transfiguration (2005) and Acoustica (2007; with Augustus Isadore).

Jackman had various minor roles on film scores since 2006, generally working with mentor Hans Zimmer, including for The Da Vinci Code (music programmer), The Dark Knight (music arranger) and additional music for Pirates of the Caribbean: Dead Man's Chest, At World's End, The Simpsons Movie, Kung Fu Panda and Hancock. In 2009, Jackman, Zimmer and John Powell won the 2008 Annie Award for Music in an Animated Television Production or Short Form for their work on DreamWorks Animation's Secrets of the Furious Five (a sequel to Kung Fu Panda). He has since composed soundtracks for Monsters vs. Aliens, Henri IV, Gulliver's Travels, X-Men: First Class, Winnie the Pooh, Abraham Lincoln: Vampire Hunter, and Wreck-It Ralph.

02. 天魔 作曲：Marco Beltrami

第一部《天魔》是他师父Jerry Goldsmith的知名作品，再拍时因此找了他的学生，也算理所当然（Joel Goldsmith：为什么不找我，我是他儿子呢？！）。
谈音乐吧，借《天魔》中黑暗而富有特色的音乐，Jerry Goldsmith拿到了他一生中唯一一次奥斯卡，并得到了黑暗王子的称号。而续集中的音乐只能算是中规中距，虽然主题更动听了，虽然黑暗的感觉依然存在，然而，Jerry Goldsmith电影配乐中那种随意，那种到骨子里的黑暗却不复存在。

[flash]http://www_xiami_com/widget/2620148_3530435,3530438,3530453,_235_300_FF8719_494949_0/multiPlayer.swf[/flash]

他是谁啊？根本没印象。

东方元素用在西洋音乐里就是个甜字了得。因为是五声音阶，大调，节奏也舒缓，所以听得国人顿生自豪感。现在电影音乐，只要是用管弦乐做配乐，没一个不好听的。又抒情。商人最知道观众喜欢什么。所以电影原声碟收也收不完。我干脆不收了。我正打算写一个帖子，比较中国作曲家和日本作曲家。赵季平为什么不如久石让。

我又来捣糨糊了。

刚好奇听了下这个所谓“茉莉花”。根本不是茉莉花好吗。只是动机接近茉莉花。骗纸。这个配器和发展跟茉莉花中国元素一点没关系。这电影没看过。百度一下，是西部片。骗纸。

听了这么多年音乐，如今这种糖水曲子我已经完全受不了了。就直接跟喝生蜂蜜一样，腻得头发晕。不是审美问题，而成了生理问题。

116. Marco Beltrami 马可·贝尔崔米Who could have guessed that Marco Beltrami, the film composer whose musical innovations have redefined the sound of terror at the end of the 20th Century, had never watched a horror film prior to writing one of his best known scores?

"Scream was the first one I’d seen in its entirety," he discloses, "Previous to that I had little familiarity with the genre, probably because I'm a cheap scare. Coming from a concert background, though, I realized that horror lends itself well to compositional techniques associated with 20th Century music, and so I was easily able to come up with a unique voice for these films.

Of course, the movies themselves are a little bit over the top in their own right, so that affords me the chance to have fun and shine musically."

Marco Beltrami has brought new dimensionality to the scoring of suspense and horror in the cinema, yet his quixotic progress through many genres of film music reflects more than mere creative restlessness.

In coming to film music, Beltrami sought to escape from the late 19th century harmonies and melodies that the immigrant Hollywood composers of the early 20th Century brought with them from Europe, their legacy having endured as a dominant paradigm for score writing.

"Though there will always be new statements made utilizing that vocabulary, I’d rather speak my own musical language. Film has the potential of allowing me to explore my own ideas, which I find very attractive."

Those ideas have found an ever-widening audience via numerous recent opportunities for this in-demand composer. Beltrami has scored the hit TV drama series The Practice and his recent film credits include Angel Eyes and Blade 2.

Other Beltrami scores have been heard on the soundtracks to Scary Movie 2, Mimic, Joy Ride and the 2002 Sundance festival favorite The Dangerous Lives of Altar Boys. In addition to the recognition afforded by his cinematic efforts, Beltrami has received awards from the American Acade my of Arts and Letters, the New York Foundation for the Arts, the ASCAP Foundation, the Harry Warren Fellowship Committee and Meet the Composer.

Beltrami’s family emigrated from Italy, and Marco grew up on Long Island, New York, where his predilection to create music surfaced early on. Beginning piano lessons at age 6, the future film composer was often more interested in re-writing, rather than practicing, his assigned pieces. As a teenager, he played keyboards in rock bands, but when the future film composer enrolled at Brown University, music was not initially his focus; a career in urban planning beckoned at the time.

Beltrami gravitated to Brown’s electronic music studio, where he quickly realized the innate compatibility of synthetic sounds with the European tonal palette. Working there in the mid-‘80’s, using both older analog synthesizers and then-recent innovations such as the Synclavier, Beltrami nurtured a passion for electronic sound and an aptitude for bold, assured and arrestingly physical musical gestures.

He strove to incorporate synthesis alongside his orchestral, chamber and vocal works, fostering a predilection for carefully structured music built with meticulous attention to detail that has served him well in his cinematic endeavors.

Graduating from Brown, he studied in Venice, Italy with firebrand avant-garde composer Luigi Nono, though recalling the period Beltrami admits that his lessons at the time had more to do with politics than music. Upon his return to the U.S., he entered the Yale School of Music on a scholarship. There he was mentored by one of the most prominent of contemporary American composers, Jacob Druckman, whose masterful expansions on principles of orchestration put forward by Stravinsky and Ravel led Beltrami to cite Druckman as "My biggest influence, the one who prompted me to look at music in a new way."

The polyglot influences of the young composer’s student years left him convinced that there was room for new voices in American orchestral composition. His was not to be the pastoral vision of an Aaron Copeland, but rather one that reflected the founding notion of America as a cauldron of hybridized ideas and cultures. Beltrami relished the idea of a musical landscape where, in his words, "the music of a Jamaican bandleader was of equal importance with the work of a Germanic music scholar." The one-time urban planner, inspired by the energy of American cityscapes, resolved to incorporate comparable intensity into his music.

Marco Beltrami’s transition to film work was abetted by a commission from the American Academy of Arts and Letters to write music after graduation. (Not wanting to teach, "the money held me over," he allows.) Having applied to a program at USC in Los Angeles taught by the venerated film composer Jerry Goldsmith, Beltrami migrated westward in the early ‘90s, stopping along the way for performances of his work at a North Carolina dance festival, prior to landing in California in time for Goldsmith’s classes.

Joel Goldsmith
乔尔·戈德史密斯   星际之门亚特兰蒂斯

本帖最后由 xuanxuan2996 于 2015-4-26 16:55 编辑

02. 超完美娇 妻  作曲：David Arnold

随便找了一张，一听入迷。很有意思的古典风格的配乐，跟我所了解他的商业片的配乐根本就两回事。
虽然感觉音乐高度不够，但是确实非常迷人和有韵味，虽然片头仿Danny Elfman的《剪刀手爱德华》，中间仿施特劳斯很明显。不过对于新生代的配乐，这个也非常不错了。
推荐！
[flash]http://www_xiami_com/widget/0_1772932737,1772932753,1772932756,1772932757,_235_300_FF8719_494949/multiPlayer.swf[/flash]

115. David Arnold英国著名作曲家，早年为几部电影配乐后结识了导演Roland Emmerich，获得了后来为《独立日 Independence Day》《哥斯拉 Godzilla》配乐的机会，也崭露了头角。Arnold本人是007系列以及John Barry（007老系列的作曲家）的粉丝，也很崇拜他。1997年Arnold和几个音乐人弄了个007歌曲配乐的再创作合辑，不想被John Barry慧眼相中了，并且给予了Arnold很高的评价，马上就推荐他做新一部007电影《明日帝国 Tomorrow Never Dies》的配乐。Arnold把握住了这次机会，并且继续为之后的4部007电影创作了配乐，《黑日危机 The World Is Not Enough》、《择日而死 Die Another Day》、《皇家赌场 Casino Royale》、《量子危机 Quantum of Solace》。David Arnold其他的作品主要有：《Zoolander》、《2 Fast 2 Furious 》、《Four Brothers》、《Hot Fuzz》等。

好的。

这几首曲子都认真的听了，温馨，温暖！看来令人愉悦不一定非得要有那高深的复调织体不可啊！ 本帖最后由 摄影达人888 于 2015-4-20 20:38 编辑

03. Dreamer  作曲：John Debney

一部毫无名气的电影，但音乐写得还真是不错！流畅而优美的音乐让人忘记了这是部电影的音乐了！一点也没有听出来这是John Debney的风格，倒让我想起了我最喜欢的Rachel Portman的音乐了，浪漫而舒情，优美迷人！赞！

[flash]http://www_xiami_com/widget/2620148_3529310,3529311,3529313,3529322,3529331,_235_346_FF8719_494949_0/multiPlayer.swf[/flash]

再来一个人们大家都耳熟能详的巴赫的曲子，虽然前面的广告太长，但还是值得去听去看！
http://www_letv_com/ptv/vplay/22462212.html
G弦上的咏叹调

02. 耶稣受难记 作曲：John Debney

一部让人感觉窒息，痛苦不堪的电影。电影后面部分的每一个镜头都让人极难忍受，耶稣身上每块血淋淋的烂肉都强烈的刺激观众的视觉，让人想关闭电视解脱下。但看完后又不得不承认这是部好电影！梅尔.吉普森的另一部同样的电影是《启示录》。
配乐低沉、压抑，充满着伤痛和哀叹，里面的人声的呤唱也让人哀叹。让人似乎又一次进入耶路撒冷，经历了耶稣死前经历的一切苦痛。虽然中间也有如“Mary Goes to Jesus”这样的温柔的片段。其实也极感伤，但优美的弦律削弱了难受。整部电影配乐听得人感叹！真是一部出色的电影和电影配乐！
推荐！
[flash]http://www_xiami_com/widget/2620148_3529295,3529296,3529298,3529302,3529303,3529307,_235_346_FF8719_494949_0/multiPlayer.swf[/flash]