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ore than most film directors, Ridley Scott has achieved legendary status Mwithout restricting himself to a single film genre. Rather than fitting into a comfortable routine making the kind of movies audiences might expect, Scott has instead taken it upon himself the rather more thorny task of creating new and astonishing worlds with every film: worlds of the future (Blade RunneR) and of the past (GladiatoR), worlds grounded in both fact (Black Hawk down) and fantasy (leGend), worlds riven by horror (alien) and shot through with unexpected sweetness (MatcHStick Men). Scott’s world is an astonishingly diverse cinematic cosmos, united by that sense of titanic world-making, extraordinary visual style, and - not least - an unusual attention (particularly in this day and age) to the supportive significance of the musical score. The director has asserted, on numerous occasions, his strong feelings about the importance of music. “Picture and sound. We’re experiencing picture and sound,” he said in a 2007 interview with Wired magazine, raising the sonic element to equal footing with a classic director before him, he has had a series of close collaborations his own personal favorite, the visual. Scott has gone further, in the same extending over several films: with Zimmer (and several of Zimmer’s Media interview: “Music is dialogue. And sometimes music is the final, finished, Ventures veterans, including Harry Gregson-Williams, Jeff Rona, and more additional dialogue. Music can be one of the final characters in the film. That’s recently, Marc Streitenfeld). And it’s probably no accident that several why people say you shouldn’t note the film score. That is complete bullshit. If soundtracks from Ridley Scott films have become (in film score terms, at any the film score is working absolutely great, you will probably find that the film is rate) blockbusters: BLAde RunneR (in all its many versions), 1492: working brilliantly and is probably being elevated by good score.” ConqueSt of PARAdISe, and GLAdIAtoR have all proved hugely popular, well beyond the specialty niche of the soundtrack collector. The proof, of course, is in the pudding; here, again, Scott has shown himself to be as good as his word. He has worked, consistently, with some of the best If ever there was a director whose films could prompt a compilation disc, Scott composers in the business, from Jerry Goldsmith to Hans Zimmer. Like many is the perfect exemplar. Thus this tantalizing collection from BSX, bringing together a quadruple-fistful of superb cues from the director’s nearly forty years death for a composer. They had been living with this music for months, and of feature filmmaking. It’s a diverse but potent group, each individual cue – like they were used to it.” The same phenomenon extended to an excerpt from anything legendary – with stories attached, some of which we’ll attempt to Howard Hanson’s Symphony no. 2 (“Romantic”), which was used in the end trace here. credits. But what we have here is Goldsmith’s main title theme, which Scott stoutly praised as “full of dark beauty.” e Duellists (1977) “Main Title” Blade Runner (1982) Music by Howard Blake “Love eme” Performed by e Sinfonia of London Music by Vangelis Scott’s feature film debut was scored by Howard Blake, a concert-hall composer Produced and Arranged by Edgar Rothermich (particularly noted for his choral works) who would achieve world-wide fame over the years, this near future sci-fi-noir exploration of metaphysics and with his oscar-nominated score for tHe SnoWMAn (1982), including its humanity has attained the status of an acknowledged and influential classic. unforgettably lovely song, “Walking In the Air.” This theme from tHe And its score, by the masterful Greek composer Vangelis, has transmogrified dueLLIStS, an exquisitely detailed evocation of the napoleonic era, into nothing short of a phenomenon, attracting fans not just of movie music, perfectly suggests this film’s overall air of melancholy futility. but of jazz, electronic, ambient, and progressive music, as well. This version of the celebrated “Love Theme,” its seductive saxophone layered with a dreamy Alien (1979) soundscape, was produced and performed by the composer edgar Rothermich, “End Credit” working in a magnificent burst of reverse engineering, directly from the film. Music By Jerry Goldsmith Performed by e Czech Symphony Orchestra Legend (1985) Scott’s first smash-hit – and the source of a multi-film franchise of predatorial “Princess Lily” - Music by Jerry Goldsmith proportions – was scored by film music legend Jerry Goldsmith. The initial “e Unicorn eme” - Music By Tangerine Dream edits were temp-tracked with music from Goldsmith’s earlier score for John Produced and Arranged by Brandon K. Verrett Huston’s fReud (1962), and when it came time to finalize the cut, in some “Princess Lily” Performed by Katie Campbell cases, director and editor terry Rawlins just couldn’t let go, and much of the Rejoining Jerry Goldsmith for this fairy-tale fantasy exploring the duality of composer’s new material was excised in favor of tracks from the Huston movie. good and evil, Goldsmith worked for an unheard-of six months to produce “Sometimes,” Goldsmith would remark later, temp-tracking is “the kiss of Someone to Watch Over Me (1987) “Title Song” Music By George and Ira Gershwin Produced and Arranged by Dominik Hauser Performed by Heather Donavon With a score by the late, lamented Michael Kamen, SoMeone to WAtCH oVeR Me was a tense thriller named – very appropriately in context – for a George and Ira Gershwin song, originally sung by the nonpareil Gertrude Lawrence in the 1926 Broadway show Oh, Kay! Here, the tune (produced and arranged by dominik Hauser) is interpreted, charmingly, by singer Heather donavon. Black Rain (1989) “Charlie’s Badge” Music by Hans Zimmer Produced and Arranged by Dominik Hauser focusing on a pair of new york cops dealing with the yakuza in Japan, BLACK RAIn was the first film in the long and highly successful collaboration between Scott and composer/entrepreneur Hans Zimmer. This cue is a marvelous mélange of Asian flavors and tense electronics. elma and Louise (1991) music for score and songs – most of which was discarded by Scott (at the “underbird” insistence of studio executives who wanted more commercially viable music) for Music by Hans Zimmer the American release, to be replaced by a new score by German electronica Produced and Arranged by Dominik Hauser band tangerine dream; the Goldsmith score remained on the international Another huge hit for Scott, tHeLMA And LouISe features a supremely release. The loss of Goldsmith’s score – subsequently restored for home video soulful score by Hans Zimmer, who focused on the relationship between the presentation on dVd and Blu-Ray) – was vigorously decried by American fans titular women and their fatalistic crime spree across the American Southwest and almost immediately became a notorious example of studio politics. The while the film’s inclusion of numerous R&B, pop, and blues songs (including score’s love theme is set to lyrics by John Bettis (composer of many songs by Glenn frey’s “Part of Me, Part of you” as its primary theme song) gave the The Carpenters) in “My true Love’s eyes,” sung for us here by Katie Campbell; story its contemporary vibe. An ideal example of Zimmer’s score is this is followed by a cue from the alternative tangerine dream score, “unicorn “Thunderbird,” an anguished guitar-led blues that progresses into a distinctly Theme.” A pioneer in ambient electronics music, this German, edgar froese- Latin flavor by cue’s end. led band, has contributed to many film scores, including those for William friedkin’s SoRCeReR (1977), the pop comedy RISKy BuSIneSS (1983), 1492: Conquest of Paradise (1992) and Kathryn Bigelow’s neAR dARK (1987). Both tracks were produced and “Main Title” arranged for BSX by Brandon K. Verrett. Music by Vangelis Produced and Arranged by Dominik Hauser Although it performed poorly at the box office, this film depicting Columbus’s discovery of the Americas featured a score by Scott’s previous collaborator, hugely influential. “The Battle” is, of all things, technically a waltz, while “now Vangelis, which became an international hit. Its potent main title music has We Are free,” with Katie Campbell supplying a wondrous vocal, is a semi- subsequently been embraced as a triumphal anthem by politicians (Portuguese triumphant plaint in context, with the feel of a contemporary pop song. Prime Minister António Guterres; the Portuguese Socialist Party) and athletes alike (the new Zealand rugby team The Canterbury Crusaders, the British Hannibal (2001) rugby team The Wigan Warriors, and by German boxer Henry Maske). “Dear Clarice” Music by Hans Zimmer White Squall (1996) “Vide Cor Meum” “Lifeboats” Music by Patrick Cassidy Music by Jeff Rona Produced and Arranged by Dominik Hauser Produced and Arranged by Dominik Hauser “Vide Cor Meum” Performed by Nandani Sinha and Timothy Gonzales Among Scott’s most under-appreciated films, this adventure film about the true Zimmer rejoined Scott for the fourth time, with considerable assistance from story of the shipwreck of the brigantine sailing ship Albatross in 1961 was his team at Media Ventures. for this sequel to tHe SILenCe of tHe blessed with a staggeringly beautiful score by Jeff Rona. Maurice Jarre had LAMBS, the composer was determined to produce a sound that was not been the director’s first choice to write the music, followed by his stalwart Hans modernistic but instead evoked a feeling of operatic antiquity, using “a very odd Zimmer; Zimmer, busy as usual, turned the task over to protégé Rona, who orchestra... only cellos and basses all playing at the extreme ends of their range,” came up with this stunner.
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    Uma perspectiva musicológica sobre a formação da categoria ciberpunk na música para audiovisuais – entre 1982 e 2017 André Filipe Cecília Malhado Dissertação de Mestrado em Ciências Musicais Área de especialização em Musicologia Histórica Setembro de 2019 I Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências Musicais – Área de especialização em Musicologia Histórica, realizada sob a orientação científica da Professora Doutora Paula Gomes Ribeiro. II Às duas mulheres da minha vida que permanecem no ciberespaço do meu pensamento: Sara e Maria de Lourdes E aos dois homens da minha vida com quem conecto no meu quotidiano: Joaquim e Ricardo III Agradecimentos Mesmo tratando-se de um estudo de musicologia histórica, é preciso destacar que o meu objecto, problemática, e uma componente muito substancial do método foram direccionados para a sociologia. Por essa razão, o tema desta dissertação só foi possível porque o fenómeno social da música ciberpunk resulta do esforço colectivo dos participantes dentro da cultura, e é para eles que direciono o meu primeiro grande agradecimento. Sinto-me grato a todos os fãs do ciberpunk por manterem viva esta cultura, e por construírem à qual também pertenço, e espero, enquanto aca-fã, ter sido capaz de fazer jus à sua importância e aos discursos dos seus intervenientes. Um enorme “obrigado” à Professora Paula Gomes Ribeiro pela sua orientação, e por me ter fornecido perspectivas, ideias, conselhos, contrapontos teóricos, ajuda na resolução de contradições, e pelos seus olhos de revisora-falcão que não deixam escapar nada! Como é evidente, o seu contributo ultrapassa em muito os meandros desta investigação, pois não posso esquecer tudo aquilo que me ensinou desde o primeiro ano da Licenciatura.