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Screen Scores Fitzgerald . Having had my little musicological gripe, I should end by restating that Screen Before doing so, I should confess to a background as a composer and popular t musicologist which sees me eagerly scanning any publications relating to contem­ r Scores is a fascinating and informative account of contemporary Australian film porary music for specific insights into the musical/technological techniques em­ ·~~ music, and a timely and welcome addition to the literature surrounding Australian ployed by composers (you never know when you might need to feed off someone r film. Coyle identifies her "principle difficulty" in assembling Screen Scores as "the else's good ideas). I have to say that in most situations my eager search for detailed t limited number of journalists and academics in Australia well versed in critical information is fruitless, and in many cases transforms into a hunt for just some research and writing around sound per se (including soundtrack) and a concomitant mention of the sounds themselves. under-development of writing styles appropriate to the topic and/or a readership for I. this sort of discourse" (2). Screen Scores makes a significant first step towards the establishment of a tradition of contemporary Australian film soundtrack analysis Screen Scores has proven both satisfYing and somewhat frustrating in this regard. ! ~ by providing a diverse selection of contributions by authors with different aca­ Many of the authors offer insightful general descriptions of the music and the way demic/professional backgrounds; and consequently different ways of providing it functions within the film. For example, Ross Harley's chapter on the Mad Max insights into film soundtracks. In my opinion (given the inherent complexity of trilogy highlights the way "soundtracks can be foregrounded in order to develop ( soundtrack creation, function and reception) the diversity of the contributions in character and advance the story" (18) while van Leeuwen's chapter on the music Screen Scores represents a strength rather than weakness. Coyle has also assisted of The Piano demonstrates how the unfolding and development of musical ideas I . the reader greatly by organising the contributions into a coherent and logical within this film can be seen to represent an internal story all of its own (while sequence, and I am confident that Screen Scores will play an important role in simultaneously complementing the developments within the film). Coyle provides fostering more widespread awareness and understanding of an important, but to numerous insights into the genesis of the eclectic mix of sounds in the films of date neglected, contemporary Australian art form. Yahoo Serious and the way sound is often used in a deliberately cliched way to produce what she describes as "sonic semaphore". Michael Hill offers an perceptive exploration of the way popular songs, musical motifs, and specific instrumental ENDNOTES colours combine to "orchestrate nature" in Australian animated feature films. I. Tagg's ( 1979) minutely detailed analysis of theme music for the TV series Kojak provides an exception, but it should be noted that 50 seconds of music generated With regard to musicological/technical detail there are several chapters which do a complete doctoral dissertation when subjected to this depth of analysis. attempt to discuss specific aspects of the musical compositions. Theo van Leeu­ wen's chapter discusses harmonic and melodic aspects of Michael Nyman's piano 2. One of these films (Only the Brave) was directed by Anna Kokkinos. writing and orchestral style, and provides several musical scores by way of illus­ tration. Philip Samartzis provides relevant and detailed information about the specifics of studio production and sound processing in Brophy's film scores; while BIBLIOGRAPHY Michael Hannan and Jude Magee illustrate and discuss some important musical i Beamish, B ( 1998) Personal interview with author, Sydney, 16/10 motifs in film music by Martin Armiger. However, on balance, it seems to me that analytical detail is somewhat lacking in this publication. In saying this, I am f Gorbman, C (1995) 'The state of film music criticism' Cineaste vXXI, nl-2 attempting to highlight a need for further work in this area rather than criticising i the editorial process, since it is notoriously difficult to uncover musicologists willing Tagg, P ( 1979) Kojak: 50 Seconds of Television Music: Towards the Analysis of Effect in to engage in research into aspects of popular culture. One possible remedy for future 1 Popular Music. Unpublished PhD dissertation, Goteborg University publications might be to seek further information in this area via interviews with composers. I An aspect of Screen Scores which I do find irritating though, is the standard and presentation of music examples in the van Leeuwen chapter. These examples not only look like a rough hand score, they also contain some very basic notational

errors. Example 2 (44) contains incorrect note stemming, as well as missing beats 'II in the bass clef. Example 3, 4, and 5 (44-45) all contain incorrect note stemming, I ;1'1 while Example 4 ( 45) groups notes wrongly in terms of rhythm. While on the subject ' of music examples, there is no reason to leave a large section of blank staff after Example 2 on page 204. These are small oversights, but they are noticeable in a text which is otherwise characterised by the highest level of professional presentation.

Perfect Beat EJ v4 n3 July 1999 Perfect Beat - v4 n3 July 1999 l Philpott

Perfect Beat v4 n3 July 1999 T:w· styles somehow made the music sound 'too sophisticated' for the ordinary grass­ lJ roots person. They responded by not buying the albums, and therefore this sent a ~, ,... message to the studios as to what the market was not interested in, which is also very important for a studio to consider. Despite the release of over a dozen albums 'IJ of PNG Contemporary since 1980, the PNG market today is still as unresponsive ~ to PNG Contemporary as it has been since the beginning of the PNG recording PNG CONTEMPORARY AND THE industry. COMMERCIAL SPHERE d\• t, Given this fact, based on direct experience, it would be very silly indeed for a studio/record company, anywhere in the world, and not just PNG, to continually An Interview with Greg Seeto record and release albums onto a market that has already indicated its lack of interest in those types of albums. This would be tantamount to financial mismanagement, and the eventual result would probably be the closing down of any company that ·~· MALCOLM PHILPOTT I would pursue such poor business principles. Therefore the reason that PNG studios ' I have been 'selective' in their recording of PNG Contemporary music is definitely n his article 'Creativity and Independence', in Perfect Beat v3n4, Denis Crowdy a financial one, and justifiably so. gave an account of the development of the musical style known as 'PNG I IContemporary' and the role of the Faculty of Creative Arts (FCA) of the MP: You take particular exception to Crowdy s criticism that your goal is "to University of Papua New Guinea in nurturing it. His article identified the lack of I maximise financial profit (rather than underwrite cultural experimentation) " investment in this style by the major PNG recording companies, Chin H Meen and I (1998: 15). Pacific Gold Studios, as a significant factor in PNG Contemporary's lack of success ( !~li with the PNG public. In this short interview, Pacific Gold Studios' (PGS) owner­ manager Greg Seeto responds to Crowdy's arguments and provides an alternative GS: Crowdy seems to imply that PNG studios have been negligent in their past I' relationship with PNG Contemporary music, by focussing on financial aspects I account of the PNG industry's role in supporting cultural development and/or rather than being prepared to "underwrite cultural experimentation" (ibid). Pacific !·~ experimentation. (Also see Philpott, 1995 and Webb, 1993 for further discussion of Pacific Gold Gold Studios, and others, have been set up as business entities and as such must Studios and Seeto's contribution to the development of the PNG music industry.) follow sound business principles to succeed. Where is it written that PNG studios should and must underwrite cultural experimentation? Although we have done so in the last eighteen years, and received little benefit from it, Crowdy is now MP: Crowdy suggests that "commercial involvement [in PNG Contemporary] has criticising the music industry for not doing more of it. Crowdy should remember rfi'~··· been cautious and intermittent" and that "PNG Contemporary differs from com­ that studios have to be financially solvent, just like any other business. We do not mercially-supported contemporary music, of the sort promulgated by the major rely on government handouts or budget allowances. We have to make it on our own ,I'J PNG labels" (1998: 15). Do youfeelthatwhi/stthere is some truth in what Crowdy or sink! says, his own statement explains the difference which exists between the position he is advocating and your own situation? . If Crowdy is so disappointed that PNG studios are not "underwriting enough" then ·.·· I would pose the following question to Crowdy: why didn't the FCA enter into the ' GS: The PNG studios have certainly been 'selective' in their recording I ' of PNG picture and themselves underwrite the cultural experimentation that Crowdy claims ' Contemporary styles. The reason for this situation has also been provided by is lacking? After all, the FCA has had in its arsenal of teaching tools a fully equipped I Crowdy in the line "PNG Contemporary has not proved a particularly popular style ' sixteen-track studio that was donated to the FCA by the Japanese Government in 1 with local consumers" (ibid). In other words, the PNG market was not receptive to 1988. With this facility the FCA could have recorded as many PNG Contemporary it, and the subsequent low sales of these releases provided information to the studios groups as it wanted to. Why did they not take up the challenge over the last ten r' that the market was not ready for PNG Contemporary, no matter how 'good' it was, years, and facilitate the further promotion of this style of music? This style of music I or that it is considered the 'real original sound of PNG'. This negative response j .. originates from their own students, and they had, and still do have, the perfect ,· from the market to PNG Contemporary was frequently observed since around 1980 opportunity to record, release and promote PNG Contemporary without the assis­ ~~~ I:.~- onwards, as albums from Sanguma, Tony Subam solo albums, Tambaran Culture, tance of the commercial studios. Why have they sat on this opportunity without etc failed in the marketplace due to low sales. Although the music had its roots in action and now heap blame on the organisations that have taken the risk in the past? PNG cultural styles and sounds, the subsequent blending of the old with the modern This reminds me of the analogy 'people in glass houses should not throw stones' . .., I Perfect Beat EJ v4 n3 July 1999 1 Perfect Beat - v4 n3 July 1999

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