波菜疑问贴汇总

我可以这么说，巴顿将军应该是人物传记电影中最佳配乐，没有之一！不认同的也别拍砖。哈哈！

去仔细听main title，再不然去买张VSD的那张再录版。
况且，电影一开始字幕介绍的时候就有main title的背景，这么大气的音乐，我不相信会觉得没有价值。

Papillon 的配乐太精彩了。有几段逃跑、追逐的戏一气呵成，航海段落的音乐也能听到许多德彪西的影子。当然，最抢眼的还是Love Theme 了。但除此以外，珍珠Motif，监狱Motif也很有意思，值得品味。

可惜，二区的独立配乐音轨有音调偏移现象，因为影片采用了Pal制素材，音乐基本偏高小二度，很不爽。什么时候，蓝光给重发一个音准的就好了。

12兄说到点子上了！

Jerry Goldsmith: Of Blaster Beams And Echoplexes
By Ed Driscoll · November 26, 2005 10:42 PM · Pajamas Theater 3000
Jerry Goldsmith died on July 22, 2004, at age 75. In 1999, he said he scored 175 films--and looking back at his career, there’s some terrific and memorable work and more than a few pieces that appear to have been done strictly for a paycheck.

Of course, any composer who’s written that many soundtracks is bound to have a few skeletons in his closet. In the “strictly for a paycheck” category, I’d nominate the “Barnaby Jones” theme, and 1988’s eminently forgettable “Rent-a-Cop”, which featured Burt Reynolds and Liza Minelli. But the all-time stinker has got to be 1981’s “Inchon”, which featured an aged Laurence Olivier under an inch of waxwork makeup as General Douglas Macarthur. The film’s $44 million budget came from Rev. Tsung Yung Moon--yes that Rev. Tsung Yung Moon, he of the Moonies. There is no music that could elevate that bomb.

But despite those misfires, Goldsmith has become a permanent part of movie history because of four great scores: “Patton”, “Chinatown”, “Planet of the Apes”, and “Star Trek: The Motion Picture”.

That last title was far from a great movie, but Goldsmith’s theme became a big part of pop culture seven years after the film was released at Christmastime in 1979. Gene Roddenberry, Star Trek’s creator, who produced “Star Trek: The Next Generation” for TV in 1987, liked Goldmith’s “Star Trek” movie theme so much that he recycled it and tacked it onto the first 16 bars or so of Alexander Courage’s original theme from 1966.

Blaster Beams and Echoplexed Trumpets

Goldsmith wasn’t afraid to use unique instruments, effects and genres in his scores. For “Star Trek: The Motion Picture”, Goldsmith used an instrument called “The Blaster Beam” for an deep metallic percussive “sprrrrrrrong!!!!” effect. The Internet Movie Database describes it as being “15 feet long, incorporating artillery shell casings and motorized magnets. It was used as part of any scene featuring V'ger.”

In his 1968 score for “Planet of the Apes”, Goldsmith merged primitive instruments and dissonant 20th century classical composing techniques to create an atmosphere that’s simultaneously primitive and futuristic. 1974’s “Chinatown” had a subtle jazz influence with its prominent muted trumpet. And in later years, Goldsmith used synthesizers along with traditional orchestral instruments in several of his scores.

Perhaps the best-known effect Goldsmith used was the Echoplex, a piece of electronic gear designed in the 1960s, which created delays and echoes (hence the name) via a spool of analog tape in the unit. Compared today’s digital effects, it’s remarkably crude, but a few die-hards, such as famed electric guitarist Jimmy Page, still cling to it.

Goldsmith used it for arguably his most important (and most emulated) score: “Patton”. Specifically, the echoed trumpets used in several key scenes, most famously the scene were General Patton (played by George C. Scott) visits an ancient cemetery where countless young men over thousands of years had been buried, and more would soon be joining. Goldsmith’s Echoplexed trumpets highlighted both the magnitude of war in our history, and its costs--and reminded the audience that Patton was simultaneously a brilliant field commander, and a man who believed in his own reincarnation.

The Internet Movie Database has a list of films and TV series that Goldsmith scored that are available on DVD--and you could have a far worse weekend of movie viewing than renting “Planet of the Apes”, “Patton”, “Chinatown”, and “Star Trek: The Motion Picture”, to experience Goldsmith at his best. As for the rest? Who knows--maybe one day a season or two of “Barnaby Jones” will be out on DVD as well. (Let’s hope “Inchon” does not return!)

找到文章了 仔细研读中 哇哈哈

话说当年我兄弟看巴顿将军能流泪啊！至今他的QQ名字依然是“巴顿将军”，受他影响，我也看过几遍巴顿了，每次感觉都不一样！而每一次听到Main Title的时候，都有一种血往上涌的feeling

“而Echoplex制造的效果容易使人产生一种历史悠久、深邃的感觉”。
——12-tone这个理解是对的。但我并不认为“小号回响”是在直接象征战神的“神性”。

它的象征非常明确，那是来自远古战场上沉寂多时的战争召唤、死亡召唤，而战争永远是神秘的、莫测的，同时唤醒的是一名老兵的“宿命”—— 他只为战争而生。这大概是此经典动机的真正迷人魅力之所在。

如果说主题中有哪处是在投射某种“神性”的话，我认为是背景里的管风琴动机，同时带有点儿“安魂”的意味，而带有田园风格的长笛第一次吹出March主题时，则象征士兵“远离的家园”，一上来就交代了参战的正当性——为了捍卫美好和平的生活而战。这也是为啥整个“进行曲”听起来没太多杀伐味道，而是那种喜悦轻快的步伐。——“坚守阵地、为国捐躯、马革裹尸的永远应该是敌人，我们只管进攻前进！”（嘿嘿~~~巴顿老师比麦克阿瑟老师幸运多了，没让他碰上被有效组织起来的中国人）

试问，现如今有谁还能以如此简洁细腻的手法在瞬间表达如此丰富的内涵呢？？？

“它的象征非常明确，那是来自远古战场上沉寂多时的战争召唤、死亡召唤，而战争永远是神秘的、莫测的，同时唤醒的是一名老兵的“宿命”—— 他只为战争而生。这大概是此经典动机的真正迷人魅力之所在。”

Soundtrax 兄分析的有道理！

本人最早看的是拉迪斯拉斯.法拉戈（Ladislas Farago)写的传记《巴顿将军》（中国对外翻译出版公司1984年4月北京第一版），电影是稍后在中央台看的，一晃20几年，当年就对传记结尾的诗感到震撼，我主观的认为这也是JG的创作源泉。（后来知道电影是根据迪斯拉斯·法拉戈所著的《巴顿：磨难与胜利》和奥马尔·N·布莱德雷所著的《一个士兵的故事》两书内容所创作）

呵，永别了！
别了，宁静的心灵！心满意足的永别！
别了，人间的一切！
别了，自豪的军队和
那化野心为美德的大战！
呵，别了，萧萧嘶鸣的战马！
凄厉哀诉的军号！
振奋人心的战鼓！
尖锐刺耳的长笛！
别了，皇家的战旗，和那
光荣战争的一切素质
骄傲和壮观的场面！
呵，你这平凡的躯体
古罗马不朽诸神的庄严呼唤
与你那粗犷的吼叫是多么相似！
永别了，一去不复返的奥赛罗的业绩！

至少音质很好！尤其main title，听得眼泪哗哗的。小册子内容也很详实。
总之，这套Varese Classic films系列张张都是精品！

还是喜欢FSM的,不是因为它贵,而是更喜欢(个人)音质明亮一点的.

印象中这张是上了TAS发烧榜的？

FSM无缘听过，所以也没参照，哈哈。但我还是偏爱VSD！哦也！

这张的确是TAS上榜烧碟：VSD-5796 O(∩_∩)O~

晕倒，FSM收录的不是虎虎虎。。。。

the flight of phoenix 作曲 frnak de vol

鄙视炫富 瓦卡卡

这张现在30刀能搞定吗？

需要高人品

30刀,去年差不多吧!目前能搞定吗?

反正我现在对高价碟一点兴趣都没，都被南美婊子弄得兴致全无。
Paypal把退款打回来了，这个贱人居然还说退款退回了，我就该撤销差评，我靠！人至贱则无敌啊！

退回就好!小强当免费派碟3天以示庆祝!

行！这些碟由清风友情赞助。

那好吧...我承认我是砖了 =。=

别谦虚，你是一块还没煅烧完成的玉，就算做是玉砖吧。

感谢书记的奖励！哈哈哈。。。

20世纪初的音乐录音系统，你可以参见《海上钢琴师》，记得他那张唯一的唱片就是在船舱里，搁在机器上的“大喇叭”录制的。技术决定了使用者的局限，所以，远距离录音长期存在，定位录音也是。那时电影的输出设备就是唱片。

20世纪20年代，才有了录制的声音，但这不是普遍采用的时段，还是默片很多：“1927年10月6日，纽约的观众在观看华纳兄弟公司出品的《爵士乐歌手》（一译《爵士歌王》）时，突然听到主角开口说了话：“等一下，等一下，你们还什么也没听到呢。”这一句话，标志着一个新时代的来临。这部影片使歌舞喜剧演员乔尔森大享盛名。”

同期录音的问题我的资料和记忆也不是很清晰，浅薄的认为，同期声普遍应用是在20世纪30、40年代，（这么说好像太模糊了，因为电影的发展10年间跨越是很大的）那时候，电影的声音录制是刻录在胶片上的，貌似是光学录制手法。这个手法直到被电子技术取代，都一直存在。

我就知道这些了，都是看电视和杂志说的……

谢谢han先生 偶朦朦的懂了一点儿...