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Old December 28 2012, 05:50 AM   #911
Lieutenant Commander
Re: La-La Land to release 15-disc original series score set

Christopher wrote: View Post
And I'm not claiming it "is" a nod. I'm not stupid enough to confuse a hypothesis for a fact. The only way we'd actually know is if there was some surviving interview with Courage or document by him where he said it was so.
Wasn't trying to call you stupid.

In most cases I would expect other ways to "know", on a musicology basis. We know Duning interpolated cues from Steiner and Fried into his scores, just from listening. Our unaided ears tell us. The score confirms it (these liner notes also confirm it); but we already knew just watching the episodes.

A musician could tell if one melody is an inversion of another, just from looking at the scores it's obvious, it reveals itself without any explication from the composer.

I would expect a nod or reference to reveal itself.

Christopher wrote: View Post
The intervals are not the same. That's obvious to me just by listening, and I never claimed they were the same.
Oh ok. Not obvious to me. I flunked interval training.

Christopher wrote: View Post
I'm just saying the one is reminiscent of the other, and since they're both themes for Romulans, and since they're by composers who'd been working on the same show for two years and were presumably familiar with each other's work, it is not implausible that Courage may have been influenced to some extent by Steiner's theme
Ok, that was the question I had earlier (way earlier) in the thread: is it reasonable to presume the two composers were familiar with each other's work on the series?

I don't know how series composers worked. My impression is that composing & conducting a score for a single episode did not yield enough money to cover the rent for a month or rather, that scoring for a single series was not a full-time job. So the TV/movie composers were very busy, scoring multiple series & movies at a time, juggling gigs.

A glance at Gerald Fried's imdb page shows 15 titles other than Star Trek over 1966-7; most of them series with multiple episodes. Courage's page shows Stagecoach, 2 episodes of Lost In Space, Doctor Dolittle, and Hello Dolly during the years of Star Trek's run.

My point is: did these guys have time to listen to each other's scores, or even read them? We know that each composer had the Courage fanfare to reference when writing flyby's. But did they study each other's scores beyond that basic tidbit?

Christopher, you write tie-in novels. I believe you consider it a professional responsibility to stay abreast of tie-ins by other writers, who are sort of your colleagues. I believe you also enjoy reading other tie-in novels, so staying current is both a job and a pleasure. We could be tempted to look at you as a template for someone who does creative work in Star Trek, and assume the TOS composers kept tabs of the other scores written for the series.

But I wonder if that's an anachronism. In interviews these guys talk about each episode in its own terms. They don't talk much about overall series style & feel, except to note that the producers wanted "blood & guts music" rather than "space music".

Eh, i dunno, it's probably pretty darn easy to leaf thru a couple scores, if you know how. We can imagine Justman handing each composer a small sheaf of pamphlets when they assign the work.

I would really like to know more about how these guys worked.

Christopher wrote: View Post
You're being too literal, too narrow.
Um, ok.
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