Maybe a difficult question to answer here

[Captrek]

I think it might be more a case of composers thinking along the same lines.

Consider the similarities in the soundtracks for "The Doomsday Machine" and "Jaws".

and

[yt]http://www.youtube.com/watch?v=KCamCYip2t4[/yt]

 

[beamMe]

Just dropping in pre-existing music from your record collection is a lame way to score a film

Mind you, "2001" was my introduction to the Blue Danube waltz music used in that film, and it was perfect.

Leonard Rosenman wrote the score for "Voyage Home" as well as "Lord of the Rings".

Loved, loved, loved both. I was so excited when I realised the connection the day we got to see the work print of ST IV, about a month before that movie's Australian release.

I've never head that film's score (or seen the film); but I've just checked out the music.
Wow, fantastic!

http://www.youtube.com/watch?v=fjBwXOridQo&feature=related[yt]http://www.youtube.com/watch?v=fjBwXOridQo&feature=related[/yt]
At around 4:17 the music almost breaks out into the TVH-theme

Like the great Horner, he liked to copy from himself, didn't he?

 

[Potemkin_Prod]

He did the same from "Alexander the Great." Many of the musical phrases appear in all three of those films. And I heard a touch of "Mordor's Theme" in "Beneath the Planet of the Apes."

 

[scotpens]

Mind you, "2001" was my introduction to the Blue Danube waltz music used in that film, and it was perfect.

Funny thing is, when the film was released in 1968, Strauss’ Blue Danube was considered something of a cliché. People in their 40s and older associated it with Palm Court orchestras and old fat Viennese folks waltzing around. Many critics assumed Kubrick had chosen that piece of music to illustrate how mundane and routine, even boring, travel between the Earth and the Moon would be by the next century.

Younger audiences had no such baggage connected with The Blue Danube, and were able to appreciate it objectively as a beautiful composition.

 

[Gary7]

^ Interesting hearing that about the Blue Danube. I thought Kubrick had chosen it for the "dance of the space ship" more than anything else. But I can see this other explanation fitting.

Anyway, it's one thing to leverage a well known musical piece or song that was authored independently, and a very different thing to borrow a musical score that was written specifically for another movie. The former has been done successfully many times. The latter just feels (and sounds) wrong...

 

[scotpens]

. . . it's one thing to leverage a well known musical piece or song that was authored independently, and a very different thing to borrow a musical score that was written specifically for another movie. The former has been done successfully many times. The latter just feels (and sounds) wrong...

Well, not necessarily. RKO’s The Last Days of Pompeii (1935) re-used cues from Max Steiner’s King Kong score. The only reason the music is a bit jarring to modern viewers is that it’s become so familiar.

 

[Christopher]

Franz Waxman's score to The Bride of Frankenstein is probably as well-known from its reuse in the Flash Gordon serials as from the film itself.

 

[Therin of Andor]

Like the great Horner, he liked to copy from himself, didn't he?

Well, I guess when a director says, "I loved the music in your other movie. I need something like that for mine..."

 

[beamMe]

Like the great Horner, he liked to copy from himself, didn't he?

Well, I guess when a director says, "I loved the music in your other movie. I need something like that for mine..."

You really have to wonder if Cameron said something like that to Horner, because of the nearly note-by-note re-use of the Klingon-themed music from TSFS in Aliens.

 

[Christopher]

I'm still annoyed at Bryan Singer and John Ottman for so blatantly copying the ending of TWOK in the closing scene of X2: X-Men United, right down to the two bars of music immediately preceding the end titles.

 

[FalTorPan]

Just dropping in pre-existing music from your record collection is a lame way to score a film (and yes, I'm looking at you, Stanley Kubrick).

Why? Alex Raymond's score for 2001 is quite good, but the use of classical music was a good choice.

 

[beamMe]

I'm still annoyed at Bryan Singer and John Ottman for so blatantly copying the ending of TWOK in the closing scene of X2: X-Men United, right down to the two bars of music immediately preceding the end titles.

As far as the music goes, that's hardly copying. It's barely, if at all, reminiscent of Horner.
And the similarities between the two endings end with the fact that both have a monologue. The tone and implication is different: the end of X2 shows that this isn't the end, the death of Jean; it leave no ambiguities. TWOK leaves open the door to... "possibilities".

 

[Christopher]

Singer and Ottman are both admitted fans of TWOK. They've acknowledged that it was a deliberate homage. And no, the music overall isn't exactly the same, but I specified those last two bars before the start of the end title music, which are almost verbatim from the equivalent point in the TWOK score.

 

[Potemkin_Prod]

You really have to wonder if Cameron said something like that to Horner, because of the nearly note-by-note re-use of the Klingon-themed music from TSFS in Aliens.

I doubt that was said. To be honest, I've always thought Horner was lazy by reusing his music all the time. I also wonder if his re-use of his own work led to his departure from the Star Trek movie franchise. I know I'd be distressed if the music from a movie I produced was suddenly used in a different franchise.

 

[beamMe]

You really have to wonder if Cameron said something like that to Horner, because of the nearly note-by-note re-use of the Klingon-themed music from TSFS in Aliens.

I doubt that was said.

It's highly unlikely that it was said.

To be honest, I've always thought Horner was lazy by reusing his music all the time.

Perhaps he was.
In the case of TSFS/Aliens he certainly was.

 

[scotpens]

. . . Alex Raymond's score for 2001 is quite good, but the use of classical music was a good choice.

Alex Raymond was the creator of Flash Gordon. I assume you mean Alex North?

 

[Ssosmcin]

It's interesting to note that no recorded music is in the public domain in the US. Anything composed before 1922 is however, which I guess means written music. So any classical music being used as Public Doman would still need to be performed for Cosmos, unless they licensed library cues.

Also, a lot of music composed for TV and films has fallen under the ownership of music libraries. The aforementioned Harry Lubin composed Outer Limits and One Step Beyond cues are now part of the Carlin Archive. You can listen to them here:

http://www2.playkpmmusic.com/pages/viewcd/viewcd.cfm?cdnum=5774

Some of the music replaced on the Fugitive DVDs is available in the KPM archives.

http://www2.playkpmmusic.com/pages/viewcd/viewcd.cfm?cdnum=1546&trackId=241028

You can find a lot of very familiar music there, some you'd recognize from the 1967 Spider-Man series as well as Marvel Super Heroes and, of all things, Kingdom of the Spiders.

You have to have permissiono to license these in order to download them, but a LOT of these albums are available for legal download at Amazon.com. Honestly, I can't imagine there's a big rush to license 50 year old, melodramatic scores. I love them, but they would be WAYYYYYYY out of place in a film today. So unless that's the intention...

 

[Christopher]

It's interesting to note that no recorded music is in the public domain in the US. Anything composed before 1922 is however, which I guess means written music. So any classical music being used as Public Doman would still need to be performed for Cosmos, unless they licensed library cues.

They licensed them. I just checked the back cover of my The Music of Cosmos LP, and each track listing is followed by a credit of the source album.

 

[Captain Robert April]

Most of the music from "Cosmos" can be found on a couple of Vangelis albums.