{"id":55,"date":"2010-09-23T15:46:29","date_gmt":"2010-09-23T19:46:29","guid":{"rendered":"http:\/\/mondomark.com\/wordpress\/?p=1029"},"modified":"2010-10-01T21:29:32","modified_gmt":"2010-10-02T01:29:32","slug":"vowls-scores-mizoguchi-2","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=55","title":{"rendered":"VOWLS scores Mizoguchi"},"content":{"rendered":"<p><a href=\"http:\/\/mondomark.com\/wordpress\/wp-content\/uploads\/2010\/09\/Vowls_teaser_square.gif\"><img loading=\"lazy\" class=\"alignleft size-full wp-image-1030\" title=\"Vowls_teaser_square\" src=\"http:\/\/mondomark.com\/wordpress\/wp-content\/uploads\/2010\/09\/Vowls_teaser_square.gif\" alt=\"\" width=\"168\" height=\"168\" \/><\/a>Composing scores for silent films isn\u2019t new, but creating a  score using contemporary and exotic instruments with a unique melting pot of  sounds is unique, even though it shouldn\u2019t be, because silents have proven their  resilience to changing styles and fickle audiences by giving composers raw  elements \u2013 stark images, potent emotions, classic themes \u2013 to create music that  evokes and affects audiences rather then enhancing the obvious filmic elements.<\/p>\n<p>Probably the best examples of a movie inspiring diverse composers  is G.W. Pabst\u2019s <strong><a href=\"http:\/\/www.kqek.com\/dvd_filmmusic\/DVD_Filmmusic_2007_January.htm\">Pandora\u2019s  Box<\/a><\/strong> (1929), featuring four scores, and <strong><a href=\"http:\/\/www.kqek.com\/dvd_filmmusic\/DVD_Filmmusic_2007_April.htm\">Borderline<\/a><\/strong> (1930), featuring a great score by jazzman Courtney Pine.<\/p>\n<p>When Kenji Mizoguchi\u2019s <strong>The  Water Magician<\/strong> \/ <strong>Taki no shiraito<\/strong> (1933) was screened at the 2nd annual <a href=\"http:\/\/shinsedai-fest.com\/2010\/07\/kenji-mizoguchi-meets-one-of-torontos-indie-buzz-bands-with-the-water-magician\/\" >Sinsedai  Cinema Festival<\/a> in North York, Toronto, it  marked a special occasion where an original score for a rare surviving work  from Japan\u2019s  silent film era was performed live for an audience.<\/p>\n<p>I\u2019ve uploaded an <a href=\"http:\/\/www.kqek.com\/exclusives\/Exclusives_VOWLS_1.htm\">interview <\/a>with composer Brandon Hocura, who  performed the score with his group VOWLS in July. Also integrated into the  Q&amp;A are some links to music samples, and a few post-performance reviews  from other sources worth checking out.<\/p>\n<p class=\"style3\"><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p class=\"style3\"><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p class=\"style3\"><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p><strong>Mark R. Hasan<\/strong>,  Editor<br \/>\n<strong><a href=\"http:\/\/www.kqek.com\/Main_Index_Page.htm\">KQEK.com<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Brandon Hocura discusses composing an original score for Kenji Mizoguchi&#8217;s The Water Magician \/ Taki no shiraito (1933), which he performed with his group VOWLS at the Shinsedai Cinema Festival&#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[4],"tags":[22,23],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-T","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/55"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=55"}],"version-history":[{"count":2,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/55\/revisions"}],"predecessor-version":[{"id":94,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/55\/revisions\/94"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=55"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=55"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=55"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}