Johann Johannsson -异星入境(Arrival)[FLAC]_eD2k地址_原声音乐_音乐下载

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资源信息：
        专辑中文名: 异星入境
专辑英文名: Arrival
艺术家: Johann Johannsson
资源格式: FLAC
发行时间: 2016年11月11日
地区: 美国
语言: 英语
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[B]专辑介绍:[/B]
约翰．约汉生 / 异星入境【电影原声带】CD
OST – Arrival
★金球奖戏剧类最佳女主角、最佳电影配乐入围
☆「瞒天大佈局」艾美亚当斯，「美国队长：英雄内战」杰若米雷纳主演
☆「爱的万物论」金球奖最佳原创音乐奖，冰岛电影音乐作曲家，约翰．约汉生开创科幻电影音乐全新听觉体验大作
以「爱的万物论」荣获金球奖原创音乐奖，入围奥斯卡最佳原创音乐的冰岛电影音乐作曲家约翰?约汉生在谈到了他与导演Denis Villeneuve继「私法争锋」，「怒火边界」后三度合作的电影音乐创作灵感时表示：「【异星入境】是一部非常独特的科幻电影，我很早就决定人声将是原创音乐的重要一环，那似乎是一个自然的选择，因为故事是关於语言与沟通。」
【异星入境】的剧情描述一名语言学家试图与控制著突然在世界各地出现，带有威胁性的太空船的外星智慧进行沟通，在人类即将开战之际，语言学家与她的团队必须及时地找到外星太空船为何会来到地球的原因。
约翰?约汉生藉著像是由指挥家与男中音Paul Hiller担任指挥，融合古典与前卫音乐风格的演唱组合Theatre Of Voices，以迷幻的modular合成器音乐与挖掘人声的创作风格见长的乐手与歌手Robert Aiki Aubrey Lowe，谱写电影「命运谈判局」音乐的冰岛大提琴家Hildur Gu?nad?ttir进行合作，还有结合了以演唱声音表现惊呼，耳语等情绪著称的前卫演唱家Joan La Barbara为「发现found」的感觉所创造的乐声，强化他原本就很独特的弦乐编写与数位声响处理方式。
他师法环境音乐大师Brian Eno运用类比磁带循环的传统技术，使用16轨的磁带机录制且一层层的编排了包含四组不同的钢琴音乐，也在一层层较少运用起音的旋律上加录了一层层循环的音乐，最终，磁带上满是深层且带有组织性的持续音，钢琴弦的共鸣回声建构成一个迷人且超脱世俗感觉的音乐。这些持续音成了他与创作伙伴Robert Aiki Aubry Lowe进行不同的声部音乐实验的基础，这些实验的音乐最终发展成带出影像画面情绪的绝佳氛围音乐。例如：女主角第一次见到太空船的主题音乐"First Encounter"，导演形容这段给人强烈感受，同时带著催眠感觉，具有奇幻与啟发特质的音乐就像是来自天上的音乐
编号：4796782
条码：028947967828
出版社：环球唱片
出版日期：2016/12/29
Arrival (异星入境电影原声带) - Original Motion Picture Soundtrack
艺人 Johann Johannsson
发行月份 2016-Nov
类型 西洋歌曲,原声带

Audio CD (November 11, 2016)
Number of Discs: 1
Format: Soundtrack
Label: Deutsche Grammophon
ASIN: B01LZ4WK2S
Average Customer Review: 4.6 out of 5 stars
Arrival composer Jóhann Jóhannsson: 'People are hungry for new sounds'
Whether it’s a John Carpenter classic or Jonny Greenwood’s experimental modernism, the film soundtrack is becoming ever more popular as a standalone listen. Contemporary Icelandic composer Jóhann Jóhannsson reckons that’s because “people are hungry for new sounds, and for the experience of listening to unfamiliar music that you don’t hear on commercials and in every TV show”. He should know. Jóhannsson has written boldly impressionistic scores for numerous high-profile films, including Stephen Hawking biopic The Theory Of Everything, darkly emotional revenge piece Prisoners and drug-cartel thriller Sicario, where he used a 65-piece orchestra to convey ominous intensity; and he’s earned two Oscar nominations in the process. The common thread in his work is his treatment of the score as an integral element of the overall sound design, rather than an independent composition imposed on it. Jóhannsson’s latest work is the soundtrack to smart sci-fi thriller Arrival, starring Amy Adams. Here, he offers his top tips for writing a winning movie score…
Feed off the script
“Arrival is my third film with Denis [Villeneuve, director] – we’re working on our fourth now [Blade Runner 2049] – and we’ve developed a trust and knowledge of each other’s tastes and sensibilities. Denis always involves me in the pre-production stage: I read the script and we talk about the mood and the role that the music needs to play. With Arrival, we didn’t talk much about the music and this was deliberate on his part; he basically gave me carte blanche to experiment.”
Denis Villeneuve’s gruesome and intelligent white-knuckle thriller features a terrific star turn from Blunt as a determined FBI agent
Go with your gut
“I knew that I wanted to use voices as one of the prime instruments in the score of a film that is primarily about language and communication. But I wanted to use the voice in a different way, so I worked with an ensemble called Theatre Of Voices. They’re masters of both early music and contemporary music, so have a very good command of exotic vocal techniques. I worked with Robert Aiki Aubrey Lowe; he is not academically trained, but his voice is an amazing, powerful and flexible instrument.”
Expand your horizons
“In terms of voices, I was very influenced by Stockhausen’s Stimmung, a piece for six voices and microphones. But I was also listening a lot to spectral composers like Gérard Grisey and Horatiu Rădulescu.”
Enjoy the silence
“In mainstream cinema, there’s usually too much music. In Arrival, the use of space and silence is extremely important. When music is needed, it’s really there and it serves a purpose.”
Don’t force it
“I try to approach a project with a blank slate and just let things emerge. I start very early in the process because it takes a lot of time to work in this way. It takes time to find a mood and feel that has some character and individuality, and is not weird for weirdness’s sake.”
Arrival (OST) is out now; Jóhann Jóhannsson plays the Barbican Hall, EC2, 9 December




专辑曲目:
01. Arrival 03:42
02. Heptapod B 01:16
03. Sapir- Whorf 03:31
04. Hydraulic Lift 04:49
05. First Encounter 01:34
06. Transmutation At A Distance 01:34
07. Around The Clock News 03:29
08. Xenolinguistics 01:52
09. Ultimatum 01:20
10. Principle Of Least Time 04:48
11. Hazmat 02:31
12. Hammers And Nails 03:08
13. Xenoanthropology 04:17
14. Non-Zero-Sum Game 03:31
15. Properties Of Explosive Materials 02:02
16. Escalation 02:05
17. Decyphering 03:09
18. One Of Twelve 01:46
19. Rise 02:55
20. Kangaru 02:55