I wonder how those non-polish composers will fare. I know The Witcher 3 will try to appeal to a world wide audience. That is what worries me a little bit. The Witcher 2 had the same approach and many people agree that while TW 2 soundtrack has a couple of great songs, the music is more bombastic/theatrical while TW1 soundtrack had a lot of charm and presented the atmosphere very well. The more calm music is what truly sents the atmosphere.
I don't know if anyone else felt this but after reading and re-reading this interview it looks like we are one big step closer to the release. Some good concrete stuff there
Relax Guys! The Europe is the mother of folk, new world, neo-medieval etc genre, and there are a loots of talents (compositors,bands, chors, etc) I am sure that our ears will be in good hands!!!
Really? I thought ME3 had the best music of the bunch consistently. I don't think there was any one song better than suicide mission from ME2, but leaving earth and an end once and for all (extended) were damn close.Babli said:
In the case of "national music", it's a fair concern. I think it's an overdone concern, but there are nuances that make Polish music specifically Polish, Hungarian music specifically Hungarian, and so forth that are known best to musicians who grew up with that music.adridu59 said:
Then again, The Witcher is set in a fictional universe, not in medieval Poland.
Therefore it's under no obligation to strictly follow the polish folk musical canon, is it?
Therefore it's under no obligation to strictly follow the polish folk musical canon, is it?
Professional musicians may be specialists in music culture than their own. Sometimes, even with greater commitment than one born in the middle of that culture.It is not unusual (unfortunately) that the artists of a country or culture thoroughly unaware of their own roots and folklore and feel more attracted to the culture of a foreign countryGuyN said:
A bit off topic, but why would it be unfortunate for someone to feel more attracted to foreign music?Wichat said:
It was most likely not de Falla himself, but his teacher Felipe Pedrell, who wrote extensively on Spanish national music. Pedrell wrote at great length about the importance of using regional and national tunes and themes as the foundation of music. His works are not quite accessible to me.Wichat said:
People, composers included, should like what they like and to the extend that they like it, not what others deem appropriate.Wichat said:
Thee is no reason for musicians and composers to force themselves into developing a keen interest in the music just because it is native to their own country.
See I cannot explain myself better to make you understand what mean. Sorry, but I'm not talking about imposssing anything to anyone. People usually like music they hear during their childness in home. Later they chose which kind of music they prefer. Folklore represent a part of the culture of a country, and it is called so because one reason.Forces? who say that?AgentBlue said:
I think you've explained yourself quite well; I just so happen to disagree.Wichat said:
No biggie.
When you said «unfortunate» in a previous post, surely you were implying that folk music should be liked by natives. And if it should be liked, then I take it you must mean by those who don't naturally, as the statement makes no sense when applied to those who already do.
Culture dies off all the time. It is an entirely natural and healthy process.
Ask yourself, if culture - music - does not generate the bare minimum of interest so that at least a few people will care and go to the trouble of striving to keep it alive, how interesting must it be?
Can something be interesting and yet interest no one?
Before you accuse me of pandering to commercialism, let me just say I've always been in the minority musical taste wise. I, for example, listen to «Le Mystére des Voix Bulgares» (Bulgarian Folklore), «Big Brazos» - Texas prison recordings from 1933 and 1934 (Blues), Erik Satie, etc., none of which are exactly mainstream or native to my country.
