Im not so sure this is the case-
in my experience the exposure young people have to advanced music in
films is in drips and drabs, used very sparingly--
it seemingly being used mainly, and almost solely in the capacity of
'sound effects', to alert the audience that someone is
psychologically imbalanced, or drugs are involved, or something
bizarrely scary is about to happen...etc..
or maybe at times to denote frenzied excitement.
It seems its the ONLY way they know atonal music.
And judging by my own kids, and those that I know they STILL have the
same difficulty the older folks have with this non tonal music, in
the concert setting, or listening to entire recordings.
They cant, or wont do it.
This kind of music hasnt become a real part of the vocabulary of film
scores..its more like phrases borrowed from a foreign language thrown
in here and there. sparingly, for said sound effect.
And its sad that its this way.
Bob Morabtio
On May 27, 2010, at 1:13 PM, David W. Fenton wrote:
In addition to that, by the time The Fantasticks came out, there'd
been decades of film music that consciously borrowed the most
advanced musical techniques from avant garde composers. I am
convinced that the fact that this music became part of the vocabulary
of film scores is one of the reasons younger people have little
difficulty with non-tonal music -- they've been hearing it their
whole lives and have a framework of meaning in which to interpret it.
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