Apr 13, 2022
Xanthe dissects the End Credits of A New Hope, calls
1-800-PHONE-THX, reviews the thematic census, covers trending
topics from the season, and answers some epic listener questions
about the music of Star Wars.
- 00:00 - Hello there!
- 01:57 - The final five minutes of the film.
- 14:55 - Calling 1-800-PHONE-THX.
- 18:24 - Structure of the End Credits music.
- 22:48 - Throne Room/End Credits vs. Concert Arrangement.
- 32:00 - A New Hope season stats, thematic census, trending
topics, recurring conversation points, highlights.
- 49:20 - Listener Questions/Comments
- 51:02 - Besides the opening crawl, does the Main Theme (B
Section) show up anywhere in A New Hope? (Asked by multiple
- 55:52 - Is the oboe a heavy instrument? (Question from Jay
- 59:30 - Why do "The Battle of Yavin" (Star Wars) and "Desert
Chase" (Raiders of the Lost Ark) sound kind of similar? (Question
from Phillip Liebold)
- 1:23:37 - How does transposition work? (Question from Joshua
- 1:35:38 - Was there a deliberate decision not to talk much
about Holst throughout the season? (Comment from Alex Cunningham
that I turned into a question)
- 1:40:00 - Comment from Alex Cunningham about hypothetically
diegetic "Throne Room" and Tolkien.
- 1:42:04 - Question from Tim Bobrowski about the "music of
- 1:56:58 - What does Star Wars sound like? (according to all the
guests from this season)
- 2:01:15 - Answering the SWMM Questionnaire
What Does Star Wars Sound Like? (according to
all guests this season)
- Majestic French horns. (Alex Robinson)
- Aunt Beru's kitchen. (Pete the Retailer)
- Beyond the horizon. (Element7)
- California radio voiceovers. (Ender from AurekFonts)
- Action, danger, romance. (Mat from Blue Bantha Milk Co.)
Expansive. Dramatic. Romantic. (Aiden Feltkamp)
- Dissonant pedal notes. (Frank Lehman)
- Minor planing triads. (Frank Lehman)
- Pwsh vrrrrum shhpt. (Justin Leo Kennedy)
- John Fucking Williams. (Elizabeth Lain)
- Triumphant brass fanfares. (Alex Ludwig)
- Ominous contrapuntal warblings. (Alex Ludwig)
- A galactic symphony. (Star Wars Lawyer)
- Galactic thematic masterpiece. (Justin Mitnik)
- Sweeping expressive proclamations. (Ralph Attanasia)
- Analog but magical. (Moe from Triad of the Force)
- Beepbeep! Kshh-Paaa. Grrrrrwwwwwrr! (Gus from Triad of the
- James Earl Jones. (Nani from Triad of the Force)
- Ben. John. James. (Brandon from Talking Bay 94)
- Epic space magic. (Riley Silverman)
- Opera without words (Jeremy Sawruk)
- The heroes win. (Steele Saunders)
- Mythic orchestral memory. (Dan Golding)
- Raw triumphant heroism. (Father David Mowry)
- Timeless space adventure. (Trevor Mowry)
- Original space opera. (Nick Norton)
- John. Ben. James. (Alex Cunningham)
- Hope, bravery, curiosity. (Mollie Damon from Star Wars
- Bwaaap tscheww pew! (Alex Damon from Star Wars Explained)
- Powerful, evocative, grandiose. (Samantha Tripp)
- Pew pew pew. (Justin Scheid)
- The Band Batch. (James Waterman)
- The Cosmic Force (Chrysanthe Tan)
Music Minute Questionnaire (Xanthe's answers):
1. In exactly 3 words, what does Star Wars sound like?
2. What's something related to Star Wars music or sound that you
want to learn more about?
- I'm curious about how other people experience and engage with
the music of Star Wars, on both a macro and micro level. I want to
know how other people are making sense of it or analyzing it with
frameworks different than mine. Basically, I'm interested in doing
what this podcast already gives me the excuse to do -- talk to
people about Star Wars music.
3. What's a score or soundtrack you're fond of besides anything
- There Will Be Blood (composed by Jonny Greenwood)
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