But for local audiences here in Aotearoa, no scene comes close to the emotional climax of the film, when a choir of women’s voices starts to ring through outer space with a very familiar melody and lyrics: “Pō atarau / E moea iho nei”.
The song is ‘Pō Atarau’, a te reo Māori wartime anthem penned by composer Emira Maewa Kaihau in 1915. Inspired by Clement Scott’s 1913 ‘Swiss Cradle Song’, Kaihau’s version was used as a farewell to soldiers fighting in the first world war (Kaihau also wrote the lyrics for ‘Now is the Hour,’ which became intertwined with ‘Pō Atarau’ in 1935). Over the 20th century, the song would come to be associated with a range of farewells, including funerals, leaving parties and memorials, and in 2024 it was included in The Aotearoa Songbook, celebrating the legacy of waiata Māori. //
Among this extensive Viking catalogue is the LP Turakina Sings, recorded with the Turakina Māori Girls Choir in 1976. //
While searching for goodbye songs from different cultures, I came across ‘Pō Atarau’ and I knew the song was special because of how it conveyed the sentiment of saying goodbye, even if you didn’t understand the lyrics,” he tells The Spinoff.
Lehman listened to many different recordings of the song, and found that the version sung by the Turakina Māori Girls’ Choir in 1976 “fit perfectly with the tone and pace of the scene” as well as the “vintage quality” of most of the soundtrack. “When I played it for the directors, they got goosebumps and were instantly sold,” he says. “It became a standout moment we kept referring back to throughout the process as the perfect example of what we wanted to achieve with the soundtrack, highlighting the richness of global music and the shared human experience.”
Project Hail Mary is now in theaters, and directors Phil Lord and Chris Miller are no strangers to making stylish movies with great music. Whether they're directing, writing, or producing, their films always have music that is essential to both the aesthetic and the story. Project Hail Mary is no exception. It features both an astounding score and a selection of songs that help to accentuate the mood or story beat.
Toto "Africa" with the names of all the nations of Africa
Silk Hat and Walking Cane, 3ème mouvement des "Dances in the Canebrakes"
Florence Price
Concerto pour piano et orchestre, en do dièse mineur (Op. 30)
Date d'enregistrement
22.5.1993, Bergen
Salomon Jadassohn
Concerto pour piano et orchestre no 1 en ut mineur
- Introduction quasi recitativo (Allegro appassionato) - Andante -
- Adagio sostenuto -
- Ballade (Allegro patetico) - Molto più mosso
Pavane From "Suite pour piano" Op. 10
George Enescu
An AI-generated Christian artist named Solomon Ray has taken the gospel music world by storm after topping the iTunes and Billboard charts with his album “Faithful Soul.”
Described as a “Mississippi-made soul singer carrying a Southern soul revival into the present” on his Spotify profile, Ray made waves after releasing the five-song EP on Nov. 7. //
“At minimum, AI does not have the Holy Spirit inside of it,” Frank, 30, said. “So I think that it’s really weird to be opening up your spirit to something that has no spirit.”
Townsend later fired back in an Instagram video of his own.
“This is an extension of my creativity, so therefore to me it’s art,” Townsend said following the backlash against his AI creation. “It’s definitely inspired by a Christian. It may not be performed by one, but I don’t know why that really matters in the end.” //
“There’s something in the high end of the vocals that gives it away,” he said, according to Christianity Today. “And the creative choices sound like AI. It’s so precise that it’s clear no creative choices are really being made.”
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“How much of your heart are you pouring into this?” he added. “If you’re having AI generate it for you, the answer is zero. God wants costly worship.”
Leontovych lived in Pokrovsk during the first years of the 20th century, and it was there he began to make a name for himself as a composer while teaching music and running a local choir.
And it was around that time that he repurposed a local folk tune to write Carol of the Bells — then called Shchedryk — and after World War I it became the anthem of Ukrainian nationalists hoping to gain independence from Russia, which had controlled the country’s people for centuries. //
“Shchedryk, which was a hit and always played as an encore, enchanted Europe and America, and helped Ukrainians to declare their nation and state to the world,” said author Anatoliy Paladiychuk.
But Leontovych paid dearly for his defiance of the Russian yoke.
After the Bolsheviks retook swaths of Ukraine during the Russian Civil War, he was tracked down by Soviet agents and murdered in a 1921 assassination that was covered up until the 1990s.
Romance From Violin Concerto In D Major Op.35
Erich Wolfgang Korngold
Ballade Pour Adeline Sheet Music Richard Clayderman. Download free Ballade Pour Adeline Sheet Music Richard Clayderman PDF for Piano Sheet Music More Sheets
“Ballade Pour Adeline Sheet Music’” (French for “Ballad for Adeline”) is a 1976 instrumental composed by Paul de Senneville and Olivier Toussaint. Paul de Senneville composed the piece as a tribute to his newborn daughter, Adeline. The first recording was by Richard Clayderman and world-wide sales now have reached 22 million copies in 38 countries. It remains Clayderman’s signature hit.
For the uninitiated, “The Nutcracker” tells the story of a young girl, Marie (sometimes called Clara), who receives a nutcracker doll on Christmas Eve. That night, Marie experiences a fanciful dream; she and the Nutcracker Prince battle the evil Mouse King, then journey to the Land of the Sweets. The original production was choreographed by Marius Petipa and performed in December 1892 at the Imperial Mariinsky Theatre in Saint Petersburg, Russia. The man responsible for making “The Nutcracker” a yearly American tradition is the iconic choreographer George Balanchine.
If “The Nutcracker” isn’t yet a holiday tradition in your family, here are some compelling reasons why it should be. The ballet is for and about kids. When Balanchine, director of the New York City Ballet, staged the first American production in 1954, he cast children in many of the roles, including Clara and the Nutcracker Prince.
Balanchine’s version became a massive success after it was televised in 1957 and 1958. It then became standard practice for companies staging the ballet. By making children central to the story, Balanchine gave countless dancers their start — and inspired thousands of others to fall in love with ballet.
"Just discovered this guy," said another poster on the song Time Don't Stop. "I've already downloaded everything I could find." Multiple people commented on how amazing the singer's voice is, apparently unaware that everything to do with Breaking Rust is generated by a computer.
It's a bit surprising given every Breaking Rust song sounds identical - same beat, same tempo, same instrumentation: They're the sort of hyper-generic songs one could only get by feeding a prompt into an AI trained on every bro country song ever recorded and asking it to spit out something that would appeal to the lowest common denominator of music fan, something it appears to have done with success. //
There's good reason artists, be they working in visual, audio, or written mediums, are so concerned that AI is destroying art: When an AI band can make it to number one on a Billboard chart, even one as small as the CDSS chart (which one country music outlet noted takes only about 3,000 sales to reach the top), it's an insult to the human artists who rank lower. //
1 hr
the Jim bloke
Terminator
A mindless and repetitive task where error checking has never been an issue
Writing and performing country music
- At last, a legitimate use for AI
also applies for Rap, which is just country music without the country, or the music.. //
1 hr
Brave CowardBronze badge
Breaking Rust
Breaking Rust shouldn't be rated A, not even AI.
A mere C++ at most.
"Hoist the Colours", also written as "Hoist the Colors", was a haunting sea shanty known by all pirates across the Seven Seas. The song was related to the action of hoisting of a pirate's flag, though it was mainly used as a call ... //
Lyrics by Ted Elliott and Terry Rossio
Music by Hans Zimmer and Gore Verbinski //
Hoist the Colours was first mentioned in the 2007 reference book Pirates of the Caribbean: The Complete Visual Guide,[1] prior to its first appearance as "an old pirate song" in T.T. Sutherland's junior novelization for the 2007 film Pirates of the Caribbean: At World's End.[2][3] In addition, "Hoist the Colours" would be heard in full in the film's soundtrack as well as the film itself.[6][3] "Hoist The Colours — The Story Behind The Song" was a bonus feature for the various DVD/Blu-ray releases for the film, "The tale of house this haunting shanty was created. An anthem for pirates across the seven seas". //
The creative constituents of Western music have a choice to make: continue manifesting hell on earth, or begin magnifying redemption through their art.
Music is a balance of tension and resolution. A mentor once told me that the greatest composers are those who demonstrate mastery of this basic tenet. Dissonance, one form of musical tension, empowers harmony and resolution when used well. However, with few exceptions, today’s composers reject the natural order of tension and resolution. They opt instead to create sonic nightmares, soundscapes smeared upon a postmodern canvas in which tonality is subjective. There is never a true resolution, only growing ugliness.
That is why the celebration of the work of Estonian composer Arvo Pärt, who turned 90 on Sept. 11, offers more than a glimmer of hope. Pärt, whose style of composing is indelibly intertwined with his Orthodox Christian faith, is being celebrated at Carnegie Hall and around the world for creating music that is beautiful in a time when ugliness is preferred. //
Pärt’s musical legacy is one that very few composers, of this century or others, will hold a candle to. Still, a handful of other current composers are breathing life into the landscape. In the choral world, it is no wonder that composer Eric Whitacre has attained cult-status. His music, while reputably redundant, is beautiful; choirs enjoy singing his work, and audiences love hearing it. His piece “Lux Aurumque” has been streamed more than 9 million times on Spotify alone. Yet Whitacre is largely dismissed by the same art composers and academic superiors whose own music suffers from terminal unlikability. //
Great suffering can produce a person who resembles the devil, but it can also produce a person who resembles God. The difference is how one suffers; suffering can be sanctifying.
Contemporary art music embodies suffering without sanctification, and thus, it has fallen from beauty to ugliness. Art embodies ugliness only when suffering is glorified for its own sake, rather than as a means to an end: sanctification and ultimately, redemption.
Poème symphonique, pour piano et orchestre, op.43
- Ballade
- Bardic Song
- Scherzo: Fantastical Hunt
Peter Benoit
Yuval Raphael defied gravity May 17 in much the same motif the fictional character, Elphaba in Wicked, has been defying gravity since 2003.
It was not consciously intended by the Israel Eurovision team, but Yuval Raphael defied gravity May 17 in much the same motif the fictional character, Elphaba in Wicked, has been defying gravity since 2003 – rising above her tormentors and would-be killers in song.
“Elphaba, the Wicked Witch” the greatest musical theatrical moment thus far of the 21st century, has been closing out Act 1 of Wicked on Broadway and around the globe to thrilled, sold-out audiences daily, rising to the sky in song. Dressed in her wing-dress of magic black, Raphael ascended the European set stairs to soar, singing of love and determination – our song.
Yuval Raphael – New Day Will Rise
English translation
English, French, Hebrew
Original lyrics
Historian teams up with Chris Tomlin and Hillsong’s Ben Fielding to adapt rare music dating back to the third century. //
Early conversations between Dickson and Fielding eventually led to a collaboration with Grammy-winning worship artist Chris Tomlin, culminating in the production of a new worship song, “The First Hymn,” and a documentary about the discovery and study of the papyrus fragment containing the hymn.
Tara Lynn Thompson
@TaraLynnSays
This song [Nessun Dorma] has always been my Achille’s Heel. My weakness. I cannot hear it without something breaking inside. But also healing. The story behind it is as passionate as the music.
But I’ve never heard it sang in English. And this woman’s voice is sunlight at midnight.
Enjoy!