A rat who is given a lever to push that stimulates similar brain circuitry to that active during a chill experience in humans will press and press that lever at the expense of almost anything else, never seeming to tire of the experience.
There is also scientific evidence from the animal kingdom that reward responses of this kind don’t tend to satiate over the long term. In a recent class I was asked by a student if there was any evidence that the brain response could be exhausted by listening to the music over and over again in effect, can you kill a chill? I don’t think that has ever been tested, but given that the music pieces that trigger chills tend to be favourites for each listener we can assume they have heard them many times over the course of their life and yet the chill response continues. Not everyone gets chills however, people who do report that the experience is consistent to the same music over long periods of time. These are all physical manifestations of a deep psychological experience of pleasure, triggered by activity of neurotransmitters such as dopamine being released deep within ancient survival centres of the brain.
#EYE OF THE BEHOLDER 2 MUSIC SKIN#
This peak emotional experience is marked by shivers down the spine and along the extremities, the hairs standing on the back of the neck, bumps on the skin (in his native Spanish my husband calls this reaction ‘chicken skin’, which I love), a dry mouth and a racing heart. We might even treat ourselves at the fresh doughnut wagon! A jolly plan to banish coming winter blues.Ī stunning piece of visual art or music has the potential to give the lucky consumer a case of the ‘chills’. This evening my dear husband and I plan on taking a walk to enjoy the streets in their temporary multicoloured overcoat. The festival happens every year now and has one main aim – to show our wonderful city off in a whole new ‘light’. The lack of rain bodes well for the York Illumination Festival which is attracting a lot of well deserved attention in my home town. This score also demonstrates Goldsmith’s penchant for using unusual instrument combinations as well as cutting edge electronics to achieve novel timbres in the sci-fi and horror genres.It’s a rather grey and dull late October day here in York, but mild and dry at least for the time of year. In an early example of his atonal writing technique, Goldsmith focuses on minor seconds and tritones to convey the horror unfolding on screen. Composing under the budgetary constraints of 60’s television, Goldsmith’s ensemble consisted of approximately thirteen string players, piano, celeste, harp, vibraphone, marimba, chimes, and the Novachord. “The Invaders” is also famous for its twist ending, and is unique for its complete lack of dialogue. Goldsmith’s music becomes a central player along with actress Agnes Moorehead non-speaking performance.
With a surprise twist in the plot, the episode contains both beauty and a sinister chill from Herrmann’s minimalistic score featuring 2 vibraphones and 2 harps, backed by brooding and climactic brass and percussion punctuations. “The Eye of the Beholder” is a dark and compelling tale about one woman’s desperate desire to conform within a dystopian society. Goldsmith and Herrmann each wrote numerous episodes of THE TWILIGHT ZONE, and these two iconic episodes are particular masterclasses in scoring for small orchestral ensembles using minimalistic compositional techniques. We’ll also be joined by Marc Zicree, veteran television producer and writer, a member of our Advisory Board, and the author of The Twilight Zone Companion.
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#EYE OF THE BEHOLDER 2 MUSIC SERIES#
Malpede and Josh Lucan take us on a deep dive into two episodes from the iconic television series THE TWILIGHT ZONE, each scored by a legend in film music: “Eye of the Beholder” (1960) by Bernard Herrmann and “The Invaders” (1961) by Jerry Goldsmith.
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