Above the Earth 1:50

2. Fragments 4:24

3. Void 6: 15

4. Atlantis 3:43

5. Don't let go11:11

6. Air lock room 1:57

7. International Space Station 2:53

8. Fire 2:57

9. Parachute 7:40

10. The blind touch the elephant 3:07

1 1. Northern Lights 1:43

12.Aningaaq 5:08

13. Alliance number 1:42

14. 6: 28 in Tiangong

15. Shenzou 6: 1 1

16. Gravity 4:35

The composer of Gravity is British composer Steven Price. This is his second musical work this year (the other is the comedy film "The End of the World"), and this year is definitely his breakthrough year. Price was originally a guitarist. His first foray into film soundtrack was recording Empire of Dinosaurs and Alliance of Arrogant Gentlemen with trevor jones. Since then, he has become a music editor and has worked with howard shore, anne dudley, Patrick Doyle, Hans Zimmer and David Arnold. 20 1 1 year, he made his first musical work, the sci-fi comedy "Attack the Block". This year, he used the end of the world and gravity to show that his life is a promising star that can not be ignored in the music world.

Price took the initiative to accept the biggest difficulty in the creation of the soundtrack of Gravity. Space is in a vacuum, and sound cannot spread. In order to be as realistic as possible in terms of sound effects, Alfonso Cuarón must minimize the sound effects in the film, and as compensation, Price must enrich the sound elements while conveying the emotions to be expressed in the film through his soundtrack. In an interview with the Huffington Post, Price said, "Caron only allows sounds that astronauts can hear to appear in the film. You can hear the movement of the spacesuit. If they touch other objects, you can hear their vibration, but you will never hear the sound in other backgrounds. We know very well that music should express other objects as much as possible. I was asked to try to express the sound of these objects with timbre. You can't hear the real explosion in this movie, but you can really hear the sound effect that represents its pulse. The soundtrack is actually a part of traditional sound effects. With the help of the sound team, we can do some very interesting attempts. "

The final result of this soundtrack is that the traditional movie music is mixed with discordant tracks. Normally, I always stay away from this soundtrack, but somehow, gravity is different. The striking and charming atmosphere of these music can catch people's attention, not through the theme and melody (although there are some), but through the collision of very challenging sound effects and styles. Some sound effects sound huge, and you can even feel their destructive momentum (as the electronic music at the beginning of 1 track "Above the Earth" is deafening), but they are relieved by the amazing atmosphere in beautiful space and the soft solo and electronic cello sounds, just like watching the wonders of the earth in space.

A two-tone theme similar to an electronic pulse represents the unknown. When it appears repeatedly, it is accompanied by the disaster that befalls Brock and Clooney. From the second track Fragments to the third track Void, which shows darkness and depression, and then to Don't Let Go, which makes people feel suffocating power and panic, the score of the opening 20 minutes is deeply rooted in the shaping of darkness, helplessness and depression. The audience will inevitably find these soundtracks more challenging and more difficult to "swallow and digest" than the enjoyment brought by listening to traditional soundtracks. The establishment of these electronic sound effects and their overlapping, rotation and mixing into almost pure noise are swept along with fear. Fortunately, vocal solo and cello soothing tunes won't make the audience stark raving mad. In the second half of the score, this style strikes again in an increasingly crazy form. The two tracks "Fire" and "Parachute", especially the latter, use the fixed tone of cello and the triplet of brass music to express the imminent scene.

The first part of Don't Let Go retains the same arrangement and electronic sound effects, but turns the cello and soulful solo into a sad and lonely lament, which depicts a perfect artistic conception for Clooney's self-sacrifice and Brock's pain of losing his companion. Later, Air Brake used a piano solo-a rare silence in chaos and fear. The following ISS, Northern Lights, slightly warmer Aningaaq and Soyuz continued this dreamlike atmosphere and made the audience indulge in this short silence. Price ended up with a score, including "Tiangong", "God Walk" and "Gravity", which added up to 16 minutes. The first half of "Tiangong" and "God Walk" describe pain and hysteria, while Price gradually and ruthlessly strengthens the tension by gradually raising the tone. In the second half of God Walk and the end of Gravity, the soaring volume and more powerful theme give people a great sense of relief, which reminds people of ennio morricone's hymn-like. This seems to be telling that the closer to the earth, the stronger the voice of the soul from the deep heart. Space is beautiful, but the return is the most precious thing for people to feel the earth.

The soundtrack of Gravity will not be suitable for the public. Most of this soundtrack is composed of challenging and discordant electronic sound effects. If this kind of music really annoys you, give up after listening to 15 minutes. Similarly, those who think that the soundtrack of space movies must be a grand symphony will be disappointed. This is not that kind of soundtrack. If Price goes this way, its soundtrack will ruin the movie. More courageous listeners will find that such a bold, outstanding and charming soundtrack made by a talented newcomer sets off an exciting and cathartic ending.