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SOUND AND VISION.

The New Yorker

| June 27, 2005 | Ross, Alex | COPYRIGHT 2005 All rights reserved. Reproduced by permission of The Condé Nast Publications Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

Some of the most compelling film music of the past year appeared not on the big screen but on the small one. Michael Giacchino's score for the TV show "Lost"--the tale of several dozen plane-crash survivors marooned on a vaguely supernatural, "Tempest"-like island--has unsettled millions of American viewers with an eerie array of orchestral sounds: fluttery four-note figures, shivery tones produced by bowing strings near the bridge, nasty glissandos on the trombone, and, at moments of maximum tension, a low plucked note on the harp. According to convention, harps are called upon to herald angels or other vessels of goodness. Giacchino makes the instrument gaunt and ...

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