?New age? was a trend which appeared in the music of the 1980?s, bringing a new dimension to art music in general, especially in its reception. At first its development was stimulated by technological inventions, ?the technological craze?, by new carriers of sound, simultaneously globalizing art and making it widely accessible. This new trend includes quite disparate categories. It does not distance itself from subculture, and in art music it gravitates towards cosmopolitism while being permeated with other musical trends such as pop, rock, jazz and other phenomena of show business and popular art. This trend was originally found in the large number of occult writing which flooded book markets all over the world, to which Umberto Eco gave an important base (Foucault's Pendulum and others). In his essay on the music of the eighties, Peter Niklas Wilson, one of the most significant theoreticians of this movement, researches into all elements of those novelties, not hesitating to call this art eclectic, commercial and the like. Examples of Serbian music get into such style directives. The New Ideas Symphony by film score composer Zoran Simjanovic, was performed in the open air at Kalemegdan fortress in 2006, before an audience of about one thousand people. Since then the recording has often been broadcast on television and radio channels. In its combination of folklore and film models, traces of rock, pop, and jazz can also be found, in a score with all symphonic characteristics. This attempt is a fascinating item for research as well as a pleasure to be listened to.
A study on film score applying the Neo-Riemannian theory: focusing on Bernard Herrmann’s mysterious island
