![]() The music of ∻luey is a collaborative endeavor, but it is primarily the task of its composer, Joff Bush. So that was the norm for me its definitely not the norm for a lot of shows. Id worked on ∜harlie and Lola years ago, and they had a couple of musicians who played multiple instruments, and every episode had its own score. Some shows just use one track for an entire season, or a variation of it. BLUEY SLEEPYTIME SONG TVI didnt want the usual kids TV scoring, he said. I always knew that music was going to be almost half the show, Joe Brumm, its creator, said in an interview, explaining his admiration for the role of sound in films such as True Romance, The Truman Show and The Thin Red Line. Peppa Pig, for instance, its predecessor in fickle toddlers hearts, sometimes plinks and plonks to make a point, but its music usually does little more than start and end another episode in its endless cacophony of oinks.īut the producers of ∻luey intend its episodes to be thought about as short films instead of televisual fodder, and the scoring has a cinematic quality that helps make it the kind of show that parents might want to actually watch rather than curse from a distance. ∻luey did not need to have music this good. By the end, Mozarts rondo has found its way to major-key joy, and the girls have, too, sitting arm in arm as their father sprays himself in the face with a hose. All the while, we learn that ∻luey is going to be no ordinary childrens show in another way, too: This is a show that repays listening, as well as watching.Īs the girls have their fun, the Mozart sticks around, becoming the basis for a strikingly well-crafted score that stays enchantingly true to the spirit of the original material even as it deviates wildly while the girls argue with their mother, or suffers from comical wrong notes when Bluey and Bingo fight. Once stuck, they can be subjected to all manner of embarrassments such as when the girls target is their father or pleaded with to share, as when Bingo ensnares Bluey. Bingo finds a xylophone in a toy box, one with the make-believe ability to freeze people in place. But like most episodes of ∻luey, its also about far more than the immediate lessons it teaches through the Heelers antics, at least in the giggly way that the show is about everything from family and friendship to marriage and mortality.Īmid the slapstick, Magic Xylophone is about the power of music to transform us. Magic Xylophone, the first 7-minute installment of the three seasons currently streaming on Disney+, is notionally about the importance of taking turns. Blueys adorable 4-year-old sister, Bingo, watches, begging to be the piano herself. He cracks his knuckles, takes on airs and tickles her mercilessly to the tune of the Mozart sonata. Ladies and gentlemen! I will now play for you the Rondo alla Turca. įrom the first scene of ∻luey, the hit Australian canine cartoon that amusingly, frankly and ever-so understandingly takes the hands of children and parents through the escapades of the Heeler family of heelers, classical music is as much a part of playtime as the toys scattered around their suburban Brisbane home.īandit the stay-at-home, try-to-work father who, with Chilli, his wife, has become the idol and the envy of parents everywhere for his willingness to entertain his children anywhere, anytime, anyhow is on the floor, with his 6-year-old daughter, Bluey, draped over his knees. ![]()
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