Film Music A History

3 French and German books that deal with the history of film music include Alain Lacombe's La musique de film (Paris: F. Van de Velde, 1979), Wolfgang Thiel's Filmmusik in Geschichte und Gegenwart (Berlin: Henschelverlag, 1981); Michel ...

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Author: James Wierzbicki

Publisher: Routledge

ISBN: 9781135851439

Category: Music

Page: 328

View: 940

Film Music: A History explains the development of film music by considering large-scale aesthetic trends and structural developments alongside socioeconomic, technological, cultural, and philosophical circumstances. The book’s four large parts are given over to Music and the "Silent" Film (1894--1927), Music and the Early Sound Film (1895--1933), Music in the "Classical-Style" Hollywood Film (1933--1960), and Film Music in the Post-Classic Period (1958--2008). Whereas most treatments of the subject are simply chronicles of "great film scores" and their composers, this book offers a genuine history of film music in terms of societal changes and technological and economic developments within the film industry. Instead of celebrating film-music masterpieces, it deals—logically and thoroughly—with the complex ‘machine’ whose smooth running allowed those occasional masterpieces to happen and whose periodic adjustments prompted the large-scale twists and turns in film music’s path.

Film Music A Very Short Introduction

“The 'Silent' Cinema.” In A History of Film Music, 1–41. Cambridge: Cambridge University Press, 2008. Film History. An International Journal. Vol. 1 (1987)—The Present. See especially 14, no. 1 (2002): Special Issue on Film Music.

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Author: Kathryn Kalinak

Publisher: Oxford University Press

ISBN: 0199746044

Category: Performing Arts

Page: 160

View: 522

Film music is as old as cinema itself. Years before synchronized sound became the norm, projected moving images were shown to musical accompaniment, whether performed by a lone piano player or a hundred-piece orchestra. Today film music has become its own industry, indispensable to the marketability of movies around the world. Film Music: A Very Short Introduction is a compact, lucid, and thoroughly engaging overview written by one of the leading authorities on the subject. After opening with a fascinating analysis of the music from a key sequence in Quentin Tarantino's Reservoir Dogs, Kathryn Kalinak introduces readers not only to important composers and musical styles but also to modern theoretical concepts about how and why film music works. Throughout the book she embraces a global perspective, examining film music in Asia and the Middle East as well as in Europe and the United States. Key collaborations between directors and composers--Alfred Hitchcock and Bernard Herrmann, Akira Kurosawa and Fumio Hayasaka, Federico Fellini and Nino Rota, to name only a few--come under scrutiny, as do the oft-neglected practices of the silent film era. She also explores differences between original film scores and compilation soundtracks that cull music from pre-existing sources. As Kalinak points out, film music can do many things, from establishing mood and setting to clarifying plot points and creating emotions that are only dimly realized in the images. This book illuminates the many ways it accomplishes those tasks and will have its readers thinking a bit more deeply and critically the next time they sit in a darkened movie theater and music suddenly swells as the action unfolds onscreen. About the Series: Combining authority with wit, accessibility, and style, Very Short Introductions offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundreds of key topics, from philosophy to Freud, quantum theory to Islam.

The Oxford Handbook of Film Music Studies

In A History of Film Music, 1–41. Cambridge: Cambridge University Press. Egorova, Tatiana K. 1997. “Music and Silent Cinema.” In Soviet Film Music: An Historical Survey, translated by Tatiana A. Ganf and Natalia A. Egunova, 3–13.

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Author: David Neumeyer

Publisher: Oxford University Press

ISBN: 9780190250591

Category: Music

Page: 683

View: 611

The Oxford Handbook of Film Music Studies gathers two dozen original essays that chart the history and current state of interdisciplinary scholarship on music in audiovisual media, focusing on four areas: history, genre and medium, analysis and criticism, and interpretation.

The Invisible Art of Film Music

Bridges, Herb, and Terryl C. Boodman. Gone with the Wind: The Definitive Illustrated History ofthe Book, the Movie, and the Legend. New York: Simon and Schuster, 1989. Brode, Douglas. The Films ofthe Eighties.

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Author: Laurence E. MacDonald

Publisher: Scarecrow Press

ISBN: 9780810883987

Category: Performing Arts

Page: 624

View: 988

In this updated and expanded edition of The Invisible Art of Film Music, Laurence MacDonald provides a comprehensive introduction to film music for the general student, the film historian, and the aspiring cinematographer. This volume is a historically structured account of the evolution of music in films and the development of the films themselves. Arranged as a chronological survey from the silent era to the present day, this volume offers readers insight into the vital contribution film scores have made.

Silent Films Loud Music

1. Wierzbicki, Film Music: A History, 19. 2. Ibid., 19., and Cooke, A History of Film Music, 7–9. 3. Wierzbicki, Film Music: A History, 19. 4. Cooke, A History of Film Music, 7–9. 5. Some excellent research has been done, ...

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Author: Phillip Johnston

Publisher: Bloomsbury Publishing USA

ISBN: 9781501366413

Category: Music

Page: 248

View: 830

Silent Films/Loud Music discusses contemporary scores for silent film as a rich vehicle for experimentation in the relationship between music, image, and narrative. Johnston offers an overview of the early history of music for silent film paired with his own first-hand view of the craft of creating new original scores for historical silent films: a unique form crossing musical boundaries of classical, jazz, rock, electronic, and folk. As the first book completely devoted to the study of contemporary scores for silent film, it tells the story of the historical and creative evolution of this art form and features an extended discussion and analysis of some of the most creative works of contemporary silent film scoring. Johnston draws upon his own career in both contemporary film music (working with directors Paul Mazursky, Henry Bean, Philip Haas and Doris Dörrie, among others) and in creating new scores for silent films by Browning, Méliès, Kinugasa, Murnau & Reiniger. Through this book, Johnston presents a discussion of music for silent films that contradicts long-held assumptions about what silent film music is and must be, with thought-provoking implications for both historical and contemporary film music.

Film Music in the Sound Era

B48 MacDonald, Laurence E. The Invisible Art of Film Music: A Comprehensive History. New York: Ardsley House, 1998; 2nd rev. ed. Lanham: Scarecrow Press, 2013. B49 B50 B51 B52 B53 B54 Manvell, Roger, and John Huntley.

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Author: Jonathan Rhodes Lee

Publisher: Routledge

ISBN: 9781000091281

Category: Music

Page: 1096

View: 341

Film Music in the Sound Era: A Research and Information Guide offers a comprehensive bibliography of scholarship on music in sound film (1927–2017). Thematically organized sections cover historical studies, studies of musicians and filmmakers, genre studies, theory and aesthetics, and other key aspects of film music studies. Broad coverage of works from around the globe, paired with robust indexes and thorough cross-referencing, make this research guide an invaluable tool for all scholars and students investigating the intersection of music and film. This guide is published in two volumes: Volume 1: Histories, Theories, and Genres covers overviews, historical surveys, theory and criticism, studies of film genres, and case studies of individual films. Volume 2: People, Cultures, and Contexts covers individual people, social and cultural studies, studies of musical genre, pedagogy, and the industry. A complete index is included in each volume.

After the Silents

41. Franklin, “King Kong and Film on Music,” 98. Gorbman, Unheard Melodies, 88; Platte, “Musical Collaboration in the Films of David O. Selznick,” 53; MacDonald, The Invisible Art of Film Music, 32. Cooke, A History of Film Music, 89.

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Author: Michael Slowik

Publisher: Columbia University Press

ISBN: 9780231165839

Category: Performing Arts

Page: 352

View: 346

Many believe Max SteinerÕs score for King Kong (1933) was the first important attempt at integrating background music into sound film, but a closer look at the industryÕs early sound era (1926Ð1934) reveals a more extended and fascinating story. Viewing more than two hundred films from the period, Michael Slowik launches the first comprehensive study of a long-neglected phase in HollywoodÕs initial development, recasting the history of film sound and its relationship to the ÒGolden AgeÓ of film music (1935Ð1950). Slowik follows filmmakersÕ shifting combinations of sound and image, recapturing the volatility of this era and the variety of film music strategies that were tested, abandoned, and kept. He explores early film music experiments and accompaniment practices in opera, melodrama, musicals, radio, and silent films and discusses the impact of the advent of synchronized dialogue. He concludes with a reassessment of King Kong and its groundbreaking approach to film music, challenging the filmÕs place and importance in the timeline of sound achievement.

A Research Guide to Film and Television Music in the United States

A History of Film Music. New York: Cambridge University Press, 2008. The generic title and impressive length (562 pages) of this work suggest a film music version of Donald J. Grout's venerable A History of Western Music, and the ...

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Author: Jeannie Gayle Pool

Publisher: Scarecrow Press

ISBN: 9780810876897

Category: Performing Arts

Page: 192

View: 161

Unlike traditional music, film music sources are often difficult to locate and do not follow the patterns that researchers are trained to identify. Although there have been several self-described introductions to the field and articles that summarize the problems and state of research, there is no resource that gathers together all of the basic information that is vital to film music research. In this volume, Jeannie Gayle Pool and H. Stephen Wright address the difficulties scholars encounter when conducting research on film and television music. Intended as a guide for scholars and researchers in navigating the complex world of film and television music, this book provides a detailed taxonomy of film music primary sources and explains how to find and interpret them. The authors tackle the problems of determining film score authorship and working with recordings of film music. A bibliographic essay summarizes the major works and trends in film music research and provides clear pointers to the most important resources in the field. An up-to-date guide to important collections of film music sources and other research materials is also included. Designed to clarify the nature of film music source materials and how they are generated, A Research Guide to Film and Television Music in the United States provides clear signposts for scholars and identifies opportunities for further research.

The Sound of Cinema

Mervyn Cooke, A History of Film Music (Cambridge: Cambridge University Press, 2008), 401. 9. Spencer Leigh, “Kris Kristofferson,” accessed March 7, 2021, https://web.archive. org/web/20120415001040/http://www.

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Author: Sean Wilson

Publisher: McFarland

ISBN: 9781476687575

Category: Performing Arts

Page: 275

View: 670

While some film scores crash through theater speakers to claim their place in memory, others are more unassuming. Either way, a film's score is integral to successful world building. This book lifts the curtain on the elusive yet thrilling art form, examining the birth of the Hollywood film score, its turbulent evolution throughout the decades and the multidimensional challenges to musicians that lie ahead. The history of the film score is illuminated by extraordinary talents (like John Williams, Hans Zimmer and countless others). Beginning with vaudeville and silent cinema, chapters explore the wonders of early pioneers like Max Steiner and Bernard Herrmann, and continue through the careers of other soundtrack titans. Leading Hollywood film composers offer in this book fascinating perspectives on the art of film music composition, its ongoing relevance and its astonishing ability to enhance a filmmaker's vision.

The Encyclopedia of Film Composers

Hanover, NH: Wesleyan University Press, 2000. Buhler, James, David Neumeyer, and Rob Deemer. Hearing the Movies: Music and Sound in Film History. New York: Oxford University Press, 2009. Burlingame, Jon. The Music of James Bond.

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Author: Thomas S. Hischak

Publisher: Rowman & Littlefield

ISBN: 9781442245501

Category: Performing Arts

Page: 836

View: 662

For more than a century, original music has been composed for the cinema. From the early days when live music accompanied silent films to the present in which a composer can draw upon a full orchestra or a lone synthesizer to embody a composition, music has been an integral element of most films. By the late 1930s, movie studios had established music departments, and some of the greatest names in film music emerged during Hollywood’s Golden Age, including Alfred Newman, Max Steiner, Dimitri Tiomkin, and Bernard Herrmann. Over the decades, other creators of screen music offered additional memorable scores, and some composers—such as Henry Mancini, Randy Newman, and John Williams—have become household names. The Encyclopedia of Film Composers features entries on more than 250 movie composers from around the world. It not only provides facts about these artists but also explains what makes each composer notable and discusses his or her music in detail. Each entry includes Biographical material Important dates Career highlights Analysis of the composer’s musical style Complete list of movie credits This book brings recognition to the many men and women who have written music for movies over the past one hundred years. In addition to composers from the United States and Great Britain, artists from dozens of other countries are also represented. A rich resource of movie music history, The Encyclopedia of Film Composers will be of interest to fans of cinema in general as well as those who want to learn more about the many talented individuals who have created memorable scores.