Celluloid Symphonies (eBook)

Texts and Contexts in Film Music History

Julie Hubbert (Herausgeber)

eBook Download: EPUB

2011
528 Seiten
University of California Press (Verlag)
978-0-520-94743-6 (ISBN)

Infos

Celluloid Symphonies is a unique sourcebook of writings on music for film, bringing together fifty-three critical documents, many previously inaccessible. It includes essays by those who created the music—Max Steiner, Erich Korngold, Jerry Goldsmith, Elmer Bernstein and Howard Shore—and outlines the major trends, aesthetic choices, technological innovations, and commercial pressures that have shaped the relationship between music and film from 1896 to the present. Julie Hubbert’s introductory essays offer a stimulating overview of film history as well as critical context for the close study of these primary documents. In identifying documents that form a written and aesthetic history for film music, Celluloid Symphonies provides an astonishing resource for both film and music scholars and for students.

Inhalt

Preface
Acknowledgments

PART ONE. PLAYING THE PICTURES: MUSIC AND THE SILENT FILM (1895–1925)

Introduction
1. F.{ths}H. Richardson / Plain Talk to Theater Managers and Operators (1909)
2. Incidental Music for Edison Pictures (1909)
3. Louis Reeves Harrison / Jackass Music (1911)
4. Eugene A. Ahern / from What and How to Play for Pictures (1913)
5. Clarence E. Sinn / Music for the Picture (1911)
6. W. Stephen Bush / The Art of Exhibition: Rothapfel on Motion Picture Music (1914)
7. Edith Lang and George West / from Musical Accompaniment of Moving Pictures (1920)
8. George Beynon / from Musical Presentation of Motion Pictures (1921)
9. Erno Rapee / from Encyclopaedia of Music for Pictures (1925)
10. Two Thematic Music Cue Sheets: The Thief of Bagdad (1924) and Dame Chance (1926)
11. Hugo Riesenfeld / Music and Motion Pictures (1926)
12. Publishers Win Movie Music Suit (1924)

PART TWO. ALL SINGING, DANCING, AND TALKING: MUSIC IN THE EARLY SOUND FILM (1926–1934)

Introduction

13. New Musical Marvels in the Movies (1926)
14. Musicians to Fight Sound-Film Devices (1928)
15. Mark Larkin / The Truth about Voice Doubling (1929)
16. Jerry Hoffman / Westward the Course of Tin-Pan Alley (1929)
17. Sigmund Romberg / What’s Wrong with Musical Pictures? (1930)
18. Verna Arvey / Present Day Musical Films and How They Are Made Possible (1931)
19. Stephen Watts / Alfred Hitchcock on Music in Films (1934)

PART THREE. CARPET, WALLPAPER, AND EARMUFFS: THE HOLLYWOOD SCORE (1935–1959)

Introduction

20. George Antheil / Composers in Movieland (1935)
21. Leonid Sabaneev / The Aesthetics of the Sound Film (1935)
22. Max Steiner / Scoring the Film (1937)
23. Erich Wolfgang Korngold / Some Experiences in Film Music (1940)
24. Denis Morrison / What Is a Filmusical? (1937)
25. Aaron Copland / Music in the Films (1941)
26. Harold C. Schonberg / Music or Sound Effects? (1947)
27. Theodor Adorno and Hanns Eisler / The New Musical Resources (1947)
28. Arthur Knight / Movie Music Goes on Record (1952)
29. Elmer Bernstein / The Man with the Golden Arm (1956)
30. Louis and Bebe Barron / Forbidden Planet (1956)
31. James Hillier / Interview with Stanley Donen (1977)
32. Alan Freed / One Thing’s for Sure, R ’n’ R Is Boffo B.O. (1958)

PART FOUR. THE RECESSION SOUNDTRACK: FROM ALBUMS TO AUTEURS, SONGS TO SERIALISM (1960–1977)

Introduction

33. June Bundy / Film Themes Link Movie, Disk Trades (1960)
34. Eddie Kalish / Mancini Debunks Album Values (1961)
35. Herrmann Says Hollywood Tone Deaf as to Film Scores (1964)
36. Gene Lees / The New Sound on the Soundtracks (1967)
37. Renata Adler / Movies: Tuning In to the Sound of New Music (1968)
38. Ennio Morricone / Towards an Interior Music (1997)
39. Harvey Siders / Keeping Score on Schifrin: Lalo Schifrin and the Art of Film Music (1969)
40. BBC Interview with Jerry Goldsmith (1969)
41. Harvey Siders / The Jazz Composers in Hollywood: A Symposium (1972)
42. Steven Farber / George Lucas: Stinky Kid Hits the Bigtime (1974)
43. Elmer Bernstein / The Annotated Friedkin (1974)
44. David Raksin / Whatever Became of Movie Music? (1974)

PART FIVE. THE POSTMODERN SOUNDTRACK: FILM MUSIC IN THE VIDEO AND DIGITAL AGE (1978–PRESENT)

Introduction

45. Susan Peterson / Selling a Hit Soundtrack (1979)
46. Craig L. Byrd / Interview with John Williams (1997)
47. Terry Atkinson / Scoring with Synthesizers (1982)
48. Marianne Meyer / Rock Movideo (1985)
49. Stephen Holden / How Rock Is Changing Hollywood’s Tune (1989)
50. Randall D. Larson / Danny Elfman: From Boingo to Batman (1990)
51. Interviews from The Celluloid Jukebox (1995)
52. Philip Brophy / Composing with a Very Wide Palette: Howard Shore in Conversation (1999)
53. Rob Bridgett / Hollywood Sound (2005)

Index

Produkt-Details

• Erscheint lt. Verlag: 2.3.2011
• Sprache: englisch
• Themenwelt: Kunst / Musik / Theater ► Film / TV
• Themenwelt: Kunst / Musik / Theater ► Musik ► Pop / Rock
• Themenwelt: Kunst / Musik / Theater ► Theater / Ballett
• Schlagworte: Aesthetics • Art History • Auteurs • commercial pressure • Digital Age • early sound films • Elmer Bernstein • erich korngold • film criticism • Film History • film music • Film Studies • hollywood scores • Howard Shore • Jerry Goldsmith • Max Steiner • movie criticism • movie studies • music • music and film • music for film • Music History • popular music • Postmodern Film • Serialism • technological innovations • the silent film • Writings
• ISBN-10: 0-520-94743-6 / 0520947436
• ISBN-13: 978-0-520-94743-6 / 9780520947436