Overtones and Undertones: Reading Film Music
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Film music: Critical approaches. New York: Continuum, Film score: The view from the podium.
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Tony Thomas. South Brunswick, NJ: A. Barnes, Flinn, Caryl. Strains of Utopia: Gender, nostalgia, and Hollywood film music. OP on demand. Gorbman, Claudia. Unheard melodies: Narrative film music.
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Bloomington: Indiana University Press, Hagen, Earle. Advanced techniques for film scoring: A complete text.
Los Angeles: Alfred Pub. Scoring for films: A complete text. Los Angeles: Alfred, , Kalinak, Kathryn. Settling the score: Music and the classical Hollywood film. Madison: University of Wisconsin Press, Karlin, Fred and Rayburn Wright. On the track: A guide to contemporary film scoring. Karlin, Fred. Listening to movies: The film lover's guide to film music. New York: Schirmer Books, Knowing the score: Film composers talk about the art, craft, blood, sweat, and tears of writing music for cinema. Interviewed by David Morgan. New York: HarperEntertainment, Film music.
Translated by Eric S. New York, Arno Press, MacDonald, Laurence E. The invisible art of film music: A comprehensive history. Manvell, Roger and John Huntley. The technique of film music.
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New York: Communication Arts Books, , Marill, Alvin H. Keeping score: Film and television music, Lanham, MD: Scarecrow Press, Movie music, The film reader. Kay Dickinson.
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London; New York: Routledge, Music and cinema. Northam, Mark and Lisa Anne Miller. Film and television composer's resource guide: The complete guide to organizing and building your business. Palmer, Christopher. The composer in Hollywood. London; New York: Marion Boyars, , Prendergast, Roy M. Film music: A neglected art. New York: WW Norton, Rona, Jeffrey C.
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Howard Shore and Carter Burwell give accounts of the composer's relationship to and power over the rhythm and structure of stories. The movie music sampling performances of David Shea. Deutsch , Didier C. Limbacher, James L. History and criticism. Chapter of the book on-line: " The Aesthetics of Film Music". Reay, Pauline Music in Film: Soundtracks and Synergy Wallflower Press, A brief history of the development of music in film from the silent era to the present day. This book explores how music operates on a narrative, emotional and cultural level. Pring, S. Very interesting in historical terms.
Overtones and Undertones: Reading Film Music / Edition 1
Slightly dated but good. Smith, Stephen C. Statements from numerous film composers about their work. Includes discography. The interviews and statements by the composers are not offered anywhere else. Ray, Don B. Star Wars Sounds. Instead, he devised a chordal language that simultaneously has major and minor implications. You can hear this in the unresolved dominant 7ths in the "Vertigo" example, which sets up a strong 'opposition' to Hitchcock's horizontally conceived synchronicity - part of what "Hitch" described as "pure cinema" - but yet which also supports the thematic concerns of the film.
There's a paradox here: Herrmann's music and a Hitchcock film work independently but exist in an entirely symbiotic relationship. This is Shakespeare's "two households: both alike in dignity". Last edited by Tarantella on Wed Oct 02, pm, edited 1 time in total. This week the New York Philharmonic is playing programs of film music before its regular season starts, and Tuesday and Wednesday were devoted to Hitchcock. Hitchcock poorly understood the power of Herrmann's music and how integral this was to the success of his films.
Only much later did he realize what a potent combination was "Benny's" music to his particular films. And "Benny" Herrmann was, in many ways, his own worst enemy - a man who was dreadfully difficult to get along with! Imagine thinking anybody had a bigger ego than Alfred Hitchcock. But he did influence the film-maker significantly and was able to convince "Hitch" that the famous shower scene should definitely have music. Smith, UCalPress, , and I wanted to share this gem of an anedote about "Benny's" first forays into composition: " NY School of Music was the place where when I showed the first songs I ever wrote - they were laughed at and torn up by the bastard that sic ran the place, Dr.
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There they made fun of my interest in music. And brought in other children - to show me what real talent was. There they showed me what real pupils in harmony did - and there the sour German teacher of the violin hit me with the violin bow - because I would not play the piece of garbage he gave me to learn - it was called "When Knighthood Was in Flower" by Lange. I asked ed to be allowed to play the selections from 'Der Freischsutz'. How he laughed at me and hit me with his violin bow - but I would not play that lousy piece - and wanted only the Weber piece.
He than slapped me hard - and I took my violin and broke it square over his head - and ran out of the building never to return again The songs I showed - and felt so proud of - were settings of Heine. I shall never forget or forgive the laughter and the derision that they were received in. I suppose my hatred of the place is still there - waiting to be revenged ". His scholarly demeanor typed him early as a bespectacled, uncoordinated bookworm. Despite the Empire State Building in the school's logo, it's based in Walden, NY - upstate, near Poughkeepsie - and seems to be about rock music these days.
Unless that's a different school with the same name. He wrote the anecdote in question in a letter to his first wife, dated I gather this was a musical high school since the author refers earlier, regarding Herrmann's comments, to "his perception of his school days". The quote from Herrmann's letter does specifically mention the "other children" and it is doubtful that a 'music school' student's attempt at composition would be the subject of derision by the other students.
His formal training as a composer started elsewhere while he was still a student at that school at the instigation, ironically, of a non-musical teacher, who contacted Mr.