Film Music 2

Fülszöveg

Film/Music
$20.00 (Can. $27.50)
Thi: w(
of
is enriching anthology, the second of an ongoing series, contains works by some of the leading writers and theorists on the subject of film music.
"Film Music 2 includes a broad scope of material from the 1940s to the present. Essays are devoted to the documentary scores of Golden Age composers Virgil Thomson and Aaron Copland; opera films; soundtrack cross-promotion at United Artists; film music as a forum on the Internet; and the teaching of film music in a liberal arts curriculum. Also included in these pages are analyses of scores by Erich Wolfgang Korngold and Patrick Doyle; a Film Music Society-sponsored oral history with songwriters Jay Livingston and Ray Evans; a history of the music of Gail Kubik; and a biography ofMoog synthesizer artist Paul Beaver." —from the Foreword by composer Christopher Young
"Why do we write about film music, anyway? The answer, of course, when all high-minded rationalizations are stripped away, is... Tovább

Fülszöveg

Film/Music
$20.00 (Can. $27.50)
Thi: w(
of
is enriching anthology, the second of an ongoing series, contains works by some of the leading writers and theorists on the subject of film music.
"Film Music 2 includes a broad scope of material from the 1940s to the present. Essays are devoted to the documentary scores of Golden Age composers Virgil Thomson and Aaron Copland; opera films; soundtrack cross-promotion at United Artists; film music as a forum on the Internet; and the teaching of film music in a liberal arts curriculum. Also included in these pages are analyses of scores by Erich Wolfgang Korngold and Patrick Doyle; a Film Music Society-sponsored oral history with songwriters Jay Livingston and Ray Evans; a history of the music of Gail Kubik; and a biography ofMoog synthesizer artist Paul Beaver." —from the Foreword by composer Christopher Young
"Why do we write about film music, anyway? The answer, of course, when all high-minded rationalizations are stripped away, is that we are every bit as much in its thrall as the most unreconstructed Herrmann or Williams fan. The scholarly response is an urge to understand film musics pleasures and powers, responding to the old desire to contribute to dialogues on theory and aesthetics in new ways. This primary reverence is what motivates the study of that artful and mysterious intersection of music, pictures, and stories."
—from the Introduction by Claudia Gorbman
"I enthusiastically recommend this valuable work which examines some less familiar aspects of the film music art. The Film Music Society ftilfills its function here as a serious custodian of cinema music."
—Composer Elmer Bernstein
"As a university educator of many years, I can attest to the fact that if anything can turn an art form as fluid and complex as film music into something dry and uninspiring, academia can. You have to be careful in balancing theory with practical and creative application. This collection of essays is a perfect example of that very balance. Good show. Film Music Society."
—Composer David Raksin Vissza