Search results for ""Elmer Bernstein" "The Magnificent Seven""
Alfred Music The Magnificent Seven
Book Synopsis
£10.80
Alfred Music The Magnificent Seven
Book Synopsis
£57.75
Alfred Music The Magnificent Seven
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£50.25
Rowman & Littlefield Elmer Bernsteins The Magnificent Seven
Book SynopsisReleased in late 1960, The Magnificent Seven was a Western reimagining of the 1954 Japanese film Seven Samurai. Despite such stars as Steve McQueen, Yul Brynner, and Charles Bronson, the film was not terribly successful when it premiered. However, in the years since, the film has become recognized as a classic of the genre. And though the movie received only one Academy Award nomination, that honor was bestowed on Elmer Bernstein's rousing score. Beyond the scope of the film, the score has permeated American culture: the music has been used in countless commercials and referenced on television shows like Cheers and The Simpsons. But what makes this score so memorable?In Elmer Bernstein's The Magnificent Seven: A Film Score Guide, Mariana Whitmer examines the creation and development of one of the most iconic soundtracks in the history of cinema. Whitmer explores the significance of the familiar score through a variety of lenses, first delving into the background of Elmer Bernstein and Trade ReviewPresented in a concise and accessible writing style, Whitmer’s close study of the score, narrative, and surrounding historical context of The Magnificent Seven will make an engaging text for students studying film music and is a captivating read for music and film scholars alike. . . . Whitmer notes that “music is integral to the drama, and it is applied with such notable attention to detail, that appreciating its assembly is like solving a puzzle” (p. 125). Throughout the book, Whitmer helps the reader gather and assemble those many puzzle pieces. Upon putting them together, one fully appreciates the score’s importance to The Magnificent Seven as well as its lasting influence on society’s understanding of nationalism and the mythologized American West. * Notes: Quarterly Journal of the Music Library Association *
£35.10
McFarland & Co Inc The Making of the Magnificent Seven Behind the
Book Synopsis The story behind The Magnificent Seven could have been a movie in itself. It had everything--actors'' strike, writers'' strike, Mexican government interference and a row between the screenwriters that left one removing his name from the credits, all under the lingering gloom of post-McCarthy era Hollywood. A flop on release, it later became a box office hit. This book tells the behind-the-scenes story: how Yul Brynner became the biggest independent producer in Hollywood; why John Sturges was not the first choice after Brynner surrendered the director''s chair; why Sturges quit; the truth about the Mirisch Company (producers); the details of the film''s botched release and unlikely redemption; the creation of Elmer Bernstein''s classic score; and how internecine fighting prevented the making of the television series in 1963. Myths about Steve McQueen, his feud with Brynner and the scene-stealing antics of the cast are debunked. A close examination of the vTrade ReviewBrian Hannan’s 288-page The Making of The Magnificent Seven undoubtedly succeeds as the definitive account of The Magnificent Seven‘s production and reception. The extensively researched book is at its best in detailing the film’s production history and release." - Akiro Kurosawa Info, January 2016
£20.89
Rlpg/Galleys The Invisible Art of Film Music
Book SynopsisBeginning with the era of synchronized sound in the 1920s, music has been an integral part of motion pictures. Whether used to heighten the tension of a scene or evoke a subtle emotional response, scores have played a significantif often unrealizedrole in the viewer's enjoyment. In The Invisible Art of Film Music, Laurence MacDonald provides a comprehensive introduction for the general student, film historian, and aspiring cinematographer. Arranged chronologically from the silent era to the present day, this volume provides insight into the evolution of music in cinema and analyzes the vital contributions of scores to hundreds of films. MacDonald reviews key developments in film music and discusses many of the most important and influential scores of the last nine decades, including those from Modern Times, Gone with the Wind, Citizen Kane, Laura, A Streetcar Named Desire, Ben-Hur, Lawrence of Arabia, The Godfather, Jaws, Ragtime, The Mission, Titanic, Gladiator, The Lord of the Rings, Brokeback Mountain, and Slumdog Millionaire. MacDonald also provides biographical sketches of such great composers as Max Steiner, Alfred Newman, Franz Waxman, Bernard Herrmann, Elmer Bernstein, Henry Mancini, Maurice Jarre, John Barry, John Williams, Jerry Goldsmith, Dave Grusin, Ennio Morricone, Randy Newman, Hans Zimmer, and Danny Elfman. Updated and expanded to include scores produced well into the twenty-first century, this new edition of The Invisible Art of Film Music will appeal not only to scholars of cinema and musicologists but also any fan of film scores.Trade ReviewMusic plays an important part in the movies by underscoring emotions, heightening drama, and offering context to just about any and every scene. But most moviegoers rarely give film scores much thought—it is background, after all. This impressive text provides a comprehensive, chronological introduction to the art of film scoring, showcasing key developments of some of the most important films from 1920 to 2009, with an epilogue that takes a peek at 2010–12. Biographical sketches of 52 composers are featured as sidebars throughout the text. An extensive bibliography, general index, and title index complete the volume. Recommended for most large public libraries and for academic libraries supporting film-studies and music-composition programs. * Booklist *The second edition of this film history (1st ed., 1998) covers music scored for such films as Brokeback Mountain, Unbreakable, Sweeney Todd, Nine, and others released between 2000 and 2011. Biographical information about composers appears in sidebars, allowing the text to focus more on the history and details of the composers' film music. MacDonald offers an engaging study that presents important information about the history of film music. The book gives considerable attention to the three "godfather" Hollywood composers--Max Steiner, Dimitri Tiomkin, and Alfred Newman--but covers film composers, their scores, and their stylistic features for every decade. Composers such as Aaron Copland, whose output was mostly outside film scoring, are also included. Despite its title, however, much of the book is devoted to Hollywood film music. With its stronger analytic approach, Music and Cinema, edited by James Buhler, Caryl Flinn, and David Neumeyer, is geared more toward music majors. This volume will be useful for general readers interested in film music history and for undergraduates with no previous musical background. Summing Up: Recommended. Lower-division undergraduates and general readers. * CHOICE *MacDonald updates his work The Invisible Art of Film Music: A Comprehensive History, in this second edition. This version includes the additions of 1998 to 2012, expanded articles and commentary, and photographs of composers. The work begins with a brief introduction of the early years of film history, followed by a chronological history of film music. Among the films and events of each year are 52 corresponding composer biographies, which MacDonald calls “biographical sketches,” of film music’s most influential and prominent composers, from Max Steiner to Michael Giacchino. The title concludes with an epilog that highlights the first few years of the current decade. A volume of this size, more than 600 pages, requires significant indexing. Although the general index is quite short, the title index and name index are substantial and invaluable. MacDonald does a great job organizing the book in a way that makes it valuable as a reference tool or as a cover-to-cover read. VERDICT A great resource for the general student or historian of music or film interested in the greatest and most influential movies and events of film music history. * Library Journal *When the 1st edition of this history of Hollywood film music appeared in 1998, one reviewer called it 'the best (history) available in the market.' In this 2d edition, the author, a retired college professor, has expanded coverage to 2012. As in the 1st edition, a chronological arrangement is used to cover composers and their scores written as background music for films (Hollywood musicals like Singin' in the Rain are excluded). After a chapter on music that was used to accompany the silent films, each of the chapters that follows cover a decade of film history. These chapters begin with an overview of the decade, followed by year-by-year coverage. For each year, the author highlights a few outstanding scores and their composers, followed by a section, 'Short Cuts,' that mentions briefly a few other important film scores. For example, in the section '1939,' Max Steiner's score for Gone with the Wind and Aaron Copeland's Of Mice and Men, get extensive coverage and brief mention is made of other film scores of the year by such composers as Erich Korngold and Dimitri Tiompkin. Each entry discusses both the music and the film (e.g., brief plot outlines). Coverage is nontechnical and anecdotal, often bordering on entertainment gossip. Scattered throughout the text are page-long profiles (each with a photograph) of 102 important composers beginning with Max Steiner and ending with Michael Giacchino, who composed the score for the 2009 animated feature Ratatouille. Each chapter also contains a list of sources used in the text. The book ends with an extensive six-page bibliography of books and articles on the subject of film music, followed by three indexes: the first on general topics, the second of film titles, and the third of names (because of the book's chronological arrangement the use of this index is essential to trace a composer's output). The book is both informative and entertaining. . . .[T]he present volume is also an excellent source of information on this subject. * American Reference Books Annual *Table of ContentsContents List of Biographical Sketches Preface Acknowledgments INTRODUCTION •••••••Music and the Birth of Film••••••• The Evolution of Movie Theaters Music for Silent Films D. W. Griffith Combining Sound and Film Nine Decades of Film Music Endnotes 1920-29 ••••••The Evolution of Synchronized Sound•••••• Prelude Radio Popular Music Movies 1920 The Movie Industry Goes West 1921 Valentino’s Tango D. w. Griffith: Dream Street 1922 Other Early Movie Sound Systems 1923 Lee De Forest’s Phonofilms The Sound of Silents 1924 Phonofilm Firsts (and Lasts) Erno Rapee: Motion Picture Moods 1925 Rival Sound Systems 1926 Warner Bros. and the Birth of Vitaphone William Fox and the Case-Sponable System Introducing the Movie Theme Song: “Charmaine” 1927 The First Talkie: The Jazz Singer The First Movietone Films Toward All-Talking Pictures More Movie Theme Songs 1928 The Transition to Talkies Achieving A Compatible Movie Sound System The Talking Trend Continues 1929 The Broadway Melody: All Talking! All Singing! All Dancing! A Deluge of Musical Madness The First Oscars Postlude Reinventing the Craft Endnotes 1930-39 •••••••The Dawn of the Golden Age ••••••• Prelude Radio Popular Music Movies The Advent of Film Underscoring The Three Godfathers of Film Music: Max Steiner Alfred Newman Dimitri Tiomkin 1930 The Short-Lived Heyday Of The Musical Film 1931 Early Dramatic Film Scores Max Steiner: Cimarron Alfred Newman: Street Scene Dimitri Tiomkin: Resurrection 1932 Max Steiner: Music from Wall to Wall Alfred Newman: Music For Exotic Locales Tiomkin Takes Time Out 1933 Kong Comes Calling The Return of the Musical Harry Warren: 42nd Street 1934 The First Oscars for Music Sergei Prokofiev: Lieutenant Kijé Alfred Newman: Our Daily Bread Jeanette MacDonald Films 1935 The Golden Age Begins Max Steiner: The Informer Arthur Bliss: Things to Come The Advent of Erich Wolfgang Korngold Franz Waxman: The Bride of Frankenstein The Formation of Studio Music Departments 1936 The Studio System Max Steiner: The Charge of the Light Brigade Erich Wolfgang Korngold: Anthony Adverse Charlie Chaplin: Modern Times Short Cuts 1937 Mythical Places and Exotic Locales Two Scores By Max Steiner Dimitri Tiomkin: Lost Horizon Alfred Newman: The Hurricane and The Prisoner of Zenda Rule Changes for Music Oscars Short Cuts 1938 Russian Film Music Dmitri Shostakovich: A Long Career Sergei Prokofiev: Alexander Nevsky Max Steiner: Jezebel Erich Wolfgang Korngold: The Adventures of Robin Hood Short Cuts 1939 Max Steiner: Gone with the Wind Steiner’s Other Scores Aaron Copland: The City and Of Mice and Men Silvestre Revueltas: La noche de los Mayas Short Cuts Postlude The Talkies Come of Age Endnotes 1940-49 •••••••World War II and Its Aftermath•••••• Prelude Radio Television Popular Music Movies 1940 Erich Wolfgang Korngold: The Sea Hawk Charlie Chaplin: The Great Dictator Franz Waxman: Rebecca Short Cuts 1941 Bernard Herrmann: Raising Kane Alfred Newman: How Green Was My Valley Miklós Rózsa: Films about Women Short Cuts 1942 Hollywood Goes To War Herbert Stothart: Mrs. Miniver More Patriotic Films Bernard Herrmann: The Magnificent Ambersons Erich Wolfgang Korngold: Kings Row Miklós Rózsa: The Jungle Book Max Steiner: Now, Voyager Short Cuts 1943 Alfred Newman: The Song of Bernadette Max Steiner: Casablanca Miklós Rózsa: Five Graves to Cairo Short Cuts 1944 David Raksin: Laura Max Steiner: Since You Went Away Erich Wolfgang Korngold: Between Two Worlds Short Cuts 1945 Miklós Rózsa and the Theremin Bernard Herrmann: Hangover Square Short Cuts 1946 Hugo Friedhofer: The Best Years of Our Lives Erich Wolfgang Korngold: Deception Roy Webb: Music for Thrillers Short Cuts 1947 Bernard Herrmann: The Ghost and Mrs. Muir Miklós Rózsa: Crime Films Short Cuts 1948 Ralph Vaughan Williams: Scott of the Antarctic Brian Easdale: The Red Shoes Max Steiner: Johnny Belinda and The Treasure of the Sierra Madre Short Cuts 1949 Aaron Copland: The Brooklyn Stravinsky The Three Godfathers: Still Scoring after All These Years Short Cuts Postlude The End of the Golden Age Endnotes 1950-59 ••••••The Decline of the Studio System•••••• Prelude Popular Music Television Movies 1950 Hollywood At Midcentury Franz Waxman: Sunset Blvd. Dimitri Tiomkin: Cyrano de Bergerac and D.O.A. Alfred Newman: All about Eve Short Cuts 1951 Alex North: A Streetcar Named Desire Bernard Herrmann: The Day the Earth Stood Still Dimitri Tiomkin: From Sci-Fi Film to Thriller Short Cuts 1952 Dimitri Tiomkin: High Noon Victor Young: From Scaramouche to The Greatest Show on Earth Short Cuts 1953 Alfred Newman: The Robe Bernard Herrmann: Three Action Potboilers Miklós Rózsa: Three Historical Dramas Short Cuts Footnote to 1953 1954 Leonard Bernstein: On the Waterfront Alfred Newman and Bernard Herrmann: An Unusual Partnership Short Cuts 1955 Leonard Rosenman: From East Of Eden To Rebel Without A Cause Bernard Herrmann: From The Kentuckian To The Trouble with HarrY Elmer Bernstein: The Man with the Golden Arm George Duning: Picnic Walter Schumann: The Night of the Hunter Short Cuts 1956 Victor Young: Around the World in 80 Days Elmer Bernstein: The Ten Commandments Dimitri Tiomkin: Giant and Friendly Persuasion Short Cuts 1957 Franz Waxman: The Pinnacle of His Career Malcolm Arnold: The Bridge on the River Kwai Short Cuts 1958 Bernard Herrmann: Great Collaborations Jerome Moross: The Big Country New Kids on the Block Short Cuts 1959 Miklós Rózsa: Ben-Hur Bernard Herrmann: Journey to the Center of the Earth and North by Northwest Adolph Deutsch: Some Like It Hot Jazz At The Movies: Duke Ellington and John Lewis Short Cuts Postlude Two Rising Stars Endnotes 1960-69 ••••••The Changing of the Guard•••••• Prelude Popular Music Television Movies Elmer Bernstein: The Magnificent Seven Scores for Historical Epics André Previn: Elmer Gantry Short Cuts The Henry Mancini-Blake Edwards Collaboration Miklós Rózsa: Scoring Samuel Bronston’s Epics Elmer Bernstein: Both in and out of the Saddle Short Cuts The New Wave Maurice Jarre: Lawrence of Arabia Two by Elmer Bernstein Two by Bernard Herrmann Short Cuts Footnote to 1962 John Addison: Tom Jones Alfred Newman: How the West Was Won Short Cuts Footnote to 1963 Laurence Rosenthal: Becket Malcolm Arnold: The Chalk Garden Short Cuts Maurice Jarre: Doctor Zhivago Music for Epics Short Cuts Jerry Goldsmith: A Composer for All Seasons Bernard Herrmann: Fahrenheit 451 Short Cuts Lalo Schifrin: Cool Hand Luke Quincy Jones: Scoring Hot and Cold Ennio Morricone: Three Spaghetti Westerns New Directions in Film Music Short Cuts John Barry: The Lion in Winter Nino Rota: Romeo and Juliet Jerry Goldsmith: Planet Of The Apes Marvin Hamlisch: The Swimmer Short Cuts Footnote to 1968 John Williams: The Reivers Burt Bacharach: Butch Cassidy and the Sundance Kid Short Cuts Postlude Passing the Torch Endnotes 1970-79 •••The Revival of the Symphonic Film Score••• Prelude Popular Music Television Movies Henry Mancini: From Darling Lili to The Night Visitor Francis Lai: Love Story Short Cuts Michel Legrand: Summer of’42 Bernard Herrmann: A Resurgence Walter Carlos: A Clockwork Orange Short Cuts Footnote to 1971 Nino Rota: The Godfather Jerry Goldsmith: The Other Deliverance: “Dueling Banjos” Short Cuts Marvin Hamlisch: The Way We Were and The Sting Jerry Goldsmith: Papillon By Borrowing Possessed: The Exorcist Short Cuts Richard Rodney Bennett: Murder on the Orient Express Francis Ford Coppola Films Short Cuts David Shire: Farewell, My Lovely and The Hindenburg John Williams: Jaws Jack Nitzsche: One Flew over the Cuckoo’s Nest Short Cuts Bernard Herrmann: Requiem for a Musical Heavyweight In Herrmann’s wake Short Cuts John Williams: Celestial Encounters Jerry Goldsmith: From MacArthur to Damnation Alley Short Cuts Jerry Goldsmith: From Coma to Magic John Williams: From Jaws 2 to Superman John Carpenter and Giorgio Moroder: Two Synthesized Scores Short Cuts Miklós Rózsa: Thriller and Fantasy Jerry Goldsmith: In Outer Space Viva Vivaldi! Three Scores in the Baroque Style Short Cuts Postlude The Last Hurrah Endnotes 1980-89 •••••The Influence of Synthesized Sound••••• Prelude New Technology Popular Music Television Movies John Barry: Raise the Titanic and Somewhere in Time John Williams: The Empire Strikes Back John Morris: The Elephant Man Short Cuts Dave Grusin: On Golden Pond John Williams: Raiders of the Lost Ark Randy Newman: Ragtime Vangelis: Chariots of Fire Some Things Borrowed, Some Things New: Excalibur Short Cuts Basil Poledouris: Conan the Barbarian John Williams: E.T. the Extra-terrestrial Jerry Goldsmith: Poltergeist Short Cuts Bill Conti: The Right Stuff Jerry Goldsmith: From Under Fire to Twilight Zone: The Movie Short Cuts Randy Newman: The Natural Maurice Jarre: A Passage to India and Dreamscape Short Cuts Popular Music in Films Bruce Broughton: From Small Screen to Big Screen Short Cuts Ennio Morricone: The Mission Jerry Goldsmith: Hoosiers Short Cuts John Williams: Empire of the Sun A Multicultural Score: The Last Emperor Peter Martin and Borrowed Classical Themes: Hope and Glory Short Cuts Alan Silvestri: Who Framed Roger Rabbit Danny Elfman: Beetlejuice Hans Zimmer: Rain Man Short Cuts James Horner: Field of Dreams Patrick Doyle: Henry V John Williams: Born on the Fourth of July Short Cuts Postlude An Emphasis on Youth Endnotes 1990-99 ••••••••The Rise of Independent Films•••••••• Prelude Popular Music in Films Television Movies John Barry: Dances with Wolves Danny Elfman: Edward Scissorhands Randy Newman: Avalon and Awakenings Short Cuts Alan Menken: Beauty and the Beast James Newton Howard: The Prince of Tides Michael Kamen: Robin Hood-Prince of Thieves Elmer Bernstein: From Rambling Rose to Oscar Short Cuts Jerry Goldsmith: From Basic Instinct To Forever Young Trevor Jones and Randy Edelman: The Last of the Mohicans Short Cuts Patrick Doyle: Another Great Collaboration Elmer Bernstein: The Age of Innocence and The Good Son John Williams: Jurassic Park and Schindler’s List Short Cuts Hans Zimmer: The Lion King Alan Silvestri: Forrest Gump James Horner: Legends of the Fall and Clear and Present Danger Short Cuts Michael Kamen: Mr. Holland’s Opus Two Categories of Film Scores Short Cuts Elliot Goldenthal: Michael Collins Mark Isham: Fly Away Home Gabriel Yared: The English Patient Short Cuts Danny Elfman: From Men in Black to Good Will Hunting John Williams: From Rosewood to Amistad James Horner: The Devil’s Own and Titanic Minimalism in Film Music Short Cuts Bruce Broughton: Lost (and found) in Space Nicola Piovani: Life is Beautiful James Horner: From Deep Impact To Mighty Joe Young Short Cuts Honorable Mentions John Corigliano: The Red Violin James Newton Howard: From The Sixth Sense To Snow Falling On Cedars Jerry Goldsmith: From The Mummy To The 13th Warrior Thomas Newman: American Beauty And The Green Mile Short Cuts Honorable Mentions Postlude End of the Century: Veteran Composers Vs. Newcomers 2000-2009 ••••••The Derivative Decade••••••••• Prelude Popular Music Television Movies James Newton Howard: An Unbreakable Collaboration James Horner: From A Perfect Storm to The Grinch Hans Zimmer: Gladiator Tan Dun: Crouching Tiger, Hidden Dragon Short Cuts Honorable Mentions James Horner: From Iris to A Beautiful Mind John Williams: Music for Robots and Wizards Howard Shore: Scoring a Tolkien Saga Short Cuts Honorable Mentions The Williams/Spielberg Collaboration Continues James Newton Howard: From Signs to Treasure Planet Jerry Goldsmith and Elmer Bernstein: Still Going Strong Howard Shore: Continuing the Lord of the Rings Saga Short cuts Honorable Mentions Howard Shore: Lord of the Ring Hans Zimmer: Music for Africans, Samurais, and Pirates Four Scores by James Horner Clint Eastwood as Composer: Mystic River Short cuts Honorable Mentions Footnote to 2003 Alexandre Desplat: Giving Birth James Newton Howard: From Hidalgo to Collateral John Williams: Music for Harry Potter and Tom Hanks Howard Shore: Scoring The Aviator Short Cuts Honorable Mentions Footnote to 2004 End of the Star Wars Saga John Williams: Still more Spielberg Scores Replacement Composers Two Composers for One Superhero Mark Isham: Taking A Crash Course Shot cuts Honorable Mentions A Touch Of Glass Three Scores By Alexandre Desplat Two Scores By James Newton Howard Three By Zimmer Two By Mychael Danna Short Cuts Honorable Mentions Footnote New Musical Voices from Europe: Dario Marianelli Nicholas Hooper: A New Voice for Harry Potter Michael Giacchino: A New Voice for Pixar Marco Beltrami: A New Voice for Westerns and Die Hard Films Short cuts Honorable Mentions The Son Also Rises: Thomas Newman Alexandre Desplat: Music for a Curious Film A. R. Rrahman: Music for a Slumdog Film Michael Giacchino: Music for a Scoreless Film Short Cuts Honorable Mentions Michael Giacchino: From Video Games to the Oscar James Horner: Scoring Avatar Hans Zimmer: Scoring Music for Super Sleuths Alexandre Desplat: Scoring in Several Genres Marco Beltrami: Scoring the End of the World Short Cuts Honorabale Mentions Postlude Bibliography General Index Index of Titles Index of Names About the Author
£70.20
Scarecrow Press The Invisible Art of Film Music A Comprehensive
Book SynopsisTrade ReviewThe second edition of this film history (1st ed., 1998) covers music scored for such films as Brokeback Mountain, Unbreakable, Sweeney Todd, Nine, and others released between 2000 and 2011. Biographical information about composers appears in sidebars, allowing the text to focus more on the history and details of the composers' film music. MacDonald offers an engaging study that presents important information about the history of film music. The book gives considerable attention to the three "godfather" Hollywood composers--Max Steiner, Dimitri Tiomkin, and Alfred Newman--but covers film composers, their scores, and their stylistic features for every decade. Composers such as Aaron Copland, whose output was mostly outside film scoring, are also included. Despite its title, however, much of the book is devoted to Hollywood film music. With its stronger analytic approach, Music and Cinema, edited by James Buhler, Caryl Flinn, and David Neumeyer, is geared more toward music majors. This volume will be useful for general readers interested in film music history and for undergraduates with no previous musical background. Summing Up: Recommended. Lower-division undergraduates and general readers. * CHOICE *Music plays an important part in the movies by underscoring emotions, heightening drama, and offering context to just about any and every scene. But most moviegoers rarely give film scores much thought—it is background, after all. This impressive text provides a comprehensive, chronological introduction to the art of film scoring, showcasing key developments of some of the most important films from 1920 to 2009, with an epilogue that takes a peek at 2010–12. Biographical sketches of 52 composers are featured as sidebars throughout the text. An extensive bibliography, general index, and title index complete the volume. Recommended for most large public libraries and for academic libraries supporting film-studies and music-composition programs. * Booklist *MacDonald updates his work The Invisible Art of Film Music: A Comprehensive History, in this second edition. This version includes the additions of 1998 to 2012, expanded articles and commentary, and photographs of composers. The work begins with a brief introduction of the early years of film history, followed by a chronological history of film music. Among the films and events of each year are 52 corresponding composer biographies, which MacDonald calls “biographical sketches,” of film music’s most influential and prominent composers, from Max Steiner to Michael Giacchino. The title concludes with an epilog that highlights the first few years of the current decade. A volume of this size, more than 600 pages, requires significant indexing. Although the general index is quite short, the title index and name index are substantial and invaluable. MacDonald does a great job organizing the book in a way that makes it valuable as a reference tool or as a cover-to-cover read. VERDICT A great resource for the general student or historian of music or film interested in the greatest and most influential movies and events of film music history. * Library Journal *When the 1st edition of this history of Hollywood film music appeared in 1998, one reviewer called it 'the best (history) available in the market.' In this 2d edition, the author, a retired college professor, has expanded coverage to 2012. As in the 1st edition, a chronological arrangement is used to cover composers and their scores written as background music for films (Hollywood musicals like Singin' in the Rain are excluded). After a chapter on music that was used to accompany the silent films, each of the chapters that follows cover a decade of film history. These chapters begin with an overview of the decade, followed by year-by-year coverage. For each year, the author highlights a few outstanding scores and their composers, followed by a section, 'Short Cuts,' that mentions briefly a few other important film scores. For example, in the section '1939,' Max Steiner's score for Gone with the Wind and Aaron Copeland's Of Mice and Men, get extensive coverage and brief mention is made of other film scores of the year by such composers as Erich Korngold and Dimitri Tiompkin. Each entry discusses both the music and the film (e.g., brief plot outlines). Coverage is nontechnical and anecdotal, often bordering on entertainment gossip. Scattered throughout the text are page-long profiles (each with a photograph) of 102 important composers beginning with Max Steiner and ending with Michael Giacchino, who composed the score for the 2009 animated feature Ratatouille. Each chapter also contains a list of sources used in the text. The book ends with an extensive six-page bibliography of books and articles on the subject of film music, followed by three indexes: the first on general topics, the second of film titles, and the third of names (because of the book's chronological arrangement the use of this index is essential to trace a composer's output). The book is both informative and entertaining. . . .[T]he present volume is also an excellent source of information on this subject. * American Reference Books Annual *Table of ContentsContents List of Biographical Sketches Preface Acknowledgments INTRODUCTION •••••••Music and the Birth of Film••••••• The Evolution of Movie Theaters Music for Silent Films D. W. Griffith Combining Sound and Film Nine Decades of Film Music Endnotes 1920-29 ••••••The Evolution of Synchronized Sound•••••• Prelude Radio Popular Music Movies 1920 The Movie Industry Goes West 1921 Valentino’s Tango D. w. Griffith: Dream Street 1922 Other Early Movie Sound Systems 1923 Lee De Forest’s Phonofilms The Sound of Silents 1924 Phonofilm Firsts (and Lasts) Erno Rapee: Motion Picture Moods 1925 Rival Sound Systems 1926 Warner Bros. and the Birth of Vitaphone William Fox and the Case-Sponable System Introducing the Movie Theme Song: “Charmaine” 1927 The First Talkie: The Jazz Singer The First Movietone Films Toward All-Talking Pictures More Movie Theme Songs 1928 The Transition to Talkies Achieving A Compatible Movie Sound System The Talking Trend Continues 1929 The Broadway Melody: All Talking! All Singing! All Dancing! A Deluge of Musical Madness The First Oscars Postlude Reinventing the Craft Endnotes 1930-39 •••••••The Dawn of the Golden Age ••••••• Prelude Radio Popular Music Movies The Advent of Film Underscoring The Three Godfathers of Film Music: Max Steiner Alfred Newman Dimitri Tiomkin 1930 The Short-Lived Heyday Of The Musical Film 1931 Early Dramatic Film Scores Max Steiner: Cimarron Alfred Newman: Street Scene Dimitri Tiomkin: Resurrection 1932 Max Steiner: Music from Wall to Wall Alfred Newman: Music For Exotic Locales Tiomkin Takes Time Out 1933 Kong Comes Calling The Return of the Musical Harry Warren: 42nd Street 1934 The First Oscars for Music Sergei Prokofiev: Lieutenant Kijé Alfred Newman: Our Daily Bread Jeanette MacDonald Films 1935 The Golden Age Begins Max Steiner: The Informer Arthur Bliss: Things to Come The Advent of Erich Wolfgang Korngold Franz Waxman: The Bride of Frankenstein The Formation of Studio Music Departments 1936 The Studio System Max Steiner: The Charge of the Light Brigade Erich Wolfgang Korngold: Anthony Adverse Charlie Chaplin: Modern Times Short Cuts 1937 Mythical Places and Exotic Locales Two Scores By Max Steiner Dimitri Tiomkin: Lost Horizon Alfred Newman: The Hurricane and The Prisoner of Zenda Rule Changes for Music Oscars Short Cuts 1938 Russian Film Music Dmitri Shostakovich: A Long Career Sergei Prokofiev: Alexander Nevsky Max Steiner: Jezebel Erich Wolfgang Korngold: The Adventures of Robin Hood Short Cuts 1939 Max Steiner: Gone with the Wind Steiner’s Other Scores Aaron Copland: The City and Of Mice and Men Silvestre Revueltas: La noche de los Mayas Short Cuts Postlude The Talkies Come of Age Endnotes 1940-49 •••••••World War II and Its Aftermath•••••• Prelude Radio Television Popular Music Movies 1940 Erich Wolfgang Korngold: The Sea Hawk Charlie Chaplin: The Great Dictator Franz Waxman: Rebecca Short Cuts 1941 Bernard Herrmann: Raising Kane Alfred Newman: How Green Was My Valley Miklós Rózsa: Films about Women Short Cuts 1942 Hollywood Goes To War Herbert Stothart: Mrs. Miniver More Patriotic Films Bernard Herrmann: The Magnificent Ambersons Erich Wolfgang Korngold: Kings Row Miklós Rózsa: The Jungle Book Max Steiner: Now, Voyager Short Cuts 1943 Alfred Newman: The Song of Bernadette Max Steiner: Casablanca Miklós Rózsa: Five Graves to Cairo Short Cuts 1944 David Raksin: Laura Max Steiner: Since You Went Away Erich Wolfgang Korngold: Between Two Worlds Short Cuts 1945 Miklós Rózsa and the Theremin Bernard Herrmann: Hangover Square Short Cuts 1946 Hugo Friedhofer: The Best Years of Our Lives Erich Wolfgang Korngold: Deception Roy Webb: Music for Thrillers Short Cuts 1947 Bernard Herrmann: The Ghost and Mrs. Muir Miklós Rózsa: Crime Films Short Cuts 1948 Ralph Vaughan Williams: Scott of the Antarctic Brian Easdale: The Red Shoes Max Steiner: Johnny Belinda and The Treasure of the Sierra Madre Short Cuts 1949 Aaron Copland: The Brooklyn Stravinsky The Three Godfathers: Still Scoring after All These Years Short Cuts Postlude The End of the Golden Age Endnotes 1950-59 ••••••The Decline of the Studio System•••••• Prelude Popular Music Television Movies 1950 Hollywood At Midcentury Franz Waxman: Sunset Blvd. Dimitri Tiomkin: Cyrano de Bergerac and D.O.A. Alfred Newman: All about Eve Short Cuts 1951 Alex North: A Streetcar Named Desire Bernard Herrmann: The Day the Earth Stood Still Dimitri Tiomkin: From Sci-Fi Film to Thriller Short Cuts 1952 Dimitri Tiomkin: High Noon Victor Young: From Scaramouche to The Greatest Show on Earth Short Cuts 1953 Alfred Newman: The Robe Bernard Herrmann: Three Action Potboilers Miklós Rózsa: Three Historical Dramas Short Cuts Footnote to 1953 1954 Leonard Bernstein: On the Waterfront Alfred Newman and Bernard Herrmann: An Unusual Partnership Short Cuts 1955 Leonard Rosenman: From East Of Eden To Rebel Without A Cause Bernard Herrmann: From The Kentuckian To The Trouble with HarrY Elmer Bernstein: The Man with the Golden Arm George Duning: Picnic Walter Schumann: The Night of the Hunter Short Cuts 1956 Victor Young: Around the World in 80 Days Elmer Bernstein: The Ten Commandments Dimitri Tiomkin: Giant and Friendly Persuasion Short Cuts 1957 Franz Waxman: The Pinnacle of His Career Malcolm Arnold: The Bridge on the River Kwai Short Cuts 1958 Bernard Herrmann: Great Collaborations Jerome Moross: The Big Country New Kids on the Block Short Cuts 1959 Miklós Rózsa: Ben-Hur Bernard Herrmann: Journey to the Center of the Earth and North by Northwest Adolph Deutsch: Some Like It Hot Jazz At The Movies: Duke Ellington and John Lewis Short Cuts Postlude Two Rising Stars Endnotes 1960-69 ••••••The Changing of the Guard•••••• Prelude Popular Music Television Movies Elmer Bernstein: The Magnificent Seven Scores for Historical Epics André Previn: Elmer Gantry Short Cuts The Henry Mancini-Blake Edwards Collaboration Miklós Rózsa: Scoring Samuel Bronston’s Epics Elmer Bernstein: Both in and out of the Saddle Short Cuts The New Wave Maurice Jarre: Lawrence of Arabia Two by Elmer Bernstein Two by Bernard Herrmann Short Cuts Footnote to 1962 John Addison: Tom Jones Alfred Newman: How the West Was Won Short Cuts Footnote to 1963 Laurence Rosenthal: Becket Malcolm Arnold: The Chalk Garden Short Cuts Maurice Jarre: Doctor Zhivago Music for Epics Short Cuts Jerry Goldsmith: A Composer for All Seasons Bernard Herrmann: Fahrenheit 451 Short Cuts Lalo Schifrin: Cool Hand Luke Quincy Jones: Scoring Hot and Cold Ennio Morricone: Three Spaghetti Westerns New Directions in Film Music Short Cuts John Barry: The Lion in Winter Nino Rota: Romeo and Juliet Jerry Goldsmith: Planet Of The Apes Marvin Hamlisch: The Swimmer Short Cuts Footnote to 1968 John Williams: The Reivers Burt Bacharach: Butch Cassidy and the Sundance Kid Short Cuts Postlude Passing the Torch Endnotes 1970-79 •••The Revival of the Symphonic Film Score••• Prelude Popular Music Television Movies Henry Mancini: From Darling Lili to The Night Visitor Francis Lai: Love Story Short Cuts Michel Legrand: Summer of’42 Bernard Herrmann: A Resurgence Walter Carlos: A Clockwork Orange Short Cuts Footnote to 1971 Nino Rota: The Godfather Jerry Goldsmith: The Other Deliverance: “Dueling Banjos” Short Cuts Marvin Hamlisch: The Way We Were and The Sting Jerry Goldsmith: Papillon By Borrowing Possessed: The Exorcist Short Cuts Richard Rodney Bennett: Murder on the Orient Express Francis Ford Coppola Films Short Cuts David Shire: Farewell, My Lovely and The Hindenburg John Williams: Jaws Jack Nitzsche: One Flew over the Cuckoo’s Nest Short Cuts Bernard Herrmann: Requiem for a Musical Heavyweight In Herrmann’s wake Short Cuts John Williams: Celestial Encounters Jerry Goldsmith: From MacArthur to Damnation Alley Short Cuts Jerry Goldsmith: From Coma to Magic John Williams: From Jaws 2 to Superman John Carpenter and Giorgio Moroder: Two Synthesized Scores Short Cuts Miklós Rózsa: Thriller and Fantasy Jerry Goldsmith: In Outer Space Viva Vivaldi! Three Scores in the Baroque Style Short Cuts Postlude The Last Hurrah Endnotes 1980-89 •••••The Influence of Synthesized Sound••••• Prelude New Technology Popular Music Television Movies John Barry: Raise the Titanic and Somewhere in Time John Williams: The Empire Strikes Back John Morris: The Elephant Man Short Cuts Dave Grusin: On Golden Pond John Williams: Raiders of the Lost Ark Randy Newman: Ragtime Vangelis: Chariots of Fire Some Things Borrowed, Some Things New: Excalibur Short Cuts Basil Poledouris: Conan the Barbarian John Williams: E.T. the Extra-terrestrial Jerry Goldsmith: Poltergeist Short Cuts Bill Conti: The Right Stuff Jerry Goldsmith: From Under Fire to Twilight Zone: The Movie Short Cuts Randy Newman: The Natural Maurice Jarre: A Passage to India and Dreamscape Short Cuts Popular Music in Films Bruce Broughton: From Small Screen to Big Screen Short Cuts Ennio Morricone: The Mission Jerry Goldsmith: Hoosiers Short Cuts John Williams: Empire of the Sun A Multicultural Score: The Last Emperor Peter Martin and Borrowed Classical Themes: Hope and Glory Short Cuts Alan Silvestri: Who Framed Roger Rabbit Danny Elfman: Beetlejuice Hans Zimmer: Rain Man Short Cuts James Horner: Field of Dreams Patrick Doyle: Henry V John Williams: Born on the Fourth of July Short Cuts Postlude An Emphasis on Youth Endnotes 1990-99 ••••••••The Rise of Independent Films•••••••• Prelude Popular Music in Films Television Movies John Barry: Dances with Wolves Danny Elfman: Edward Scissorhands Randy Newman: Avalon and Awakenings Short Cuts Alan Menken: Beauty and the Beast James Newton Howard: The Prince of Tides Michael Kamen: Robin Hood-Prince of Thieves Elmer Bernstein: From Rambling Rose to Oscar Short Cuts Jerry Goldsmith: From Basic Instinct To Forever Young Trevor Jones and Randy Edelman: The Last of the Mohicans Short Cuts Patrick Doyle: Another Great Collaboration Elmer Bernstein: The Age of Innocence and The Good Son John Williams: Jurassic Park and Schindler’s List Short Cuts Hans Zimmer: The Lion King Alan Silvestri: Forrest Gump James Horner: Legends of the Fall and Clear and Present Danger Short Cuts Michael Kamen: Mr. Holland’s Opus Two Categories of Film Scores Short Cuts Elliot Goldenthal: Michael Collins Mark Isham: Fly Away Home Gabriel Yared: The English Patient Short Cuts Danny Elfman: From Men in Black to Good Will Hunting John Williams: From Rosewood to Amistad James Horner: The Devil’s Own and Titanic Minimalism in Film Music Short Cuts Bruce Broughton: Lost (and found) in Space Nicola Piovani: Life is Beautiful James Horner: From Deep Impact To Mighty Joe Young Short Cuts Honorable Mentions John Corigliano: The Red Violin James Newton Howard: From The Sixth Sense To Snow Falling On Cedars Jerry Goldsmith: From The Mummy To The 13th Warrior Thomas Newman: American Beauty And The Green Mile Short Cuts Honorable Mentions Postlude End of the Century: Veteran Composers Vs. Newcomers 2000-2009 ••••••The Derivative Decade••••••••• Prelude Popular Music Television Movies James Newton Howard: An Unbreakable Collaboration James Horner: From A Perfect Storm to The Grinch Hans Zimmer: Gladiator Tan Dun: Crouching Tiger, Hidden Dragon Short Cuts Honorable Mentions James Horner: From Iris to A Beautiful Mind John Williams: Music for Robots and Wizards Howard Shore: Scoring a Tolkien Saga Short Cuts Honorable Mentions The Williams/Spielberg Collaboration Continues James Newton Howard: From Signs to Treasure Planet Jerry Goldsmith and Elmer Bernstein: Still Going Strong Howard Shore: Continuing the Lord of the Rings Saga Short cuts Honorable Mentions Howard Shore: Lord of the Ring Hans Zimmer: Music for Africans, Samurais, and Pirates Four Scores by James Horner Clint Eastwood as Composer: Mystic River Short cuts Honorable Mentions Footnote to 2003 Alexandre Desplat: Giving Birth James Newton Howard: From Hidalgo to Collateral John Williams: Music for Harry Potter and Tom Hanks Howard Shore: Scoring The Aviator Short Cuts Honorable Mentions Footnote to 2004 End of the Star Wars Saga John Williams: Still more Spielberg Scores Replacement Composers Two Composers for One Superhero Mark Isham: Taking A Crash Course Shot cuts Honorable Mentions A Touch Of Glass Three Scores By Alexandre Desplat Two Scores By James Newton Howard Three By Zimmer Two By Mychael Danna Short Cuts Honorable Mentions Footnote New Musical Voices from Europe: Dario Marianelli Nicholas Hooper: A New Voice for Harry Potter Michael Giacchino: A New Voice for Pixar Marco Beltrami: A New Voice for Westerns and Die Hard Films Short cuts Honorable Mentions The Son Also Rises: Thomas Newman Alexandre Desplat: Music for a Curious Film A. R. Rrahman: Music for a Slumdog Film Michael Giacchino: Music for a Scoreless Film Short Cuts Honorable Mentions Michael Giacchino: From Video Games to the Oscar James Horner: Scoring Avatar Hans Zimmer: Scoring Music for Super Sleuths Alexandre Desplat: Scoring in Several Genres Marco Beltrami: Scoring the End of the World Short Cuts Honorabale Mentions Postlude Bibliography General Index Index of Titles Index of Names About the Author
£127.80
Rowman & Littlefield 100 Greatest Film Scores
Book SynopsisThe background music on a film can make or break the audience experience. Imagine the shower scene in Psycho without the shrieking violins or Jaws without the ominous notes that portend the shark’s attack! Musical accompaniment helps create atmosphere for the viewer, from subtle undertones to compositions that heighten the drama. In 100 Greatest Film Scores, authors Matt Lawson and Laurence E. MacDonald consider the finest music produced for cinema since the development of motion picture sound. Each entry includes background details about the film, biographical information about the composer, a concise analysis of the score, and a summary of the score’s impact both within the film and on cinematic history. Among the many films cited here are iconic scores for The Adventures of Robin Hood, A Beautiful Mind, The Big Country, Chariots of Fire, Citizen Kane, Edward Scissorhands, Fargo, Gone with the Wind, The Great Escape, Jurassic Park, King Kong, Lawrence of Arabia, The Lion in Winter, North by Northwest, On the Waterfront, Out of Africa, The Pink Panther, Raiders of the Lost Ark, Vertigo, and Up. Arranged alphabetically and featuring a photo of each movies, the entries in this volume give the reader insight into how music functions across a wide spectrum of film genres. Representing some of the greatest composers in the history of cinema including Elmer Bernstein, Bernard Herrmann, Alfred Newman, John Williams, and Hans Zimmer, 100 Greatest Film Scores will be of interest to fans of movie music everywhere.Trade ReviewThe writing is authoritative and shows extensive knowledge of each film score. Lists of “top” anything—whether films, albums, or restaurants—are subjective, so personal satisfaction may vary, but the authors present an admirable mix of styles and film eras that should please most readers.This new volume recognizes 100 important film scores based on musical quality, impact on the moviegoing experience, and importance to the history of film. Diverse eras are nicely covered with such classics as Casablanca and Psycho, as well as more contemporary films like Interstellar and Gladiator. Each entry features the film’s release year, historical details, listing of cast members, and a brief plot summary. From there, the authors go into great detail about the score’s themes, moods, and how the music enhances the film, offering musical descriptions from specific scenes to illustrate their points. Also included is information about award nominations or wins, a listing of notable recordings, and a short bibliography for more information. The writing is authoritative and shows extensive knowledge of each film score. Lists of “top” anything—whether films, albums, or restaurants—are subjective, so personal satisfaction may vary, but the authors present an admirable mix of styles and film eras that should please most readers. For good measure, they include a glossary, brief composer biographies, and a list of the “next” 100 for readers to explore on their own.“100 Greatest Film Scores” is a great starting point for those interested in film music. . . Whether you’re a film score connoisseur or simply have a casual interest in film music, “100 Greatest Film Scores” is the book for you. Highly recommended. * DVD Corner *Table of ContentsIntroduction The Adventures of Robin Hood (1938) Alexander Nevsky (1938) Around the World in 80 Days (1956) Avalon (1990) Back to the Future (1985) Batman (1989) A Beautiful Mind (2001) Becket (1964) Ben-Hur (1959) The Best Years of Our Lives (1946) The Big Country (1958) Blade Runner (1982) Born Free (1966) Braveheart (1995) Breakfast at Tiffany's (1961) The Bride of Frankenstein (1935) The Bridge on the River Kwai (1957) Casablanca (1943) Chariots of Fire (1981) Chinatown (1974) Cinema Paradiso (1989) Citizen Kane (1941) City Lights (1931) Close Encounters of the Third Kind (1977) Conan the Barbarian (1982) Dances with Wolves (1990) The Day the Earth Stood Still (1951) Doctor Zhivago (1965) East of Eden (1955) Edward Scissorhands (1990) Empire of the Sun (1987) E.T. - The Extra-Terrestrial (1982) Fargo (1996) Forrest Gump (1994) The Ghost and Mrs. Muir (1947) Giant (1956) Gladiator (12000) The Godfather I and II (1972-74) Gone with the Wind (1939) The Great Escape (1963) The Green Mile (1999) Henry V (1944) High Noon (1952) How the West Was Won (1963) Interstellar (2014) Jaws (1975) Jurassic Park (1993) King Kong (1933) King of Kings (1961) Kings Row (1942) The Last of the Mohicans (1992) Laura (1944) Lawrence of Arabia (1962) The Lion in Winter (1968) The Lord of the Rings: The Fellowship of the Ring (2001) Lost Horizon (1937) The Magnificent Seven (1960) The Man with the Golden Arm (1955) The Mission (1986) The Natural (1984) North by Northwest (1959) Now, Voyager (1942) The Omen (1976) On Golden Pond (1981) On the Waterfront (1954) Once Upon a Time in the West (1969) Out of Africa (1985) The Piano (1993) The Pink Panther (1964) Pirates of the Caribbean: The Curse of the Black Pearl (2003) Planet of the Apes (1968) The Prisoner of Zenda (1937) Psycho (1960) Quo Vadis (1951) Raiders of the Lost Ark (1981) The Red Pony (1949) The Red Violin (1999) The Robe (1953) Schindler's List (1993) Scott of the Antarctic (1948) The Sea Hawk (1940) The 7th Voyage of Sinbad (1958) The Shawshank Redemption (1994) Somewhere in Time (1980) The Song of Bernadette (1943) Spartacus (1960) Spellbound (1945) The Spirit of St. Louis (1957) Star Trek - The Motion Picture (1979) Star Wars (1977) A Streetcar Named Desire (1951) Sunset Blvd. (1950) Superman (1978) The Third Man (1950) Titanic (1997) To Kill a Mockingbird (1962) Tom Jones (1963) Unbreakable (2000) Up (2009) Vertigo (1958) Appendix A: The Next 100 Film Scores Appendix B: Profiles of Composers Glossary Bibliography Index About the Authors
£42.75
