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John Walter Hill's highly anticipated text presents a broad survey of the music of Western Europe from 1580 to 1750.
In The Films of Walter Hill: Another Time, Another Place, Brian Brems explores how, as action emerged as a full-fledged genre of cinema, Walter Hill established his position in the genre, first as a screenwriter and then as a director. Hill, Brems argues, helped merge the thematic and stylistic concerns of the Western and film noir into a new action cinema, establishing a reputation for mythic, highly-stylized storytelling driven by a relentless pace. Through analyses of Hill’s filmography, this book demonstrates his consistent use of the architecture of classical storytelling to help codify the language of the action movie. These observations are supported by extensive conversations with Walter Hill and several of his on-screen collaborators, including Lance Henriksen, Sigourney Weaver, David Patrick Kelly, James Renmar, and William Sadler. Ultimately, Brems positions Hill as a key American film artist, whose work has inspired countless imitations.
The definitive critical appreciation of Walter Hill, the acclaimed director of action films, thrillers, Westerns, and other genre pictures.
This volume explores the possibilities of cognate music theory, a concept introduced by musicologist John Walter Hill to describe culturally and historically situated music theory. Cognate music theories offer a new way of thinking about music theory, music history, and the relationship between insider and outsider perspectives when researchers mediate between their own historical and cultural position, and that of the originators of the music they are studying. With contributions from noted scholars of musicology, music theory, and ethnomusicology, this volume develops a variety of approaches using the cognate music theory framework and shows how this concept enables more nuanced and critical analyses of music in historical context. Addressing topics in music from the seventeenth to nineteenth centuries, this volume will be relevant to musicologists, music theorists, and all researchers interested in reflecting critically on what it means to construct a theory of music. Chapter 9 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND)] 4.0 license.
This is a comprehensive journey through the long career of auteur Hollywood filmmaker Walter Hill, director of The Driver, The Warriors, Southern Comfort, 48 Hrs., Streets of Fire and many more. The book covers every motion picture that Hill directed, with historical detail and critical commentary on each, and discusses Hill's overall cultural relevance and industrial impact. It includes candid conversations with Hill; producer Larry Gordon; actors Nicholas Guest, William Sadler and Michael Pare; cinematographers Lloyd Ahern and Matthew Leonetti; composers Van Dyke Parks and David Mansfield; screenwriter Larry Gross, and others who worked with Hill throughout his prolific career.
This book offers a clear and consistent English translation of Riepel's first two volumes, which contain a substantially complete presentation of the first and most influential comprehensive compositional and analytical theory that relates to the major homophonic instrumental forms of the eighteenth century, the symphony, concerto, and sonata. Used in conjunction with the glossary of translated terms, this translation offers new illumination of Riepel's theory, even for native German speakers. The five chapters of commentary demonstrate that Riepel conceived of macrorhythms at the phrase and period level based on the dynamics of implication and realization; that he distilled this theory from...