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Film Music
Classical purists say it isn't 'real' music, yet it regularly tops charts and plays to sell-out concert hall audiences. Chart music followers consider the orchestral form passé, yet artists are increasingly sampling from cinema classics. Many cinemagoers are unaware there is music accompanying the films they watch. Some composers say that's the way it should be. Others strongly disagree. This book celebrates the rich history behind all these views.
Music in Film
Music in Film: Soundtracks and Synergy discusses a broad range of films - from classical Hollywood through to American independents and European art films - and offers a brief history of the development of music in film from the silent era to the present day. In particular, this book explores how music operates as a narrative device, and also emotionally and culturally. By focusing on the increasing synergy between film and music texts, it includes an extended case study of Magnolia as a film script which developed from a pop song. Emphasis is also placed on the divide between the `high culture' of the orchestral score and the `low culture' of the pop song.
Sound and Vision
A reference to motion picture soundtracks. It discusses the rich history ofoundtracks, from composed film scores to movie musicals and songompilations. Divided into three parts, the book begins with an essayetailing the history of the field from its beginnings to the complexnternational business it has become, then offers an overview of many of theomposers who have written music for movies over the years, each with a briefiographical sketch and a discussion of their best work as made available onong-playing records or compact discs, and finally looks at movie musicalsnd song compilation scores that have been issued over the years. Aomprehensive bibliography is also included.
Film Music
Peter Larsen traces the history of music in film and discusses central theoretical questions concerning its narrative and psychological functions. He looks in depth at film classics such a Howard Hawks's 'The Big Sleep' and Hitchcock's 'North by Northwest' as well as later blockbusters such as 'Star Wars' and 'Bladerunner'.
Deleuze and Film Music
The analysis of film music is emerging as one of the fastest-growing areas of interest in film studies. Yet scholarship in this up-and-coming field has been beset by the lack of a common language and methodology between film and music theory. Drawing on the philosophy of Gilles Deleuze, film studies scholar Gregg Redner provides a much-needed analysis of the problem which then forms the basis of his exploration of the function of the film score and its relation to film's other elements. Not just a groundbreaking examination of persistent difficulties in this new area of study, Deleuze and Film Music also offers a solution—a methodological bridge—that will take film music analysis to a new level.
Theory of Film Music
Theory of Film Music strives to explain how music functions in film, how it is perceived by viewers, and which meanings and values it represents in the dramaturgy of a film work. The book points out the scope of expressive potentials of music in film and arranges them in systems. It draws upon the knowledge of psychology of perception, acoustics, aesthetics of music and film, and it explains film music through concepts, and terms of semiotics. It is concerned with music in relation to film space and time, music's incorporation in film montage, and music's impressiveness in relation to the graphic nature of film pictures. It points out the expression and symbolism of individual historical and genre types of music. Trying to provide a more vivid account of the extent of theoretically outlined propositions, the book offers more than 200 examples of verbal description of certain moments in films ranging from the beginnings of the sound film up to the present. They also manifest typical creative tendencies in the history of film music. The book is supplemented with score excerpts, analyses, photographs, and registers.
Popular Music and Film
The growing presence of popular music in film is one of the most exciting areas of contemporary Film Studies. Written by a range of international specialists, this collection includes case studies on Sliding Doors, Topless Women Talk About Their Lives, The Big Chill and Moulin Rouge, considering the work of populist musicians such as the Beatles, Jimi Hendrix and Sting. Contributors to the volume include Robb Wright, Lesley Vize, Phil Powrie, Anno Mungen, Anaheid Kassabian, Lauren Anderson, Antti-Ville Karja, K. J. Donnelly, Lee Barron, Melissa Carey Michael Hannan and Jaap Kooijman.
Changing Tunes
The study of pre-existing film music is a well-established part of Film Studies, covering 'classical' music and popular music. Generally, these broad musical types are studied in isolation. This anthology brings them together in twelve focused case studies. The first section explores art music; it revolves around the debate on the relation between the aural and visual tracks, and whether pre-existing music has an integrative function or not. The second section is devoted to popular music in film, and shows how very similar the functions of popular music in film are to the supposedly more 'elite' classical music and opera.
A History of Film Music
This book provides a comprehensive and lively introduction to the major trends in film scoring from the silent era to the present day, focussing not only on dominant Hollywood practices but also offering an international perspective by including case studies of the national cinemas of the UK, France, India, Italy, Japan and the early Soviet Union. The book balances wide-ranging overviews of film genres, modes of production and critical reception with detailed non-technical descriptions of the interaction between image track and soundtrack in representative individual films. In addition to the central focus on narrative cinema, separate sections are also devoted to music in documentary and animated films, film musicals and the uses of popular and classical music in the cinema. The author analyses the varying technological and aesthetic issues that have shaped the history of film music, and concludes with an account of the modern film composer's working practices.
