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Source Music in Motion Pictures
This book discusses what the author calls "source music." She defines it as "music, the origin of which is visually justified on the screen, as for example to see and hear someone playing the piano in a film." This discussion includes the history of its use in films, special types of source music, and the source music sequence.
Music in Motion Pictures
It was desired to discover means of bettering the force and power of instructional motion pictures, and the possibility that adding background music to informational films could be effective led to the reported review. Two versions of a sound film subject were suggested, one with and the other without musical accompaniment. The review covers the functions of music in motion pictures, techniques, and applications to learning.
Music, Movies, Meanings, and Markets
Music, Movies, Meanings, and Markets: Cinemajazzamatazz focuses on (macro)marketing-related aspects of film music in general and on the cinemusical role of jazz in particular. After a review of other work on music in motion pictures, the book explores and illustrates the ways in which on-screen jazz performances contribute to the development of dramatic meanings in various films, many of which address the art-versus-commerce theme as a central concern.
Music, Money and Success
The Insider's Guide to Making Money in the Music Industry. Millions dream of attaining glamour and wealth through music. This book reveals the secrets of the music business that have made fortunes for the superstars. A must-have for every songwriter, performer and musician.
Movie Music, the Film Reader
This reader brings together a wide range of writings to examine the role of music in cinema. Articles by leading critics including Theodor Adorno, Lawrence Grossberg and Lisa A. Lewis explore the function of the soundtrack, the place of song in film, andlook at how cinema has represented music and the music industry.
Practical Art of Motion Picture Sound
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Sound for Moving Pictures
Sound for Moving Pictures presents a new and original sound design theory called the Four Sound Areas framework, offering a conceptual template for constructing, deconstructing and communicating all types of motion picture soundtracks; and a way for academics and practitioners to better understand and utilize the deeper, emotive capabilities available to all filmmakers through the thoughtful use of sound design. The Four Sound Areas framework presents a novel approach to sound design that enables the reader to more fully appreciate audience emotions and audience engagement, and provides a flexible, practical model that will allow professionals to more easily create and communicate soundtracks with greater emotional significance and meaning. Of obvious benefit to sound specialists, as well as motion picture professionals such as film producers, directors and picture editors, Sound for Moving Pictures also provides valuable insight for others interested in the subject; such as those involved with teaching soundtrack analysis, or those researching the wider topics of film studies and screen writing.
