Search results for: film-score-monthly

Film Score Monthly

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American Record Labels

Author : Source Wikipedia
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Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 167. Chapters: Film Score Monthly, Varese Sarabande, Warner Bros. Records, Zomba Group of Companies, Atlantic Records, Warner Music Group, Columbia Records, WWE Music Group, Decca Records, Capitol Records, Fortune Records, Motown, RCA Records, La-La Land Records, Stax Records, Shady Records, Ampex, Intrada Records, ZE Records, Third Man Records, Candid Records, Edison Records, G-Unit Records, Bad Boy Records, Sony Music Entertainment, Small Stone Records, Roc-A-Fella Records, Priority Records, Victor Talking Machine Company, Mercury Records. Excerpt: Film Score Monthly is an online magazine (and former print magazine) founded by editor-in-chief and executive producer Lukas Kendall in June 1990 as The Soundtrack Correspondence List. It is dedicated to the art of film and television scoring. In September 1991, Film Score Monthly began as The Soundtrack Club, a pamphlet sized publication maintained by Lukas Kendall, who was attending Amherst College at the time. In June 1992, the publication was renamed Film Score Monthly and, upon Kendall's graduation in 1996, relocated its base of operations to Los Angeles. At the same time Film Score Monthly revamped its format, introduced full-color covers, increased its length and enjoyed the peak of its circulation. FSM existed in this guise for nearly a decade. In 2005, it was announced that the magazine would cease publication of the print edition and move online-only where it could include multi-media content and address the technological advances inherent to the Web in the 21st century. Regular staff includes: Managing Editor, Tim Curran; Executive Editor, Jon Kaplan; Editor in Absentia, Jeff Bond; Contributor at Large, Doug Adams; Creative Advisor, Joe Sikoryak; Editorial Consultant, Al Kaplan. Mid to late 2011 saw Lukas Kendall make a long post describing the reason the Film Score...

A History of Film Music

Author : Mervyn Cooke
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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.

John Williams s Film Music

Author : Emilio Audissino
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John Williams is one of the most renowned film composers in history. He has penned unforgettable scores for Star Wars, the Indiana Jones series, E.T. the Extra-Terrestrial, Jaws, Superman, and countless other films. Fans flock to his many concerts, and with forty-nine Academy Award nominations as of 2014, he is the second-most Oscar-nominated person after Walt Disney. Yet despite such critical acclaim and prestige, this is the first book in English on Williams’s work and career. Combining accessible writing with thorough scholarship, and rigorous historical accounts with insightful readings, John Williams’s Film Music explores why Williams is so important to the history of film music. Beginning with an overview of music from Hollywood’s Golden Age (1933–58), Emilio Audissino traces the turning points of Williams’s career and articulates how he revived the classical Hollywood musical style. This book charts each landmark of this musical restoration, with special attention to the scores for Jaws and Star Wars, Williams’s work as conductor of the Boston Pops Orchestra, and a full film/music analysis of Raiders of the Lost Ark. The result is a precise, enlightening definition of Williams’s “neoclassicism” and a grounded demonstration of his lasting importance, for both his compositions and his historical role in restoring part of the Hollywood tradition. Best Special Interest Books, selected by the American Association of School Librarians Best Books for General Audiences, selected by the Public Library Reviewers

Gabriel Yared s The English Patient

Author : Heather Laing
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This resource offers the most in-depth examination to date of the work of composer Gabriel Yared, through a uniquely interdisciplinary analysis that integrates film theory and musicology.

David Shire s The Conversation

Author : Juan Chattah
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Though overshadowed by the critical and commercial success of The Godfather, Part II, Francis Ford Coppola’s other film of 1974 still managed to snag Oscar nominations for Best Screenplay and Best Picture. A study of paranoia that weaves together a balanced blend of music, dialogue, and sound effects, The Conversation is regarded as one of the greatest films of the 1970s. In this volume, the author focuses on the background of composer David Shire (who was Coppola’s brother-in-law at the time the film was made) and the creation of the score, but also emphasizes the importance of sound in the film.

James Newton Howard s Signs

Author : Erik Heine
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Released in 2002, M. Night Shyamalan’s Signs was the director’s follow-up to The Sixth Sense and Unbreakable, and his third collaboration with composer James Newton Howard. Well received by audiences and critics alike, the film was often cited by reviewers for its music. With its dependence on a single motive, the score is unique in Howard’s career, and one of his most effective and haunting works. In James Newton Howard’s Signs: A Film Score Guide, Erik Heine provides the first close reading of the composer’s work. Heine discusses Howard’s musical style and influences, as well as his ability to compose for a variety of genres, acknowledging him as one of the most versatile composers working today. The book shows how early sketches of cues for Signs were developed into the final score, allowing the reader insight into Howard’s compositional process. The book also demonstrates how Howard’s style is difficult to pigeonhole, since his focus is on serving the needs of the film. Drawing on completed orchestrated scores, as well as other material from the James Newton Howard Archive at the University of Southern California, the level of musical detail provided in this volume is unsurpassed. As a book that addresses Howard’s compositional style—and the only volume that significantly examines the music in any Shyamalan film—James Newton Howard’s Signs: A Film Score Guide will be of interest to music scholars, film scholars, and fans of the composer’s work.

Danny Elfman s Batman

Author : Janet K. Halfyard
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Danny Elfman is recognized as one of the most successful, interesting, and innovative figures in recent film music composition. He came to the fore in the late 1980s in connection with his collaboration with Tim Burton on his films including Pee-Wee's Big Adventure (1985), Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), The Nightmare before Christmas (1993), and Sleepy Hollow (1999). In addition to this, Elfman has composed music for more than 40 other films, including Somersby (1993), Dolores Claibourne (1995), Good Will Hunting (1997), Men in Black (1997), and Spiderman (2002). Beetlejuice was the first mainstream commercial success of the collaboration, but Batman was the film which marked Tim Burton's arrival as a major figure in Hollywood film direction, and equally established Danny Elfman as a film score composer, particularly in relation to action and fantasy genres. The score for Batman won a Grammy in 1989 and is an outstanding example of his collaboration with Burton as well as admirably demonstrating his particular talents and distinctive compositional voice. In particular, it displays the characteristic "darkness" of his orchestration in this genre and the means he uses to create a full length film score from what is often a relatively small amount of musical material, in this case the famous Batman theme. This book examines Elfman's scoring technique and provides a detailed analysis and commentary on the Batman score. The film is discussed in the context of its comic-book origins and the fantasy-action genre, setting it and its score against the late 1970s and early 1980s equivalents such as Star Wars and Superman, and revealing how Burton and Elfman between them changed the cinematic idea of what a superhero is. The book also explores Elfman's musical background, his place within the film music industry and the controversy that sprang up following the release of B

Film and Television Scores 1950 1979

Author : Kristopher Spencer
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Hollywood film scores underwent a supersonic transformation from the 1950s through the 1970s. This genre-by-genre overview of film and television soundtrack music covers a period of tremendous artistic and commercial development in the medium. Film and television composers bypassed the classical tradition favored by earlier screen composers to experiment with jazz, rock, funk and avant-garde styles. This bold approach brought a rich variety to film and television productions that often took on a life of its own through records and CDs. From Bernard Herrmann to Ennio Morricone, the composers of the “Silver Age” changed the way movie music was made, used, and heard. The book contains more than 100 promotional film stills and soundtrack cover art images.

Complete Guide to Film Scoring

Author : Richard Davis
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A comprehensive guide to the business, process, and procedures for writing music for film or television. Includes interviews with 19 film scoring professionals.

A Dictionary of Cinema Quotations from Filmmakers and Critics

Author : Stephen M. Ringler
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“The cinema isn’t a slice of life, it’s a slice of cake”—Alfred Hitchcock. “If you make a popular movie, you start to think where have I failed?”—Woody Allen. “A film is the world in an hour and a half”—Jean-Luc Godard. “I think you have to be slightly psychopathic to make movies”—David Cronenberg. This compendium contains more than 3,400 quotations from filmmakers and critics discussing their craft. About 1,850 film people are included—Buñuel, Capra, Chaplin, Disney, Fellini, Fitzgerald, Griffith, Kael, Kurasawa, Pathé, Sarris, Schwarzenegger, Spielberg, Waters and Welles among them. The quotations are arranged under 31 topics such as acting, animation, audience, budget, casting, critics, costume design, directing, locations, reviews, screenwriting, special effects and stardom. Indexing by filmmakers (or critics), by film titles and by narrow subjects provides a rich array of points of access.

The Ashgate Research Companion to Minimalist and Postminimalist Music

Author : Keith Potter
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In recent years the music of minimalist composers such as La Monte Young, Terry Riley, Steve Reich and Philip Glass has, increasingly, become the subject of important musicological reflection, research and debate. Scholars have also been turning their attention to the work of lesser-known contemporaries such as Phill Niblock and Eliane Radigue, or to second and third generation minimalists such as John Adams, Louis Andriessen, Michael Nyman and William Duckworth, whose range of styles may undermine any sense of shared aesthetic approach but whose output is still to a large extent informed by the innovative work of their minimalist predecessors. Attempts have also been made by a number of academics to contextualise the work of composers who have moved in parallel with these developments while remaining resolutely outside its immediate environment, including such diverse figures as Karel Goeyvaerts, Robert Ashley, Arvo Pärt and Brian Eno. Theory has reflected practice in many respects, with the multimedia works of Reich and Glass encouraging interdisciplinary approaches, associations and interconnections. Minimalism’s role in culture and society has also become the subject of recent interest and debate, complementing existing scholarship, which addressed the subject from the perspective of historiography, analysis, aesthetics and philosophy. The Ashgate Research Companion to Minimalist and Postminimalist Music provides an authoritative overview of established research in this area, while also offering new and innovative approaches to the subject.

Danny Elfman s Batman

Author : Janet K. Halfyard
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This resource is the most in-depth scholarly resource available on Danny Elfman. It integrates a careful study of Elfman's scoring technique with a detailed analysis of the film itself.

100 Greatest Film Scores

Author : Matt Lawson
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This book considers the greatest film scores produced over a span of more than 80 years. Each entry includes background information 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 it accompanies, but also on cinematic history.

Intersecting Film Music and Queerness

Author : Jack Curtis Dubowsky
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Intersecting Film, Music, and Queerness uses musicology and queer theory to uncover meaning and message in canonical American cinema. This study considers how queer readings are reinforced or nuanced through analysis of musical score. Taking a broad approach to queerness that questions heteronormative and homonormative patriarchal structures, binary relationships, gender assumptions and anxieties, this book challenges existing interpretations of what is progressive and what is retrogressive in cinema. Examined films include Bride of Frankenstein, Louisiana Story, Rudolph the Red-Nosed Reindeer, Blazing Saddles, Edward Scissorhands, Brokeback Mountain, Boys Don't Cry, Transamerica, Thelma & Louise, Go Fish and The Living End, with special attention given to films that subvert or complicate genre. Music is analyzed with concern for composition, intertextual references, absolute musical structures, song lyrics, recording, arrangement, and performance issues. This multidisciplinary work, featuring groundbreaking research, analysis, and theory, offers new close readings and a model for future scholarship.

Film Music in the Sound Era

Author : Jonathan Rhodes Lee
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Film Music in the Sound Era: A Research and Information Guide offers a comprehensive bibliography of scholarship on music in sound film (1927–2017). Thematically organized sections cover historical studies, studies of musicians and filmmakers, genre studies, theory and aesthetics, and other key aspects of film music studies. Broad coverage of works from around the globe, paired with robust indexes and thorough cross-referencing, make this research guide an invaluable tool for all scholars and students investigating the intersection of music and film. This guide is published in two volumes: Volume 1: Histories, Theories, and Genres covers overviews, historical surveys, theory and criticism, studies of film genres, and case studies of individual films. Volume 2: People, Cultures, and Contexts covers individual people, social and cultural studies, studies of musical genre, pedagogy, and the industry. A complete index is included in each volume.

A Research Guide to Film and Television Music in the United States

Author : Jeannie G. Pool
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This volume addresses the difficulties scholars encounter when conducting research on film and television music, providing a detailed taxonomy of film music primary sources and explaining how to find and interpret them. The authors tackle the problems of determining film score authorship and working with recordings of film music. A bibliographic essay summarizes the major works and trends in film music research and provides clear pointers to the most important resources in the field.

Film Music

Author : Paul Tonks
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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.

Planet Wax

Author : Aaron Lupton
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RECORD STORE DAY EDITION! Book + bookmark signed by the authors + exclusive 7-inch EP! Vinyl is pressed on "antifreeze green" and contains unused music from the 1986 Tobe Hooper cult film Invaders from Mars. Music is previously unreleased and is by composer Christopher Young (Hellraiser / Species / Drag Me to Hell). Custom sleeve by noted artist HagCult. Limited to 1,000 copies worldwide. Do you crank up your stereo and conduct air symphonies to John Williams' Star Wars? Know all of the lyrics to The NeverEnding Story or Xanadu? Have a burgeoning collection of space disco albums? Well, pluck those Ceti Alpha eels out of your ears and open this book - we've got you covered.From the orchestral bombast of Jerry Goldsmith's Star Trek: The Motion Picture score, to the muscle-flexing might of Basil Poledouris' Conan the Barbarian, to the dreamy electronic soundscapes of Vangelis' Blade Runner and the pop styling of the Flash Gordon soundtrack, science fiction and fantasy films have inspired some of the most beloved and memorable soundtracks in film history.Planet Wax covers the best, as well as the most unique and underrated scores the sci-fi and fantasy genres have to offer, while showcasing their original vinyl LP artwork over 240 pages. Franchises like Mad Max, The Terminator, and even the Indiana Jones films are spotlighted, along with television classics such as Doctor Who and Star Trek, making Planet Wax the definitive discography of soundtracks from the films and shows of the '60s, '70s, '80s, and '90s that shaped multiple generations.Featuring over twenty interviews, including composers Stu Phillips (Battlestar Galactica), Laurence Rosenthal (Clash of the Titans), and directors Richard Donner (Superman) and Nicholas Meyer (Star Trek II), Planet Wax chronicles an era in film and music when the sounds were given as much prominence as the interstellar imagery.Aaron Lupton and Jeff Szpirglas, co-authors of Blood on Black Wax: Horror Soundtracks on Vinyl, will take you on the ultimate trip to the far reaches of both the cosmos and their record collections. Planet Wax is the portal to your most fantastic and nostalgic dreams.

An Introduction to Film Scoring in Horror Movies

Author : Daniel Szelogowski
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The horror movie genre is one of complexity, both in design and story. The style of screenwriting and use of visual and aural nuances has developed into a rich, exciting form of entertainment that plays on the viewer's mind, body, and morals. In terms of visuals, horror movies play on classic psychological fears and utilize them in ways that may be gruesome or traumatizing, yet impossible to look away from. However, one of the biggest tools used to create the sense of fear in the movies is of course the specific use of sound and music to build and develop tension and emphasize horrific scenes. From the usage of drums to imitate a pounding heartbeat to strings playing harsh, discordant and unexpected sounds meant to imitate the screams of frightened animals, and the crashing, staccato chords that strike into instinctive fears, the composer/film scorer of the horror genre plays an extremely important role in delivering the full effect of the film that often goes unnoticed.