Scoring the screen :the secret language of film music
- 作者: Hill, A. W.
- 出版:
- 稽核項: xxxi, 391 pages :illustrations, music ;26 cm.
- 叢書名: Music Pro guides
- 標題: Motion picture music , History and criticism. , Analysis, appreciation. , Motion picture music History and criticism. , Motion picture music Analysis, appreciation.
- ISBN: 1495073734 , 9781495073731
- 附註: A word on how to use this book -- Acknowledgements -- Foreword: The greatest gig in the world -- Introduction: Ancient & modern: an appreciation of James Newton Howard's The sixth sense -- From among the dead: Bernard Herrmann's Vertigo -- Boo Radley's porch: Elmer Bernstein's To kill a mockingbird -- Signs and meaning: From Spellbound to Inception -- Perfume: The scent of murder -- Carmen in hell: David Newman's The war of the roses -- Waltz for a dead girl: Christopher Young's Jennifer 8 -- Feed your head: Don Davis's The matrix -- Such a long, long way to fall: Danny Elfman's Alice in Wonderland -- Surgical precision: Alberto Iglesias's La piel que habito -- The strength of the righteous: Ennio Morricone's The untouchables -- Toward a new aesthetic of music for the screen -- Through a glass, and darkly: Anatomy of a cue from Jerry Goldsmith's Patton -- Stand up! Two cues from Elliot Goldenthal's Michael Collins -- John Powell slays a dragon -- Against the odds: The road to Kraków -- Afterword.
- 摘要: Today, musical composition for films is more popular than ever. In professional and academic spheres, media music study and practice are growing; undergraduate and postgraduate programs in media scoring are offered by dozens of major colleges and universities. And increasingly, pop and contemporary classical composers are expanding their reach into cinema and other forms of screen entertainment. Yet a search on Amazon reveals at least 50 titles under the category of film music, and, remarkably, only a meager few actually allow readers to see the music itself, while none of them examine landmark scores like Vertigo, To Kill a Mockingbird, Patton, The Untouchables, or The Matrix in the detail provided by Scoring the Screen: The Secret Language of Film Music. This is the first book since Roy M. Prendergast's 1977 benchmark, Film Music: A Neglected Art , to treat music for motion pictures as a compositional style worthy of serious study. Through extensive and unprecedented analyses of the original concert scores, it is the first to offer both aspiring composers and music educators with a view from the inside of the actual process of scoring-to-picture. The core thesis of Scoring the Screen is that music for motion pictures is indeed a language, developed by the masters of the craft out of a dramatic and commercial necessity to communicate ideas and emotions instantaneously to an audience. Like all languages, it exists primarily to convey meaning. To quote renowned orchestrator Conrad Pope (who has worked with John Williams, Howard Shore, and Alexandre Desplat, among others): If you have any interest in what music 'means' in film, get this book. Andy Hill is among the handful of penetrating minds and ears engaged in film music today. - back cover.
- 系統號: 005179444
- 資料類型: 圖書
- 讀者標籤: 需登入
- 引用網址: 複製連結
(Music Pro Guides). Today, musical composition for films is more popular than ever. In professional and academic spheres, media music study and practice are growing; undergraduate and postgraduate programs in media scoring are offered by dozens of major colleges and universities. And increasingly, pop and contemporary classical composers are expanding their reach into cinema and other forms of screen entertainment. Yet a search on Amazon reveals at least 50 titles under the category of film music, and, remarkably, only a meager few actually allow readers to see the music itself, while none of them examine landmark scores like Vertigo , To Kill a Mockingbird , Patton , The Untouchables , or The Matrix in the detail provided by Scoring the Screen: The Secret Language of Film Music . This is the first book since Roy M. Prendergast's 1977 benchmark, Film Music: A Neglected Art , to treat music for motion pictures as a compositional style worthy of serious study. Through extensive and unprecedented analyses of the original concert scores, it is the first to offer both aspiring composers and music educators with a view from the inside of the actual process of scoring-to-picture. The core thesis of Scoring the Screen is that music for motion pictures is indeed a language , developed by the masters of the craft out of a dramatic and commercial necessity to communicate ideas and emotions instantaneously to an audience. Like all languages, it exists primarily to convey meaning . To quote renowned orchestrator Conrad Pope (who has worked with John Williams, Howard Shore, and Alexandre Desplat, among others): "If you have any interest in what music 'means' in film, get this book. Andy Hill is among the handful of penetrating minds and ears engaged in film music today."
來源: Google Book
來源: Google Book
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