A sourcebook of writings on music for film, bringing together fifty-three critical documents. It includes essays by those who created the music and outlines the major trends, aesthetic choices, technological innovations, and commercial pressures that have shaped the relationship…
"Celluloid Symphonies is a unique sourcebook of writings on music for film, bringing together fifty-three critical documents, many previously inaccessible. It includes essays by those who created the music--Max Steiner, Erich Korngold, Jerry Goldsmith, Elmer Bernstein, and Howar…
House sound : reverb, offscreen sound, and voice-over narration in early RKO noir -- Sonic effects : sound and fury in 40s noir -- Audio technologies : intercoms and dictaphones, telephones and radios, phonographs and jukeboxes -- Blues in the night : popular and classical instr…
When Dmitri Tiomkin thanked Johannes Brahms, Johann Strauss, Richard Strauss, and Richard Wagner upon accepting the Academy Award for his score of The High and the Mighty in 1954, he was honoring a romantic style that had characterized Hollywood's golden age of film composition …
When Dmitri Tiomkin thanked Johannes Brahms, Johann Strauss, Richard Strauss, and Richard Wagner upon accepting the Academy Award for his score of The High and the Mighty in 1954, he was honoring a romantic style that had characterized Hollywood's golden age of film composition …
Articles with reference to 20th century Indian motion picture music.
"Since their beginnings in the 1930s, Hindi films and film songs nave dominated popular culture in South Asia and the diaspora. Anna Morcom examines the subject from the perspectives of ethnomusicology, popular music studies, film music studies and South Asian studies. The uniqu…
"Since their beginnings in the 1930s, Hindi films and film songs nave dominated popular culture in South Asia and the diaspora. Anna Morcom examines the subject from the perspectives of ethnomusicology, popular music studies, film music studies and South Asian studies. The uniqu…
This book is a major new study--dealing with notions of film music as a device that desires to control its audience, using a most powerful thing: emotion. The author emphasises the manipulative and ephemeral character of film music dealing not only with traditional orchestral fi…
