By Mervyn Cooke
A wealthy and informative examine the studies of composers operating lower than excessive strain within the US movie undefined, The Hollywood movie song Reader brings readers from film's earliest days to the fashionable blockbuster period. starting with the origins of motion picture song within the heyday of silent movie, the publication lines movie music's growth via Hollywood's so-called Golden Age to adjustments in musical kinds and dealing practices from the Sixties to the current. additionally integrated are bright first-hand money owed from composers akin to George Antheil, Elmer Bernstein, Aaron Copland, Adolph Deutsch, Jerry Goldsmith, Bernard Herrmann, Henry Mancini, Thomas Newman, André Previn, David Raksin, Miklós Rózsa, Max Steiner, Dimitri Tiomkin, Franz Waxman, and John Williams, besides stories from composers operating in animation and documentary movie. The e-book concludes with a bit of feedback and remark, together with an essay on movie tune by means of Sidney Lumet and Igor Stravinsky's provocative perspectives at the topic.
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Additional resources for The Hollywood Film Music Reader
Example text
CARTER: I don’t remember any automatic in Los Angeles. Now in Wichita, where I was, they had the Fotoplayers there. They would have two slots where you would put in piano rolls, and so you could put one in here and run it for a little while and then put one in here, and when you wanted to change the scene you’d bring in the second one. And they’d go back and forth, so you could score that way. A. doing it. , would you say that in general throughout the country there would be considerable use of this or .
CARTER: Well, Forbstein had a scorer—we also called him a synchronizer— and usually the score that we did there was his compilation. P. LanFranchi was his name. He was a very nice little Italian guy who liked to use a lot of Verdi and Puccini in his scores. BEHLMER: How did he function, exactly? CARTER: He had to get the music together and see that it fit, make proper cuts and arrange for the segues and do it so that when the orchestra got a hold of it, it all made sense. BEHLMER: And, usually, the big theaters would all have their own synchronizer?
There is a good aesthetic reason for stopping the music on such occasions, but the precise method to be SABANEEV: MUSIC FOR THE FILMS 45 adopted is one of the most difficult problems of the sound cinema. Music has its inertia; it forms a certain background in the subconsciousness of the listening spectator, and its sudden cessation gives rise to a feeling of aesthetic perplexity, even though the music be kept entirely in the background. The substitution of dialogue and noises for music, on the contrary, does not cause perplexity.