Settling the Score: Music and the Classical Hollywood Film [NOOK Book]

Overview


Beginning with the earliest experiments in musical accompaniment carried out in the Edison Laboratories, Kathryn Kalinak uses archival material to outline the history of American music and film. Focusing on the scores of several key composers of the sound era, including Erich Wolfgang Korngold’s Captain Blood, Max Steiner’s The Informer, Bernard Herrmann’s The Magnificent Ambersons, and David Raksin’s Laura, Kalinak concludes that classical scoring conventions were designed to ensure the dominance of narrative ...

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Settling the Score: Music and the Classical Hollywood Film

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Overview


Beginning with the earliest experiments in musical accompaniment carried out in the Edison Laboratories, Kathryn Kalinak uses archival material to outline the history of American music and film. Focusing on the scores of several key composers of the sound era, including Erich Wolfgang Korngold’s Captain Blood, Max Steiner’s The Informer, Bernard Herrmann’s The Magnificent Ambersons, and David Raksin’s Laura, Kalinak concludes that classical scoring conventions were designed to ensure the dominance of narrative exposition. Her analyses of contemporary work such as John Williams’ The Empire Strikes Back and Basil Poledouris’ RoboCop demonstrate how the traditions of the classical era continue to influence scoring practices today.

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Editorial Reviews

Booknews
An introduction to the study of the classical Hollywood film score as a historical practice. The volume is divided into two sections: the first treats musical, theoretical, structural, and historical questions about film music in general and the classical score in particular, and the second offers extended analyses of representative texts. The first chapter serves as an introduction to the film score as music and is intended for those readers who consider themselves "nonmusical." Paper edition (13364-8), $17.95. Annotation c. Book News, Inc., Portland, OR (booknews.com)
From the Publisher

“A strong original contribution that manages to convey a great deal of information about film music to readers with relatively little knowledge of music. It is likely to be one of the small number of books on sound track issues that will be found on the shelves of anyone seriously interested in cinema.”—Alan Williams, Rutgers University

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Product Details

  • ISBN-13: 9780299133634
  • Publisher: University of Wisconsin Press
  • Publication date: 12/1/1992
  • Series: Wisconsin Studies in Film
  • Sold by: Barnes & Noble
  • Format: eBook
  • Pages: 256
  • Sales rank: 1,198,044
  • File size: 6 MB

Meet the Author


Kathryn Kalinak is professor of English and film studies at Rhode Island College and has published many articles on film sound.

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Table of Contents


CONTENTS

Illustrations


Acknowledgments


Introduction


Part 1:
Film Music and the Classical Hollywood Film Score

Chapter 1:
The Language of Music A Brief Analysis of Vertigo


Chapter 2:
A Theory of Film Music


Chapter 3:
The Silent Film Score A Structural Model


Chapter 4:
The Classical Hollywood Film Score Captain Blood: A Working Model



Part 2:
Textual Analyses

Chapter 5:
“Every character should have a theme” The Informer: Max Steiner and the Classical Film Score


Chapter 6:
The “hysterical cult of the director” The Magnificent Ambersons: Music and Theme


Chapter 7:
“Not exactly classical, but sweet” Laura: New Directions


Chapter 8:
John Williams and “The Empire” Strike Back The Eighties and Beyond: Classical Meets Contemporary



Conclusion


Notes


Illustration Credits


Bibliography


Index

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