Settling the score music and the classical Hollywood film
Annotation 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 Kor...
| Autor principal: | |
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| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Madison :
University of Wisconsin Press
c1992.
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| Colección: | EBSCO Academic eBook Collection Complete.
Wisconsin studies in film. |
| Acceso en línea: | Conectar con la versión electrónica |
| Ver en Universidad de Navarra: | https://innopac.unav.es/record=b31286392*spi |
| Sumario: | Annotation 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’sCaptain Blood, Max Steiner’sThe Informer, Bernard Herrmann’sThe Magnificent Ambersons, and David Raksin’sLaura, 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 Backand Basil Poledouris’RoboCopdemonstrate how the traditions of the classical era continue to influence scoring practices today. |
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| Descripción Física: | xvii, 248 p. : il |
| Formato: | Forma de acceso: World Wide Web. |
| Bibliografía: | Incluye referencias bibliográficas (p. 233-239) e índice. |
| ISBN: | 9780299133634 9780299133603 9780299133641 |
