The Art of Film Music : Special Emphasis on Hugo Friedhofer, Alex North, David Raksin, Leonard Rosenman
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RESUMEN. Libro de análisis muy técnico. No sólo trata sobre los distintos usos y funciones de la música en el cine, sino que también dedica un capítulo a la función del silencio en el cine, y otro cuestiones técnicas (sincronización, códigos de tiempo, etc.). Incluye bibliografía y glosario de términos. /// SUMARIO. Introductory Remarks // Chapter 1. The Story’s the Thing – Music’s Vital Role – Should Film Music Be Heard? -- The Contrapuntal Aspect – The Associative Power of Music / Chapter 2. Characterization – Individual People – Groups of People – Symbolic Meanings – The Emotional Context – Ambient Time and Place – Source of Music / Chapter 3. Emphasizing the Dramatic Line – Musical Accents – The Missing Beat or Pulse – Pacing – / Chapter 4. The Sequence as a Unit – The Best Years of Our Lives: Homecoming Scene – Laura: Apartment Scene – East of Eden:Climactic Scene / Chapter 5. The Sound and Function of Silence: When Music Is Absent – Matter-of-Fact Dialogue – Psychological Containment – Acoustic Space – Moments of Anguish – The Telling Quality of Ambient Sound – The Question of Realism / Chapter 6. Practical Matters and the Human – Element – The Spotting Process – Timings – Synchronization – Generalized Compositional Approaches – Orchestration and the Orchestra – The Synthesizer – Music Mix and Dubbing // Notes // Selected Bibliography // Glossary of Musical Terms // Index.
Music is a key element in narrative cinema. The film score offers important clues about characters and situations and gives the illusion of continuity to otherwise disparate images. The Art of Film Music draws on conversations with Hollywood's leading composers as well as author George Burt's own experience composing for the screen to provide a useful, fascinating guide to creating music for dramatic films. Burt explores music's significant role and powerful effect by analyzing several scenes in classic films produced from the 1930s through the 1980s. His thorough examination of the practical and aesthetic aspects of scoring a film is richly illustrated by the personal perspectives of such renowned composers as Hugo Friedhofer, Alex North, David Raksin, and Leonard Rosenman. The volume features a penetrating discussion of the landmark scores from key scenes in The Best Years of Our Lives, Laura, and East of Eden. It also offers a technical guide to composing film music, explaining the spotting process, timing, synchronization, and general approaches to composition. In addition, numerous musical examples from films as far-ranging as High Noon and Who's Afraid of Virginia Woolf, as well as a glossary of musical terms, are included (información de la editorial)