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The Resource The Routledge film music sourcebook, edited by James Wierzbicki, Nathan Platte, and Colin Roust

The Routledge film music sourcebook, edited by James Wierzbicki, Nathan Platte, and Colin Roust

Label
The Routledge film music sourcebook
Title
The Routledge film music sourcebook
Statement of responsibility
edited by James Wierzbicki, Nathan Platte, and Colin Roust
Contributor
Subject
Language
eng
Summary
An annotated, thematically organized collection of approximately eighty source readings pertaining to film music dating from its beginnings to the present, from the US and other select countries around the globe
Cataloging source
DLC
Illustrations
illustrations
Index
index present
Literary form
non fiction
Nature of contents
  • bibliography
  • filmographies
http://library.link/vocab/relatedWorkOrContributorName
  • Wierzbicki, James Eugene
  • Platte, Nathan
  • Roust, Colin
  • Routledge (Firm)
http://library.link/vocab/subjectName
Motion picture music
Label
The Routledge film music sourcebook, edited by James Wierzbicki, Nathan Platte, and Colin Roust
Instantiates
Publication
Bibliography note
Includes bibliographical references, filmography (p. 354-372), and index
Contents
  • Dreams of the future.
  • Music for the movies
  • Carl Van Vechten (1916)
  • The surveys of Le film : music and the cinema (1919)
  • Practical advice in the heyday of the silent film.
  • Musical accompaniment to the feature picture
  • Erno Rapee (1925)
  • Scoring a motion picture
  • Victor Wagner (1926)
  • The artistic feature film and music : its genres
  • pt. 1. "Silent" film.
  • Hans Erdmann (1927) --
  • Early approaches to film accompaniment.
  • Music for the picture
  • Clarence E. Sinn (1910)
  • Playing the pictures
  • Clyde Martin (1910)
  • Jackass music
  • Lou Reeves Harrison (1911)
  • Accounts of the sound film's early years.
  • Musical picture quietly undergoes renaissance
  • Philip K. Scheurer (1931)
  • Musical pictures are here again
  • Helen Louise Walker (1931)
  • Film music experiences its sanest development
  • Edwin Schaller (1932)
  • Debates on the future of music in sound films.
  • A little about movie music
  • Virgil Thomson (1933)
  • pt. 2. Early sound film.
  • Music and the synchronized film
  • Clarence Raybould (1933)
  • Musical surprises
  • Azary Azarin (1935)
  • The experience of the composer
  • Nikolai Krykov (1936) --
  • Transitional concerns.
  • Music and the cinema
  • Edwin Evans (1929)
  • About the music to New Babylon
  • Dmitry Shostakovich (1929)
  • Experimenting with sound films
  • Darius Milhaud (1930)
  • Memoranda
  • David O. Selznick (1937, 1941)
  • Aesthetic squabbles.
  • Music and cinema : an impossible marriage
  • Gianandrea Gavazzeni (1943)
  • Music and cinema : a difficult marriage
  • Fedele d'Amico (1943)
  • Music and the screen
  • Erich Leinsdorf (1945)
  • Music in films : a rebuttal
  • pt. 3. Music in the classical-style film.
  • Bernard Herrmann (1945)
  • Heard melodies
  • Bosley Crowther (1945) --
  • Practical advice as film music's "classical style" takes shape.
  • Film music
  • Arthur Benjamin (1937)
  • On the Hollywood front
  • George Antheil (1938)
  • History of motion picture music
  • Franz Waxman (1940)
  • How film music was born and how it is made today
  • Georges Auric (1952)
  • Foreign ideas.
  • A few ideas about music and film
  • John Cage (1951)
  • Concrete music
  • Pierre Schaeffer (1954)
  • On using musical instruments in film music
  • Wang Yunjie (1957)
  • Stylistic novelties.
  • pt. 4. The postwar years.
  • Scorers skip classics, seek new approach
  • Philip K. Sheurer (1954)
  • Three movie scores issued on LP disks
  • John S. Wilson (1959)
  • British rattled by rock 'n' roll
  • Thomas P. Ronan (1956)
  • 'Real crazy' Mansfield in raucous film
  • Mae Tinee (1957)
  • Films' appeal is based on rock 'n' roll
  • Mae Tinee (1957)
  • European vs. American attitudes.
  • The first electronic filmscore : Forbidden planet
  • Jane Brockman (1992)
  • Electronic strains reinforce Andromeda film score
  • Martin Bernheimer (1971) --
  • Music : congress at Florence
  • Antony Hopkins (1950)
  • Film music of the quarter
  • Lawrence Morton (1951)
  • Hollywood orchestrators : the dragon shows his teeth
  • Hans Keller (1951)
  • Charles Champlin (1967)
  • Notes from a subculture
  • Leonard Rosenman (1968)
  • You may not leave the movie house singing their songs, but ...
  • Charles Higham (1975) --
  • pt. 5. Changing times.
  • Gloom and doom.
  • What ever happened to great movie music?
  • Elmer Bernstein (1972)
  • Whatever became of movie music?
  • David Raksin (1974)
  • Plenty of optimism.
  • Sound and fury over film music
  • Musicians could be left out when actors settle
  • Eric Malnic (1980)
  • Tentative pact reached in musician strike
  • Anon. (1981)
  • AFM, film producers reach new three-year pact
  • Anon. (1990)
  • Keeping film scoring on our shores
  • Florence Nelson (2005)
  • Union drumbeat's growing
  • John Burlingame (2010)
  • pt. 6. The business of film music.
  • Soundtrack albums.
  • Music is now profit to the ears of filmmakers
  • Vincent Canby (1966)
  • The sound of (movie) music : re-releases of soundtracks past
  • Tom Shales (1976)
  • Movie music : is it becoming hit or miss?
  • Steven Smith (1986) --
  • Labor pains.
  • Musicians to picket two films in 20 U.S. cities
  • Howard Kennedy (1958)
  • Musicians Guild wins coast vote
  • Thomas M. Pryor (1958)
  • Musicians Guild wins 14% hike in studio pay
  • Anon. (1958)
  • Sound for picture : Hans Zimmer's scoring collective : composer collaboration at remote control productions
  • Matt Hurwitz (2007)
  • New methods.
  • Making soundtracks, part 1 : Those pesky songs that show up in between your cues : who puts 'em there, anyway
  • Jeff Rona (2000)
  • Making soundtracks, part 2 : More on the differences between the score and the soundtrack
  • Jeff Rona (2000)
  • Music in movies and TV : filling the bill
  • Nick Krewen (2005)
  • Music business insider: Q&A : Jack Rudy
  • pt. 7. A whole new world.
  • Mike Levine (2007) --
  • New instruments.
  • Synthesizer upstarts conquer Hollywood
  • Jeff Burger (1987)
  • Computers in the movies : How desktop PCs help create Hollywood's amazing music and sound effects
  • Lachlan Westfall (1998)
  • The unreal orchestra, part 1 : The virtual film score
  • Michael Prager (2004)
  • Many ways to score
  • Catherine Applefeld Olson (1999)
  • Onward and upward?
  • Taking movie music seriously, like it or not
  • David Schiff (2001)
  • The soundtrack game is attracting fresh and edgy artists
  • Dylan Callaghan (2002)
  • When is film music classical?
  • Jed Distler (2007)
  • Hollywood composers tune in for rare gathering
  • pt. 8. Today, tomorrow.
  • Kevin Cassidy (2008)
  • 127 hours and other films take experimental turns in music
  • Todd Martens (2010)
  • Fin de siècle.
  • Film music has two masters
  • Donal Henahan (1987)
  • In Hollywood, discord on what makes music
  • David Mermelstein (1997)
  • Keeping scores : good old-fashioned movie music is as healthy as it ever was
  • James Hunter (1998)
Control code
ocn659750850
Dimensions
27 cm.
Edition
1st ed.
Extent
xv, 389 p.
Isbn
9780415888738
Isbn Type
(hbk)
Lccn
2011007417
Other physical details
ill.
Label
The Routledge film music sourcebook, edited by James Wierzbicki, Nathan Platte, and Colin Roust
Publication
Bibliography note
Includes bibliographical references, filmography (p. 354-372), and index
Contents
  • Dreams of the future.
  • Music for the movies
  • Carl Van Vechten (1916)
  • The surveys of Le film : music and the cinema (1919)
  • Practical advice in the heyday of the silent film.
  • Musical accompaniment to the feature picture
  • Erno Rapee (1925)
  • Scoring a motion picture
  • Victor Wagner (1926)
  • The artistic feature film and music : its genres
  • pt. 1. "Silent" film.
  • Hans Erdmann (1927) --
  • Early approaches to film accompaniment.
  • Music for the picture
  • Clarence E. Sinn (1910)
  • Playing the pictures
  • Clyde Martin (1910)
  • Jackass music
  • Lou Reeves Harrison (1911)
  • Accounts of the sound film's early years.
  • Musical picture quietly undergoes renaissance
  • Philip K. Scheurer (1931)
  • Musical pictures are here again
  • Helen Louise Walker (1931)
  • Film music experiences its sanest development
  • Edwin Schaller (1932)
  • Debates on the future of music in sound films.
  • A little about movie music
  • Virgil Thomson (1933)
  • pt. 2. Early sound film.
  • Music and the synchronized film
  • Clarence Raybould (1933)
  • Musical surprises
  • Azary Azarin (1935)
  • The experience of the composer
  • Nikolai Krykov (1936) --
  • Transitional concerns.
  • Music and the cinema
  • Edwin Evans (1929)
  • About the music to New Babylon
  • Dmitry Shostakovich (1929)
  • Experimenting with sound films
  • Darius Milhaud (1930)
  • Memoranda
  • David O. Selznick (1937, 1941)
  • Aesthetic squabbles.
  • Music and cinema : an impossible marriage
  • Gianandrea Gavazzeni (1943)
  • Music and cinema : a difficult marriage
  • Fedele d'Amico (1943)
  • Music and the screen
  • Erich Leinsdorf (1945)
  • Music in films : a rebuttal
  • pt. 3. Music in the classical-style film.
  • Bernard Herrmann (1945)
  • Heard melodies
  • Bosley Crowther (1945) --
  • Practical advice as film music's "classical style" takes shape.
  • Film music
  • Arthur Benjamin (1937)
  • On the Hollywood front
  • George Antheil (1938)
  • History of motion picture music
  • Franz Waxman (1940)
  • How film music was born and how it is made today
  • Georges Auric (1952)
  • Foreign ideas.
  • A few ideas about music and film
  • John Cage (1951)
  • Concrete music
  • Pierre Schaeffer (1954)
  • On using musical instruments in film music
  • Wang Yunjie (1957)
  • Stylistic novelties.
  • pt. 4. The postwar years.
  • Scorers skip classics, seek new approach
  • Philip K. Sheurer (1954)
  • Three movie scores issued on LP disks
  • John S. Wilson (1959)
  • British rattled by rock 'n' roll
  • Thomas P. Ronan (1956)
  • 'Real crazy' Mansfield in raucous film
  • Mae Tinee (1957)
  • Films' appeal is based on rock 'n' roll
  • Mae Tinee (1957)
  • European vs. American attitudes.
  • The first electronic filmscore : Forbidden planet
  • Jane Brockman (1992)
  • Electronic strains reinforce Andromeda film score
  • Martin Bernheimer (1971) --
  • Music : congress at Florence
  • Antony Hopkins (1950)
  • Film music of the quarter
  • Lawrence Morton (1951)
  • Hollywood orchestrators : the dragon shows his teeth
  • Hans Keller (1951)
  • Charles Champlin (1967)
  • Notes from a subculture
  • Leonard Rosenman (1968)
  • You may not leave the movie house singing their songs, but ...
  • Charles Higham (1975) --
  • pt. 5. Changing times.
  • Gloom and doom.
  • What ever happened to great movie music?
  • Elmer Bernstein (1972)
  • Whatever became of movie music?
  • David Raksin (1974)
  • Plenty of optimism.
  • Sound and fury over film music
  • Musicians could be left out when actors settle
  • Eric Malnic (1980)
  • Tentative pact reached in musician strike
  • Anon. (1981)
  • AFM, film producers reach new three-year pact
  • Anon. (1990)
  • Keeping film scoring on our shores
  • Florence Nelson (2005)
  • Union drumbeat's growing
  • John Burlingame (2010)
  • pt. 6. The business of film music.
  • Soundtrack albums.
  • Music is now profit to the ears of filmmakers
  • Vincent Canby (1966)
  • The sound of (movie) music : re-releases of soundtracks past
  • Tom Shales (1976)
  • Movie music : is it becoming hit or miss?
  • Steven Smith (1986) --
  • Labor pains.
  • Musicians to picket two films in 20 U.S. cities
  • Howard Kennedy (1958)
  • Musicians Guild wins coast vote
  • Thomas M. Pryor (1958)
  • Musicians Guild wins 14% hike in studio pay
  • Anon. (1958)
  • Sound for picture : Hans Zimmer's scoring collective : composer collaboration at remote control productions
  • Matt Hurwitz (2007)
  • New methods.
  • Making soundtracks, part 1 : Those pesky songs that show up in between your cues : who puts 'em there, anyway
  • Jeff Rona (2000)
  • Making soundtracks, part 2 : More on the differences between the score and the soundtrack
  • Jeff Rona (2000)
  • Music in movies and TV : filling the bill
  • Nick Krewen (2005)
  • Music business insider: Q&A : Jack Rudy
  • pt. 7. A whole new world.
  • Mike Levine (2007) --
  • New instruments.
  • Synthesizer upstarts conquer Hollywood
  • Jeff Burger (1987)
  • Computers in the movies : How desktop PCs help create Hollywood's amazing music and sound effects
  • Lachlan Westfall (1998)
  • The unreal orchestra, part 1 : The virtual film score
  • Michael Prager (2004)
  • Many ways to score
  • Catherine Applefeld Olson (1999)
  • Onward and upward?
  • Taking movie music seriously, like it or not
  • David Schiff (2001)
  • The soundtrack game is attracting fresh and edgy artists
  • Dylan Callaghan (2002)
  • When is film music classical?
  • Jed Distler (2007)
  • Hollywood composers tune in for rare gathering
  • pt. 8. Today, tomorrow.
  • Kevin Cassidy (2008)
  • 127 hours and other films take experimental turns in music
  • Todd Martens (2010)
  • Fin de siècle.
  • Film music has two masters
  • Donal Henahan (1987)
  • In Hollywood, discord on what makes music
  • David Mermelstein (1997)
  • Keeping scores : good old-fashioned movie music is as healthy as it ever was
  • James Hunter (1998)
Control code
ocn659750850
Dimensions
27 cm.
Edition
1st ed.
Extent
xv, 389 p.
Isbn
9780415888738
Isbn Type
(hbk)
Lccn
2011007417
Other physical details
ill.

Library Locations

    • Sydney Jones LibraryBorrow it
      Chatham Street, Liverpool, L7 7BD, GB
      53.403069 -2.963723
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