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v8n4 covers.qxd 5/13/03 1:58 PM Page c1 Volume 8, Number 4 Original Music Soundtracks for Movies & Television Action Back In Bond!? pg. 18 MeetTHE Folks GUFFMAN Arrives! WIND Howls! SPINAL’s Tapped! Names Dropped! PLUS The Blue Planet GEORGE FENTON Babes & Brits ED SHEARMUR Celebrity Studded Interviews! The Way It Was Harry Shearer, Michael McKean, MARVIN HAMLISCH Annette O’Toole, Christopher Guest, Eugene Levy, Parker Posey, David L. Lander, Bob Balaban, Rob Reiner, JaneJane Lynch,Lynch, JohnJohn MichaelMichael Higgins,Higgins, 04> Catherine O’Hara, Martin Short, Steve Martin, Tom Hanks, Barbra Streisand, Diane Keaton, Anthony Newley, Woody Allen, Robert Redford, Jamie Lee Curtis, 7225274 93704 Tony Curtis, Janet Leigh, Wolfman Jack, $4.95 U.S. • $5.95 Canada JoeJoe DiMaggio,DiMaggio, OliverOliver North,North, Fawn Hall, Nick Nolte, Nastassja Kinski all mentioned inside! v8n4 covers.qxd 5/13/03 1:58 PM Page c2 On August 19th, all of Hollywood will be reading music. spotting editing composing orchestration contracting dubbing sync licensing music marketing publishing re-scoring prepping clearance music supervising musicians recording studios Summer Film & TV Music Special Issue. August 19, 2003 Music adds emotional resonance to moving pictures. And music creation is a vital part of Hollywood’s economy. Our Summer Film & TV Music Issue is the definitive guide to the music of movies and TV. It’s part 3 of our 4 part series, featuring “Who Scores Primetime,” “Calling Emmy,” upcoming fall films by distributor, director, music credits and much more. It’s the place to advertise your talent, product or service to the people who create the moving pictures. -
Filmography 1963 Through 2018 Greg Macgillivray (Right) with His Friend and Filmmaking Partner of Eleven Years, Jim Freeman in 1976
MacGillivray Freeman Films Filmography 1963 through 2018 Greg MacGillivray (right) with his friend and filmmaking partner of eleven years, Jim Freeman in 1976. The two made their first IMAX Theatre film together, the seminal To Fly!, which premiered at the Smithsonian National Air and Space Museum on July 1, 1976, one day after Jim’s untimely death in a helicopter crash. “Jim and I cared only that a film be beautiful and expressive, not that it make a lot of money. But in the end the films did make a profit because they were unique, which expanded the audience by a factor of five.” —Greg MacGillivray 2 MacGillivray Freeman Films Filmography Greg MacGillivray: Cinema’s First Billion Dollar Box Office Documentarian he billion dollar box office benchmark was never on Greg MacGillivray’s bucket list, in fact he describes being “a little embarrassed about it,” but even the entertainment industry’s trade journal TDaily Variety found the achievement worth a six-page spread late last summer. As the first documentary filmmaker to earn $1 billion in worldwide ticket sales, giant-screen film producer/director Greg MacGillivray joined an elite club—approximately 100 filmmakers—who have attained this level of success. Daily Variety’s Iain Blair writes, “The film business is full of showy sprinters: filmmakers and movies that flash by as they ring up impressive box office numbers, only to leave little of substance in their wake. Then there are the dedicated long-distance specialists, like Greg MacGillivray, whose thought-provoking documentaries —including EVEREST, TO THE ARCTIC, TO FLY! and THE LIVING Sea—play for years, even decades at a time. -
Dead Zone Back to the Beach I Scored! the 250 Greatest
Volume 10, Number 4 Original Music Soundtracks for Movies and Television FAN MADE MONSTER! Elfman Goes Wonky Exclusive interview on Charlie and Corpse Bride, too! Dead Zone Klimek and Heil meet Romero Back to the Beach John Williams’ Jaws at 30 I Scored! Confessions of a fi rst-time fi lm composer The 250 Greatest AFI’s Film Score Nominees New Feature: Composer’s Corner PLUS: Dozens of CD & DVD Reviews $7.95 U.S. • $8.95 Canada �������������������������������������������� ����������������������� ���������������������� contents ���������������������� �������� ����� ��������� �������� ������ ���� ���������������������������� ������������������������� ��������������� �������������������������������������������������� ����� ��� ��������� ����������� ���� ������������ ������������������������������������������������� ����������������������������������������������� ��������������������� �������������������� ���������������������������������������������� ����������� ����������� ���������� �������� ������������������������������� ���������������������������������� ������������������������������������������ ������������������������������������� ����� ������������������������������������������ ��������������������������������������� ������������������������������� �������������������������� ���������� ���������������������������� ��������������������������������� �������������� ��������������������������������������������� ������������������������� �������������������������������������������� ������������������������������ �������������������������� -
Contemporary Film Music
Edited by LINDSAY COLEMAN & JOAKIM TILLMAN CONTEMPORARY FILM MUSIC INVESTIGATING CINEMA NARRATIVES AND COMPOSITION Contemporary Film Music Lindsay Coleman • Joakim Tillman Editors Contemporary Film Music Investigating Cinema Narratives and Composition Editors Lindsay Coleman Joakim Tillman Melbourne, Australia Stockholm, Sweden ISBN 978-1-137-57374-2 ISBN 978-1-137-57375-9 (eBook) DOI 10.1057/978-1-137-57375-9 Library of Congress Control Number: 2017931555 © The Editor(s) (if applicable) and The Author(s) 2017 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. -
Production Database Updated As of 25Nov2020
American Composers Orchestra Works Performed Workshopped from 1977-2020 firstname middlename lastname Date eventype venue work title suffix premiere commission year written Michael Abene 4/25/04 Concert LGCH Improv ACO 2004 Muhal Richard Abrams 1/6/00 Concert JOESP Piano Improv Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Violin & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Double Bass & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/9/00 Concert CH Tomorrow's Song, as Yesterday Sings Today World 2000 Ricardo Lorenz Abreu 12/4/94 Concert CH Concierto para orquesta U.S. 1900 John Adams 4/25/83 Concert TULLY Shaker Loops World 1978 John Adams 1/11/87 Concert CH Chairman Dances, The New York ACO-Goelet 1985 John Adams 1/28/90 Concert CH Short Ride in a Fast Machine Albany Symphony 1986 John Adams 12/5/93 Concert CH El Dorado New York Fromm 1991 John Adams 5/17/94 Concert CH Tromba Lontana strings; 3 perc; hp; 2hn; 2tbn; saxophone1900 quartet John Adams 10/8/03 Concert CH Christian Zeal and Activity ACO 1973 John Adams 4/27/07 Concert CH The Wound-Dresser 1988 John Adams 4/27/07 Concert CH My Father Knew Charles Ives ACO 2003 John Adams 4/27/07 Concert CH Violin Concerto 1993 John Luther Adams 10/15/10 Concert ZANKL The Light Within World 2010 Victor Adan 10/16/11 Concert MILLR Tractus World 0 Judah Adashi 10/23/15 Concert ZANKL Sestina World 2015 Julia Adolphe 6/3/14 Reading FISHE Dark Sand, Sifting Light 2014 Kati Agocs 2/20/09 Concert ZANKL Pearls World 2008 Kati Agocs 2/22/09 Concert IHOUS -
Final Appendices
Bibliography ADORNO, THEODOR W (1941). ‘On Popular Music’. On Record: Rock, Pop and the Written Word (ed. S Frith & A Goodwin, 1990): 301-314. London: Routledge (1publ. in Philosophy of Social Sci- ence, 9. 1941, New York: Institute of Social Research: 17-48). —— (1970). Om musikens fetischkaraktär och lyssnandets regression. Göteborg: Musikvetenskapliga in- stitutionen [On the fetish character of music and the regression of listening]. —— (1971). Sociologie de la musique. Musique en jeu, 02: 5-13. —— (1976a). Introduction to the Sociology of Music. New York: Seabury. —— (1976b) Musiksociologi – 12 teoretiska föreläsningar (tr. H Apitzsch). Kristianstad: Cavefors [The Sociology of Music – 12 theoretical lectures]. —— (1977). Letters to Walter Benjamin: ‘Reconciliation under Duress’ and ‘Commitment’. Aesthetics and Politics (ed. E Bloch et al.): 110-133. London: New Left Books. ADVIS, LUIS; GONZÁLEZ, JUAN PABLO (eds., 1994). Clásicos de la Música Popular Chilena 1900-1960. Santiago: Sociedad Chilena del Derecho de Autor. ADVIS, LUIS; CÁCERES, EDUARDO; GARCÍA, FERNANDO; GONZÁLEZ, JUAN PABLO (eds., 1997). Clásicos de la música popular chilena, volumen II, 1960-1973: raíz folclórica - segunda edición. Santia- go: Ediciones Universidad Católica de Chile. AHARONIÁN, CORIúN (1969a). Boom-Tac, Boom-Tac. Marcha, 1969-05-30. —— (1969b) Mesomúsica y educación musical. Educación artística para niños y adolescentes (ed. Tomeo). 1969, Montevideo: Tauro (pp. 81-89). —— (1985) ‘A Latin-American Approach in a Pioneering Essay’. Popular Music Perspectives (ed. D Horn). Göteborg & Exeter: IASPM (pp. 52-65). —— (1992a) ‘Music, Revolution and Dependency in Latin America’. 1789-1989. Musique, Histoire, Dé- mocratie. Colloque international organisé par Vibrations et l’IASPM, Paris 17-20 juillet (ed. A Hennion. -
Contemporary Film Music
Edited by LINDSAY COLEMAN & JOAKIM TILLMAN CONTEMPORARY FILM MUSIC INVESTIGATING CINEMA NARRATIVES AND COMPOSITION Contemporary Film Music Lindsay Coleman • Joakim Tillman Editors Contemporary Film Music Investigating Cinema Narratives and Composition Editors Lindsay Coleman Joakim Tillman Melbourne, Australia Stockholm, Sweden ISBN 978-1-137-57374-2 ISBN 978-1-137-57375-9 (eBook) DOI 10.1057/978-1-137-57375-9 Library of Congress Control Number: 2017931555 © The Editor(s) (if applicable) and The Author(s) 2017 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. -
JOHN MAUCERI Director, Hollywood Bowl Orchestra
JOHN MAUCERI Director, Hollywood Bowl Orchestra This summer John Mauceri celebrates his unprecedented 16th season with the Hollywood Bowl Orchestra. He conducted his 300 th concert with the orchestra in the summer of 2005. In the fall of 2005 he led Strauss’ Ariadne auf Naxos , with soprano Jane Eaglen in the title role at the Pittsburgh Opera where he began his sixth season as Music Director. In October he appeared as Music Director and Conductor of the Motion Picture and Television Fund Benefit in Los Angeles which starred Catherine Zeta-Jones, Kristin Chenoweth, Megan Mulally, and Hank Azaria among many others, in an evening entitled “A Fine Romance,” a concept based on the newly published book by Darcie Denkert. The evening raised over one million dollars for the charity. Also this past fall, the Young Musicians Foundation presented him with the Magic Baton Award at the Beverly Hilton Hotel hosted by YMF chairman Merv Griffin. HBO concert master, Bruce Dukov, bid on and won a spectacular Aspen weekend, and Maestro Mauceri added a Salvador Dali etching to his print collection in support of the YMF. Mauceri has recently returned from Leipzig, Germany where he conducted the legendary Gewandhaus Orchestra for the 7 th consecutive season. He will be appearing with them in four different programs in 2007 and 2008. This winter he also completed the world premiere recording of Danny Elfman's first work for symphonic orchestra, Serenada Schizophrana, which was recorded in Los Angeles. In February, John Mauceri performed and recorded Porgy and Bess with the Nashville Symphony Orchestra and Chorus in a version not heard since its world premiere production. -
Adventures in Film Music Redux Composer Profiles
Adventures in Film Music Redux - Composer Profiles ADVENTURES IN FILM MUSIC REDUX COMPOSER PROFILES A. R. RAHMAN Elizabeth: The Golden Age A.R. Rahman, in full Allah Rakha Rahman, original name A.S. Dileep Kumar, (born January 6, 1966, Madras [now Chennai], India), Indian composer whose extensive body of work for film and stage earned him the nickname “the Mozart of Madras.” Rahman continued his work for the screen, scoring films for Bollywood and, increasingly, Hollywood. He contributed a song to the soundtrack of Spike Lee’s Inside Man (2006) and co- wrote the score for Elizabeth: The Golden Age (2007). However, his true breakthrough to Western audiences came with Danny Boyle’s rags-to-riches saga Slumdog Millionaire (2008). Rahman’s score, which captured the frenzied pace of life in Mumbai’s underclass, dominated the awards circuit in 2009. He collected a British Academy of Film and Television Arts (BAFTA) Award for best music as well as a Golden Globe and an Academy Award for best score. He also won the Academy Award for best song for “Jai Ho,” a Latin-infused dance track that accompanied the film’s closing Bollywood-style dance number. Rahman’s streak continued at the Grammy Awards in 2010, where he collected the prize for best soundtrack and “Jai Ho” was again honoured as best song appearing on a soundtrack. Rahman’s later notable scores included those for the films 127 Hours (2010)—for which he received another Academy Award nomination—and the Hindi-language movies Rockstar (2011), Raanjhanaa (2013), Highway (2014), and Beyond the Clouds (2017). -
Political Ecology in Large Format Films: Analyzing
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Political Ecology in Large-Format Films: Analyzing Environmental Representation & Audience Reception of Imax Nature Documentaries Jason Kemmitt Smith Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION POLITICAL ECOLOGY IN LARGE-FORMAT FILMS: ANALYZING ENVIRONMENTAL REPRESENTATION & AUDIENCE RECEPTION OF IMAX NATURE DOCUMENTARIES By JASON KEMMITT SMITH A Dissertation submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2007 The members of the Committee approve the dissertation of Jason Kemmitt Smith defended on November 13, 2006. ___________________________________ Andy Opel Professor Co-Directing Dissertation ___________________________________ Stephen McDowell Professor Co-Directing Dissertation ___________________________________ Phil Steinberg Outside Committee Member ___________________________________ Donna Nudd Committee Member Approved: _______________________________________________ Stephen McDowell, Chair, Department of Communication _______________________________________________ John Mayo, Dean, College of Communications The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS There are so many people I need to thank because of their support throughout my graduate career. Without their love, understanding, guidance, financial assistance and advice, I would not have been able to complete this project and receive my doctorate. First and foremost, I must express my gratitude for my faith in God, recovery, and the fellowship of Alcoholics Anonymous. Then, I must thank my mother, Suzanne P. Smith. Your undying devotion to your children over the years, while experiencing the loss of your husband and debilitating health has been nothing less than awe-inspiring. -
EDUCATOR GUIDE EDUCATOR GUIDE Humpback Fun Facts
Macgillivray Freeman’s presented by pacific life EDUCATOR GUIDE EDUCATOR GUIDE Humpback fun Facts WEIGHT At birth: 1 ton LENGTH Adult: 25 - 50 tons Up to 55 feet, with females larger DIET than males; newborns are Krill, about 15 feet long small fish APPEARANCE LIFESPAN Gray or black, with white markings 50 to 90 years on their undersides THREATS Entanglement in fishing gear, ship strikes, habitat impacts 4 EDUCATOR GUIDE The Humpback Whales Educator Guide, created by MacGillivray Freeman Films Educational Foundation in partnership with MacGillivray Freeman Films and Orange County Community Foundation, is appropriate for all intermediate grades (3 to 8) and most useful when used as a companion to the film, but also valuable as a resource on its own. Teachers are strongly encouraged to adapt activities included in this guide to meet the specific needs of the grades they teach and their students. Activities developed for this guide support Next Generation Science Standards (NGSS), Ocean Literacy Principles, National Geography Standards and Common Core Language Arts (see page 27 for a standards alignment chart). An extraordinary journey into the mysterious world of one of nature’s most awe-inspiring marine mammals, Humpback Whales takes audiences to Alaska, Hawaii and the remote islands of Tonga for an immersive look at how these whales communicate, sing, feed, play and take care of their young. Captured for the first time with IMAX® 3D cameras, and found in every ocean on earth, humpbacks were nearly driven to extinction 50 years ago, but today are making a steady recovery. Join a team of researchers as they unlock the secrets of the humpback and find out what makes humpbacks the most acrobatic of all whales, why they sing their haunting songs, and why these 55-foot, 50-ton animals migrate up to 10,000 miles round-trip every year. -
Robert Thies, Pianist
ROBERT THIES, PIANIST A pianist of “unerring, warm-toned refinement, revealing judicious glimmers of power,” [Los Angeles Times] Robert Thies (pronounced "Theece") is an artist renowned for his consummate musicianship and poetic temperament. He first captured worldwide attention in 1995 when he won the Gold Medal at the Second International Prokofiev Competition in St. Petersburg, Russia. With this victory, Thies became the only American pianist to win first prize in a Russian piano competition since Van Cliburn’s famed triumph in Moscow in 1958. This victory brought accolades from the White House, Senator Dianne Feinstein, Governor Pete Wilson, and Mayor Richard Riordan. The Los Angeles City Council declared February 16, 1996 "Robert Edward Thies Day," and Robert was featured on the July 1996 cover of Piano and Keyboard magazine. His win was announced in the International Herald Tribune, and the Los Angeles Times wrote a feature article, "Another American Pianist Invades Russia, Successfully." Conductor Jorge Mester hails Robert "a genius", and Maestra JoAnn Falletta touted after a recent performance, "Conducting the Brahms Second Piano Concerto with Robert Thies was one of the most beautiful and deeply satisfying musical experiences of my life." Praised for his “thoughtful and intensely moving interpretations” Thies enjoys a diverse career as an orchestral soloist, recitalist, and chamber musician. He has already performed forty concerti with orchestras all over the world. In one season alone he performed thirteen different concerti, garnering consistent critical acclaim. He has appeared with such orchestras as the Saint Petersburg Philharmonic, Liepāja Symphony (Latvia), Mexico City Philharmonic, the National Symphony of Mexico, Auckland Philharmonia (New Zealand), Louisville Orchestra, Fort Worth Symphony, Virginia Symphony, Buffalo Philharmonic, Pasadena Symphony, Des Moines Symphony, and the Naples Philharmonic.