DOCSLIB.ORG

Inter 135 the Great Directors and Composers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Inter 135 the Great Directors and Composers Inter 135 The Great Directors and Composers: The art of sight and sound (10 cr.) Spring 2011 CMST 120: Film History (5cr) & MUSC 118: History of Music in Film (5cr) _______________________________________________________________ Course meets: T/W/Th R110 A&B Instructors: Dr. Brian Cobb Email: [email protected] Office: A156 | Office Hours: tba Ron Austin, M.Ed Email: [email protected] Office: A241|Office Hours: tba _______________________________________________________________ Course Description The grand opening credits of Start Wars, the diabolical shower scene in psycho, and the mystical tension throughout the Lord of the Rings: the combination visual images and musical sound create excitement, horror, and wonder within the viewer. How do directors and composers collaborate to create a shared vision? How does the combination of visuals and music make a film more successful? This class will focus on the history of film production & music in film and its impact on the audience. Learning Outcomes At the end of this course a successful student will: • Have a historical perspective of film and the role of music and audio in film. • Demonstrate knowledge of, and the use of terminology common to, the discussion of film music and the history of music in film. • Describe the collaborative process of the various people involved in the film industry (director, producer, editor, composer, light designer, cinematographer, etc...) • Demonstrate knowledge of how lighting, editing, and sound collaborate to define a mood. • Be able to recognize and describe the characteristics and development of the various sub- genres in film and the accompanying musical scores. • Demonstrate knowledge of the timeline of the major directors and composers. • Create a short video production by applying film editing techniques with music to create a desired effect. Course Component Descriptions Homework Assignments Homework assignments that will cover the techniques taught in class, in your textbooks, and through viewing films. Exams These assessments are designed to emphasis key issues and concerns. They will be written or application and project based. There will be two exams. A midterm exam on week five and final exam during the final week of class. Final Presentation A group project due at the end of the course that is designed to be a synthesis of the skills learned in the class. Film Journal A journal of films viewed with notes on directors and composers. It will include reactions to the films and technical analyses. Participation In addition to meeting on campus there is an online component to this class using Vista. Attendance and online attendance counts towards your grade. Politeness and professional behavior are expected in class. All students are expected to conduct themselves with honor and integrity. Assignment Descriptions 1. Film Director Analysis: 100 points 2. Film Music Composer analysis: 100 points 3. Create a thriller or horror short film: 100 points 4. Placing music to a pre-existing video: 100 points 5. Film Journal: 100 points 6. Final Project & Presentation: 200 points Late Work No assignments will be accepted after the due date. You may make up any one assignment during the quarter, but it will need to have originally been submitted on time. Please don’t ask for an exception unless it is a medical or other type of urgency. You are responsible for backing up your own work. Final Grading There are 1000 Total points possible in this class 920-1000 92-100%=A 900-919 90-91=A- 880-889 88-89=B+ 820-870 82-87=B 800-819 80-81=B- 780-799 78-79=C+ 720-779 72-77=C 700-719 70-71=C- 600-699 60-69=D Required Textbook Reel Music: Exploring 100 Years if Film Music Roger Hickman (Author, California State University, Long Beach) ISBN 978-0-393-92574-6 A Short History of Film Wheeler Winston Dixon & Gwendolyn Audrey Foster INSB: 978-0813542706 Required Materials A journal solely dedicated to this course. (This journal will be submitted with your final exam.) Spring 2011 Important Dates Holiday: Memorial Day, Monday, May 30th Final Day of Class: Tuesday, June 14th Online Resources We will be using Vista located at: http://vista.bellevuecollege.edu/ This site will be updated often and discussion postings will be posted weekly. Copyright and Plagiarism If you are found to have cheated or copied for any assignment or exam you will forfeit your grade for this course and will receive a failing grade. Cheating includes copying other people's work, with or without their permission, and using content from a Web site, book, or other source without quoting or citing it. Student Services The project work submitted this quarter will make use of your presentation, and writing skills to assess your understanding of the class content. If you need help with your writing skills, please make use of the Writing Lab in D-221 (425-641-2493). If you have, or think you might have, a disability that will have an impact on your learning, please take the time to register with Disabled Student Services B233 (425-641-2498). Other services The website for college emergency closure information: https://bellevuecollege.edu/publicsafety/status/ Online services: http://bellevuecollege.edu/services/ Subject to Change: Each quarter brings unexpected events and this syllabus is subject to change with notice. Topics Covered (4/5-4/7) Director/Film topics: Week 1 Topics: Lumiere Brothers, DW Griffith, Biograph, Charlie Chaplin , Fritz Lang , Essential Terminology, Interframe narrative, slapstick and comedy, vaudeville, Birth of a Nation, Early Foundations Intolerance, Great Train Robbery, City Lights, Modern Times, Metropolis, and the Silent Era Steamboat Willie, Napoleon. Composer/Film topics: The three components of the soundtrack, elements of music, the functions of film music, essential film visual/audio concepts and terminology Historical origins: opera , Richard Wagner , vaudeville, the “original” film music, the Silent Era, Rapee’s Motion Picture Moods, the Transition to Sound Film, Arthur Honegger (4/12-4/14) Director/Film topics: Week 2 Topics: Dziga Vertov , Sergei Eisenstein , Vsevoldo Pudovkin, Leni Riefenstahl, Nationalism and Religious Man With a Movie Camera, Battleship Potemkin, Olympiad, Tokyo Themes Olympiad, Frank Kapra Project 1 assigned: Composer/Film topics: Music Placement the concert composer vs. the film composer, Sergei Prokofiev , Herbert Windt, Dimitri Tiomkin , American: Charles Ives, Aaron Copland, Elmer Bernstien (4/19-4/21) Director/Film topics: Week 3 Topics: The Studio Setup: who’s who?, Frank Kapra , Disney, Fleisher Brothers, Hollywood Foundations: introduction of color, new genres, Wizard of OZ, Loony Tunes, Minnie the The Classical Studio Era Moocher, Singing in the Rain, The Production Code, Orson Welles : Citizen Kane & Touch of Evil , William Wyler, Gone With the Wind, Project 1 Due: Maltese Falcon, Sunset Blvd, Chinatown Music Placement Composer/Film topics: Project 2 Assigned: the film music studio heiarchy, the film music business, standard film Film Director Interview and techniques:audio/visual relationship, Max Steiner , Carl Stalling, Alfred Analysis Newman , early Bernard Herrmann, Miklos Rosza , Hugo Friedhofer Adolph Deutsch, Jerry Goldsmith (4/26-4/28) Director/Film topics: Week 4 Topics: Alfred Hitchcock , John Carpenter: Halloween & the Thing, George The Horror Movie Romero: Night of the Living Dead, William Friedkin; the Exorcist, Stanley and the Thriller Kubrick: The Shining, Psychological thriller/horror: Funny Games, A Clockwork Orange/Spider , M. Night Shyamalan Project 2 Due: Film Director Interview and Composer/Film topics: Analysis Technique of the genre, Franz Waxman: Bride of Frankenstein, Bernard Herrmann : Psycho, the Birds, Vertigo, North by Northwest, Project 3 Assigned: Jerry Goldsmith, Jack Nitzsche/Mike Oldfield, James Newton Howard Original Horror Sequence (5/3-5/5) Director/Film topics: Week 5 Topics: Fredrico Fellini, Akira Kurosawa Ingmar Bergman, Hayao Miyazaki, Liv International Film Ulman, Guillermo del Toro, Pedro Almodóvar, Ang Lee MIDTERM EXAM Composer/Film topics: Nino Rota , Fumio Hayasaka , Toru Takemitsu, Erik Nordgren, Alberto Iglesias, Tan Dun (5/10-5/12) Director/Film topics: Week 6 Topics: John Ford : The Searchers, High Noon Sergio Leone : the Spaghetti Westerns, War, & Brutality Westerns, Clint Eastwood; Unforgiven | Pa tton, Apocalypse Now, Platoon, Saving Private Ryan, Scorsese Project 3 Due: Horror Sequence Composer/Film topics: Max Steiner, Dimitri Tiomikin, Ennio Morricone , Lennie Niehaus | Jerry Project 4 Assigned: Goldsmith | Elmer Bernstein Film Music Analysis (5/17-5/19) Director/Film topics: Week 7 Topics: Billy Wilder: Some Like it Hot, the Apartment, Mel Brooks, Musicals, Comedy/the Compilation Singing in the Rain, Sound of Music, Robert Altman, Woodstock, Hard Score/”Product” Days Night, Butch Cassidy & the Sundance Kid, Stanley Kubrick: 2001, Placement Easy Rider, American Graffiti, Quentin Tarantino: Pulp Fiction, Forrest Gump Final Project Assigned: The Complete Film Analysis Composer/Film topics: the comedic score, Henry Mancini , musical, the film song, Burt Bacharach , “product” placement, the monothematic score: Days of Wine and Roses & the Way We Were. the compilation score, (5/24-5/26) Director/Film topics: Week 8 Topics: Franoic Truffaut, Jean-Luc Godard, Stan Brakage, Norman Mclaren, Experimental/ direct animation and direct sound, David Lynch, Tim Burton Avant-Garde/ Science Fiction Composer/Film topics: Electronic music, Spellbound, Bernard Herrmann,
Load more

Recommended publications
  • Jazzletter PO Box 240, Ojai CA 93024-0240
    Gene Lees - Jazzletter PO Box 240, Ojai CA 93024-0240 Vol. 19 No. 10 October 2000 back in those early New York days. Never did read Constant Mail Bag Lambeit’s book, though I used to see it on library shelves. Pleasants stirred me so with his argtmients that I would ofien, Thank you, thank you! That was like getting permission to even in recent years, grab the book just to read certain, take off a pair of shoes that pinch. chapters’ and get fired up again. You lay it out splendidly, I always wondered what I lacked when others seemed to show correlating ideas about modem art, and then top it off comprehend so much in serial music. Same with modern by demonstrating how Pleasants himselfwas taken in by the dance, with certain exceptions. And, married to a figurative jazz mongers, just as we were bilked by the Serious Music painter for twenty-one years, I saw first-hand the pain felt by hucksters. It was depressing and infuriating to learn how the one who truly tried to create an ordered and empathetic New York Times dealt with his obit. Made him look like a world within the deep space of his own canvas, only to be Moe Berg type. dismissed as unimportant by those who venerated the Thanks for telling me about Schoenberg and the prevail- accidental. - ing attitudes about him and that kind of music. It validates The original Second City troupe in Chicago had a skit in my instincts. The notion that music “progresses” has always which a noted broadcaster-critic-artist was explaining some bothered me.
    [Show full text]
  • The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
    The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子.
    [Show full text]
  • The Art of David Lynch
    The Art of David Lynch weil das Kino heute wieder anders funktioniert; für ei- nen wie ihn ist da kein Platz. Aber deswegen hat Lynch ja nicht seine Kunst aufgegeben, und nicht einmal das Filmen. Es ist nur so, dass das Mainstream-Kino den Kaperversuch durch die Kunst ziemlich fundamental abgeschlagen hat. Jetzt den Filmen von David Lynch noch einmal wieder zu begegnen, ist ein Glücksfall. Danach muss man sich zum Fernsehapparat oder ins Museum bemühen. (Und grimmig die Propaganda des Künstlers für den Unfug transzendentaler Meditation herunterschlucken; »nobody is perfect.«) Was also ist das Besondere an David Lynch? Seine Arbeit geschah und geschieht nach den »Spielregeln der Kunst«, die bekanntlich in ihrer eigenen Schöpfung und zugleich in ihrem eigenen Bruch bestehen. Man er- kennt einen David-Lynch-Film auf Anhieb, aber niemals David Lynch hat David Lynch einen »David-Lynch-Film« gedreht. Be- 21 stimmte Motive (sagen wir: Stehlampen, Hotelflure, die Farbe Rot, Hauchgesänge von Frauen, das industrielle Rauschen, visuelle Americana), bestimmte Figuren (die Frau im Mehrfachleben, der Kobold, Kyle MacLachlan als Stellvertreter in einer magischen Biographie - weni- ger, was ein Leben als vielmehr, was das Suchen und Was ist das Besondere an David Lynch? Abgesehen Erkennen anbelangt, Väter und Polizisten), bestimmte davon, dass er ein paar veritable Kultfilme geschaffen Plot-Fragmente (die nie auflösbare Intrige, die Suche hat, Filme, wie ERASERHEAD, BLUE VELVET oder die als Sturz in den Abgrund, die Verbindung von Gewalt TV-Serie TWIN PEAKS, die aus merkwürdigen Gründen und Design) kehren in wechselnden Kompositionen (denn im klassischen Sinn zu »verstehen« hat sie ja nie wieder, ganz zu schweigen von Techniken wie dem jemand gewagt) die genau richtigen Bilder zur genau nicht-linearen Erzählen, dem Eindringen in die ver- richtigen Zeit zu den genau richtigen Menschen brach- borgenen Innenwelten von Milieus und Menschen, der ten, und abgesehen davon, dass er in einer bestimmten Grenzüberschreitung von Traum und Realität.
    [Show full text]
  • A Level Music
    A level Music Areas of Study – Other Perspectives NB: updates to this document were made in April 2021 and these are highlighted in yellow. © artwork: Mark Bolitho | Origami photography Pearson Education Ltd/Justin Hoffman Introduction This qualification features a Component entitled Appraising. The purpose of this component is for students to develop their listening and appraising skills through the study of music across a variety of styles and genres. The content is grouped into six areas of study, containing either two or three set works. This component gives students the opportunity to reflect on, analyse and evaluate music in aural and/or written form. To achieve this objective, students need to use their knowledge and understanding of musical elements, context and language to make critical judgements about the repertoire and context of music within the areas of study. Students should also study a range of pieces beyond these set works. The suggested other musical pieces for each area of study (see Appendix 4 of the specification) provide students with breadth, enabling them to place their knowledge of musical elements, context and language in a wider context, and apply their knowledge and understanding to more pieces of music. The suggested other music can help students to relate their learning to music in the set works, but their study is not compulsory. Teachers can identify and teach other pieces of music to support their students’ learning. The following music and musicians are examples of how each of the areas of study can be approached from a diverse range of other perspectives. The pieces have been chosen to encourage students to think beyond the mainstream and over-represented composers and styles of music, and instead to consider alternative and less well-known types and origins of music.
    [Show full text]
  • Pre-Assessment
    Name: _________________________________________________ Date: ____________________________ Film Music Unit Pretest 6th Grade Music Multiple Choice 1. What is a melody? a. The main line in music b. The background line in music c. A song that we sing d. The rhythmic drive in music. 2. The line of music associated with Luke Skywalker in the movie Star Wars is called a ___________________. a. Sequence b. Ostinato c. Leitmotif d. Melody 3. What was the first movie with an entire original score? a. Gone with the Wind b. King Kong c. Casablanca d. Star Wars 4. What year did synthesizers become introduced as a part of film music? a. 1958 b. 1968 c. 1978 d. 1980 True or False 5. Music was included as a part of film starting with the first motion picture. True False 6. Film composers are not always well-respected in their careers. True False 7. Film music is played by a symphony. True False 8. Ascending melodies are generally happy, while descending melodies are generally sad. True False Matching Match each film with the composer who wrote the film score. 9. ___________ Star Trek a) Hans Zimmer 10. ___________ Edward Scissorhands b) Jerry Goldsmith 11. ___________ Titanic c) Max Steiner 12. ___________ The Lion King d) Danny Elfman 13. ___________ The Pink Panther e) John Williams 14. ___________ King Kong f) James Horner 15. ___________ Star Wars g) Henry Mancini Name: _________________________________________________ Date: ____________________________ Fill in the Blank Insert the best word into each blank. Not all words will be used. character consonance dissonance geographic harmony historic piano tension timbre 16.
    [Show full text]
  • David Cronenberg Et Howard Shore. Bref Portrait D'une Longue
    Document généré le 1 oct. 2021 00:20 Revue musicale OICRM David Cronenberg et Howard Shore. Bref portrait d’une longue collaboration Solenn Hellégouarch Une relève Résumé de l'article Volume 2, numéro 2, 2015 Après 45 ans de carrière, la filmographie de David Cronenberg compte 22 films, dont 15 ont été musicalisés par Howard Shore, qui a rejoint l’équipe du URI : https://id.erudit.org/iderudit/1060132ar cinéaste en 1979. Si l’univers cronenbergien est aujourd’hui bien connu, DOI : https://doi.org/10.7202/1060132ar l’apport de son compositeur demeure peu exploré. Or, la musique semble y jouer un rôle de toute première importance, le compositeur étant impliqué très Aller au sommaire du numéro tôt dans le processus cinématographique. Cette implication précoce est indicatrice du rôle central qu’occupent Shore et sa musique : comment le définir ? Plutôt que de recourir à une analyse des fonctions de la musique au cinéma, cet article explore les processus de création qui lui donnent naissance. Éditeur(s) Cronenberg et Shore, qui ont « tout appris en commun », présentent ainsi des OICRM processus créateurs aux traits similaires, ou plus exactement des figures artistiques communes, ici exposées, les regroupant sous une seule vision artistique : l’autodidacte, l’expérimentateur, l’improvisateur, le ISSN peintre/sculpteur et l’artiste-artisan. 2368-7061 (numérique) Découvrir la revue Citer cet article Hellégouarch, S. (2015). David Cronenberg et Howard Shore. Bref portrait d’une longue collaboration. Revue musicale OICRM, 2(2), 96–114. https://doi.org/10.7202/1060132ar Tous droits réservés © Revue musicale OICRM, 2015 Ce document est protégé par la loi sur le droit d’auteur.
    [Show full text]
  • Film Essay for "The Best Years of Our Lives"
    The Best Years of Our Lives Homer By Gabriel Miller Wermels (Harold Russell), a “The Best Years of Our Lives” originated in a recommen- seaman, who dation from producer Samuel Goldwyn's wife that he read has long a “Time” magazine article entitled "The Way Home" been en- (1944), about Marines who were having difficulty readjust- gaged to the ing to life after returning home from the war. Goldwyn girl next door. hired novelist MacKinlay Kantor, who had flown missions He returns as a correspondent with the Eighth Air Force and the from the war Royal Air Force (and would go on to win the Pulitzer Prize a spastic, in 1955 for his Civil War novel “Andersonville”), to use that unable to article as the basis for a fictional adaptation of approxi- control his mately 100 pages. Inexplicably, Kantor turned in a novel movements. in verse that ran closer to 300 pages. Goldwyn could barely follow it, and he wanted to shelve the project but Sherwood was talked into letting Kantor work on a treatment. and Wyler made some William Wyler, his star director, returned to Goldwyn significant Studios in 1946, having been honorably discharged from changes that the Air Force as a colonel, also receiving the Legion of added more Merit Award. Wyler's feelings about his life and profession complexity had changed: "The war had been an escape into reality … and dramatic Only relationships with people who might be dead tomor- force to the row were important." Wyler still owed Goldwyn one more story. In film, and the producer wanted him to make “The Bishop's Kantor's ver- Wife” with David Niven.
    [Show full text]
  • From Glory to Destruction: John Huston's Non-Fictional Depictions of War
    RSA Journal 13 5 FEDERICO SINISCALCO From Glory to Destruction: John Huston's Non-fictional Depictions of War During the second World War John Huston became involved, together with other famous Hollywood filmmakers, in the U.S. Government propa­ ganda film production. This paper argues that whereas Report from the Aleutians, Huston's first war documentary, may be incorporated within the propaganda genre, and depicts war as an instance where men may aspire to glory, his second non-fiction film, San Pietro, breaks free of this label and takes a clear, autonomous stand on the ultimate tragedy of war, and on the destruction which it brings about. John Huston established his reputation as an important Hollywood personality in 1941 following his debut as a film director with the now clas­ sic Maltese Falcon. The following year, as the United States became more engaged in the world conflict, he joined the Signal Corps, a body ofthe U.S. Army specialized in film and photographic documentation ofwar. In his au­ tobiography, written several years later, Huston admitted that he did not pay much attention to the enlisting papers given to him by his friend Sy Bartlett. Therefore, when the call came from the Army to report to duty he was rather surprised (Huston 111-2). At the time Huston was a 37-year old man with a promising career in front of him. Busily working on his next film, Across the Pacific, a sequel of sorts to the successful Maltese Falcon, the prospect of direct involvement in the war must have seemed quite foreign to him.
    [Show full text]
  • AXS TV Schedule for Mon. January 5, 2015 to Sun. January 11, 2015 Monday January 5, 2015 Tuesday January 6, 2015
    AXS TV Schedule for Mon. January 5, 2015 to Sun. January 11, 2015 Monday January 5, 2015 5:30 PM ET / 2:30 PM PT 8:00 AM ET / 5:00 AM PT Gene Simmons Family Jewels Baltic Coasts Face Your Demons - While on tour in Amsterdam, Gene and Shannon spend some quality time The Bird Route - Every spring and autumn, thousands of migrating birds over the Western with a young fan writing a school report. Pomeranian bodden landscape deliver one of the most breathtaking nature spectacles. 6:30 PM ET / 3:30 PM PT 9:00 AM ET / 6:00 AM PT Gene Simmons Family Jewels Smart Travels Europe What Happens In Vegas... - Gene and Shannon get invited to the premiere of the new Cirque du Out of Rome - We leave the eternal city behind by way of the famous Apian Way to explore the Soleil show “Viva Elvis” in Las Vegas. environs of Rome. First it’s the majesty of Emperor Hadrian’s villa and lakes of the Alban Hills. Next, it’s south to the ancient seaport of Ostia, Rome’s Pompeii. Along the way we sample olive 7:30 PM ET / 4:30 PM PT oil, stop at the ancient’s favorite beach and visit a medieval hilltop town. Our own five star villa Gene Simmons Family Jewels is a retreat fit for an emperor. God Of Thund - An exhausted Shannon reaches her limit with Gene’s snoring and sends him packing to a sleep doctor. 9:30 AM ET / 6:30 AM PT The Big Interview Premiere Alan Alda - Hollywood’s Mr.
    [Show full text]
  • A Voice Against War
    STOCKHOLMS UNIVERSITET Institutionen för Asien-, Mellanöstern- och Turkietstudier A Voice Against War Pacifism in the animated films of Miyazaki Hayao Kandidatuppsats i japanska VT 2018 Einar Schipperges Tjus Handledare: Ida Kirkegaard Innehållsförteckning Annotation ............................................................................................................................................... 3 1 Introduction .......................................................................................................................................... 4 1.1 Aim of the study ............................................................................................................................ 5 1.2 Material ......................................................................................................................................... 5 1.3 Research question .......................................................................................................................... 5 1.4 Theory ........................................................................................................................................... 5 1.4.1 Textual analysis ...................................................................................................................... 5 1.4.2 Theory of animation, definition of animation ........................................................................ 6 1.5 Methodology ................................................................................................................................
    [Show full text]
  • Original Music in Film - Part One - Clips Shown for Educational Purposes Only
    Original Music In Film - Part One - Clips Shown for Educational Purposes Only: The Gold Rush (Cabin Scene) - Charlie Chaplin Street Scene (Main Title and Cityscape) - Alfred Newman King Kong (Main Title and Sacrifice of Maiden) - Max Steiner Lawrence of Arabia (The Desert) - Maurice Jarre Captain Blood (Main Title) - Erich Wolfgang Korngold Swing Time (The Way You Look Tonight) - Jerome Kern, Dorothy Fields Coco and Igor (‘The Rite of Spring’ - premiere Paris 1913) - Stravinsky Lost Horizon - (Main Title and Panic) Dimitri Tiomkin (cond. by Max Steiner) The Adventures of Robin Hood (Main Title) - Erich Wolfgang Korngold Alexander Nevsky (Battle on the Ice) - Sergei Prokofiev Gone with the Wind (Main Title) - Max Steiner The Sea Hawk (Main Title) - Erich Wolfgang Korngold The Sea Hawk (Strike for the Shores of Dover - Shanty) - Erich Wolfgang Korngold Citizen Kane (Opening - Xanadu) - Bernard Herrmann The Devil and Daniel Webster (AKA - All that Money Can Buy) - (Main Title) - Bernard Herrmann The Devil and Daniel Webster (The Devil’s Hoedown) - Bernard Herrmann King’s Row (Main Title ) - Erich Wolfgang Kornold Star Wars (Opening) - John Williams Casablanca (Main Title and Spy Round-up) - Max Steiner Laura (Main Title) - David Raksin The Lost Week-End (Hallucinations) - Miklos Rozsa Spellbound (Open Doors - Love Theme) - Miklos Rozsa The Best Years of Our Lives (Homecoming) - Hugo Friedhofer Henry V (Opening) - Sir William Walton The Killers (Main Title) - Miklos Rozsa Lost Horizon (Main Title/Crowd Panic) - Dimitri Tiomkin (cond. M. Steiner)
    [Show full text]
  • NSBA Convention Performances.Xlsx
    NSBA Performances 1 Title Composer/ Arranger Publisher Grade Performing Group Director(s) Year Fanfare for the Common Man Aaron Copland/arr. Robert Longfield 3 Bluffs Middle School 8th Grade Band (Scottsbluff) Michael Koch 2016 Whispers of the Wind David Shaffer 2.5 Bluffs Middle School 8th Grade Band (Scottsbluff) Michael Koch 2016 Freedom's Song James Curnow 1 Bluffs Middle School 8th Grade Band (Scottsbluff) Michael Koch 2016 March Grandioso Seitz/arr. Glover 3.5 Bluffs Middle School 8th Grade Band (Scottsbluff) Michael Koch 2016 Come Thou Found of Every Blessing Randall Standridge 3 Bluffs Middle School 8th Grade Band (Scottsbluff) Michael Koch 2016 Lake County Landscapes Robert Sheldon 3 Bluffs Middle School 8th Grade Band (Scottsbluff) Michael Koch 2016 The Haunted Carousel Erika Svanoe 3 Bluffs Middle School 8th Grade Band (Scottsbluff) Michael Koch 2016 Celebrata Ed Huckeby 2.5 Bluffs Middle School 8th Grade Band (Scottsbluff) Michael Koch 2016 Danza No. 2 Bruce Yurko 4 Lincoln East High School Wind Ensemble Tom Thorpe 2016 Funtango Chris Sharp 1 Lincoln East High School Wind Ensemble Tom Thorpe 2016 Be Thou My Vision Bryan Kidd 2 Lincoln East High School Wind Ensemble Tom Thorpe (Del Whitman - Conductor) 2016 Dancing at Stonehenge Anthony Suter 4 Lincoln East High School Wind Ensemble Tom Thorpe 2016 Steampunk Nolan Schmit 2.5 Lincoln East High School Wind Ensemble Tom Thorpe (Brian Vuu - Conductor) 2016 La Fiesta Mexicana (II. Mass) H. Owen Reed 6 Lincoln East High School Wind Ensemble Tom Thorpe 2016 See Rock City Brant Karrick 4.5 Lincoln East High School Wind Ensemble Tom Thorpe 2016 Gavorkna Fanfare Jack Stamp 5 Millard North Wind Symphony Ryan Placek & Craig Mathis 2016 Windjammer Millard North Wind Symphony 2016 Robert Buckley 3.5 Ryan Placek & Craig Mathis Nemesis Gary D.
    [Show full text]