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Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
Listening to Movies: Film Music and the American Composer Charles Elliston Long Middle School INTRODUCTION I Entered College
Listening to Movies: Film Music and the American Composer Charles Elliston Long Middle School INTRODUCTION I entered college a naïve 18-year-old musician. I had played guitar for roughly four years and was determined to be the next great Texas blues guitarist. However, I was now in college and taking the standard freshman music literature class. Up to this point the most I knew about music other than rock or blues was that Beethoven was deaf, Mozart composed as a child, and Chopin wrote a really cool piano sonata in B-flat minor. So, we’re sitting in class learning about Berlioz, and all of the sudden it occurred to me: are there any composers still working today? So I risked looking silly and raised my hand to ask my professor if there were composers that were still working today. His response was, “Of course!” In discussing modern composers, the one medium that continuously came up in my literature class was that of film music. It occurred to me then that I knew a lot of modern orchestral music, even though I didn’t really know it. From the time when I was a little kid, I knew the name of John Williams. Some of my earliest memories involved seeing such movies as E.T., Raiders of the Lost Ark, and The Empire Strikes Back. My father was a musician, so I always noted the music credit in the opening credits. All of those films had the same composer, John Williams. Of course, I was only eight years old at the time, so in my mind I thought that John Williams wrote all the music for the movies. -
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. -
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 ���������������������� �������� ����� ��������� �������� ������ ���� ���������������������������� ������������������������� ��������������� �������������������������������������������������� ����� ��� ��������� ����������� ���� ������������ ������������������������������������������������� ����������������������������������������������� ��������������������� �������������������� ���������������������������������������������� ����������� ����������� ���������� �������� ������������������������������� ���������������������������������� ������������������������������������������ ������������������������������������� ����� ������������������������������������������ ��������������������������������������� ������������������������������� �������������������������� ���������� ���������������������������� ��������������������������������� �������������� ��������������������������������������������� ������������������������� �������������������������������������������� ������������������������������ �������������������������� -
Danny Elfman's Violin Concerto
Danny Elfman’s Violin Concerto Friday, October 18 Today’s concert focuses not only on the renowned 10:30am concert music of Danny Elfman, but on a style of music that doesn’t tell a complete narrative. Rather, today’s selections paint a picture of a feeling, or an emotion, or a mysterious land- scape, by only using the power of music. Read on to find out more! Danny Elfman, American Composer (1953- ) Danny Elfman is an American composer most well known for his film music. He has composed music for film and TV such as The Simpsons, Men in Black, and Avengers: Age of Ultron. and has worked with pioneer- ing directors such as Tim Burton, Sam Raimi, Guillermo del Toro and Ang REPERTOIRE Lee. In 2004, Elfman began writing for the concert hall, such as Serenada Schizophrana (2005), Rabbit and Rogue (2008), and Eleven Eleven (2017). ELFMAN Concerto: “Eleven Eleven” Danny Elfman work- STRAUSS ing with longtime creative collaborator Death and and director, Tim Bur- Transfiguration, ton, on Alice in Wonderland (2010). Dance of the Seven Veils from Salome Concerto for Violin & Orchestra: “Eleven Eleven” composed in 2017, duration is 15 minutes This concerto, or larger-scale piece for an orchestra and a solo instrument, is approximately 40 minutes in duration and is divided into four movements. It features lyrical melodies inspired by early 20th century music, as well as more modern rhythms and har- monies. The title comes from the measure count, which hap- pens to be exactly 1,111 meas- ures long. The piece was written in collaboration with violinist Sandy Cameron. -
The ASCAP Foundation Honors
NOTATIONS SPRING 2018 ISSUE The ASCAP Foundation Honors The ASCAP Foundation 2017 Honors event celebrated the achievements of up-and-coming songwriters, composers and lyricists who represent our musical hopes and dreams for the future. The music creators, per- formers and music business students who are beginning their careers and already making an impact. The evening also honored Grammy and Tony Award-winning jazz legend Dee Dee Bridgewater with The ASCAP Foundation Champion Award for her outstanding contributions to music and her work in building a food- secure world. Honored with the Richard Rodgers New Horizons Award were acclaimed Broadway composers/lyricists/librettists David Hein and Irene Sankoff for their show, Come From Away. ASCAP Foundation President Paul Williams and Executive Director Colleen McDonough hosted the event which was held in December in ASCAP Foundation Executive Director Colleen McDonough (l) and ASCAP Foundation the Appel Room, Frederick P. Rose Hall, Home of Jazz at Lincoln Center President Paul Williams (r) with 2017 Champion Award recipient Dee Dee Bridgewater in New York City. Composer Award recipient; “New Year’s Day (We Made It All the Way)” In addition to the wide variety of ASCAP Foundation beneficiaries, the from Brian Nathan, BMG Scholarship winner in honor of Quincy Jones; ceremony featured stellar performances by honorees including Drake “Characterization,” by Tengku Irfan, Morton Gould Young Composer Milligan, the Desmond Child Anthem Award winner performing “Cheatin’ Award recipient; and “Our Love is Alive” performed by Danielle Har- Backwards;” “Party Fowl” by David Leon, the Herb Alpert Young Jazz ris and Myles Potters, co-recipients of the Robert Allen Award. -
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. -
Danny Elfman's Horror Film Music Elements in the Films
DANNY ELFMAN’S HORROR FILM MUSIC ELEMENTS IN THE FILMS BY TIM BURTON Rinske Lerk 4251970 July 29, 2017 Bachelor Thesis Musicology, MU3V14004 Supervisor: Dr. Petra Philipsen Table of Contents 1. Introduction…………………………………………………………………………... 3 2. Theoretical Framework…………………………………………………………......... 5 2.1. Instrumentation………………………………………………………………….. 5 2.2. Harmonics and Dynamics……………………………………………………….. 7 2.3. Scare Tactics…………………………………………………………………….. 8 3. Analysis Beetlejuice and Sleepy Hollow………………………………………........... 10 3.1. “Main Titles” – Beetlejuice……………………………………………………… 10 3.1.1. Instrumentation…………………………………………………….……... 10 3.1.2. Harmonics and Dynamics………………………………………………… 11 3.1.3. Scare Tactics……………………………………………………………… 12 3.2. “Main Titles” – Sleepy Hollow………………………………………………….. 13 3.2.1. Instrumentation…………………………………………………………… 13 3.2.2. Harmonics and Dynamics………………………………………………… 14 3.2.3. Scare Tactics……………………………………………………………… 14 4. Comparison…………………………………………………………………………… 16 5. Conclusion………………………………………………………………………......... 17 6. References……………………………………………………………………………. 18 2 1. Introduction Growing up I have seen many films, but one film has always stood out for me: Corpse Bride (2005). As soon as we got the DVD of this film, I must have watched it at least 20 times. This film marked the start of my love for Tim Burton films and music by Danny Elfman. After Corpse Bride I have seen many other films by Tim Burton. What has always intrigued me about his films, is that the storylines are quite dark and often use dark colours. This insinuates that Burton’s films could be horror films,1 but this is not always the case. The question this raises is to what extent the music in his films features horror elements. The main question in this thesis is: To what extent does the music of Danny Elfman in films by Tim Burton express fright? In this thesis I am focusing on the music itself, because I want to find out whether it is obvious from the music alone that it is frightening or not. -
Winterspell Playlist 1. Sweet Dreams
Winterspell Playlist 1. Sweet Dreams (Are Made of This) – Sucker Punch – performed by Emily Browning 2. Towers of the Void – Red Riding Hood – Brian Reitzell 3. Is It Poison, Nanny – Sherlock Holmes – Hans Zimmer 4. Dyslexia – Percy Jackson & the Olympians – Christophe Beck 5. Maria Redowa – Little Women – Thomas Newman 6. La Fayette’s Welcome – Little Women – Thomas Newman 7. Port Royal Gallop – Little Women – Thomas Newman 8. Dead Sister – Red Riding Hood – Brian Reitzell & Alex Heffes 9. The Dance – Emma – Rachel Portman 10. Tavern Stalker – Red Riding Hood – Brian Reitzell & Alex Heffes 11. Wolf Attack Suite – Red Riding Hood – Brian Reitzell & Alex Heffes 12. Then Came the Purge – Underworld: Awakening – Paul Haslinger 13. The Wolve’s Den – Underworld: Rise of the Lycans – Paul Haslinger 14. The Lycan Van Escape – Underworld: Awakening – Paul Haslinger 15. Wtf – Green Zone – John Powell 16. Mike to Tavern – Underworld: Evolution – Marco Beltrami 17. Darkness Deep Within – Underworld – Paul Haslinger 18. Teahouse – The Matrix Reloaded – Juno Reactor and Gocoo 19. To Jerusalem – Kingdom of Heaven – Harry Gregson-Williams 20. Jean and Logan – X-Men: The Last Stand – John Powell 21. Dissolve – The Book of Eli – Atticus Ross 22. Pier 17 – The Adjustment Bureau – Thomas Newman 23. Blind Faith – The Book of Eli – Atticus Ross 24. Richardson – The Adjustment Bureau – Thomas Newman 25. The Journey – The Book of Eli – Atticus Ross 26. Mt. Grimoor – Red Riding Hood – Brian Reitzell & Alex Heffes 27. The Arrow Attack – Underworld: Rise of the Lycans – Paul Haslinger 28. Corvinus – Underworld – Paul Haslinger 29. Subterrania – Underworld – Paul Haslinger 30. A Thorough Education – Jane Eyre – Dario Marianelli 31. -
Regimes of Truth in the X-Files
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 1-1-1999 Aliens, bodies and conspiracies: Regimes of truth in The X-files Leanne McRae Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Film and Media Studies Commons Recommended Citation McRae, L. (1999). Aliens, bodies and conspiracies: Regimes of truth in The X-files. https://ro.ecu.edu.au/ theses/1247 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1247 Edith Cowan University Research Online Theses: Doctorates and Masters Theses 1999 Aliens, bodies and conspiracies : regimes of truth in The -fiX les Leanne McRae Edith Cowan University Recommended Citation McRae, L. (1999). Aliens, bodies and conspiracies : regimes of truth in The X-files. Retrieved from http://ro.ecu.edu.au/theses/1247 This Thesis is posted at Research Online. http://ro.ecu.edu.au/theses/1247 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). -
An Examination of Jerry Goldsmith's
THE FORBIDDEN ZONE, ESCAPING EARTH AND TONALITY: AN EXAMINATION OF JERRY GOLDSMITH’S TWELVE-TONE SCORE FOR PLANET OF THE APES VINCENT GASSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO MAY 2019 © VINCENT GASSI, 2019 ii ABSTRACT Jerry GoldsMith’s twelve-tone score for Planet of the Apes (1968) stands apart in Hollywood’s long history of tonal scores. His extensive use of tone rows and permutations throughout the entire score helped to create the diegetic world so integral to the success of the filM. GoldsMith’s formative years prior to 1967–his training and day to day experience of writing Music for draMatic situations—were critical factors in preparing hiM to meet this challenge. A review of the research on music and eMotion, together with an analysis of GoldsMith’s methods, shows how, in 1967, he was able to create an expressive twelve-tone score which supported the narrative of the filM. The score for Planet of the Apes Marks a pivotal moment in an industry with a long-standing bias toward modernist music. iii For Mary and Bruno Gassi. The gift of music you passed on was a game-changer. iv ACKNOWLEDGEMENTS Heartfelt thanks and much love go to my aMazing wife Alison and our awesome children, Daniela, Vince Jr., and Shira, without whose unending patience and encourageMent I could do nothing. I aM ever grateful to my brother Carmen Gassi, not only for introducing me to the music of Jerry GoldsMith, but also for our ongoing conversations over the years about filM music, composers, and composition in general; I’ve learned so much. -
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).