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Complete Catalogue of the Musical Themes Of
COMPLETE CATALOGUE OF THE MUSICAL THEMES OF CATALOGUE CONTENTS I. Leitmotifs (Distinctive recurring musical ideas prone to development, creating meaning, & absorbing symbolism) A. Original Trilogy A New Hope (1977) | The Empire Strikes Back (1980) | The Return of the Jedi (1983) B. Prequel Trilogy The Phantom Menace (1999) | Attack of the Clones (2002) | Revenge of the Sith (2005) C. Sequel Trilogy The Force Awakens (2015) | The Last Jedi (2017) | The Rise of Skywalker (2019) D. Anthology Films & Misc. Rogue One (2016) | Solo (2018) | Galaxy's Edge (2018) II. Non-Leitmotivic Themes A. Incidental Motifs (Musical ideas that occur in multiple cues but lack substantial development or symbolism) B. Set-Piece Themes (Distinctive musical ideas restricted to a single cue) III. Source Music (Music that is performed or heard from within the film world) IV. Thematic Relationships (Connections and similarities between separate themes and theme families) A. Associative Progressions B. Thematic Interconnections C. Thematic Transformations [ coming soon ] V. Concert Arrangements & Suites (Stand-alone pieces composed & arranged specifically by Williams for performance) A. Concert Arrangements B. End Credits VI. Appendix This catalogue is adapted from a more thorough and detailed investigation published in JOHN WILLIAMS: MUSIC FOR FILMS, TELEVISION, AND CONCERT STAGE (edited by Emilio Audissino, Brepols, 2018) Materials herein are based on research and transcriptions of the author, Frank Lehman ([email protected]) Associate Professor of Music, Tufts -
Disney•Pixar's “Finding Dory”
Educator’s Guide GRADES 2-6 Created in partnership with the Educational Team isney•Pixar’s “Finding Dory” welcomes back to the big convinced his biological sonar skills are on the fritz; and Dscreen everyone’s favorite forgetful blue tang Dory Destiny (voice of Kaitlin Olson), a nearsighted whale shark. (voice of Ellen DeGeneres), who’s living happily in the reef Deftly navigating the complex inner workings of the MLI, with Marlin (voice of Albert Brooks) and Nemo (voice Dory and her friends discover the magic within their flaws, of Hayden Rolence). When Dory suddenly remembers friendships and family. that she has a family out there who may be looking for Directed by Andrew Stanton (“Finding Nemo,” “WALL•E”), her, the trio takes off on a life-changing adventure across co-directed by Angus MacLane (“Toy Story OF TERROR!”), the ocean to California’s prestigious Marine Life Institute and produced by Lindsey Collins (co-producer “WALL•E”), (MLI), a rehabilitation center and aquarium. In an effort to Disney•Pixar’s “Finding Dory” swims home on Digital find her mom (voice of Diane Keaton) and dad (voice of HD October 25 and on Blu-ray™ November 15. For Eugene Levy), Dory enlists the help of three of the MLI’s more information, like us on Facebook, https://www. most intriguing residents: Hank (voice of Ed O’Neill), a facebook.com/PixarFindingDory, and follow us on Twitter, cantankerous octopus who frequently gives employees https://twitter.com/findingdory and Instagram, https:// the slip; Bailey (voice of Ty Burrell), a beluga whale who is instagram.com/DisneyPixar. -
Track 1 Juke Box Jury
CD1: 1959-1965 CD4: 1971-1977 Track 1 Juke Box Jury Tracks 1-6 Mary, Queen Of Scots Track 2 Beat Girl Track 7 The Persuaders Track 3 Never Let Go Track 8 They Might Be Giants Track 4 Beat for Beatniks Track 9 Alice’s Adventures In Wonderland Track 5 The Girl With The Sun In Her Hair Tracks 10-11 The Man With The Golden Gun Track 6 Dr. No Track 12 The Dove Track 7 From Russia With Love Track 13 The Tamarind Seed Tracks 8-9 Goldfinger Track 14 Love Among The Ruins Tracks 10-17 Zulu Tracks 15-19 Robin And Marian Track 18 Séance On A Wet Afternoon Track 20 King Kong Tracks 19-20 Thunderball Track 21 Eleanor And Franklin Track 21 The Ipcress File Track 22 The Deep Track 22 The Knack... And How To Get It CD5: 1978-1983 CD2: 1965-1969 Track 1 The Betsy Track 1 King Rat Tracks 2-3 Moonraker Track 2 Mister Moses Track 4 The Black Hole Track 3 Born Free Track 5 Hanover Street Track 4 The Wrong Box Track 6 The Corn Is Green Track 5 The Chase Tracks 7-12 Raise The Titanic Track 6 The Quiller Memorandum Track 13 Somewhere In Time Track 7-8 You Only Live Twice Track 14 Body Heat Tracks 9-14 The Lion In Winter Track 15 Frances Track 15 Deadfall Track 16 Hammett Tracks 16-17 On Her Majesty’s Secret Service Tracks 17-18 Octopussy CD3: 1969-1971 CD6: 1983-2001 Track 1 Midnight Cowboy Track 1 High Road To China Track 2 The Appointment Track 2 The Cotton Club Tracks 3-9 The Last Valley Track 3 Until September Track 10 Monte Walsh Track 4 A View To A Kill Tracks 11-12 Diamonds Are Forever Track 5 Out Of Africa Tracks 13-21 Walkabout Track 6 My Sister’s Keeper -
A Study of Musical Affect in Howard Shore's Soundtrack to Lord of the Rings
PROJECTING TOLKIEN'S MUSICAL WORLDS: A STUDY OF MUSICAL AFFECT IN HOWARD SHORE'S SOUNDTRACK TO LORD OF THE RINGS Matthew David Young A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC IN MUSIC THEORY May 2007 Committee: Per F. Broman, Advisor Nora A. Engebretsen © 2007 Matthew David Young All Rights Reserved iii ABSTRACT Per F. Broman, Advisor In their book Ten Little Title Tunes: Towards a Musicology of the Mass Media, Philip Tagg and Bob Clarida build on Tagg’s previous efforts to define the musical affect of popular music. By breaking down a musical example into minimal units of musical meaning (called musemes), and comparing those units to other musical examples possessing sociomusical connotations, Tagg demonstrated a transfer of musical affect from the music possessing sociomusical connotations to the object of analysis. While Tagg’s studies have focused mostly on television music, this document expands his techniques in an attempt to analyze the musical affect of Howard Shore’s score to Peter Jackson’s film adaptation of The Lord of the Rings Trilogy. This thesis studies the ability of Shore’s film score not only to accompany the events occurring on-screen, but also to provide the audience with cultural and emotional information pertinent to character and story development. After a brief discussion of J.R.R. Tolkien’s description of the cultures, poetry, and music traits of the inhabitants found in Middle-earth, this document dissects the thematic material of Shore’s film score. -
Music by Alan Menken Lyrics by Lynn Ahrens Book by Mike Ockrent and Lynn Ahrens
PIANO CONDUCTOR SCORE Music by Alan Menken Lyrics by Lynn Ahrens Book by Mike Ockrent and Lynn Ahrens Based on the story by Charles Dickens NOTICE: DO NOT DEFACE! • Should you find it necessary to mark cues or cuts, use a soft black lead pencil only. NOT FOR SALE • This book is rented for the period specified in your contract. It remains the property of: MUSIC THEATRE INTERNATIONAL 421 West 54th Street New York NY 10019 MUSIC THEATRE INTERNATIONAL (212) 541-4684 www.MTIShows.com Copyright © 1994, 1995, 1996 Trunksong Music, Ltd, Menken Music and Madison Square Garden, L.P. MTI'S LATEST THEATRICAL RESOURCE IS A PLAY-ALONG PERFORMANCE SYSTEM THAT ALLOWS YOUR GROUP TO REALIZE THE FULL SOUND OF THE ORIGINAL ORCHESTRATION. rchEXTRA® is a user-friendly music enhancement system capable Oof augmenting student musicians and professionals alike. With OrchEXTRA® in the pit, actors on stage feel fully supported while the pit musicians experience the thrill of playing with a full orchestra. Many organizations interested in producing musicals don't have access to enough musicians to make up an orchestra. OrchEXTRA® was developed to assist these groups by providing the missing instruments needed to realize a full Broadway score, while at the same time encouraging all available musicians to participate. What sets OrchEXTRA® apart from any other music enhancement system is its extraordinary ability to follow a conductor's fluctuating tempo as well as its ability to handle subtle musical expression. WITH ORCHEXTRA® IN THE PIT, EVERY ORGANIZATION CAN HAVE A FULL ORCHESTRAL SOUND! Available Exclusively from In Conjunction with HOW IT WORKS: • For a given musical, each individual part of the orchestra is recorded and sculpted by a trained musician, then put together with the other parts to create a sequence. -
Arkansas Symphony Presents Music of Star Wars with Costumes, Trivia, and Music Attendees Are Invited to Attend in Costume for a Chance to Win a Prize
PRESS RELEASE: FOR IMMEDIATE RELEASE Press Contact: Brandon Dorris Office: (501)666-1761, ext. 118 Mobile: (501)650-2260 Fax: (501)666-3193 Email: [email protected] Arkansas Symphony Presents Music of Star Wars with Costumes, Trivia, and Music Attendees are invited to attend in costume for a chance to win a prize. Little Rock, ARK, September 27, 2018 - The Arkansas Symphony Orchestra, Philip Mann, Music Director and Conductor, announces a presentation of The Music of Star Wars, 7:30 p.m. Saturday, October 20th and 3:00 p.m. Sunday, October 21st at the Robinson Center. The concert will feature music selected from the entire series of 10 feature films, an animated film, three TV films, and six animated series spanning more than 40 years. The celebrated film composer John Williams (Star Wars, Jaws, Indiana Jones, Harry Potter), composed all music from the eight saga films (Williams is also slated to score the ninth and final film), with award-winners Michael Giacchino and John Powell composing the music for the spin-off films. The program will feature costumes, trivia, and decoration of the Robinson Center to create a multi- sensory experience. Audiences are invited attend this family-friendly event in costume as their favorite character. A random Star Wars-themed prize winner will be selected from costumed attendees at each performance. Tickets are on sale now and prices are $16, $36, $57, and $68 and can be purchased online at www.ArkansasSymphony.org/starwars; at the Robinson Center street-level box office beginning 90 minutes prior to a concert; or by phone at 501-666-1761, ext. -
Halloween Concert
Music Department Calendar of Events Central Washington University Department of Music presents: Halloween Concert Dr. Elioac Salokin, Director of Orchestra Dr. Raanediew Yrag, Director of Choir Asomrehalliv Nayr, Assistant Conductor Renierhcs Leinad, Assistant Conductor Jerilyn S. McIntyre Music BuildingDr. Wayne S. Hertz Concert Hall Wednesday, October 30th, 2019 7:00 PM Personnel Program FARMING FOR TREBLE CANDY HORNS SNOWWHITE AND THE March of the Goblins Adam Glaser Cow Doctor* SEVEN DWARVES SoBEEa Goodenbuzz+ Jeffrey Snow White* Chicken Leighton Dopey Jerry Snedeker Doc Lydia BoPeep Sleepy Batalip+ THE POWERPUFF GIRLS Sneezy Old McDonald / Spider Pig arr. Mike Scott Tom Blossom* Grumpy Scarecrow Buttercup^ Bashful ed. Daniel Schreiner Bubbles Happy INNER VOICES, TRULY HEROIC SCRUFFY LOOKING NERF CELLO THERE Disgruntled Food Employee HERDERS Rey*^ Choir - Ecce Vicit Leo (Double) Peter Phillips Jack and Jill Payton Luke Skywalker* Palermo Charlotte Web Leia Organa Lucy Zoboomafoo Sheev Palpatine* Ricky Spooky Stuckey+ Han Solo* Pizza Ash Ketchum Poor College Student Savurkey Gobbler+ HYDROFLASKS Lilith Star Wars - Main Title John Williams Black Hydroflask* Princess Leia FARMERS ONLY Grey Hydroflask Greg Universe Erik Green Hydroflask The Rock Kornel Blue Hydroflask Something Wicked “High Ground”+ Red Hydroflask Renaissance Lady Gus Rrr’Donnell Mystery Man Eight Laughing Voices Hyo-won Woo Earl BLACK AND WHITE ALL Musical Superhero Old McDonald OVER Carina Kanter Farmer Mike BoJack Horseman Chip ROCK BOTTOM VIOLENT Mary Poppins* THE FLOCK SHOULDER HARPS Professor Utonium The Typewriter Leroy Anderson David Baa-allard Mrs. Elizabeth Peacock*^ One Ring to Rule Them All Elambjah Bergevin Andrés de Fonollosa Medical Officer Phipps Luke Baa-cheverria Captain Long John Silver Science Officer Hoffman Tommy Marsheep Mognarktharol, the Djent Electric Blue #7 Tyler Mathewes Zombie Arwen. -
Or Contact One of the ASBOF Advisory Panel Members
THE AUSTRALIAN SCHOOL BAND & ORCHESTRA FESTIVAL MUSIC PREVIOUSLY PLAYED HELD ANNUALLY THROUGH JULY, AUGUST & SEPTEMBER A non-competitive, inspirational and educational event Primary School Concert and Big Bands WARNING: Music Directors are advised that this is a guide only. You should consult the Festival conditions of entry for more specific information as to the level of music required in each event. These information on these lists was entered by participating bands and may contain errors. Some of the music listed here may be regarded as too easy or too difficult for the section in which it is listed. Playing music which is not suitable for the section you have entered may result in you being awarded a lower rating or potentially ineligible for an award. For any further advice, please feel free to contact the General Manager of the Festival at [email protected], visit our website at www.asbof.org.au or contact one of the ASBOF Advisory Panel Members. www.asbof.org.au www.asbof.org.au I [email protected] I PO Box 833 Kensington 1465 I M 0417 664 472 Lithgow Music Previously Played Title Composer Arranger Aust A L'Eglise Gabriel Pierne Kenneth Henderson A Night On Bald Mountain Modest Moussorgsky John Higgins Above the World Rob GRICE Abracadabra Frank Tichelli Accolade William Himes William Himes Aerostar Eric Osterling Air for Band Frank Erickson Air for Band Frank Erickson Amazing Grace Trad L. Conley Ancient Dialogue Patrick J. Burns Ancient Voices Michael Sweeney Ancient Voices Aussie Hoedown Ralph Hultgren Baby Elephant Walk Henry Mancini Johnnie Vinson Best Foot Forward Ronald Hanmer Boogie Woogie Bugle Boy Michael Sweeney Born This Way Michael Brown Bryce Canyon Overture Jerry WILLIAMS Bugs (4 Movements) David Shaffer Calypso Time! Ed Wilson Celebration and Song Robert Sheldon Chase At Midnight Tim Fisher Children's March Percy Grainger Chronicles of Narnia Harry Gregson-Williams Michael Sweeney Clark County Celebration James Swearingen Colonial Song Percy Grainger Douglas E. -
To Infinity and Back Again: Hand-Drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation
To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation Haswell, H. (2015). To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation. Alphaville: Journal of Film and Screen Media, 8, [2]. http://www.alphavillejournal.com/Issue8/HTML/ArticleHaswell.html Published in: Alphaville: Journal of Film and Screen Media Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2015 The Authors. This is an open access article published under a Creative Commons Attribution-NonCommercial-NoDerivs License (https://creativecommons.org/licenses/by-nc-nd/4.0/), which permits distribution and reproduction for non-commercial purposes, provided the author and source are cited. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:28. Sep. 2021 1 To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar’s Pioneering Animation Helen Haswell, Queen’s University Belfast Abstract: In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation. -
The Musical Contexts GCSE Music Study and Revision Guide For
GCSE MUSIC – FILM MUSIC S T U D Y A N D REVISION GUIDE The Musical Contexts GCSE Music Study and Revision Guide for Film Music Designed to support: Eduqas GCSE Music – Area of Study 3: Film Music OCR GCSE Music – Area of Study 4: Film Music Pearson Edexcel GCSE Music – Area of Study: Music for Stage and Screen P a g e 1 o f 32 © WWW.MUSICALCONTEXTS.CO.UK GCSE MUSIC – FILM MUSIC S T U D Y A N D REVISION GUIDE The Purpose of Film Music Film Music is a type of DESCRIPTIVE MUSIC that represents a mood, story, scene or character through music; it is designed to support the action and emotions of the film on screen. Film music serves many different purposes including: 1. To create or enhance a mood 2. To function as a LEITMOTIF 3. To link one scene to another providing continuity 4. To emphasise a gesture (known as MICKEY-MOUSING) 5. To give added commercial impetus 6. To provide unexpected juxtaposition or to provide irony 7. To illustrate geographic location or historical period 8. To influence the pacing of a scene 1. To create or enhance a mood Music aids (and is sometimes essential to effect) the suspension of our disbelief: film attempts to convince us that what we are seeing is really happening and music can help break down any resistance we might have. It can also comment directly on the film, telling us how to respond to the action. Music can also enhance a dramatic effect: the appearance of a monster in a horror film, for example, rarely occurs without a thunderous chord! Sound effects (like explosions and gunfire) can be incorporated into the film soundtrack to create a feeling of action and emotion, particularly in war films. -
MONSTERS INC 3D Press Kit
©2012 Disney/Pixar. All Rights Reserved. CAST Sullivan . JOHN GOODMAN Mike . BILLY CRYSTAL Boo . MARY GIBBS Randall . STEVE BUSCEMI DISNEY Waternoose . JAMES COBURN Presents Celia . JENNIFER TILLY Roz . BOB PETERSON A Yeti . JOHN RATZENBERGER PIXAR ANIMATION STUDIOS Fungus . FRANK OZ Film Needleman & Smitty . DANIEL GERSON Floor Manager . STEVE SUSSKIND Flint . BONNIE HUNT Bile . JEFF PIDGEON George . SAM BLACK Additional Story Material by . .. BOB PETERSON DAVID SILVERMAN JOE RANFT STORY Story Manager . MARCIA GWENDOLYN JONES Directed by . PETE DOCTER Development Story Supervisor . JILL CULTON Co-Directed by . LEE UNKRICH Story Artists DAVID SILVERMAN MAX BRACE JIM CAPOBIANCO Produced by . DARLA K . ANDERSON DAVID FULP ROB GIBBS Executive Producers . JOHN LASSETER JASON KATZ BUD LUCKEY ANDREW STANTON MATTHEW LUHN TED MATHOT Associate Producer . .. KORI RAE KEN MITCHRONEY SANJAY PATEL Original Story by . PETE DOCTER JEFF PIDGEON JOE RANFT JILL CULTON BOB SCOTT DAVID SKELLY JEFF PIDGEON NATHAN STANTON RALPH EGGLESTON Additional Storyboarding Screenplay by . ANDREW STANTON GEEFWEE BOEDOE JOSEPH “ROCKET” EKERS DANIEL GERSON JORGEN KLUBIEN ANGUS MACLANE Music by . RANDY NEWMAN RICKY VEGA NIERVA FLOYD NORMAN Story Supervisor . BOB PETERSON JAN PINKAVA Film Editor . JIM STEWART Additional Screenplay Material by . ROBERT BAIRD Supervising Technical Director . THOMAS PORTER RHETT REESE Production Designers . HARLEY JESSUP JONATHAN ROBERTS BOB PAULEY Story Consultant . WILL CSAKLOS Art Directors . TIA W . KRATTER Script Coordinators . ESTHER PEARL DOMINIQUE LOUIS SHANNON WOOD Supervising Animators . GLENN MCQUEEN Story Coordinator . ESTHER PEARL RICH QUADE Story Production Assistants . ADRIAN OCHOA Lighting Supervisor . JEAN-CLAUDE J . KALACHE SABINE MAGDELENA KOCH Layout Supervisor . EWAN JOHNSON TOMOKO FERGUSON Shading Supervisor . RICK SAYRE Modeling Supervisor . EBEN OSTBY ART Set Dressing Supervisor . -
Finding Dory Activity Packet
ACTIVITY PACKET Created in partnership with the Educational Team isney•Pixar’s “Finding Dory” welcomes back to the big convinced his biological sonar skills are on the fritz; and Dscreen everyone’s favorite forgetful blue tang Dory Destiny (voice of Kaitlin Olson), a nearsighted whale shark. (voice of Ellen DeGeneres), who’s living happily in the reef Deftly navigating the complex inner workings of the MLI, with Marlin (voice of Albert Brooks) and Nemo (voice Dory and her friends discover the magic within their flaws, of Hayden Rolence). When Dory suddenly remembers friendships and family. that she has a family out there who may be looking for Directed by Andrew Stanton (“Finding Nemo,” “WALL•E”), her, the trio takes off on a life-changing adventure across co-directed by Angus MacLane (“Toy Story OF TERROR!”), the ocean to California’s prestigious Marine Life Institute and produced by Lindsey Collins (co-producer “WALL•E”), (MLI), a rehabilitation center and aquarium. In an effort to Disney•Pixar’s “Finding Dory” swims home on Digital find her mom (voice of Diane Keaton) and dad (voice of HD October 25 and on Blu-ray™ November 15. For Eugene Levy), Dory enlists the help of three of the MLI’s more information, like us on Facebook, https://www. most intriguing residents: Hank (voice of Ed O’Neill), a facebook.com/PixarFindingDory, and follow us on Twitter, cantankerous octopus who frequently gives employees https://twitter.com/findingdory and Instagram, https:// the slip; Bailey (voice of Ty Burrell), a beluga whale who is instagram.com/DisneyPixar. ACKNOWLEDGMENTS Contents The Walt Disney Studios would like to take this opportunity to thank the amazing teams that came together to develop the Finding Dory Activity Packet.