DOCSLIB.ORG

Music Composition for the Screen, MFA 54 Credits 2016/2017 3Rd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music Composition for the Screen, MFA 54 Credits 2016/2017 3Rd Music Composition for the Screen, MFA 54 Credits 2016/2017 1st Semester – Fall (13 Credits) 2nd Semester – Spring (12 Credits) 32-6221 Scoring I: Composing 32-6222 Scoring II: Color and Dramatic Music, 4 Complexity, 4 32-6251 Orchestration, 3 32-6252 Orchestration II, 3 32-6630 History of Cinema, 3 32-6631 The Film Score: A Survey of 32-6651 Film Analysis, 1 the Craft, 3 32-6901 Lab (Tutorial), 2 32-6901 Lab (Tutorial), 2 rd th 3 Semester – Fall (12 Credits) 4 Semester – Spring (12 Credits) 32-6223 Scoring III: Genre and Style, 4 32-6224 Scoring IV: Directed Study in 32-6261 Music For Games I, 3 Composition, 4 32-6441 Conducting to Picture, 3 32-6262 Music for Games II, 3 32-6901 Lab (Tutorial), 2 32-6441 Conducting to Picture, 3 28-6901 Lab (Tutorial), 2 Semester in LA – Summer (5 Credits) 32-6989 Internship/ Apprenticeship, 1 32-6981L Career Development, 1 32-6998L Thesis/Practicum: Final Project, 3 Music Composition for the Screen, MFA Course Descriptions 2015/2016 32-6221 Scoring I: Composing Dramatic Music The first in a four-semester composition and orchestration sequence which is the core of the MFA program, this course is designed to introduce students to the craft of composing dramatic music and marrying music to story. Composition for the screen is an applied art, and requires that the composer be guided in his or her choice of musical vocabulary by the emotional and thematic values embodied in script, performance, and directorial intent. This course will explore the application of a variety of musical devices, including style, form, harmonic language, melodic development, and rhythmic elements, to musically express emotional states or thematic links. Lessons in technique will drive writing assignments geared to specific scenes wherein music must support the dramatic context. Taking the course in tandem with Lab (Tutorial), students will utilize Logic Pro software (or their own preferred DAW) to realize mock-ups. 32-6222 Scoring II: Color and Complexity The second installment of the core four-semester composition sequence, this course will add color and nuance to the "black and white" palette explored in semester one through an intensive focus on orchestration and timings as well as further studies of the harmonic vocabulary. The effective use of the wind and percussion sections of the film orchestra will be added to the aspiring screen composer's tool kit, as will special categories such as scores driven by rhythm section and electronic elements. Taken in tandem with Lab II and further studies in the use of DAWs as a production and mixing tool. 32-6223 Scoring III: Genre and Style This third installment in the four-semester composition/orchestration sequence will allow students the opportunity to hone their skills through a practicum in film and musical genre scoring. Genres will include jazz and rock/contemporary music, while film styles will encompass comedy, horror, period, action, and animation. The assignments will be a combination of electronic, acoustic, and combination scores, where students will demonstrate their mastery of different dramatic scoring-to- picture styles. This class is the practical application of techniques covered in Scoring I and II, allowing students to create a portfolio of professional-level work. Taught in tandem with Lab (Tutorial), semester 3. 32-6224 Scoring IV: Directed Study in Composition In the final installment of the four-semester composition sequence, students will meet one-on-one with their primary composition instructors to fine tune their craft, making use of various independent projects on which they have already collaborated with the Film & Video, Television, and Interactive Arts & Media Departments. Individualized instruction allows each student to identify techniques and concepts they feel they have not yet fully mastered or integrated into their work, and to concentrate on those areas. This will assist students in identifying personal strengths and styles, and will help them select an appropriate thesis project. Once projects are chosen, students work with instructors to begin their final theses. Further emphasis is placed on multiple recording sessions, using large ensembles comprised of professional musicians, recorded in a professional recording studio. Taught in tandem with Lab (Tutorial), semester 4. 32-6251 Orchestration I This course will explore the process of creating the mood and tone of a film through the use of the production techniques available to today's film composers. This will include the integration of electronic samples with traditional orchestral instruments, as well as how dynamics, rhythm, register, harmony, melody, and the distribution of elements throughout the instrument range contribute to the effectiveness of the score. Film scores will be deconstructed to arrive at an understanding of how the composer achieved the desired musical effect. This first installment focusses mostly on electronic sounds, samples, and modern recording, production and mixing techniques. Students will be required to compose cues with the techniques learned through the analysis of existing scores. 32-6252 Orchestration II This course continues to explore the process of creating the mood and tone of a film through the use of advanced production techniques including integration of electronic samples and traditional orchestral instruments, as well as effective use of dynamics, rhythm, register, harmony, melody, and the distribution of elements through the instrument range. This second installment goes in depth into classical orchestration techniques, and how they apply to the recorded medium of media music. Students will analyze scores and will be required to compose cures with the techniques learned through analysis. 32-6261 Music for Games I This course explores the application of non-linear composition techniques in the production of dramatic music for use in interactive games. Students will learn techniques of composing music that will ultimately be controlled through game play and game audio engines. The class will explore building scores that involve multilevel dramatic elements and instantaneous transitions, as is common in most interactive games. 32-6262 Music for Games II This course continues to explore the application of non-linear composition techniques in the production of dramatic music for use in interactive games. Students will learn techniques for composing music that will ultimately be controlled through game play and game audio engines. The class will explore building scores that involve multilevel dramatic elements and instantaneous transitions. In addition to composing music appropriate to game composition, students will develop the skills to program their music into the game engines. 32-6441 (1) Conducting to Picture This course is a tutorial in the art and science of conducting live orchestra to picture in film, television, and new media recording sessions. Instruction will focus not only on the traditional role of the conductor in interpreting score and bringing out the strongest performance, but on the preparation, discipline and equanimity required to balance the dizzying array of events occurring simultaneously in a scoring session. This first section focusses on conducting technique. 32-6441 (2) Conducting to Picture Continuing the tutorial in the art and science of conducting live orchestra to picture in film, television, and new media recording sessions, this second installment acts as a companion to the recording sessions at the end of the third and throughout the fourth semester of the program. Students will prepare themselves to conduct their own pieces in the sessions, as well as conduct each other’s works. 32-6630 History of Cinema This course presents a chronological investigation of film from the pre-history of cinema up to the digital age. Emphasis is on understanding film both as an engine for an and artifact of society, culture, and geography. Students are introduced to major directors, films, and movements that contributed to the development of cinema. 32-6631 The Film Score: A Survey of the Craft This course is an exhaustive review of the development of film scoring art and craft, from the generic cues written to accompany silent film and the defining work of Max Steiner and Erich Korngold to Golden Age auteurs such as Herrmann and Bernstein and contemporary composers/producers like Hans Zimmer, Danny Elfman and Thomas Newman. The emphasis is on the unique musical vocabulary of the film score and on learning to recognize the signatures of benchmark composers. Students will conduct detailed analyses of both written and recorded examples, with a concentration on contemporary harmony and voicing and the study of dramatic construction. 32-6901 Lab (Tutorial) The Lab (Tutorial) will be offered in semesters one, three and four of the MFA program, and is designed to function as an adjunct to the core composition and orchestration classes. It is in the lab that students will not only accomplish the sketching and sequencing which leads to the realization of the ideas initiated in the classroom, but learn to use and master the tools of the trade. Software taught will include Logic Pro, ProTools, and VE Pro. 28-6151 Managing and Licensing Intellectual Property Composers in the 21st century are increasingly dependent on their ability to effectively administer the intellectual property created through their work. Offered in the second semester of the two-year program, this course examines issues relating to the management and licensing
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [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]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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).
    [Show full text]
  • NOMINEES for the 68Th ANNUAL GOLDEN GLOBE AWARDS
    NOMINEES FOR THE 68th ANNUAL GOLDEN GLOBE AWARDS Best Motion Picture - Drama Best Screenplay - Motion Picture Best Performance by an Actress in Black Swan (2010) 127 Hours (2010): Danny Boyle, Simon Beaufoy a Mini-Series or a Motion Picture The Fighter (2010) Inception (2010): Christopher Nolan Made for Television Inception (2010) The Kids Are All Right (2010): Stuart Blumberg, Hayley Atwell for The Pillars of the Earth (2010) The King’s Speech (2010) Lisa Cholodenko Claire Danes for Temple Grandin (2010) The Social Network (2010) The King’s Speech (2010): David Seidler Judi Dench for Cranford (2007) The Social Network (2010): Aaron Sorkin Romola Garai for Emma (2009) Best Motion Picture - Jennifer Love Hewitt for The Client List (2010) Musical or Comedy Best Original Song - Motion Picture Alice in Wonderland (2010) Best Performance by an Actor Burlesque (2010/I) Burlesque (2010/I): Samuel Dixon, Christina Aguilera, in a Television Series - The Kids Are All Right (2010) Sia Furler(“Bound to You”) Musical or Comedy Burlesque (2010/I): Diane Warren(“You Haven’t Seen Red (2010/I) Alec Baldwin for 30 Rock (2006) The Last of Me”) The Tourist (2010) Steve Carell for The Office (2005) Country Strong (2010): Bob DiPiero, Tom Douglas, Hillary Lindsey, Troy Verges(“Coming Home”) Thomas Jane for Hung (2009) Best Performance by an Actor Matthew Morrison for Glee (2009) in a Motion Picture - Drama The Chronicles of Narnia: The Voyage of the Dawn Treader (2010): Carrie Underwood, David Hodges, Jim Parsons for The Big Bang Theory (2007) Jesse Eisenberg for The Social Network (2010) Hillary Lindsey(“There’s A Place For Us”) Best Performance by an Actress Colin Firth for The King’s Speech (2010) Tangled (2010): Alan Menken, Glenn Slater James Franco for 127 Hours (2010) (“I See the Light”) in a Television Series - Ryan Gosling for Blue Valentine (2010) Musical or Comedy Mark Wahlberg for The Fighter (2010) Best Original Score - Toni Collette for United States of Tara (2009) Motion Picture Edie Falco for Nurse Jackie (2009) Best Performance by an Actress 127 Hours (2010): A.R.
    [Show full text]
  • Hans Zimmer and James Newton Howard's the Dark Knight : a Film Score Guide / Vasco Hexel
    Sample text from amazon.co.uk Hans Zimmer and James Newton Howard’s The Dark Knight Film Score Guides Series Editor: Kate Daubney 1. Gabriel Yared’s The English Patient: A Film Score Guide, by Heather Laing. 2004. 2. Danny Elfman’s Batman: A Film Score Guide, by Janet K. Halfyard. 2004. 3. Ennio Morricone’s The Good, the Bad and the Ugly: A Film Score Guide, by Charles Leinberger. 2004. 4. Louis and Bebe Barron’s Forbidden Planet: A Film Score Guide, by James Wierzbicki. 2005. 5. Bernard Herrmann’s The Ghost and Mrs. Muir: A Film Score Guide, by David Cooper. 2005. 6. Erich Wolfgang Korngold’s The Adventures of Robin Hood: A Film Score Guide, by Ben Winters. 2007. 7. Mychael Danna’s The Ice Storm: A Film Score Guide, by Miguel Mera. 2007. 8. Alex North’s A Streetcar Named Desire: A Film Score Guide, by Annette Davison. 2009. 9. Nino Rota’s The Godfather Trilogy: A Film Score Guide, by Franco Sciannameo. 2010. 10. Miklós Rózsa’s Ben-Hur: A Film Score Guide, by Roger Hickman. 2011. 11. Zbigniew Preisner’s Three Colors Trilogy: Blue, White, Red: A Film Score Guide, by Nicholas W. Reyland. 2012. 12. Franz Waxman’s Rebecca: A Film Score Guide, by David Neumeyer and Nathan Platte. 2012. 13. Jerome Moross’s The Big Country: A Film Score Guide, by Mariana Whitmer. 2012. 14. Leonard Bernstein’s On the Waterfront: A Film Score Guide, by Anthony Bushard. 2013. 15. Ilan Eshkeri's Stardust: A Film Score Guide, by Ian Sapiro. 2013.
    [Show full text]
  • Danny Elfman: Batman Returns Birth of a Penguin Part 1, Birth of a Penguin Part 2, Batman Vs the Circus, the Rise and Fall from Grace (For Component 3: Appraising)
    Danny Elfman: Batman Returns Birth of a Penguin Part 1, Birth of a Penguin Part 2, Batman vs the Circus, The Rise and Fall from Grace (For component 3: Appraising) Background information and performance circumstances The composer Danny Elfman (b. 1953) is a self-taught composer and is unusual because of his parallel career as a rock musician with the band Oingo Boingo. He grew up in Los Angeles and is the youngest son of two teachers. While at school, Elfman wanted to be a filmmaker. ‘I always thought that some way or other I’d end up in film, but somehow I ended up in music.’ Tim Burton and Elfman had a close working relationship and collaborated on a number of films including Beetlejuice (1988), The Nightmare Before Christmas (1993) and Planet of the Apes (2001). Of all the films they have made together, Batman remained Elfman’s biggest grossing film until Spider-man (2002). More importantly, Batman brought Elfman to public attention and established him as a creditable film composer. Elfman often scores much of his music around leitmotifs then develops them through the use of variations. The use of thematic development illustrates Elfman’s influences from composers such as Bernard Herrman (Psycho, 1960) from the Golden Age of films. Having established the main materials of the score, Elfman works through the film chronologically, using the materials he has developed in a manner which is extremely unmethodical. Batman Returns (1992) is the sequel to Batman (1989), directed by Tim Burton with Michael Keaton reprising the role of Bruce Wayne/Batman.
    [Show full text]
  • Music and the Moving Image XVI MAY 28 – MAY 31, 2020 BIOS
    Music and the Moving Image XVI MAY 28 – MAY 31, 2020 BIOS Marcos Acevedo-Arús is a music theorist from Puerto Rico. Marcos is currently a graduate student and teaching assistant at Temple University in Philadelphia, PA, studying towards a Master of Music degree in Music Theory. Marcos received his undergraduate degree in Piano Performance from the Puerto Rico Music Conservatory in San Juan, PR in 2015. Marcos’ current interests include video game and pop music analysis, music cognition, musical narrative, and affect theory. Marcos’ previous presentations include “Conflicts and Contrasts in Isaac Albéniz’s ‘Córdoba’” in the 5th Symposium of Musical Research “Puentes Caribeños”. Stephen Amico is Associate Professor of Musicology at the Grieg Academy/University of Bergen, Norway. He has published widely in the areas of popular music studies, Russian and post-Soviet popular culture, and gender and sexuality. His recent work has appeared in the journal Popular Music and Society and The Oxford Handbook of Music and Queerness, with forthcoming work to appear in The Oxford Handbook of Phenomenological Ethnomusicology and the Journal of Musicology. Richard Anatone is a pianist, composer, writer, teacher, and editor. He completed his Doctoral degree in piano performance from Ball State University, and currently serves as Professor of Music at Prince George’s Community College in Maryland. His primary interests are rooted in the music of Nobuo Uematsu, the use of humor and music in games, and early chiptunes, and has presented his research at NACVGM, SCI, and CMS conferences. He is currently editing a collection of chapters on the music Nobuo Uematsu in the soundtracks to the Final Fantasy video game series.
    [Show full text]