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Nature of Elliot Goldenthal's Music
The Nature of Elliot Goldenthal’s Music & A Focus on Alien 3 (& other scores) There is “something different” about Elliot Goldenthal’s music. There is also considerable brain and brawn in Elliot Goldenthal’s film music. His style is difficult to label because his approach is so eclectic depending on the project. Sometimes I feel he is fundamentally an independent art-house composer (perhaps Frida, say, and The Good Thief) although he can demonstrate thrilling orchestral power in scores such as Sphere and the Batman movies that I personally quite enjoyed. Overall he shows a Late Modernist temperament, musically an American Bohemian, but nevertheless grounded somewhat in the mainstream traditions (certainly at least traditional notation). His polystylism (eclectism) is a postmodern characteristic. An excellent example of polystylism is his score for Titus (and Good Thief to a lesser extent, and even an example or two in Alien 3) with the diverse or even odd juxtaposition of genres (symphonic-classical, rock, etc.) that represents in one score the type of projects he collectively undertook over the last fifteen years or so. There is not one clear-cut musical voice, in other words, but a mixture or fusion of different styles. It is, in part, his method of organization. Loosely speaking, his music is avant-garde but certainly not radically so--as in the case of John Cage with his aleatoric (random) music and quite non-traditional notation (although Goldenthal’s music can at select times be aleatoric in effect when he utilizes electronic music, quarter-toning, and other devices). He is experimental and freewheeling but certainly this tendency is not overblown and expanded into the infinite! He definitely takes advantage of what technology has to offer (MIDI applications, timbre sampling, synthesizer usage, etc.) but does not discard what traditions are useful for him to express his vision of musical art. -
Gonna Fly Now Theme from Rocky for Saxophone Quartet Sheet Music
Gonna Fly Now Theme From Rocky For Saxophone Quartet Sheet Music Download gonna fly now theme from rocky for saxophone quartet sheet music pdf now available in our library. We give you 1 pages partial preview of gonna fly now theme from rocky for saxophone quartet sheet music that you can try for free. This music notes has been read 3411 times and last read at 2021-09-25 02:51:20. In order to continue read the entire sheet music of gonna fly now theme from rocky for saxophone quartet you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Piano Solo Ensemble: Mixed Level: Early Intermediate [ READ SHEET MUSIC ] Other Sheet Music Gonna Fly Now Theme From Rocky Saxophone Quartet Gonna Fly Now Theme From Rocky Saxophone Quartet sheet music has been read 4302 times. Gonna fly now theme from rocky saxophone quartet arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-24 11:17:12. [ Read More ] Gonna Fly Now Theme From Rocky For String Quartet Gonna Fly Now Theme From Rocky For String Quartet sheet music has been read 3807 times. Gonna fly now theme from rocky for string quartet arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-24 16:26:01. [ Read More ] Gonna Fly Now Theme From Rocky String Quartet Gonna Fly Now Theme From Rocky String Quartet sheet music has been read 3565 times. Gonna fly now theme from rocky string quartet arrangement is for Intermediate level. -
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. -
Musikliste Zu Terra X „Unsere Wälder“ Titel Sortiert in Der Reihenfolge, in Der Sie in Der Doku Zu Hören Sind
Z Musikliste zu Terra X „Unsere Wälder“ Titel sortiert in der Reihenfolge, in der sie in der Doku zu hören sind. Folge 1 MUSIK - Titel CD / Interpret Composer Trailer Terra X Trailer Terra X Main Title Theme – Westworld - Season 1 / Ramin Djawadi Westworld Ramin Djawadi Dr. Ford Westworld - Season 1 / Ramin Djawadi Ramin Djawadi Photos in the Woods Stranger Things Vol. 1 / Kyle Dixon Kyle Dixon Eleven Stranger Things Vol. 1 / Kyle Dixon Kyle Dixon Race To Mark's Flat Bridget Jones's Baby / Craig Armstrong Craig Armstrong Boggis, Bunce and Fantastic Mr. Fox / Alexandre Desplat Alexandre Desplat Bean Hibernation Pod 1625 Passengers / Thomas Newman Thomas Newman Jack It Up Steve Jobs / Daniel Pemberton Daniel Pemberton The Dream and the Collateral Beauty / Theodore Shapiro Letters Theodore Shapiro Reporters Swarm Confirmation / Harry Gregson Williams Harry Gregson Williams Persistence Burnt / Rob Simonsen Rob Simonsen Introducing Howard Collateral Beauty / Theodore Shapiro Inlet Theodore Shapiro The Dream and the Collateral Beauty / Theodore Shapiro Theodore Shapiro Letters Main Title Theme – Westworld - Season 1 / Ramin Djawadi Westworld Ramin Djawadi Fell Captain Fantastic / Alex Somers Alex Somers Me Before You Me Before You / Craig Armstrong Craig Armstrong Orchestral This Isn't You Stranger Things Vol. 1 / Kyle Dixon Kyle Dixon The Skylab Plan Steve Jobs / Daniel Pemberton Daniel Pemberton Photos in the Woods Stranger Things Vol. 1 / Kyle Dixon Kyle Dixon Speight Lived Here The Knick (Season 2) / Cliff Martinez Cliff Martinez This Isn't You Stranger Things Vol. 1 / Kyle Dixon Kyle Dixon 3 Minutes Of Moderat A New Beginning Captain Fantastic / Alex Somers Alex Somers 3 Minutes Of Moderat The Walk The Walk / Alan Silvestri Alan Silvestri Dr. -
Christopher Slaski Applied Music
Christopher Slaski Applied Music: The Challenge Of Composing For Films Gothenburg/Sweden, 10th April 2015 CHRISTOPHER SLASKI It’s a great pleasure to be here. I’ve been working in film and applied music for almost 20 years, having started early, when still at university. My beginnings in music was as a pianist and organist. From the age of five, I studied the piano and I began composing in my early teens. The life of a touring concert musician didn’t really appeal to me so I thought: How am I going to make my living out of music? I began to discover there was often very interesting music accompanying films, and I started listening to it with greater attention. I soon realised that this was what I want to do. But how to get into it ? I won’t dwell on that today. That’s for another lecture! Today we’re going to concentrate on the challenges that a film composer has to face, and the difference between composing absolute music and applied music. By ‘applied music’ I am referring to film music or music for advertising, television or theatre, that is to say, music that is written with the intention of applying it to something else. I’m going to try to cover a number of different areas that I believe are important, and give some illustrations using projects I’ve worked on. If anyone has any questions, we’ll leave them till the end when we we’ll have ten minutes or so to have a discussion. -
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. -
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. -
We Have Liftoff! the Rocket City in Space SATURDAY, FEBRUARY 29, 2020 • 7:30 P.M
POPS FOUR We Have Liftoff! The Rocket City in Space SATURDAY, FEBRUARY 29, 2020 • 7:30 p.m. • MARK C. SMITH CONCERT HALL, VON BRAUN CENTER Huntsville Symphony Orchestra • C. DAVID RAGSDALE, Guest Conductor • GREGORY VAJDA, Music Director One of the nation’s major aerospace hubs, Huntsville—the “Rocket City”—has been heavily invested in the industry since Operation Paperclip brought more than 1,600 German scientists to the United States between 1945 and 1959. The Army Ballistic Missile Agency arrived at Redstone Arsenal in 1956, and Eisenhower opened NASA’s Marshall Space Flight Center in 1960 with Dr. Wernher von Braun as Director. The Redstone and Saturn rockets, the “Moon Buggy” (Lunar Roving Vehicle), Skylab, the Space Shuttle Program, and the Hubble Space Telescope are just a few of the many projects led or assisted by Huntsville. Tonight’s concert celebrates our community’s vital contributions to rocketry and space exploration, at the most opportune of celestial conjunctions: July 2019 marked the 50th anniversary of the Apollo 11 moon-landing mission, and 2020 brings the 50th anniversary of the U.S. Space and Rocket Center, America’s leading aerospace museum and Alabama’s largest tourist attraction. S3, Inc. Pops Series Concert Sponsors: HOMECHOICE WINDOWS AND DOORS REGIONS BANK Guest Conductor Sponsor: LORETTA SPENCER 56 • HSO SEASON 65 • SPRING musical selections from 2001: A Space Odyssey Richard Strauss Fanfare from Thus Spake Zarathustra, op. 30 Johann Strauss, Jr. On the Beautiful Blue Danube, op. 314 Gustav Holst from The Planets, op. 32 Mars, the Bringer of War Venus, the Bringer of Peace Mercury, the Winged Messenger Jupiter, the Bringer of Jollity INTERMISSION Mason Bates Mothership (2010, commissioned by the YouTube Symphony) John Williams Excerpts from Close Encounters of the Third Kind Alexander Courage Star Trek Through the Years Dennis McCarthy Jay Chattaway Jerry Goldsmith arr. -
Film Music Week 4 20Th Century Idioms - Jazz
Film Music Week 4 20th Century Idioms - Jazz alternative approaches to the romantic orchestra in 1950s (US & France) – with a special focus on jazz... 1950s It was not until the early 50’s that HW film scores solidly move into the 20th century (idiom). Alex North (influenced by : Bartok, Stravinsky) and Leonard Rosenman (influenced by: Schoenberg, and later, Ligeti) are important influences here. Also of note are Georges Antheil (The Plainsman, 1937) and David Raksin (Force of Evil, 1948). Prendergast suggests that in the 30’s & 40’s the films possessed somewhat operatic or unreal plots that didn’t lend themselves to dissonance or expressionistic ideas. As Hollywood moved towards more realistic portrayals, this music became more appropriate. Alex North, leader in a sparser style (as opposed to Korngold, Steiner, Newman) scored Death of a Salesman (image above)for Elia Kazan on Broadway – this led to North writing the Streetcar film score for Kazan. European influences Also Hollywood was beginning to be strongly influenced by European films which has much more adventuresome scores or (often) no scores at all. Fellini & Rota, Truffault & Georges Delerue, Maurice Jarre (Sundays & Cybele, 1962) and later the Professionals, 1966, Ennio Morricone (Serge Leone, jazz background). • Director Frederico Fellini &composer Nino Rota (many examples) • Director François Truffault & composerGeorges Delerue, • Composer Maurice Jarre (Sundays & Cybele, 1962) and later the • Professionals, 1966, Composer- Ennio Morricone (Serge Leone, jazz background). (continued) Also Hollywood was beginning to be strongly influenced by European films which has much more adventuresome scores or (often) no scores at all. Fellini & Rota, Truffault & Georges Delerue, Maurice Jarre (Sundays & Cybele, 1962) and later the Professionals, 1966, Ennio Morricone (Serge Leone, jazz background). -
Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S. -
Contemporary Film Music
Edited by LINDSAY COLEMAN & JOAKIM TILLMAN CONTEMPORARY FILM MUSIC INVESTIGATING CINEMA NARRATIVES AND COMPOSITION Contemporary Film Music Lindsay Coleman • Joakim Tillman Editors Contemporary Film Music Investigating Cinema Narratives and Composition Editors Lindsay Coleman Joakim Tillman Melbourne, Australia Stockholm, Sweden ISBN 978-1-137-57374-2 ISBN 978-1-137-57375-9 (eBook) DOI 10.1057/978-1-137-57375-9 Library of Congress Control Number: 2017931555 © The Editor(s) (if applicable) and The Author(s) 2017 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. -
Shows/ Video Games
shows/ MOVIES/TV/ video games SHOWS/MOVIES/TV/VIDEO GAMES 21 VOCAL SELECTIONS Doctor Dolittle Little by Little Musical Selections Selections FOLIOS Piano/Vocal/Chords ......................$24.95 00-24491____ Music by Brad Ross, lyrics by Ellen Greenfield and Hal Hackady ✸ Piano/Vocal ............................... $12.99 00-40526____ Adding Machine — A Musical Elf: The Broadway Musical Little Me Vocal Selections Vocal Selections By Joshua Schmidt Music by Matthew Sklar, lyrics by Chad Beguelin Broadway Revival Edition: Vocal Selections Piano/Vocal/Chords ...................... $19.95 00-32158____ Piano/Vocal .................................... $19.99 00-38836____ Ed. Robert Shaw Piano/Vocal .................................... $14.95 00-VF1941A____ Baby Fame Little Shop of Horrors Vocal Selections Movie Vocal Selections Music by David Shire, lyrics by Richard Maltby, Jr. Piano/Vocal/Chords ...................... $19.99 00-TSF0048____ Broadway’s Best Piano/Vocal/Chords ...................... $12.95 00-VAL2012A____ 8 Selections from the Musical Forever Plaid Music by Alan Menken, words by Howard Ashman / The Book of Mormon arr. Dan Coates Vocal Selections Easy Piano ...................................... $10.99 00-37350____ Sheet Music from the Broadway Musical Music by various composers / musical continuity and Original Motion Picture Soundtrack arrangements by James Raitt Music and lyrics by Trey Parker, Robert Lopez, and Matt Stone Music by Alan Menken, words by Howard Ashman Piano/Vocal/Chords ...................... $12.95 00-VF1931____ Piano/Vocal ....................................$24.99 00-37573____ Piano/Vocal/Chords ...................... $19.95 00-VF1370____ Brigadoon Freckleface Strawberry: Mamma Mia! The Musical Libretto Broadway’s Best Music by Frederick Loewe, lyrics by Alan Jay Lerner Vocal Selections Selections from the Musical Libretto ........................................... $13.80 12-057153130X____ Music and lyrics by Gary Kupper Music and lyrics by Benny Andersson and Björn Ulvaeus / Piano/Vocal ...................................