Boston Symphony Orchestra Concert Programs, Summer, 1994
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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. -
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. -
The Boston Pops Esplanade Orchestra
Saturday, April 21, 2018, 8pm Hearst Greek Theatre The Boston Pops Esplanade Orchestra Keith Lockhart, conductor John Williams, conductor laureate Lights, Camera … Music! Six Decades of John Williams Main Title and Overture from Heidi Theme from Jaws Main Title from The Towering Inferno —Around the World with John Williams— “Sayuri’s Theme” from Memoirs of a Geisha Ronald Lowry, cello Suite from Far and Away County Galway, June 1892—The Fighting Donellys— Joseph and Shannon—Blowin’ Off Steam (The Fight)—Finale —The Magic of John Williams— “Hedwig’s Theme” from Harry Potter and the Sorcerer’s Stone “Stargazers” from E.T. the Extra-Terrestrial Ina Zdorovetchi, harp Flying Theme from E.T. the Extra-Terrestrial INTERMISSION “Raiders March” from Raiders of the Lost Ark —John Williams: Facing History and Ourselves— Theme from JFK Theme from Schindler’s List Katherine Winterstein, violin Theme from The Patriot “Devil’s Dance” from The Witches of Eastwick —May the Force Be With You— “The Imperial March” from Star Wars: The Empire Strikes Back “The Rebellion Is Reborn” from Star Wars: The Last Jedi Main Title from Star Wars The Boston Pops Orchestra may be heard on Boston Pops Recordings, RCA Victor, Sony Classical, and Philips Records. This performance was made possible, in part, by Corporate Sponsor U.S. Bank. Cal Performances’ 2017 –18 season is sponsored by Wells Fargo. 1 PROGRAM NOTES John Williams’ Gift to Film been unavailable on recording since the time of When one of the Star Wars films is shown, a their original release. At the end come selec - cheer often goes up from the audience the mo - tions from various Star Wars films. -
John Williams - Conductor, Musician, Composer - Biography.Com 11/1/17, 9:59 PM
John Williams - Conductor, Musician, Composer - Biography.com 11/1/17, 9:59 PM HOME John Williams Conductor, Musician, Composer (1932–) American composer and conductor John Williams has scored more than 100 films, including 'Jaws,' six 'Star Wars' movies, 'E.T.' and the first three 'Harry Potter' films. NAME John Williams Synopsis OCCUPATION Conductor, John Williams was born in New York City on February 8, 1932. Williams—who studied at Juilliard—worked as a jazz pianist and studio musician before starting to Musician, compose for television and film. His career took off in the 1970s; since then, he has Composer scored more than 100 films, including Jaws (1975), the Star Wars films, E.T. (1982) BIRTH DATE and Schindler's List (1993). Williams has won five Academy Awards and received a February 8, 1932 record-breaking array of nominations. (age 85) Early Years and Musical Studies EDUCATION University of John Towner Williams, generally known as John Williams, was born in the Flushing California at Los section of Queens, New York, on February 8, 1932. His father was a musician, and Angeles, The Williams started taking piano lessons at a young age. With his family, Williams Juilliard School moved to Los Angeles, California, in 1948. He attended the University of California at Los Angeles for a short time before being drafted into the U.S. Air Force in 1951. PLACE OF BIRTH Flushing, After three years of military service, Williams returned to New York City, where he Queens, New worked as a jazz pianist. He also attended the Juilliard School, studying with famed teacher Rosina Lhevinne in pursuit of his dream of becoming a concert pianist. -
An Evolutionary Study of Soundtracks from DC Comics' Superheroes
CRESCENDOS OF THE CAPED CRUSADERS: AN EVOLUTIONARY STUDY OF SOUNDTRACKS FROM DC COMICS’ SUPERHEROES Anna J. DeGalan A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2020 Committee: Jeffrey Brown, Advisor Esther Clinton Jeremy Wallach © 2020 Anna DeGalan All Rights Reserved iii ABSTRACT Jeffrey Brown, Advisor With the transition from comics to television shows, and later onto the big screen, superheroes gained their own theme songs and soundtracks that captured the attention of the audience for years to come. From catchy musical themes, from the old television shows, to the masterfully scored music blasting from the speakers of movie theaters all over the world, it was superheroes’ uniquely composed soundtracks (in conjunction with SFX, acting cues, and genre conventions of superhero films) that further crafted the iconography that made each character into the superhero being portrayed on-screen. While much of the focus of past textual analysis of films within the superhero genre has focused on characterizations of heroes, visual iconography, and the logistics of filming or framing a scene, academia has vastly overlooked the necessity of a film’s soundtrack, not only as a basic narrative tool and genre locator, but as a means to further understand how a cultural perception of the material is being reflected by the very musical choices presented on a score. While there has been an influx of research focusing on how a culture perceives its heroes – in this case superheroes – during times of great change within a society (either politically, socially, economically, or culturally; for example, the terrorist attack on American soil on 9/11/2001), I have found there to be a lack of research involving how the musical themes of superheroes reflect our cultural views and feelings at a specific point in time. -
John Williams
John Biography Williams Biography One of the most popular and successful American orchestral composers of the modern age, John Williams is the winner of five Academy Awards, 17 Grammys, three Golden Globes, two Emmys and five BAFTA Awards from the British Academy of Film and Television Arts. Best known for his film scores and ceremonial music, Williams is also a noted composer of concert works and a renowned conductor. Williams’ scores for such films as Jaws, E.T.: The Extra-Terrestrial, Schindler's List, as well as the Indiana Jones series, have won him multiple awards and produced best- selling recordings, and his scores for the original Star Wars trilogy transformed the landscape of Hollywood film music and became icons of American culture. Williams has composed the music and served as music director for nearly eighty films, including Saving Private Ryan, Amistad, Seven Years in Tibet, The Lost World, Rosewood, Sleepers, Nixon, Sabrina, Schindler's List, Jurassic Park, Home Alone, Far and Away, JFK, Hook, Presumed Innocent, Always, Born on the Fourth of July, the Indiana Jones trilogy, The Accidental Tourist, Empire of the Sun, The Witches of Eastwick, the Star Wars trilogy, E.T.: The Extra-Terrestrial, The Empire Strikes Back, Superman, Close Encounters of the Third Kind, Jaws and Goodbye Mr. Chips. Williams has been awarded several gold and platinum records, and his score for Schindler's List earned him both an Oscar and a Grammy. In 2000, at the ShoWest Convention USA, he was honored as Maestro of the Year by the National Association of Theater Owners. -
Notes on the Program by James M
Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Close Encounters of the Third Kind John Williams lose Encounters of the Third Kind is the also music. I thought, wouldn’t it be great Cmost profoundly musical of movies. if the math basically is music-math and Science fiction (or “science speculation,” they start to communicate with each other as director Steven Spielberg likes to call it) through lights, colors, and musical tones. thrives on the idea that intelligent life may exist somewhere out there in the universe Spielberg knew who to turn to for assis- and that humankind would recognize it if tance with the musical tones. John Williams we chanced upon it. has been the pre-eminent composer of Hol- So then what? In novels or film, the an- lywood film music for so long now — more swer often assumes the form of warfare, with than four decades and counting — that it’s the endgame being brute domination. But easy to forget he wasn’t always the go-to Spielberg took a different tack. Preternatu- choice for a director. After working as a jazz rally drawn to what he (and everyone else) pianist and arranger in Los Angeles, con- describes as an essentially childlike sense of ducting bands in the Air Force, and studying wonder, he imagined a hopeful conclusion piano at Juilliard, he broke into the film-mu- marked by communication. But how could sic business as an orchestrator in the 1960s exorbitantly different beings communicate? and ’70s and scored his first major successes He mused in the documentary Steven Spiel- with Ronald Neame’s The Poseidon Adven- berg: 30 Years of Close Encounters, ture (1973) and Spielberg’s aquatic thriller Jaws (in 1975, a year after their first collabo- Well, mathematics is a way of commu- ration on The Sugarland Express). -
Mami Abstracts 5 26 20 V5
Music and the Moving Image XVI MAY 28 – MAY 31, 2020 ABSTRACTS 1. Thursday, May 28, 1:00 AM – 2:30 PM EST, Blake Neeley, Keynote Scoring Television: the New Golden Age in Streaming Media Through the proliferation of streaming media and enhanced digital technologies, the creative visions that once polarized television and film, have now blurred. Prolific television composer Blake Neely will demonstrate how his creative process operates within a “new golden age” of television and documentaries. He will compare and contrast the overall sound, styles and various tropes of modern scoring, including the use of live musicians, computers and creative team expansion. Having composed music for over 1400 episodes of television, across 34 successful series, including the DC Universe, Neely will focus on his overall approach, philosophy, and process in an ever-changing, yet highly-evolved landscape of scoring to picture. What goes into creating the overall sound-world for a series during its genesis? How is a specific character’s theme approached? How do these themes and sound-worlds evolve and even combine throughout the life of a series? Neely will explore his workflow and ideas, including the musical, narrative, and cultural inspirations that guide him. Further analysis will look at how this ethos is applied to a seemingly wholly different medium — documentary scoring. Where are the similarities of process, and where are the differences? 2. Thursday, May 28, 3:00- 4:30 PM EST “You Made Me Love You:” Judy Garland and the Performance of Sincerity Daniel Batchelder, University of Cincinnati College-Conservatory of Music The 2019 release of the biopic Judy confirmed that the Geist of Judy Garland has continued to haunt contemporary American Zeit half a century after the singer-actress’ death. -
Film Music and Film Genre
Film Music and Film Genre Mark Brownrigg A thesis submitted for the degree of Doctor of Philosophy University of Stirling April 2003 FILM MUSIC AND FILM GENRE CONTENTS Page Abstract Acknowledgments 11 Chapter One: IntroductionIntroduction, Literature Review and Methodology 1 LiteratureFilm Review Music and Genre 3 MethodologyGenre and Film Music 15 10 Chapter Two: Film Music: Form and Function TheIntroduction Link with Romanticism 22 24 The Silent Film and Beyond 26 FilmTheConclusion Function Music of Film Form Music 3733 29 Chapter Three: IntroductionFilm Music and Film Genre 38 FilmProblems and of Genre Classification Theory 4341 FilmAltman Music and Genre and GenreTheory 4945 ConclusionOpening Titles and Generic Location 61 52 Chapter Four: IntroductionMusic and the Western 62 The Western and American Identity: the Influence of Aaron Copland 63 Folk Music, Religious Music and Popular Song 66 The SingingWest Cowboy, the Guitar and other Instruments 73 Evocative of the "Indian""Westering" Music 7977 CavalryNative and American Civil War WesternsMusic 84 86 PastoralDown andMexico Family Westerns Way 89 90 Chapter Four contd.: The Spaghetti Western 95 "Revisionist" Westerns 99 The "Post - Western" 103 "Modern-Day" Westerns 107 Impact on Films in other Genres 110 Conclusion 111 Chapter Five: Music and the Horror Film Introduction 112 Tonality/Atonality 115 An Assault on Pitch 118 Regular Use of Discord 119 Fragmentation 121 Chromaticism 122 The A voidance of Melody 123 Tessitura in extremis and Unorthodox Playing Techniques 124 Pedal Point -
John Williams
AN ABSTRACT OF THE THESIS OF Danae A. Lincoln for the degree of Honors Baccalaureate of Science in Mechanical Engineering presented on March 8, 2011 . Title: The Art and Craft of John Williams. Abstract approved: _________________________________________________________________________ Dana Reason The intent of this paper is to bring more attention to the mastery involved with film composition as an art form. The research focuses specifically on the life, style, influences, and works of John Williams as a conductor, film composer, and composer. It addresses his biography, filmography, and working relationships, as well as critical analysis on several film scores. Particular emphasis is placed on scene-by-scene music analysis of the films Jaws , Hook , and Memoirs of a Geisha , as they are representative of three chronological segments of Williams’ film composition career. An overall theme focuses on how his music is so iconic, recognizable, and emotionally relatable by audiences, that it has become a part of our everyday culture. Key Words: John Williams, film composer, Jaws, Hook, Memoirs of a Geisha Corresponding e-mail address: [email protected] ©Copyright by Danae A. Lincoln March 8, 2011 All Rights Reserved The Art and Craft of John Williams by Danae A. Lincoln A PROJECT submitted to Oregon State University University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Mechanical Engineering (Honors Associate) Presented March 8, 2011 Commencement June 2011 Honors Baccalaureate of Science in Mechanical Engineering project of Danae A. Lincoln presented on March 8, 2011 . APPROVED: Mentor, representing Music Committee Member, representing Honors College Writing Committee Member, representing film music special interest Head, Department of Mechanical Engineering Chair, Department of Music Dean, University Honors College I understand that my project will become part of the permanent collection of Oregon State University, University Honors College. -
John Williams
JOHN WILLIAMS AWARDS/NOMINATIONS 92nd ACADEMY AWARDS NOMINATION (2020) STAR WARS: THE RISE OF SKYWALKER Achievement in Music Written for Motion Pictures (Original Score) 73rd BRITISH ACADEMY FILM AWARDS STAR WARS: THE RISE OF SKYWALKER NOMINATION (2020) Best Original Score 67th ANNUAL GRAMMY AWARDS HEDWIG’S THEME (Anne-Sophie Mutter & John NOMINATION (2020) Williams) Best Arrangement, Instrumental or A Cappella 67th ANNUAL GRAMMY AWARD (2020) STAR WARS: GALAXY’S EDGE SYMPHONIC Best Instrumental Composition SUITE ACADEMY AWARD NOMINATION (2018) STAR WARS: THE LAST JEDI Best Original Score GOLDEN GLOBE AWARD NOMINATION (2017) THE POST Best Original Score GRAMMY AWARD (2017) “Escapades for Alto Saxophone & Orchestra” from Best Arrangement, Instrumental or A Cappella CATCH ME IF YOU CAN GRAMMY AWARD NOMINATION (2016) STAR WARS: THE FORCE AWAKENS Best Score Soundtrack for Visual Media ACADEMY AWARD NOMINATION (2015) STAR WARS: THE FORCE AWAKENS Best Original Score BAFTA AWARD NOMINATION (2016) STAR WARS: THE FORCE AWAKENS Best Original Music GRAMMY AWARD (2014) THE BOOK THIEF Best Instrumental Composition ACADEMY AWARD NOMINATION (2013) THE BOOK THIEF Best Original Score BAFTA AWARD NOMINATION (2013) THE BOOK THIEF Best Original Music GOLDEN GLOBE AWARD NOMINATION (2013) THE BOOK THIEF Best Original Score ACADEMY AWARD NOMINATION (2012) LINCOLN Best Original Score 1 The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 JOHN WILLIAMS GOLDEN GLOBE AWARD NOMINATION (2012) LINCOLN Best Original Score GRAMMY AWARD NOMINATION (2012) THE ADVENTURES OF -
John Williams
JOHN WILLIAMS AWARDS/NOMINATIONS ACADEMY AWARD NOMINATION (2012) LINCOLN Best Original Score GOLDEN GLOBE AWARD NOMINATION LINCOLN (2012) Best Original Score BAFTA AWARD NOMINATION (2012) LINCOLN Best Original Music CRITIC’S CHOICE AWARD (2012) LINCOLN Best Score ACADEMY AWARD NOMINATION (2011) TINTIN Best Original Score ACADEMY AWARD NOMINATION (2011) TINTIN Best Original Score ACADEMY AWARD NOMINATION (2011) WAR HORSE Best Original Score BAFTA AWARD NOMINATION (2011) WAR HORSE Best Original Music GOLDEN GLOBE AWARD NOMINATION (2011) WAR HORSE Best Original Score CRITICS CHOICE AWARD NOMINATION WAR HORSE (2011) Best Score ANNIE AWARD NOMINATION (2011) TINTIN Best Music in a Feature Production EMMY AWARD (2009) GREAT PERFORMANCES Outstanding Original Main Title Theme Music GRAMMY AWARD (2008) “The Adventures of Mutt” Best Instrumental Composition from INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL 1 The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 JOHN WILLIAMS GRAMMY AWARD (2006) “A Prayer for Peace” Best Instrumental Composition from MUNICH GRAMMY AWARD (2006) MEMOIRS OF A GEISHA Best Score Soundtrack Album GRAMMY AWARD NOMINATION (2006) “Sayuri’s Theme and End Credits” Best Instrumental Composition from MEMOIRS OF A GEISHA GRAMMY AWARD NOMINATION (2006) MUNICH Best Score Soundtrack Album ACADEMY AWARD NOMINATION (2006) MUNICH Best Original Score ACADEMY AWARD NOMINATION (2006) MEMOIRS OF A GEISHA Best Original Score GOLDEN GLOBE AWARD (2005) MEMOIRS OF A GEISHA Best Original Score GRAMMY AWARD NOMINATION (2005) STAR WARS EPISODE