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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 -
In March, 2002 the Dreamworks
TM The animated feature and the making of by Kate McCallum n March, 2002 the DreamWorks ani- freed from the stress of New York life. mated films as Space Jam and Cool World. mated feature Shrek broke ground by When those plotting penguins sabotage His television work includes directing on I receiving the first official Oscar® for the ship, Alex, Marty, Melman and Gloria The Ren & Stimpy Show, as well as other the newly created Best Animated Feature find themselves washed ashore on the exotic projects for Nickelodeon. Adding their tal- Film category. Now, from DreamWorks island of Madagascar. Now these native New ents to the film were writers Mark Burton Animation SKG comes the new, com- Yorkers have to figure out how to survive in and Billy Frolick. Burton is a U.K.-based puter-animated comedy Madagascar. the wild and discover the true meaning of comedy writer with a varied TV and film Alex the Lion (voiced by Ben Stiller) is the phrase “It’s a jungle out there.” career on both sides of the Atlantic. He has the king of the urban jungle as the main Madagascar was directed by Eric Darnell written extensively for many British comedy attraction at New York’s Central Park Zoo. and Tom McGrath, who are also two of shows, including Clive Anderson Talks Back, He and his best friends Marty the Zebra the writers on this film. Darnell joined Jack Dee’s Happy Hour, Never Mind The (Chris Rock), Melman the Giraffe (David PDI’s (now PDI/DreamWorks Animation) Buzzcocks, 2DTV, Have I Got News For You Schwimmer) and Gloria the Hippo (Jada Character Animation Group in 1991 and and Spitting Image. -
Theaters 3 & 4 the Grand Lodge on Peak 7
The Grand Lodge on Peak 7 Theaters 3 & 4 NOTE: 3D option is only available in theater 3 Note: Theater reservations are for 2 hours 45 minutes. Movie durations highlighted in Orange are 2 hours 20 minutes or more. Note: Movies with durations highlighted in red are only viewable during the 9PM start time, due to their excess length Title: Genre: Rating: Lead Actor: Director: Year: Type: Duration: (Mins.) The Avengers: Age of Ultron 3D Action PG-13 Robert Downey Jr. Joss Whedon 2015 3D 141 Born to be Wild 3D Family G Morgan Freeman David Lickley 2011 3D 40 Captain America : The Winter Soldier 3D Action PG-13 Chris Evans Anthony Russo/ Jay Russo 2014 3D 136 The Chronicles of Narnia: The Voyage of the Dawn Treader 3D Adventure PG Georgie Henley Michael Apted 2010 3D 113 Cirque Du Soleil: Worlds Away 3D Fantasy PG Erica Linz Andrew Adamson 2012 3D 91 Cloudy with a Chance of Meatballs 2 3D Animation PG Ana Faris Cody Cameron 2013 3D 95 Despicable Me 3D Animation PG Steve Carell Pierre Coffin 2010 3D 95 Despicable Me 2 3D Animation PG Steve Carell Pierre Coffin 2013 3D 98 Finding Nemo 3D Animation G Ellen DeGeneres Andrew Stanton 2003 3D 100 Gravity 3D Drama PG-13 Sandra Bullock Alfonso Cuaron 2013 3D 91 Hercules 3D Action PG-13 Dwayne Johnson Brett Ratner 2014 3D 97 Hotel Transylvania Animation PG Adam Sandler Genndy Tartakovsky 2012 3D 91 Ice Age: Continetal Drift 3D Animation PG Ray Romano Steve Martino 2012 3D 88 I, Frankenstein 3D Action PG-13 Aaron Eckhart Stuart Beattie 2014 3D 92 Imax Under the Sea 3D Documentary G Jim Carrey Howard Hall -
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. -
Style Guide for Vocal Recital Programs
1 Style Guide for Vocal Recital Programs This guide is intended as a resource to assist students, faculty, and BM Voice presenting the Senior Capstone, in the preparation and submission of appropriate information for recital programs. The following guidelines have been based, with some modifications to suit departmental needs, on the compilation of Holoman, D. Kern, Writing about Music: A Style Sheet. CA: University of California Press. 2008, and Turabian, Kate, A manual for writers of research papers, theses, and dissertations: Chicago style for students and researchers. Chicago: University of Chicago Press. 2008. IMPORTANT: Please submit your material using Times font, point size 12, and point 18 for the headers. 2 Style Guide for Vocal Recital Programs INDEX I. TITLE OF WORKS 1.1 SONGS - INDIVIDUAL 1.2 SONGS – TWO OR MORE, SAME COMPOSER 1.3 SONGS – TWO OR MORE, DIFFERENT COMPOSER 1.4 SONG CYCLE – ONE SONG EXTRACTED 1.5 SONG CYCLE – TWO OR MORE SONGS EXTRACTED 1.6 SONG CYCLE – ENTIRE CYCLE 1.7 OPERAS, ORATORIOS, CANTATAS, MUSICALS 1.8 MORE THAN ONE ARIA FROM LARGER WORK 1.9 ARIA WITH A RECITATIVE 1.10 CAPITALIZATION 1.11 FIRST PERFORMANCES II. COMPOSERS AND COMPOSER DATE(S) 2.1 COMPOSERS AND DATES 2.2 ADAPTATIONS AND TRANSCRIPTIONS III. PERFORMERS 3.1 PERFORMER’S NAME IN SOLO RECITAL 3.2 PERFORMER(S) NAME WITH GUEST ARTIST(S) 3.3 SHARED RECITAL 3 IV. PERFORMER(S) BIOGRAPHY 4.1 THE STUDENT PERFORMER’S BIO 4.2 FACULTY AND GUEST ARTIST BIO 4.3 ACCOMPANIST BIO V. ACKNOWLEDGEMENTS 5.1 ACKNOWLEDGEMENTS BY PERFORMER(S) VI. -
Depaul Animation Zine #1
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16 發光的城市 A R O U N D T O W N FRIDAY, JANUARY 23, 2009 • TAIPEI TIMES OTHER RELEASES COMPILED BY MARTIN WILLIAMS Ponyo on the Cliff by the Sea Better The pick of this week’s other releases is an award-winning film from legendary Japanese than the book animator Hayao Miyazaki (Spirited Away). Sort-of- mermaid Ponyo longs to know Brendan Fraser’s chunkiness as a kind of bulked-up more about the world out of the ocean and soon becomes the pet Indiana Jones is one of the few of a boy who lives in a seaside home. Her disappearance jarring notes in ‘Inkheart,’ an otherwise triggers a hunt that results in wonderful sequences that commendable minor fantasy film will captivate adults and children alike. Miyazaki’s box office hit is glorious proof that possibilities still exist for BY Ian BartholomeW traditional animation techniques. It’s being screened in STAFF REPORTER Taiwan in both Mandarin and Japanese-language versions. have seen rather a lot of up a mood of comic adventure. There is Yes Man Brendan Fraser recently, what none of the moralizing of Narnia or the We with The Mummy: Tomb of philosophizing of The Golden Compass, In this comedy outing, Jim the Dragon Emperor and Journey at the but just a good yarn with lots of fascinating Carrey transforms from a Center of the Earth both released in the characters in it. At the center is Meggie, soulless loan officer who second half of last year. He’s back again, Mo’s daughter and companion, an aspiring will only say “no” into an and while Inkheart is a vastly superior writer, who only gradually realizes why her increasingly havoc-stricken film to his previous efforts, his presence father has never read her a bedtime story man who can only say “yes.” TV contributes little to its success. -
Thomas Mann Joins 'Our House
For Immediate Release: THOMAS MANN JOINS ‘OUR HOUSE’ FROM DAVIS ENTERTAINMENT AND XYZ FILMS Production to Commence Shooting in April; XYZ Representing Worldwide Sales Rights at Berlin Los Angeles, CA (January 27, 2016) – It was announced today that Thomas Mann will star in OUR HOUSE, which will be directed by Anthony Scott Burns in his feature film debut. OUR HOUSE was written by MOON scribe Nathan Parker and will be produced by John Davis and Derek Dauchy of Davis Entertainment and Nick Spicer and Kyle Franke of XYZ Films. The film is based upon the 2010 film GHOST FROM THE MACHINE, written and directed by Matt Osterman. XYZ is handling worldwide sales rights and will co-represent the U.S with WME Global. The film is scheduled to commence production in Vancouver in April 2016 and will be available to buyers at the upcoming European Film Market in Berlin. After his parents are killed in a car accident, Ethan (Mann) is left suffering from enormous guilt. He quits a promising future at MIT and work on a revolutionary experiment in order to care for his younger brother and sister. Realizing the capabilities of his experiment extend far beyond their original intent and fueled by a desire to connect one last time with his parents, Ethan reconnects with his work. He is successful, but instead of his parents, Ethan has brought something else back. Mann is best known for the 2015 Sundance hit ME AND EARL AND THE DYING GIRL, as well as PROJECT X and HANSEL & GRETEL: WITCH HUNTERS. Next up for Mann is the much anticipated thriller KONG: SKULL ISLAND. -
THE NATIONAL ACADEMY of TELEVISION ARTS & SCIENCES ANNOUNCES the 38Th ANNUAL DAYTIME ENTERTAINMENT EMMY ® AWARD NOMINATIONS
THE NATIONAL ACADEMY OF TELEVISION ARTS & SCIENCES ANNOUNCES The 38th ANNUAL DAYTIME ENTERTAINMENT EMMY ® AWARD NOMINATIONS Daytime Emmy ® Awards to Be Telecast on June 19 th , 2011 On The CBS Television Network from the Las Vegas Hilton Wayne Brady to Host the Live Telecast Daytime Entertainment Creative Arts Emmy ® Awards Gala To be held at the Westin Bonaventure in LA on Friday, June 17, 2011 Pat Sajak and Alex Trebek to Receive Lifetime Achievement Award New York – May 11, 2011 – The National Academy of Television Arts & Sciences (NATAS) today announced the nominees for the 38th Annual Daytime Entertainment Emmy ® Awards. The Daytime Entertainment Emmy ® Awards will be broadcast from Las Vegas for the second year in a row on June 19 th , 2011 over the CBS Television Network, hosted by Wayne Brady, the Emmy ® Award winning actor, singer, and comedian and host of the CBS game show, Let’s Make a Deal . “It is with great pleasure that the Daytime Emmy ® Awards returns to the CBS Network again,” said Darryl Cohen, Chairman, NATAS. “The Daytime Emmy Awards is one of the cornerstones of our business and this year’s Las Vegas-based celebration, produced with our broadcast partner, Associated Television International, and hosted by Wayne Brady promises to be an exciting evening of entertainment.” The 38th Annual Daytime Entertainment Emmy ® Awards Lifetime Achievement Award will be presented to game show hosts Pat Sajak of Wheel of Fortune and Alex Trebek of Jeopardy! “In honoring Pat and Alex, we’re honoring not only two of the great game shows throughout the history of television,” said Cohen, “but two individuals whose talent and personality have given us an additional reason to tune in and watch.” Associated Television International’s (ATI) President and Emmy ® award-winning producer David McKenzie will serve as executive producer of the broadcast. -
Authorship and Post-Classical Hollywood" (2015)
Old Dominion University ODU Digital Commons Communication & Theatre Arts Faculty Communication & Theatre Arts Publications 2015 Understanding Tony Scott: Authorship and Post- Classical Hollywood Robert Arnett Old Dominion University, [email protected] Follow this and additional works at: https://digitalcommons.odu.edu/communication_fac_pubs Part of the Film Production Commons Repository Citation Arnett, Robert, "Understanding Tony Scott: Authorship and Post-Classical Hollywood" (2015). Communication & Theatre Arts Faculty Publications. 20. https://digitalcommons.odu.edu/communication_fac_pubs/20 Original Publication Citation Arnett, R. (2015). Understanding Tony Scott: Authorship and Post-Classical Hollywood. Film Criticism, 39(3), 48-67. This Article is brought to you for free and open access by the Communication & Theatre Arts at ODU Digital Commons. It has been accepted for inclusion in Communication & Theatre Arts Faculty Publications by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. Understanding Tony Scott: Authorship and Post-Classical Hollywood Robert Arnett Few directors represent post-classical Hollywood cinema better than Tony Scott. His Hollywood career arcs from the 1980s and the iconic Top Gun (1984) to 2010, with the underrated Unstoppable. Scott’s films innovated the fragmentation and excessiveness of the post-classical Hollywood films, including the ability to overwhelm to an extent that negates for many critics and academics the possibility of any substance. Of Tony Scott, David Thomson, in his massive The New Biographical Dictionary o f Film (2003), managed about 100— dismissive—words, issuing, in effect, a challenge: those that see something in Tony Scott have “the advantage over me” (794).1 What Thomson and others fail to see in Tony Scott’s all-too-short career is a Hollywood director with a distinct authorship in the post-classical context.