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SECONDARY/KEY STAGE 3 MUSIC – SOUNDTRACKS CH4 FILM MUSIC COMPOSERS RESEARCH Name Form The following five film composers have composed film music and soundtracks to some of the most famous films. Using the internet, see if you can research which film soundtracks each composer wrote, placing each of the films in the box below under its correct composer. John Williams Hans Zimmer James Horner Danny Elfman Jerry Goldsmith FILM TITLES Charlie and the Chocolate Factory Pearl Harbour Superman Star Trek Pirates of the Caribbean Harry Potter War of the Worlds Batman Desperate Housewives Lion King Indian Jones Star Wars ET Spiderwick Chronicles Spiderman 2 Planet of the Apes (1968) Jaws Madagascar Jurassic Park Titanic Men in Black Page | 1 © WWW.MUSICALCONTEXTS.CO.UK SECONDARY/KEY STAGE 3 MUSIC – SOUNDTRACKS CH4 FILM MUSIC COMPOSERS RESEARCH ANSWERS The following five film composers have composed film music and soundtracks to some of the most famous films. Using the internet, see if you can research which film soundtracks each composer wrote, placing each of the films in the box below under its correct composer. John Williams Hans Zimmer James Horner Danny Elfman Jerry Goldsmith ET Lion King Titanic Men in Black Planet of the Apes (1968) Star Wars Pirates of the Spiderwick Desperate Caribbean Chronicles Housewives Star Trek Indiana Jones Madagascar Spiderman 2 Harry Potter Pearl Harbour Batman Jurassic Park Charlie and the Superman Chocolate Factory Jaws War of the Worlds FILM TITLES Charlie and the Chocolate Factory Pearl Harbour Superman Star Trek Pirates of the Caribbean Harry Potter War of the Worlds Batman Desperate Housewives Lion King Indian Jones Star Wars ET Spiderwick Chronicles Spiderman 2 Planet of the Apes (1968) Jaws Madagascar Jurassic Park Titanic Men in Black Page | 2 © WWW.MUSICALCONTEXTS.CO.UK .

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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.
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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.
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A Level Music
A level Music Areas of Study – Other Perspectives NB: updates to this document were made in April 2021 and these are highlighted in yellow. © artwork: Mark Bolitho | Origami photography Pearson Education Ltd/Justin Hoffman Introduction This qualification features a Component entitled Appraising. The purpose of this component is for students to develop their listening and appraising skills through the study of music across a variety of styles and genres. The content is grouped into six areas of study, containing either two or three set works. This component gives students the opportunity to reflect on, analyse and evaluate music in aural and/or written form. To achieve this objective, students need to use their knowledge and understanding of musical elements, context and language to make critical judgements about the repertoire and context of music within the areas of study. Students should also study a range of pieces beyond these set works. The suggested other musical pieces for each area of study (see Appendix 4 of the specification) provide students with breadth, enabling them to place their knowledge of musical elements, context and language in a wider context, and apply their knowledge and understanding to more pieces of music. The suggested other music can help students to relate their learning to music in the set works, but their study is not compulsory. Teachers can identify and teach other pieces of music to support their students’ learning. The following music and musicians are examples of how each of the areas of study can be approached from a diverse range of other perspectives. The pieces have been chosen to encourage students to think beyond the mainstream and over-represented composers and styles of music, and instead to consider alternative and less well-known types and origins of music.
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Pre-Assessment
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King Henry School Year 9 Spring 1: Film Music Music Theory Film music composers Treble Clef Erith John Williams - Star Wars Jaws Harry Potter Indiana Jones Superman, E.T. James Horner - Titanic Apollo 13 Braveheart Star Trek II Aliens Danny Elfman - Mission Impossible Batman Returns Men in Black Spider Man Rachel Portman - Manchurian Candidate, Never Let Me Go, Chocolat History of Film Music Early films had no soundtrack (“SILENT CINEMA”) and music was provided live, usually IMPROVISED by a pianist or organist. Bass Clef The first SOUNDTRACKS appeared in the 1920’s and used existing music (BORROWED MUSIC – music composed for other (non-film) purposes) from composers such as Wagner and Verdi’s operas and ballets. In the 1930’s and 1940’s Hollywood hired composers to write huge Romantic-style soundtracks. JAZZ and EXPERIEMENTAL MUSIC was sometimes used in the 1960’s and 1970’s. Today, film music often blends POPULAR, ELECTRONIC and CLASSICAL music together in a flexible way that suits The structure of the Major scale the needs of a particular film. R – T – T – S – T – T – T – S The Purpose of Film Music R=Root(whichever note we start from). Film Music is a type of DESCRIPTIVE MUSIC that represents a MOOD, STORY, SCENE or CHARACTER through T=Tone. (2 Steps) music, it is designed to SUPPORT THE ACTION AND EMOTIONS OF THE FILM ON SCREEN. S=Semitone. (1 step) Film Music can be used to: • Create or enhance a mood Key words • Function as a LEITMOTIF • To emphasise a gesture (MICKEY-MOUSING – when the music fits precisely with a specific part of the action in a LEITMOTIF – A frequently recurring short melodic or harmonic idea film e.g.
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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.
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