DOCSLIB.ORG

The Whole As a Result of Its Parts: Assembly in Aaron Copland's Score for the Red Pony

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Whole As a Result of Its Parts: Assembly in Aaron Copland's Score for the Red Pony THE WHOLE AS A RESULT OF ITS PARTS: ASSEMBLY IN AARON COPLAND’S SCORE FOR THE RED PONY William Lawrence McGinney, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS May 2003 APPROVED: John Michael Cooper, Major Professor Bernardo Illari, Committee Member Mark McKnight, Committee Member Margaret Notley, M.M. Committee Chair Lester Brothers, Chair, Division of Music History, Theory, and Ethnomusicology Hildegard Froehlich, Acting Director, Graduate Studies College of Music James C. Scott, Dean, College of Music C. Neal Tate, Dean, Robert B. Toulouse School of Graduate Studies McGinney, William Lawrence, The Whole as a Result of Its Parts: Assembly in Aaron Copland’s Score for The Red Pony, Master of Music (Musicology), May 2003, 178 pp., 60 musical examples, 24 figures, 3 facsimiles, references, 28 titles. Aaron Copland’s music for The Red Pony (1948-49), based on John Steinbeck’s story collection, is probably the best known of his film scores. The effectiveness of The Red Pony score stems from Copland’s belief that film music should be subordinate to the film it accompanies. Copland composed The Red Pony score using his self-described method of “assembly,” augmenting this process with devices to synchronize the music with the picture. Examination of archival sources shows how the score reflects the acknowledged influence of Igor Stravinsky, the needs of the film medium, and the plot of The Red Pony specifically. Despite Copland’s modern style characteristics, the music functions much like a conventional Hollywood film score. Copyright 2003 By William Lawrence McGinney ii ACKNOWLEGEMENTS The author wishes to acknowledge the following individuals for their assistance in the production of this study: Mr. James Kendrick and the Aaron Copland Fund for Music for their generous permission allowing me to examine the Copland materials and to reproduce the included score examples; Elizabeth H. Auman of the Library of Congress, Music Division, for all of her enthusiastic assistance and cooperation; Dr. Michael Cooper, my major professor, for his guidance during the course of this undertaking; Drs. Bernardo Illari and Mark McKnight, members of my thesis committee, for their helpful comments and insights; and Dr. Margaret Notley, chair of the departmental thesis committee, for all of her encouragement. I would also like to extend my deepest thanks to my parents for their support, and to my wife, Stacey, for her understanding, patience, and love. iii TABLE OF CONTENTS Page LIST OF MUSICAL EXAMPLES . v LIST OF FIGURES. viiI LIST OF FACSIMILES . x INTRODUCTION . 1 Chapter I. GENESIS AND STORY OF THE RED PONY . 13 II. SOURCES FOR THE SCORE OF THE RED PONY . 23 III. A CLOSE EXAMINATION OF THE CUES PRESENT IN THE FIRST HALF OF THE RED PONY . .32 IV. A CLOSE EXAMINATION OF THE CUES PRESENT IN THE SECOND HALF OF THE RED PONY. .92 V. THE RELATIONSHIP BETWEEN THE MUSIC AND THE NARRATIVE IN THE RED PONY . .132 VI. REASSEMBLY OF THE RED PONY FOR THE CONCERT STAGE . 158 APPENDIX: A BRIEF OVERVIEW OF THE STEPS IN SCORING A MOTION PICTURE . .172 REFERENCE LIST. .176 iv LIST OF MUSICAL EXAMPLES All musical examples reproduced with permission by the Aaron Copland Fund for Music, Inc., copyright holder. Example Page 3-1. Recurring Themes in The Red Pony. 35 3-2. M100 “Prelude and Main Title” mm. 1-5 . 37 3-3. M100 “Prelude and Main Title” mm. 6-18 . 38 3-4. M100 “Prelude and Main Title” mm. 26-37 . 39 3-5. M100 “Prelude and Main Title” mm. 51-59 . 40 3-6. Melodic Fragments in “Morning on the Ranch” . 41 3-7. M101 “Morning on the Ranch” mm. 1-5 . .43 3-8. M102 “Walk to the Bunkhouse, Pt I” mm. 1-12 . 46 3-9. M102A “Walk to the Bunkhouse, Pt II” mm. 17-32 . .46 3-10. M102 “Walk to the Bunkhouse, Pt I” mm 21-23 . .47 3-11. M201 “March Dream, Pt I” mm. 1-6 . 49 3-12. M201A “March Dream, Pt II” mm. 1-12 . .50 3-13. M201A “March Dream, Pt II” mm. 41-46 . .51 3-14. M201A “March Dream, Pt II” mm. 69-76 . .52 3-15. M202 “Intro to Circus Dream” mm 6-17 . .55 3-16. M300 “Circus Music, Pt I” mm. 25-33 . .55 3-17. M300 “Circus Music, Pt I” mm. 40-48, with overlap to M301A “Circus Music, Pt V” . .56 v Example 3-18. M300A “Circus Music, Pt II” mm. 1-18 . 58 3-19. M300B “Circus Music, Pt III” mm. 1-42 . 60 3-20. M302 “The Boring Dinner” mm. 1-12 . 62 3-21. M302 “The Boring Dinner” mm. 23-32 . 63 3-22. M400 “The Gift” mm. 1-40 . .65 3-23. M400 “The Gift” mm. 55-62 . .67 3-24. M400 “The Gift” mm. 67-77 . .67 3-25. M400 “The Gift” mm. 82-85 . 68 3-26. M401 “Tom’s Friends” mm. 1-17 . .70 3-27. M401 “Tom’s Friends” mm. 47-51. 71 3-28. M401 “Tom’s Friends” mm. 57-68 . .71 3-29. M401 “Tom’s Friends” mm. 83-94 . .73 3-30. M500 “Grandfather’s Story” mm. 1-13 . .76 3-31. M500 “Grandfather’s Story” mm. 30-43 . .76 3-32. M603 “Morning Training” mm. 1-9 . 79 3-33. M603 “Morning Training” mm. 19-24 . 79 3-34. M603 “Morning Training” mm. 27-41 . 80 3-35. M603 “Morning Training” mm. 42-48 . 81 3-36. M603 “Morning Training” mm. 49-57 . 82 3-37. M700 “Prelude to Tom’s Indecision” mm. 1-11 . .84 3-38. M701 “Tom’s Indecision” mm. 1-24 . .85 3-39. M701 “Tom’s Indecision” mm. 28-38 . .86 vi Example 3-40. M701 “Tom’s Indecision” mm. 46-50 . .87 3-41. M701 “Tom’s Indecision” mm. 54-77 . .87 4-1. M702 “The Sick Pony” mm. 1-9 . .95 4-2. M702 “The Sick Pony” mm. 11-27 . .96 4-3. M800 “The Sick Pony” mm. 1-10 . .97 4-4. M801 “At the Fireside” mm. 1-18 . .100 4-5. M802 “Strangles, Pt I” mm. 1-24 . 101 4-6. M802 “Strangles, Pt I” mm. 36-43 . 103 4-7. M900 “Strangles, Pt II” mm. 1-19 . .104 4-8. M901 “The Operation, Pt I” mm. 1-9 . 107 4-9. M901 “The Operation, Pt I” mm. 14-22 . 107 4-10. M901 “The Operation, Pt I” mm. 23-43 . 108 4-11. M901A “The Operation, Pt II” mm. 1-5 . 109 4-12. Cell Types in “Buzzard Fight . .111 4-13. M1001 “Buzzard Fight, Pt I” mm. 40-51 . 114 4-14. M1001A “Buzzard Fight, Pt II” mm. 46-48 . 115 4-15. M1001B “Buzzard Fight, Pt III” mm. 1-6 . .118 4-16. M1100 “Tom Readjusted, Pt II” mm. 1-10 . ..
Load more

Recommended publications
  • Steinbeck John: Red Pony Pdf, Epub, Ebook
    STEINBECK JOHN: RED PONY PDF, EPUB, EBOOK John Steinbeck | 100 pages | 01 Feb 1993 | Penguin Books Ltd | 9780140177367 | English | United States Steinbeck John: Red Pony PDF Book I would not have liked farm life, unless we were just raising food crops. Unable to reach the horse in time, he arrives while a buzzard is eating the horse's eye. I remember as a child I would lose all my dogs to death, and the baby lamb that my step dad brought home. In that case, we can't What I love about Steinbeck is that his simple narrative always becomes multilayered upon its conclusion. Thanks for telling us about the problem. Welcome back. Nellie becomes very ill. Related Searches. So much depth in so few pages! I think that is why the novel resonates. Jan 21, Andy rated it really liked it. May 10, David R. He acknowledges that his stories may be tiresome, but explains:. Summary Summary. The narration I have given three stars. Goonther I hope not, oh god please no. First book edition. It's always fun to read John Steinbeck books. In each story Steinbeck shows us unique ways in which young Jody undergoes certain experiences as he confronts the harsh realities of life, and as a result comes closer to a realization of true manhood — facts adults must live with: sickness, age, death, procreation, birth. From the look of the cover and title, you'd think you'd be reading a happy little novella about a boy and his horse, but it's so much more than that.
    [Show full text]
  • 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
    [Show full text]
  • The Joads' Reactions to the Environment in John Steinbeck's
    Synopsis This novel shows the hardship of the Okies (the name for people who came from Oklahoma), especialy the Joads who migrated to California in the hope of gaining a better standard of life. The story depicts this long and hard journey of the Joads from Oklahoma to the Colorado River and finally arrive in California. The Joads consist of three generations. They are Grandpa and Grandma as the grandparents , Pa Joad and Ma as the parents, Tom, Noah, Al, Rose of Sharon, Ruthie, and Winfield as the children. The five most representative characters in the Joads are Grandpa, Pa, Ma, Tom, and Noah. All over the southern Midwest states, farmers are no longer able to make a living because of the terrible weather and the machine has taken their place in farming so that they are forced to sell their farms. Thousands of families take to the roads leading to the promised land, California. Oklahoma is the first setting in the story in which the Joads suffer from the harsh drought. The increasing paleness of the sky and earth suggests the land’s loss of fertility. Besides, the bank wants to posses the land on which the Joads live by driving them away. The bank actually forces the Joads to leave Oklahoma. Grandpa, uprooted by force from the land he loves, becomes broken-hearted and dies just after they leave Oklahoma. The second place for the Joads is the Colorado River, the only river that the Joads meet before entering the desert near California. The Arizona white rock mountains surround this river.
    [Show full text]
  • Xerox University Microfilms
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • Korngold Violin Concerto String Sextet
    KORNGOLD VIOLIN CONCERTO STRING SEXTET ANDREW HAVERON VIOLIN SINFONIA OF LONDON CHAMBER ENSEMBLE RTÉ CONCERT ORCHESTRA JOHN WILSON The Brendan G. Carroll Collection Erich Wolfgang Korngold, 1914, aged seventeen Erich Wolfgang Korngold (1897 – 1957) Violin Concerto, Op. 35 (1937, revised 1945)* 24:48 in D major • in D-Dur • en ré majeur Dedicated to Alma Mahler-Werfel 1 I Moderato nobile – Poco più mosso – Meno – Meno mosso, cantabile – Più – Più – Tempo I – Poco meno – Tempo I – [Cadenza] – Pesante / Ritenuto – Poco più mosso – Tempo I – Meno, cantabile – Più – Più – Tempo I – Meno – Più mosso 9:00 2 II Romanze. Andante – Meno – Poco meno – Mosso – Poco meno (misterioso) – Avanti! – Tranquillo – Molto cantabile – Poco meno – Tranquillo (poco meno) – Più mosso – Adagio 8:29 3 III Finale. Allegro assai vivace – [ ] – Tempo I – [ ] – Tempo I – Poco meno (maestoso) – Fließend – Più tranquillo – Più mosso. Allegro – Più mosso – Poco meno 7:13 String Sextet, Op. 10 (1914 – 16)† 31:31 in D major • in D-Dur • en ré majeur Herrn Präsidenten Dr. Carl Ritter von Wiener gewidmet 3 4 I Tempo I. Moderato (mäßige ) – Tempo II (ruhig fließende – Festes Zeitmaß – Tempo III. Allegro – Tempo II – Etwas rascher (Tempo III) – Tempo II – Allmählich fließender – Tempo III – Wieder Tempo II – Tempo III – Drängend – Tempo I – Tempo III – Subito Tempo I (Doppelt so langsam) – Allmählich fließender werdend – Festes Zeitmaß – Tempo I – Tempo II (fließend) – Festes Zeitmaß – Tempo III – Ruhigere (Tempo II) – Etwas rascher (Tempo III) – Sehr breit – Tempo II – Subito Tempo III 9:50 5 II Adagio. Langsam – Etwas bewegter – Steigernd – Steigernd – Wieder nachlassend – Drängend – Steigernd – Sehr langsam – Noch ruhiger – Langsam steigernd – Etwas bewegter – Langsam – Sehr breit 8:27 6 III Intermezzo.
    [Show full text]
  • The Role of Contemporary Music in Instrumental Education
    The role of contemporary music in instrumental education Mark Rayen Candasmy Supervisor Per Kjetil Farstad This Master’s Thesis is carried out as a part of the education at the University of Agder and is therefore approved as a part of this education. However, this does not imply that the University answers for the methods that are used or the conclusions that are drawn. University of Agder, 2011 Faculty of fine arts Department of music Abstract The role of contemporary music in instrumental education discusses the necessity of renewing the curriculum of all musical studies that emphasize performance and the development of the student's instrumental abilities. A portrait of Norwegian composer Ørjan Matre is included to help exemplify the views expressed, as well as the help of theoretical analysis. Key words: contemporary music, education, musicology, ørjan matre, erich wolfgang korngold, pedagogy The role of contemporary music in instrumental education is divided into six chapters. Following the introduction, the second chapter discusses the state of musical critique and musicology, describing the first waves of modernism at the turn of the century (19 th /20 th ) and relating it to the present reality and state of contemporary music. Conclusively, it suggests possibilities of bettering the situation. The third chapter discusses the controversial aspects of Erich Wolfgang Korngold's music and life, relating it to the turbulence of the musical life during his lifetime. Studying Korngold is a unique way to outline the contradictions within Western art music that were being established during his career. The fourth chapter is a portrait of Norwegian composer Ørjan Matre and includes an analysis of his work " Handel Mixtape s".
    [Show full text]
  • Holy Ghost College Bulletin
    Sanctum 33 1917 a college man wrote some words to be sung to *he tune of an old English hunting song; but both these attempts, while meritorious, lacked something or other that would give a song enduring popularity among the old grads and underclass men. Some telepathic message about this state of affairs must have crossed the Allegheny mountains in the direction of New York, for just before the school year opened Joseph Breil, whom Pitts- burgh and the world knows as the composer of the music for "Intolerance", "The Birth of a Nation", "Cabiria", and other big motion-picture plays, and as the author of a successful grand opera, " The Legend ", was inspired to write as follows to the President of the University : " Back in the middle eighties, in the days of Fathers Power, Griffin, McCabe, Gross, Dangelzer and others, I used to trudge up the Bluff every day to the Pittsburgh College, to get my 'education.' Since then I have developed into a composer of some distinction and am known practically over the world, wherever better music is cultivated. "I am sending you a song of mine; perhaps one of your poets could arrange a text to it, and it could be adopted as the Duquesne University Hymn. I would be pleased to learn that such a thing has been done. " Sincerely yours, "Joseph Carl Breil." It so happens that the new music fits the text sung before the war, without submitting the latter to any fundamental remodeling, and the University will have its wish. The new hymn is the result of the combination.
    [Show full text]
  • Student Honors Recital
    BUTI ADMINISTRATION Phyllis Hoffman, Executive and Artistic Director; Shirley Leiphon, Administrative Director Lisa Naas, Director of Operations and Student Life; David Faleris, Program Administrator Emily Culler, Development, Alumni Relations, and Outreach Officer Boston University Grace Kennerly, Publications Coordinator; Manda Shepherd, Office Coordinator; Mandy Kelly, Office Intern Ben Fox, Private Lessons Coordinator; Travis Dobson, Stage Crew Manager Tanglewood Institute Matthew Lemmel, Greg Mitrokostas, Andres Trujillo, Matt Visconti, Stage Crew Michael Culler & Shane McMahon, Recording Engineers; Xiaodan Liu, Piano Technician presents YOUNG ARTISTS ORCHESTRA FACULTY AND STAFF Ryan McAdams & Paul Haas, Conductors Miguel Perez-Espejo Cardenas, Violin Coach, String Chamber Music Coordinator Caroline Pliszka, Klaudia Szlachta, Hsin-Lin Tsai, Violin Coaches, String Chamber Music Mark Berger and Laura Manko, Viola Coaches, String Chamber Music Ariana Falk and Hyun Min Lee, Cello Coaches, String Chamber Music Brian Perry, Double Bass Coach, String Chamber Music Samuel Solomon, Percussion Coordinator and Coach; Michael Israelievitch, Percussion Coach David Krauss, Brass Coach, Brass Chamber Music; Kai-yun Lu, Winds Coach, Wind Chamber Music Student Honors Recital Clara Shin, Piano Chamber Music Coach Thomas Weaver, Staff Pianist Tiffany Chang, Orchestra and Chamber Music Manager Kory Major, Orchestra Librarian and Assistant Manager YOUNG ARTISTS WIND ENSEMBLE FACULTY AND STAFF David Martins & H. Robert Reynolds, Conductors Jennifer Bill,
    [Show full text]
  • Volume 58, Number 01 (January 1940) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1940 Volume 58, Number 01 (January 1940) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 58, Number 01 (January 1940)." , (1940). https://digitalcommons.gardner-webb.edu/etude/265 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. January THE ETUDE 1940 Price 25 Cents music mu — 2 d FOR LITTLE TOT PIANO PLAYERS “Picuurl cote fa-dt Wc cocUcUA. Aeouda them jot cJiddA&i /p ^cnJUni flidi ffiTro JEKK1HS extension piano SHE PEDAL AND FOOT REST Any child (as young as 5 years) with this aid can 1 is prov ided mmsiS(B mmqjamflm® operate the pedals, and a platform Successful Elementary on which to rest his feet obviating dang- . his little legs. The Qualities ling of Published monthly By Theodore presser Co., Philadelphia, pa. Teaching Pieces Should Have EDITORIAL AND ADVISORY STAFF THEODORE PRESSER CO. DR. JAMES FRANCIS COOKE, Editor Direct Mail Service on Everything in Music Publications. TO PUPIL Dr. Edward Ellsworth Hipsher, Associate Editor /EDUCATIONAL POINTS / APPEALING William M. Felton, Music Editor 1712 Chestnut Street, Philadelphia, Pa.
    [Show full text]
  • Cabiria (1931)
    Archivio d’Annunzio [online] ISSN 2421-292X Vol. 4 – Ottobre 2017 [print] ISSN 2421-4213 Dalla ‘compilazione d’autore’ al ‘poema lirico-sinfonico’ La musica per la versione sonorizzata di Cabiria (1931) Emilio Sala (Università degli Studi di Milano, Italia) Abstract Musical accompaniment of films entered a new era as a dramaturgic practice in 1914, thanks to the world-wide success of Cabiria. Giovanni Pastrone’s ‘Dannunzian’ film played an im- portant role in the creation of moving picture orchestras and synchronised scores. Manlio Mazza’s compiled score paved the way to the comparable orchestral accompaniment of D.W. Griffith’s The Birth of a Nation (1915), written by Joseph Carl Breil. Nevertheless, scholars have paid insufficient attention to Mazza’s score, which has been overshadowed by the famous Sinfonia del fuoco by Ilde- brando Pizzetti. The latter has been frequently associated with the sacrificial scene in the temple of Moloch and, thus, has been used in modern exhibitions of the film. Despite this spread interpretation, it is important to note that Pizzetti did not write his symphony to score this scene. The misunder- standing leading to this association is due on the one hand to an aesthetic assumption, perhaps a bias, against the practice of compiled scores and, on the other, to some incomprehension concerning the restoration process of this film. In this article I re-examine the vexata quaestio of the relationship between the film and Pizzetti’s Sinfonia del fuoco, by analysing the 1931 sound reissue of Cabiria, which featured a newly composed score by Luigi Avitabile and José Ribas.
    [Show full text]
  • Using Resources for Silent Film Music
    02_956-129_Leonard_pp259-276 9/8/16 11:11 AM Page 259 USING RESOURCES FOR SILENT FILM MUSIC Kendra Preston Leonard Between 1912 and 1929, more than 11,000 commercial motion pictures were made in the United States. We call these works “silent films”, but they were accompanied by an enor- mous body of music, both adapted or arranged from pre-existing compositions and newly written for theatre orchestras, organists, or pianists. A 2013 study by David Pierce and the National Film Preservation Board, in conjunction with the Council on Library and Infor - ma tion Resources (CLIR) and the Library of Congress, found that only thirty percent of these pre-sound films were still extant, with many incomplete or in poor condition, and for a time, music for these films seemed destined to a similar fate: in the 1960s, Metro- Goldwyn-Mayer Studios deaccessioned its entire collection of scores and orchestral parts and sent them to a landfill in an event known to industry insiders as the “MGM purge”.1 Since then, however, studios and archives have increasingly valued the historic impor- tance of their silent film music holdings, and scholarly and general interest in these works has grown significantly. In Music for Silent Film: A Guide to North American Resources (MLA Index and Bibliography Series, 39. Middleton, WI: Music Library Association and A-R Editions, 2016), I assemble lists of archives and libraries that house this surviving early movie music, track down publications from the period about how and what to play for the movies, and provide details on more recent secondary sources devoted to the his- tory and analysis of the music used for the silent cinema.
    [Show full text]
  • Carl Loewe's "Gregor Auf Dem Stein": a Precursor to Late German Romanticism
    Carl Loewe's "Gregor auf dem Stein": A Precursor to Late German Romanticism Item Type text; Electronic Dissertation Authors Witkowski, Brian Charles Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 03:11:55 Link to Item http://hdl.handle.net/10150/217070 CARL LOEWE'S “GREGOR AUF DEM STEIN”: A PRECURSOR TO LATE GERMAN ROMANTICISM by Brian Charles Witkowski _____________________ Copyright © Brian Charles Witkowski 2011 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2011 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Brian Charles Witkowski entitled Carl Loewe's “Gregor auf dem Stein”: A Precursor to Late German Romanticism and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts ________________________________________________ Date: 11/14/11 Charles Roe ________________________________________________ Date: 11/14/11 Faye Robinson ________________________________________________ Date: 11/14/11 Kristin Dauphinais Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.
    [Show full text]