James Horner
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Final Appendices
Bibliography ADORNO, THEODOR W (1941). ‘On Popular Music’. On Record: Rock, Pop and the Written Word (ed. S Frith & A Goodwin, 1990): 301-314. London: Routledge (1publ. in Philosophy of Social Sci- ence, 9. 1941, New York: Institute of Social Research: 17-48). —— (1970). Om musikens fetischkaraktär och lyssnandets regression. Göteborg: Musikvetenskapliga in- stitutionen [On the fetish character of music and the regression of listening]. —— (1971). Sociologie de la musique. Musique en jeu, 02: 5-13. —— (1976a). Introduction to the Sociology of Music. New York: Seabury. —— (1976b) Musiksociologi – 12 teoretiska föreläsningar (tr. H Apitzsch). Kristianstad: Cavefors [The Sociology of Music – 12 theoretical lectures]. —— (1977). Letters to Walter Benjamin: ‘Reconciliation under Duress’ and ‘Commitment’. Aesthetics and Politics (ed. E Bloch et al.): 110-133. London: New Left Books. ADVIS, LUIS; GONZÁLEZ, JUAN PABLO (eds., 1994). Clásicos de la Música Popular Chilena 1900-1960. Santiago: Sociedad Chilena del Derecho de Autor. ADVIS, LUIS; CÁCERES, EDUARDO; GARCÍA, FERNANDO; GONZÁLEZ, JUAN PABLO (eds., 1997). Clásicos de la música popular chilena, volumen II, 1960-1973: raíz folclórica - segunda edición. Santia- go: Ediciones Universidad Católica de Chile. AHARONIÁN, CORIúN (1969a). Boom-Tac, Boom-Tac. Marcha, 1969-05-30. —— (1969b) Mesomúsica y educación musical. Educación artística para niños y adolescentes (ed. Tomeo). 1969, Montevideo: Tauro (pp. 81-89). —— (1985) ‘A Latin-American Approach in a Pioneering Essay’. Popular Music Perspectives (ed. D Horn). Göteborg & Exeter: IASPM (pp. 52-65). —— (1992a) ‘Music, Revolution and Dependency in Latin America’. 1789-1989. Musique, Histoire, Dé- mocratie. Colloque international organisé par Vibrations et l’IASPM, Paris 17-20 juillet (ed. A Hennion. -
Flashdance – Show Synopsis
FLASHDANCE – SHOW SYNOPSIS Set in Pittsburgh, USA, Flashdance tells the story of 19 year old girl Alex, a welder by day, and ‘flashdancer’ by night, who dreams of getting a place at the Shipley Dance Academy. With the help of her three friends, Alex’s dreams become a reality. The show was adapted from the 1983 film, and features some well known songs such as MANIAC, GLORIA, I LOVE ROCK & ROLL and, of course, FLASHDANCE – WHAT A FEELING. It’s a fast-paced, energetic musical with something for everyone, whether you want to dance, sing or act. CHARACTER BREAKDOWN NB. To audition for Alex, Keisha, Jazmin, Gloria, Hannah and Nick you must be age 15 years or above on audition day. CHARACTER VOCAL RANGE & NUMBERS DANCE LEVEL ALEX OWENS – 19, steel worker by day, flash Mid range voice – lowest Involved in lots of the numbers – dancer by night. Alex is a strong willed young note is G, below middle sings GLORIA with the girls and a woman who is also witty, energetic, loyal and C. Needs to be able to duet with Hannah called ONE IN A loveable. She is ambitious and a little sing a separate melody MILLION; She also duets with Nick rebellious but sensible and possibly even when singing with a full in a number called DON’T STOP. cautious and sometimes mistrusting of people chorus. Strong dancer – in power. has solo dances. KEISHA – Dancer at the Steel Bar – strong Alto voice – needs to be Some of the numbers she sings are character. One of the team of four dancers able to harmonise. -
Feature Films
Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243 -
Everything Began with the Movie Moulin Rouge (2001)
Introduction Everything began with the movie Moulin Rouge (2001). Since I was so obsessed with this hit film, I couldn’t but want to know more about this particular genre - musical films. Then I started to trace the history of this genre back to Hollywood’s classical musical films. It’s interesting that musical films have undergone several revivals and are usually regarded as the products of escapism. Watching those protagonists singing and dancing happily, the audience can daydream freely and forget about the cruel reality. What are the aesthetic artifices of this genre so enchanting that it always catches the eye of audience generation after generation? What kinds of ideal life do these musical films try to depict? Do they (musical films) merely escape from reality or, as a matter of fact, implicitly criticize the society? In regard to the musical films produced by Hollywood, what do they reflect the contemporary social, political or economic situations? To investigate these aspects, I start my research project on the Hollywood musical film genre from the 1950s (its Classical Period) to 2002. However, some people might wonder that among all those Hollywood movies, what is so special about the musical films that makes them distinguish from the other types of movies? On the one hand, the musical film genre indeed has several important contributions to the Hollywood industry, and its influence never wanes even until today. In need of specialty for musical film production, many talented professional dancers and singers thus get the chances to join in Hollywood and prove themselves as great actors (actresses), too. -
Build a Be4er Neplix, Win a Million Dollars?
Build a Be)er Ne,lix, Win a Million Dollars? Lester Mackey 2012 USA Science and Engineering FesDval Nelix • Rents & streams movies and TV shows • 100,000 movie Dtles • 26 million customers Recommends “Movies You’ll ♥” Recommending Movies You’ll ♥ Hated it! Loved it! Recommending Movies You’ll ♥ Recommending Movies You’ll ♥ How This Works Top Secret Now I’m Cinematch Computer Program I don’t unhappy! like this movie. Your Predicted Rang: Back at Ne,lix How can we Let’s have a improve contest! Cinematch? What should the prize be? How about $1 million? The Ne,lix Prize October 2, 2006 • Contest open to the world • 100 million movie rangs released to public • Goal: Create computer program to predict rangs • $1 Million Grand Prize for beang Cinematch accuracy by 10% • $50,000 Progress Prize for the team with the best predicDons each year 5,100 teams from 186 countries entered Dinosaur Planet David Weiss David Lin Lester Mackey Team Dinosaur Planet The Rangs • Training Set – What computer programs use to learn customer preferences – Each entry: July 5, 1999 – 100,500,000 rangs in total – 480,000 customers and 18,000 movies The Rangs: A Closer Look Highest Rated Movies The Shawshank RedempDon Lord of the Rings: The Return of the King Raiders of the Lost Ark Lord of the Rings: The Two Towers Finding Nemo The Green Mile Most Divisive Movies Fahrenheit 9/11 Napoleon Dynamite Pearl Harbor Miss Congeniality Lost in Translaon The Royal Tenenbaums How the Contest Worked • Quiz Set & Test Set – Used to evaluate accuracy of computer programs – Each entry: Rang Sept. -
Bibliographie Der Filmmusik: Ergänzungen II (2014–2020)
Repositorium für die Medienwissenschaft Hans Jürgen Wulff; Ludger Kaczmarek Bibliographie der Filmmusik: Ergänzungen II (2014– 2020) 2020 https://doi.org/10.25969/mediarep/14981 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen; Kaczmarek, Ludger: Bibliographie der Filmmusik: Ergänzungen II (2014–2020). Westerkappeln: DerWulff.de 2020 (Medienwissenschaft: Berichte und Papiere 197). DOI: https://doi.org/10.25969/mediarep/14981. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0197_20.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft: Berichte und Papiere 197, 2020: Filmmusik: Ergänzungen II (2014–2020). Redaktion und Copyright dieser Ausgabe: Hans J. Wulff u. Ludger Kaczmarek. ISSN 2366-6404. URL: http://berichte.derwulff.de/0197_20.pdf. CC BY-NC-ND 4.0. Letzte Änderung: 19.10.2020. Bibliographie der Filmmusik: Ergänzungen II (2014–2020) Zusammengestell !on "ans #$ %ul& und 'udger (aczmarek Mit der folgenden Bibliographie stellen wir unseren Leser_innen die zweite Fortschrei- bung der „Bibliographie der Filmmusik“ vor die wir !""# in Medienwissenschaft: Berichte und Papiere $#% !""#& 'rgänzung )* +,% !"+-. begr/ndet haben. 1owohl dieser s2noptische 3berblick wie auch diverse Bibliographien und Filmographien zu 1pezialproblemen der Filmmusikforschung zeigen, wie zentral das Feld inzwischen als 4eildisziplin der Musik- wissenscha5 am 6ande der Medienwissenschaft mit 3bergängen in ein eigenes Feld der Sound Studies geworden ist. -
Print Profile
Peter Guber has spent his entire life blazing his own trail. From movies to music to television to sports, he has seized the opportunity and been a pioneer in Peter Guber businesses and industries that are notoriously difficult. A successful executive and entrepreneur in various industries, he has deep strategic and operational experience with universal application. Speech Topics Peter’s diverse career encompasses 40 years of experience that has propelled him to success as an executive, entrepreneur, professional sports team owner, and #1 NYT bestselling author. His extraordinary life has been built on sharing a vision Sports and creating the organization to realize that dream. Marketing In his keynotes, Peter shares lessons he has learned from a life at the highest Management levels of sports and entertainment – revealing tools and processes that inform and Leadership ignite the newest leaders in the business community as they strive to make big Innovation things happen. Peter Guber’s career has been fueled by curiosity and personal reinvention. He is Entrepreneur Chairman and CEO of Mandalay Entertainment Group. Before Mandalay, Peter was Chairman and CEO of Sony Pictures Entertainment, Chairman and CEO of Polygram Entertainment, Owner and Co-Founder of Casablanca Record & Filmworks and President of Columbia Pictures. He produced or executive produced (personally or through his companies) films that garnered five Best Picture Academy Award nominations (winning for Rain Man) and box office hits that include The Color Purple, Midnight Express, Batman, Flashdance, The Kids Are All Right and Soul Surfer. Peter is operating Owner of the three-time NBA Champion Golden State Warriors, an Owner of the six-time National League West Champion, and two-time National League Champion, Los Angeles Dodgers, and an Owner an.. -
LINER NOTES Including the Show’S Transition from Radio to Make up for All That Had Been Stolen from Him
Advise and Consent law Josey Wales, The Enforcer, Demon Seed, He assembled a starry cast: Henry Fonda, and many others. His scores were brilliant, and Charles Laughton (whose final film it was), Don he had a unique musical voice. He was a three- ADVISE AND CONSENT Murray, Walter Pidgeon, Peter Lawford, Gene time Oscar nominee. Tierney (who’d starred in Preminger’s break- Adapted from the 1959 novel by Allen Drury, out film, Laura), Franchot Tone, Lew Ayres, In Advise and Consent, Fielding’s great sense Otto Preminger’s 1962 film of Advise and Con- Burgess Meredith, Paul Ford, George Griz- of melody is apparent from the first notes of sent was a hard-hitting political drama with zard, Inga Swenson, Edward Andrews, and its main theme, a beautiful piece that never an all-star cast. Preminger, by this time, was in a small role, Betty White. The screenplay overplays its musical hand in the film – it’s a expert at these kinds of films, but also one of was by the wonderful writer Wendell Mayes gorgeous melody, so gorgeous in fact that a the most eclectic of filmmakers, tackling what- (who’d done the screenplay for Preminger’s prominently credited Frank Sinatra sings the ever genre came his way and if that project Anatomy of a Murder and would subsequently theme, which is playing on a jukebox in the had some controversy, Preminger embraced it write Preminger’s film of In Harm’s Way), and infamous gay bar sequence. The song was en- rather vociferously. In those days, he was a the cameraman was Sam Leavitt (who’d pho- titled “Heart of Mine” and the lyric was by Ned groundbreaker – hiring Dalton Trumbo to write tographed Preminger’s Carmen Jones, The Washington. -
Download the Digital Booklet
ELMER BERNSTEIN NICHOLAS BRITELL 01 World Soundtrack Awards Fanfare 1:33 09 Succession (Suite) 4:25 JAMES NEWTON HOWARD MYCHAEL DANNA 02 Red Sparrow Overture 6:36 10 Monsoon Wedding (Suite) 3:15 CARTER BURWELL ALEXANDRE DESPLAT 03 Fear - Main Title 2:32 11 The Imitation Game (Suite) 4:33 ALBERTO IGLESIAS PATRICK DOYLE 04 Hable con ella - Soy Marco 2:17 12 Murder on the Orient Express - Never Forget (Instrumental Version) 4:12 ELLIOT GOLDENTHAL 05 Cobb - The Homecoming 6:16 MICHAEL GIACCHINO 13 Star Trek, into Darkness and Beyond (Suite) 7:23 GABRIEL YARED 06 Troy (Suite) 5:19 ANGELO BADALAMENTI 14 Twin Peaks: Fire Walk with Me - JÓHANN JÓHANNSSON / The Voice of Love 4:02 RUTGER HOEDEMAEKERS 07 When at Last the Wind Lulled 2:13 JOHN WILLIAMS (Arr.) 15 Tribute to the Film Composer 4:25 JOHN WILLIAMS 08 Hook - The Face of Pan 4:06 Performed by BRUSSELS PHILHARMONIC & VLAAMS RADIOKOOR Conducted by DIRK BROSSÉ TWENTY YEARS OF WORLD SOUNDTRACK AWARDS Twenty years ago the World Soundtrack Academy scores achieved an afterlife and gained new handed out the very first World Soundtrack meaning as the result of live performances in Awards. They have since become of paramount front of audiences. Film Fest Ghent has made it importance across the industry. The awards did their point of honour to perpetuate that afterlife not only strengthen Film Fest Ghent’s identity, in Ghent in a series of albums. they have been a composer’s stepping stone to the Oscars, Golden Globes and BAFTAS. If To celebrate the twentieth anniversary of the Europe is now the metropolis of film music, then WSA, the album consists of compositions by Ghent has been the inspiration for it. -
IWJIIARK for WEEK ENDING: A:G;R1l L
~· IWJIIARK FOR WEEK ENDING: A:g;r1l l. 1e:za CYCLE NO. 782 PROGRAM '1 OF13 10700 Ventura Blvd. No. Hollywood, CA. 91604 SIDES lA & lB ] Phone: (213) 980-9490 "AT40 GOES TO THE MOVIES" PAGE NO. SCHeDULED ACTUAL RUNNING ELEMENT STAMTI- ,.... TIME 00:00 THEME & OPENING OF PART 1 THEME: "SHUCKATOOid" THEME FROM AMERICAN TOP FORTY (MARKWATER MUSIC/BMI) #40- LIVE AND LET DIE·- Wings (B) #39 - JEAN - Oliver (A) 8:17 8:15 LOGO: CASEY'S COAST TO COAST 8_.17 LOCAL INSERT: C-1 2:00 10:17• LOGO: AMERICAN TOP 40 #38 - I GOT A NAME - Jim Croce (B) #37 - TOWN WITHOUT PITY - Gene Pitney (A) 7:36 17:51 LOGO: HITS FROM COAST TO COAST 17:53 LOCAL INSERT: C-2 2:00 19:53 LOGO: AMERICAN TOP 40 #36 - THE WAY WE WERE/TRY TO REMEMBER - Gladys Knight & #35 - WHERE THE BOYS ARE - Connie Francis(B) The Pips (A) 8:14 28:05 LOGO: CASEY'S COAST TO COAST 28:07 LOCAL INSERT: C-3 2:10 30:17 LOGO: AMERICAN TOP 40 #34 - CAN'T HELP FALLING IN LOVE - Elvis Presley (B) #33 - HANG 'EM HIGH - Booker T & The MGs (B) #32 - GEORGY GIRL - Seekers (A) 11:28 41:43 LOGO: HITS FROM COAST TO COAST 41:45 LOCAL INSERT: C-4 2:00 43:45 LOGO: AMERICAN TOP 40 #31 - THE ENTERTAINER - Marvin Hamlisch (B) #30 - BEN - Michael Jackson (A) 6:32 50:15 LOGO: CASEY'S COAST TO COAST 50:17 LOCAL INSERT: C-5 2:00 5S:l7 LOGO: AMERICAN TOP 40 #29- LET'S DO IT AGAIN- Staple Singers (B) #28 - THE MORNING AFTER - Maureen McGovern (B) 6:15 58:31 THEME UP & UNDER W/TALK UNIT ENDING AT: 58:43 1'BBD TO: 58:50 I LOCAL·~~~ 1: c-e ;:~~~ :10 M1IMI49( FOR WEEK ENDING: AQril 1 1 1978 CYCLE NO. -
Cinemagic 4 Conducted by Marc Reift
DISCOGRAPHY Cinemagic 4 conducted by Marc Reift 1 Star Wars * 2’57 8 Porgy and Bess (Summertime) ** 1’57 John Williams / Arr. J.G. Mortimer George Gershwin / Arr. Hardy Schneiders Trombone Solo: Stanislav Penk 2 Flashdance... What A Feeling ** 2’42 Giorgio Moroder / Arr. J.G. Mortimer 9 La Grande Vadrouille (Tea For Two)** 2’18 Vincent Youmans / Arr. Hardy Schneiders 3 Mission Impossible ** 3’27 Lalo Schifrin / Arr. Jérôme Thomas 10 Bodyguard (I Will Always Love You) ** 4’20 Dolly Parton / Arr. J.G. Mortimer 4 Hair (Aquarius - Let The Sunshine In) **4’41 Vocal: Carole Rey Galt MacDermot / Arr. Jérôme Thomas 11 Sun Valley Serenade ** 3’37 5 Peter Gunn ** 4’42 (Moonlight Serenade) Henri Mancini / Arr. Jérôme Thomas Glenn Miller / Arr. Jérôme Thomas Saxophone Solo: Borys Secký Trumpet Solo: Miroslav Surka 12 My Name Is Bond * 5’18 Trombone Solo: Svatopluk Kosvanec Norman - Bart / Arr. J.G. Mortimer 6 Sister Act (I Will Follow Him) ** 2’44 13 Chariots Of Fire * 3’08 Pourcel - Plante - Mauriat / Arr. J.G. Mortimer Vangelis / Arr. J.G. Mortimer 7 Benny Hill (Yackety Sax) ** 1’43 14 Chess (I Know Him So Well) * 3’30 Rich - Randolph / Arr. Hardy Schneiders Andersson - Ulvaeus - Rice / Arr. J.G. Mortimer Saxophone Solo: Borys Secký 15 Chess (Anthem) * 3’20 * Philharmonic Wind Orchestra Andersson - Ulvaeus - Rice / Arr. J.G. Mortimer ** Marc Reift Orchestra All compositions published by Editions Marc Reift Route du Golf • 3963 Crans-Montana (Switzerland) LC 1374 Tel.: 027/483 12 00 • Fax: 027/483 42 43 • E-Mail: [email protected] MARC O• PHON Warning : all rights reserved Unauthorized duplication is a violation of applicable laws. -
March-2019-Shofar-For-The-Web.Pdf
THETHE SHOFARSHOFAR 7199 Tristan Drive Easton, MD 21601 410-822-0553 Rabbi Peter E. Hyman March 2019/Adar I-Adar II 5779 bnaiisraeleaston.org [email protected] From the Rabbi’s Desk Religious Services I begin this sermon with a verse from the Book of Proverbs that is both engaging and a bit unusual. Proverbs 24:26 Saturday, March 2, 10:00 a.m. Torah Portion: Vayak'hel tells us, “An honest answer is like a kiss on the lips.” Exodus 35:1-38:20 What is the relationship between an honest answer and a Haftarah: II Kings 11:17-12:17 kiss on the lips. Our sages offer both insight and explana- tion... Friday, March 8, 6:00 p.m. First they say, Just as a kiss on the lips is relatively rare, Torah Portion: Pekudei so too it is relatively rare to hear completely true and Exodus 38:21-40:38 Haftarah: I Kings 7:51-8:21 honest answer. 2. Just as the kiss on the lips means more than the kiss on the cheek, even Saturday, March 16, 10:00 a.m. so an honest answer is a mark of true sincerity and personal integrity. Torah Portion: Vayikra 3. Just as a kiss on the lips can be and should be deeply satisfying to the Leviticus 1:1-5:26 heart, even so an honest answer is satisfying to the soul. Haftarah: I Samuel 15:1-34 Friday, March 22, 6:00 p.m. This verse not only underscores the wisdom of Scripture, but also speaks to Torah Portion: Tzav the social and political atmosphere in which we find ourselves right Leviticus 6:1-8:36 now...today.