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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. -
Raiders of the Lost Ark (B
CONCERT PROGRAM Friday, March 17, 2017 at 7:00PM Saturday, March 18, 2017 at 7:00PM Sunday, March 19, 2017 at 2:00PM LIVE AT POWELL HALL Scott Terrell, conductor PARAMOUNT PICTURES Presents A LUCASFILM LTD Production A STEVEN SPIELBERG Film JOHN WILLIAMS Raiders of the Lost Ark (b. 1932) Starring HARRISON FORD KAREN ALLEN PAUL REEMAN RONALD LACEY JOHN RHYS-DAVIES DENHOLM ELLIOTT Screenplay by LAWRENCE KASDAN Story by GEORGE LUCAS and PHILIP KAUFMAN Produced by FRANK MARSHALL Directed by STEVEN SPIELBERG Tonight’s program is a presentation of the complete filmRaiders of the Lost Ark with a live performance of the film’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits. There will be one 25-minute intermission “RAIDERS OF THE LOST ARK” Licensed by LUCASFILM LTD and PARAMOUNT PICTURES. Motion Picture, Artwork, Photos Copyright 1981 Lucasfilm Ltd. All Rights Reserved. MUSIC WRITTEN BY JOHN WILLIAMS BANTHA MUSIC (BMI) ALL RIGHTS ADMINISTERED BY WARNER-TAMERLANE PUBLISHING CORP. (BMI) ALL RIGHTS RESERVED. USED BY PERMISSION. Raiders of the Lost Ark — Film with Orchestra produced by Film Concerts Live!, a joint venture of IMG Artists, LLC, and The Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Production Manager: Rob Stogsdill Production Coordinator: Rebekah Wood Worldwide Representation: IMG Artists, LLC Technical Director: Mike Runice Music Composed by John Williams Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for Raiders of the Lost Ark has been adapted for live concert performance. -
“The Superman Exists, and He Is American”: Graphic Novel Film Adaptations and Masculine Heroism in Post-9/11 Culture
Connecticut College Digital Commons @ Connecticut College Film Studies Honors Papers Film Studies Program 2010 “The upS erman Exists, and He is American”: Graphic Novel Film Adaptations and Masculine Heroism in Post-9/11 Culture Richard Charles Abate Connecticut College, [email protected] Follow this and additional works at: http://digitalcommons.conncoll.edu/filmhp Part of the American Film Studies Commons, American Popular Culture Commons, and the Film and Media Studies Commons Recommended Citation Abate, Richard Charles, "“The uS perman Exists, and He is American”: Graphic Novel Film Adaptations and Masculine Heroism in Post-9/11 Culture" (2010). Film Studies Honors Papers. 2. http://digitalcommons.conncoll.edu/filmhp/2 This Honors Paper is brought to you for free and open access by the Film Studies Program at Digital Commons @ Connecticut College. It has been accepted for inclusion in Film Studies Honors Papers by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. “The Superman Exists, and He is American”: Graphic Novel Film Adaptations and Masculine Heroism in Post-9/11 Culture An Honors Thesis presented by Richard Charles Abate to The Department of Film Studies in partial fulfillment of the requirements for Honors in the Major Field Connecticut College New London, Connecticut May 2010 Acknowledgements I would like to thank Professor Nina Martin for advising me throughout this project and for introducing me to the wonderful world of film theory. I would also like to thank my readers, Professor Simon Hay and Professor David Greven, for taking the time to read over drafts of this thesis and for their invaluable comments and constructive criticisms. -
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. -
Adventures in Film Music Redux Composer Profiles
Adventures in Film Music Redux - Composer Profiles ADVENTURES IN FILM MUSIC REDUX COMPOSER PROFILES A. R. RAHMAN Elizabeth: The Golden Age A.R. Rahman, in full Allah Rakha Rahman, original name A.S. Dileep Kumar, (born January 6, 1966, Madras [now Chennai], India), Indian composer whose extensive body of work for film and stage earned him the nickname “the Mozart of Madras.” Rahman continued his work for the screen, scoring films for Bollywood and, increasingly, Hollywood. He contributed a song to the soundtrack of Spike Lee’s Inside Man (2006) and co- wrote the score for Elizabeth: The Golden Age (2007). However, his true breakthrough to Western audiences came with Danny Boyle’s rags-to-riches saga Slumdog Millionaire (2008). Rahman’s score, which captured the frenzied pace of life in Mumbai’s underclass, dominated the awards circuit in 2009. He collected a British Academy of Film and Television Arts (BAFTA) Award for best music as well as a Golden Globe and an Academy Award for best score. He also won the Academy Award for best song for “Jai Ho,” a Latin-infused dance track that accompanied the film’s closing Bollywood-style dance number. Rahman’s streak continued at the Grammy Awards in 2010, where he collected the prize for best soundtrack and “Jai Ho” was again honoured as best song appearing on a soundtrack. Rahman’s later notable scores included those for the films 127 Hours (2010)—for which he received another Academy Award nomination—and the Hindi-language movies Rockstar (2011), Raanjhanaa (2013), Highway (2014), and Beyond the Clouds (2017). -
Best Selling Soundtrack of the 80S
Best selling soundtrack of the 80s Read 'The 20 greatest soundtracks of the '80s'. Here's 20 of the very best, as picked by team Empire. and Solomon Burke's Cry To Me chief among them) – and yet this still topped the charts and sold 42 million copies. You voted, and here they are: the top 80s movie soundtracks. 6: Flashdance 's Flashdance was a natural choice for best soundtrack. 1 (non consecutive) remains an all time record as does it 29 million copies sold. In Japan which had launched the CD in October , demand was far. It caused friction with another 80s soundtrack idol: Huey Lewis sued over The song was a monster hit, the second biggest selling of that year. The top 25 80s movie soundtracks. A definitive list of the songs that featured in all the best movies of the '80s. In a decade full of awesome best-selling soundtracks Pretty in Pink of us remember most about the '80s: high school movies and cool music. Starpulse recently ran a 'Top Ten 80s Albums' list, in which the inclusion of the Top inspired me to come up with a list of the 'Top Ten 80s Movie Soundtracks. 'Not Today': Arya Stark's Best Quotes From 'Game Of Thrones'. Like it or not, the soundtrack to the juggernaut that was the film Dirty Dancing is to this day one of the best selling albums of all time. During a pub trivia game last night, we were asked what the top selling movie soundtrack of all time is. I guessed the right answer, but I was. -
Chapter Template
Copyright by Colleen Leigh Montgomery 2017 THE DISSERTATION COMMITTEE FOR COLLEEN LEIGH MONTGOMERY CERTIFIES THAT THIS IS THE APPROVED VERSION OF THE FOLLOWING DISSERTATION: ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION Committee: Thomas Schatz, Supervisor James Buhler, Co-Supervisor Caroline Frick Daniel Goldmark Jeff Smith Janet Staiger ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION by COLLEEN LEIGH MONTGOMERY DISSERTATION Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT AUSTIN AUGUST 2017 Dedication To Dash and Magnus, who animate my life with so much joy. Acknowledgements This project would not have been possible without the invaluable support, patience, and guidance of my co-supervisors, Thomas Schatz and James Buhler, and my committee members, Caroline Frick, Daniel Goldmark, Jeff Smith, and Janet Staiger, who went above and beyond to see this project through to completion. I am humbled to have to had the opportunity to work with such an incredible group of academics whom I respect and admire. Thank you for so generously lending your time and expertise to this project—your whose scholarship, mentorship, and insights have immeasurably benefitted my work. I am also greatly indebted to Lisa Coulthard, who not only introduced me to the field of film sound studies and inspired me to pursue my intellectual interests but has also been an unwavering champion of my research for the past decade. -
Download the Digital Booklet
CD1 Star Wars: A New Hope: 01. Star Wars: A New Hope 02. Cantina Band 03. Princess Leia 04. The Throne Room / Finale Star Wars: The Empire Strikes Back: 05. The Imperial March 06. Han Solo and The Princess 07. The Asteroid Field 08. Yoda's Theme Star Wars: Return Of The Jedi: 09. Forest Battle Star Wars: The Phantom Menace: 10. Anakin's Theme 11. The Flag Parade 12. The Adventures Of Jar Jar 13. Duel Of The Fates Star Wars: Attack Of The Clones: 14. Across The Stars STAR WARS STAR Star Wars: Revenge Of The Sith: 15. Battle Of The Heroes CD2 Raiders Of The Lost Ark: 01. The Raiders March 02. The Map Room / Dawn 03. The Basket Game 04. Marion's Theme 05. Airplane Fight 06. The Ark Trek 07. Raiders Of The Lost Ark Indiana Jones And The Temple Of Doom: 08. Nocturnal Activities 09. The Mine Car Chase 10. Indiana Jones And The Temple Of Doom End Credits Indiana Jones And The Last Crusade: 11. Indy's First Adventure 12. X Marks The Spot / Escape From Venice 13. No Ticket / Keeping Up With The Joneses 14. Indiana Jones And The Last Crusade End Credits INDIANA JONES CD3 Harry Potter And The Philosopher's Stone: 01. Hedwig's Theme 02. Nimbus 2000 03. Harry's Wondrous World 04. Christmas at Hogwarts 05. Leaving Hogwarts Harry Potter And The Chamber Of Secrets: 06. Fawkes The Phoenix 07. The Chamber of Secrets 08. Gilderoy Lockhart 09. Dobby the House Elf 10. Reunion of Friends Harry Potter And The Prisoner of Azkaban: 11. -
Boston Symphony Orchestra Concert Programs, Summer, 1994
I --v. !. -.:. ' ti^iriMtTilWiiiifit JffiHIHBB'"' •''--.' %'<' •':-"'..'.'"•.'• v * ' .''-' 4 4 POPS ATTANGLEWOOD BOSTON POPS ORCHESTRA JOHN WILLIAMS, LAUREATE CONDUCTOR 1 09th SEASON Monday evening, August 29, 1 994, at 8:30 John Williams John Williams became Boston Pops Laureate Conductor as of January 1994 and is also serving as Music Adviser for the 1994 season. In January 1980 he was named nineteenth conductor of the Boston Pops Orchestra since its founding in 1885. Born in New York, Mr. Williams attended UCLA, studied composi- tion privately with Mario Castelnuovo-Tedesco, and attended the Juilliard School, where he studied piano with Madame Rosina Lhevinne. He worked as a jazz pianist before beginning his career in the film studios, where he worked with such composers as Bernard Herrmann, Alfred Newman, and Franz Waxman. He went on to write music for many television pro- grams in the 1960s, winning two Emmy awards for his work. John Williams has composed the music and served as music director for more than seventy-five films, including Schindler's List, Jurassic Park, Home Alone 2, Far and Away, JFK, Hook, Home Alone, Presumed Innocent, Born on the Fourth ofJuly, the three Indiana Jones films, Always, Stanley and Iris, The Accidental Tourist, Empire of the Sun, The Witches ofEastwick, the Star Wars trilogy, E.T (the E^tra-Terrestrial) , Superman, Close Encounters of the Third Kind, Jaws, and Goodbye, Mr. Chips. He has received thirty Academy Award nominations and has been awarded five Oscars and fifteen Grammies, as well as several gold and platinum records. This year Mr. Williams won the Oscar for his score to Steven Spielberg's film Schindler's List. -
Michael Giacchino
MICHAEL GIACCHINO AWARDS & NOMINATIONS FILM: ASCAP COMPOSERS CHOICE JOJO RABBIT AWARDS NOMINATION (2020) ASCAP Film Score of the Year 73RD BRITISH ACADEMY FILM JOJO RABBIT AWARDS NOMINATION (2020) Best Original Score THE SOCIETY OF COMPOSERS AND JOJO RABBIT LYRICISTS NOMINATION (2019) Outstanding Original Score for a Studio Film HOLLYWOOD MUSIC IN MEDIA SPIDER-MAN: FAR FROM HOME AWARD (2019) Original Score – Sci-Fi Fantasy HOLLYWOOD MUSIC IN MEDIA JOJO RABBIT AWARD NOMINATION (2019) Original Score – Feature Film ANNIE AWARD (2019) THE INCREDIBLES 2 Outstanding Achievement in Music INTERNATIONAL FILM MUSIC THE INCREDIBLES 2 CRITICS AWARD NOMINATION (2019) Best Original Score for an Animated Film INTERNATIONAL FILM MUSIC JURASSIC WORLD: FALLEN CRITICS AWARD NOMINATION KINGDOM (2019) Best Original Score for a Fantasy/Science Fiction/Horror Film HOLLYWOOD MUSIC IN MEDIA THE INCREDIBLES 2 NOMINATION (2018) Best Original Score - Animated Film ASCAP FILM AND TELEVISION ZOOTOPIA AWARD (2017) Film Score of the Year ASCAP Composers’ Choice Award The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 MICHAEL GIACCHINO HOLLYWOOD MUSIC IN MEDIA COCO NOMINATION (2017) Original Score - Animated Film INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION NOMINATION (2017) Composer of the Year INTERNATIONAL FILM MUSIC DOCTOR STRANGE CRITICS ASSOCIATION NOMINATION (2017) Best Original Score for a Fantasy/Science Fiction/Horror Film INTERNATIONAL FILM MUSIC ZOOTOPIA CRITICS ASSOCIATION NOMINATION (2017) Best Original Score for an Animated Film INTERNATIONAL FILM MUSIC -
The Legal and Business Aspect of Motion Picture and Television Soundtrack Music
Loyola of Los Angeles Entertainment Law Review Volume 8 Number 2 Article 1 3-1-1988 The Legal and Business Aspect of Motion Picture and Television Soundtrack Music Lionel S. Sobel Follow this and additional works at: https://digitalcommons.lmu.edu/elr Part of the Law Commons Recommended Citation Lionel S. Sobel, The Legal and Business Aspect of Motion Picture and Television Soundtrack Music, 8 Loy. L.A. Ent. L. Rev. 231 (1988). Available at: https://digitalcommons.lmu.edu/elr/vol8/iss2/1 This Article is brought to you for free and open access by the Law Reviews at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Loyola of Los Angeles Entertainment Law Review by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. ARTICLES THE LEGAL AND BUSINESS ASPECTS OF MOTION PICTURE AND TELEVISION SOUNDTRACK MUSIC Lionel S. Sobel* I. Introduction .............................................. 232 II. Acquiring Soundtrack Music .............................. 233 A. Specially Ordered Music .............................. 233 1. Composers' Agreements ........................... 234 a. Composers' Duties and Compensation .......... 234 b. Composers' Guilds and AF of M .............. 237 2. Songwriters' Agreements .......................... 239 a. Types of Agreements and Common Provisions.. 239 b. Songwriters Guild and AF of M ............... 241 B. Pre-Existing M usic ................................... 242 1. The Pre-Existing Musical Composition ............ 242 a. Synchronization Licenses ...................... 243 b. Movie Theater Performance Licenses ........... 244 c. Homevideo Licenses ........................... 245 2. Obtaining a Recording of the Musical Composition .................................................. 246 a. Producing a New Recording ................... 246 b. Master Recording Licenses .................... 247 c. Sound-Alike Recordings ...................... -
Super Heroes V Scorsese: a Marxist Reading of Alienation and the Political Unconscious in Blockbuster Superhero Film
Kutztown University Research Commons at Kutztown University Kutztown University Masters Theses Spring 5-10-2020 SUPER HEROES V SCORSESE: A MARXIST READING OF ALIENATION AND THE POLITICAL UNCONSCIOUS IN BLOCKBUSTER SUPERHERO FILM David Eltz [email protected] Follow this and additional works at: https://research.library.kutztown.edu/masterstheses Part of the Film Production Commons, Literature in English, North America Commons, and the Screenwriting Commons Recommended Citation Eltz, David, "SUPER HEROES V SCORSESE: A MARXIST READING OF ALIENATION AND THE POLITICAL UNCONSCIOUS IN BLOCKBUSTER SUPERHERO FILM" (2020). Kutztown University Masters Theses. 1. https://research.library.kutztown.edu/masterstheses/1 This Thesis is brought to you for free and open access by Research Commons at Kutztown University. It has been accepted for inclusion in Kutztown University Masters Theses by an authorized administrator of Research Commons at Kutztown University. For more information, please contact [email protected]. SUPER HEROES V SCORSESE: A MARXIST READING OF ALIENATION AND THE POLITICAL UNCONSCIOUS IN BLOCKBUSTER SUPERHERO FILM A Thesis Presented to the Faculty of the Department of English Kutztown University of Pennsylvania Kutztown, Pennsylvania In Partial Fulfillment of the Requirements for the Degree Master of Arts in English by David J. Eltz October, 2020 Approval Page Approved: (Date) (Adviser) (Date) (Chair, Department of English) (Date) (Dean, Graduate Studies) Abstract As superhero blockbusters continue to dominate the theatrical landscape, critical detractors of the genre have grown in number and authority. The most influential among them, Martin Scorsese, has been quoted as referring to Marvel films as “theme parks” rather than “cinema” (his own term for auteur film).