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LEADER 04038cam a2200373 i 4500

001 ocm04983128;

005 20141212021847.0;

008 790502s1979 njua b 000 0deng ;

010 a| 78075341;

020 a| 0498023583;

020 a| 9780498023583;

035 a| (Sirsi) o04983128;

035 a| (OCoLC)4983128;

049 a| EREM;

050 00 a| ML2075.F46b| T5;

082 0 a| 782.8/5;

245 00 a| Film score :b| the view from the podium /c| edited and introduced by Tony Thomas.;

300 a| 266 pages :b| illustrations ;c| 24 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

500 a| Contains essays "on film music" by composers of film music introduced by short biographical sketches.;

504 a| Discography: pages 245-259.;

504 a| Bibliography: pages 260-266.;

520 a| "After being virtually ignored for years, the exacting craft of composing for the screen is finally beginning to receive recognition not only as one of the most important avenues open to modern composers but also as a vital and necessary part of the production of motion pictures. In the past few years a half-dozen books about film music have appeared that shed light on this complex and frequently misunderstood art and that should point the way to higher standards of composition in film. Critics often fault movie music for its banality. While it is true that much inferior and vulgar work has been done for movies, this does not mean that the medium must remain at that level. Indeed, worthwhile music was being written for films even in the silent era, especially in Europe and in Russia. In Hollywood it took longer for serious composers to get a foothold, but by the mid-thirties no less a musical giant than Erich Wolfgang Korngold had decided to devote himself to the business of supplying original, dramatic compositions for films. Since then virtually all the major British and European composers have written film music, while in Hollywood the rich potential of the art of scoring has been developed by a number of inventive musicians to a highly sophisticated level. Every book on film music quotes composers, but here in Film Score twenty major composers make important statements about their work. The dean of American composers, Aaron Copland, opens the book with a clear outline of the requirements of film scoring, and the scholarly Leonard Rosenman closes with a detailed account of the possibilities available to composers of imagination. In between are found the views of most of Hollywood's legendary composers, including Korngold, Max Steiner, Alfred Newman, Dimitri Tiomkin, Bernard Herrmann, Franz Waxman, and the learned Mikols Rozsa. The popular Henry Mancini and Elmer Bernstein make their points, as does one of the foremost of contemporary film composers, Jerry Goldsmith. Author Tony Thomas, long considered an expert commentator on film music, provides a general introduction to the book and a biographical essay on each of the twenty composers."--Dust jacket.;

650 0 a| Motion picture musicx| History and criticism.=| ^A20620;

700 1 a| Thomas, Tony,d| 1927-1997,e| editor,e| writer of introduction.=| ^A21092;

919 a| BOOK;

596 a| 3;

998 a| 160624;

999 a| ML2075.F46 T5w| LCc| 1i| 310372001851745d| 3/9/2021e| 12/18/2019f| 7/15/2025g| 4l| MCSm| JMUSICn| 4r| Ys| Yt| MCSSBKu| 6/7/1986x| BOOKz| MCIRCo| .STAFF. enhanced 9/16/25 -jjabo| .STAFF. Copy Statement : c.1;

Film score : the view from the podium / edited and introduced by Tony Thomas.

Other author	Thomas, Tony, 1927-1997, editor, writer of introduction.
Format	Book
Publication Info	South Brunswick, NJ : A. S. Barnes and Company, ©1979.
Description	266 pages : illustrations ; 24 cm
Subjects	Motion picture music--History and criticism.

Contents	Aaron Copland -- Miklos Rozsa -- David Raksin -- Franz Waxman -- Hugo Friedhofer -- Max Steiner -- Erich Wolfgang Korngold -- Dimitri Tiomkin -- Hans J. Salter -- Bronislau Kaper -- Alfred Newman -- Bernard Herrmann -- Elmer Bernstein -- Henry Mancini -- Fred Steiner -- William Alwyn -- John Addison -- Jerry Fielding -- Jerry Goldsmith -- Leonard Rosenman -- Film music discography -- Motion picture music: a select bibliography.
Abstract	"After being virtually ignored for years, the exacting craft of composing for the screen is finally beginning to receive recognition not only as one of the most important avenues open to modern composers but also as a vital and necessary part of the production of motion pictures. In the past few years a half-dozen books about film music have appeared that shed light on this complex and frequently misunderstood art and that should point the way to higher standards of composition in film. Critics often fault movie music for its banality. While it is true that much inferior and vulgar work has been done for movies, this does not mean that the medium must remain at that level. Indeed, worthwhile music was being written for films even in the silent era, especially in Europe and in Russia. In Hollywood it took longer for serious composers to get a foothold, but by the mid-thirties no less a musical giant than Erich Wolfgang Korngold had decided to devote himself to the business of supplying original, dramatic compositions for films. Since then virtually all the major British and European composers have written film music, while in Hollywood the rich potential of the art of scoring has been developed by a number of inventive musicians to a highly sophisticated level. Every book on film music quotes composers, but here in Film Score twenty major composers make important statements about their work. The dean of American composers, Aaron Copland, opens the book with a clear outline of the requirements of film scoring, and the scholarly Leonard Rosenman closes with a detailed account of the possibilities available to composers of imagination. In between are found the views of most of Hollywood's legendary composers, including Korngold, Max Steiner, Alfred Newman, Dimitri Tiomkin, Bernard Herrmann, Franz Waxman, and the learned Mikols Rozsa. The popular Henry Mancini and Elmer Bernstein make their points, as does one of the foremost of contemporary film composers, Jerry Goldsmith. Author Tony Thomas, long considered an expert commentator on film music, provides a general introduction to the book and a biographical essay on each of the twenty composers."--Dust jacket.
General note	Contains essays "on film music" by composers of film music introduced by short biographical sketches.
Bibliography note	Discography: pages 245-259.
Bibliography note	Bibliography: pages 260-266.
LCCN	78075341
ISBN	0498023583
ISBN	9780498023583

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Film score : the view from the podium / edited and introduced by Tony Thomas.

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