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001 ocn880349761;

003 OCoLC;

005 20150428112920.0;

008 140515s2014 nyuag bq 001 0 eng ;

010 a| 2014009771;

019 a| 899154416;

020 a| 9780231165822 (cloth : alk. paper);

020 a| 023116582X (cloth : alk. paper);

020 a| 9780231165839 (pbk. : alk. paper);

020 a| 0231165838 (pbk. : alk. paper);

020 z| 9780231535502 (ebook);

035 a| (Sirsi) o880349761;

035 a| (OCoLC)880349761z| (OCoLC)899154416;

042 a| pcc;

049 a| EREM;

082 00 a| 781.5/420973090422| 23;

090 a| ML2075b| .S6 2014;

100 1 a| Slowik, Michael,e| author.=| ^A1251772;

245 10 a| After the silents :b| Hollywood film music in the early sound era, 1926-1934 /c| Michael Slowik.;

246 30 a| Hollywood film music in the early sound era, 1926-1934;

260 a| New York :b| Columbia University Press,c| [2014];

300 a| xi, 384 pages :b| illustrations, music ;c| 23 cm.;

336 a| textb| txt2| rdacontent;

337 a| unmediatedb| n2| rdamedia;

338 a| volumeb| nc2| rdacarrier;

490 1 a| Film and Culture;

504 a| Includes bibliographical references, filmography and index.;

505 0 a| Introduction -- A wide array of choices: musical influences in the 1920s -- Music in early synchronized and part-talking films, 1926-1929 -- Toward a sparse music style: music in the 100 percent talkie, 1928-1931 -- Interlude: the Hollywood musical, 1929-1932 -- Music and other worlds: the Hollywood film score, 1931-1933 -- Reassessing King Kong; or, the Hollywood film score, 1933-1934 -- Conclusion.;

520 a| Many believe Max Steiner's score for King Kong (1933) was the first important attempt at integrating background music into sound film, but a closer look at the industry's early sound era (1926?1934) reveals a more extended and fascinating story. Viewing more than two hundred films from the period, the author launches the first comprehensive study of a long-neglected phase in Hollywood's initial development, recasting the history of film sound and its relationship to the "Golden Age" of film music (1935?1950). The author follows filmmakers' shifting combinations of sound and image, recapturing the volatility of this era and the variety of film music strategies that were tested, abandoned, and kept. He explores early film music experiments and accompaniment practices in opera, melodrama, musicals, radio, and silent films and discusses the impact of the advent of synchronized dialogue. He concludes with a reassessment of King Kong and its groundbreaking approach to film music, challenging the film's place and importance in the timeline of sound achievement.;

650 0 a| Motion picture musicz| United Statesx| History and criticism.=| ^A1037282;

830 0 a| Film and culture.=| ^A303731;

949 o| jjnb;

994 a| C0b| ERE;

596 a| 3;

998 a| 3730025;

999 a| ML2075 .S6 2014w| LCc| 1i| 30372016543198d| 8/29/2019e| 4/17/2019f| 4/9/2024g| 2l| MSTm| JMUSICn| 5q| 1r| Ys| Yt| MGESBKu| 3/6/2015x| BOOKz| MCIRCo| .STAFF. jjnb; enhanced 1/30/23 -jjab;

After the silents : Hollywood film music in the early sound era, 1926-1934 / Michael Slowik.

Author/creator	Slowik, Michael author.
Format	Book
Publication Info	New York : Columbia University Press, [2014]
Description	xi, 384 pages : illustrations, music ; 23 cm.
Subjects	Motion picture music--United States. --History and criticism.

Portion of title	Hollywood film music in the early sound era, 1926-1934
Series	Film and Culture Film and culture. ^A303731
Contents	Introduction -- A wide array of choices: musical influences in the 1920s -- Music in early synchronized and part-talking films, 1926-1929 -- Toward a sparse music style: music in the 100 percent talkie, 1928-1931 -- Interlude: the Hollywood musical, 1929-1932 -- Music and other worlds: the Hollywood film score, 1931-1933 -- Reassessing King Kong; or, the Hollywood film score, 1933-1934 -- Conclusion.
Abstract	Many believe Max Steiner's score for King Kong (1933) was the first important attempt at integrating background music into sound film, but a closer look at the industry's early sound era (1926?1934) reveals a more extended and fascinating story. Viewing more than two hundred films from the period, the author launches the first comprehensive study of a long-neglected phase in Hollywood's initial development, recasting the history of film sound and its relationship to the "Golden Age" of film music (1935?1950). The author follows filmmakers' shifting combinations of sound and image, recapturing the volatility of this era and the variety of film music strategies that were tested, abandoned, and kept. He explores early film music experiments and accompaniment practices in opera, melodrama, musicals, radio, and silent films and discusses the impact of the advent of synchronized dialogue. He concludes with a reassessment of King Kong and its groundbreaking approach to film music, challenging the film's place and importance in the timeline of sound achievement.
Bibliography note	Includes bibliographical references, filmography and index.
LCCN	2014009771
ISBN	9780231165822 (cloth : alk. paper)
ISBN	023116582X (cloth : alk. paper)
ISBN	9780231165839 (pbk. : alk. paper)
ISBN	0231165838 (pbk. : alk. paper)

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Music	Music Stacks	ML2075 .S6 2014	✔ Available	Place Hold

After the silents : Hollywood film music in the early sound era, 1926-1934 / Michael Slowik.

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