Tools

LEADER 11617cam a2200421 a 4500

001 ocm40657811;

003 OCoLC;

005 20141212134951.0;

008 990121s1998 nyuac b 001 0 eng c;

020 a| 188015756X;

035 a| (Sirsi) o40657811;

035 a| (OCoLC)40657811;

042 a| pcc;

049 a| EREMa| NPEE;

050 4 a| ML2075b| .M14 1998;

082 04 a| 781.54/22| 22;

090 a| ML2075b| .M33 1998;

100 1 a| MacDonald, Laurence E.=| ^A430889;

245 14 a| The invisible art of film music :b| a comprehensive history /c| Laurence E. MacDonald.;

300 a| xvi, 431 pages :b| illustrations, portraits ;c| 23 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Filmography: pages 387-401.;

504 a| Includes bibliographical references (pages 379-386) and indexes.;

505 0 a| Introduction -- Music and the birth of film -- The evolution of movie theaters -- Music for silent films -- D.W. Griffith -- Combining sound and film -- Eight decades of film music -- 1. Evolution of synchronized sound (1920-29) -- Prelude: Radio -- Popular music -- Movies -- 1920: the movie industry goes West -- 1921: Valentino's tango -- D.W. Griffith: Dream Street -- 1922: Early sound-on-film systems -- 1923: Lee De Forest's phonofilms -- The sound of silents -- 1924: Phonofilm firsts (and lasts) -- Erno Rapee: motion picture moods -- 1925: Rival sound systems -- 1926: Warner Bros. and the birth of vitaphone -- William Fox and the Case-Sponable System -- Introducing the movie theme song: "Charmaine" -- 1927: The first talkie: The Jazz Singer -- The first Movietone films -- Toward all-talking pictures -- More movie theme songs -- 1928: The Broadway Melody: All talking! All singing! All dancing! -- A deluge of musical madness -- The first Oscars -- Postlude: reinventing the craft -- 2. The dawn of the golden age (1930-39) -- Prelude: Radio -- Popular music -- Movies -- The advent of film underscoring -- The three godfathers of film music: Max Steiner, Alfred Newman, Dimitri Tiomkin -- 1930: the decline of the musical -- 1921: early dramatic film scores -- Max Steiner: Cimarron -- Alfred Newman: Street Scene -- Dimitri Tiomkin: Resurrection -- 1932: Max Steiner, music from wall to wall -- 1933: Kong comes calling -- The return of the musical -- Harry Warren: 42nd Street -- 1934: The first Oscars for music -- Sergei Prokofiev: Lieutenant Kijé -- Alfred Newman: Our Daily Bread -- Jeanette Macdonald films -- 1935: The Golden Age begins -- Max Steiner: The Informer -- Arthur Bliss: Things to Come -- The advent of Erich Wolfgang Korngold -- Franz Waxman: The Bride of Frankenstein -- The formation of studio music departments -- 1936: The studio system -- Max Steiner: The Charge of the Light Brigade -- Erich Wolfgang Korngold: Anthony Adverse -- Charlie Chaplin: Modern Times -- 1937: Mythical places and exotic locales -- Dimitri Tiomkin: Lost Horizon -- Alfred Newman: The Hurricane and the Prisoner of Zenda -- Rule changes for music Oscars -- 1938: Russian film music -- Dmitri Shostakovich: a long career -- Sergei Prokofiev: Alexander Nevsky -- Max Steiner: Jezebel -- Erich Wolfgang Korngold: The Adventures of Robin Hood -- 1939: Max Stein: Gone With the Wind -- Aaron Copland: The City and Of Mice and Men -- Silvestre Revueltas: La Noche de Los Mayas -- Postlude: the talkies come of age --;

505 0 a| 3. World War II and its aftermath (1940-49) -- Prelude: Radio -- Television -- Popular music -- Movies -- 1940: Erich Wolfgang Korngold: The Sea Hawk -- Charlie Chaplin: The Great Dictator -- 1941: Bernard Herrmann: Raising Kane -- Alfred Newman: How Green Was My Valley -- Miklos Rozsa: films about women -- 1942: Herbert Stothart: Mrs. Miniver -- More patriotic films -- Bernard Herrmann: The Magnificent Ambersons -- Erich Wolfgang Korngold: Kings Row -- Miklos Rozsa: The Jungle Book -- Max Steiner : Now, Voyager -- 1943: Alfred Newman: The Song of Bernadette -- Max Steiner: Casablanca -- Miklos Rozsa: Five Graves to Cairo -- 1944: David Raksin: Laura -- Max Steiner: Since You Went Away -- 1945: Miklos Rozsa and the theremin -- Bernard Herrmann: Hangover Square -- 1946: Hugo Friedhofer: The Best Years of Our Lives -- Erich Wolfgang Korngold: Deception -- Roy Webb: music for thrillers -- 1947: Bernard Herrmann: The Ghost and Mrs. Muir -- Miklos Rozsa: crime films -- 1948: Ralph Vaughan Williams: Scott of the Antarctic -- Brian Easdale : The Red Shoes -- Max Steiner : Johnny Belinda and The Treasure of the Sierra Madre -- 1949 : Aaron Copland : the Brooklyn Stravinsky -- The three godfathers : still scoring after all these years -- Postlude: the end of the Golden Age -- 4. The decline of the studio system (1950-59) -- Prelude: Popular music -- Television -- Movies -- 1950: Franz Waxman: Sunset Boulevard -- Dimitri Tiomkin: Cyrano de Bergerac and D.O.A. -- Alfred Newman: All About Eve -- 1951: Alex North: A Streetcar Named Desire -- Bernard Herrmann: The Day the Earth Stood Still -- Dimitri Tiomkin: from sci-fi film to thriller -- 1952: Dimitri Tiomkin: High Noon -- Victor Young: from Scaramouche to The Greatest Show on Earth -- 1953: Alfred Newman: The Robe -- Bernard Herrmann: three action potboilers -- Miklos Rozsa: three historical dramas -- 1954: Leonard Bernstein: On the Waterfront -- 1955: Leonard Rosenman: East of Eden -- Bernard Herrmann: The Trouble With Harry and Two Failures -- Elmer Bernstein: The Man With the Golden Arm -- George Duning: Picnic -- Walter Schumann: The Night of the Hunter -- 1956: Victor Young: Around the world in Eighty Days -- Elmer Bernstein: The Ten Commandments -- Dimitri Tiomkin: Giant and Friendly Persuasion -- 1957: Franz Waxman: the pinnacle of his career -- Malcolm Arnold: The Bridge on the River Kwai -- 1958: Bernard Herrmann: great collaborations -- Jerome Moross: The Big Country -- New kids on the block -- 1959: Miklos Rozsa: Ben-Hur -- Bernard Herrmann: Journey to the Center of the Earth and North by Northwest -- Adolph Deutsch: Some Like It Hot -- Duke Ellington: Anatomy of a Murder -- Postlude: two rising stars --;

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

505 0 a| 5. The changing of the guard (1960-69) -- Prelude: Popular music -- Television -- Movies -- 1960: Elmer Bernstein: The magnificent Seven -- Scores for historical epics -- André Previn: Elmer Gantry -- 1961: The Henry Mancini-Blake Edwards collaboration -- Miklos Rozsa: scoring Samuel Bronston's epics -- Elmer Bernstein: both in an out of the saddle -- 1962: The new wave -- Maurice Jarre: Lawrence of Arabia -- Two by elmer Bernstein -- And two by Bernard Herrmann -- 1963: John Addison : Tom Jones -- Alfred Newman: How the West Was Won -- 1964: Laurence Rosenthal: Becket -- Malcolm Arnold: The Chalk Garden -- 1965 : Maurice Jarre: Doctor Zhivago -- Music for epics -- 1966: Jerry Goldsmith: a composer for all seasons -- Bernard Herrmann: Fahrenheit 451 -- 1967: Lalo Schifrin : Cool Hand Luke -- Quincy Jones: scoring hot and cold -- Ennio Morricone: three spaghetti westerns -- New directions in film music -- 1968: John Barry: The Lion in Winter -- Nino Rota: Romeo and Juliet -- Marvin Hamlisch: The Swimmer -- 1969: John Williams: The Reivers -- Burt Bacharach: Butch Cassidy and the Sundance Kid -- Postlude: passing the torch -- 6. The revival of the symphonic film score (1970-79) -- Prelude: Popular music -- Television -- Movies -- 1970: Henry Mancini: from Darling Lili to The Night Visitor -- Francis Lai: Love Story -- 1971: Michel Legrand: Summer of '42 -- Bernard Herrmann: a resurgence -- Walter Carlos: A Clockwork Orange -- 1972: Nino Rota: The Godfather -- Jerry Goldsmith: The Other -- Deliverance: "Dueling banjos" -- 1973: Marvin Hamlisch: The Way We Were and The Sting -- Jerry Goldsmith: Papillon -- By borrowing possessed: The Exorcist -- 1974: Richard Rodney Bennett: Murder on the Orient Express -- Francis Ford Coppola films -- 1975: David Shire: Farewell, My Lovely and The Hindenburg -- John Williams: Jaws -- Jack Nitzsche: One Flew Over the Cuckoo's Nest -- Bernard Herrmann: requiem for a musical heavyweight -- In Herrmann's wake -- 1977: John Williams: celestial encounters -- Jerry Goldsmith: from MacArthur to Damnation Alley -- 1978: Jerry Goldsmith: from Coma to Magic -- John Williams: from Jaws 2 to Superman -- 1979: Miklos Rozsa: thriller and fantasy -- Jerry Goldsmith: in outer space -- Viva Vivaldi!: three scores in the Baroque Style -- Postlude: the last hurrah --;

505 0 a| 7. The influence of synthesized sound (1980-89) -- Prelude: New technology -- Popular music -- Television -- Movies -- 1980: John Barry: Raise the Titanic and Somewhere in Time -- John Williams: The Empire Strikes Back -- John Morris: The Elephant Man -- 1981: Dave Grusin: On Golden Pond -- John Williams: Raiders of the Los Ark -- Randy Newman: Ragtime -- Vangelis: Chariots of Fire -- Some things borrowed, some things new: Excalibur -- 1982: Basil Poledouris: Conan the Barbarian -- John Williams: E.T. the Extraterrestrial -- Jerry Goldsmith: Poltergeist -- 1983: Bill Conti: The Right Stuff -- Jerry Goldsmith: from Under Fire to Twilight Zone: the Movie -- 1984: Randy Newman: The Natural -- Maurice Jarre: A Passage to India and Dreamscape -- 1985: Popular music in films -- Bruce Broughton: from small screen to big screen -- 1986: Ennio Morricone: The Mission -- Jerry Goldsmith: Hoosiers -- 1987: John Williams: Empire of the Sun -- A multicultural score: The Last Emperor -- Peter Martin and borrowed classical themes: Hope and Glory -- 1988: Alan Silvestri : Who Framed Roger Rabbit? -- Danny Elfman: Bettlejuice -- Hans Zimmer: Rain Man -- 1989: James Horner: Field of Dreams -- Patrick Doyle: Henry V -- John Williams: Born on the Fourth of July -- Postlude: an emphasis on youth -- 8. Into the 1990s (1990-97) -- Prelude: Popular music -- Television -- Movies -- 1990: John Barry: Dances With Wolves -- Danny Elfman: Edward Scissorhands -- Randy Newman: Avalon and Awakenings -- 1991: Alan Menken: Beauty and the Beast -- James Newton Howard: The Prince of Tides -- Michael Kamen: Robin Hood, Prince of Thieves -- Elmer Bernstein: from Rambling Rose to Oscar -- 1992: Jerry Goldsmith: Basic Instinct -- Trevor Jones and Randy Edelman: The Last of the Mohicans -- 1993: Patrick Doyle: Much Ado About Nothing -- Elmer Bernstein: The Age of Innocence and The Good Son -- John Williams: Jurassic Park and Schindler's List -- 1994: Hans Zimmer: The Lion King -- Alan Silvestri: Forrest Gump -- James Horner: Legends of the Fall and Clear and Present Danger -- 1995: Michael Kamen: Mr. Holland's Opus -- Two categories of film scores -- 1996: Elliot Goldenthal: Michael Collins -- Mark Isham: Fly Away Home -- Gabriel Yared: The English Patient -- 1997: Danny Elfman: from Men in Black to Good Will Hunting -- John Williams: from Rosewood to Amistad -- James Horner: The Devil's Own and Titanic -- Postlude: in summary.;

520 a| An historically structured account of the evolution of music in films, the book is arranged as a chronological survey and includes biographical sketches on many important film composers in addition to the development of the films themselves.;

994 a| E0b| ERE;

590 a| Little-341890--305131047691/;

596 a| 3 5;

998 a| 680494;

999 a| ML2075 .M14 1998w| LCc| 1i| 30372010591698d| 4/24/2020e| 1/23/2020f| 4/9/2024g| 4l| MSTm| JMUSICn| 14r| Ys| Yt| MGESBKu| 1/19/2000x| BOOKz| MCIRCo| .STAFF. enhanced 1/27/23 -jjab;

The invisible art of film music : a comprehensive history / Laurence E. MacDonald.

Author/creator	MacDonald, Laurence E.
Format	Book
Publication Info	New York, NY : Ardsley House Publishers, ©1998.
Description	xvi, 431 pages : illustrations, portraits ; 23 cm
Subjects	Motion picture music--History and criticism.

Contents	Introduction -- Music and the birth of film -- The evolution of movie theaters -- Music for silent films -- D.W. Griffith -- Combining sound and film -- Eight decades of film music -- 1. Evolution of synchronized sound (1920-29) -- Prelude: Radio -- Popular music -- Movies -- 1920: the movie industry goes West -- 1921: Valentino's tango -- D.W. Griffith: Dream Street -- 1922: Early sound-on-film systems -- 1923: Lee De Forest's phonofilms -- The sound of silents -- 1924: Phonofilm firsts (and lasts) -- Erno Rapee: motion picture moods -- 1925: Rival sound systems -- 1926: Warner Bros. and the birth of vitaphone -- William Fox and the Case-Sponable System -- Introducing the movie theme song: "Charmaine" -- 1927: The first talkie: The Jazz Singer -- The first Movietone films -- Toward all-talking pictures -- More movie theme songs -- 1928: The Broadway Melody: All talking! All singing! All dancing! -- A deluge of musical madness -- The first Oscars -- Postlude: reinventing the craft -- 2. The dawn of the golden age (1930-39) -- Prelude: Radio -- Popular music -- Movies -- The advent of film underscoring -- The three godfathers of film music: Max Steiner, Alfred Newman, Dimitri Tiomkin -- 1930: the decline of the musical -- 1921: early dramatic film scores -- Max Steiner: Cimarron -- Alfred Newman: Street Scene -- Dimitri Tiomkin: Resurrection -- 1932: Max Steiner, music from wall to wall -- 1933: Kong comes calling -- The return of the musical -- Harry Warren: 42nd Street -- 1934: The first Oscars for music -- Sergei Prokofiev: Lieutenant Kijé -- Alfred Newman: Our Daily Bread -- Jeanette Macdonald films -- 1935: The Golden Age begins -- Max Steiner: The Informer -- Arthur Bliss: Things to Come -- The advent of Erich Wolfgang Korngold -- Franz Waxman: The Bride of Frankenstein -- The formation of studio music departments -- 1936: The studio system -- Max Steiner: The Charge of the Light Brigade -- Erich Wolfgang Korngold: Anthony Adverse -- Charlie Chaplin: Modern Times -- 1937: Mythical places and exotic locales -- Dimitri Tiomkin: Lost Horizon -- Alfred Newman: The Hurricane and the Prisoner of Zenda -- Rule changes for music Oscars -- 1938: Russian film music -- Dmitri Shostakovich: a long career -- Sergei Prokofiev: Alexander Nevsky -- Max Steiner: Jezebel -- Erich Wolfgang Korngold: The Adventures of Robin Hood -- 1939: Max Stein: Gone With the Wind -- Aaron Copland: The City and Of Mice and Men -- Silvestre Revueltas: La Noche de Los Mayas -- Postlude: the talkies come of age --
Contents	3. World War II and its aftermath (1940-49) -- Prelude: Radio -- Television -- Popular music -- Movies -- 1940: Erich Wolfgang Korngold: The Sea Hawk -- Charlie Chaplin: The Great Dictator -- 1941: Bernard Herrmann: Raising Kane -- Alfred Newman: How Green Was My Valley -- Miklos Rozsa: films about women -- 1942: Herbert Stothart: Mrs. Miniver -- More patriotic films -- Bernard Herrmann: The Magnificent Ambersons -- Erich Wolfgang Korngold: Kings Row -- Miklos Rozsa: The Jungle Book -- Max Steiner : Now, Voyager -- 1943: Alfred Newman: The Song of Bernadette -- Max Steiner: Casablanca -- Miklos Rozsa: Five Graves to Cairo -- 1944: David Raksin: Laura -- Max Steiner: Since You Went Away -- 1945: Miklos Rozsa and the theremin -- Bernard Herrmann: Hangover Square -- 1946: Hugo Friedhofer: The Best Years of Our Lives -- Erich Wolfgang Korngold: Deception -- Roy Webb: music for thrillers -- 1947: Bernard Herrmann: The Ghost and Mrs. Muir -- Miklos Rozsa: crime films -- 1948: Ralph Vaughan Williams: Scott of the Antarctic -- Brian Easdale : The Red Shoes -- Max Steiner : Johnny Belinda and The Treasure of the Sierra Madre -- 1949 : Aaron Copland : the Brooklyn Stravinsky -- The three godfathers : still scoring after all these years -- Postlude: the end of the Golden Age -- 4. The decline of the studio system (1950-59) -- Prelude: Popular music -- Television -- Movies -- 1950: Franz Waxman: Sunset Boulevard -- Dimitri Tiomkin: Cyrano de Bergerac and D.O.A. -- Alfred Newman: All About Eve -- 1951: Alex North: A Streetcar Named Desire -- Bernard Herrmann: The Day the Earth Stood Still -- Dimitri Tiomkin: from sci-fi film to thriller -- 1952: Dimitri Tiomkin: High Noon -- Victor Young: from Scaramouche to The Greatest Show on Earth -- 1953: Alfred Newman: The Robe -- Bernard Herrmann: three action potboilers -- Miklos Rozsa: three historical dramas -- 1954: Leonard Bernstein: On the Waterfront -- 1955: Leonard Rosenman: East of Eden -- Bernard Herrmann: The Trouble With Harry and Two Failures -- Elmer Bernstein: The Man With the Golden Arm -- George Duning: Picnic -- Walter Schumann: The Night of the Hunter -- 1956: Victor Young: Around the world in Eighty Days -- Elmer Bernstein: The Ten Commandments -- Dimitri Tiomkin: Giant and Friendly Persuasion -- 1957: Franz Waxman: the pinnacle of his career -- Malcolm Arnold: The Bridge on the River Kwai -- 1958: Bernard Herrmann: great collaborations -- Jerome Moross: The Big Country -- New kids on the block -- 1959: Miklos Rozsa: Ben-Hur -- Bernard Herrmann: Journey to the Center of the Earth and North by Northwest -- Adolph Deutsch: Some Like It Hot -- Duke Ellington: Anatomy of a Murder -- Postlude: two rising stars --
Contents	5. The changing of the guard (1960-69) -- Prelude: Popular music -- Television -- Movies -- 1960: Elmer Bernstein: The magnificent Seven -- Scores for historical epics -- André Previn: Elmer Gantry -- 1961: The Henry Mancini-Blake Edwards collaboration -- Miklos Rozsa: scoring Samuel Bronston's epics -- Elmer Bernstein: both in an out of the saddle -- 1962: The new wave -- Maurice Jarre: Lawrence of Arabia -- Two by elmer Bernstein -- And two by Bernard Herrmann -- 1963: John Addison : Tom Jones -- Alfred Newman: How the West Was Won -- 1964: Laurence Rosenthal: Becket -- Malcolm Arnold: The Chalk Garden -- 1965 : Maurice Jarre: Doctor Zhivago -- Music for epics -- 1966: Jerry Goldsmith: a composer for all seasons -- Bernard Herrmann: Fahrenheit 451 -- 1967: Lalo Schifrin : Cool Hand Luke -- Quincy Jones: scoring hot and cold -- Ennio Morricone: three spaghetti westerns -- New directions in film music -- 1968: John Barry: The Lion in Winter -- Nino Rota: Romeo and Juliet -- Marvin Hamlisch: The Swimmer -- 1969: John Williams: The Reivers -- Burt Bacharach: Butch Cassidy and the Sundance Kid -- Postlude: passing the torch -- 6. The revival of the symphonic film score (1970-79) -- Prelude: Popular music -- Television -- Movies -- 1970: Henry Mancini: from Darling Lili to The Night Visitor -- Francis Lai: Love Story -- 1971: Michel Legrand: Summer of '42 -- Bernard Herrmann: a resurgence -- Walter Carlos: A Clockwork Orange -- 1972: Nino Rota: The Godfather -- Jerry Goldsmith: The Other -- Deliverance: "Dueling banjos" -- 1973: Marvin Hamlisch: The Way We Were and The Sting -- Jerry Goldsmith: Papillon -- By borrowing possessed: The Exorcist -- 1974: Richard Rodney Bennett: Murder on the Orient Express -- Francis Ford Coppola films -- 1975: David Shire: Farewell, My Lovely and The Hindenburg -- John Williams: Jaws -- Jack Nitzsche: One Flew Over the Cuckoo's Nest -- Bernard Herrmann: requiem for a musical heavyweight -- In Herrmann's wake -- 1977: John Williams: celestial encounters -- Jerry Goldsmith: from MacArthur to Damnation Alley -- 1978: Jerry Goldsmith: from Coma to Magic -- John Williams: from Jaws 2 to Superman -- 1979: Miklos Rozsa: thriller and fantasy -- Jerry Goldsmith: in outer space -- Viva Vivaldi!: three scores in the Baroque Style -- Postlude: the last hurrah --
Contents	7. The influence of synthesized sound (1980-89) -- Prelude: New technology -- Popular music -- Television -- Movies -- 1980: John Barry: Raise the Titanic and Somewhere in Time -- John Williams: The Empire Strikes Back -- John Morris: The Elephant Man -- 1981: Dave Grusin: On Golden Pond -- John Williams: Raiders of the Los Ark -- Randy Newman: Ragtime -- Vangelis: Chariots of Fire -- Some things borrowed, some things new: Excalibur -- 1982: Basil Poledouris: Conan the Barbarian -- John Williams: E.T. the Extraterrestrial -- Jerry Goldsmith: Poltergeist -- 1983: Bill Conti: The Right Stuff -- Jerry Goldsmith: from Under Fire to Twilight Zone: the Movie -- 1984: Randy Newman: The Natural -- Maurice Jarre: A Passage to India and Dreamscape -- 1985: Popular music in films -- Bruce Broughton: from small screen to big screen -- 1986: Ennio Morricone: The Mission -- Jerry Goldsmith: Hoosiers -- 1987: John Williams: Empire of the Sun -- A multicultural score: The Last Emperor -- Peter Martin and borrowed classical themes: Hope and Glory -- 1988: Alan Silvestri : Who Framed Roger Rabbit? -- Danny Elfman: Bettlejuice -- Hans Zimmer: Rain Man -- 1989: James Horner: Field of Dreams -- Patrick Doyle: Henry V -- John Williams: Born on the Fourth of July -- Postlude: an emphasis on youth -- 8. Into the 1990s (1990-97) -- Prelude: Popular music -- Television -- Movies -- 1990: John Barry: Dances With Wolves -- Danny Elfman: Edward Scissorhands -- Randy Newman: Avalon and Awakenings -- 1991: Alan Menken: Beauty and the Beast -- James Newton Howard: The Prince of Tides -- Michael Kamen: Robin Hood, Prince of Thieves -- Elmer Bernstein: from Rambling Rose to Oscar -- 1992: Jerry Goldsmith: Basic Instinct -- Trevor Jones and Randy Edelman: The Last of the Mohicans -- 1993: Patrick Doyle: Much Ado About Nothing -- Elmer Bernstein: The Age of Innocence and The Good Son -- John Williams: Jurassic Park and Schindler's List -- 1994: Hans Zimmer: The Lion King -- Alan Silvestri: Forrest Gump -- James Horner: Legends of the Fall and Clear and Present Danger -- 1995: Michael Kamen: Mr. Holland's Opus -- Two categories of film scores -- 1996: Elliot Goldenthal: Michael Collins -- Mark Isham: Fly Away Home -- Gabriel Yared: The English Patient -- 1997: Danny Elfman: from Men in Black to Good Will Hunting -- John Williams: from Rosewood to Amistad -- James Horner: The Devil's Own and Titanic -- Postlude: in summary.
Abstract	An historically structured account of the evolution of music in films, the book is arranged as a chronological survey and includes biographical sketches on many important film composers in addition to the development of the films themselves.
Local note	Little-341890--305131047691/
Bibliography note	Filmography: pages 387-401.
Bibliography note	Includes bibliographical references (pages 379-386) and indexes.
ISBN	188015756X

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Library	Location	Call Number	Status	Item Actions
Music	Music Stacks	ML2075 .M14 1998	✔ Available	Place Hold

The invisible art of film music : a comprehensive history / Laurence E. MacDonald.

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