John Williams writes: Lake

1964 ◽  
Vol 2 (01) ◽  
pp. 20-22
Keyword(s):  
John Williams

The Rev. John Williams, Baptist Minister, New York

1931 ◽  
Vol CLXI (jul25) ◽  
pp. 67-67
Author(s):  
Aneurin Williams
Keyword(s):  
New York ◽  
John Williams

Dr. John Williams Ford

BMJ ◽  
1935 ◽  
Vol 2 (3912) ◽  
pp. 1286-1286
Keyword(s):  
John Williams

Animaciones musicales: Marcha Imperial de "El imperio contraataca", John Williams.

2021 ◽  
Author(s):  
María del Mar Galera Núñez ◽  
Rocío de Frutos Domínguez
Keyword(s):  
John Williams

Se trata de una animación realizada sobre un fragmento de la Marcha Imperial de “El Imperio contraataca” del compositor de música de cine John Williams. Se ha optado por una estética visual con elementos figurativos icónicos en coherencia con la función de esta pieza musical como parte de la banda sonora de la célebre saga de películas “La guerra de las galaxias”, manteniendo también la lógica formal y resaltando además otros parámetros sonoros y psicológicos de la obra. En el proyecto Animaciones Musicales, a las alumnas y alumnos del grado de Educación Infantil dentro de la asignatura de Didáctica de la Música se pedía elegir libremente una pieza musical instrumental de entre 1 y 4 minutos de duración y, tras su análisis (forma, carácter, parámetros sonoros y elementos más relevantes...), realizar sobre esa base musical una creación visual de animación (empleando el programa PowToon o similar) en la que hubiera coherencia formal entre música e imagen. Se dio plena libertad en la elección de tema, estética visual, parámetros musicales representados, tipo de música... y se fomentó la originalidad en los planteamientos. Los vídeos resultantes se vieron y analizaron colectivamente en clase y también se expusieron públicamente en una pantalla de televisión ubicada en uno de los accesos a la Facultad de Ciencias de la Educación coincidiendo con la Exposición de cotidiáfonos “Se ruega tocar” en la que se mostraban trabajos también realizados por los alumnos de la misma asignatura.

scholarly journals Hearing things in music for films: music, fiction and engagement

2013 ◽  
Vol 3 (1-2) ◽  
pp. 64-77 ◽  
Author(s):  
Birger Langkjær
Keyword(s):  
Film Music ◽  
Music Analysis ◽  
Audience Engagement ◽  
Opening Scene ◽  
Musical Perception ◽  
Ecological Theories ◽  
Level Model ◽  
John Williams ◽  
Dramatic Space ◽  
Different Levels

Film music is often thought of as something that adds to the visuals. Yet, this truism somehow obscures the complexity of how film music works. First, music has no single and fixed meaning that can be added to the visuals in the first place. Second, experiencing audiovisual meaning can be accounted for on several levels. For that reason this article proposes eight different but complementary ways of listening to music along the lines of ecological theories of musical perception in which it is argued that we hear things, that is, referential matters in music. The validity of this is demonstrated through the discussion of a series of scholarly interpretations of John Williams’ music for the opening scene of Jaws (1975). Second, it is argued that music may add meaning on different levels and a three level model of film music analysis is suggested in which the music as an expressive device, the fiction world as a dramatic space and kinds of audience engagement are conceived as three separate, yet interacting, levels of the filmic experience.

The Late Sir John Williams

BMJ ◽  
1926 ◽  
Vol 1 (3413) ◽  
pp. 968-968
Author(s):  
F. Champneys
Keyword(s):  
John Williams

‘Yet another guitar recital filled the Wigmore Hall’: The Popularization of the Classical Guitar in Britain, c.1950–c.1970

2021 ◽  
pp. 1-31
Author(s):  
DAVE RUSSELL
Keyword(s):  
Middle Class ◽  
Classical Guitar ◽  
John Williams

Abstract The popularity of the classical guitar in Britain surged between 1950 and 1970. The virtuosity of elite professionals led by the pioneering Andrés Segovia and the new stars Julian Bream and John Williams earned the classical instrument considerable purchase within the wider culture. Above all, it inspired thousands of largely middle-class, male, relatively young and urban amateur players, attracted not simply by the instrument’s intrinsic appeal but also by the opportunity offered to display a fashionable modernity and sophisticated connoisseurship. However, although securing for the classical guitar a much-enhanced musical role, these enthusiasts also created an often inward-looking specialist culture.

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