Rule, Britannia!: British Film Music . John Huntley. ; Incidental Music in the Sound Film . Gerald Cockshott.

1947 ◽  
Vol 3 (2) ◽  
pp. 211-214
Author(s):  
Lawrence Morton
Keyword(s):  
Film Music ◽  
Incidental Music ◽  
Sound Film

Panel Discussion on Film Sound/Film Music: Jim Buhler, Anahid Kassabian, David Neumeyer, and Robynn Stilwell

2003 ◽  
Vol 51 (1) ◽  
pp. 73-91
Author(s):  
James Buhler ◽  
Anahid Kassabian ◽  
David Neumeyer ◽  
Robynn Jeananne Stilwell ◽  
Kyle Barnett ◽  
...  
Keyword(s):  
Panel Discussion ◽  
Film Music ◽  
Sound Film ◽  
Film Sound

Theories of the Classical Sound Film

2018 ◽  
Author(s):  
James Buhler
Keyword(s):  
Film Music ◽  
Theoretical Models ◽  
Conceptual Space ◽  
Sound Film ◽  
Siegfried Kracauer ◽  
Formal Relations ◽  
Relationship Of ◽  
The Relationship

Chapter 3 examines theories after the sound film had been codified. The characteristic forms of theory became the grammar and typology: the goal was to map the potential formal relations between image and sound. This chapter considers six theoretical models focusing on the treatment of music and the relationship of the soundtrack to narrative: Eisenstein’s concept of vertical montage and the modes of synchronization that he developed from the concept; Aaron Copland’s typology of functions for film music; Hanns Eisler and Theodor W. Adorno’s response to Eisenstein, their critique of Hollywood practice, and their list of “bad habits”; and the formal typologies offered by Raymond Spottiswoode, Siegfried Kracauer, and Roger Manvell and John Huntley, which all seek to map the conceptual space of the image–sound relationship in film.

When the Music Surges

2013 ◽  
pp. 558-582
Author(s):  
Michael V. Pisani
Keyword(s):  
Nineteenth Century ◽  
Film Music ◽  
Silent Film ◽  
Sound Film ◽  
Theater Music

This chapterexamines the influence of the theater music of the nineteenth century on modern film music practices. It shows that the soundscape of the theater was considerably richer and more varied than has previously been suggested and that the techniques of the nineteenth-century melodrama also leapt beyond the silent film to influence underscoring practices in the sound film of the 1930s and 1940s. It provides examples to illustrate that many more useful connections could be made between the practice of composing music for the theater and composing for film melodramas.

Surrealism and Faith 1934–1939

Poulenc ◽  
2020 ◽  
pp. 112-141
Author(s):  
Roger Nichols
Keyword(s):  
Film Music ◽  
North African ◽  
Incidental Music ◽  
Arthur Honegger

This chapter recounts the first Bernac/Poulenc recital that took place at the École normale de musique after Francis Poulenc's North African tour with Maria Modrakowska in February 1935. It talks about Plume d'eau claire and Rodeuse au front de verre, which Poulenc thought belonged to his more familiar style of almost classical arrangement of harmonies spiced up with a few unimpeachable chromaticisms. It also describes Poulenc's compositions during the remainder of 1935 that turned their back temporarily on surrealism in favour of less demanding fare, including two pieces of incidental music. The chapter looks into Poulenc's devotion to film music and occasional collaborations with Georges Auric and Arthur Honegger, writing five scores between 1935 and 1951. It also assesses Poulenc's most interesting literary contributions that appeared during October 1935, Mes maîtres et mes amis, that was published in Conferencia.

Composing for Film

2013 ◽  
pp. 130-187 ◽  
Author(s):  
Peter Schweinhardt ◽  
Johannes C. Gall ◽  
Oliver Dahin
Keyword(s):  
Twentieth Century ◽  
Adult Life ◽  
Film Music ◽  
Experimental Film ◽  
Sound Film ◽  
Political Ground

This chapter examines the career of film music composer Hanns Eisler. It explains that Eisler wrote music for films in virtually every year of his adult life and has covered more cultural and political ground than any prominent composer in the twentieth century. It describes Eisler’s experience as an early practitioner in sound, film including the experimental Film Music Project. This chapter also summarizes the motivations and methods associated with Eisler’s “lifelong film music project” and analyzes the book Composing for the Films, which Eisler coauthored with musicologist and philosopher Theodor W. Adorno.

“The Realm of Serious Art”: Henry Hadley's Involvement in Early Sound Film

2014 ◽  
Vol 8 (3) ◽  
pp. 285-310 ◽  
Author(s):  
HANNAH LEWIS
Keyword(s):  
New Media ◽  
New Technology ◽  
Film Music ◽  
Compositional Style ◽  
Cutting Edge ◽  
Film Composition ◽  
Sound Film ◽  
Musical Production ◽  
Musical Practices ◽  
Musical Modernism

AbstractComposer-conductor Henry Kimball Hadley (1871–1937) is widely viewed as a conservative musical figure, one who resisted radical changes as American musical modernism began to flourish. His compositional style remained firmly rooted in late-Romantic European idioms; and although Hadley advocated for American composition through programming choices as a conductor, he mostly ignored the music of younger, adventurous composers. In one respect, however, Hadley was part of the cutting edge of musical production: that of musical dissemination through new media. This essay explores Hadley's work conducting and composing film music during the transition from silent to synchronized sound film, specifically his involvement with Warner Bros. and their new sound synchronization technology, Vitaphone, in 1926–27. Drawing on archival evidence, I examine Hadley's approach to film composition for the 1927 filmWhen a Man Loves. I argue that Hadley's high-art associations conferred legitimacy upon the new technology, and in his involvement with Vitaphone he aimed to establish sound film composition as a viable outlet for serious composers. Hadley's example prompts us to reconsider the parameters through which we distinguish experimental and conservative musical practices, reconfiguring the definitions to include not just musical proclivities but also the contexts and modes through which they circulate.

French Musical Culture and the Coming of Sound Cinema

2018 ◽  
Author(s):  
Hannah Lewis
Keyword(s):  
New Technology ◽  
Film Music ◽  
Musical Culture ◽  
Jean Cocteau ◽  
Luis Bunuel ◽  
Avant Garde ◽  
Sound Film ◽  
Integral Role ◽  
Transition To Sound ◽  
Poetic Realism

French Musical Culture and the Coming of Sound Cinema examines film music practices in France during a period of widespread artistic and creative experimentation: the transition from silent to synchronized sound film. While this period in Hollywood has been examined from a range of scholarly perspectives, the transition to sound in France—and the unique interactions between French sound cinema and French musical discourses—remains underexplored. In France, debates about sound cinema were fierce and widespread, and many filmmakers addressed theoretical questions about the potential of the new technology head-on, articulating their responses to these questions both in writing and in their films. Music played an integral role in the debate. Lewis argues that debates about sound film had a powerful effect on French musical culture of the early 1930s, and that diverse French musical styles and traditions—from Les Six, to the opera house, to the popular music-hall—played a crucial role in shaping the cinematic soundscape. Filmmakers experimented with music’s role in sound cinema within a range of genres, including avant-garde surrealist cinema (Luis Buñuel and Jean Cocteau), recorded theater (Marcel Pagnol), early poetic realism (Jean Renoir, Jean Vigo), and the film musical (René Clair). Lewis’s analysis of the experiments undertaken in these few important years in French cinematic history encourages readers to challenge commonly held assumptions of how genres, media, and artistic forms relate to one another, and how these relationships are renegotiated during moments of technological change.

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