The Routledge film music sourcebook /
edited by James Wierzbicki, Nathan Platte, and Colin Roust.
- 1st ed.
- New York : Routledge, 2012.
- xv, 389 p. : ill. ; 27 cm.
Includes bibliographical references, filmography (p. 354-372), and index.
Music for the picture / Playing the pictures / Jackass music / Music for the movies / The surveys of Le film : music and the cinema (1919) -- Musical accompaniment to the feature picture / Scoring a motion picture / The artistic feature film and music : its genres / Clarence E. Sinn (1910) ; Clyde Martin (1910) ; Lou Reeves Harrison (1911) -- Carl Van Vechten (1916) ; Erno Rapee (1925) ; Victor Wagner (1926) ; Hans Erdmann (1927) -- pt. 1. "Silent" film. Early approaches to film accompaniment. Dreams of the future. Practical advice in the heyday of the silent film. Music and the cinema / About the music to New Babylon / Experimenting with sound films / Musical picture quietly undergoes renaissance / Musical pictures are here again / Film music experiences its sanest development / A little about movie music / Music and the synchronized film / Musical surprises / The experience of the composer / Edwin Evans (1929) ; Dmitry Shostakovich (1929) ; Darius Milhaud (1930) -- Philip K. Scheurer (1931) ; Helen Louise Walker (1931) ; Edwin Schaller (1932) -- Virgil Thomson (1933) ; Clarence Raybould (1933) ; Azary Azarin (1935) ; Nikolai Krykov (1936) -- pt. 2. Early sound film. Transitional concerns. Accounts of the sound film's early years. Debates on the future of music in sound films. Film music / On the Hollywood front / History of motion picture music / Memoranda / Music and cinema : an impossible marriage / Music and cinema : a difficult marriage / Music and the screen / Music in films : a rebuttal / Heard melodies / Arthur Benjamin (1937) ; George Antheil (1938) ; Franz Waxman (1940) ; David O. Selznick (1937, 1941) -- Gianandrea Gavazzeni (1943) ; Fedele d'Amico (1943) ; Erich Leinsdorf (1945) ; Bernard Herrmann (1945) ; Bosley Crowther (1945) -- pt. 3. Music in the classical-style film. Practical advice as film music's "classical style" takes shape. Aesthetic squabbles. Music : congress at Florence / Film music of the quarter / Hollywood orchestrators : the dragon shows his teeth / How film music was born and how it is made today / A few ideas about music and film / Concrete music / On using musical instruments in film music / Scorers skip classics, seek new approach / Three movie scores issued on LP disks / British rattled by rock 'n' roll / 'Real crazy' Mansfield in raucous film / Films' appeal is based on rock 'n' roll / The first electronic filmscore : Forbidden planet / Electronic strains reinforce Andromeda film score / Antony Hopkins (1950) ; Lawrence Morton (1951) ; Hans Keller (1951) ; Georges Auric (1952) -- John Cage (1951) ; Pierre Schaeffer (1954) ; Wang Yunjie (1957) -- Philip K. Sheurer (1954) ; John S. Wilson (1959) ; Thomas P. Ronan (1956) ; Mae Tinee (1957) ; Mae Tinee (1957) ; Jane Brockman (1992) ; Martin Bernheimer (1971) -- pt. 4. The postwar years. European vs. American attitudes. Foreign ideas. Stylistic novelties. What ever happened to great movie music? / Whatever became of movie music? / Sound and fury over film music / Notes from a subculture / You may not leave the movie house singing their songs, but ... / Elmer Bernstein (1972) ; David Raksin (1974) -- Charles Champlin (1967) ; Leonard Rosenman (1968) ; Charles Higham (1975) -- pt. 5. Changing times. Gloom and doom. Plenty of optimism. Musicians to picket two films in 20 U.S. cities / Musicians Guild wins coast vote / Musicians Guild wins 14% hike in studio pay / Musicians could be left out when actors settle / Tentative pact reached in musician strike / AFM, film producers reach new three-year pact / Keeping film scoring on our shores / Union drumbeat's growing / Music is now profit to the ears of filmmakers / The sound of (movie) music : re-releases of soundtracks past / Movie music : is it becoming hit or miss? / Howard Kennedy (1958) ; Thomas M. Pryor (1958) ; Anon. (1958) ; Eric Malnic (1980) ; Anon. (1981) ; Anon. (1990) ; Florence Nelson (2005) ; John Burlingame (2010) -- Vincent Canby (1966) ; Tom Shales (1976) ; Steven Smith (1986) -- pt. 6. The business of film music. Labor pains. Soundtrack albums. Synthesizer upstarts conquer Hollywood / Computers in the movies : How desktop PCs help create Hollywood's amazing music and sound effects / The unreal orchestra, part 1 : The virtual film score / Sound for picture : Hans Zimmer's scoring collective : composer collaboration at remote control productions / Making soundtracks, part 1 : Who puts 'em there, anyway / Making soundtracks, part 2 : More on the differences between the score and the soundtrack / Music in movies and TV : filling the bill / Music business insider: Q&A : Jack Rudy / Jeff Burger (1987) ; Lachlan Westfall (1998) ; Michael Prager (2004) ; Matt Hurwitz (2007) -- Jeff Rona (2000) ; Jeff Rona (2000) ; Nick Krewen (2005) ; Mike Levine (2007) -- pt. 7. A whole new world. New instruments. New methods. Film music has two masters / In Hollywood, discord on what makes music / Keeping scores : good old-fashioned movie music is as healthy as it ever was / Many ways to score / Taking movie music seriously, like it or not / The soundtrack game is attracting fresh and edgy artists / When is film music classical? / Hollywood composers tune in for rare gathering / 127 hours and other films take experimental turns in music / Donal Henahan (1987) ; David Mermelstein (1997) ; James Hunter (1998) ; Catherine Applefeld Olson (1952) -- David Schiff (2001) ; Dylan Callaghan (2002) ; Jed Distler (2007) ; Kevin Cassidy (2008) ; Todd Martens (2010). pt. 8. Today, tomorrow. Fin de si�ecle. Onward and upward?