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- Audissino, Emilio, Senior Lecturer, 1981-
(author)
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John Williams, The Boston Pops Orchestra and Film Music in Concert
- 2012
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In: <em>Cinema, critique des images</em>. - Udine : Campanotto. - 9788845612886 ; , s. 230-235
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Conference paper (other academic/artistic)abstract
- The Boston Pops is a world-class orchestra playing “non-high Art music” in one of the most prestigious concert venues in the world: Symphony Hall in Boston. The first in its genre, with an impressive array of best-selling recordings, tours, and nation-wide radio and TV broadcasts, the Boston Pops has always been at the forefront of American music and has, over the years, achieved huge popularity. In 1980, famed Hollywood composer John Williams was named to succeed the late Fiedler. While several film composers had conducted film music concerts before, this was the very first case of a Hollywood composer appointed leader of such an important musical institution. During his fourteen-year tenure, Williams seized the opportunity to erode the “iron curtain” that segregated “applied” film music from “absolute” concert music.
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| 2. |
- Audissino, Emilio, Senior Lecturer, 1981-
(author)
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Archival Research and the Study of the Concert Presentations of Film Music : The Case of John Williams and the Boston Pops
- 2013
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In: The Journal of Film Music. - : Equinox Publishing. - 1087-7142 .- 1758-860X. ; 6:2, s. 147-163
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Journal article (peer-reviewed)abstract
- Film music has increasingly populated the concert programs in the last twenty years. Yet, the presentation of the film-music repertoire in concerts is a corner of the film–music field that has received little scholarly attention. Archival research combined with the study of audio–visual documents in particular is the key to reconstruct the story of the presentation of film music in concerts. As a case study, I present the findings of the research that I conducted in Boston, U.S.A., in 2010 and 2011. Its aim was to demonstrate John Williams's seminal contribution to the legitimization of film music as a viable concert repertoire during his tenure as conductor of the Boston Pops Orchestra—“America's orchestra”. The results showed very convincingly that John Williams's association with the most trend–setting and visible orchestra in the U.S.A. has been a major force and a seminal influence for the acceptance of film music as a legitimate concert repertoire.
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| 3. |
- Audissino, Emilio, Senior Lecturer, 1981-
(author)
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Archival Research and the Study of the Concert Presentations of Film Music
- 2015
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In: Audio-Visual Archives conference, the British Library, London, 18 July 2015.
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Conference paper (other academic/artistic)abstract
- Film music has increasingly entered into the concert programmes in the last twenty years, to become now standard repertoire not only of the so-called 'Pops Concerts' but also of the more classical-oriented ones. Yet, the presentation of the film-music repertoire in concert programmes is a corner of the film-music field that has received little scholarly attention – if none at all. Archival research, particularly using audiovisual archives, is the key to reconstruct how film music has been gradually introduced into concert programmes and in what forms. As an example, I propose to describe the methodology and findings of the research that I conducted in Boston, U.S.A., in 2010 and 2011, the aim of which was to demonstrate John Williams' seminal contribution to the legitimisation of film music as a viable concert repertoire. The research was conducted at the Boston Symphony Orchestra Archives – where I compared the concert programmes of the Williams era with the ones from the previous Arthur Fiedler era – and at the WGBH Media Archives – where I watched all the Williams episodes of the TV show Evening at Pops (1969-2004). The archival research was more rewarding that expected, the findings demonstrating my thesis very convincingly. In particular, the videos I watched at WGBH, combined with the study of the programmes at the BSO Archives, were the basis of my classification of the forms and formats in which film music is typically adapted for concert performance. The video materials were also cardinal in showing that Williams has also had a central role in developing the multimedia concert presentations – i.e. an orchestra playing live to projected film clips – in its two formats (“multimedia concert piece” and “multimedia film piece”).
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| 4. |
- Audissino, Emilio, Senior Lecturer, 1981-
(author)
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Film Music and Multimedia : An Immersive Experience and a Throwback to the Past
- 2014
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In: Jahrbuch immersiver medien 2014. - Marburg : Schüren Verlag. - 9783894728960 ; , s. 46-56
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Book chapter (other academic/artistic)abstract
- Multimedia events are part of contemporary society. Music, theatre, and visual arts have been increasingly collaborating with each other to offer aesthetic experiences that are as immersive and multisensorial as possible. Film music has also entered the multimedia arena. Indeed, a very successful type of concert presentation of the film-music repertoire is the multimedia form: a live orchestra plays to projected film clips. This multimedia presentations of film music should be of interest not only to music scholars – film music has undeniably become a favourite repertoire to fuel concert programmes, and multimedia presentations are the most fitting form to present film music. Multimedia presentations should also be of interest to film scholars, as multimedia presentations are a revival of past film-viewing experiences that can be traced back to the silent era. The case study here is John Williams's conductorship of the Boston Pops Orchestra, which has been seminal not only because it brought more film music into concert programmes, but also highly influential for its experiments with the multimedia presentations.
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| 5. |
- Audissino, Emilio, Senior Lecturer, 1981-
(author)
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Film Music in Concert : The Case of the Boston Pops Orchestra
- 2016
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In: Society forAmerican Music. ; , s. 42-42
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Conference paper (other academic/artistic)abstract
- The Boston Pops has had a prominent role in the validation of film music as a legitimaterepertoire for concert programs, particularly during John Williams’s tenure (1980–1993).The paper focuses on the orchestra’s approach to film music, demonstrating that the present-day acknowledgment of the film-music repertoire as a legitimate source of concert pieces islargely the result of Williams’s policy and example during his Boston years. The diffuse useof illustrative film montages in film-music concerts today or the recent phenomenon of entirefilms with live orchestral accompaniment are also consequences of Williams’s successfulaudio-visual presentations with the Boston Pops.
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