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- Audissino, Emilio, Senior Lecturer, 1981-
(författare)
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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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Ingår i: The Journal of Film Music. - : Equinox Publishing. - 1087-7142 .- 1758-860X. ; 6:2, s. 147-163
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Tidskriftsartikel (refereegranskat)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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| 2. |
- Müller, Janina, et al.
(författare)
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Toward a Prehistory of Film Music : Hans Erdmann’s Score for Nosferatu and the Idea of Modular Form
- 2013
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Ingår i: The Journal of Film Music. - : Equinox Publishing. - 1087-7142 .- 1758-860X. ; 6:1, s. 31-48
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Tidskriftsartikel (refereegranskat)abstract
- Photoplay music is a genre that took shape during the “silent” period of cinema when extended narrative films became mass entertainment. Many photoplay pieces exhibit certain structural features that we propose to conceptualize as modular form: they consist of several brief segments (often indicated by double barlines andnumbers) that are easy to rearrange and flexible in themselves. Hans Erdmann’s Fantastisch-romantische Suite, derived from his original Nosferatu score, is such a set of musical modules designed to accompany various films in ad hoc arrangements—a purpose supported not only by numerous breaking points but also by their harmonic, syntactic and textural design. While modular techniques persisted in the era of sound film well after 1930, they also continued certain practices of theatrical music of the nineteenth and early twentieth centuries, such as compilation and quick arrangement of stock pieces in ballet, vaudeville, pantomime, and spoken drama.
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| 3. |
- Plebuch, Tobias, 1965-
(författare)
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Mysteriosos Demystified : Topical Strategies Within and Beyond the Silent Cinema
- 2012
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Ingår i: The Journal of Film Music. - : Equinox Publishing. - 1087-7142 .- 1758-860X. ; 5:1-2, s. 77-92
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Tidskriftsartikel (refereegranskat)abstract
- Musical topoi, such as religioso, battle, oriental etc., abound in generic silent film compositions ("photoplay music") and catalogs of pieces for cinema musicians in the 1920s. As topoi are indeed useful toevoke meanings and to quickly produce a musical accompaniment for actions, they had been established indramatic genres and program music long before film music became a profession after World War I. Misteriosos are a case in point to illustrate the formation and longevity of a musical topos from stage melodramas tosound films. When long feature films became mass entertainment and montage techniques advanced, cinemamusicians had to develop new cataloging systems in order to gain control over a vast and rapidly growingrepertoire of music suitable to accompany complex screen dramas at short notice. Accordingly, the catalogs grew increasingly complex and provided multidimensional taxonomies of nested categories by the end of the silent period.
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