Alex North (1910-1991) was one of America's most renowned film composers. His musical scores enhanced more than 60 major motion pictures--A Streetcar Named Desire, Cleopatra and Who's Afraid of Virginia Woolf among them. He had 15 Oscar nominations, and received the Lifetime Achievement Oscar. This book begins with his early life in Pennsylvania, and moves through his studies at Juilliard and in Russia and Mexico, his early experiences in modern dance, documentaries, and theater, and his major work in film. The book also offers analyses of North's musical scores for Streetcar, Spartacus, The Misfits, Under the Volcano, and Prizzi's Honor. Appendices include a bibliography, a filmography, a listing of other North compositions, a discography, and a listing of awards.
This film score handbook provides a detailed analysis of Alex North's astounding score for Elia Kazan's 1951 adaptation of A Streetcar Named Desire. Beginning with a review of North's musical training and film scoring techniques, the book then uses approaches from both musicology and film studies to present a comprehensive exploration of the film's (self-)censorship and its impact on North's music, most notably in the film's infamous staircase scene.
Film Music in the Sound Era: A Research and Information Guide offers a comprehensive bibliography of scholarship on music in sound film (1927–2017). Thematically organized sections cover historical studies, studies of musicians and filmmakers, genre studies, theory and aesthetics, and other key aspects of film music studies. Broad coverage of works from around the globe, paired with robust indexes and thorough cross-referencing, make this research guide an invaluable tool for all scholars and students investigating the intersection of music and film. This guide is published in two volumes: Volume 1: Histories, Theories, and Genres covers overviews, historical surveys, theory and criticism, studies of film genres, and case studies of individual films. Volume 2: People, Cultures, and Contexts covers individual people, social and cultural studies, studies of musical genre, pedagogy, and the Industry. A complete index is included in each volume.
The musical scores of Stanley Kubrick's films are often praised as being innovative and forward-looking. Despite playing such an important part in his productions, however, the ways in which Kubrick used music to great effect is still somewhat mysterious to many viewers. Although some viewers may know a little about the music in 2001 or A Clockwork Orange, few are aware of the particulars behind the music in Kubrick's other films. In Listening to Stanley Kubrick: The Music in His Films, Christine Lee Gengaro provides an in-depth exploration of the music that was composed for Kubrick's films and places the pre-existent music he utilized into historical context. Gengaro discusses the music in every single work, from Kubrick's first films, including the documentary shorts The Flying Padre and Day of the Fight, through all of his feature films, from Fear and Desire to Eyes Wide Shut. No film is left out; no cue is ignored. Besides closely examining the scores composed by Gerald Fried for Kubrick's early works, Gengaro pays particular attention to five of the director's most provocative and acclaimed films--2001: A Space Odyssey, A Clockwork Orange, Barry Lyndon, The Shining, and Eyes Wide Shut. For each film, she engages the reader by explaining how the music was excerpted (and changed, in some cases), and how the historical facts about a musical piece add layers of meaning--sometimes unintended--to the films. Meant for film lovers, music lovers, and scholars, Listening to Stanley Kubrick is a thoroughly researched examination into the musical elements of one of cinema's most brilliant artists. Appropriate for a cinema studies or music classroom, this volume will also appeal to any fan of Kubrick's films.
While some film scores crash through theater speakers to claim their place in memory, others are more unassuming. Either way, a film's score is integral to successful world building. This book lifts the curtain on the elusive yet thrilling art form, examining the birth of the Hollywood film score, its turbulent evolution throughout the decades and the multidimensional challenges to musicians that lie ahead. The history of the film score is illuminated by extraordinary talents (like John Williams, Hans Zimmer and countless others). Beginning with vaudeville and silent cinema, chapters explore the wonders of early pioneers like Max Steiner and Bernard Herrmann, and continue through the careers of other soundtrack titans. Leading Hollywood film composers offer in this book fascinating perspectives on the art of film music composition, its ongoing relevance and its astonishing ability to enhance a filmmaker's vision.
