One of the many reasons why children and adults love the How to Train Your Dragon films is the music. John Powell composed the music for all three films, maintaining thematic consistency while writing new themes for each film. This book serves as a score guide for the How to Train Your Dragon trilogy. Every note has been examined to thoroughly discuss the music for Hiccup, Toothless and the other dragons, Vikings, and the enemies and friends that they encounter. It features interviews with the composer and nearly 100 musical excerpts.
(Easy Piano Songbook). This songbook features easy piano arrangements from all three films in the How to Train Your Dragon franchise featuring music by John Powell. Includes: Dragon Racing * Flying with Mother * Furies in Love * The Hidden World * Romantic Flight * Test Drive * This Is Berk * Toothless: Smitten * Where No One Goes.
In the first book of a new series by the bestselling author of How to Train Your Dragon, the warring worlds of Wizards and Warriors collide in a thrilling and enchanting adventure. Once there were Wizards, who were Magic, and Warriors, who were not. But Xar, son of the King of Wizards, can't cast a single spell. And Wish, daughter of the Warrior Queen, has a banned magical object of her own. When they collide in the wildwood, on the trail of a deadly witch, it's the start of a grand adventure that just might change the fabric of their worlds. With Cressida Cowell's trademark wit, and the same stunning combination of action, adventure, heart, humor, and incredible artwork that made How to Train Your Dragon a beloved bestselling franchise, The Wizards of Once will transport and bewitch readers.
"Hiccup Horrendous Haddock III was a truly extraordinary Viking Hero. Warrior chieftain, awesome sword-fighter and amateur naturalist, he was known throughout Vikingdom as 'the Dragon Whisperer', on account of his amazing power over these terrifying beasts. But it wasn't always like that."--Publisher's description
Released in 2002, M. Night Shyamalan’s Signs was the director’s follow-up to The Sixth Sense and Unbreakable, and his third collaboration with composer James Newton Howard. Well received by audiences and critics alike, the film was often cited by reviewers for its music. With its dependence on a single motive, the score is unique in Howard’s career, and one of his most effective and haunting works. In James Newton Howard’s Signs: A Film Score Guide, Erik Heine provides the first close reading of the composer’s work. Heine discusses Howard’s musical style and influences, as well as his ability to compose for a variety of genres, acknowledging him as one of the most versatile composers working today. The book shows how early sketches of cues for Signs were developed into the final score, allowing the reader insight into Howard’s compositional process. The book also demonstrates how Howard’s style is difficult to pigeonhole, since his focus is on serving the needs of the film. Drawing on completed orchestrated scores, as well as other material from the James Newton Howard Archive at the University of Southern California, the level of musical detail provided in this volume is unsurpassed. As a book that addresses Howard’s compositional style—and the only volume that significantly examines the music in any Shyamalan film—James Newton Howard’s Signs: A Film Score Guide will be of interest to music scholars, film scholars, and fans of the composer’s work.
The first book in Molly Harper's uproariously funny, sinfully sexy new Mystic Bayou series! Anthropologist Jillian Ramsay's career has taken a turn south. Concerned that technology is about to chase mythological creatures out into the open (how long can Sasquatch stay hidden from Google maps?), the League for Interspecies Cooperation is sending Jillian to Louisiana on a fact-finding mission. While the League hopes to hold on to secrecy for a little bit longer, they're preparing for the worst in terms of human reactions. They need a plan, so they look to Mystic Bayou, a tiny town hidden in the swamp where humans and supernatural residents have been living in harmony for generations. Mermaids and gator shifters swim in the bayou. Spirit bottles light the front porches after twilight. Dragons light the fires under crayfish pots. Jillian's first assignment for the League could be her last. Mystic Bayou is wary of outsiders, and she has difficulty getting locals to talk to her. And she can't get the gruff town sheriff, Bael Boone, off of her back or out of her mind. Bael is the finest male specimen she's seen in a long time, even though he might not be human. Soon their flirtation is hotter than a dragon's breath, which Bael just might turn out to be... This book is based on the Audible Original audiobook.
Theorists of the soundtrack have helped us understand how the voice and music in the cinema impact a spectator's experience. James Buhler and Hannah Lewis edit in-depth essays from many of film music's most influential scholars in order to explore fascinating issues around vococentrism, the voice in cinema, and music’s role in the integrated soundtrack. The collection is divided into four sections. The first explores historical approaches to technology in the silent film, French cinema during the transition era, the films of the so-called New Hollywood, and the post-production sound business. The second investigates the practice of the singing voice in diverse repertories such as Bergman's films, Eighties teen films, and girls' voices in Brave and Frozen. The third considers the auteuristic voice of the soundtrack in works by Kurosawa, Weir, and others. A last section on narrative and vococentrism moves from The Martian and horror film to the importance of background music and the state of the soundtrack at the end of vococentrism. Contributors: Julie Brown, James Buhler, Marcia Citron, Eric Dienstfrey, Erik Heine, Julie Hubbert, Hannah Lewis, Brooke McCorkle, Cari McDonnell, David Neumeyer, Nathan Platte, Katie Quanz, Jeff Smith, Janet Staiger, and Robynn Stilwell
Focusing on twenty-first century Western films, including all major releases since the turn of the century, the essays in this volume cover a broad range of aesthetic and thematic aspects explored in these films, including gender and race. As diverse contributors focus on the individual subgenres of the traditional Western (the gunfighter, the Cavalry vs. Native American conflict, the role of women in Westerns, etc.), they share an understanding of the twenty-first century Western may be understood as a genre in itself. They argue that the films discussed here reimagine certain aspects of the more conventional Western and often reverse the ideology contained within them while employing certain forms and clichés that have become synonymous internationally with Westerns. The result is a contemporary sensibility that might be referred to as the postmodern Western.
