Hollywood Harmony: Musical Wonder and the Sound of Cinema by Frank Lehman (review)

Abstract

1. Anne C. Shreffler, “‘Music Left and Right’: A Tale of Two Histories of Progressive Music,” in Red Strains: Music and Communism outside the Communist Bloc, ed. Robert Adlington (Oxford: Published for the British Academy by Oxford University Press, 2013), 69. 2. Elizabeth Bergman Crist, Music for the Common Man: Aaron Copland during the Depression and War (New York: Oxford University Press, 2005), 21, for example. 3. Ibid., 200. 4. Anne C. Shreffler, “Ideologies of Serialism: Stravinsky’s Threni and the Congress for Cultural Freedom,” in Music and the Aesthetics of Modernity, ed. Karol Berger and Anthony Newcomb (Cambridge, MA: Harvard University Department of Music / Harvard University Press, 2005), 217–21. 5. Leonard Bernstein, The Unanswered Question: Six Talks at Harvard (Cambridge, MA: Harvard University Press, 1976), 53. 6. John Adams, Hallelujah Junction: Composing an American Life (New York: Farrar, Straus and Giroux, 2008), 106–7. 7. Richard Taruskin, Kyoto Prize at Oxford Lecture, “How to Win a Stalin Prize: Shostakovich’s Piano Quintet,” May 8, 2018, https://youtu.be/skAFru23KTk. Taruskin had previously advanced his idea of “affordances” in Richard Taruskin, “Two Serendipities: Keynoting a Conference, ‘Music and Power,’” in Russian Music at Home and Abroad: New Essays (Berkeley: University of California Press, 2016), 328. First delivered as a keynote address at the conference “Music and Power,” Miami University (Oxford, Ohio), February 28, 2013, and published in Journal of Musicology 33, no. 3 (Summer 2016). 8. Taruskin, “Two Serendipities,” 328.