Music by Max Steiner最新文献

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Falling Star 流星
Music by Max Steiner Pub Date : 2020-06-18 DOI: 10.1093/oso/9780190623272.003.0023
S. Smith
{"title":"Falling Star","authors":"S. Smith","doi":"10.1093/oso/9780190623272.003.0023","DOIUrl":"https://doi.org/10.1093/oso/9780190623272.003.0023","url":null,"abstract":"This chapter dissects the demise of the Hollywood studio system, caused by several factors including the incursion of television. Warner Bros.’ legendary music department became, to quote Steiner, “a ghost town”; Max was among the few composers remaining on staff. Amid constant pressure to economize, Steiner continued to do fine work. He earned Ayn Rand’s praise for his musical depiction of nonconformity in The Fountainhead, created incendiary accompaniment for James Cagney’s valedictory gangster film White Heat; and devised an evocative “glass effect in music” for The Glass Menagerie. “Steiner has written a beautiful score,” Tennessee Williams wrote Jack Warner, “one that blends perfectly with the moods of the play.” Steiner also innovated as musical supervisor of the stereo-surround blockbuster This Is Cinerama, whose panoramic image foreshadowed IMAX. But most of his assignments were cheap, forgettable programmers, and his battles with Louise over Ronald grew increasingly bitter.","PeriodicalId":158266,"journal":{"name":"Music by Max Steiner","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132109501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Working Night and Day 夜以继日地工作
Music by Max Steiner Pub Date : 2020-06-18 DOI: 10.1093/oso/9780190623272.003.0010
S. Smith
{"title":"Working Night and Day","authors":"S. Smith","doi":"10.1093/oso/9780190623272.003.0010","DOIUrl":"https://doi.org/10.1093/oso/9780190623272.003.0010","url":null,"abstract":"As musical director of RKO, Steiner oversaw music in all of the studio’s productions. At the same time, he was writing full scores for RKO’s most important releases. Workaholic by nature, Max loved the creative challenges dictated by such future film classics as Of Human Bondage and John Ford’s The Lost Patrol (a failure when previewed, until Steiner’s music added the missing element of tension). But his round-the-clock schedule was pushing the 46-year-old toward collapse. Finally, during the exhausting production of The Gay Divorcee, starring Astaire and Rogers, Steiner snapped, writing a sarcastic memo to RKO president B. B. Kahane. The twist-filled story of Steiner’s firing and rehiring is told here for the first time. Work was not Max’s only source of anxiety: Adolf Hitler was now chancellor of Germany, and Steiner feared for the safety of his parents in nearby Austria.","PeriodicalId":158266,"journal":{"name":"Music by Max Steiner","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133947272","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Monarch of Sound 声音的君主
Music by Max Steiner Pub Date : 2020-06-18 DOI: 10.1093/oso/9780190623272.003.0011
S. Smith
{"title":"Monarch of Sound","authors":"S. Smith","doi":"10.1093/oso/9780190623272.003.0011","DOIUrl":"https://doi.org/10.1093/oso/9780190623272.003.0011","url":null,"abstract":"By 1935, all major Hollywood studios were emulating Steiner’s approach to film music, while recognizing Max as the industry’s foremost composer. His reputation soared even higher with the release of John Ford’s The Informer. A low-budget drama disdained by RKO executives, the movie received critical hosannas and earned Steiner his first Academy Award. But despite that success and other rewarding projects like the musical Top Hat, Steiner was frustrated. Heavy gambling, two alimonies, and weekly checks to family in Austria reduced his salary to a pittance. He also was angered to learn that ASCAP, the organization that collected royalties for songwriters, did not consider film music to be under its purview. For the next 25years, Steiner would fight to convince the group otherwise. He also felt underappreciated at RKO—which made news that David O. Selznick was forming his own independent studio all the more intriguing.","PeriodicalId":158266,"journal":{"name":"Music by Max Steiner","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129331348","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Heir Apparent 继承人
Music by Max Steiner Pub Date : 2020-06-18 DOI: 10.1093/oso/9780190623272.003.0002
S. Smith
{"title":"Heir Apparent","authors":"S. Smith","doi":"10.1093/oso/9780190623272.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780190623272.003.0002","url":null,"abstract":"This chapter focuses on Max Steiner’s musical education, both formal (at the Imperial Academy) and informal (through acquaintanceships with Johann Strauss Jr., Richard Strauss, and Gustav Mahler). Apprenticed by his father, who by now managed multiple theaters in Vienna, Steiner scored his first success while in his late teens, writing short operettas. In addition to describing the style of Steiner’s early compositions, the chapter chronicles the wide variety of influences to which he was exposed. Among the most indelible: concerts by Claude Debussy and John Philip Sousa, and the premiere of Richard Strauss’s cause célèbre opera Salomé. Drawn to both modernistic dissonance and the elegant light music of Vienna, Max Steiner matured from an initially indifferent music student to a composer highly motivated to achieve artistic and commercial success.","PeriodicalId":158266,"journal":{"name":"Music by Max Steiner","volume":"157 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122271269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The South Is Dead 南方已死
Music by Max Steiner Pub Date : 2020-06-18 DOI: 10.1093/oso/9780190623272.003.0016
S. Smith
{"title":"The South Is Dead","authors":"S. Smith","doi":"10.1093/oso/9780190623272.003.0016","DOIUrl":"https://doi.org/10.1093/oso/9780190623272.003.0016","url":null,"abstract":"No Steiner project would be more difficult or emotionally draining than Gone with the Wind. This chapter explores how the composer wrote and/or supervised more than three hours of orchestral music in less than two and a half months (while concurrently writing three other film scores), amid constant and often contradictory direction from Selznick. The producer was more combatant than collaborator: “the whole thing had a nightmare quality,” recalled one participant. Due to a near-impossible deadline, Steiner was forced to have members of his team compose several GWTW music cues. These collaborators always worked under Max’s direction, using Steiner-composed leitmotivs. The chapter uses multiple examples of these cues to draw the distinction between the kind of “ghost writing” by uncredited composers that was common in Hollywood, and GWTW, a case in which Steiner remained the primary creative force behind this, his best-loved score.","PeriodicalId":158266,"journal":{"name":"Music by Max Steiner","volume":"20 4 Suppl 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132507843","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Come Over Here 过来
Music by Max Steiner Pub Date : 2020-06-18 DOI: 10.1093/oso/9780190623272.003.0003
S. Smith
{"title":"Come Over Here","authors":"S. Smith","doi":"10.1093/oso/9780190623272.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780190623272.003.0003","url":null,"abstract":"Steiner’s promising career in Vienna was dealt a major blow when his father, Gabor, declared bankruptcy in 1908. With the family now hounded by creditors, 20-year-old Max embarked on a new life in London. This chapter follows Steiner from 1908 to 1914, charting another swift professional rise—his time as an orchestrator and musical director—that was again marred by events beyond his control. In 1912, Steiner’s return to Vienna to manage the Ronacher Theater, a failing venture of Gabor’s, ended in Max’s brief imprisonment. (Financial mismanagement would be a recurring motif in his life.) And in 1914, World War I changed the Austro-Hungarian composer’s status in Britain to that of “enemy alien.” But before he moved to yet another country, Steiner’s work in British theater would refine his ability to write supportive “underscore” for stage performers, which would serve him well years later in Hollywood.","PeriodicalId":158266,"journal":{"name":"Music by Max Steiner","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127390468","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Yours, Herman Hupfeld 你的,赫尔曼·赫普菲尔德
Music by Max Steiner Pub Date : 2020-06-18 DOI: 10.1093/oso/9780190623272.003.0019
S. Smith
{"title":"Yours, Herman Hupfeld","authors":"S. Smith","doi":"10.1093/oso/9780190623272.003.0019","DOIUrl":"https://doi.org/10.1093/oso/9780190623272.003.0019","url":null,"abstract":"Amid Casablanca’s many justly celebrated aspects is its soundtrack—the subject of much of this chapter. Surprisingly, Steiner hated the 1931 song “As Time Goes By,” which producer Hal Wallis insisted be featured in the underscoring (Max wanted to pen an original tune for Bogart and Bergman). But Steiner’s consummate professionalism is demonstrated by the ingenious ways he adapted Herman Hupfeld’s melody into one of the movies’ greatest love themes, in a score with many other musical highlights. This chapter also examines the ways in which Steiner’s music became part of Hollywood’s propaganda efforts during World War II, from the controversial, pro-Russia Mission to Moscow (which required the personal approval of Josef Stalin), to the sublime Americana of The Adventures of Mark Twain, one of Steiner’s most underappreciated scores.","PeriodicalId":158266,"journal":{"name":"Music by Max Steiner","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130258881","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Right Place to Be 正确的地方
Music by Max Steiner Pub Date : 2020-06-18 DOI: 10.1093/oso/9780190623272.003.0014
S. Smith
{"title":"The Right Place to Be","authors":"S. Smith","doi":"10.1093/oso/9780190623272.003.0014","DOIUrl":"https://doi.org/10.1093/oso/9780190623272.003.0014","url":null,"abstract":"Days after leaving Selznick, Steiner became the highest-paid staff composer at Warner Bros. It was a deal he was quietly arranging before leaving Selznick, detailed here for the first time. Steiner would spend most of the next three decades at Warners. This chapter provides a detailed examination of the studio’s music department, and explains why its infrastructure, staff, and varied creative content were ideally suited to Steiner’s talents. The chapter describes his friendly if competitive relationship with Warner Bros.’ favorite freelance composer, Erich Wolfgang Korngold. Steiner works discussed include the Best Picture–winning Life of Emile Zola, the start of his long collaboration with Bette Davis, and his iconic Warner Bros. fanfare. The chapter also chronicles the unexpected death of Steiner’s mother in Vienna, and Max’s frantic—and ultimately successful—efforts to bring his father to America, after Hitler’s annexation of Austria.","PeriodicalId":158266,"journal":{"name":"Music by Max Steiner","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132776001","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Stairway to Paradise 通往天堂的阶梯
Music by Max Steiner Pub Date : 2020-06-18 DOI: 10.1093/oso/9780190623272.003.0004
S. Smith
{"title":"Stairway to Paradise","authors":"S. Smith","doi":"10.1093/oso/9780190623272.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780190623272.003.0004","url":null,"abstract":"In November 1914, Max Steiner arrived in New York City, with little money and few prospects. This chapter details another formative time in Steiner’s life: his ascent from a struggling Tin Pan Alley music copyist to successful Broadway conductor. It also details his first professional experience with cinema (then silent), as musical supervisor and composer for a chain of New York theaters owned by William Fox. Steiner’s gregariousness and his gift for quick problem-solving led to work with celebrated composer Victor Herbert. Steiner also formed friendships with rising talents like Jerome Kern, Oscar Levant, and George Gershwin. Stage hits like the Gershwin-scored George White’s Scandals expanded Steiner’s musical language, which was fundamentally European, to include American jazz. However, his own attempt to write a Broadway show—1923’s Peaches—was a failure, discouraging him for a time from further composition.","PeriodicalId":158266,"journal":{"name":"Music by Max Steiner","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126648936","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Where Does the Music Come From? 音乐从何而来?
Music by Max Steiner Pub Date : 2020-06-18 DOI: 10.1093/oso/9780190623272.003.0006
S. Smith
{"title":"Where Does the Music Come From?","authors":"S. Smith","doi":"10.1093/oso/9780190623272.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780190623272.003.0006","url":null,"abstract":"The dawn of sound film has been mythologized and misreported (for example, The Jazz Singer was not the first movie with sound). This chapter offers an extensively researched look at Hollywood’s approach to sound and music between 1929 and 1931. During this period, most filmmakers were reluctant to include any music in movies, unless it was clearly motivated by an onscreen performance (by a singer, jazz band, etc.). Contrary to this approach, Max Steiner believed that underscoring would not only be accepted by audiences but could improve a film’s emotion and pacing. Using much previously unpublished material, this chapter follows Steiner’s swift rise from RKO staff orchestrator to studio musical director, and his first attempts to include music that was not always tied to onscreen action—including his work on 1931’s Best Picture winner, Cimarron.","PeriodicalId":158266,"journal":{"name":"Music by Max Steiner","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126745586","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
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