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Journal of Film Music最新文献

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The Best Years of Our Lives 我们生命中最美好的时光
Journal of Film Music Pub Date : 2021-05-06 DOI: 10.5040/9781838713423
A. Johnson
{"title":"The Best Years of Our Lives","authors":"A. Johnson","doi":"10.5040/9781838713423","DOIUrl":"https://doi.org/10.5040/9781838713423","url":null,"abstract":"Hugo Friedhofer’s widely acclaimed score to Best Years of Our Lives successfully evokes an American sound that simultaneously universalizes and authenticates this story of post-war readjustment. He accomplishes this through harmonic and rhythmic approaches indebted to Aaron Copland, but also borrows stylistic devices from jazz, as filtered through the likes of George Gershwin and other concert composers who used the jazz idiom. Friedhofer’s specific use of leitmotif in this film emphasizes the common over the specific, further unifying three stories and generalizing shared post-war experiences.","PeriodicalId":201559,"journal":{"name":"Journal of Film Music","volume":"235 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115827385","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: 4
John Haines, Music in Films on the Middle Ages: Authenticity vs. Fantasy 约翰·海恩斯，《中世纪电影中的音乐:真实vs幻想》
Journal of Film Music Pub Date : 2021-05-06 DOI: 10.1558/JFM.19950
Melanie Shaffer
{"title":"John Haines, Music in Films on the Middle Ages: Authenticity vs. Fantasy","authors":"Melanie Shaffer","doi":"10.1558/JFM.19950","DOIUrl":"https://doi.org/10.1558/JFM.19950","url":null,"abstract":"John Haines, Music in Films on the Middle Ages: Authenticity vs. FantasyNew York and London. Routledge [xvii, 229pp. ISBN: 9780415824125. $160.00 (hardback)]. Routledge Research in Music. Figures, tables, preface, endnotes, bibliography, filmography, index.","PeriodicalId":201559,"journal":{"name":"Journal of Film Music","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114920242","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
Innocence and Grace 天真与优雅
Journal of Film Music Pub Date : 2021-05-06 DOI: 10.1558/JFM.18990
C. Bertoglio
{"title":"Innocence and Grace","authors":"C. Bertoglio","doi":"10.1558/JFM.18990","DOIUrl":"https://doi.org/10.1558/JFM.18990","url":null,"abstract":"L’albero degli zoccoli, by the Italian director Ermanno Olmi, polyphonically narrates the lives of peasant families in late-nineteenth-century Italy. The soundtrack prominently features works by J.S. Bach, mostly for the organ, performed by the celebrated Italian organist Fernando Germani. This article recounts the genesis of Olmi’s musical choices, discussing his views on music, on Bach, and on the interaction with musicians. Moreover, it is argued that Olmi purposefully employed some specific pieces in conjunction with particular characters and situations; it will be demonstrated that Olmi considered Bach’s music a symbol for God’s Grace, underpinning the film’s most significant moments in a liturgy of life, of fecundity, and of love. Bach’s music transmits the pervasive religious sentiment of the peasants to present-day audiences, asserting the holiness and the miracle of life.","PeriodicalId":201559,"journal":{"name":"Journal of Film Music","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114782101","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
Deflating Fascism in Max Steiner’s Score for The Most Dangerous Game 马克思·施泰纳为《最危险的游戏》配乐中的法西斯主义
Journal of Film Music Pub Date : 2021-03-08 DOI: 10.1558/JFM.19009
M. Lee
{"title":"Deflating Fascism in Max Steiner’s Score for The Most Dangerous Game","authors":"M. Lee","doi":"10.1558/JFM.19009","DOIUrl":"https://doi.org/10.1558/JFM.19009","url":null,"abstract":"This article examines Max Steiner’s original score for the 1932 RKO Production of The Most Dangerous Game. Steiner’s score quotes from a piece of piano music, “Russian Waltz,” which he composed for the film’s villain, Count Zaroff, to play within the film’s diegesis. His vast orchestral underscore liberally quotes the main motif of his piano work. Using a hermeneutic approach, the article argues that Steiner’s orchestral underscore reinforces the film’s anti-fascist narrative potentials by linking Count Zaroff’s motif to his enterprise of hunting human beings and specifically to the sexual satisfaction the Count draws from his gruesome fetish. The motif itself undergoes a myriad of expansions and contractions, intensifications and relaxations, charting the ups and downs of Zaroff’s fortunes. Based on archival research, hermeneutic analysis, and a close reading of both the film and its source material, the article concludes that Steiner participated in crafting an anti-fascist film at a signal moment in history.","PeriodicalId":201559,"journal":{"name":"Journal of Film Music","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121394499","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
An Austrian in Hollywood 奥地利人在好莱坞
Journal of Film Music Pub Date : 2021-03-08 DOI: 10.1558/JFM.19071
Charles Leinberger
{"title":"An Austrian in Hollywood","authors":"Charles Leinberger","doi":"10.1558/JFM.19071","DOIUrl":"https://doi.org/10.1558/JFM.19071","url":null,"abstract":"When interviewed about film music, John Williams is often quick to credit Max Steiner as the originator of the leitmotif technique in film music. Steiner brought with him to the U.S. the compositional techniques he learned as a child prodigy in Europe, including the leitmotif technique. This paper will discuss Steiner’s use of leitmotifs in his Academy Award winning score to the 1942 Warner Bros. film Now, Voyager. Film musicologists disagree on the relevance of themes being heard in different keys throughout a film score and their possible effect on the audience. I intend to demonstrate that, although the significance of these key relationships may only exist on a subconscious level, they do contribute in a meaningful way to the viewing/listening experience. To demonstrate this, I will use examples of “Charlotte’s Theme,” also known as the “Love Theme,” which appears in various keys throughout the film. The key relationships are clearly intentional and well thought out by Steiner. This theme, which is almost always in triple meter, was recorded in 1943 by Allen Miller and his Orchestra as a pop tune, in quadruple meter, with the title “It Can’t Be Wrong.” Steiner plagiarizes himself when this instrumental version is heard as source music in the 1945 Warner Bros. film Mildred Pierce. Vocal versions, including one recorded by Frank Sinatra, include lyrics by Kim Gannon. This version was also sung in the Star Trek: Voyager episode “The Killing Game, Part 1.”","PeriodicalId":201559,"journal":{"name":"Journal of Film Music","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114235795","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
Cataloging Max Steiner 编目Max Steiner
Journal of Film Music Pub Date : 2021-02-26 DOI: 10.1558/JFM.19159
J. Lyon, Brent Yorgason
{"title":"Cataloging Max Steiner","authors":"J. Lyon, Brent Yorgason","doi":"10.1558/JFM.19159","DOIUrl":"https://doi.org/10.1558/JFM.19159","url":null,"abstract":"The Max Steiner corpus study is a long-term research project, drawing on the Max Steiner Collection at Brigham Young University, to catalog and analyze the music from all of Steiner’s film scores. This paper outlines the goals, processes, and potential future outcomes of this research. One of the main research goals of this project is to discover what kinds of melodies, harmonies, rhythms, and instruments Steiner used to represent different emotions and character types. Because of the amount of data needed to understand each of these elements thoroughly, this type of analysis can best be done through a corpus study. This data will be published as an interactive database that will allow the user to explore themes as they develop throughout a film as well as discover related themes in other film scores by Steiner. Transcriptions of themes will be displayed with Steiner’s annotations, film stills, and analytical data. This paper presents our findings to date and our plan to analyze, transcribe, and catalog the remaining films.","PeriodicalId":201559,"journal":{"name":"Journal of Film Music","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130734027","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
Emilio Audissino, John Williams’s Film Music: Jaws, Star Wars, Raiders of the Lost Ark, and the Return of the Classical Hollywood Music Style 埃米利奥·奥迪西诺，约翰·威廉姆斯的电影音乐:《大白鲨》、《星球大战》、《夺宝奇兵》和好莱坞古典音乐风格的回归
Journal of Film Music Pub Date : 2021-02-15 DOI: 10.1558/JFM.18256
Grace Edgar
{"title":"Emilio Audissino, John Williams’s Film Music: Jaws, Star Wars, Raiders of the Lost Ark, and the Return of the Classical Hollywood Music Style","authors":"Grace Edgar","doi":"10.1558/JFM.18256","DOIUrl":"https://doi.org/10.1558/JFM.18256","url":null,"abstract":"Emilio Audissino, John Williams’s Film Music: Jaws, Star Wars, Raiders of the Lost Ark, and the Return of the Classical Hollywood Music StyleMadison, WI: University of Wisconsin Press, 2014. [xxvi, 317pp. ISBN: 9780299297343. $124.00 (hardback)]. Illustrations, musical examples, scores, bibliography, index.","PeriodicalId":201559,"journal":{"name":"Journal of Film Music","volume":"132 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129428734","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
Tobias Pontara, Andrei Tarkovsky’s Sounding Cinema: Music and Meaning from Solaris to The Sacrifice 托比亚斯·庞塔拉，安德烈·塔可夫斯基的《有声电影:从《Solaris》到《献祭》的音乐和意义》
Journal of Film Music Pub Date : 2021-02-12 DOI: 10.1558/JFM.18254
R. Luca
{"title":"Tobias Pontara, Andrei Tarkovsky’s Sounding Cinema: Music and Meaning from Solaris to The Sacrifice","authors":"R. Luca","doi":"10.1558/JFM.18254","DOIUrl":"https://doi.org/10.1558/JFM.18254","url":null,"abstract":"Tobias Pontara, Andrei Tarkovsky’s Sounding Cinema: Music and Meaning from Solaris to The SacrificeAbingdon, UK. Routledge, 2020. [206pp. ISBN: 9780367277291. $124.00 (hardback)]. Musical examples, photos, bibliography, index.","PeriodicalId":201559,"journal":{"name":"Journal of Film Music","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132347778","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: 2
Erik Heine: James Newton Howard’s Signs: A Film Score Guide 埃里克·海涅:詹姆斯·牛顿·霍华德的标志:电影配乐指南
Journal of Film Music Pub Date : 2021-02-12 DOI: 10.1558/JFM.17657
Ben Erickson
{"title":"Erik Heine: James Newton Howard’s Signs: A Film Score Guide","authors":"Ben Erickson","doi":"10.1558/JFM.17657","DOIUrl":"https://doi.org/10.1558/JFM.17657","url":null,"abstract":"Erik Heine: James Newton Howard’s Signs: A Film Score GuideLanham, MD: Rowman & Littlefield, 2016. [228pp. ISBN: 9781442256040. CAD66.89 (Kindle Edition)]. Scarecrow Film Score Guides, no. 17. Musical examples, filmography, bibliography, index.","PeriodicalId":201559,"journal":{"name":"Journal of Film Music","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130235102","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
Hollywood’s “No Man” Leonid V. Raab (1900–1968) 好莱坞的“无人”列昂尼德·v·拉布(1900-1968)
Journal of Film Music Pub Date : 2021-02-12 DOI: 10.1558/JFM.17524
N. W. Snedden
{"title":"Hollywood’s “No Man” Leonid V. Raab (1900–1968)","authors":"N. W. Snedden","doi":"10.1558/JFM.17524","DOIUrl":"https://doi.org/10.1558/JFM.17524","url":null,"abstract":"Leonid Raab was one of Hollywood’s most prolific orchestrators of Golden Age film music. However,\u0000 \u0000his profile is absent from standard reference works on the cinema. Raab’s career is examined using contempora-\u0000neous sources including a journal in Russian belonging to his friend Boris Artzybasheff, translated here for the\u0000 \u0000first time. Emphasis is given to Raab’s alliances with fellow émigré studio musicians, artists, and expats in thewider community in Hollywood. Born in Tiraspol, Russia, Raab started his career in New York City as a copyist and arranger with the music publishers T.B. Harms, working under Robert Russell Bennett on musicals such as Show Boat (1927). He moved from Broadway to RKO Radio Pictures in 1929 and, following the Great Depression, was employed by MGM orchestrating Herbert Stothart’s scores for The Merry Widow, David Copperfield, and A Tale of Two Cities. From 1936 to 1967, Raab collaborated mainly with the composer Franz Waxman, orchestrating some 100 scores, including Rebecca, Edge of Darkness, Objective Burma, Sunset Boulevard, A Place in the Sun, and Taras Bulba. A comprehensive filmography (~400 scores) is presented, together with some rare family memorabilia and, among other things, an orchestral score which Raab arranged of the song “Glory to God” composed by Sergei Rachmaninoff.","PeriodicalId":201559,"journal":{"name":"Journal of Film Music","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126721043","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
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