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Zusammenfassung
Zusammenfassung
The first of three volumes investigating film music, this innovative book shows that there was much more to silent film music than generally recognized--it often was planned from the start as an integral part of the film. This volume covers the music of such films as L'Assassinat du Duc de Guise (1908), D.W. Griffith's The Birth of a Nation (1915), and René Clair's Entr'acte (1924).
Rezensionen (1)
Choice-Rezension
Out of the silent darkness, Marks (music and theater arts, MIT) brings sound and light to his seminal study of this neglected aesthetic duo. In this detailed scholarly treatment of the nature and function of silent-film music, Marks surveys literature about film music collections, cue sheets, editorial columns, and compilation manuals. Although structured like a polished academic dissertation, the work reads easily, even melodically. Building on the forerunners of film music, Marks conducts readers through several stages that provide historical and critical contexts. Particularly illuminating are the case studies of individual films--e.g., Kalem Studio's blockbuster From the Manger to the Cross (1912); D.W. Griffith's controversial classic Birth of a Nation (1915), scored by pioneer Joseph Carl Breil; and the frantically comic, avant-garde French film by Rene Clair and Erik Satie, Entr'acte (1924). Marks orchestrates a symphony of relevant materials (including actual scores, appendixes, and footnotes) into a harmonious and compelling composition. This is integrated scholarship at its best. Highly recommended for large public collections and academic libraries serving upper-division undergraduates and above. T. Lindvall; Regent University
Inhaltsverzeichnis
| Appendix Contents | p. xiii |
| List of Figures | p. xv |
| 1 Film and Music: An Introduction to Research | p. 3 |
| The Material | p. 3 |
| The Literature: A Survey to 1990 | p. 8 |
| 2 First Stages, Dimly Lit: Sources and Scores Prior to 1910 | p. 26 |
| The Origins of Film Music | p. 26 |
| Compilation and Composition: First Cases | p. 30 |
| 3 Film Scores in America, 1910-14 | p. 62 |
| Overview | p. 62 |
| Preliminary Steps and Early Scores | p. 64 |
| The Kalem Series and Walter Cleveland Simon's Music for An Arabian Tragedy | p. 76 |
| Postscript: The Special Case of From the Manger to the Cross | p. 90 |
| Pioneers of Orchestral Scores, 1912-14 | p. 92 |
| Samuel Lionel Rothapfel's Art of Exhibition | p. 92 |
| Joseph Carl Breil's Earliest Film Scores | p. 98 |
| 4 Breil's Score for The Birth of a Nation | p. 109 |
| Significance | p. 109 |
| Sources | p. 112 |
| The Breil Score | p. 112 |
| The Clune's Score | p. 131 |
| The Origin of the Breil Score | p. 135 |
| Relationships of Film and Music | p. 141 |
| Overview | p. 141 |
| Types of Music | p. 143 |
| Function and Form | p. 156 |
| 5 Erik Satie's Score for Entr'acte | p. 167 |
| Significance | p. 167 |
| Musical Scores and Structure | p. 170 |
| Music and Film | p. 172 |
| Appendix | p. 186 |
| Notes | p. 221 |
| Index | p. 295 |