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摘要
摘要
In this book, a leading authority on film music examines scores of the silent film era. The first of three projected volumes investigating music written for films, this thoughtful and pathbreaking study demonstrates the richness of silent film music as it details the way in which scores were often planned from the start as an integral part of the whole cinematic experience.
Following an introductory chapter that outlines several key theoretical questions and surveys eight decades of writing on film music, Martin Miller Marks focuses on those scores created between 1895 and 1924. He begins by considering two early examples, one German (written by persons unknown for Skladanowsky's Bioskop exhibitions in 1895 and 1896) and one French (scored by Camille Saint-Saëns for the 1908 film L'Assassinat du Duc de Guise). Subsequent chapters fully discuss Walter Cleveland Simon's music for the American film An Arabian Tragedy (1912) as well as the Joseph Breil accompaniment to D. W. Griffith's Birth of a Nation (1915). As described in this book, Breil's memorable score--though a compilation derived from many sources--was played by an orchestra as Griffith's sweeping images filled the screen, thus contributing significantly to the great film's success while also achieving remarkable power in its own right. Marks then concludes with a look at Erik Satie's witty and innovative music for the French film Entr'acte (1924), which was the first film score of consequence by an avant-garde composer.
Giving unprecedented attention to a vibrant, important, and oft-neglected facet of twentieth-century music, Music and the Silent Film will interest scholars of film theory, film history, modern music, and modern aesthetics.
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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
目录
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 |