Settling the Score: Music and the Classical Hollywood Film (Wisconsin studies in film)

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9780299133641: Settling the Score: Music and the Classical Hollywood Film (Wisconsin studies in film)

Book by Kalinak Kathryn

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Críticas:

A strong original contribution that manages to convey a great deal of information about film music to readers with relatively little knowledge of music. It is likely to be one of the small number of books on sound track issues that will be found on the shelves of anyone seriously interested in cinema. Alan Williams, Rutgers University

"

Reseña del editor:

"Settling the Score" situates the classical Hollywwod film score and its practice in historical, theoretical and musical context. Kathryn Kalinak examines the conventions and strategies underpinning film scoring in Hollywood, investigating what has been considered the most influential and powerful relationship to have evolved between music and film, the classical Hollywood model. Beginning with the earliest experiments in musical accompaniment carried out in the Edison laboratories. Kalinak uses archival material to outline the history of music and film in America. Focusing on the scores of several key composers of the sound era, including Erich Wolfgang Korngold's "Captain Blood", Max Steiner's "The Informer", Bernard Herrmann's "The Magnificent Ambersons", and David Raskin's "Laura", Kalinak concludes that classical scoring conventions were designed to ensure the dominance of narrative exposition. Her analyses of contemporary work such as John Williams "The Empire Strikes Back" and Basil Poledouris "Robocop" demonstrate how the traditions of the classical era continue to influence scoring practices today. Underlying the author's historical investigation is an inquiry into the nature of film music itself. Exposing the visual bias in western culture in general and in film studies in particular. Kalinak argues that music is a fundamental part of the filmic exerience. She constructs a model for the perception of film that takes into account the shared power of image and sound in shaping response. Using contemporary theoy, "Settling the Score" makes the case that music should be an integral part of film analysis.

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Kathryn Kalinak
Editorial: University of Wisconsin Press (1992)
ISBN 10: 0299133648 ISBN 13: 9780299133641
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Descripción University of Wisconsin Press, 1992. Paperback. Estado de conservación: New. /NEW/SAME AS PICTURED/. Nº de ref. de la librería SKU0017693

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Kalinak, Kathryn
Editorial: University of Wisconsin Press (1992)
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Descripción University of Wisconsin Press, 1992. Paperback. Estado de conservación: New. book. Nº de ref. de la librería 0299133648

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Descripción University of Chicago press. Estado de conservación: New. Brand New. Nº de ref. de la librería 0299133648

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Descripción Univ of Wisconsin. Estado de conservación: BRAND NEW. BRAND NEW Softcover A Brand New Quality Book from a Full-Time Bookshop in business since 1992!. Nº de ref. de la librería 2191022

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Descripción University of Wisconsin Press, United States, 1992. Paperback. Estado de conservación: New. New.. 230 x 152 mm. Language: English . Brand New Book. Settling the Score situates the classical Hollywwod film score and its practice in historical, theoretical and musical context. Kathryn Kalinak examines the conventions and strategies underpinning film scoring in Hollywood, investigating what has been considered the most influential and powerful relationship to have evolved between music and film, the classical Hollywood model. Beginning with the earliest experiments in musical accompaniment carried out in the Edison laboratories. Kalinak uses archival material to outline the history of music and film in America. Focusing on the scores of several key composers of the sound era, including Erich Wolfgang Korngold s Captain Blood , Max Steiner s The Informer , Bernard Herrmann s The Magnificent Ambersons , and David Raskin s Laura , Kalinak concludes that classical scoring conventions were designed to ensure the dominance of narrative exposition. Her analyses of contemporary work such as John Williams The Empire Strikes Back and Basil Poledouris Robocop demonstrate how the traditions of the classical era continue to influence scoring practices today. Underlying the author s historical investigation is an inquiry into the nature of film music itself. Exposing the visual bias in western culture in general and in film studies in particular. Kalinak argues that music is a fundamental part of the filmic exerience. She constructs a model for the perception of film that takes into account the shared power of image and sound in shaping response. Using contemporary theoy, Settling the Score makes the case that music should be an integral part of film analysis. Nº de ref. de la librería AAC9780299133641

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Kathryn Kalinak
Editorial: University of Wisconsin Press, United States (1992)
ISBN 10: 0299133648 ISBN 13: 9780299133641
Nuevos Paperback Cantidad: 1
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The Book Depository US
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Descripción University of Wisconsin Press, United States, 1992. Paperback. Estado de conservación: New. New.. 230 x 152 mm. Language: English . Brand New Book. Settling the Score situates the classical Hollywwod film score and its practice in historical, theoretical and musical context. Kathryn Kalinak examines the conventions and strategies underpinning film scoring in Hollywood, investigating what has been considered the most influential and powerful relationship to have evolved between music and film, the classical Hollywood model. Beginning with the earliest experiments in musical accompaniment carried out in the Edison laboratories. Kalinak uses archival material to outline the history of music and film in America. Focusing on the scores of several key composers of the sound era, including Erich Wolfgang Korngold s Captain Blood , Max Steiner s The Informer , Bernard Herrmann s The Magnificent Ambersons , and David Raskin s Laura , Kalinak concludes that classical scoring conventions were designed to ensure the dominance of narrative exposition. Her analyses of contemporary work such as John Williams The Empire Strikes Back and Basil Poledouris Robocop demonstrate how the traditions of the classical era continue to influence scoring practices today. Underlying the author s historical investigation is an inquiry into the nature of film music itself. Exposing the visual bias in western culture in general and in film studies in particular. Kalinak argues that music is a fundamental part of the filmic exerience. She constructs a model for the perception of film that takes into account the shared power of image and sound in shaping response. Using contemporary theoy, Settling the Score makes the case that music should be an integral part of film analysis. Nº de ref. de la librería AAC9780299133641

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Kathryn Kalinak
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Descripción University of Wisconsin Press, 1992. PAP. Estado de conservación: New. New Book.Shipped from US within 10 to 14 business days. Established seller since 2000. Nº de ref. de la librería IB-9780299133641

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Descripción Estado de conservación: New. Depending on your location, this item may ship from the US or UK. Nº de ref. de la librería 97802991336410000000

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Descripción University of Wisconsin Press. Paperback. Estado de conservación: new. BRAND NEW, Settling the Score: Music and the Classical Hollywood Film, Kathryn Kalinak, "Settling the Score" situates the classical Hollywwod film score and its practice in historical, theoretical and musical context. Kathryn Kalinak examines the conventions and strategies underpinning film scoring in Hollywood, investigating what has been considered the most influential and powerful relationship to have evolved between music and film, the classical Hollywood model. Beginning with the earliest experiments in musical accompaniment carried out in the Edison laboratories. Kalinak uses archival material to outline the history of music and film in America. Focusing on the scores of several key composers of the sound era, including Erich Wolfgang Korngold's "Captain Blood", Max Steiner's "The Informer", Bernard Herrmann's "The Magnificent Ambersons", and David Raskin's "Laura", Kalinak concludes that classical scoring conventions were designed to ensure the dominance of narrative exposition. Her analyses of contemporary work such as John Williams "The Empire Strikes Back" and Basil Poledouris "Robocop" demonstrate how the traditions of the classical era continue to influence scoring practices today. Underlying the author's historical investigation is an inquiry into the nature of film music itself. Exposing the visual bias in western culture in general and in film studies in particular. Kalinak argues that music is a fundamental part of the filmic exerience. She constructs a model for the perception of film that takes into account the shared power of image and sound in shaping response. Using contemporary theoy, "Settling the Score" makes the case that music should be an integral part of film analysis. Nº de ref. de la librería B9780299133641

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