scholarly journals Analysis of the Style and Characteristic of Zhao Jiping’s Film Score

2018 ◽  
Vol 5 (4) ◽  
pp. 410
Author(s):  
Yue Ding ◽  
Shiyi Huang
Keyword(s):  
Film Music ◽  
Film Score ◽  
Artistic Conception ◽  
Organic Combination ◽  
Contemporary Chinese ◽  
National Style

<p><em>Zhao Jiping is a famous contemporary Chinese composer. In his film music creation, he pays great attention to the grasp and application of national style. Besides, he is renowned for his bold and advanced artistic conception, organic combination with film pictures as well as strong psychological shock brought to the audiences. All of these form the unique artistic charm of Zhao Jiping’s film music.</em></p>

From Film Score to Art Music and Back

2020 ◽  
pp. 173-192
Author(s):  
Julia Khait
Keyword(s):  
Musical Theater ◽  
Film Music ◽  
Art Music ◽  
Compositional Techniques ◽  
Sergei Prokofiev ◽  
Film Scores ◽  
Film Score ◽  
Stylistic Evolution ◽  
History Of ◽  
Ivan The Terrible

Sergei Prokofiev was one of a few composers who worked equally successfully in the fields of film music and art music. His scores for Alexander Nevsky and Ivan the Terrible are as significant for the history of film music as are his operas and ballets for musical theater. He approached film projects with the same creative rigor as his stage and symphonic works. And so we must think of his film scores not as a separate enterprise but, rather, as one of the various theatrical and dramatic genres at which he tried his hand. While the operatic features of his music for Alexander Nevsky and Ivan the Terrible have become widely recognized, Prokofiev’s other film scores can also be placed in a broader context of the composer’s output. The cross-connections between genres can be traced at different levels, from common themes and literary ideas and similar stylistic evolution, to shared compositional techniques and borrowings of musical material from one work to another.

Dream Analysis: Korngold, Mendelssohn, and Musical Adaptations in Warner Bros.' A Midsummer Night's Dream (1935)

2011 ◽  
Vol 34 (3) ◽  
pp. 211-236
Author(s):  
Nathan Platte
Keyword(s):  
Film Music ◽  
Public Image ◽  
Midsummer Night's Dream ◽  
Film Score ◽  
Dream Analysis ◽  
Musical Adaptations ◽  
A Midsummer Night's Dream ◽  
Erich Wolfgang Korngold ◽  
Felix Mendelssohn ◽  
Film Composers

Abstract In his first film score, Erich Wolfgang Korngold adapted the works of Felix Mendelssohn so that the music seemed to interact and respond with the visual editing of the film, A Midsummer Night's Dream (Warner Bros., 1935). By detailing the facets of this unusual production, which range from Korngold's presence on the set to the publicity department's efforts to spotlight Mendelssohn's music and Korngold's arrangements, I argue that the score for Dream played an important role in elevating film music and film composers within the hierarchy of Hollywood production and publicity. Not only was the Mendelssohn-Korngold score given greater consideration during the film's making, but also audiences were reminded to listen to the film's music, a facet rarely acknowledged in other contemporaneous publicity drives. Importantly, these changes were effected and rationalized through the self-conscious foregrounding of the music, principles, and rhetoric of nineteenth-century Romanticism. Documents at the Warner Bros. Archive reveal how the confluence of these factors not only established the unusual tenor of Korngold's career within the Hollywood studio system but also helped construct the film composer's public image as an incongruously independent artist working within an otherwise collaborative medium.

scholarly journals Interactions between symphonies and film music in the œuvre of László Lajtha

2017 ◽  
Vol 58 (2) ◽  
pp. 239-253
Author(s):  
Viktória Ozsvárt
Keyword(s):  
Film Music ◽  
Visual Effects ◽  
Film Score ◽  
Common Features ◽  
The Third ◽  
Starting Point ◽  
Symphonic Orchestra ◽  
Way Of Thinking ◽  
New Perspective

In the case of Hungarian composer and ethnomusicologist László Lajtha (1892–1963) discovering the manifold potentials in a symphonic orchestra linked strongly with the composition of works for stage and screen. Nevertheless, it clearly makes sense to examine the long-term relations Lajtha had with the film as a genre, by searching for common features in the structure of his music composed for films and his symphonies. Much of the musical material in Lajtha’s Third Symphony is similar to those he used in his 1948 film music for Murder in the Cathedral. The similarity gains more complexity if one takes into consideration that the Third Symphony was marked by the composer as the starting point in a monumental, five-fold symphonic cycle composed through the 1950s. The article makes an attempt to explore the thematic and motivic relationship between the Third Symphony, the Variations and the film score Murder in the Cathedral by analysing the musical material and the structure, and by searching for correlation between the audible and visual effects of the music Lajtha used in the movie scenes. This kind of examination may offer a new perspective on the sources of inspiration that shaped Lajtha’s workmanship and it also gives some important information about his way of thinking about music.

Restoring Pushkin: Ideology and Aesthetics in Prokofiev's Queen of Spades

2010 ◽  
Vol 27 (4) ◽  
pp. 460-492
Author(s):  
Kevin Bartig
Keyword(s):  
Film Music ◽  
Soviet Government ◽  
Film Score ◽  
Queen Of Spades

Immediately following his repatriation in 1936, Prokofiev composed a film score for a screen adaptation of Pushkin's The Queen of Spades. Although the film was never finished, Prokofiev's completed score reveals an idiosyncratic approach to film music, one that is strikingly different than that found in his better known scores such as Alexander Nevsky. Reconstruction of the production and its context demonstrates how Prokofiev's aesthetic goals of a "new simplicity," characterized by lyricism, spare textures, and avoidance of dissonance, would successfully intersect with the ideological goals of a Jubilee celebration planned by the Soviet government for the centenary of Pushkin's death.

The role of the music editor and the ‘temp track’ as blueprint for the score, source music, and scource music of films

Popular Music ◽  
2006 ◽  
Vol 25 (2) ◽  
pp. 165-183 ◽  
Author(s):  
RONALD H. SADOFF
Keyword(s):  
Production Process ◽  
Textual Analysis ◽  
Historical Context ◽  
Film Music ◽  
Film Score ◽  
Feature Films ◽  
Score Analysis ◽  
Final Score ◽  
Integral Element

The ‘temp track’, a temporary mock-up of a film's soundtrack, is assembled from pre-existing music prior to the real, commissioned score being composed. An integral element of the post-production process of American feature films, it survives only in its role for audience previews. Constructed by a music editor, in most cases, it is a blueprint of a film's soundtrack – a musical topography of score, songs, culture and codes in which a balance must obtain between the director's vision, the music's function, underlying requirements of genre, and the spectator's perception. This article demonstrates that the temp track informs compositional practices and the final score, and makes the argument that textual analysis would benefit from the recognition of the role of production practices. Drawing on published sources and interviews with practitioners, this article provides historical context and musical detail, and shows how productive analysis can be when it draws on practitioners' insights as well as textual analysis. Film score analysis must not begin and end with the finished film score but must utilise a more eclectic methodology which takes into account the production process. Film score analysis should reflect the constitutive nature of film and film music.

‘Say it with Georges Auric’: Film Music and the esprit nouveau

2009 ◽  
Vol 6 (2) ◽  
pp. 133-153 ◽  
Author(s):  
COLIN ROUST
Keyword(s):  
Film Music ◽  
Music Criticism ◽  
Silent Cinema ◽  
Collaborative Relationship ◽  
Film Scores ◽  
Jean Cocteau ◽  
Film Score

AbstractAlthough he composed more than 120 film scores during his career, Georges Auric (1899–1983) did not compose his first until well after his thirtieth birthday. However, as a disciple of Guillaume Apollinaire's esprit nouveau he was interested in the genre much earlier. Between 1919 and 1928 he published three pieces of film music criticism that are couched in the rhetoric of Apollinaire and Jean Cocteau. In 1931 he composed his second film score, for René Clair's 1931 film A Nous, la Liberté! Although the music was composed after the esprit nouveau movement had effectively faded away, it is one of the clearest examples of that aesthetic. Because of the extraordinary collaborative relationship between Clair and Auric, the film also presents one of the most striking early solutions to the problem of how sound could be incorporated into the artistic rhetoric of silent cinema.

An Austrian in Hollywood

2021 ◽  
Author(s):  
Charles Francis Leinberger
Keyword(s):  
Film Music ◽  
Star Trek ◽  
Compositional Techniques ◽  
Film Score ◽  
Award Winning ◽  
Listening Experience ◽  
John Williams ◽  
Academy Award ◽  
The U.S ◽  
Frank Sinatra

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.”

Sign in / Sign up

Export Citation Format

Share Document