Composing for the Films
This classic account of the nature of film music aesthetics was first published in 1947. Its value comes from a unique combination of talents and experience enjoyed by the book's authors. Eisler's time at Hollywood gave him a particular insight on the technical questions which arise for composers when music is used in the production of films, while Adorno was able to contribute on wide aesthetic and sociological matters as well as specifically musical questions. Above all, the authors envisaged the book as a contribution to the study of modern, industrialized culture; and, in this respect, it has a particular importance to the whole area of cultural studies. With an introduction by Graham McCann.
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NEW INTRODUCTION by Graham McCann
Prejudices and Bad Habits
Function and Dramaturgy
The New Musical Resources
Overige edities - Alles weergeven
accompaniment achieved actually Adorno aesthetic artistic audience autonomous music become Bertolt Brecht Brecht cello character cinema music clarinet cliches Clifford Odets colors completely composer composer's composition conductor contradiction contrast conventional Critical Theory culture industry dramatic dramaturgic effect Eisenstein elements expression film flute Frankfurt Frankfurt School genuine Hangmen Also Die Hanns Eisler harmony Hollywood Ibid idea instance instruments Joris Ivens leitmotif listener London means mechanical melody ments modern music montage motif motion picture motion-picture music movement movie musical forms musical resources musicians nature noise novachord objective orchestra pattern piano picture and music picture music piece planning political poser possible practice principle problems production program music regard relation requirements result rhythm Salka Viertel scene Schonberg score screen sense sequence social sonata song sound spectator standardized string structure studios style synchronized technical technique tendency theme tion tonal traditional music ture twelve-tone twelve-tone technique violin whole write