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.

With nearly 400 scores to his credit, Ennio Morricone is one of the most prolific and influential film composers working today. In Composing for the Cinema, Morricone and musicologist Sergio Miceli present a series of lectures on the composition and analysis of film music. Adapted from several lectures and seminars, these lessons show how sound design can be analyzed and offer a variety of musical solutions to many different kinds of film. Drawing upon scores by himself and others, the composer also provides insight into his relationships with many of the directors with whom he has collaborated, including Sergio Leone, Giuseppe Tornatore, Franco Zeffirelli, Warren Beatty, Ridley Scott, Roland Joffé, the Taviani Brothers, and others. Delivered in a conversational mode that is both comprehensible and interesting, this groundbreaking work intertwines analysis with practical details of film music composition.

(Berklee Guide). Learn film-scoring techniques from one of the great film/television composers of our time. Lalo Schifrin shares his insights into the intimate relationship between music and drama. The book is illustrated with extended excerpts from his most iconic scores such as Mission: Impossible , Cool Hand Luke , Bullitt and many others and peppered with anecdotes from inside the Hollywood studios. Schifrin reveals the technical details of his own working approach, which has earned him six Oscar nominations, 21 Grammy nominations (with four awards), and credits on hundreds of major productions. Includes the full score of Schifrin's Fanfare for Screenplay and Orchestra , a treasure-trove of unfettered dramatic sound painting, commissioned by the Chicago Symphony Orchestra, and a great thesis on the emblematic language of film music.

SCORING THE SCREEN: THE SECRET LANGUAGE OF FILM MUSIC Today, musical composition for films is more popular than ever. In professional and academic spheres, media music study and practice are growing; undergraduate and postgraduate programs in media scoring are offered by dozens of major colleges and universities. And increasingly, pop and contemporary classical composers are expanding their reach into cinema and other forms of screen entertainment. Yet a search on Amazon reveals at least 50 titles under the category of film music, and, remarkably, only a meager few actually allow readers to see the music itself, while none of them examine landmark scores like Vertigo, To Kill a Mockingbird, Patton, The Untouchables, or The Matrix in the detail provided by Scoring the Screen: The Secret Language of Film Music. This is the first book since Roy M. Prendergast's 1977 benchmark, Film Music: A Neglected Art, to treat music for motion pictures as a compositional style worthy of serious study. Through extensive and unprecedented analyses of the original concert scores, it is the first to offer both aspiring composers and music educators with a view from the inside of the actual process of scoring-to-picture. The core thesis of Scoring the Screen is that music for motion pictures is indeed a language, developed by the masters of the craft out of a dramatic and commercial necessity to communicate ideas and emotions instantaneously to an audience. Like all languages, it exists primarily to convey meaning. To quote renowned orchestrator Conrad Pope (who has worked with John Williams, Howard Shore, and Alexandre Desplat, among others): “If you have any interest in what music 'means' in film, get this book. Andy Hill is among the handful of penetrating minds and ears engaged in film music today.”

(Berklee Guide). Essential for anyone interested in the business, process and procedures of writing music for film or television, this book teaches the Berklee approach to the art, covering topics such as: preparing and recording a score, contracts and fees, publishing, royalties, copyrights and much more. Features interviews with 21 top film-scoring professionals, including Michael Kamen, Alf Clausen, Alan Silvestri, Marc Shaiman, Mark Snow, Harry Gregson-Williams and Elmer Bernstein. Now updated with info on today's latest technology, and invaluable insights into finding work in the industry.

Many musicians are finding a new market for their music scoring for films and television. This comprehensive resource guide provides all the practical tools and information needed about how to organize and run a film and television music business. Section I contains helpful marketing materials, such as sample letters, brochures, postcards, resumes, and product packaging. Section II provides forms, documents and examples for the management, production, recording and delivery of music for projects. Section III features frequently used sample contracts and agreements, and Section IV lists other composer resources, such as a glossary of terms and abbreviations, info on performing rights organizations, attorneys and agents, listings of different markets to tap, internet resources, and much more. Essential for any musician interested in a career in film and television music.

(Book). Tom Harrison's book How to Become a Film Composer gives up-and-coming composers the inspiration, information and the tools necessary to succeed in today's music for media industry. Harrison has spent years working on the front line in Hollywood, where he has held key positions on music teams for some of the world's most successful television shows. His own music can be heard all over television on projects ranging from Dateline NBC and The Voice to NBC Golf tournaments, WWW Monday Night Raw and beyond. How to Become a Film Composer begins with breaking down how to approach music in a dramatic context and how to cultivate your own unique sound. Next, Harrison covers the technical computer skills needed to work in this digital era of music production and finally provides a thorough guide to building a successful career. Whether you are a young student or a seasoned musician, if you want to learn more about what it takes to become a film composer, this is the book for you.

The Oxford Handbook of Film Music Studies gathers two dozen original essays that chart the history and current state of interdisciplinary scholarship on music in audiovisual media, focusing on four areas: history, genre and medium, analysis and criticism, and interpretation.