Film Music
Get flash to fully experience Pearltrees
Musique de films
Bruxelles, le 23 novembre 2011 – Des milliers de professionnels du cinéma, de la télévision, de la culture, de la musique, des arts du spectacle, du patrimoine et de domaines connexes pourraient bénéficier d'un soutien renforcé de l’Union européenne au titre du nouveau programme «Europe créative», dévoilé aujourd'hui par la Commission européenne. Fort d'un budget de 1,8 milliard d’euros pour la période 2014-2020, le programme proposé donnerait une impulsion indispensable aux secteurs de la culture et de la création, source importante d’emplois et de croissance en Europe. Plus de 900 millions d’euros d’aides seraient consacrés au secteur cinématographique et audiovisuel (actuellement couvert par le programme MEDIA) et près de 500 millions d'euros à la culture.
UFMC Switzerland – Union of Film Music Composers: Union of Film Music Composers
ufmc.ch
Soundtrack Music | Free Internet Radio | VH1
The MTV USA website (www.mtv.com) is optimized for users within USA. While Users outside of USA are welcome to visit, many features of the site (including most videos) will not work for users outside of USA. We strongly encourage you to visit your local site instead.cinemix - Home
CINEMIX is a free online radio station playing soundtracks only! " CINEMIX does exactly what its name suggests--it finds the best and most unique soundtracks... and then mixes them all up in a blender. Variety is definitely the name of the game, and given the depth of CINEMIX's musical library, chances are a few of their tracks will leave you pleasantly surprised. " (Shoutcastblog)
Music For The Movies: Bernard Herrmann: Bernard Herrmann, Joshua Waletzky: Movies & TV
Music For The Movies: Bernard Herrmann explores the work of a composer who created music for over 50 films, collaborating with such diverse directors as Orson Welles, Nicholas Ray, and Martin Scorsese. Best remembered for his twelve-year collaboration with Alfred Hitchcock in such classics as Vertigo, North By Northwest ,and the unforgettable Psycho, Herrmann pioneered many fundamental techniques of film scoring in the course of his 35-year career. Music For The Movies: Bernard Herrmann takes audiences behind the scenes in Hollywood to the mixing rooms and dubbing stages where music is put to picture.Lights! Action! Music!: John Barry, Terence Blanchard, Carter Burwell, Francis Ford Coppola, Elliot Goldenthal, Spike Lee, Mira Nair, Rachel Portman, David Shire, Julie Taymor, Ang Lee, Gustavo Santaolalla, Osvaldo Golijov, Marcelo Zarvos, John Roland, Da
As a huge film music enthusiast, I was ecstatic to view this short documentary (barely an hour), which is basically a collective discussion about the art of film music. Voices include directors and producers, notably Francis Ford Coppola and Mira Nair (Monsoon Wedding), and a myriad of film composers. What impressed me really was the variety of film composers' viewpoints sought: Carter Burwell (who recently scored the Twilight film), Rachel Portman (first woman to win an Oscar for best score), Terence Blanchard (who talks about his long collaboration with Spike Lee), and John Barry (James Bond) are particularly featured, and they all discuss their insights in the role of film music.
Both an educational and entertaining look at the classic Hollywood music scoring of the 1930s and 1940s. Host and narrator John Mauceri conducts the BBC National Orchestra of Wales in carefully selected music cues from such classics as Laura, Bride of Frankenstein, Gone With the Wind, Casablanca, Adventures of Robin Hood, The Song of Bernadette, The Hunchback of Notre Dame, Johnny Belinda, How Green Was My Valley and Red River. Composer David Raksin gives us in depth background on the composing of his famous theme for "Laura". The process of film scoring is touched explored.
Hollywood Sound - Music for the Movies / Max Steiner, Franz Waxman, David Raksin: Joshua Waletzky, John Mauceri: Movies & TV
"Women in Film Music"
By Mikael Carlsson If you own a film music collection, count the number of scores written by female composers. Then count the number by men. Surely you have spotted the difference: very few women compose film scores.
This book is a compilation of interviews and discussions with a prominent and diverse group of composers. There are wonderful passages reflecting the philosophy and experiences of these composers that make this book a really interesting portal into their minds and lives. Often the philosophy and approach behind an artform are more important to learn than the techniques of creating it - this book reflects that.
Knowing The Score: Film Composers Talk About the Art, Craft, Blood, Sweat, and Tears of Writing for Cinema (9780380804825): David Morgan: Books
This work is dense and scholarly, and reveals a great deal of information about Ford's usage of music in his many films. It is very enlightening regarding the role of music in pre- and post-production. The author obviously spent a great deal of time poring over archival material and interviewing the few still surviving who participated in the creation of Ford's many classic works. I would only improve this work by adding more photos, perhaps captioned to describe the music associated with the scene depicted.
How the West Was Sung: Music in the Westerns of John Ford (9780520252349): Kathryn Kalinak: Books
Reel Music provides an in-depth, chronological overview of music’s role in film from the birth of the medium to the present. Ideal for nonmajors, the text introduces the basic elements of music and narrative film to help beginners appreciate the combined artistic effects of the two forms. Reel Music also includes excellent pedagogical features and viewing guides.
Reel Music: Exploring 100 Years of Film Music (9780393925746): Roger Hickman: Books
"Music for the Movies is the one book that should be in the library of anyone interested in learning about this art of the twentieth century". -- Elmer Bernstein Film music fans have eagerly awaited this updated and greatly expanded edition of Tony Thomas' popular history of Hollywood film music (from the '30s through the '90s) as viewed through portraits of many of its foremost practitioners.
Music for the Movies (9781879505377): Tony Thomas: Books
Film Music: A History explains the development of film music by considering large-scale aesthetic trends and structural developments alongside socioeconomic, technological, cultural, and philosophical circumstances. The book’s four large parts are given over to Music and the "Silent" Film (1894--1927), Music and the Early Sound Film (1895--1933), Music in the "Classical-Style" Hollywood Film (1933--1960), and Film Music in the Post-Classic Period (1958--2008). Whereas most treatments of the subject are simply chronicles of "great film scores" and their composers, this book offers a genuine history of film music in terms of societal changes and technological and economic developments within the film industry. Instead of celebrating film-music masterpieces, it deals—logically and thoroughly—with the complex ‘machine’ whose smooth running allowed those occasional masterpieces to happen and whose periodic adjustments prompted the large-scale twists and turns in film music’s path.
Film Music: A History (9780415991995): James Wierzbicki: Books
I host a "Film Score Friday" radio program on Public Raido Station, KUAF, and Michael Schelle's book has been a great help, and great inspiration to me. Intelligent, thought-provoking interviews with the best film composers, today. Can't wait for Vol. 2!
The Score: Interviews with Film Composers (9781879505407): Michael Schelle: Books
Hearing the Movies: Music and Sound in Film History (9780195327793): James Buhler, David Neumeyer, Rob Deemer: Books
Films achieve their effects with sound as well as images. An ideal text for introductory film music courses, Hearing the Movies: Music and Sound in Film History brings music into the context of sound, and sound into the context of the whole film. The text explores film sound in three parts. Through engaging, accessible sample analyses and exercises, Part I illustrates ways to analyze a soundtrack in relation to the image track.by Paul Chihara Movie music was not born in the movie theaters but in the worlds of opera, musical theater, and vaudeville. Concert music too, particularly the romantic and melodramatic scores of the late nineteenth century, so popular in the early twentieth, provided a large and immediately available library of recognizable and memorable material suitable for film underscoring. Mendelssohn's Fingel's Cave Overture , Wagner's Ride of the Walkurie , Lizst's Les Preludes , Rossini's William Tell Overture , just to mention some very obvious examples of dramatic and descriptive music, were ideal for movie music.