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January 25, 2005
FILM MUSIC 2
New FMS publication presents writings on film music's past, present and future
Film Music 2.Edited by Claudia Gorbman and Warren M. Sherk. Sherman Oaks: The Film Music Society, 2004. 254 pp. B/W Illustrations, Photographs. Indexed. ISBN 1-892050-02-1 (hard glossy cover, $20.00)
The Film Music Society's latest publication is Film Music 2: History, Theory, Practice. This enriching anthology, the second of an ongoing series, contains works by some of the leading writers and theorists on the subject of film music.
Film Music 2 includes a broad scope of material from the 1940s to the present. Essays are devoted to the documentary scores of Golden Age composers Virgil Thomson and Aaron Copland; opera films; soundtrack cross-promotion at United Artists; film music as a forum on the Internet; and the teaching of film music in a liberal arts curriculum. Also included in these pages are analyses of scores by Erich Wolfgang Korngold and Patrick Doyle; a Film Music Society-sponsored oral history with songwriters Jay Livingston and Ray Evans; a history of the music of Gail Kubik; and a biography of Moog synthesizer artist Paul Beaver.
Film Music 2: History, Theory, Practice is available to the general public only through The Film Music Society. The price is $20 plus s/h.
Also available is the Society's earlier publication, Film Music 1, at the price of $20 (plus s/h). For a limited time, Film Music 1 is being offered at a discount price of $15 (plus s/h) when purchased with Film Music 2.
Please see our Merchandise page for purchase information.
by Christopher Young, composer (Entrapment, The Grudge) and FMS President
by Claudia Gorbman, Professor of Film Studies at the University of Washington, Tacoma
Musical Texture as Cinematic Signifier: The Politics of Polyphony in Selected Documentary Film Scores by Virgil Thomson and Aaron Copland
by Neil Lerner, Associate Professor of Music at Davidson College, North Carolina
Deception's Great Music: A Cultural Analysis
by Peter Franklin, Reader in Music at the University of Oxford
Jay Livingston and Ray Evans: An Interview
by Arthur Hamilton, Oscar-nominated film and popular songwriter ("Cry Me a River," "Sing a Rainbow")
Works of Distinction: The Functional Music of Gail Kubik
by Alfred W. Cochran, Professor of Music at Kansas State University
Paul Beaver: Analog Synthesist Extraordinaire
by Warren M. Sherk, orchestrator and archival music specialist at the Academy of Motion Picture Arts and Sciences' Margaret Herrick Library
Linking the Film and Music Industries: Cross-Promotion, the Soundtrack Album, and the Case of United Artists
by Jeff Smith, Director of the Film and Media Studies Program at Washington University, St. Louis
The Opera Films of Daniel Toscan du Plantier
by Michel Chion, composer and filmaker, Paris
Sense and Sensibility: Musical Form and Drama in the Film Adaptation
by Robynn J. Stilwell, music faculty at Georgetown University
Film Music on the Internet: The Origin and Assessment of FILMUS-L
by H. Stephen Wright, Associate Dean of Public Services at Northern Illinois University
Teaching Film Music in a Liberal Arts Curriculum
by Michael V. Pisani, Associate Professor of Music at Vassar College
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