Sound Cinema - Set 3
Order by
29 terms
Terms | Definitions |
|---|---|
 Bernard Herrman (General) | Born 1911, began composing for CBS radio in 1930s where he met Orson Welles |
| Bernard Herrman (Influential Films) | Citizen Kane, The Day the Earth Stood Still |
| Bernard Herrman - a bridge | between Romantic Classicism (Max Steiner, Alfred Newman, Erich Korngold) and dissonant styles (Alex North, Elmer Bernstein, Jerry Goldsmith) |
| Herrman: Orchestration | Insisted on orchestrating his own scores, and varied instruments from work to work (not confined to standard symphonic textures) |
| Herrman: Melody | Uses short and frequently nonmelodic fragments |
| Herrman: Harmony | Daring, unusual, non-romantic |
| Herrman: Themes | Tends not to build associations but rather rely on individual moments |
| Herrman: Narrative Cueing | Relies more on connotative than referential cues |
| Herrman: Other techniques | Sequential reptition, Musical "cells", Fragmentation to depict the irrational |
| Studio System | Mode of movie production in which every aspect of creation and distribution is controlled by the studio |
| Why did the Studio System break up? | U.S government sued the movie industry for "monopolistic" practices of distribution and exhibition |
| Court Ruling on Studio System | Forced studios to abandon ownership of theater chains, so they lost a guaranteed market and there was much more competition between studies and independent filmmakers |
| Monothematic or Theme Score | Concentrating on a single musical theme, which was also marketed with lyrics as a hit song, usually written specifically for the film and to create revenue through record sale |
| Pop Score | Consisting of a succession of self-contained musical numbers, mostly composed apart from the film |
| Pop Score: Money | Established recording stars led to big profits from sales, Premarketing (70s) |
| Pop Score: Structural | Doesn't adhere to principles of illustration (of content), unity, and inaudibility |
| Pop Score: Expressiveness | Derives from extramusical associations and allusions rather than musical qualities |
| Pop Score: Autonomy | Due to their selection (rather than composition), lyrics, and historical/social context associations |
| Pop Score: Lyrics | Connected with character, could tell the story as an "authorial" comment |
| Pop Score: Later Adaptation | Returned to narrative functions, subjectivity, and accommodated to audibility by embedding the songs |
| Alex North (General Background) | Worked in theatre, studied in 1930s at Juilliard and Moscow |
| Alex North (Influential Films) | Cleopatry, Spartacus |
| North: Emotional Involvement | Preferred films that involved personal conflicts as the theme |
| North: Subjective vs. Objective | Subjective was character centred, while objective was based on the atmosphere and spectacle |
| North: Conducting | In first films preferred others to conduct, but later conducted many of his own scores |
| North: Orchestration | Relied on orchestrators, so wrote in short scores; avoided lush strings and focused on winds, brass and percussion with an enourmous range of instrumentation |
| John Williams (General Background) | Trained primarily as a pianist, and composer; started as an orchestrator in Hollywood; also composed for TV |
| John Williams: Method | Resembles Classical Hollywood; constricted time frame, dependent on orchestrators, mainly uses symphony orchestra, conducts his own scores |
| John Williams: Structure | Sustains unity, narrative content associates largely with musical accompaniment, uses music for mood/emotion/character, dependence on expressive melody, careful placement |
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