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Celluloid Symphonies is a unique sourcebook of writings on music for film, bringing together fifty-three critical documents, many previously inaccessible. It includes essays by those who created the music—Max Steiner, Erich Korngold, Jerry Goldsmith, Elmer Bernstein and Howard Shore—and outlines the major trends, aesthetic choices, technological innovations, and commercial pressures that have shaped the relationship between music and film from 1896 to the present. Julie Hubbert’s introductory essays offer a stimulating overview of film history as well as critical context for the close study of these primary documents. In identifying documents that form a written and aesthetic history for film music, Celluloid Symphonies provides an astonishing resource for both film and music scholars and for students.
Welcome to Melodia, a city once alive with the enchanting sounds of music, now cloaked in an oppressive silence. Under the iron-fisted rule of the Quietus, music has been declared a threat, instruments confiscated, and melodies silenced. But in the heart of this quiet, one rebellious street musician dares to defy the regime. Meet Lyra, a young and passionate musician whose soul thrives on the melodies she creates. Despite the dangers, Lyra clings to her lute, playing in secret, yearning for the days when music flowed freely through Melodia's streets. Her life takes a dramatic turn when she stumbles upon an ancient, magical instrument with untold powers—an instrument capable of both immense healing and devastating destruction. With this discovery, Lyra ignites the spark of revolution. Joined by a band of unlikely allies—Tomas, a guitarist with a sharp mind for strategy; Elena, a flutist with deep knowledge of Melodia's storied past; Mira, a fiery violinist with unyielding resolve; and Darius, a former Quietus member seeking redemption through the piano—Lyra embarks on a perilous journey. Together, they must learn to harness the instrument's power, confront their own fears, and inspire a city to rise against its oppressors. The Silent Symphony is a gripping tale of defiance and hope, set in a richly imagined world where music holds magical properties. It explores the profound impact of art on the human spirit and the lengths to which people will go to reclaim their freedom and identity. As Lyra and her friends navigate the complexities of trust, leadership, and sacrifice, they discover that true strength lies in unity and the unbreakable bonds of community. This captivating novel will transport you to a place where the silence is palpable and the stakes are high. You will feel the weight of the Quietus's oppression, the exhilaration of secret rehearsals, and the suspense of daring escapes. Through Lyra's eyes, you will experience the transformative power of music and witness the rebirth of a city that refuses to be silenced. The Silent Symphony is more than just a story of rebellion; it is a celebration of the arts and their vital role in our lives. It reminds us that even in the darkest times, music has the power to bring people together, to heal wounds, and to inspire change. As you delve into this book, you will be inspired by Lyra's journey and reminded of the resilience of the human spirit. Perfect for fans of dystopian adventures, epic fantasies, and stories where the arts triumph over tyranny, The Silent Symphony will resonate with readers long after the final page is turned. Experience the magic, the danger, and the beauty of Melodia, where every note counts and the courage of a few can spark a revolution. Join Lyra and her band of heroes in their quest to restore the soul of their city. Feel the power of the Last Resonance and the triumph of a community united by music. The Silent Symphony is a tale of defiance, unity, and the enduring power of art that will leave you breathless and inspired. Dive into The Silent Symphony today and let the music of Melodia carry you away on an unforgettable journey of hope, courage, and freedom.
The contributions in this volume focus on the ways in which silence and music relate, contemplate each other and provide new avenues for addressing and gaining understanding of various realms of human endeavour. The book maps out this little-explored aspect of the sonic arena with the intention of defining the breadth of scope and to introduce interdisciplinary paths of exploration as a way forward for future discourse. Topics addressed include the idea of 'silent music' in the work of English philosopher Peter Sterry and Spanish Jesuit St John of the Cross; the apparently paradoxical contemplation of silence through the medium of music by Messiaen and the relationship between silence and faith; the aesthetics of Susan Sontag applied to Cage's idea of silence; silence as a different means of understanding musical texture; ways of thinking about silences in music produced during therapy sessions as a form of communication; music and silence in film, including the idea that music can function as silence; and the function of silence in early chant. Perhaps the most all-pervasive theme of the book is that of silence and nothingness, music and spirituality: a theme that has appeared in writings on John Cage but not, in a broader sense, in scholarly writing. The book reveals that unexpected concepts and ways of thinking emerge from looking at sound in relation to its antithesis, encompassing not just Western art traditions, but the relationship between music, silence, the human psyche and sociological trends - ultimately, providing deeper understanding of the elemental places both music and silence hold within world philosophies and fundamental states of being. Silence, Music, Silent Music will appeal to those working in the fields of musicology, psychology of religion, gender studies, aesthetics and philosophy.
Between 1895 and 1929, more than 15,000 motion pictures were made in the United States. We call these works “silent films,” but they were accompanied by an enormous body of music, including works adapted or arranged from pre-existing works, as well as newly composed pieces for theater orchestras, organists, or pianists. While many films and pieces are lost, a considerable amount of material remains extant and available for use in research and performance. Music for Silent Film: A Guide to North American Resources is a unique resource on North American archives and English-language materials available in for those interested in this repertoire. Part I contains information about archives of primary source materials including full and compiled scores, sheet music, published anthologies of music, interviews with cinema musicians, periodicals, and instruction books. Part II surveys the English-language scholarship on silent film music in articles, book chapters, essay collections, and monographs through 2015. The book is fully indexed for ease of access to these important sources on film music.
Despite their name, the silent films of the early cinematic era were frequently accompanied by music and other sound elements of many kinds, including mechanical instruments, live performers, and audience sing-alongs. The 12 chapters in this concise book explore the multitude of functions filled by music in the rapidly changing context of the silent film era, as the concept of cinema itself developed. Examples are drawn from around the globe and across the history of silent film, both during the classic era of silent film and later uses of the silent format. With contributors drawn from film studies and music disciplines, and including both senior and emerging scholars, Music and Sound in Silent Film offers an essential introduction to the origins of film music and the cinematic art form.
The definition of 'heavy metal' is often a contentious issue and in this lively and accessible text Andrew Cope presents a refreshing re-evaluation of the rules that define heavy metal as a musical genre. Cope begins with an interrogation of why, during the late 1960s and early 1970s, Birmingham provided the ideal location for the evolution and early development of heavy metal and hard rock. The author considers how the influence of the London and Liverpool music scenes merged with the unique cultural climate, industry and often desolated sites of post-war Birmingham to contribute significantly to the development of two unique forms of music: heavy metal and hard rock. The author explores these two forms through an extensive examination of key tracks from the first six albums of both Black Sabbath and Led Zeppelin, in which musical, visual and lyrical aspects of each band are carefully compared and contrasted in order to highlight the distinctive innovations of those early recordings. In conclusion, a number of case studies are presented that illustrate how the unique synthesis of elements established by Black Sabbath have been perpetuated and developed through the work of such bands as Iron Maiden, Metallica, Pantera, Machine Head, Nightwish, Arch Enemy and Cradle of Filth. As a consequence, the importance of heavy metal as a genre of music was firmly established, and its longevity assured.
Music/Ideology is a response to the question: Must the practice of music analysis and music theory always reinscribe the ideology of aesthetic autonomy? And, if not, under what circumstances does it reinscribe that ideology? The responses to these questions should appeal not only to music and cultural theorists, but also to a larger audience engaged in critical theory. These essays serve as an introduction to the broad array of issues arising from approaches that represent the full spectrum, from music-theoretical to marxist and feminist issues. Such questions are of vital importance, and not only to those who are engaged in establishing a connection among music theory, music analysis, and aesthetic ideology. Music/Ideology presents today's most interesting critical thinkers in postmodern theory and music theory, introducing an interdisciplinary approach and covering a wide range of subjects - both by implication and explication.
Michel Chion is renowned for his explorations of the significance of frequently overlooked elements of cinema, particularly the role of sound. In this inventive and inviting book, Chion considers how cinema has deployed music. He shows how music and film not only complement but also transform each other. The first section of the book examines film music in historical perspective, and the second section addresses the theoretical implications of the crossover between art forms. Chion discusses a vast variety of films across eras, genres, and continents, embracing all the different genres of music that filmmakers have used to tell their stories. Beginning with live accompaniment of silent films in early movie houses, the book analyzes Al Jolson’s performance in The Jazz Singer, the zither in The Third Man, Godard’s patchwork sound editing, the synthesizer welcoming the flying saucer in Close Encounters of the Third Kind, and the Kinshasa orchestra in Felicité, among many more. Chion considers both original scores and incorporation of preexisting works, including the use and reuse of particular composers across cinematic traditions, the introduction of popular music such as jazz and rock, and directors’ attraction to atonal and dissonant music as well as musique concrète, of which he is a composer. Wide-ranging and original, Music in Cinema offers a welcoming overview for students and general readers as well as refreshingly new and valuable perspectives for film scholars.
From CJ Leede, the author of Maeve Fly and a new voice in the feminist horror space, comes a scorching new apocalyptic novel. Blessed are the meek, Sophie was taught; blessed are the pure of heart. Blessed is the good Catholic girl who honours her father and mother, who renounces the sins of pride, greed, wrath, gluttony, envy, and sloth, for she will inherit the earth. But nothing in her strict religious upbring could have prepared Sophie for the arrival of the scorching winds that sweep through the Midwest - not the righteous breath of God, but an evil gust that delivers an ungodly, fevered lust unto the virtuous and the wicked alike. Separated from her family in the chaos of the apocalypse, Sophie is overcome by an unfamiliar fire from within, a steady pulse from somewhere beneath her belly that draws her toward the boys her mother warned her against: their eyes, their lips, their hands, their skin. The hellscape around her is foreign and strange, but so is the frantic desire that blooms in Sophie, tempting her away from the light. Though her own body has become a carnal battleground, she must somehow find her way through the ravaged world to rescue her brother, hoping the fever hasn't taken him; hoping he can still be saved. 'Keep an eye on this rising feminist voice' Tori Amos