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Film music is as old as cinema itself. Years before synchronized sound became the norm, projected moving images were shown to musical accompaniment, whether performed by a lone piano player or a hundred-piece orchestra. Today film music has become its own industry, indispensable to the marketability of movies around the world.
Film Music: A Very Short Introduction is a compact, lucid, and thoroughly engaging overview written by one of the leading authorities on the subject. After opening with a fascinating analysis of the music from a key sequence in Quentin Tarantino's Reservoir Dogs, Kathryn Kalinak introduces readers not only to important composers and musical styles but also to modern theoretical concepts about how and why film music works. Throughout the book she embraces a global perspective, examining film music in Asia and the Middle East as well as in Europe and the United States. Key collaborations between directors and composers--Alfred Hitchcock and Bernard Herrmann, Akira Kurosawa and Fumio Hayasaka, Federico Fellini and Nino Rota, to name only a few--come under scrutiny, as do the oft-neglected practices of the silent film era. She also explores differences between original film scores and compilation soundtracks that cull music from pre-existing sources.
As Kalinak points out, film music can do many things, from establishing mood and setting to clarifying plot points and creating emotions that are only dimly realized in the images. This book illuminates the many ways it accomplishes those tasks and will have its readers thinking a bit more deeply and critically the next time they sit in a darkened movie theater and music suddenly swells as the action unfolds onscreen.
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Second Year Music
Excerpts from the PREFACE:
This book is the first in the series to be used by the child and is I intended to furnish rote songs and introductory sight-reading material after the children have had a year of rote singing.
ROTE SONGS. Many of the songs have been composed for this book, and especial care has been taken that the rhythm of tune and text coincide; i.e., musical and verbal accents fall together. No melodies have been included which do not carry with them a natural and satisfactory harmonic basis. This condition has been most carefully watched, and it applies to both accompanied and unaccompanied melodies.
FROM BLACKBOARD TO BOOK. Even after the child has become accustomed to the chart or blackboard he finds difficulty at first in following the melody-line in a book. This difficulty may be minimized and the child's introduction to the book made more enjoyable, by first using songs with which he is already familiar. The songs on the first twenty-three pages are suitable for this purpose, and some of them may be taught in the early part of the year before the book is placed in the hands of the pupil. For this purpose also, and to facilitate review, several songs from the author's "First Year Music" are repeated in this book.
ACCOMPANIMENTS. Piano accompaniments have been included with a large proportion of the songs for the following reasons:
1. To encourage home singing and make music in the home more enjoyable and beneficial.
2. To develop a correct harmonic sense, so essential to the child's musical education.
3. To avoid the crude and distorted harmonies that are usually characteristic of improvised accompaniments.
SIGHT-READING. The sight-reading material is exceedingly simple and has been kept strictly within the reading 'vocabulary' of the pupil. Primary Music Reading demands constant repetition of simple, commonplace material in order that the elementary subject- matter learned through the ear may become thoroughly mastered and form a part of the child's reading 'vocabulary.'
THINKING TONE AND RHYTHM. The pupil should read silently-- hear the melody with the 'inner ear'-before reading aloud. Whether or not the pupil has the power to think tone and rhythm can be determined only by individual recitation. Individual recitation is as essential in Music as in English. The sight-reading material in this book may be used Whenever the pupil can readily recognize and sing simple melodic scale-groups in two- and three-part measure, from chart or blackboard. Failure to sing the studies at sight is conclusive proof of the pupil's inability to get definite thought from the symbols, and therefore of his unpreparedness for sight-reading.
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