Bernard herrmann
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Bernard Herrmann was a pioneering American composer best known for his film scores, including Citizen Kane, Vertigo, Psycho, and Taxi Driver. He developed the use of leitmotifs, or recurring musical themes, to represent characters, objects, or ideas throughout films. For Citizen Kane, he composed the entire score during editing to perfectly synchronize music with the film, unlike typical practices of editing music to fit. His innovative scores were influential in establishing film music as an art form.
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Film music serves three main codes: visual, dialogic, and musical. It can confirm, reveal hidden meanings, or oppose the other codes. Composition styles draw from classical influences like romantic 19th century music or minimalism. Genres also influence style, like western music for Lonesome Dove or Arab influences for The Last Temptation of Christ. Perspective and structure are important to how music is implemented, from background to foregrounded music. Many films draw on or pastiche earlier classical works or those reflecting the genre or culture portrayed.
Chapter 55 Underscoring Meaning: Williams and Music for Film
This document discusses the role of music in films. It explains that music is used to underscore meaning, set moods, identify characters, and signal transitions. Two main types of music are used: underscoring from an unseen source, and source music that is part of the plot. The document provides a brief history of music in silent films and early "talkies" of the 1920s. It discusses how composers like Max Steiner and John Williams developed techniques like leitmotifs and theme transformations. Examples are given of how music enhances famous films like Gone with the Wind, Star Wars, and Lord of the Rings. The document also defines relevant terminology and profiles modern composer Danny Elfman and the work of John Williams.
Music timeline
This document provides a timeline and analysis of notable music videos from 1964 to 2014. It summarizes key music videos from artists like The Beatles, Bob Dylan, Queen, Michael Jackson, Madonna, and Beyoncé. For each video, it analyzes the cinematography, mise-en-scene, sound, and editing techniques used. Over time, the summaries show music videos evolving from simple performances to incorporating more complex storylines, special effects, and postmodern concepts that helped promote the artists and their music.
History of music videos
The document traces the history of music videos from early films in the 1920s that incorporated music and choreography to promote songs, to the emergence of dedicated music video programs and channels in the 1960s and 1970s. It highlights milestones like Walt Disney animating to classical music in Fantasia in 1940, Elvis Presley popularizing rock and roll in the 1950s, and Michael Jackson combining music videos with film in Thriller in 1982. The introduction of MTV in 1981 made music videos widely accessible on television for the first time.
History of music video
The history of music videos began in 1892 when George H. Thomas combined a series of images with lyrics to accompany a song, known as an illustrated song. In the 1930s-1950s, musical films became popular and included musical numbers. Michael Jackson's "Thriller" video in 1982 was groundbreaking as it advanced beyond just a performance and told a short film story. The rise of MTV in the 1980s brought music videos into the mainstream as the first music television channel.
FMP - Context research
Hugh Syme is a Canadian graphic artist best known for creating album artwork for the band Rush from 1975 to their retirement in 2016. In interviews, Syme discusses his career-long association with Rush and how he approached designing album covers. He enjoyed significant creative freedom from Rush which allowed him to take risks. Syme's artwork evolved over time from more serious designs to incorporating visual puns related to album titles. He adapted his style to changing formats from vinyl to CDs but laments the loss of larger canvas sizes. Syme provides insights into specific Rush album covers and his creative process.
History of music videos
Music videos originated from illustrated songs in the late 19th century that synchronized images to live music performances. In the 1920s-1930s, animated cartoons and musical films incorporated popular songs of the time. The Beatles' films in the 1960s helped establish music videos as a way to promote music without the artist being present. The launch of MTV in 1981 focused exclusively on music videos and helped popularize the format.
The Great American Songbook Composers and Their Greatest Songs
I came to the Great American Songbook seeking freshness and novelty, but a came through a different door. The gateway to GAS was jazz. I began listening to jazz in high school and my knowledge and interest broadened and accreted over a long arc of decades.
I have a fascination with these songs and their composers and the performers and their zeitgeist. I want to share it and ignite your interest and curiosity. Look up these tunes, performers and composers on YouTube: it is your free jukebox music library of just about every tune. You can even see the original performances in the Hollywood musicals! This is an amazing time and you have access to it all at your fingertips, so grab your smartphone and earbuds!
There are few things more precious and interesting than a Golden Age. There was a Golden Age of a particular kind of music that ran from the twenties through the fifties: the golden age of popular standards; the songs that constitute The Great American Song Book. These tunes were written by dapper, creative giants like Cole Porter, Rodgers and Hart, the Gershwins, Johnny Mercer, Hoagy Charmichael, Jerome Kern, and Dorothy Fields. Urbane sophisticated talents who created a body of work that effortlessly captures that urbanity and sophistication.
They created tunes focused on the subject of romantic love and exploring all the stages and aspects of the arc of a great love affair: from the initial “walking on air” to the jaded ennui of “never again”. They were obsessed with this theme and subject. Describing, exploring, and driving deep into all its mysteries. These composers and lyricists were in love with Love.
These tunes wed lyrics and music into songs that were crafted by songwriting teams originally centered around Tin Pan Alley; The Brill Building on Broadway in Mid town Manhattan. These songwriting teams in many cases split the composing tasks along functional lines: one writing the music and on writing the lyrics. The composers were writing vehicles for others to perform and usually pitched the tunes in the context of a Broadway or Hollywood musical. They were cranking out tunes for the Hollywood and Broadway dream factories at a prodigious pace. They really worked! Cranking out so many songs, they have a tossed off, effortless quality and a guileless directness. They feel unpretentious and casual: genuine and authentic. But their craft and genius raise these songs to high art.
Many of these tunes became popular hits in their own right, lifted out of the shows and movies, and have been recorded by all the great performers. Fred Astaire debuted many of these tunes and was a favorite of the writing teams. He was known as much for his singing as his dancing! Diana Krall, Harry Connick Jr. and Michael Buble are some of the latest to pay homage to the songbook.
Musical Theatre History
The document provides a detailed history of musical theatre from its origins to modern day. It notes that Show Boat in 1927 was a pivotal musical, being the first to integrate music with plot and address social issues. Other important developments included Oklahoma! introducing dance to advance plot, and West Side Story bringing a modern perspective to Romeo and Juliet with music by Leonard Bernstein. Contemporary musicals combine elements of past innovations with new styles like pop music.
Chapter 34 - Jazz & Popular Music Between the Wars
This document provides an overview of musical theater and popular music between the World Wars. It discusses the growth of musical theater in America during the 1920s Golden Age of Tin Pan Alley, with important works like Show Boat. Songwriters of the era included Irving Berlin, Cole Porter, and George Gershwin. Jazz grew increasingly influential, including blues styles like Delta blues performed by Bessie Smith. Big bands and Swing music rose to popularity in the 1920s-1930s led by bandleaders like Duke Ellington. Film music also developed during this time, with Broadway composers contributing to movie musicals and the emergence of composers for film scores, like Max Steiner.
Team Ezio
The document provides biographical information about Joseph Goebbels, a 20th century Austrian composer, and details about his piece "Mein Ohr". Goebbels graduated from Vienna University in 1908 and helped run various musical organizations. "Mein Ohr" was composed between 1920-1930 and premiered in New York. The piece is written for full orchestra and follows strict 12-tone serialism techniques. It uses symmetrical structures like palindromes and canons.
Team Ezio
The document provides biographical information about Joseph Goebbels, a 20th century Austrian composer, and details about his piece "Mein Ohr". Goebbels graduated from Vienna University in 1908 and helped run various musical organizations. "Mein Ohr" was composed between 1920-1930 and premiered in New York. The piece is written for full orchestra and follows strict 12-tone serialism techniques. It uses symmetrical structures like palindromes and canons.
Music in film
The document discusses the history of music in film from its roots in Greek melodramas to modern composers like Cole Porter and Dustin O'Halloran. It examines how composers like Porter contributed popular songs to films and broadened the role of music in movies. The document also profiles rising composer Dustin O'Halloran and concludes with an interview of another young pianist discussing their background and influences.
Chapter 35 - Between the Wars - France & the U.S.
Between World War I and II, French composers sought to escape old political dichotomies and were influenced by neoclassicism and Erik Satie. Les Six, including Darius Milhaud, Francis Poulenc, and Germaine Tailleferre, had highly individual styles that drew from diverse influences. Poulenc wrote art songs, operas like Dialogues of the Carmelites, and was openly gay. In the U.S., Edgard Varèse aimed to liberate music from conventions through spatial sound masses. Henry Cowell experimented with new piano techniques while Ruth Crawford Seeger composed serial works and collected folk songs. George Gershwin and Aaron Copland fused classical and
History of music videos
This document provides a brief history of music from 1927 to 1994 through mentioning important events, films, albums, and TV shows. It notes the invention of the phonograph in 1877, Sergei Eisenstein's 1938 film Alexander Nevsky being the first of his films to use sound, Walt Disney's 1940 animated film Fantasia set to classical music, the 1952 musical film Singin' in the Rain and 1957 musical West Side Show inspired by Romeo and Juliet. It also summarizes British TV shows Ready Steady Go! from 1963-1966, Top of the Pops from 1964-2005 that helped popularize music videos, and the launch of MTV in 1981 exclusively playing music videos.
The Great American Songbook
There are few things more precious and interesting than a Golden Age. There was a Golden Age of a particular kind of music that ran from the twenties through the fifties: the golden age of popular standards; the songs that constitute The Great American Song Book. These tunes were written by dapper, creative giants like Cole Porter, Rodgers and Hart, the Gershwins, Johnny Mercer, Hoagy Charmichael, Jerome Kern, and Dorothy Fields. Urbane sophisticated talents who created a body of work that effortlessly captures that urbanity and sophistication.
They created tunes focused on the subject of romantic love and exploring all the stages and aspects of the arc of a great love affair: from the initial “walking on air” to the jaded ennui of “never again”. They were obsessed with this theme and subject. Describing, exploring, and driving deep into all its mysteries. These composers and lyricists were in love with Love.
These tunes wed lyrics and music into songs that were crafted by songwriting teams originally centered around Tin Pan Alley; The Brill Building on Broadway in Mid town Manhattan. These songwriting teams in many cases split the composing tasks along functional lines: one writing the music and on writing the lyrics. The composers were writing vehicles for others to perform and usually pitched the tunes in the context of a Broadway or Hollywood musical. They were cranking out tunes for the Hollywood and Broadway dream factories at a prodigious pace. They really worked! Cranking out so many songs, they have a tossed off, effortless quality and a guileless directness. They feel unpretentious and casual: genuine and authentic. But their craft and genius raise these songs to high art.
Many of these tunes became popular hits in their own right, lifted out of the shows and movies, and have been recorded by all the great performers. Fred Astaire debuted many of these tunes and was a favorite of the writing teams. He was known as much for his singing as his dancing! Diana Krall, Harry Connick Jr. and Michael Buble are some of the latest to pay homage to the songbook.
Franz lizst, Claude Debussy, Johann Pachelbel
Franz Lizst was a famous 19th century Hungarian pianist and composer known for pieces like Liebesträume No. 3 and the Hungarian Rhapsodies. He was one of the greatest piano players ever and often broke piano strings with his powerful playing style. Claude Debussy was a leading 20th century French composer who helped develop modern classical music with dreamy, impressionistic works like Clair de lune and Prélude à l'après-midi d'un faune. Johann Pachelbel was a 17th century German composer best known today for his iconic Canon in D, though he was very popular as an organist during his lifetime.
George Landen Dann
George Landen Dann was one of Queensland's first major playwrights, writing plays for the stage and radio from the 1930s to the 1970s. He was also one of the first (white) Australian playwrights to write about Indigenous issues, with his first major work 'In Beauty It Is Finished' being the subject of significant controversy when first staged in 1931. Many of his works have never been published before but in 2013 Playlab is publishing several for the first time as part of their 'New Vintage Collection' http://www.playlab.org.au . I have been researching his life and works and written introductions to those works. If you are interested in my journey of discovery see http://neomemoriatechnica.wordpress.com/by-george/
Ragtime and Tin Pan Alley
Ragtime and Tin Pan Alley were influential genres that emerged in the late 19th century. Ragtime originated in African American communities and was characterized by syncopated rhythms. It was mostly associated with piano music. Tin Pan Alley referred to the music publishing industry centered on West 28th Street in New York City. Songwriters would compose popular songs in a formulaic style, focusing on short, memorable choruses. Major composers like Scott Joplin, Ernest Hogan, Irving Berlin, and George Gershwin emerged from Ragtime and Tin Pan Alley, helping to shape early 20th century popular music in America.
Similar to Bernard herrmann (20)
Chapter 55 Underscoring Meaning: Williams and Music for Film
Chapter 55 Underscoring Meaning: Williams and Music for Film
The Great American Songbook Composers and Their Greatest Songs
The Great American Songbook Composers and Their Greatest Songs
Chapter 34 - Jazz & Popular Music Between the Wars
Chapter 34 - Jazz & Popular Music Between the Wars
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2) Common instruments include lutes, small drums, and simple reed instruments. Performance involves long study under a master and small ensembles.
3) Classical traditions vary by region but all value improvisation and oral transmission of repertoire. The Taliban severely banned music in Afghanistan in the late 20th century, punishing and killing offenders.
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This document discusses the history and development of musicology. It notes that traditionally, musicology focused on 19th century European art music and reflected the social constructs of that era. However, music has diversified and musicology was in a state of crisis by the late 20th century for failing to account for this. The document examines how thinking about music was shaped by figures like Beethoven and explores efforts to reposition musicology through historical performance, ethnomusicology, gender studies, and recognizing music as a cultural construct rather than natural phenomenon.
What is musicology 2013
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Week 20 islam and asia 2013
The document discusses music traditions in North Africa and the Middle East. It covers several key points:
1) Music in the Islamic world is based on melody and rhythm rather than harmony. Theory focuses on scales and tonal systems different from the West.
2) Common instruments include lutes, small drums, and simple reed instruments. Performance involves long study under a master and small ensembles.
3) Classical styles vary by region, such as the modal system in Persian music and maqam theory in Arabic music. Sufi traditions also influence music.
4) The Taliban severely banned music in Afghanistan in the 1990s, punishing people caught listening to or performing music.
Week 8 australian music 2012
Aboriginal Australians arrived over 40,000 years ago and developed a rich cultural tradition centered around music, dance, art, and spirituality. Their culture is orally passed down through songlines that describe the landscape and history. Music and dance are intrinsically linked to rituals, storytelling, and cultural practices. While colonization disrupted traditional ways of life, aspects of Aboriginal culture have survived and some communities actively work to revive language and traditions. Music varies regionally but is united in its spiritual significance and role in cultural identity.
Week 7 2013 musicality
Musicality is culturally specific and connected to esthetics. While some view musical ability as innate, others see it as learned through enculturation processes from a very early age. Blacking's work with the Venda people showed that musicality was universal among them and not restricted to professional musicians. The social functions of music often reflect and reinforce the social structure of a culture.
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This document defines and describes different aspects of "swing" including:
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2) It also describes the big band jazz style known as swing that featured larger ensembles playing arrangements of popular songs of the era.
3) The swing style was popularized by famous big bands on recordings and overseas tours during World War 2, helping cement its influence and popularity.
Punk 2014
Punk emerged in the UK from 1975-1978 as a reaction to economic and political instability. It began in London influenced by American underground scenes and situated art movements. Punk bands like the Sex Pistols and Ramones played fast, loud music and adopted provocative styles that challenged cultural norms. Punk expressed the disaffection of working-class youth and aligned itself with Rastafarian culture. While short-lived, punk had a lasting impact on music and youth culture.
Popular music 1900 30 2013
This document provides an overview of popular music before World War 2 in Britain and America. It discusses the rise of mass culture and popular music genres like minstrel shows, Tin Pan Alley, vaudeville, musicals, jazz, and brass bands. In Britain, key developments included the growth of music halls, social dancing, and the BBC promoting light entertainment. The document examines early popular music stars on both sides of the Atlantic.
Period perf and instruments 2013
This document discusses the history of the early music revival movement from the 19th century to present day. It covers key figures like Mendelssohn, Dolmetsch, and Deller who helped revive interest in early music. It also discusses the development of period instrument making and performances, as well as changing views around authenticity and historical performance practice over time. The text examines primary sources that inform interpretations of early music and issues surrounding reproducing historical performance styles today.
Performance practice 2013– performance as discipline
This lecture discusses the development of historical performance practices over the last 100 years. It explores how understanding the musical world and performance conditions during a composer's era can help performers recreate how the music was intended to be played. However, some argue this limits self-expression and ignores how musical traditions have evolved. The field continues to be debated, but as a performer it is important to have awareness of these issues rather than ignore performance practice ideas.
Peking opera 2014
Beijing Opera has four main roles - Sheng, Dan, Jing, and Chou. Sheng are male roles like warriors or gentlemen, while Dan are female like noblewomen or charming girls. Jing roles have painted facial makeup indicating complex personalities, and Chou are clowns. Key techniques include singing, speaking, acting, and fighting. The orchestra accompanies with percussion for action and strings/winds for emotion. Famous performer Mei Lanfang mastered vocal and physical skills across different roles.
Opera text and song 2014
This document provides an overview of opera as an art form, including its history, key developments, and relationship between music and words. It discusses how opera has changed over the past 400 years, moving from private patronage to public theaters. It also considers the ongoing debate around public funding for opera, noting that while it struggles for commercial viability, it receives significant government subsidies compared to other art forms.
North american music 2014
This document discusses the musical traditions of North American native peoples. It describes how music played an integral role in native cultures, being closely tied to religious rituals, dances, and ceremonies. It also discusses the various regional musical styles among different native tribes, such as the Plains tribes' high piercing vocal style accompanied by percussion. The document notes that while native traditions have continued adapting in modern times, many were negatively impacted by European colonization and the loss of native lands and identities.
Music and gender 2013
This document discusses how music has traditionally been gendered, with certain activities prohibited or restricted for women. It examines how music was seen as effeminate in some societies and how gender roles shaped what instruments were played and who controlled the music industry. Feminist musicology emerged in the 1970s to question where women were in music history and how they were represented. It seeks to understand how music teaches gender roles and reshape musicology to consider it as a social and cultural practice rather than an autonomous art.
Mediterranean traditions
This document summarizes the musical traditions of the Northern Mediterranean region, focusing on Southern Europe and the Mediterranean islands. It describes the prevalence of folk traditions involving instrumental music, dance, and song that are often associated with regional costumes, instruments, and festivals. Specific traditions are discussed for countries like Spain, France, Italy, and islands like Mallorca, Sardinia, Malta that involve styles of bagpipes, pipe and tabor ensembles, polyphonic singing, and the use of vocal and instrumental drones.
Klezmer presentation 2014
Klezmer is a musical tradition originating from Ashkenazi Jewish communities in Eastern Europe. It developed in parallel with Hasidic and Yiddish culture. Klezmer music was performed by musicians called klezmorim at celebrations and events like weddings. There are distinctive Klezmer styles from various Jewish diaspora communities across Eastern Europe and the Sephardic musical tradition has its origins in 15th century Spain. Klezmer was revived in the late 20th century and continues to evolve while drawing from traditional styles and instruments.
Jazz today global
This document summarizes the development of jazz music over several decades from the 1960s to the 2000s. It outlines some of the major jazz artists and styles that were prominent in each decade, such as Miles Davis and John Coltrane in the 1960s, jazz fusion and jazz rock in the 1970s, the rise of smooth jazz in the 1980s, and modern pianists like Brad Mehldau and saxophonists like Joshua Redman in the 2000s. Older jazz legends like Herbie Hancock and Wayne Shorter continued performing into the 2000s as well.
Jazz today global
This document provides an overview of the development of jazz music from the 1960s to the 2000s. It highlights influential jazz artists from each decade such as Miles Davis and John Coltrane in the 1960s, Herbie Hancock, Keith Jarrett, and Pat Metheny in the 1970s, the Marsalis brothers and Miles Davis in the 1980s, and Brad Mehldau, Joshua Redman, and Terence Blanchard in the 2000s. The document also notes the emergence of different jazz styles in each decade like jazz fusion, acid jazz, and smooth jazz.
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Bernard herrmann
- 3. Background • 1911-1975 • Berlioz Treatise on Orchestration • Enthusiast of Ives • Met Orson Welles in 1937 • War of the Worlds (radio) • Citizen Kane (1941) • Vertigo (1958) • North by Northwest (1959) • Psycho (1960) • Fahrenheit 451 (1966) • La mariée était en noir (1967) • Sisters (1973) • Obsession (1976) • Taxi Driver (1976) • Opera – Wuthering Heights • Symphony
- 4. Herrmann on structure • ‘I decided I would take the old musical form of leitmotif, in other words a theme that is transformed incessantly. So the very first bars I wrote are a series of a few notes that dominate the entire film, no matter what’s happening. In my mind it was a sort of variant of the ancient hymn Dies Irae.’ • Herrmann, quoted in Gilling, 1974: 12-14
- 5. Herrmann on process • ‘Mr Welles… cut his film to suit the complete [musical] numbers rather than doing what is ordinarily done - i.e. cut the music to suit the film.’ • Herrmann, quoted in Predergast, 1992: 56
- 6. Vertigo • 1958 • Score recorded in London and Vienna because of musicians’ strike • Avoids leitmotif except for Madeline • Much pastiche
- 8. Chase
- 9. Recuperation
- 10. Restaurant
- 12. Liebestod
- 13. Madeline motif
- 14. Car
- 15. Church
- 17. Water
- 18. Tower
- 19. Psycho
- 20. Reading • Cooper, David. 2001. Bernard Herrmann’s Vertigo: A Film Score Handbook. Westport: Greenwood. • Smith, Stephen C. 1991. A Heart at Fire’s Centre: The Life and Music of Bernard Herrmann.Los Angeles: UCL Press. • Sullivan, Jack. 2006. Hitchcock’s Music. Massachusetts: Yale U.P.
- 21. Citizen Kane • Orson Welles • 12 weeks to compose score – during editing process • Leitmotif for Kane and for Rosebud • Dies Irae - influenced by Rachmaninov Isle of the Dead • Music which was intended only as atmospheric background should be originally written for that purpose, and not toned down in the dubbing room. In other words, the dynamics of all music in the picture should be planned ahead of time so that the final dubbing is merely a transference process. [Cooper: 2001, 5]
- 23. • ‘The emotional impact of these numbers [in Citizen Kane] was much greater than that of background music which has no real beginning or ending.’ • Herrmann, quoted in Prendergast, 1992: 56