1st Edition

The Routledge Film Music Sourcebook

Edited By James Wierzbicki, Nathan Platte, Colin Roust Copyright 2012
    408 Pages
    by Routledge

    424 Pages
    by Routledge

    The Routledge Film Music Source Book is an annotated, thematically organized collection of approximately eighty source readings pertaining to film music dating from its beginnings to the present, from the US and other select countries around the globe. The documents represent a wide variety of music-related issues that were heatedly debated during cinema’s early decades and which by and large remain of concern today.

    Each document is prefaced by a brief introduction that gives details on both the author and the particular issue at hand. Also, each group of documents is prefaced by a longer introduction that puts into historical context the collective information and opinions that follow. The organizational scheme is at the same time chronological and thematic in a pattern that alternates between aestehetic and practical considerations.

    Part I: “Silent” Film  1. Early Approaches to Film Accompaniment  1.1 Music for the Picture Clarence E. Sinn  1.2 Playing the Pictures Clyde Martin  1.3 Jackass Music Lou Reeves Harrison  2. Dreams of the Future  2.1 Music for the Movies Carl Van Vechten  2.2 The Surveys of Le Film: Music and the Cinema  3. Practical Advice in the Heyday of the Silent Film  3.1 Musical Accompaniment to the Feature Picture Erno Rapee  3.2 Scoring a Motion Picture Victor Wagner  3.3 The Artistic Feature Film and Music: Its Genres Hans Erdmann  Part II: Early Sound Film  4. Transitional Concerns  4.1 Music and the Cinema Edwin Evans  4.2 About the Music to New Babylon Dmitry Shostakovich  4.3 Experimenting with Sound Films Darius Milhaud  5. Accounts of the Sound Film’s Early Years  5.1 Musical Picture Quietly Undergoes Renaissance Philip K. Scheurer  5.2 Musical Pictures Are Here Again Helen Louise Walker  5.3 Film Experiences Its Sanest Development Edwin Schaller  6. Debates on the Future of Music in Sound Films  6.1 A Little about Movie Music Virgil Thomson  6.2 Music and the Synchronized Film Clarence Raybould  6.3 Musical Surprises Azary Azarin  6.4 The Experience of the Composer Nikolai Krykov  Part III: Music in the Classical-Style Film  7. Practical Advice as Film Music’s “Classical Style” Takes Shape  7.1 Film Music Arthur Benjamin  7.2 On the Hollywood Front George Antheil  7.3 History of Motion Picture Music Franz Waxman  7.4 Memoranda David O. Selznick  8. Aesthetic Squabbles  8.1 Music and Cinema: An Impossible Marriage Gianandrea Gavazzeni  8.2 Music and Cinema: A Difficult Marriage Fedele d’Amico  8.3 Music and the Screen Erich Leinsdorf  8.4 Music in Films—A Rebuttal Bernard Herrmann  8.5 Heard Melodies Bosley Crowther  Part IV: The Postwar Years  9. European vs. American Attitudes  9.1 Music: Congress at Florence Antony Hopkins  9.2 Film Music of the Quarter Lawrence Morton  9.3 Hollywood Orchestrators: The Dragon Shows Its Teeth Hans Keller  9.4 How Film Music Was Born and How It Is Made Today Georges Auric  10. Foreign Ideas  10.1 A Few Ideas about Music and Film John Cage  10.2 Concrete Music Pierre Schaeffer  10.3 On Using Musical Instruments in Film Music Wang Yunjie  11. Stylistic Novelties  11.1 Scorers Skip Classics, Seek New Approach Philip K. Sheurer  11.2 Three Movie Scores Issued on LP Disks John S. Wilson  11.3 British Rattled by Rock ’n’ Roll Thomas P. Ronan  11.4 Reviews of The Girl Can’t Help It and Rock, Pretty Baby Mae Tinee  11.5 The First Electronic Filmscore—Forbidden Planet Jane Brockman  11.6 Electronic Reinforce Andromeda Film Score Martin Bernheimer  Part V: Changing Times  12. Gloom and Doom  12.1 What Ever Happened to Great Movie Music? Elmer Bernstein  12.2 Whatever Became of Movie Music? David Raksin  13. Plenty of Optimism  13.1 Sound and Fury over Film Music Charles Champlin  13.2 Notes from a Subculture Leonard Rosenman  13.3 You May Not Leave the Movie House Singing Their Songs, But … Charles Higham  Part VI: The Business of Film Music  14. Labor Pains  14.1 The 1958 Strike  14.2 The 1980 Strike  14.3 Newer Developments  15. Soundtrack Albums  15.1 Music Is Now Profit to the Ears of Filmmakers Vincent Canby  15.2 The Sound of (Movie) Music: Re-Releases of Soundtracks Past Tom Shales  15.3 Movie Music: Is It Becoming Hit or Miss? Steven Smith  Part VII: A Whole New World  16. New Instruments  16.1 Synthesizer Upstarts Conquer Hollywood Jeff Burger  16.2 Computers in the Movies: How Desktop PCs Help Create Hollywood’s Amazing Music and Sound Effects Lachlan Westfall  16.3 The Unreal Orchestra, Part 1: The Virtual Film Score Michael Prager  16.4 Sound for Picture: Hans Zimmer’s Scoring Collective—Composer Collaboration at Remote Control Productions Matt Hurwitz  17. New Methods  17.1 Making Soundtracks Jeff Rona  17.2 Music in Movies and TV: Filling the Bill Nick Krewen  17.3 Music Business Insider: Q&A: Jack Rudy Mike Levine  Part VIII: Today, Tomorrow  18. Fin de siècle  18.1 Film Music Has Two Masters Donal Henahan  18.2 In Hollywood, Discord on What Makes Music David Mermelstein  18.3 Keeping Scores: Good Old-Fashioned Movie Music Is as Healthy as It Ever Was James Hunter  18.4 Many Ways to Score Catherine Applefeld Olson  19. Onward and Upward?  19.1 Taking Movie Music Seriously, Like It Or Not David Schiff  19.2 The Soundtrack Game Is Attracting Fresh and Edgy Artists Dylan Callaghan  19.3 When Is Film Music Classical? Jed Distler  19.4 Hollywood Composers Tune In for Rare Gathering Kevin Cassidy  19.5 127 Hours and Other Films Take Experimental Turns in Music Todd Martens 


    James Wierzbicki teaches Musicology at the University of Sydney.

    Nathan Platte teaches Musicology at the University of Iowa.

    Colin Roust teaches Music History at Roosevelt University's Chicago College of the Performing Arts.

    "A useful resource for the history of film music as well as the composers' perspectives on the subject and their own creative purposes in scoring films. Summing Up: Recommended."
    --CHOICE, March 2012 (M. Goldsmith, Nicholls State University)