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Settling the Score: Music and the Classical Hollywood Film
University of Wisconsin Press, 1992 Paper: 978-0-299-13364-1 | eISBN: 978-0-299-13363-4 | Cloth: 978-0-299-13360-3 Library of Congress Classification ML2075.K34 1992 Dewey Decimal Classification 781.5420973
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
ABOUT THIS BOOK
Beginning with the earliest experiments in musical accompaniment carried out in the Edison Laboratories, Kathryn Kalinak uses archival material to outline the history of American music and film. Focusing on the scores of several key composers of the sound era, including Erich Wolfgang Korngold’s Captain Blood, Max Steiner’s The Informer, Bernard Herrmann’s The Magnificent Ambersons, and David Raksin’s Laura, Kalinak concludes that classical scoring conventions were designed to ensure the dominance of narrative exposition. Her analyses of contemporary work such as John Williams’ The Empire Strikes Back and Basil Poledouris’ RoboCop demonstrate how the traditions of the classical era continue to influence scoring practices today. See other books on: Classical Hollywood Film | Kalinak, Kathryn | Motion picture music | Score | Settling See other titles from University of Wisconsin Press |
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![](https://www.bibliovault.org/thumbs/978-0-226-74325-7-thumb.jpg "The Comedians of the King: "Opéra Comique" and the Bourbon Monarchy on the Eve of Revolution")
Settling the Score: Music and the Classical Hollywood Film
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
University of Wisconsin Press, 1992
Paper: 978-0-299-13364-1
eISBN: 978-0-299-13363-4
Cloth: 978-0-299-13360-3
Paper: 978-0-299-13364-1
eISBN: 978-0-299-13363-4
Cloth: 978-0-299-13360-3
Beginning with the earliest experiments in musical accompaniment carried out in the Edison Laboratories, Kathryn Kalinak uses archival material to outline the history of American music and film. Focusing on the scores of several key composers of the sound era, including Erich Wolfgang Korngold’s Captain Blood, Max Steiner’s The Informer, Bernard Herrmann’s The Magnificent Ambersons, and David Raksin’s Laura, Kalinak concludes that classical scoring conventions were designed to ensure the dominance of narrative exposition. Her analyses of contemporary work such as John Williams’ The Empire Strikes Back and Basil Poledouris’ RoboCop demonstrate how the traditions of the classical era continue to influence scoring practices today.
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
