Includes bibliographical references (pages 233-239) and index.

The language of music: a brief analysis of Vertigo -- A theory of film music -- The silent film score: a structural model -- The classical Hollywood film score: Captain Blood: a working model -- "Every character should have a theme": The informer: Max Steiner and the classical film score -- The "hysterical cult of the director": The magnificant Ambersons: music and theme -- "Not exactly classical, but sweet": Laura: new directions -- John Williams and "The empire" strike back: the eighties and beyond: classical meets contemporary.

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Annotation 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.

Electronic reproduction. [S.l.] : HathiTrust Digital Library, 2010.

Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002.

http://purl.oclc.org/DLF/benchrepro0212

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