The purpose of this book, through its very creation, is to strengthen the dialogue between practitioner and theorist. To that end, a film academic and musicologist have collaborated as editors on this book, which is in turn comprised of interviews with composers alongside complementary chapters that focus on a particular feature of the composer's approach or style. These chapters are written by a fellow composer, musicologist, or film academic who specializes in that element of the composer's output. In the interview portions of this book, six major film composers discuss their work from the early 1980s to the present day: Carter Burwell, Mychael Danna, Dario Marianelli, Rachel Portman, Zbigniew Preisner, and A.R. Rahman. The focus is on the practical considerations of film composition, the relationship each composer has with the moving image, narrative, technical considerations, personal motivations in composing, the relationships composers have with their directors, and their own creative processes. Contemporary Film Music also explores the contemporary influence of electronic music, issues surrounding the mixing of soundtracks, music theory, and the evolution of each composer's musical voice.

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Yes, you can access Contemporary Film Music by Lindsay Coleman, Joakim Tillman, Lindsay Coleman,Joakim Tillman in PDF and/or ePUB format, as well as other popular books in Media & Performing Arts & Music. We have over one million books available in our catalogue for you to explore.

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Year

Print ISBN

eBook ISBN

Topic

Media & Performing Arts

Subtopic

Music

Acknowledgements
Contents
Notes on Contributors
List of Figures
Chapter 1: Introduction
Chapter 2: A.R. Rahman Interview
Chapter 3: The ‘Alternate Space’ of A.R. Rahman’s Film Music
Chapter 4: Zbigniew Preisner Interview
Chapter 5: Music by Zbigniew Preisner? Fictional Composers and Compositions in the Kieślowski Collaborations
Chapter 6: Carter Burwell Interview
Chapter 7: Burwell and Space: Inner, Outer, Environmental and Acoustical
Chapter 8: Rachel Portman Interview
Chapter 9: Eero Tarasti and the Narratological Construction of Rachel Portman’s Emma
Chapter 10: Dario Marianelli Interview
Chapter 11: Solo Instruments and Internal Focalization in Dario Marianelli’s Pride & Prejudice and Atonement
Chapter 12: Mychael Danna Interview
Chapter 13: Mychael Danna: Music as Metaphor
Chapter 14: John Williams and Contemporary Film Music
Chapter 15: Musical Syntax in John Williams’s Film Music Themes
Index

About this book

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Table of contents