On the Track

A Guide to Contemporary Film Scoring

Fred Karlin, Rayburn Wright

• Éditeur: Routledge
• Année: 2013
• ISBN:
  9781135948023
• Édition: 2
• Sujet: Médias et arts de la scène
• Sous-sujet: Théorie et appréciation de la musique

On the Track offers a comprehensive guide to scoring for film and television. Covering all styles and genres, the authors, both noted film composers, cover everything from the nuts-and-bolts of timing, cuing, and recording through balancing the composer's aesthetic vision with the needs of the film itself. Unlike other books that are aimed at the person "dreaming" of a career, this is truly a guide that can be used by everyone from students to technically sophisticated professionals. It contains over 100 interviews with noted composers, illustrating the many technical points made through the text.

Index

• Pages with photographs are bold face.
• Significant subentries with the Index include: Budgets, Business, Composing, (the) Director, Dubbing, Electronic music and scoring, Ethnic/geographic, Harmony, Orchestration, Playing the drama, Recording: Scoring/the scoring stage, Role models, Scoring for television, Songs for films, Spotting the film, Timings and clicks, Using contemporary music, and Using rhythm.

A

• Acoustic recreations (electronic), 369–370
• Acting, importance to composer, 37
• Adagio for Strings (Samuel Barber), 30 and 467 (in Platoon)
• Adaptation, music used, scores written, Breaking Away (Mendelssohn and Rossini), 30, 60, 219
  • Mendelssohn, Felix, 24, 219
  • Platoon (Adagio for Strings), 39, 467
  • Prizzi's Honor (Puccini and Rossini), 60, 187
  • Rossini, Gioacchino, 219
  • They Shoot Horses, Don't They?, 442
• Adapting a theme, 219
• Addison, John, 7, 221, 222, 323, 329, 365, 471, 473
• Affair of the Necklace, The 182, 183–184 (Fig. 11.1)
• Afterglow, (marked score) 345 (Fig. 18.1)
• A. F. of M. See American Federation of Musicians.
• Agents, composers', 58
  • composer/agent deal points, 462–463
• Agnes of God 132, 136 (Fig. 10.2), 150, 157 (Fig. 10.14), 176
• Agony and the Ecstasy, The, 195, 240
• A.I. Artificial Intelligence 142 (Fig. 10.6), 143, 177,...