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Complete guide to film scoring : the art and business of writing music for movies and TV / Richard Davis.

By: Material type: TextTextSeries: Publication details: Boston, MA : Berklee Press ; Milwaukee, Wis. : Distributed by Hal Leonard, c2010.Edition: 2nd edDescription: xi, 410 p. : ill. ; 23 cmISBN:
  • 9780876391099 (pbk.)
  • 0876391099 (pbk.)
Other title:
  • Film scoring
  • Art and business of writing music for movies and TV
  • Writing music for movies and TV
Subject(s): DDC classification:
  • 781.5 DAV
Contents:
The history of film music: Early films and music : the silent movies ; The first talkies : the beginning of synchronized music ; The studio system and the studio music department ; Musical styles 1930 to 1950 : the golden age of Hollywood ; Musical styles 1950 to 1975 ; 1975 to today ; Film-scoring technology -- Production: The film-making process ; The composer\'s time frame ; Spotting ; The music editor ; The music team : orchestrators and music preparation ; The recording session and mix -- The music: Creating the music ; Technical requirements of the score ; Syncing the music to picture ; Television ; Ethnic and period music ; Animation ; Songs, soundtracks, and source music -- The business of film scoring: Making the deal : agents, attorneys, and contracts ; Publishing and copyrights ; Royalties ; Demos and marketing ; Finding work -- Interviews: Elmer Bernstein ; Terence Blanchard ; Alf Clausen ; Cliff Eidelman ; Danny Elfman ; Richard Gibbs ; Elliot Goldenthal ; Michael Gorfaine & Sam Schwartz ; Harry Gregson-Williams ; Mark Isham ; Michael Kamen ; Mark Mancina ; David Newman ; David Raksin ; Lolita Ritmanis ; William Ross ; Marc Shaiman ; Alan Silvestri ; Mark Snow ; Richard Stone ; Shirley Walker.
Summary: A guide to the business, process, and procedures for writing music for film or television. Includes interviews with film scoring professionals.
Holdings
Item type Current library Call number Copy number Status Date due Barcode
Standard Loan Moylish Library Main Collection 781.5 DAV (Browse shelf(Opens below)) 1 Available 39002100443770

Enhanced descriptions from Syndetics:

(Berklee Guide). Essential for anyone interested in the business, process and procedures of writing music for film or television, this book teaches the Berklee approach to the art, covering topics such as: preparing and recording a score, contracts and fees, publishing, royalties, copyrights and much more. Features interviews with 21 top film-scoring professionals, including Michael Kamen, Alf Clausen, Alan Silvestri, Marc Shaiman, Mark Snow, Harry Gregson-Williams and Elmer Bernstein. Now updated with info on today's latest technology, and invaluable insights into finding work in the industry.

Includes bibliographical references and index.

The history of film music: Early films and music : the silent movies ; The first talkies : the beginning of synchronized music ; The studio system and the studio music department ; Musical styles 1930 to 1950 : the golden age of Hollywood ; Musical styles 1950 to 1975 ; 1975 to today ; Film-scoring technology -- Production: The film-making process ; The composer\'s time frame ; Spotting ; The music editor ; The music team : orchestrators and music preparation ; The recording session and mix -- The music: Creating the music ; Technical requirements of the score ; Syncing the music to picture ; Television ; Ethnic and period music ; Animation ; Songs, soundtracks, and source music -- The business of film scoring: Making the deal : agents, attorneys, and contracts ; Publishing and copyrights ; Royalties ; Demos and marketing ; Finding work -- Interviews: Elmer Bernstein ; Terence Blanchard ; Alf Clausen ; Cliff Eidelman ; Danny Elfman ; Richard Gibbs ; Elliot Goldenthal ; Michael Gorfaine & Sam Schwartz ; Harry Gregson-Williams ; Mark Isham ; Michael Kamen ; Mark Mancina ; David Newman ; David Raksin ; Lolita Ritmanis ; William Ross ; Marc Shaiman ; Alan Silvestri ; Mark Snow ; Richard Stone ; Shirley Walker.

A guide to the business, process, and procedures for writing music for film or television. Includes interviews with film scoring professionals.

Table of contents provided by Syndetics

  • Acknowledgements (p. vii)
  • Preface to the Second Edition (p. viii)
  • Introduction (p. x)
  • Part I The History of Film Music (p. 1)
  • Chapter 1 Early Films and Music: The Silent Movies (p. 3)
  • Chapter 2 The First Talkies: The Beginning of Synchronized Music (p. 13)
  • Chapter 3 The Studio System and The Studio Music Department (p. 19)
  • Chapter 4 Musical Styles-1930 to 1950: The Golden Age of Hollywood (p. 27)
  • Chapter 5 Musical Styles 1950 to 1975 (p. 35)
  • Chapter 6 1975 to Today (p. 45)
  • Chapter 7 Film-Scoring Technology (p. 55)
  • Part II Production (p. 65)
  • Chapter 8 The Film-Making Process (p. 67)
  • Chapter 9 The Composer's Time Frame (p. 79)
  • Chapter 10 Spotting (p. 87)
  • Chapter 11 The Music Editor (p. 93)
  • Chapter 12 The Music Team: Orchestrators and Music Preparation (p. 109)
  • Chapter 13 The Recording Session and Mix (p. 119)
  • Part III The Music (p. 127)
  • Chapter 14 Creating the Music (p. 129)
  • Chapter 15 Technical Requirements of the Score (p. 139)
  • Chapter 16 Syncing the Music to Picture (p. 151)
  • Chapter 17 Television (p. 163)
  • Chapter 18 Ethnic and Period Music (p. 171)
  • Chapter 19 Animation (p. 179)
  • Chapter 20 Songs, Soundtracks, and Source Music (p. 189)
  • Part IV The Business of Film Scoring (p. 203)
  • Chapter 21 Making the Deal: Agents, Attorneys, and Contracts (p. 205)
  • Chapter 22 Publishing and Copyrights (p. 217)
  • Chapter 23 Royalties (p. 231)
  • Chapter 24 Demos and Marketing (p. 245)
  • Chapter 25 Finding Work (p. 255)
  • Part V Interviews (p. 263)
  • Elmer Bernstein (p. 264)
  • Terence Blanchard (p. 270)
  • Alf Clausen (p. 276)
  • Cliff Eidelman (p. 281)
  • Danny Elfman (p. 286)
  • Richard Gibbs (p. 293)
  • Elliot Goldenthal (p. 299)
  • Michael Gorfaine & Sam Schwarts (p. 305)
  • Harry Gregson-Williams (p. 310)
  • Mark Isham (p. 316)
  • Michael Kamen (p. 322)
  • Mark Mancina (p. 329)
  • David Newman (p. 333)
  • David Raksin (p. 338)
  • Lolita Ritmanis (p. 345)
  • William Ross (p. 351)
  • Marc Shaiman (p. 356)
  • Alan Silvestri (p. 366)
  • Mark Snow (p. 372)
  • Richard Stone (p. 377)
  • Shirley Walker (p. 382)
  • End Notes (p. 388)
  • Resources (p. 389)
  • About the Author (p. 393)
  • Index (p. 394)

Author notes provided by Syndetics

Author and journalist Richard Harding Davis was born in Philadelphia on April 18, 1864. After studying at Lehigh and Johns Hopkins universities, he became a reporter and in 1890, he was the managing editor of Harper's Weekly. On assignments, he toured many areas of the world and recorded his impressions of the American West, Europe, and South America in a series of books. As a foreign correspondent, he covered every war from the Greco-Turkish to World War I and published several books recording his experiences.

In 1896, he became part of William Randolph Hearst's unproven plot to start the Spanish-American War in order to boost newspaper sales when Hearst sent him and illustrator Frederick Remington to cover the Cuban rebellion against Spanish rule. In Cuba, Davis wrote several articles that sparked U.S. interest in the struggles of the Cuban people, but he resigned when Hearst changed the facts in one of his stories. Davis was aboard the New York during the bombing of Mantanzas, which gave the New York Herald a scoop on the war. As a result, the U.S. Navy prohibited reporters from being aboard any U.S. ships for the rest of the Cuban conflict.

Davis was captured by the German Army in 1914 and was threatened with execution as a spy. He eventually convinced them he was a reporter and was released. He is considered one of the most influential reporters of the yellow journalist era. He died in Mount Kisco, New York on April 11, 1916.

(Bowker Author Biography)

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