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Musik und Stummfilm: Zusammenhänge und Fallbeispiele, 1895-1924
by Marks, Martin M. | HC | Good
US $28,19
Ca.CHF 22,90
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eBay-Artikelnr.:146637697478
Artikelmerkmale
- Artikelzustand
- Gut
- Hinweise des Verkäufers
- Binding
- Hardcover
- Book Title
- Music and the Silent Film
- Weight
- 1 lbs
- Product Group
- Book
- IsTextBook
- No
- ISBN
- 9780195068917
Über dieses Produkt
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0195068912
ISBN-13
9780195068917
eBay Product ID (ePID)
1134200
Product Key Features
Number of Pages
320 Pages
Language
English
Publication Name
Music and the Silent Film : Contexts and Case Studies, 1895-1924
Publication Year
1997
Subject
History & Criticism, Film / History & Criticism
Type
Textbook
Subject Area
Music, Performing Arts
Format
Hardcover
Dimensions
Item Height
0.9 in
Item Weight
22.6 Oz
Item Length
9.6 in
Item Width
6.4 in
Additional Product Features
Intended Audience
College Audience
LCCN
93-025082
Reviews
"The book is well worth it, considering the sheer amount of information it contains. The writing itself is clear and direct... Musically-savvy readers will probably be happy to see a scholarly film music book with not only substantial analytical discussions but also musical examples in abundance. "Anderson is especially interested in, and adept at, providng information of practical use to musicians and researchers in tracking down material. ... It is one of the most substantial studies of silent film music available, and it constitutes both a useful reference work and a solid inquiry in a field only just beginning to open up to historians."-- Journal of Film Music, "The book is well worth it, considering the sheer amount of information it contains. The writing itself is clear and direct... Musically-savvy readers will probably be happy to see a scholarly film music book with not only substantial analytical discussions but also musical examples in abundance. "Anderson is especially interested in, and adept at, providng information of practical use to musicians and researchers in tracking down material. ... It is one of the most substantial studies of silent film music available, and it constitutes both a useful reference work and a solid inquiry in a field only just beginning to open up to historians."--Journal of Film Music, "The book is well worth it, considering the sheer amount of information it contains. The writing itself is clear and direct... Musically-savvy readers will probably be happy to see a scholarly film music book with not only substantial analytical discussions but also musical examples inabundance."Anderson is especially interested in, and adept at, providng information of practical use to musicians and researchers in tracking down material. ... It is one of the most substantial studies of silent film music available, and it constitutes both a useful reference work and a solid inquiry in afield only just beginning to open up to historians."--Journal of Film Music, "The book is well worth it, considering the sheer amount of information it contains. The writing itself is clear and direct... Musically-savvy readers will probably be happy to see a scholarly film music book with not only substantial analytical discussions but also musical examples in abundance."Anderson is especially interested in, and adept at, providng information of practical use to musicians and researchers in tracking down material. ... It is one of the most substantial studies of silent film music available, and it constitutes both a useful reference work and a solid inquiry in a field only just beginning to open up to historians."--Journal of Film Music"The book is well worth it, considering the sheer amount of information it contains. The writing itself is clear and direct... Musically-savvy readers will probably be happy to see a scholarly film music book with not only substantial analytical discussions but also musical examples in abundance."Anderson is especially interested in, and adept at, providng information of practical use to musicians and researchers in tracking down material. ... It is one of the most substantial studies of silent film music available, and it constitutes both a useful reference work and a solid inquiry in a field only just beginning to open up to historians."--Journal of Film Music
Illustrated
Yes
Synopsis
In this book, a leading authority on film music examines scores of the silent film era. The first of three projected volumes investigating music written for films, this thoughtful and pathbreaking study demonstrates the richness of silent film music as it details the way in which scores were often planned from the start as an integral part of the whole cinematic experience. Following an introductory chapter that outlines several key theoretical questions and surveys eight decades of writing on film music, Martin Miller Marks focuses on those scores created between 1895 and 1924. He begins by considering two early examples, one German (written by persons unknown for Skladanowsky's Bioskop exhibitions in 1895 and 1896) and one French (scored by Camille Saint-Sa ns for the 1908 film L'Assassinat du Duc de Guise ). Subsequent chapters fully discuss Walter Cleveland Simon's music for the American film An Arabian Tragedy (1912) as well as the Joseph Breil accompaniment to D. W. Griffith's Birth of a Nation (1915). As described in this book, Breil's memorable score--though a compilation derived from many sources--was played by an orchestra as Griffith's sweeping images filled the screen, thus contributing significantly to the great film's success while also achieving remarkable power in its own right. Marks then concludes with a look at Erik Satie's witty and innovative music for the French film Entr'acte (1924), which was the first film score of consequence by an avant-garde composer. Giving unprecedented attention to a vibrant, important, and oft-neglected facet of twentieth-century music, Music and the Silent Film will interest scholars of film theory, film history, modern music, and modern aesthetics., Most people's view of silent film music is of a pianist playing old warhorse scores while watching the flickering screen. This innovative book shows that there was much more to silent film music and that often it was planned from the start as an integral part of the film. The first of three volumes investigating film music, this book devotes one chapter to films before 1900 and Camille Saint-Saëns's score for L'Assassinat du Duc de Guise (1908). Another chapter looks closely at film scores composed by Walter Cleveland Simon for several films of 1912. The two main chapters are devoted to significant films of the silent period, D.W. Griffith's The Birth of a Nation (1915) and René Clair's Entr'acte (1924). Breil's Birth of a Nation score was a compilation of many sources, but, when played by an orchestra accompanying the film in a theatre showing, it often matched the epic nature of the film and was one source of its great popularity., In this book, a leading authority on film music examines scores of the silent film era. The first of three projected volumes investigating music written for films, this thoughtful and pathbreaking study demonstrates the richness of silent film music as it details the way in which scores were often planned from the start as an integral part of the whole cinematic experience. Following an introductory chapter that outlines several key theoretical questions and surveys eight decades of writing on film music, Martin Miller Marks focuses on those scores created between 1895 and 1924. He begins by considering two early examples, one German (written by persons unknown for Skladanowsky's Bioskop exhibitions in 1895 and 1896) and one French (scored by Camille Saint-Saëns for the 1908 film L'Assassinat du Duc de Guise). Subsequent chapters fully discuss Walter Cleveland Simon's music for the American film An Arabian Tragedy (1912) as well as the Joseph Breil accompaniment to D. W. Griffith's Birth of a Nation (1915). As described in this book, Breil's memorable score--though a compilation derived from many sources--was played by an orchestra as Griffith's sweeping images filled the screen, thus contributing significantly to the great film's success while also achieving remarkable power in its own right. Marks then concludes with a look at Erik Satie's witty and innovative music for the French film Entr'acte (1924), which was the first film score of consequence by an avant-garde composer. Giving unprecedented attention to a vibrant, important, and oft-neglected facet of twentieth-century music, Music and the Silent Film will interest scholars of film theory, film history, modern music, and modern aesthetics., Most people's view of silent film music is of a pianist playing old warhorse scores while watching the flickering screen. This highly innovative book shows that there was much more to silent films and that often it was planned from the start as an integral part of the film. The author also convincingly argues that film scores are a major and vibrant part of twentieth century music., In this book, a leading authority on film music examines scores of the silent film era. The first of three projected volumes investigating music written for films, this thoughtful and pathbreaking study demonstrates the richness of silent film music as it details the way in which scores were often planned from the start as an integral part of the whole cinematic experience. Following an introductory chapter that outlines several key theoretical questions and surveys eight decades of writing on film music, Martin Miller Marks focuses on those scores created between 1895 and 1924. He begins by considering two early examples, one German (written by persons unknown for Skladanowsky's Bioskop exhibitions in 1895 and 1896) and one French (scored by Camille Saint-Saëns for the 1908 film L'Assassinat du Duc de Guise ). Subsequent chapters fully discuss Walter Cleveland Simon's music for the American film An Arabian Tragedy (1912) as well as the Joseph Breil accompaniment to D. W. Griffith's Birth of a Nation (1915). As described in this book, Breil's memorable score--though a compilation derived from many sources--was played by an orchestra as Griffith's sweeping images filled the screen, thus contributing significantly to the great film's success while also achieving remarkable power in its own right. Marks then concludes with a look at Erik Satie's witty and innovative music for the French film Entr'acte (1924), which was the first film score of consequence by an avant-garde composer. Giving unprecedented attention to a vibrant, important, and oft-neglected facet of twentieth-century music, Music and the Silent Film will interest scholars of film theory, film history, modern music, and modern aesthetics.
LC Classification Number
ML2075.M242 1997
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ThriftBooks
98,9% positive Bewertungen•19.7 Mio. Artikel verkauft
Angemeldet als gewerblicher Verkäufer
Verkäuferbewertungen (5'694'216)
Dieser Artikel (1)
Alle Artikel (5'694'216)
- 7***o (605)- Bewertung vom Käufer.Letzter MonatBestätigter KaufFast, as described, thanks!
- k***i (2244)- Bewertung vom Käufer.Letzter MonatBestätigter KaufPleasure to do business with.
- k***i (2244)- Bewertung vom Käufer.Letzter MonatBestätigter KaufPrompt delivery, book in good condition.
- y***r (22)- Bewertung vom Käufer.Letzter MonatBestätigter KaufPackage was package appropriately. Order arrived timely. Order was as advertised. I would recommend this outfit for others interested in their listings.