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Books on the topic 'Musica moderna (Firm)'

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Published: 28 February 2023

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1

Kramer, Luuk, and Adam Mørk. Space for music. Amsterdam: A10 Media, 2007.

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2

Langkjær, Birger. Filmlyd & filmmusik: Fra klassisk til moderne film. 2nd ed. København: Museum Tusculanums Forlag, Københavns Universitet, 1997.

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3

Singing a new tune: The rebirth of the modern film musical, from Evita to De-lovely and beyond. New York: Applause Theatre & Cinema Books, 2005.

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4

Gall, Johannes Carl, ed. Música moderna para un nuevo cine: Eisler, Adorno y el Film Music Project. Madrid: Akal, 2008.

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5

Brophy, Philip. 100 Modern Soundtracks (Bfi Screen Guides). London: British Film Institute, 2004.

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6

1962-, Metzger Christoph, and Akademie der Künste (Berlin, Germany), eds. Conceptualisms: [zeitgenössische Tendenzen in Musik und Film]. Saarbrücken: Pfau, 2003.

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7

Herzogenrath, Bernd, ed. The Films of Bill Morrison. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789089649966.

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Avant-garde filmmaker Bill Morrison has been making films that combine archival footage and contemporary music for decades, and he has recently begun to receive substantial recognition: he was the subject of a retrospective at the Museum of Modern Art, and his 2002 film Decasia was selected for the National Film Registry by the Library of Congress. This is the first book-length study of Morrison's work, covering the whole of his career. It gathers specialists throughout film studies to explore Morrison's "aesthetics of the archive"-his creative play with archival footage and his focus on the materiality of the medium of film.
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8

Deutsche Gesellschaft für Psychoanalyse und Musik, ed. Zur Psychoanalyse ästhetischer Prozesse in Musik, Film und Malerei. Giessen: Psychosozial-Verlag, 2015.

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9

Screenings: Wissen und Geschlecht in Musik, Theater, Film. Wien: Böhlau, 2010.

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10

Körper/Denken: Wissen und Geschlecht in Musik, Theater, Film. Wien: Böhlau Verlag, 2016.

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11

Glyn, Callingham, and Marsh Graham, eds. Blue Note 2: The album cover art. San Francisco: Chronicle Books, 1997.

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12

Dancing modernism/performing politics. Bloomington: Indiana University Press, 1995.

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13

1940-, Leopoldseder Hannes, Schöpf Christine, Stocker Gerfried, and Prix Ars Electronica (2007), eds. Prix ars electronica: CyberArts 2007 : international compendium Prix Ars Electronica - computer animation/film/VFX, digital musics, hybrid art, interactive art, digital communities, (the next idea), Media.Art.Research Award, u19 - freestyle computing. Ostfildern: Hatje Cantz Pub, 2007.

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14

The politics of courtly dancing in early modern England. Amherst: University of Massachusetts Press, 1998.

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15

Barbara, Naumann, ed. Vom Doppelleben der Bilder: Bildmedien und ihre Texte. München: Fink, 1993.

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16

Bird, Dorothy. Bird's eye view: Dancing with Martha Graham and on Broadway. Pittsburgh: Univ.Pittsburgh P., 2002.

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17

Marder, Kamhi Michelle, ed. What art is: The esthetic theory of Ayn Rand. Chicago, Ill: Open Court, 2000.

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18

Anthony, Burgess. Mozart and the wolf gang. London: Hutchinson, 1991.

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19

Anthony, Burgess. Mozart and the Wolf Gang. London: Vintage, 1992.

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20

Matthias, Bärmann, Fondation Beyeler, and Sprengel Museum Hannover, eds. Paul Klee: Tod und Feuer : die Erfüllung im Spätwerk = death and fire : fulfillment in the late work. Riehen/Basel: Fondation Beyeler, 2003.

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21

Michael, Kugler, and Orff-Zentrum München, eds. Elementarer Tanz, elementare Musik: Die Günther-Schule München 1924 bis 1944. Mainz: Schott, 2002.

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22

ed, Armero Gonzalo, ed. Quatrocientos años de Don Quijote por el mundo. Alcobendas, Madrid: Tf Editores, 2005.

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23

Ilbon munhŏn sok ŭi Yi Sun-sin p'yosang: The image of Yi Sun-sin in Japanese literature. Sŏul: Minsogwŏn, 2022.

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24

Donnelly, Kevin J. Extending Film Aesthetics. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.020.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Film remains at the apex of audiovisual culture, providing inspiration and aspiration for other media. Film music and other sounds from the soundtrack have extended film aesthetics beyond the bounds of film into other media and culture. Sound design now can use musical software to enhance sound effects in films and music composers to incorporate sound effect recordings. Soundtrack elements now appear to have an “aesthetic” character. Technology has engendered a spatial sonic arena wherein sonic elements have mixed into a sensual and psychological field. Modern film soundtracks often evince a conceptual or aesthetic unity strikingly similar to musical unity, evident in disc releases unconnected to the cinema. In films sounds on their own work in a different way, implying visuals that we then expect to see or imagine. That soundimpliesvisuals is crucial also to extended soundtracks outside film.
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25

Walden, Joshua S. Musical Portraits. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190653507.001.0001.

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This book explores the wide-ranging but underexamined genre of musical portraiture. It focuses in particular on contemporary and experimental music created between 1945 and the present day, an era in which conceptions of identity have changed alongside increasing innovation in musical composition as well as in the uses of abstraction, mixed media, and other novel techniques in the field of visual portraiture. In the absence of physical likeness, an element typical of portraiture that cannot be depicted in sound, composers have experimented with methods of constructing other attributes of identity in music, such as character, biography, and profession. By studying musical portraits of painters, authors, and modern celebrities, in addition to composers’ self-portraits, the book considers how representational and interpretive processes overlap and differ between music and other art forms, as well as how music is used in the depiction of human identities. With focus on a range of musical portraits by composers including Peter Ablinger, Pierre Boulez, Morton Feldman, Philip Glass, György Ligeti, and Virgil Thomson, and through studies of director Robert Wilson’s ongoing series of video portraits of modern-day celebrities and his “portrait opera” Einstein on the Beach, Musical Portraits offers to contribute to the study of music since 1945 through a detailed examination of contemporary understandings of music’s capacity to depict identity, and of the intersections between music, literature, theater, film, and the visual arts.
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26

Carlson, Gretchen L. Improvising the Score: Rethinking Modern Film Music Through Jazz. University Press of Mississippi, 2022.

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27

Carlson, Gretchen L. Improvising the Score: Rethinking Modern Film Music Through Jazz. University Press of Mississippi, 2022.

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28

Carlson, Gretchen L. Improvising the Score: Rethinking Modern Film Music Through Jazz. University Press of Mississippi, 2022.

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29

Carlson, Gretchen L. Improvising the Score: Rethinking Modern Film Music Through Jazz. University Press of Mississippi, 2022.

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30

Wilson, Christopher R., and Mervyn Cooke, eds. The Oxford Handbook of Shakespeare and Music. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190945145.001.0001.

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This compendium reflects the latest international research into the many and various uses of music in relation to Shakespeare’s plays and poems, the contributors’ lines of inquiry extending from the Bard’s own time to the present day. The coverage is global in its scope, and includes studies of Shakespeare-related music in countries as diverse as China, the Czech Republic, France, Germany, India, Italy, Japan, Russia, South Africa, Sweden, and the Soviet Union, as well as the more familiar Anglophone musical and theatrical traditions of the United Kingdom and the United States. The range of genres surveyed by the book’s team of distinguished authors embraces music for theatre, opera, ballet, musicals, the concert hall, and film, in addition to Shakespeare’s ongoing afterlives in folk music, jazz, and popular music. The authors take a range of diverse approaches: some investigate the evidence for performative practices in the Early Modern and later eras, while others offer detailed analyses of representative case studies, situating these firmly in their cultural contexts, or reflecting on the political and sociological ramifications of the music. As a whole, the volume provides a wide-ranging compendium of cutting-edge scholarship engaging with an extraordinarily rich body of music without parallel in the history of the global arts.
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31

Film - Musik - Moderne: Zur Geschichte einer wechselhaften Beziehung (German Edition). Frank & Timme, 2014.

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32

Roust, Colin. Georges Auric. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190607777.001.0001.

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Although Georges Auric (1899–1983) is best remembered today for his affiliation with the Groupe des Six, his musical career was long, productive, complex, and intimately attuned to the realities of modern life. His polyvalent career—as a composer of concert, theatrical, ballet, popular, film, and television music; music critic; opera director; and arts administrator—reveals a diversity of engagements that speak to a reconfiguration of the role of the composer in the modern world. Auric was a product of his time, with deep connections to France’s artistic, social, and political elites. At the same time, he drew on his prestige and privilege to improve the country’s musical life in tangible ways, whether with regard to musical education and accessibility or to the establishment of fair copyright laws. He took artistic collaboration, already a hallmark of the short-lived Groupe des Six, to a level that surpassed any of the other members of that group. Diverging from the romantic trope of individual creation, Auric’s legacy troubles conventional ideas of what it means to be a composer.
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33

Caps, John. Maturity, the Second Cadence. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0013.

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This chapter details Mancini's musical evolution in the late 1970s. It may seem odd to associate “maturity” with the music of Mancini at this stage in his career, when clearly all of his most influential work was already past, having been produced between, say, 1958 and 1969. Maturity in this case does not mean a permanent evolution away from jazz-pop and toward exclusively large-scale formal symphonic scoring. Maturity now means that Mancini had learned to deal with all kinds of music: to be able to write, in the same year as those resolute songs for the film 10, an anti-thematic orchestral score for a thriller film set in the American Southwest that mixes Indian tribal lore, modern political intrigue, and the spooky science of vampire bats—and to “mean” them both.
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34

Woller, Megan. From Camelot to Spamalot. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197511022.001.0001.

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This book explores musicalizations of Arthurian legend as filtered through specific tellings by Mark Twain, T. H. White, and Monty Python. For centuries, Arthurian legend with its tales of Camelot, romance, and chivalry has captured imaginations throughout Europe and the Americas. In the twentieth and twenty-first centuries, musical versions of King Arthur and his Knights of the Round Table have abounded in the United States, shaping the legend for American audiences through song. The ever-shifting, age-old tale of King Arthur and his world is one which thrives on adaptation for its survival. New generations tell the story in their own ways, updating or enhancing the relevance for a fresh audience. Taking a case-study approach, this work foregrounds the role of music in selected Arthurian adaptations, examining six stage and film musicals. It considers how musical versions in twentieth- and twenty-first-century popular culture interpret the legend of King Arthur, contending that music guides the audience to understand this well-known tale and its characters in new and unexpected ways. All of the productions considered include an overtly modern perspective on the legend, intruding and even commenting on the tale of King Arthur. Shifting from an idealistic utopia to a silly place, the myriad notions of Camelot offer a look at the importance of myth in American popular culture.
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35

Mainon, Dominique, and James Ursini. The Modern Amazons : Warrior Women on Screen. Limelight Editions, 2006.

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36

Anno, Mariko. Piercing the Structure of Tradition. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781939161079.001.0001.

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What does freedom sound like in the context of traditional Japanese theater? Where is the space for innovation, and where can this kind of innovation be located in the rigid instrumentation of the Noh drama? This book investigates flute performance as a space to explore the relationship between tradition and innovation. This first English-language monograph traces the characteristics of the Noh flute (nohkan), its music, and transmission methods and considers the instrument's potential for development in the modern world. The book examines the musical structure and nohkan melodic patterns of five traditional Noh plays and assesses the degree to which Issō School nohkan players maintain to this day the continuity of their musical traditions in three contemporary Noh plays influenced by William Butler Yeats. The book's ethnographic approach draws on interviews with performers and case studies, as well as the author's personal reflection as a nohkan performer and disciple under the tutelage of Noh masters. The book argues that traditions of musical style and usage remain influential in shaping contemporary Noh composition and performance practice, and the existing freedom within fixed patterns can be understood through a firm foundation in Noh tradition.
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37

Brophy, Philip. 100 Modern Soundtracks (Bfi Screen Guides). British Film Institute, 2004.

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38

Wilson, Alexandra. Puccini's La Bohème. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190637880.001.0001.

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La bohème is one of the most frequently performed operas in the world. But how did it come to be so adored? Drawing on an extremely broad range of sources, Alexandra Wilson traces the opera’s rise to global fame. Although the work has been subjected to many hostile critiques, it swiftly achieved popular success through stage performances, recordings, and filmed versions. Wilson demonstrates how La bohème acquired even greater cultural influence as its music and dramatic themes began to be incorporated into pop songs, film soundtracks, musicals, and more. In this cultural history of Puccini’s opera, Wilson offers a fresh reading of a familiar work. La bohème was strikingly modern for the 1890s, she argues, in its approach to musical and dramatic realism and in flouting many of the conventions of the Italian operatic tradition. Considering the work within the context of the aesthetic, social, and political debates of its time, Wilson explores Puccini’s treatment of themes including gender, poverty, and nostalgia. She pays particular attention to La bohème’s representation of Paris, arguing that the opera was not only influenced by romantic mythologies surrounding the city but also helped shape them. Wilson concludes with a consideration of the many and varied approaches directors have taken to the staging of Puccini’s opera, including some that have reinvented the opera for a new age. This book is essential reading for anyone who has seen La bohème and wants to know more about its music, drama, and cultural contexts.
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39

Moreau, Jeanne, Harry Baer, Thomas Elsaesser, Glenn Lowry, Georgia Brown, Volker Schl ndorff, Wolfram Schutte, Hanna Schygulla, Wim Wenders, and Rainer Werner Fassbinder. Rainer Werner Fassbinder (Museum of Modern Art). The Museum of Modern Art, New York, 2002.

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40

Caps, John. Career Crescendos. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0007.

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This chapter details Mancini's continued success. Mancini's success with Blake Edwards, his bestselling albums, and the growing shelf of his awards meant that now other directors, even famous classic veteran directors, the past kings of the cinema, were starting to take notice of his music, trying to get him on the phone to talk about the musical possibilities of their next pictures. Again, he was writing traditionally satisfying music that they could understand, yet it had a modern slant toward the younger audiences they wanted to court. The great Howard Hawks was one of those directors. Hawks was searching for a workable composer for his own new, overlong, under-structured John Wayne adventure film set in Africa about a group of wild game hunters who collect specimens for zoos and circuses around the world, to be called Hatari! Two more veteran director kings from cinema's aristocracy also sought scores from Mancini for their very different romantic tales during this period: Mervyn LeRoy for Moment to Moment (1966) and Delbert Mann for Dear Heart (1964).
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41

Ursini, James, and Dominique Mainon. Modern Amazons: Warrior Women On-Screen. Leonard Corporation, Hal, 2006.

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42

Ursini, James, and Dominique Mainon. Modern Amazons: Warrior Women On-Screen. Leonard Corporation, Hal, 2006.

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43

Ursini, James, and Dominique Mainon. Modern Amazons: Warrior Women On-Screen. Leonard Corporation, Hal, 2006.

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44

The Modern Amazons: Warrior Women On-Screen. New York, USA: Hal Leonard/Limelight Editions, 2006.

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45

Walden, Joshua S. Celebrity, Music, and the Multimedia Portrait. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190653507.003.0005.

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Chapter 4 examines hybrid works of multimedia portraiture and the genre of the portrait opera. The chapter first views the Voom Portraits of the American avant-garde director Robert Wilson, an ongoing series of multimedia video portraits of celebrities begun in 2004, looking in particular at his portraits of actors Robert Downey Jr. and Winona Ryder, which combine high-resolution film image with eclectic sound effects and scores by composers Tom Waits and Michael Galasso. The chapter then turns to the portrait opera Einstein on the Beach, created by Wilson, Philip Glass, and choreographer Lucinda Childs, to explore how they produced a multimedia portrait of Einstein that employs disparate allusions to popularly known elements from his life in a highly abstract work of opera that leaves the viewer to engage in a particularly imaginative act of interpretation about how the music describes this well-known modern icon.
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46

Ratio und Intuition: Wissen/s/kulturen in Musik, Theater, Film. Bohlau Verlag GmbH u. Co. KG, 2013.

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47

Muir, John Kenneth. Singing a New Tune: The Rebirth of the Modern Film Musical from Evita to de-Lovely and Beyond. Leonard Corporation, Hal, 2005.

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48

Concentrationary Art: Jean Cayrol, the Lazarean and the Everyday in Post-War Film, Literature, Music and the Visual Arts. Berghahn Books, Incorporated, 2019.

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49

Aspell, Luke. Shivers. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325970.001.0001.

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Shivers (1975) was David Cronenberg's first commercial feature and his first horror film. In a modern apartment block, a scientific project to unleash the id results in the equation of passion with contagion and predation. Because the writer-director's imaginative landscape arrived in the genre fully formed, the unique forms of this début have often been overlooked or mistaken for shortcomings. Cronenberg's most comedic film until Map to the Stars, Shivers is also his most spectacularly unnerving, throwing more images of extreme behavior at us than any of his subsequent films; it remains, with Crash, his most disquieting and transgressive film to date. This book's analysis addresses all channels of communication available to the 35mm sync-sound narrative feature, including shot composition, lighting, cinematographic texture, sound, the use of stock music, editing, costume, makeup, optical work, the screenplay, the casting, and the direction of the actors. This tour of Shivers as “cognitive territory” takes in architecture, cultural context, critical reception, and artistic legacy.
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50

Leonard, Kendra Preston. Richard III. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.24.

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In keeping with the early modern belief that physiognomy was directly related to the mind, and that nonnormate bodies were the exterior markers of equally malformed and sinful minds, Shakespeare’s hunchbacked, limping Richard III is utterly without morals. Laurence Olivier’s cinematic adaptation ofRichard IIIand its score by William Walton support this thesis. While the film’s score contains some synchronous music that imitates Richard’s nonnormate physical movements, it is more concerned with his interior actions. The score thus engages with Richard’s disabilities on multiple levels, offering sonic interpretations for both physical and mental deformity. This essay argues that Walton’s film music for Richard suggests both his exterior and interior monstrosity (as viewed at the time of the play’s writing) by literally altering the customary sounds of the orchestra as well as using tropes traditionally associated with otherness.
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