Готові списки джерел за темами / Motion picture music, bibliography

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Добірка наукової літератури з теми "Motion picture music, bibliography"

Автор: Grafiati
Опубліковано: 4 червня 2021
Оновлено: 26 січня 2023

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Статті в журналах з теми "Motion picture music, bibliography"

1

Rusinova, Elena A. "Music in the Metadigetic Space of the Motion Picture." Journal of Flm Arts and Film Studies 9, no. 2 (June 15, 2017): 80–87. http://dx.doi.org/10.17816/vgik9280-87.

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Анотація:
This extension of the authors previous article udiovisual Means of Creating Metadiegetic Space in Cinema (see Vestnik VGIK #1 (31), 2017) is a historic survey of the sound design techniques which make it possible to use musical expressive means for designating the films subjective space (metadiegesis) and separating the metadiegesis from diegesis by means of music.
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2

Kubick, Chris, and Anne Walsh. "Sound Library: A Motion Picture Event." Leonardo Music Journal 16 (December 2006): 54–55. http://dx.doi.org/10.1162/lmj.2006.16.54.

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3

Wen-Xia, Xu. "A Daughter’s Recollection: Xu Ru-Hui and Chinese Early Motion Picture Music." Asian Cinema 17, no. 1 (March 1, 2006): 194–220. http://dx.doi.org/10.1386/ac.17.1.194_1.

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4

Khouja, M., and H. K. Rajagopalan. "Can piracy lead to higher prices in the music and motion picture industries?" Journal of the Operational Research Society 60, no. 3 (March 2009): 372–83. http://dx.doi.org/10.1057/palgrave.jors.2602552.

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5

Carlson, Gretchen. "Antonio Sanchez, Birdman or (The Unexpected Virtue of Ignorance) Original Motion Picture Soundtrack. Milan M2-36689, 2014, CD." Journal of the Society for American Music 10, no. 2 (May 2016): 229–33. http://dx.doi.org/10.1017/s1752196316000158.

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6

Hirschman, Elizabeth C. "Resource Exchange in the Production and Distribution of a Motion Picture." Empirical Studies of the Arts 8, no. 1 (January 1990): 31–51. http://dx.doi.org/10.2190/ahpj-p6fc-y9b5-9dty.

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Анотація:
An independently produced motion picture was used as a case study of the resource exchange pattern underlying project-based aesthetic production systems. Several exploratory propositions resulted concerning 1) sources of processual conflict, 2) the nature of resource criticality during the production process, 3) the timing of returns on invested resources, and 4) the commercialization of aesthetic products.
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7

McCormick, Don, and Richard Chigley Lynch. "Movie Musicals on Record: A Directory of Recordings of Motion Picture Musicals, 1927-1987." Notes 49, no. 1 (September 1992): 172. http://dx.doi.org/10.2307/897249.

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8

Lana, Jonas Soares. "Crítica musical e a significação social de gravações de Prince nos anos 1980." Per Musi, no. 40 (April 9, 2021): 1–18. http://dx.doi.org/10.35699/2317-6377.2020.19860.

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Анотація:
Este trabalho aborda um debate social iniciado em meados dos anos 1980 por jornalistas e críticos musicais norte-americanos a respeito de dois discos de Prince. O primeiro, Around the World in A Day, foi lançado em 1985; o segundo, Parade: Music from the Motion Picture Under the Cherry Moon, foi lançado em 1986. O debate em torno desses álbuns foi instigado pela suposição de que eles fariam referências a gravações produzidas pelos Beatles em meados dos anos 1960. Este artigo propõe investigar a relação de Prince com jornalistas e críticos musicais, bem como os papéis exercidos por estes e outros agentes sociais no processo coletivo de significação dos álbuns do artista, incluindo músicos que colaboraram na produção deles.
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9

Ferraro, Fabrizio, and Kerem Gurses. "Building architectural advantage in the US motion picture industry: Lew Wasserman and the Music Corporation of America." European Management Review 6, no. 4 (2009): 233–49. http://dx.doi.org/10.1057/emr.2009.24.

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10

Reyzenkind, T. Y. "The modeling of polyart technologies in vocational training the future teacher of music." Educational Dimension 26 (December 14, 2009): 300–309. http://dx.doi.org/10.31812/educdim.7032.

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Анотація:
In article modeling as a method of scientific-an knowledge is analyzed. It is proved, that the methodology of development and a substantiation of pvlyan technologies и a principle of synthesis philosophical, sc ientific-general concepts and their projection in professional, polyart preparation of the future teacher of music; the contents and structure of the semantic model caused by features recognition on the basis of interaction arts is specified; the structure of an art-pedagogical situation in a context of application polyart technologies is concretized, parameters of the polyart-colloquial approach in conditions of modelling art allocated by the example texts of culture, motion picture arts.
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Дисертації з теми "Motion picture music, bibliography"

1

Wiessinger, Scott Reinhard. "Film and Music an overlooked synthesis /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/wiessinger/WiessingerS0509.pdf.

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Анотація:
Thesis (MFA)--Montana State University--Bozeman, 2009.
Typescript. Chairperson, Graduate Committee: Theo Lipfert. Fractal is a DVD accompanying the thesis. Includes bibliographical references (leaves 22-23).
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2

Pillich, Gualberto Simeon. "Invisible virtuosi the deskilling and reskilling of Hollywood film and television studio musicians /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1971760581&sid=11&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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3

Brownrigg, Mark. "Film music and film genre." Thesis, University of Stirling, 2003. http://hdl.handle.net/1893/439.

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Анотація:
This thesis explores the role that film genre plays in the construction of, predominantly, Hollywood movie scores. It begins with the simple assumption that each genre has its own set of musical conventions, its signature "paradigm", with the result that Westerns sound different from Horror films, which sound different from Romantic Melodramas and so on. It demonstrates that while this is broadly speaking so, the true picture is more complex, the essentially hybrid nature of most Hollywood films on a narrative level resulting in scores that are similarly hybrid in nature. To begin with, the various functions of film music are described, and that of generic location is isolated as being of key importance. The concept of film genre is then discussed, with particular reference to the notion of hybridity. The substance and sources of the musical paradigms of the Western, Horror film and Romantic Melodrama are described in depth; specific aspects of the War Film, Gangster, Thriller and Action paradigms are addressed more briefly. The thesis concludes with a cue by cue analysis of John Barry's score for Dances with Wolves (1990), demonstrating that while the dominant paradigm the music draws on is indeed that of the Western, the score also incorporates elements from a variety of other generic paradigms, shifts in musical emphasis that are dictated by the changing requirements of the narrative. Film music is shown to be profoundly influenced by film genre, but that the use of generically specific music is as complex and nuanced as cinema's negotiation of genre at narrative level. While genres do indeed have signature musical paradigms, these do not exist discretely, but in constant tension with and relation to one another.
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4

Wang, Shuang, and 王爽. "Beautified violence: music and slow motion inThe banquet (2006)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46933001.

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5

Schweitzer, Dennis C. "Ton & traum : a critical analysis of the use of sound effects and music in contemporary narrative film /." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1108483481.

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6

Boczkowska, Ewelina. "Sites of remembrance music and memory in Polish film /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1973844971&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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7

Reid, Tom. "Formal experiments in silent film music : reading early abstract film texts as musical scores." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/69319/.

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8

Letcher, Christopher. "Composing South Africa on screen: a film composer's perspective on representation and aesthetics in the production of post-apartheid cinema." Thesis, Royal College of Music, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.606724.

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9

Steele, Geoge. "Scoring silent film : music/nation/affect /." View online ; access limited to URI, 2009. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3380539.

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Glover, Kristin Lynn. "Connections making sense of the world around us (the use of music in documentary films) /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/glover/GloverK0809.pdf.

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Анотація:
Thesis (MFA)--Montana State University--Bozeman, 2009.
Typescript. Chairperson, Graduate Committee: Walter Metz. Troubador is a DVD accompanying the thesis. Includes bibliographical references (leaf 31).
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Книги з теми "Motion picture music, bibliography"

1

Anderson, Gillian B. Film music bibliography. Hollywood, California: Society for the Preservation of Film Music, 1995.

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2

Anderson, Gillian B. Film music bibliography I. Hollywood, Calif: Society for the Preservation of Film Music, 1995.

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3

Cinema sheet music: A comprehensive listing of published film music from "Squaw Man" (1914) to "Batman" (1989). Jefferson, N.C: McFarland, 1991.

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4

Marill, Alvin H. Keeping score: Film and television music, 1988-1997. Lanham, Md: Scarecrow Press, 1998.

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5

A comprehensive bibliography of music for film and television. Detroit: Information Coordinators, 1985.

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6

British cinema sheet music: A comprehensive listing of film music published in the United Kingdom, Canada, and Australia, 1916 through 1994. Jefferson, N.C: McFarland & Co., 1997.

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7

Limbacher, James L. Keeping score: Film and television music, 1980-1988 : with additional coverage of 1921-1979. Metuchen, N.J: Scarecrow Press, 1991.

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8

Winquist, Sven G. Musik i svenska ljudfilmer, 1980-1989. Stockholm: Svensk musik, 1992.

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9

Musical groups in the movies, 1929-1970. Jefferson, N.C: McFarland & Co., Publishers, 2008.

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10

Nabī, At̤har. Nauśāda Alī, eka paricaya. Lakhanau: Anuja Prinṭarsa, 1993.

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Частини книг з теми "Motion picture music, bibliography"

1

"Annotated Bibliography." In The Hollywood Motion Picture Blacklist, 193–220. The University Press of Kentucky, 2022. http://dx.doi.org/10.2307/j.ctv2ndwxd0.15.

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2

Yewdall, David Lewis. "The Music Composer." In Practical Art of Motion Picture Sound, 465–80. Elsevier, 2012. http://dx.doi.org/10.1016/b978-0-240-81240-3.00018-5.

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"The Music Composer." In The Practical Art of Motion Picture Sound, 459–74. Routledge, 2012. http://dx.doi.org/10.4324/9780080927466-19.

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4

Yewdall, David Lewis. "Spotting the Picture for Sound and Music." In Practical Art of Motion Picture Sound, 183–90. Elsevier, 2012. http://dx.doi.org/10.1016/b978-0-240-81240-3.00009-4.

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Yewdall, David Lewis. "Spotting the Picture for Sound and Music." In Practical Art of Motion Picture Sound, 183. Routledge, 2012. http://dx.doi.org/10.4324/9780240815237-9.

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"Spotting the Picture for Sound and Music." In The Practical Art of Motion Picture Sound, 173–80. Routledge, 2012. http://dx.doi.org/10.4324/9780080927466-9.

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7

Yewdall, David Lewis. "The Music Composer Audio Collaboration or Mud and Destruction." In Practical Art of Motion Picture Sound, 465. Routledge, 2012. http://dx.doi.org/10.4324/9780240815237-18.

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8

"6. The Art of Exhibition: Rothapfel on Motion Picture Music–Its Object and Its Possibilities (1914)." In Celluloid Symphonies, 56–61. University of California Press, 2019. http://dx.doi.org/10.1525/9780520947436-009.

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Dickinson, Kay. "♦ ♦ “The Motion Picture You’re About to See Is a Story of Music”: The Migration of Cinema into Rock ’n’ Roll." In Off KeyWhen Film and Music Won't Work Together, 40–79. Oxford University Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780195326635.003.0003.

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Arora, Manish, Paul Curtin, Austen Curtin, Christine Austin, and Alessandro Giuliani. "The Process of Interdependence." In Environmental Biodynamics, 76–92. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197582947.003.0004.

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Анотація:
In both Chapters 2 and 3, biodynamic interfaces are treated as independent entities. That is obviously not the case—biodynamic interfaces are connected to each other and, as always, it is important to place time at the center of these connections. Chapter 4 shows that these connections are not like networks of roads that are static; instead, they are more like an ensemble of musicians who are constantly in motion and their joint motion (their music) creates a whole that has meaning. Chapter 4 also shows that our understanding of biodynamic interfaces is dependent on our temporal perspective. In other words, the picture we see depends on where and when we are.
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