Books About Fantasy/SF/Horror Films & Their Music
Notes & Reviews by Randall D. Larson
A Dimension of Sound: Music in THE TWILIGHT ZONE
Reba A. Wissner
318 pages, paperback. Pendragon Press, 2013
In 2013 Pendragon Press launched a series entitled “Music in Media” with this book as its inaugural release. The book is a thorough examination of this seminal TV anthology show’s use of music – through which many composers, including Jerry Goldsmith, Fred Steiner, Nathan Van Cleave, and others began their film musical careers, and others, including Bernard Herrmann, Franz Waxman, Leith Stevens, Leonard Rosenman, William Lava and others found a place for continued challenging work after the end of the studio system that occupied most of their careers. Featuring an introduction by Tommy Morgan, whose distinctive harmonica playing made it into several TZ scores, including “The Last Rites of Jeff Myrtlebank,” performed entirely on solo harmonica, Wissner offers individual chapters to the show’s four primary composers (Goldsmith, Steiner, Herrmann, Van Cleave), while covering less frequent composers in a chapter of their own. Very well researched, the author covers the subject in terms of its dramatic effect on the storytelling as well as from a musical perspective, with numerous score samples. An earlier chapter covering the techniques of composing and recording for the show includes some examples of timing notes and other charts the composers had to work with. An appendix offers a very valuable index of those episodes whose original cues were later reused throughout the series. This is a fine book for those interested in how this influential series utilized music while also offering an understanding of the ways in which music – both original and stock – can be used in an anthology series. The subject matter is both timely and extremely pertinent; the influence of what TWILIGHT ZONE and its composers did with music continues to be felt in the more musical-savvy of today’s television programming, and the use of music across the show’s five season remains a textbook example of how music can be used to enhance and interact with what is happening on the screen and felt through its storytelling. – rdl
We Will Control All That You Hear
THE OUTER LIMITS and the Aural Imagination
Reba A. Wissner
242 pages, paperback. Pendragon Press, 2016
Following the author’s 2013 volume, A Dimension of Sound: Music in the Twilight Zone, this third volume in Pendragon’s “Music in Media” series focuses on the second major television anthology of the early ‘60s and its creative use of music. Reba A. Wissner has provided a comprehensive analysis of the series’ use of music, both newly composed scores and stock music, to interact with the stories being played out on screen, enhancing their sense of drama, wonder, and disturbiana. The first three chapters set up background basics, explain the common practice of recycling cues out of a studio’s library of music, and how orchestration and sound design provides the final ingredients for an interactive score. The final two chapters examine in detail the scores of Dominic Frontiere for season 1 (and also Robert Van Eps, Frontiere’s former teacher who was brought in to compose music for several episodes), and that of Harry Lubin for season 2. Rather than examining the music episode by episode (which would have been impractical, especially due to the re-use of cues over many episodes), Wissner opts for a more coherent examination oriented around a topical design (“Gearing the Unseen,” “Ethnic Identities,” “Music and Gender,” “Creatures Big, Small, and Gooey,” and the like). Very well researched and organized, Wissner’s analysis of the series’ limitless outré musical design is an authoritative and definitive one. Her research has discovered much which had not been previously known or revealed (such as Van Eps having composed more than just the “Tourist Attraction” episode and the jazz source cues from “The Day After Doomsday” that he’d been credited with previously). Music samples are provided for those who read music, but Wissner’s narrative style never becomes so scholarly and obscured by musicological terminology that it loses readability for those who don’t have an academic musical education. Alongside her previous TWILIGHT ZONE book, Wissner’s OUTER LIMITS music assessment is a significant entry to genre film music studies as well as being a welcome read for the film score fan. – rdl
Scored to Death: Conversations with Some of Horror’s Greatest Composers
J. Blake Fichera
356 pages, paperback, Silman-James Press, 2016
Scored to Death delves specifically and deeply into the minds of noted horror film composers. Fichera, who is both a film editor and a musician himself, has assembled a first rate collection of interviews, presented in straightforward Q&A format, and he asks both challenging and educated questions about the art and science of scoring the suspenseful and the scary. The book isn’t a narrative overview of the genre’s music, but rather a gathering of interviews by the author of fourteen composers who have either focused on the genre or made significant contributions to its music. Included are Nathan Barr (CABIN FEVER, HOSTEL), Charles Bernstein (A NIGHTMARE ON ELM STREET), Joseph Bishara (THE CONJURING, INSIDIOUS), Simon Boswell (LORD OF ILLUSIONS), John Carpenter (HALLOWEEN), Jay Chattaway (MANIAC), Fabio Frizzi (ZOMBI 2, THE BEYOND), Jeff Grace (HOUSE OF THE DEVIL, THE INNKEEPERS), Maurizio Guiarini (SUSPIRIA, CONTAMINATION as a member of Goblin), Tom Hajdu (of tomandandy: RESIDENT EVIL: RETRIBUTION, SINISTER 2), Alan Howarth (HALLOWEEN 2-6), Harry Manfredini (FRIDAY THE 13TH series, HOUSE series), Claudio Simonetti (DEMONS, DRACULA 3D), and Christopher Young (HELLRAISER, DRAG ME TO HELL). Fichera’s interviews are hefty and comprehensive, and represent a good of major horror scorers from the 1980s to the present day. As a whole the book presents a thorough examination of the composers’ perspective toward scoring horror cinema.
Film and Television Scores, 1950-1979: A Critical Survey by Genre
366 pages, paperback, McFarland & Co., 2008
Kristopher Spencer’s book takes an unusual but highly effective approach in its examination of music for movies. Noting the significant change that transformed Hollywood film scores as the Golden Age waned and the advent of pop, jazz, rock, avant-garde, and other styles began to be assimilated into film scores, Spencer, the founder of scorebaby.com, illuminates the “Silver Age” of movie music in this winning and very readable volume. The composers of this era of film music history “changed the way movie music was made,” asserts Spencer, who examines in depth the changing role of music in seven genres of moviemaking: crime thrillers, spy movies, sexploitation films (think LOLITA, BARBARELLA, VAMPIROS LESBOS, LAST TANGO IN PARIS), Westerns, science fiction, horror films, and rock and roll movies. While the latter might be obvious in its use of music, Spencer explores the changing role of rock music as a song soundtrack to such films as THE ENDLESS SUMMER, THE WILD ANGELS, THE TRIP, EASY RIDER, THE GRADUATE, SATURDAY NIGHT FEVER, and many others, and shows how the beat-and-rhythm heavy music had its own place aside more dramatic and progressive orchestral film scores. Each chapter includes a dozen recommended soundtracks for your buying or bidding pleasure, and the result is a fascinating look at the evolving world of film music as it pertained to specific genres of film music during its Silver Age. Spencer’s evaluation of horror film music, for example, is a concise overview of the use of music in films of Roger Corman, Hitchcock, Hammer, and others, including a prolonged and very fascinating overview of music in Italian giallo horror films of the 70s. Spencer’s long chapter on Western scores proffers up an excellent summation of the music for Italian and German Western films and the groundbreaking effect of Italian Western music on so much of cinema. The chapter on science fiction scores evaluates the progression from 60’s pop, atonal sci-fi music, and the resurgence of symphonic film music in the later 1970s. There’s not an extensive musical analysis of individual films or composers, but there is a perceptive overview of the kind of music that embellished these movies and how that kind developed and changed over the three decades covered by this book. In all of this Spencer calls out attention to significant nuances in the development and style of genre film scoring and illuminates much of the music for these types of films, and their musical relationship together as members of the same genre (or sub-genre, or sub-sub-genre, in some cases), that is valuable to any serious study of movie music.
Hammer Film Scores and the Musical Avant-Garde
by David Huckvale
225 pages, paperback, McFarland & Co., 2008
With this third book devoted specifically to music for Hammer horror films (the first was my general overview Music from the House of Hammer, in 1986; the second was Huckvale’s own James Bernard, Composer to Count Dracula in 2006), Huckvale further explores what it was that made music for Hammer’s brand of horror cinema special and so uniquely flavorful. Huckvale takes a mostly musicological approach in his analysis, grouping Hammer’s composers by style as they embodied or contrasted with the modern musical avant-garde which, according to the author, was largely introduced to the popular culture through film music such as that of Hammer. While other studios were still holding fast to Gothic romanticism (as Hammer did to an extent, mostly with the works of James Bernard and Harry Robinson) or embracing pop music styles, Hammer more than any other studio of the day encouraged composers to articulate musical modernism into their scores. Thus we have the modernism of Elisabeth Lutyens (PARANOIAC), Malcolm Williamson (BRIDES OF DRACULA), and Humphrey Searle (THE ABOMINABLE SNOWMAN OF THE HIMALAYAS), Mario Nascimbene (ONE MILLION YEARS, B.C.) and Tristram Cary (QUATERMASS AND THE PIT), the modern gothic sensibilities of Mike Vickers (DRACULA A.D. 1972) and John Cacavas (THE SATANIC RITES OF DRACULA), the significant serialism of Benjamin Frankel (CURSE OF THE WEREWOLF), and the innovative modernist of Paul Glass (TO THE DEVIL… A DAUGHTER) discussed in detail and as linchpins of Huckvale’s treatise. Huckvale begins his examination of Hammer film music, after introducing the studio’s three main musical directors during their horror period – John Hollingsworth, Philip Martell, and Marcus Dodds – with a chapter about classical composer Arnold Schoenberg, whose influence on musical modernism and serialism has been greater than any other composer (Schoenberg’s 12-tone system virtually defined and standardized musical modernism). What follows is then an examination of Hammer’s film music on these terms. While in the minds of many, it was 19th Century gothic romanticism that was preeminent in Hammer’s musical style; but Huckvale perceptively points out that there was more to Hammer than the inspiration of the 19th Century: “Much of the music for which [Hammer’s musical directors] had been responsible reflected what was happening in the world of twentieth century avant-garde music, and it was through Hammer’s adventurous approach to film music that popular audiences had been, and continue to be, exposed to musical styles they might never otherwise have experienced.”
James Horner: The Gift of Immortality
Antonio Piñera and Antonio Pardo Larrosa
272 pages, paperback, T & B; Edición, 2016. Spanish language.
A 272-page chronicle of the late composer and his remarkable career. Features prologues by composer/ conductor/orchestrator Conrad Pope and Varese Sarabande album producer Robert Townson. The book is currently available from Amazon Spain.
El Legado Musical De La Hammer
340 pages, paperback, T & B; Edición, 2016. Spanish language.
Piñera, who co-wrote the Horner book above as well as, last year, a Spanish-language book on Miklós Rózsa, has also just released a this new 340-page book dedicated to the composers of the Hammer. The book includes forewords by Caroline Munro and David Huckvale (author of a 2008 book on Hammer Film Music). Available from Amazon Spain
Composing for the Cinema: The Theory and Praxis of Music in Film
Ennio Morricone & Sergio Miceli
Translated from Italian by Gillian B. Anderson.
295 pages, Scarecrow Press, 2013.
Published by The Scarecrow Press in 2013, Composing for the Cinema: The Theory and Praxis of Music in Film is co-written by Ennio Morricone and Sergio Miceli, translated from Italian by Gillian B. Anderson. Based on a series of lectures presented by celebrated composer Morricone and musicologist Miceli on the composition and analysis of film music, which has been transposed and adapted into this 300-page book, it’s not an easy book. Its thickly worded paragraphs are extremely academic and professorial, even with Anderson’s translation into relatively simpler conversational English. Without any images or music samples, it’s not as practical a how-to manual in the way that On The Track, by Rayburn Wright and the late Fred Karlin, is – but it’s worth wading through to not only get a glimpse at Morricone’s intelligent focus on musical form but also to grasp some of the theoretical principals about making music for cinema that can then be applied through the benefit of further hands-on study.
There is much of value here indeed, preparatory to the practical part of putting pencil to paper (or finger to keyboard, as the case may be). “The composer has to make a structural analysis,” Morricone explains in Chapter 3, Production Procedures, using himself as the example. “He has to analyze the editing and cutting of the montage, the motion picture camera, and the manner in which the film is shot and runs, but above all he had to analyze the psychological makeup of the protagonists. I think not about their obvious character, but also about their thoughts, about their reflections, about their human or inhuman depth, according to the people with whom they associate. From there I arrive at compositional choices.” (p. 53). What follows in succeeding chapters, which run in detail through topics such as Audiovisual Analysis, Production Procedures, Premix and Final Mix, Compositional Elements, and an intriguing Appendix on “Writing for the Cinema: Aspects and Problems of a Compositional Activity of Our Time,” is a mix of narratives attributed to both authors and sections in which Miceli interviews Morricone for further detail and clarification (the final chapter is, in fact, an extended collection of interview Q&As that serves to conclude their analysis and ensure no loose strings are left untied in their comprehensive dissertation).
Morricone often makes examples from his own film music experiences to emphasize matters, which also allows us to glean a bit about how some choices were made (or happened) in some of Morricone’s most popular works. One example: Discussing how the interactive collaboration between director and composer can often enhance meaning in both visual and musical elements in a film, Morricone cites the famous moment in Sergio Leone’s ONCE UPON A TIME IN THE WEST where we first hear “Jill’s Theme” as she disembarks the train, walks through the station, and emerges into the town beyond. “When Leone told me about the film, he said absolutely nothing about the fact that there would be a close-up of a clock on the station building,” Morricone states, having in this case created the music before the scene was shot. “For that scene I composed a piece that used vibraphone and celeste. By his placement of the visuals with the music, Leone made that casual choice become like the sound of a clock. This was very far from my original intentions…” He describes the classic dolly shot that rises above the station’s roof line to reveal the town beyond, and Jill walking out of the station below and down the street. “For that point I had written a musical bridge, with a crescendo that I carried over to the reappearance of the theme. I did not know that Leone would transform that musical bridge into a cinematographic bridge. The woman enters the station, disappears, and next is seen reframed at the exit, at the opposite side. This is the work of the director. I only wrote the music, but the revision of this episode verified how much more effective the music could become with this type of treatment by the director.” (p.59-60).
The book is also a fascinating opportunity to learn about Morricone himself, how he thinks and how he approaches the art and science of applying music to film, and how his own unique interpretation and focus in the process has been used to achieve so much in the way of his music’s application and relationship to cinema.
Inseguimento quel suono – La mia musica, la mia vita
Alessandro De Rosa
Mondadori, 2016. Italian language.
This book is presented as Ennio Morricone’s autobiography and called “” was released on the 26th of April 2016 by Mondadori. Written by Alessandro De Rosa, a former student of Morricone’s in Rome from 2013-2015, this Italian-language book is an autobiography only in the manner that it is based on a series of long-form interviews its author had with Morricone, and which are quoted substantially to form the narrative of the book. An English language biography that came our earlier this year called Life Notes, written by Morricone’s son Giovanni, is a more personal and familial look at the maestro, but De Rosa’s looks to be entirely authoritative and wide-ranging. One hopes Morricone’s significance as a composer might generate an English translation in the near future.
Available from Amazon Italy
CAMION BLANC: SYMPHONIES FANTASTIQUES
Musiques de films fantastiques et de science-fiction
By Sylvain Ménard
525 pages, Camion Blanc, 2016. French language.
This new book, in French language, focusing on music for fantasy films, this guide aims to identify important works in the musical heritage as they extend into the content and form, the art of so-called classical composition.
For details, see: camionblanc.com
EPIC SOUND: Music in Postwar Hollywood Biblical Films
Stephen C. Meyer
272 pages, Indiana University Press, 2015. Hardcover & paperback.
This is a well-researched and thorough book examining what the author finds to be a unique facet of film music of the late 1940s and early 1950s – its use, sometimes to glorious excess, in the biblical epics of postwar Hollywood. Meyer covers nine films – SAMSON AND DELILAH, DAVID AND BATHSHEBA, QUO VADIS, THE ROBE, THE TEN COMMANDMENTS, BEN-HUR, KING OF KINGS, BARABBAS, and THE GREATEST STORY EVER TOLD– in detail to examine what is similar in their use of music and what is different, how music shaped the epic nature of these films, and how the music in these films was influenced by films in previous periods and how they influenced film music in subsequent decades. “Although music… played a disproportionately large role in these films, there is by no means a unitary biblical epic musical style,” Meyer writes in his introduction. “Mario Nascimbene’s score for BARABBAS (1962) included innovative textural effects that would in many ways presage the more elaborate sound design of subsequent films. Other scores, such as Elmer Bernstein’s for THE TEN COMMANDMENTS (1956), seem more indebted to the techniques of the thirties and forties. And if the scores to the postwar biblical epics contained a wide variety of different styles, so too did the function of music differ greatly from film to film. In some – most notably QUO VADIS – music helped to create an aura of historical authenticity… whereas this idea played little or no role in other films under consideration here. More generally (and most obviously), music contributed to the grandeur and ‘epicness’ that was so central to the genre.”
In addition to evaluating these films’ musical components internally – as elements of the art and craft of moviemaking – the author also examines the role in which the music in these films (and the films themselves) reflected American culture and national state of mind, particularly in the placement of these films in the era between World War II and the emerging Cold War. “Perhaps the epic emerges precisely in those periods in which Americans are more profoundly questioning their sense of destiny and their country’s role in world history,” Meyer writes. “The postwar period was just such a time, as are, perhaps, the times in which we now live.”
The succeeding chapters examine this thesis and explores the use of music in each of the aforementioned films in great detail, including musical notation (for those who read music), before revisiting his original objective in relating the scores and their films to the eras in which they were made and shared with audiences. “The epic sounds of postwar Hollywood biblical films are worthy of reevaluation, not simply because their intrinsic beauty and complexity makes them monuments of the art of film scoring, but also because of the ways in which they amplified and resonated with the cultural energies of a pivotal period in American history.” Even if Meyer’s cultural associative element isn’t of particular interest, his research and analysis of the use of music in each of the individual films makes this book a valuable assessment of film scoring in this unique genre of cinema.
The Magnificent Elmer: My Life with Elmer Bernstein
Pearl Bernstein Gardner
140 pages, paperback, Rosetta Press, 2014.
Pearl Bernstein Gardner, Elmer Bernstein’s first wife, has published a respectful and informative memoir, The Magnificent Elmer: My Life with Elmer Bernstein. With 26 fairly short chapters, this is an easy read and an engrossing story – beginning when they first met (when a very young Elmer dedicated a piano recitation to her in a youth summer camp), through Elmer’s rise in Hollywood as one of the most famous film composers of the ‘50s and ‘60s, to their divorce in the aftermath of Elmer’s affair with a young woman (Pearl writes that she gave her husband the ultimatum: her or me. To her dismay, he left with the other woman), through their subsequent amicable friendship, Pearl’s remarriage (to her co-author, Gerald Gardner), and Elmer’s death and memorial service in 2004. A chapter discusses Elmer’s rejected film scores and what he thought about them (“Here was a man of immense talent whose music had moves millions… Yet his work to a lot of directors was just a dispensable product on the open market, to be approved or rejected. Elmer’s unused work offers an absorbing picture of a Hollywood system that often ran amuck, squandering talent right and left.” [p. 73.]) Elsewhere she describes Elmer’s Academy Award win: “THOROUGHLY MODERN MILLIE was the only score Elmer ever wrote that won the Academy Award,” Pearl writes in chapter 16. “ ‘To think,’ he mused, ‘I lost with TO KILL A MOCKINGBIRD. I lost with THE MAGNIFICENT SEVEN I lost with THE MAN WITH THE GOLDEN ARM. Then when I finally won, it was with, of all things, THOROUGHLY MODERN MILLIE.’ ” Pearl also notes, ironically, that MILLIE with its delightful theme and recreation of 1920s jazz “was the only major score Elmer ever wrote that has never been recorded in its entirely.” (The only place his theme has been included is on in Silva Screen’s Essential Elmer Bernstein Collection in 2005; other albums focused only on the film’s period jazz and music hall songs). The Magnificent Elmer is a very positive memoir that airs no dirty laundry, but instead straightforwardly describes the romance, laughter, mutual respect, dissolution, and ongoing friendship between two souls; by so doing Pearl describes the human side of Elmer, how he felt about his rise to success and fame, how the family felt about that, and how it was to be Mrs. Elmer Bernstein – and, more importantly, how the process of being the ex-Mrs. Bernstein allowed her to find her own place in the world. The 140 page paperback also includes some informative and enjoyable anecdotes found along the way, nicely balancing his professional and personal lives into a witty and enjoyable narrative. Available from amazon here in paperback, audible, and kindle versions.
Simians & Serialism
262 pages, Pithikos Entertainment, 2015.
Simians & Serialism is the first book that examines Jerry Goldsmith’s legendary serial score to the 1968 sci-fi classic PLANET OF THE APES. Writer, musician and filmmaker John O’Callaghan spent more than three years researching and analyzing each and every cue Goldsmith composed for the film, which are broken down in detail with technical and orchestration details, music analysis, and additional minutiae. Placing the score in its proper context, O’Callaghan also details the development of the film and its four sequels with new research that offers fascinating, unknown details. As a bonus, the book has sections comparing the Film, LP and CD versions of the PLANET OF THE APES score, 3 Appendices and a handy Glossary of Terms defining music and filmmaking jargon.
Jerry Goldsmith Music Scoring for American Films
By Mauricio Dupuis
Self-published paperback, 2nd Edition, June 2014.
168 pages. Available in paperback and kindle from Amazon
A good general overview of Jerry Goldsmith’s work for Hollywood movies. Originally published in Italy in 2012, the author has had it translated in English and self-published under his own imprint. It’s a very readable work with limited b&w photos and illustrated score samples. There’s no author’s bio in the book or one that I can find on his blogspot so I don’t know his background, but the writing is accessible for non-academics and yet perceptive in its analysis. The author has relied on properly cited DVD commentary transcriptions and published interviews to illuminate his own essay, all of which add to the book’s depth of coverage and validate the author’s own perspective. The book is divided into four segments: an overview of film scoring and Jerry’s career called “A Life in Movie Productions,” a chapter called “Creative Process” which goes into details on the role of the orchestrator in film scoring in general and in Goldsmith’s work in particular, and examines Goldsmith’s working relationship with directors and how that collaborative process has contributed to his work in Hollywood. The longest chapter, “Crossing Movie Genres,” examines Jerry’s work in particular film genres, wherein the author analyzes Goldsmith’s approach to scoring sci-fi and fantasy, Westerns, film noir, action, horror films, and the like. A final chapter goes into greater detail on Jerry’s work in the STAR TREK franchise and how that developed over the years. The book is a fairly concise assessment of Goldsmith’s film scoring career and perhaps derails into parenthetical discussions more generally related to film music than the composer directly at hand, but Dupuis’ book houses enough insight to enhance one’s appreciation of Jerry’s style and understanding of the scope and detail of his work. Lack of an index may be troubling for researchers looking for specifics, but its format and content it organized well enough to locate broader areas of coverage. It’s not a definitive study of one of film music’s most recognized and respected practitioners, but it’s a very good start and serves as a fine analytical exploration of Goldsmith’s unique perspective as a composer of American film music.
John Williams Film Music
By Emilio Audissino
320 pages, University of Wisconsin Press, 2014.
With its subtitle, “Jaws, Star Wars, Raiders of the Lost Ark, and the Return of the Classical Hollywood Music Style,” author Emilio Audissino defines the book’s scope as well as its limitations. A researcher at the University of Southampton and a widely published author of articles on Hollywood cinema, film style, and film music, Audissino has been studying John Williams’s music for more than twenty years, and this book is a revision of part of his PhD dissertation that centered on John Williams’s neoclassicism. Audissino has (more or less) “de-academized” the text and removed “many hard theoretical parts,” although his narrative style still largely focused on musicological considerations. Since his focus is on demonstrating how Williams’s film music pertains to the notion of neoclassicism, his book has a very specific correlative thesis in mind. Thus his writing style, and the abundance of specific musical terminology, might make the book a difficult read for those eager to simply soak in further enlightenment about Williams’s film music and how it’s been made without having to read music or have an academic musical background. That said, though, there is in fact much here – and certainly enough – that will be accessible to most all readers. Audissino provides a very thorough examination of John Williams as a composer, and outlines what he is getting at in addressing Williams as a prime example of modern neoclassicism (essentially: an aesthetic trend against the unrestrained emotionalism and perceived formless in late 18th Century Romanticism, urging a return to aesthetic precepts associated with the order, balance, clarity, economy, and emotional restraint of “classicism,” as often embodied by Williams’s predecessor, Stravinsky). There is also much here that applies to film music in general; in fact Audissino takes up his early chapters in analyzing what The Classical Hollywood Music Style really is, and how Williams’s music relates to it and serves as the defining style of the “Modern” Hollywood Music Style before he gets into the inspecting the neoclassical issue. In so doing he provides thorough discussions of the STAR WARS, JAWS, and RAIDERS scores. There’s also a fascinating chapter in which Audissino faces off against Williams’s naysayers, those highbrow critics unwilling to find anything valuable in music written for popular culture like movies, and a short chapter discussing Williams’s associated career as a conductor with the Boston Pops. Appendices take a look at Williams’s collaborative work for Steven Spielberg and collect a comprehensive list of the composer’s film and TV music, concert pieces, and arrangements. As the first book length evaluation of film music’s most recognizable contemporary practitioner, this book is a valuable examination from both musicological and cinematic/dramatic perspectives, and offers much revelation to interest both camps.
La musique de film en France, courants, spécificités, evolutions
(Film Music in France, Currents, Specificities, Evolutions)
By Jérôme Rossi
470 pages, Symétrie, 2016.
This French language book has been published by Symetrie in France. It spans more than a century of applied music, since L’ASSASSINAT DU DUC DE GUISE, the first official music made for a film by Camille Saint-Saëns (1908) The book details large aspects of French music scoring, its characteristics and specialities through the pioneers (1930-1960) from Honegger to Charpentier, the Nouvelle Vague (panorama 1960-1970, Delerue, Antoine Duhamel), the contemporaneous tendencies (Lelouch, Sarde, songs, the profession and the “new symphonism form” by Rombi and Desplat). It closes with interviews with Dutilleux, Demarsan, Duhamel, Colombier, Cosma, and Morricone (concerning his French film scores). Available from Amazon France