skip to content
The invisible art of film music : a comprehensive history Preview this item
ClosePreview this item
Checking...

The invisible art of film music : a comprehensive history

Author: Laurence E MacDonald
Publisher: New York, N.Y. : Ardsley House Publishers, ©1998.
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
An historically structured account of the evolution of music in films, the book is arranged as a chronological survey and includes biographical sketches on many important film composers in addition to the development of the films themselves.
Rating:

(not yet rated) 0 with reviews - Be the first.

Subjects
More like this

Find a copy in the library

&AllPage.SpinnerRetrieving; Finding libraries that hold this item...

Details

Genre/Form: Criticism, interpretation, etc
Additional Physical Format: Online version:
MacDonald, Laurence E.
Invisible art of film music.
New York, N.Y. : Ardsley House Publishers, ©1998
(OCoLC)639580430
Document Type: Book
All Authors / Contributors: Laurence E MacDonald
ISBN: 188015756X 9781880157565
OCLC Number: 40657811
Description: xvi, 431 pages : illustrations, portraits ; 23 cm
Contents: Introduction --
Music and the birth of film --
The evolution of movie theaters --
Music for silent films --
D.W. Griffith --
Combining sound and film --
Eight decades of film music --
1. Evolution of synchronized sound (1920-29) --
Prelude : Radio --
Popular music --
Movies --
1920 : the movie industry goes West --
1921 : Valentino's tango --
D.W. Griffith : Dream Street --
1922 : Early sound-on-film systems --
1923 : Lee De Forest's phonofilms --
The sound of silents --
1924 : Phonofilm firsts (and lasts) --
Erno Rapee : motion picture moods --
1925 : Rival sound systems --
1926 : Warner Bros. and the birth of vitaphone --
William Fox and the Case-Sponable System --
Introducing the movie theme song : "Charmaine" --
1927 : The first talkie : The Jazz Singer --
The first Movietone films --
Toward all-talking pictures --
More movie theme songs --
1928 : The Broadway Melody : All talking! All singing! All dancing! --
A deluge of musical madness --
The first Oscars --
Postlude : reinventing the craft --
2. The dawn of the golden age (1930-39) --
Prelude : Radio --
Popular music --
Movies --
The advent of film underscoring --
The three godfathers of film music : Max Steiner, Alfred Newman, Dimitri Tiomkin --
1930 : the decline of the musical --
1921 : early dramatic film scores --
Max Steiner : Cimarron --
Alfred Newman : Street Scene --
Dimitri Tiomkin : Resurrection --
1932 : Max Steiner, music from wall to wall --
1933 : Kong comes calling --
The return of the musical --
Harry Warren : 42nd Street --
1934 : The first Oscars for music --
Sergei Prokofiev : Lieutenant Kijé --
Alfred Newman : Our Daily Bread --
Jeanette Macdonald films --
1935 : The Golden Age begins --
Max Steiner : The Informer --
Arthur Bliss : Things to Come --
The advent of Erich Wolfgang Korngold --
Franz Waxman : The Bride of Frankenstein --
The formation of studio music departments --
1936 : The studio system --
Max Steiner : The Charge of the Light Brigade --
Erich Wolfgang Korngold : Anthony Adverse --
Charlie Chaplin : Modern Times --
1937 : Mythical places and exotic locales --
Dimitri Tiomkin : Lost Horizon --
Alfred Newman : The Hurricane and the Prisoner of Zenda --
Rule changes for music Oscars --
1938 : Russian film music --
Dmitri Shostakovich : a long career --
Sergei Prokofiev : Alexander Nevsky --
Max Steiner : Jezebel --
Erich Wolfgang Korngold : The Adventures of Robin Hood --
1939 : Max Stein : Gone With the Wind --
Aaron Copland : The City and Of Mice and Men --
Silvestre Revueltas : La Noche de Los Mayas --
Postlude : the talkies come of age --
3. World War II and its aftermath (1940-49) --
Prelude : Radio --
Television --
Popular music --
Movies --
1940 : Erich Wolfgang Korngold : The Sea Hawk --
Charlie Chaplin : The Great Dictator --
1941 : Bernard Herrmann : Raising Kane --
Alfred Newman : How Green Was My Valley --
Miklos Rozsa : films about women --
1942 : Herbert Stothart : Mrs. Miniver --
More patriotic films --
Bernard Herrmann : The Magnificent Ambersons --
Erich Wolfgang Korngold : Kings Row --
Miklos Rozsa : The Jungle Book --
Max Steiner : Now, Voyager --
1943 : Alfred Newman : The Song of Bernadette --
Max Steiner : Casablanca --
Miklos Rozsa : Five Graves to Cairo --
1944 : David Raksin : Laura --
Max Steiner : Since You Went Away --
1945 : Miklos Rozsa and the theremin --
Bernard Herrmann : Hangover Square --
1946 : Hugo Friedhofer : The Best Years of Our Lives --
Erich Wolfgang Korngold : Deception --
Roy Webb : music for thrillers --
1947 : Bernard Herrmann : The Ghost and Mrs. Muir --
Miklos Rozsa : crime films --
1948 : Ralph Vaughan Williams : Scott of the Antarctic --
Brian Easdale : The Red Shoes --
Max Steiner : Johnny Belinda and The Treasure of the Sierra Madre --
1949 : Aaron Copland : the Brooklyn Stravinsky --
The three godfathers : still scoring after all these years --
Postlude : the end of the Golden Age --
4. The decline of the studio system (1950-59) --
Prelude : Popular music --
Television --
Movies --
1950 : Franz Waxman : Sunset Boulevard --
Dimitri Tiomkin : Cyrano de Bergerac and D.O.A. --
Alfred Newman : All About Eve --
1951 : Alex North : A Streetcar Named Desire --
Bernard Herrmann : The Day the Earth Stood Still --
Dimitri Tiomkin : from sci-fi film to thriller --
1952 : Dimitri Tiomkin : High Noon --
Victor Young : from Scaramouche to The Greatest Show on Earth --
1953 : Alfred Newman : The Robe --
Bernard Herrmann : three action potboilers--
Miklos Rozsa : three historical dramas --
1954 : Leonard Bernstein : On the Waterfront --
1955 : Leonard Rosenman : East of Eden --
Bernard Herrmann : The Trouble With Harry and Two Failures --
Elmer Bernstein : The Man With the Golden Arm --
George Duning : Picnic --
Walter Schumann : The Night of the Hunter --
1956 : Victor Young : Around the world in Eighty Days --
Elmer Bernstein : The Ten Commandments --
Dimitri Tiomkin : Giant and Friendly Persuasion --
1957 : Franz Waxman : the pinnacle of his career --
Malcolm Arnold : The Bridge on the River Kwai --
1958 : Bernard Herrmann : great collaborations --
Jerome Moross : The Big Country --
New kids on the block --
1959 : Miklos Rozsa : Ben-Hur --
Bernard Herrmann : Journey to the Center of the Earth and North by Northwest --
Adolph Deutsch : Some Like It Hot --
Duke Ellington : Anatomy of a Murder --
Postlude : two rising stars --
5. The changing of the guard (1960-69) --
Prelude : Popular music --
Television --
Movies --
1960 : Elmer Bernstein : The magnificent Seven --
Scores for historical epics --
André Previn : Elmer Gantry --
1961 : The Henry Mancini-Blake Edwards collaboration --
Miklos Rozsa : scoring Samuel Bronston's epics --
Elmer Bernstein : both in an out of the saddle --
1962 : The new wave --
Maurice Jarre : Lawrence of Arabia --
Two by elmer Bernstein --
And two by Bernard Herrmann --
1963 : John Addison : Tom Jones --
Alfred Newman : How the West Was Won --
1964 : Laurence Rosenthal : Becket --
Malcolm Arnold : The Chalk Garden --
1965 : Maurice Jarre : Doctor Zhivago --
Music for epics --
1966 : Jerry Goldsmith : a composer for all seasons --
Bernard Herrmann : Fahrenheit 451 --
1967 : Lalo Schifrin : Cool Hand Luke --
Quincy Jones : scoring hot and cold --
Ennio Morricone : three spaghetti westerns --
New directions in film music --
1968 : John Barry : The Lion in Winter --
Nino Rota : Romeo and Juliet --
Marvin Hamlisch : The Swimmer --
1969 : John Williams : The Reivers --
Burt Bacharach : Butch Cassidy and the Sundance Kid --
Postlude : passing the torch --
6. The revival of the symphonic film score (1970-79) --
Prelude : Popular music --
Television --
Movies --
1970 : Henry Mancini : from Darling Lili to The Night Visitor --
Francis Lai : Love Story --
1971 : Michel Legrand : Summer of '42 --
Bernard Herrmann : a resurgence --
Walter Carlos : A Clockwork Orange --
1972 : Nino Rota : The Godfather --
Jerry Goldsmith : The Other --
Deliverance : "Dueling banjos" --
1973 : Marvin Hamlisch : The Way We Were and The Sting --
Jerry Goldsmith : Papillon --
By borrowing possessed : The Exorcist --
1974 : Richard Rodney Bennett : Murder on the Orient Express --
Francis Ford Coppola films --
1975 : David Shire : Farewell, My Lovely and The Hindenburg --
John Williams : Jaws --
Jack Nitzsche : One Flew Over the Cuckoo's Nest --
Bernard Herrmann : requiem for a musical heavyweight --
In Herrmann's wake --
1977 : John Williams : celestial encounters --
Jerry goldsmith : from MacArthur to Damnation Alley --
1978 : Jerry Goldsmith : from Coma to Magic --
John Williams : from Jaws 2 to Superman --
1979 : Miklos Rozsa : thriller and fantasy --
Jerry Goldsmith : in outer space --
Viva Vivaldi! : three scores in the Baroque Style --
Postlude : the last hurrah --
7. The influence of synthesized sound (1980-89) --
Prelude : New technology --
Popular music --
Television --
Movies --
1980 : John Barry : Raise the Titanic and Somewhere in Time --
John Williams : The Empire Strikes Back --
John Morris : The Elephant Man --
1981 : Dave Grusin : On Golden Pond --
John Williams : Raiders of the Los Ark --
Randy Newman : Ragtime --
Vangelis : Chariots of Fire --
Some things borrowed, some things new : Excalibur --
1982 : Basil Poledouris : Conan the Barbarian --
John Williams : E.T. the Extraterrestrial --
Jerry Goldsmith : Poltergeist --
1983 : Bill Conti : The Right Stuff --
Jerry Goldsmith : from Under Fire to Twilight Zone : the Movie --
1984 : Randy Newman : The Natural --
Maurice Jarre : A Passage to India and Dreamscape --
1985 : Popular music in films --
Bruce Broughton : from small screen to big screen --
1986 : Ennio Morricone : The Mission --
Jerry Goldsmith : Hoosiers --
1987 : John Williams : Empire of the Sun --
A multicultural score : The Last Emperor --
Peter Martin and borrowed classical themes : Hope and Glory --
1988 : Alan Silvestri : Who Framed Roger Rabbit? --
Danny Elfman : Bettlejuice --
Hans Zimmer : Rain Man --
1989 : James Horner : Field of Dreams --
Patrick Doyle : Henry V --
John Williams : Born on the Fourth of July --
Postlude : an emphasis on youth --
8. Into the 1990s (1990-97) --
Prelude : Popular music --
Television --
Movies --
1990 : John Barry : Dances With Wolves --
Danny Elfman : Edward Scissorhands --
Randy Newman : Avalon and Awakenings --
1991 : Alan Menken : Beauty and the Beast --
James Newton Howard : The Prince of Tides --
Michael Kamen : Robin Hood, Prince of Thieves --
Elmer Bernstein : from Rambling Rose to Oscar --
1992 : Jerry Goldsmith : Basic Instinct --
Trevor Jones and Randy Edelman : The Last of the Mohicans --
1993 : Patrick Doyle : Much Ado About Nothing --
Elmer Bernstein : The Age of Innocence and The Good Son --
John Williams : Jurassic Park and Schindler's List --
1994 : Hans Zimmer : The Lion King --
Alan Silvestri : Forrest Gump --
James Horner : Legends of the Fall and Clear and Present Danger --
1995 : Michael Kamen : Mr. Holland's Opus --
Two categories of film scores --
1996 : Elliot Goldenthal : Michael Collins --
Mark Isham : Fly Away Home --
Gabriel Yared : The English Patient --
1997 : Danny Elfman : from Men in Black to Good Will Hunting --
John Williams : from Rosewood to Amistad --
James Horner : The Devil's Own and Titanic --
Postlude : in summary.
Responsibility: Laurence E. MacDonald.

Abstract:

A comprehensive introduction to film music for the general student, the film historian, and the aspiring cinematographer. It is a historically structured account of the evolution of music in films.  Read more...

Reviews

Editorial reviews

Publisher Synopsis

...it is impossible to dislike this genial, attractive survey of Hollywood Film music...an evenhanded, balanced overview of each year's film music...the most complete survey of American film music Read more...

 
User-contributed reviews
Retrieving GoodReads reviews...
Retrieving DOGObooks reviews...

Tags

Be the first.
Confirm this request

You may have already requested this item. Please select Ok if you would like to proceed with this request anyway.

Linked Data


Primary Entity

<http://www.worldcat.org/oclc/40657811> # The invisible art of film music : a comprehensive history
    a schema:Book, schema:CreativeWork ;
    library:oclcnum "40657811" ;
    library:placeOfPublication <http://id.loc.gov/vocabulary/countries/nyu> ;
    library:placeOfPublication <http://experiment.worldcat.org/entity/work/data/891340345#Place/new_york_n_y> ; # New York, N.Y.
    schema:about <http://id.loc.gov/authorities/subjects/sh2008108005> ; # Motion picture music--History and criticism
    schema:about <http://dewey.info/class/781.542/e22/> ;
    schema:about <http://id.worldcat.org/fast/1027201> ; # Motion picture music
    schema:about <http://id.loc.gov/authorities/classification/ML2075> ;
    schema:bookFormat bgn:PrintBook ;
    schema:copyrightYear "1998" ;
    schema:creator <http://viaf.org/viaf/61831729> ; # Laurence E. MacDonald
    schema:datePublished "1998" ;
    schema:description "3. World War II and its aftermath (1940-49) -- Prelude : Radio -- Television -- Popular music -- Movies -- 1940 : Erich Wolfgang Korngold : The Sea Hawk -- Charlie Chaplin : The Great Dictator -- 1941 : Bernard Herrmann : Raising Kane -- Alfred Newman : How Green Was My Valley -- Miklos Rozsa : films about women -- 1942 : Herbert Stothart : Mrs. Miniver -- More patriotic films -- Bernard Herrmann : The Magnificent Ambersons -- Erich Wolfgang Korngold : Kings Row -- Miklos Rozsa : The Jungle Book -- Max Steiner : Now, Voyager -- 1943 : Alfred Newman : The Song of Bernadette -- Max Steiner : Casablanca -- Miklos Rozsa : Five Graves to Cairo -- 1944 : David Raksin : Laura -- Max Steiner : Since You Went Away -- 1945 : Miklos Rozsa and the theremin -- Bernard Herrmann : Hangover Square -- 1946 : Hugo Friedhofer : The Best Years of Our Lives -- Erich Wolfgang Korngold : Deception -- Roy Webb : music for thrillers -- 1947 : Bernard Herrmann : The Ghost and Mrs. Muir -- Miklos Rozsa : crime films -- 1948 : Ralph Vaughan Williams : Scott of the Antarctic -- Brian Easdale : The Red Shoes -- Max Steiner : Johnny Belinda and The Treasure of the Sierra Madre -- 1949 : Aaron Copland : the Brooklyn Stravinsky -- The three godfathers : still scoring after all these years -- Postlude : the end of the Golden Age -- 4. The decline of the studio system (1950-59) -- Prelude : Popular music -- Television -- Movies -- 1950 : Franz Waxman : Sunset Boulevard -- Dimitri Tiomkin : Cyrano de Bergerac and D.O.A. -- Alfred Newman : All About Eve -- 1951 : Alex North : A Streetcar Named Desire -- Bernard Herrmann : The Day the Earth Stood Still -- Dimitri Tiomkin : from sci-fi film to thriller -- 1952 : Dimitri Tiomkin : High Noon -- Victor Young : from Scaramouche to The Greatest Show on Earth -- 1953 : Alfred Newman : The Robe -- Bernard Herrmann : three action potboilers-- Miklos Rozsa : three historical dramas -- 1954 : Leonard Bernstein : On the Waterfront -- 1955 : Leonard Rosenman : East of Eden -- Bernard Herrmann : The Trouble With Harry and Two Failures -- Elmer Bernstein : The Man With the Golden Arm -- George Duning : Picnic -- Walter Schumann : The Night of the Hunter -- 1956 : Victor Young : Around the world in Eighty Days -- Elmer Bernstein : The Ten Commandments -- Dimitri Tiomkin : Giant and Friendly Persuasion -- 1957 : Franz Waxman : the pinnacle of his career -- Malcolm Arnold : The Bridge on the River Kwai -- 1958 : Bernard Herrmann : great collaborations -- Jerome Moross : The Big Country -- New kids on the block -- 1959 : Miklos Rozsa : Ben-Hur -- Bernard Herrmann : Journey to the Center of the Earth and North by Northwest -- Adolph Deutsch : Some Like It Hot -- Duke Ellington : Anatomy of a Murder -- Postlude : two rising stars --"@en ;
    schema:description "An historically structured account of the evolution of music in films, the book is arranged as a chronological survey and includes biographical sketches on many important film composers in addition to the development of the films themselves."@en ;
    schema:description "7. The influence of synthesized sound (1980-89) -- Prelude : New technology -- Popular music -- Television -- Movies -- 1980 : John Barry : Raise the Titanic and Somewhere in Time -- John Williams : The Empire Strikes Back -- John Morris : The Elephant Man -- 1981 : Dave Grusin : On Golden Pond -- John Williams : Raiders of the Los Ark -- Randy Newman : Ragtime -- Vangelis : Chariots of Fire -- Some things borrowed, some things new : Excalibur -- 1982 : Basil Poledouris : Conan the Barbarian -- John Williams : E.T. the Extraterrestrial -- Jerry Goldsmith : Poltergeist -- 1983 : Bill Conti : The Right Stuff -- Jerry Goldsmith : from Under Fire to Twilight Zone : the Movie -- 1984 : Randy Newman : The Natural -- Maurice Jarre : A Passage to India and Dreamscape -- 1985 : Popular music in films -- Bruce Broughton : from small screen to big screen -- 1986 : Ennio Morricone : The Mission -- Jerry Goldsmith : Hoosiers -- 1987 : John Williams : Empire of the Sun -- A multicultural score : The Last Emperor -- Peter Martin and borrowed classical themes : Hope and Glory -- 1988 : Alan Silvestri : Who Framed Roger Rabbit? -- Danny Elfman : Bettlejuice -- Hans Zimmer : Rain Man -- 1989 : James Horner : Field of Dreams -- Patrick Doyle : Henry V -- John Williams : Born on the Fourth of July -- Postlude : an emphasis on youth -- 8. Into the 1990s (1990-97) -- Prelude : Popular music -- Television -- Movies -- 1990 : John Barry : Dances With Wolves -- Danny Elfman : Edward Scissorhands -- Randy Newman : Avalon and Awakenings -- 1991 : Alan Menken : Beauty and the Beast -- James Newton Howard : The Prince of Tides -- Michael Kamen : Robin Hood, Prince of Thieves -- Elmer Bernstein : from Rambling Rose to Oscar -- 1992 : Jerry Goldsmith : Basic Instinct -- Trevor Jones and Randy Edelman : The Last of the Mohicans -- 1993 : Patrick Doyle : Much Ado About Nothing -- Elmer Bernstein : The Age of Innocence and The Good Son -- John Williams : Jurassic Park and Schindler's List -- 1994 : Hans Zimmer : The Lion King -- Alan Silvestri : Forrest Gump -- James Horner : Legends of the Fall and Clear and Present Danger -- 1995 : Michael Kamen : Mr. Holland's Opus -- Two categories of film scores -- 1996 : Elliot Goldenthal : Michael Collins -- Mark Isham : Fly Away Home -- Gabriel Yared : The English Patient -- 1997 : Danny Elfman : from Men in Black to Good Will Hunting -- John Williams : from Rosewood to Amistad -- James Horner : The Devil's Own and Titanic -- Postlude : in summary."@en ;
    schema:description "Introduction -- Music and the birth of film -- The evolution of movie theaters -- Music for silent films -- D.W. Griffith -- Combining sound and film -- Eight decades of film music -- 1. Evolution of synchronized sound (1920-29) -- Prelude : Radio -- Popular music -- Movies -- 1920 : the movie industry goes West -- 1921 : Valentino's tango -- D.W. Griffith : Dream Street -- 1922 : Early sound-on-film systems -- 1923 : Lee De Forest's phonofilms -- The sound of silents -- 1924 : Phonofilm firsts (and lasts) -- Erno Rapee : motion picture moods -- 1925 : Rival sound systems -- 1926 : Warner Bros. and the birth of vitaphone -- William Fox and the Case-Sponable System -- Introducing the movie theme song : "Charmaine" -- 1927 : The first talkie : The Jazz Singer -- The first Movietone films -- Toward all-talking pictures -- More movie theme songs -- 1928 : The Broadway Melody : All talking! All singing! All dancing! -- A deluge of musical madness -- The first Oscars -- Postlude : reinventing the craft -- 2. The dawn of the golden age (1930-39) -- Prelude : Radio -- Popular music -- Movies -- The advent of film underscoring -- The three godfathers of film music : Max Steiner, Alfred Newman, Dimitri Tiomkin -- 1930 : the decline of the musical -- 1921 : early dramatic film scores -- Max Steiner : Cimarron -- Alfred Newman : Street Scene -- Dimitri Tiomkin : Resurrection -- 1932 : Max Steiner, music from wall to wall -- 1933 : Kong comes calling -- The return of the musical -- Harry Warren : 42nd Street -- 1934 : The first Oscars for music -- Sergei Prokofiev : Lieutenant Kijé -- Alfred Newman : Our Daily Bread -- Jeanette Macdonald films -- 1935 : The Golden Age begins -- Max Steiner : The Informer -- Arthur Bliss : Things to Come -- The advent of Erich Wolfgang Korngold -- Franz Waxman : The Bride of Frankenstein -- The formation of studio music departments -- 1936 : The studio system -- Max Steiner : The Charge of the Light Brigade -- Erich Wolfgang Korngold : Anthony Adverse -- Charlie Chaplin : Modern Times -- 1937 : Mythical places and exotic locales -- Dimitri Tiomkin : Lost Horizon -- Alfred Newman : The Hurricane and the Prisoner of Zenda -- Rule changes for music Oscars -- 1938 : Russian film music -- Dmitri Shostakovich : a long career -- Sergei Prokofiev : Alexander Nevsky -- Max Steiner : Jezebel -- Erich Wolfgang Korngold : The Adventures of Robin Hood -- 1939 : Max Stein : Gone With the Wind -- Aaron Copland : The City and Of Mice and Men -- Silvestre Revueltas : La Noche de Los Mayas -- Postlude : the talkies come of age --"@en ;
    schema:description "5. The changing of the guard (1960-69) -- Prelude : Popular music -- Television -- Movies -- 1960 : Elmer Bernstein : The magnificent Seven -- Scores for historical epics -- André Previn : Elmer Gantry -- 1961 : The Henry Mancini-Blake Edwards collaboration -- Miklos Rozsa : scoring Samuel Bronston's epics -- Elmer Bernstein : both in an out of the saddle -- 1962 : The new wave -- Maurice Jarre : Lawrence of Arabia -- Two by elmer Bernstein -- And two by Bernard Herrmann -- 1963 : John Addison : Tom Jones -- Alfred Newman : How the West Was Won -- 1964 : Laurence Rosenthal : Becket -- Malcolm Arnold : The Chalk Garden -- 1965 : Maurice Jarre : Doctor Zhivago -- Music for epics -- 1966 : Jerry Goldsmith : a composer for all seasons -- Bernard Herrmann : Fahrenheit 451 -- 1967 : Lalo Schifrin : Cool Hand Luke -- Quincy Jones : scoring hot and cold -- Ennio Morricone : three spaghetti westerns -- New directions in film music -- 1968 : John Barry : The Lion in Winter -- Nino Rota : Romeo and Juliet -- Marvin Hamlisch : The Swimmer -- 1969 : John Williams : The Reivers -- Burt Bacharach : Butch Cassidy and the Sundance Kid -- Postlude : passing the torch -- 6. The revival of the symphonic film score (1970-79) -- Prelude : Popular music -- Television -- Movies -- 1970 : Henry Mancini : from Darling Lili to The Night Visitor -- Francis Lai : Love Story -- 1971 : Michel Legrand : Summer of '42 -- Bernard Herrmann : a resurgence -- Walter Carlos : A Clockwork Orange -- 1972 : Nino Rota : The Godfather -- Jerry Goldsmith : The Other -- Deliverance : "Dueling banjos" -- 1973 : Marvin Hamlisch : The Way We Were and The Sting -- Jerry Goldsmith : Papillon -- By borrowing possessed : The Exorcist -- 1974 : Richard Rodney Bennett : Murder on the Orient Express -- Francis Ford Coppola films -- 1975 : David Shire : Farewell, My Lovely and The Hindenburg -- John Williams : Jaws -- Jack Nitzsche : One Flew Over the Cuckoo's Nest -- Bernard Herrmann : requiem for a musical heavyweight -- In Herrmann's wake -- 1977 : John Williams : celestial encounters -- Jerry goldsmith : from MacArthur to Damnation Alley -- 1978 : Jerry Goldsmith : from Coma to Magic -- John Williams : from Jaws 2 to Superman -- 1979 : Miklos Rozsa : thriller and fantasy -- Jerry Goldsmith : in outer space -- Viva Vivaldi! : three scores in the Baroque Style -- Postlude : the last hurrah --"@en ;
    schema:exampleOfWork <http://worldcat.org/entity/work/id/891340345> ;
    schema:genre "Criticism, interpretation, etc."@en ;
    schema:inLanguage "en" ;
    schema:isSimilarTo <http://www.worldcat.org/oclc/639580430> ;
    schema:name "The invisible art of film music : a comprehensive history"@en ;
    schema:productID "40657811" ;
    schema:publication <http://www.worldcat.org/title/-/oclc/40657811#PublicationEvent/new_york_n_y_ardsley_house_publishers_1998> ;
    schema:publisher <http://experiment.worldcat.org/entity/work/data/891340345#Agent/ardsley_house_publishers> ; # Ardsley House Publishers
    schema:workExample <http://worldcat.org/isbn/9781880157565> ;
    wdrs:describedby <http://www.worldcat.org/title/-/oclc/40657811> ;
    .


Related Entities

<http://experiment.worldcat.org/entity/work/data/891340345#Agent/ardsley_house_publishers> # Ardsley House Publishers
    a bgn:Agent ;
    schema:name "Ardsley House Publishers" ;
    .

<http://experiment.worldcat.org/entity/work/data/891340345#Place/new_york_n_y> # New York, N.Y.
    a schema:Place ;
    schema:name "New York, N.Y." ;
    .

<http://id.loc.gov/authorities/subjects/sh2008108005> # Motion picture music--History and criticism
    a schema:Intangible ;
    schema:name "Motion picture music--History and criticism"@en ;
    .

<http://id.worldcat.org/fast/1027201> # Motion picture music
    a schema:Intangible ;
    schema:name "Motion picture music"@en ;
    .

<http://viaf.org/viaf/61831729> # Laurence E. MacDonald
    a schema:Person ;
    schema:familyName "MacDonald" ;
    schema:givenName "Laurence E." ;
    schema:name "Laurence E. MacDonald" ;
    .

<http://worldcat.org/isbn/9781880157565>
    a schema:ProductModel ;
    schema:isbn "188015756X" ;
    schema:isbn "9781880157565" ;
    .

<http://www.worldcat.org/oclc/639580430>
    a schema:CreativeWork ;
    rdfs:label "Invisible art of film music." ;
    schema:description "Online version:" ;
    schema:isSimilarTo <http://www.worldcat.org/oclc/40657811> ; # The invisible art of film music : a comprehensive history
    .


Content-negotiable representations

Close Window

Please sign in to WorldCat 

Don't have an account? You can easily create a free account.