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The reel world : scoring for pictures

Author: Jeffrey C Rona
Publisher: New York : Hal Leonard Books, 2009.
Series: MusicPro guides
Edition/Format:   Print book : English : Second edition revised and expandedView all editions and formats
Summary:
"Packed with case studies and insiders' tips, The Reel World guides you through the world of creating music for film, TV, and video. You'll find proven success strategies-and learn the pitfalls to avoid-through examples drawn from actual scoring projects by industry pros." "You'll also learn how to nurture positive relationships with music editors, directors, producers, recording engineers, music executives, and  Read more...
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Document Type: Book
All Authors / Contributors: Jeffrey C Rona
ISBN: 9781423434832 1423434838
OCLC Number: 880822510
Notes: Comprend un index.
Http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017313171&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
Description: xvi, 312 pages : illustrations, musique ; 24 cm.
Contents: 1. The creative process --
Music for film --
The door : shaping the overall character of a film score --
Before the first note : thinking about music --
Hitting the spot : putting music cues in their place --
Making a subtle entrance : beginning a cue --
The hit : underscoring crucial moments --
Continuity and contrast : sustaining interest with variations in tone --
Economy : when less is more --
Transition : the composer's response to changes --
Tempo : the pacing of the score --
Graceful exit : when to end a cue --
Style : is film music different from other kinds of music? --
Case study : White Squall --
Music for television --
Doing TV : music for the small screen --
A case of homicide : scoring a network cop show (on short notice) --
Changing channels : Chicago Hope --
Title music : intro music for TV shows --
The main theme --
Developing a style --
Critique : learning by doing --
Watching movies --
Flexibility --
Film music : voxels, walking, and chewing gum --
Over the top : melodramatic music --
The CD is in the mail : analysis of a problematic demo --
Workshop : more thoughts on demos, plagiarism, and conservative choices --
House of style : cultivating a unique, identifiable sound --
The Art Film : walking on eggshells --
New directions in scores --
Found sound : improvising and misfit sounds --
Contemporary scoring : the electronic score --
The art of documentary : scoring a nonfiction film --
A thousand roads --
Looking forward : film music for the future --
Perspectives : John Williams, Carter Burwell, James Newton Howard, Wend and Lisa (aka Wendy Melvoin and Lisa Coleman). 2. Technology --
Setting up a studio --
Staying ahead of the curve : how much gear is enough? --
Computers : essential operating system savvy --
Sequencers : the most important thing in your studio --
Samplers : an orchestra (and more) at your fingertips --
Synthesizers : an arsenal of electronic sounds --
Effects : improving what you have --
Synchronization : making the parts work together --
Mixing : the art of balance --
Putting it all together --
Is it enough? Spending on your studio --
Getting a studio tan : the importance of a comfortable workspace --
Writing the score --
The paper tiger : generating a printed score --
Conduct yourself accordingly : how to control an orchestra --
Sounds just like the real thing : (until you listen to the real thing) : the synthetic approach to orchestration --
General notes on the character of orchestral sound --
Winds and brass --
Strings --
Percussion --
Harp --
Putting things together --
Loop the loop : the rhythms of electronic scoring --
Organization : the unique language of the cue sheet --
Sync up --
When your music is married to film --
Playback --
Timecode --
Delivering your final mixes --
The etiquette of reel changes --
Recording the score --
Working with actual (not virtual) musicians --
The White Squall recording sessions --
Keeping the musicians in time --
Making the transition from home studio to pro studio --
Recording the orchestra --
Making repairs --
Tracking completed --
Editing and mixing White Squall --
On to the dub stage --
Samples run through it : creating samples and loops for Mark Isham --
Walk like an Egyptian : working with exotic musicians --
In the mix : beyond stereo to surround --
Smells like team spirit : the music editor --
Sound good to me : the film score mixer --
Perspectives : Hans Zimmer, Mark Isham, Basil Poledouris, Marc Shaimen. 3. Career --
Beginning a career --
How do I get started in film scoring? --
Live where you work --
How important is a university music degree? --
Windows of opportunity --
Apprenticing with a successful composer --
Ghost of a change --
The demo --
Makings of a good demo --
Genre showcase --
Melodies : concise, focused, and memorable --
Variety : the spice of a diverse sequence --
Plagiarists need not apply --
Including appropriate material --
Your demo reflects your abilities --
Credits where credit is due --
Be yourself --
Judging a book by its cover --
Online demos --
The list : more advice on getting a start in the film world --
Learning by doing : ten things I've learned from other film composers --
Agents : having a representative on your side --
Career challenges --
Orchestral maneuvers in the dark : my first score for live orchestra --
Sizing up needs --
Working on a tight schedule --
At the studio --
Making the producers happy --
Fired : when bad things happen to good composers --
Letting go : two examples o how not to deal with film producers --
So are you up to speed? : how to get a lot done in a very short time --
Explaining impossible deadlines --
Politics of dancing : diplomacy of scoring --
Other peoples' problems --
Someone to watch over your : the lawyer --
Who are you : are you the right person for the project? --
A new director, a new relationship --
On the other hand --
Making a living --
Dollars and sense --
Fees, packages, licenses, and royalties --
Calculating expenses --
Sweetening the pot --
Royalties and performing rights societies --
Who pays the composer? --
Television music --
a few other opportunities --
The Musicians Union --
Contracting music groups : An interview with David Low, music contractor --
Agents of change : an interview with John Tempereau, composer's agent --
Songs for films : an interview with Chris Douridas, music supervisor --
The executive suite : an interview with Robert Kraft, film studio music executive --
Epilogue: The day the Earth didn't stand still --
Appendix : thinking in reel time.
Series Title: MusicPro guides
Responsibility: Jeff Rona.

Abstract:

"Packed with case studies and insiders' tips, The Reel World guides you through the world of creating music for film, TV, and video. You'll find proven success strategies-and learn the pitfalls to avoid-through examples drawn from actual scoring projects by industry pros." "You'll also learn how to nurture positive relationships with music editors, directors, producers, recording engineers, music executives, and agents." "Written by one of Hollywood's busiest composers, The Reel World examines the development of good musical aesthetics, the most effective technology and techniques, and the business of professional composing. The companion website, www.reelworld-online.com. attracts an active film-scoring community and features more examples, updates, and other resources for the beginning or pro composer."--Page 4 de la couverture.

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