Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. Preface ix
4. Acknowledgments xiii
5. Part One. Playing the Pictures: Music and the Silent Film (1895–1925)
6. Introduction 1
7. 1. Plain Talk to Theater Managers and Operators. Seating/Music (1909) 35
8. 2. Incidental Music for Edison Pictures (1909) 39
9. 3. Jackass Music (1911) 42
10. 4. Selections from What and How to Play for Pictures (1913) 45
11. 5. Music for the Picture (1911) 53
12. 6. The Art of Exhibition: Rothapfel on Motion Picture Music–Its Object and Its Possibilities (1914) 56
13. 7. Selections from Musical Accompaniment of Moving Pictures (1920) 62
14. 8. Selections from Musical Presentation of Motion Pictures (1921) 74
15. 9. Selections from Encyclopaedia of Music for Pictures (1925) 84
16. 10. Two Thematic Music Cue Sheets: The Thief of Bagdad (1924) and Dame Chance (1926) 97
17. 11. Music and Motion Pictures (1926) 100
18. 12. Publishers Win Movie Music Suit (1924) 106
19. Part Two. All Singing, Dancing, and Talking: Music in the Early Sound Film (1926– 1934)
20. Introduction 109
21. 13. New Musical Marvels in the Movies (1926) 133
22. 14. Musicians to Fight Sound-Film Devices (1928) 136
23. 15. The Truth about Voice Doubling (1929) 138
24. 16. Westward the Course of Tin-Pan Alley (1929) 145
25. 17. What’s Wrong with Musical Pictures? (1930) 152
26. 18. Present Day Musical Films and How They Are Made Possible (1931) 156
27. 19. Alfred Hitchcock on Music in Films (1934) 164
28. Part Three. Carpet, Wallpaper, and Earmuffs: The Hollywood Score (1935–1959)
29. Introduction 169
30. 20. Composers in Movieland (1935) 209
31. 21. The Aesthetics of the Sound Film (1935) 213
32. 22. Scoring the Film (1937) 221
33. 23. Some Experiences in Film Music (1940) 231
34. 24. What Is a Filmusical? (1937) 234
35. 25. Music in the Films (1941) 238
36. 26. Music or Sound Effects? (1947) 245
37. 27. The New Musical Resources (1947) 249
38. 28. Movie Music Goes on Record (1952) 258
39. 29. The Man with the Golden Arm (1956) 262
40. 30. Forbidden Planet (1956) 274
41. 31. Interview with Stanley Donen (1977) 277
42. 32. One Thing’s for Sure, R ’n’ R Is Boffo B.O. (1958) 286
43. Part Four. The Recession Soundtrack: From Albums to Auteurs, Songs to Serialism (1960–1977)
44. Introduction 289
45. 33. Film Themes Link Movie, Disk Trades (1960) 315
46. 34. Mancini Debunks Album Values (1961) 318
47. 35. Herrmann Says Hollywood Tone Deaf as to Film Scores (1964) 321
48. 36. The New Sound on the Soundtracks (1967) 323
49. 37. Movies: Tuning In to the Sound of New Music (1968) 330
50. 38. Towards an Interior Music (1997) 334
51. 39. Keeping Score on Schifrin: Lalo Schifrin and the Art of Film Music (1969) 337
52. 40. BBC Interview with Jerry Goldsmith (1969) 344
53. 41. The Jazz Composers in Hollywood: A Symposium with Benny Carter, Quincy Jones, Henry Mancini, Lalo Schifrin, and Pat Williams (1972) 349
54. 42. George Lucas: Stinky Kid Hits the Bigtime (1974) 359
55. 43. The Annotated Friedkin (1974) 365
56. 44. What ever Became of Movie Music? (1974) 372
57. Part Five. The Postmodern Soundtrack: Film Music in the Video and Digital Age (1978–Present)
58. Introduction 379
59. 45. Selling a Hit Soundtrack (1979) 409
60. 46. Interview with John Williams (1997) 414
61. 47. Scoring with Synthesizers (1982) 423
62. 48. Rock Movideo (1985) 430
63. 49. How Rock Is Changing Hollywood’s Tune (1989) 437
64. 50. Danny Elfman: From Boingo to Batman (1990) 443
65. 51. Selections from The Celluloid Jukebox: Interviews with Allison Anders, Alan Rudolph, Michael Mann, Isaac Julien, Wim Wenders, Bob Last, Penelope Spheeris, Ry Cooder, Quentin Tarantino, Cameron Crowe, and David Byrne (1995) 452
66. 52. Composing with a Very Wide Palette: Howard Shore in Conversation (1999) 465
67. 53. Hollywood Sound (2005) 472
68. Index 483