Scoring The Screen: The Secret Language Of Film Music Books.pdf
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Today, musical composition for films is more popular than ever. In professional and academic spheres, media music study and practice are growing; undergraduate and postgraduate programs in media scoring are offered by dozens of major colleges and universities. And increasingly, pop and contemporary classical composers are expanding their r
In France, before the advent of talkies, Erik Satie composed what many consider the first "frame by frame" synchronous film score for director René Clair's avant-garde short Entr'acte (1924). Anticipating "spotting" techniques and the inconsistencies of projection speeds in screenings of silent films, Satie took precise timings for each sequence and created a flexible, aleatoric score of brief, evocative motifs which could be repeated and varied in tempo as required. American composers Virgil Thomson and Aaron Copland cited Satie's music for Entr'acte as a major influence on their own forays into film scoring.
Though "the scoring of narrative features during the 1940s lagged decades behind technical innovations in the field of concert music," the 1950s saw the rise of the modernist film score. Director Elia Kazan was open to the idea of jazz influences and dissonant scoring and worked with Alex North, whose score for A Streetcar Named Desire (1951) combined dissonance with elements of blues and jazz. Kazan also approached Leonard Bernstein to score On the Waterfront (1954) and the result was reminiscent of earlier works by Aaron Copland and Igor Stravinsky with its "jazz-based harmonies and exciting additive rhythms." A year later, Leonard Rosenman, inspired by Arnold Schoenberg, experimented with atonality in his scores for East of Eden (1955) and Rebel Without a Cause (1955). In his ten-year collaboration with Alfred Hitchcock, Bernard Herrmann experimented with ideas in Vertigo (1958) and Psycho (1960). The use of non-diegetic jazz was another modernist innovation, such as jazz star Duke Ellington's score for Otto Preminger's Anatomy of a Murder (1959).
A native of Saskatchewan, Canada, Freeman received a bachelor of music in education degree from the University of Regina (SK), and a bachelor of music degree in film scoring from Berklee College of Music. He was an artist in residence for the Saskatchewan Band Association, conducting numerous clinics and workshops across the province, and composing and publishing several works for concert band. Freeman continues to play trombone and piano in a variety of settings in the Boston area, and assists non-profit groups in video production. Read Less Kevin DoucetteInstructor
I am not too familiar with the process of being published, but here is a good place to start. -of-music-publishers/It is a link to the Music Publishers Association directory. I would probably say the best way is to call up several publishers and ask them. My focus has really been on film scoring, and less on concert music so I am not that familiar with the ins and outs of that world. 2b1af7f3a8