標(biāo)題: Titlebook: Contemporary Film Music; Investigating Cinema Lindsay Coleman,Joakim Tillman Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 [打印本頁(yè)] 作者: Melanin 時(shí)間: 2025-3-21 16:57
書(shū)目名稱(chēng)Contemporary Film Music影響因子(影響力)
書(shū)目名稱(chēng)Contemporary Film Music影響因子(影響力)學(xué)科排名
書(shū)目名稱(chēng)Contemporary Film Music網(wǎng)絡(luò)公開(kāi)度
書(shū)目名稱(chēng)Contemporary Film Music網(wǎng)絡(luò)公開(kāi)度學(xué)科排名
書(shū)目名稱(chēng)Contemporary Film Music被引頻次
書(shū)目名稱(chēng)Contemporary Film Music被引頻次學(xué)科排名
書(shū)目名稱(chēng)Contemporary Film Music年度引用
書(shū)目名稱(chēng)Contemporary Film Music年度引用學(xué)科排名
書(shū)目名稱(chēng)Contemporary Film Music讀者反饋
書(shū)目名稱(chēng)Contemporary Film Music讀者反饋學(xué)科排名
作者: 歌曲 時(shí)間: 2025-3-21 20:27
http://image.papertrans.cn/c/image/236482.jpg作者: forecast 時(shí)間: 2025-3-22 01:43
T. A. M. Teunissen,A. L. M. Lagro-Janssenand essays about particular features of those composers’ work. In the interviews the focus is on the practical considerations of film composition, the relationships each composer has with the moving image, technical considerations, personal motivations in composing, the relationships composers have 作者: Keshan-disease 時(shí)間: 2025-3-22 05:38 作者: indicate 時(shí)間: 2025-3-22 10:40
Hevig menstrueel bloedverlies en myomenyses five of Rahman’s scores: two collaborations with Tamil director Mani Ratnam, (., 1992 and ., 1995), one collaboration with Indian-Canadian director Deepa Mehta (., 1996), and two collaborations with Danny Boyle (., 2008 and ., 2010). These films together represent important aspects of Tamil, Hi作者: 媽媽不開(kāi)心 時(shí)間: 2025-3-22 16:28
Communicating uncertainty to policy makersationships have varied over the years. Preisner talks about the challenges of capturing a film’s tone in its music, a particular example being his work on the film . (1992). There is also a discussion of how music reinforces themes and aids in characterization in the films of Kie?lowski, specificall作者: 媽媽不開(kāi)心 時(shí)間: 2025-3-22 19:10 作者: 商談 時(shí)間: 2025-3-22 21:11
Up from Clinical Epidemiology & EBMa, his relationship with Howard Shore, the importance of ambient sound to his scores, the depiction of sexuality through music, and how Steven Spielberg producing . (2010) forced him to rethink some of his cues.作者: Chipmunk 時(shí)間: 2025-3-23 02:19 作者: 吼叫 時(shí)間: 2025-3-23 07:06
Up from Clinical Epidemiology & EBMoint of view struck in the score for . (1999) is more that of the character Dr Larch than the film’s presumptive hero Homer. She discusses how she goes about chord formations for her scores, and also goes into a quite detailed discussion of how her creative process as a composer works.作者: 經(jīng)典 時(shí)間: 2025-3-23 12:11 作者: 草率男 時(shí)間: 2025-3-23 17:21
Purported Essence of Clinical Researchgramme music and film music. In representing characters, solo instruments most often speak . and not just . those characters, and Marianelli states that in . (2005) ‘the piano is the inner voice of Elizabeth’. In this way, solo instruments are used for what French literary theorist Gérard Genette ca作者: Adjourn 時(shí)間: 2025-3-23 19:53 作者: 清晰 時(shí)間: 2025-3-24 00:23
Understanding Morphological Rules since academic studies of his work are rare. Moreover, when discussed critically, if not academically, the take on Williams’s work is often oversimplified if not prejudiced. On the other hand, the stylistic influence of Williams’s work on contemporary scoring has also been overstated by fans and fa作者: guardianship 時(shí)間: 2025-3-24 03:38 作者: 指令 時(shí)間: 2025-3-24 08:52
A.R. Rahman Interview,, Danny Boyle’s directorial skills, Rahman’s confusion with Western ideas about the significance of major and minor keys, and Rahman’s thoughts on the editing of Latika’s theme in .. Rahman discusses his own work as a vocalist on many of the films he has scored, including . and . (2007).作者: conifer 時(shí)間: 2025-3-24 12:14 作者: filicide 時(shí)間: 2025-3-24 16:57
Rachel Portman Interview,oint of view struck in the score for . (1999) is more that of the character Dr Larch than the film’s presumptive hero Homer. She discusses how she goes about chord formations for her scores, and also goes into a quite detailed discussion of how her creative process as a composer works.作者: FLAX 時(shí)間: 2025-3-24 21:37
https://doi.org/10.1057/978-1-137-57375-9cinema; composition; film music; music; A; R Rahman; John Williams; Mychael Danna; orchestration techniques作者: 飛來(lái)飛去真休 時(shí)間: 2025-3-25 02:18 作者: upstart 時(shí)間: 2025-3-25 07:23
Epidemiologie van urogynaecologie, Danny Boyle’s directorial skills, Rahman’s confusion with Western ideas about the significance of major and minor keys, and Rahman’s thoughts on the editing of Latika’s theme in .. Rahman discusses his own work as a vocalist on many of the films he has scored, including . and . (2007).作者: 致敬 時(shí)間: 2025-3-25 10:43
Up from Clinical Epidemiology & EBMa, his relationship with Howard Shore, the importance of ambient sound to his scores, the depiction of sexuality through music, and how Steven Spielberg producing . (2010) forced him to rethink some of his cues.作者: forebear 時(shí)間: 2025-3-25 11:52
Up from Clinical Epidemiology & EBMoint of view struck in the score for . (1999) is more that of the character Dr Larch than the film’s presumptive hero Homer. She discusses how she goes about chord formations for her scores, and also goes into a quite detailed discussion of how her creative process as a composer works.作者: Nebulous 時(shí)間: 2025-3-25 19:28
Up from Clinical Epidemiology & EBMDario Marianelli discusses the specific approach behind Briony’s theme from ., the integration of camera movement and blocking with the theme ‘Dunkirk’ from the same film, his frustrations with the poor sound quality of his score for ., and his particular affinity for the cello.作者: dagger 時(shí)間: 2025-3-25 22:01
An Asymmetrical Register File: The VWR,Mychael Danna discusses the score of . (2012). Danna goes into detail on the subject of his relationship with Ang Lee, Indian music, commercial imperatives behind the making of the film, and important narrative and thematic influences on the music he composed for the film. He also discusses his scores for the films . (2006) and . (2011).作者: 想象 時(shí)間: 2025-3-26 03:39 作者: NICHE 時(shí)間: 2025-3-26 05:07
Mychael Danna Interview,Mychael Danna discusses the score of . (2012). Danna goes into detail on the subject of his relationship with Ang Lee, Indian music, commercial imperatives behind the making of the film, and important narrative and thematic influences on the music he composed for the film. He also discusses his scores for the films . (2006) and . (2011).作者: Conflict 時(shí)間: 2025-3-26 11:33
Introduction,and essays about particular features of those composers’ work. In the interviews the focus is on the practical considerations of film composition, the relationships each composer has with the moving image, technical considerations, personal motivations in composing, the relationships composers have 作者: 不自然 時(shí)間: 2025-3-26 16:32 作者: HUMP 時(shí)間: 2025-3-26 17:07 作者: AVANT 時(shí)間: 2025-3-26 23:34
Zbigniew Preisner Interview,ationships have varied over the years. Preisner talks about the challenges of capturing a film’s tone in its music, a particular example being his work on the film . (1992). There is also a discussion of how music reinforces themes and aids in characterization in the films of Kie?lowski, specificall作者: neuron 時(shí)間: 2025-3-27 02:19
,Music by Zbigniew Preisner? Fictional Composers and Compositions in the Kie?lowski Collaborations,etwork stretches from their first project—. (1985)—to their last—. (1994)—and is exemplified most obviously by the fictitious eighteenth-century composer Van den Budenmayer and the pieces ‘by’ him that feature across several films, and the central composer characters and their music in . (1993). Thi作者: 音樂(lè)學(xué)者 時(shí)間: 2025-3-27 06:59 作者: modest 時(shí)間: 2025-3-27 11:13 作者: 高調(diào) 時(shí)間: 2025-3-27 16:17
Rachel Portman Interview,oint of view struck in the score for . (1999) is more that of the character Dr Larch than the film’s presumptive hero Homer. She discusses how she goes about chord formations for her scores, and also goes into a quite detailed discussion of how her creative process as a composer works.作者: 面包屑 時(shí)間: 2025-3-27 20:24
,Eero Tarasti and the Narratological Construction of Rachel Portman’s ,, a given innate point of view informs the gestural components of the music. Whether it is the duelling masculine embodiments of Homer and Dr Larch in the score for . (1999) or the innately feminine components of the titular character of . (1996), Portman maintains a strong narratological hand in her作者: isotope 時(shí)間: 2025-3-28 01:37 作者: 新鮮 時(shí)間: 2025-3-28 02:06 作者: 入會(huì) 時(shí)間: 2025-3-28 08:59
John Williams and Contemporary Film Music, since academic studies of his work are rare. Moreover, when discussed critically, if not academically, the take on Williams’s work is often oversimplified if not prejudiced. On the other hand, the stylistic influence of Williams’s work on contemporary scoring has also been overstated by fans and fa作者: conflate 時(shí)間: 2025-3-28 13:24 作者: Working-Memory 時(shí)間: 2025-3-28 15:17 作者: 譏諷 時(shí)間: 2025-3-28 20:18
Purported Essence of Clinical Researcho instruments play in conveying the inner states of Elizabeth Bennet in . and Robbie Turner in . (2007), but also how the subjective perspective in the latter film is made ambiguous by its denouement.作者: 施魔法 時(shí)間: 2025-3-29 00:49
,Eero Tarasti and the Narratological Construction of Rachel Portman’s ,,theories of embodiedness. Portman’s work illustrates the viability of Tarasti’s theories on embodiedness, in particular relation to the work of those thinkers whose views he perceives as antecedent to his own. Ultimately, this essay will treat Portman’s score for . as proof of Tarasti’s theories on the impact of narrative on music.作者: MAG 時(shí)間: 2025-3-29 04:16 作者: 彎曲道理 時(shí)間: 2025-3-29 09:21 作者: 充足 時(shí)間: 2025-3-29 12:30
he contemporary influence of electronic music, issues surrouThe purpose of this book, through its very creation, is to strengthen the dialogue between practitioner and theorist. To that end, a film academic and musicologist have collaborated as editors on this book, which is in turn comprised of int作者: organism 時(shí)間: 2025-3-29 17:44
Communicating uncertainty to policy makersk on the film . (1992). There is also a discussion of how music reinforces themes and aids in characterization in the films of Kie?lowski, specifically . (1993) and . (1991), including the function of Preisner’s fictional alter ego Van den Budenmayer.作者: albuminuria 時(shí)間: 2025-3-29 23:18 作者: 鳥(niǎo)籠 時(shí)間: 2025-3-30 02:04
Some Example Studies: Their Assessmentsthrough four Burwell films: . (1990); . (1996); . (1998); and . (2010), with an ear towards a deeper understanding of this process and the expansion of the narrative’s potential, which it represents, revealing aspects of place, time and character that would otherwise remain inaccessible to us.作者: 佛刊 時(shí)間: 2025-3-30 04:02
Understanding Morphological Rulesaims at defining Williams’s contribution to contemporary scoring in fairer terms. The essay surveys Williams’s career in terms of his revival of the musical style and repertoire of Hollywood’s Golden Age, and compares his style with the general style of mainstream contemporary film music.作者: 離開(kāi) 時(shí)間: 2025-3-30 08:26
Burwell and Space: Inner, Outer, Environmental and Acoustical,through four Burwell films: . (1990); . (1996); . (1998); and . (2010), with an ear towards a deeper understanding of this process and the expansion of the narrative’s potential, which it represents, revealing aspects of place, time and character that would otherwise remain inaccessible to us.作者: 輕觸 時(shí)間: 2025-3-30 12:23 作者: 注射器 時(shí)間: 2025-3-30 20:09 作者: Chandelier 時(shí)間: 2025-3-31 00:36 作者: 預(yù)防注射 時(shí)間: 2025-3-31 02:30
,Music by Zbigniew Preisner? Fictional Composers and Compositions in the Kie?lowski Collaborations,al place in the public reception of his work. As well as providing insight into a key facet of Preisner’s activity, examination of this uniquely extensive system of musical make-believe serves to outline trends and theories pertaining to a broader, relatively uninvestigated tradition of fictional mu作者: ANT 時(shí)間: 2025-3-31 05:51
Mychael Danna: Music as Metaphor,to reflect on the significance of the ‘dissonances’ between music and picture. But it also discusses . (2011) to show an approach where Danna uses a more traditional ensemble, the orchestra, in a reimagined way.作者: CAMP 時(shí)間: 2025-3-31 12:00
,Musical Syntax in John Williams’s Film Music Themes,rable themes that give us aesthetic pleasure. Notated musical examples (out of over 300 themes that have been studied) that represent each form will be used and analysed to help the reader understand these functional norms, while these thematic structures will be summed up in collected statistics, s
