Titlebook: British Film Music; Musical Traditions i Paul Mazey Book 2020 The Editor(s) (if applicable) and The Author(s), under exclusive license to S

木訥

Aesthetic Conventions: Distinctiveness and Diversity,with the historical mission that resulted in the English Musical Renaissance. The chapter concludes with multiple examples of the restrained use of music in British cinema that illustrate the poetic and expressive potential that was possible within the British system.

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Folk Song: National and Regional Music,uthenticity to the images it accompanies. The chapter concludes by illustrating how folk song’s authenticating quality operates even in comic films that parody the documentary movement, such as . (Alexander Mackendrick, 1949).

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Irrepressible

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Book 2020he celebration of landscape and community encompassed by pastoral music and folk song, and the connection of both with the English Musical Renaissance, to the mystical strains of choral sonorities and the stirring effects of the march, this study explores the significance of music in British film cu

Abutment

My Dog and My Self: J. R. Ackerley, styles of music that are culturally significant in the history of British music. Mazey contends that the British industry draws upon its national musical heritage and this influences the aesthetic practices and approach to film scoring that develop in the British industry. The chapter explains the

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Marginal modeling with latent variables, nature. The chapter opens with a brief outline of the key differences between British and Hollywood film music before focusing more closely on the British industry. It introduces the music directors and composers working in the British industry, and explores how their musical education aligns them

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Marginal Analysis of Longitudinal Data,ssance, and considers how films that combine pastoral music with landscape imagery accentuate the natural environment and harvest its symbolic connotations. Drawing on the work of Powell, Pressburger and others, he demonstrates how these audiovisual combinations promote a rural myth of the British c

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https://doi.org/10.1007/978-3-030-48904-5rk of composers such as Ralph Vaughan Williams and Brian Easdale. This chapter analyses how choral sonorities are employed on film soundtracks and the particular spiritual effect they create. It takes account of the Christian associations of choral music and goes on to consider the broader mystical