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38 Cards in this Set
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max steiner |
- major pioneer of original music for films he was the first serious composer of the sound era - he was called the father of film music - one of the first to use the click track method very prolific composer over 300 scores to his credit - he believed in catching almost everything; he "mickey moused the action" |
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King kong |
- Steiner wrote the score - deemed as film musics greatest achievements in the early 1930s - this film was one of the first times a hollywood composer received credit on screen as a film composer - steiner wrote a three note leitmotif for the ape |
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Franz Waxman |
- most prominent german, to contribute to film scoring in hollywood - he became the head of music at universal studios - he moved to warner bros with korngold and steiner - he place great emphasis on orchestral color. he chose instruments to create the sounds that would match the style of the scene |
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the bride of frankenstein |
established a new standard in the music of horror films this was the most significant score wacman composed while at universal this utilized the leitmotif technique for the monster and his bride |
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alfred newman |
- one of the most powerful ad influential musicians in the history of hollywood music - he was a composer, conductor, and an executive - he wrote the 20th century fox music logo in 1935 - he ruled the 20th century fox music department from 1939 to 1960 with firm control and great authority - he was nominated 45 times for an oscar (he won 9) - he composed 255 scores - he liked fast vibratos - his forte was writing religious oriented scores - his favorite score was THE SONG OF BERNADETTE (1943) |
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"Wuthering Heights" |
- the score is built around cathys theme that appears many times throughout the movie - newman considers this to among his top three best scores - His score for wuthering heights was instrumental in making this film a masterpiece of romantic filmmaking
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"Gone with The Wind" |
- the bulk of the film score was based on american folk songs such as civil war and southern songs popular back then
- Steinerused 5 orchestrators on this score and completed it in about four-week’s time,getting only about 15 hours of sleep the entire time! - tehre were 11 principal themes the most famous being the "Tara" theme - selznick hired two additional film composers as a back up (franz waxman & Herbert Stothart) in case steiner couldn't meet the deadline |
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wizard of oz |
- Herbert Stothart’s score won the Oscar in 1939, a verycompetitive year - MGMexecutives originally wanted to delete the song “Somewhere Over the Rainbow.”This song ended up winning for best original song at the Academy Awards. |
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Suspicion |
Hitchcock movie where music by waxman sets mood changes creates suspense and parallels that action |
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Miklos Rozsa |
GREATEST COMPOSER OF CONCERT HALL WORKS AND FILM SCORING - his works can be broken up into 4 creative creative periods 1. Exotic, fantasy period (TheThief of Bagdad, Jungle Book, Sahara). 2. Psychological period (TheLost Weekend, Spellbound). 3. Gangster film period (BruteForce, The Killers, and Naked City). 4. Historical-Epic period (Ben-Hur,King of Kings, and El Cid). |
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“Film Noir” |
Term applied to films that contain lighting that emphasizes dark shadows and that feature an abundance of night scenes. First used by French film critics in the late 1940’s. |
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The lost Weekend |
Rozsa score which uses the theremin to enhance the main characters living for alcohol (film noir characteristics) |
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spellbound |
score by rozsa that became the first score to use a theremin supported a motion picture - the theremin was used to enhance the main characterwas used to enhance the main characters session with the color white and parallel lines |
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enrich wolfgang korngold |
- He was a child prodigy; hailed as a secondMozart. - He was the first composer of internationalreputation to accept a Hollywood contract. He had been an internationallyfamous opera composer in Europe before coming to Hollywood to score films - Hecomposed only 18 scores which were either swashbuckling adventures or romanticdramas while working in Hollywood. - His style is that of late Romantic-period composers such asRichard Strauss. His scores started with a brass fanfare followed by a sweepingmelody in the strings. |
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The sea hawk |
generally regarded as Korngolds best film score this is an excelent example of a washbuckling example - The music is “in your face” because it is loud andpractically “wall-to-wall.” |
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kings row |
the main title theme is considered to be korngolds best known melody form his scores this is an excellent example of a romantic drama |
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bernar hermann |
- Described as a “mastodon of divine” conceit because of hishuge ego and violent temper, he started as a radio composer at CBS in New YorkCity. - Hemade a cameo appearance in “The Man Who Knew Too Much”. - Healways orchestrated his own scores. - Hewas a master orchestrator and tone colorist. - Hetried to create new colors of sound through pioneering methods oforchestration. - Herevolutionized film scoring in at least two distinct ways: 1. He customized thesize of the orchestra to fit the needs of the scene. 2. He usedshort chord cues at times instead of long melodic lines, feeling thatwall-to-wall music is not always as effective. - Hehad a special ability for depicting the dark and sinister side of man. - Hehad a fondness for the ultra dark sonorities and achieved these effects byscoring for low brass, low woodwinds, and low strings. |
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citizen Kane |
Hermanns first score was revolutionary in several ways 1. He used low-pitched instrumentsto represent the smell of death at the beginning of the film. (This became histrademark sound).2. He used short musical cuesto link scenes together. 3. He used music sparingly (not“wall-to-wall” music). 4. His unique approach to combiningdramatic underscoring with American dance tunes was innovative. - Herrmannwrote an opera sequence that would be out of the range of the soprano singer inorder to make her sound like a feeble singers -Herrmanncaptured the dissolving of Kane’s first marriage during the “breakfast tablescene” by writing music that became increasingly more disturbing. (Sentimentalwaltz evolves into icy, calculating underscore). |
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the killers |
Rozsas hard hitting ganster score whose main theme became the famous "dragnet" theme |
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THE GOLDEN AGE OF FILM MUSIC |
Various things were tried by the major studios to competewith the coming of television in the American households such as filming moviesin color, using several different wide-screen processes, using 3-D effects, andCinerama, and making large-scale epics. |
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high noon |
Because of the success of Dimitri Tiomkin’s main title song,“Do Not Forsake Me Oh My Darlin’,” this started a new trend in film music thatwas the beginning of the breakdown of the exclusive use of symphonic scores byfilmmakers. This new trend gravitated more toward the use of popular songs infilm scores. |
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A streetcar named desire |
a landmark score by alex north using jazz in a dramatic sense |
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the man with the golden arm |
A landmark score by Elmer Bernstein using jazzto create an atmosphere and also to help the dramatic sense |
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The Man Who Knew Too Much |
Re-make of an earlier (1934) Hitchcock film of the samename. Herrmann makes a cameo appearance playing himself as a conductor leadingthe London Symphony Orchestra in a performance of the Storm CloudsCantata by Arthur Benjamin. An assassin attempts to shoot his singleshot to coincide with the loud cymbal crash at the end of this piece. |
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the ten commandments |
The score that launched Elmer Bernstein’s career. He got thejob after being recommended by ailing Victor Young, the originally intendedcomposer. - Themost prominent music theme heard throughout the film deals with deliverance outof bondage. - Bernsteinhad almost a year to write this score. During this time, he had to play eachnew musical cue for filmmaker Cecil B. DeMille for approval before proceeding. - Bernstein learned from DeMille how using faster music to underscore theslow-moving Exodus scene helped to move the scene along. |
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forbidden planet |
the FIRST TOTALLY ELECTRONIC SCORE - the score featuring the electronic tonalities created by louis and bebe barron launched the era of electronic music in film |
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the spirit of st. louis |
This score ranks as one of Franz Waxman’s finest musicalachievements. Music is very crucial to this film because much of the storytakes place in the lonely cockpit of Lindbergh’s single engine plane. Music isneeded to fill the void created by the lack of dialogue. - Themain title theme is suggestive of the feeling of flight. Waxman uses musicalnationalistic references to countries over which Lindbergh flies (Ireland andFrance). - The monotonous ostinato pattern is used in a sequence to conveyfatique |
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the seventh voyage of sinbad |
This is one in a series of scores written by Herrmann for agroup of fantasy oriented themes. - This is a score featuring a normal sizedorchestra with an augmented percussion section. - The cyclops unpenetratable quality of the giant cyclops. - For the skeleton attacksequence, Herrmann scores this with the sound of the xylophone to represent thesound of human bones clanking away. |
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Vertigo |
- Considered by Herrmann to be his own personal favorite score, - this is a powerful score containing a main title theme thatconveys the feeling of vertigo by its swirling sound created by brokendiminished 7th chords moving in contrary motion. - Herrmann also createsa dramatic feeling of ultimate longing by the main character by composing asequence in the style of Richard Wagner’s “Liebestod” section from his opera,“Tristan and Isolde.”
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what did Max Steiner say about Richard Wagner? |
“if he had lived in thiscentury, he would have been the number one film composer.” |
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Journey to the Center of the Earth |
- in this score Hermann used 5 organs (one cathedral 4 electronic instead of strings - he also used the serpent in the score |
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North by NorthWest |
- Herrmann uses an exciting main title theme in the form of afandango to provide unity throughout this movie. - Herrmann waits until the lastpossible minute to bring in this theme during the “crop duster” sequence inorder to build up unbearable suspense. |
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The nuns Story |
- the modern 12-tone row technique in theinsane asylum sequence. - During this sequence, he has the strings playing theirparts by using by using pizzicato (plucking out the notes withtheir fingers instead of using the bow). |
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ben-hur |
- Considered to be Rozsa’s greatest score and one of thegreatest movie scores of all time, this score abounds with themes andvariations. - Rozsa had 18 months to work on his score. - He won his third andfinal Oscar for this score. He had done some historical research in order tomake this score more believable. - He wrote about half a dozen Roman marches thathave become the prototype for this genre. - His music supports about 2/3rds ofthis 3 and 1/2 hour film. - After this success, Rozsa became known as Hollywood’sforemost composer dealing with historical settings. |
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Who were the backup composers for "gone with the wind" |
Franz waxman & Herbert Stothart |
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In Gone With The Wind how many orchestrators helped Max Steiner? |
Five (5) |
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T/F. Kings row inspiration of Star Wars score |
True |
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What prototype was Magnificent 7? |
western score prototype |
