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638 Cards in this Set
- Front
- Back
1940
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The ____s marks the change in film music away from the 19th century European style
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tonality
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When we say that music begins to differ from 19th century European music, we mean it moves away from ______
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new instruments
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One of the ways that music changes in the 1940s is the introduction of ___ ______ in addition to the orchestra core
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1950
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The ____s marks the end of the studio system
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anti-trust laws
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The government intervenes to take apart the studio system because it was in violation of ___________
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T
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(T/F) With the dismantling of the studio system, we started to see more and more "names" at the beginning credits of films
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subject matter, technology
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In the 1950s, film had to compete with television on two fronts, ___ _____ and ______
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television
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The new competitor to the film industry in the 1950s is _______
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pushing the boundaries
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One of the ways film tried to be competitive with regards to subject matter is to _____ ____ _______ of what can be shown on the screen
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T
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(T/F) The reason why films in the 1940s and 1950s could show such "indecent" material was because they, unlike television, could regulate who their audience was.
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1930, 1934, 1968
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The Production Code was drafted in ____, was voluntary until ____, and was abolished in _____.
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damn
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The word that, under the Production Code, cost the makers of Gone with the Wind approximately $5000
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F
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(T/F) The office reinforcing the Production Code was called the Kays Office
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T
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(T/F) Films of the 1940s push the Production Code, but films of the 1950s break it altogether.
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foreign films
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One of the issues around the Production Code was that it did not apply to _____ ______
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F
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(T/F) Alexander North was born in New York City and studied at Julliard
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T
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(T/F) Alexander North studied at Julliard
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T
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(T/F) Alexander North studied under Aaron Copland
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A Streetcar Named Desire
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(Name the film) Alexander North
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1951
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(Name the year) A Streetcar Named Desire
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jazz
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The score for A Streetcar Named Desire was largely based on _____
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F
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(T/F) The best way to describe the jazz played in A Streetcar Named Desire is that it is smooth and sophisticated, symbolic of the suave urban landscape of New Orleans
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F
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(T/F) A Streetcar Named Desire is set in New York City
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meta-diagetic
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In A Streetcar Named Desire, when the female character has a flashback to her dead husband, the classical music that you hear is considered ___________
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versatility
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Unlike Korngold, film composers in the 1940s and 1950s had to exhibit greater _______
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T
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(T/F)Elmer Bernstein studies at Julliard under Aaron Copland and Roger Sessions
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F
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(T/F)Elmer Bernstein was born in Chester, PA
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Armed Forces radio
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Before his film career, Elmer Bernstein started composing for ______ _______ _______
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B-movies
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Elmer Bernstein gets his startin film as a composer for _______
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B-movies
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In an effort to dominate television in terms of sheer quantity of content, Hollywood decides to make ________ to pad their volume
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T
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(T/F)B-movies try to make up for their lack of quality with sensationalism
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The Ten Commandments
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In 1956, Elmer Bernstein gets his first big break when the composer for this film falls ill unexpectedly
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The Man with the Golden Arm
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(Name the film) Elmer Bernstein composed for this, and it stars Frank Sinatra
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1955
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(Name the Year) The Man with the Golden Arm
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Elmer Bernstein
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(Name the Composer) The Man with the Golden Arm
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jazz
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The Man with the Golden Arm is scored using _____
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mickey mouses
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In The Man with the Golden Arm, the scene that portrays Frankie descending into addiction is underscored by the jazz band that _____ ______ using the horns
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F
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(T/F) The Man with the Golden Arm is a great example of how popular music of the period could be gracefully incorporated into the score of a serious film
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T
|
(T/F) One of the shortcomings of the use of Western popular music in film versus an orchestra is that popular music holds one mood throughout the song, and any sudden changes are very jarring
|
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F
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(T/F) Dmitri Tiompkin studied at Julliard under Aaron Copland
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vaudeville
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Because of his roots as a pianist in Russian silent movie theatres, Dmitri Tiompkin works in _____ when he moves to the USA
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1952
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(Name the Year) High Noon
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High Noon
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(Name the film) Scored by Dmitri Tiompkin, this film talks about a cowbow who is abandoned by his fellow townspeople
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Dmitri Tiompkin
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(Name the composer) High Noon
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Do Not Forsake Me
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The song that is the centrepiece for the score to High Noon is called _____ ______
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Tex Ritter
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The ballad that is used in the score for High Noon is sung by __________
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ABA
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The form for the ballad that is used in the score for High Noon
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T
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(T/F) The use of a popular song in High Noon is very well done, and it even received an Academy Award for best score and best song.
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T
|
(T/F) Despite the use of a ballad in the score, most of the score for High Noon is actually orchestral, and the song is reserved for select dramatic moments in the film
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Rock and Roll
|
The mid 1950s is a pivotal moment in popular music (and, consequently, film music) with the rising popularity of ___________
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Blackboard Jungle
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The film that tried to associate Rock and Roll with juvenile delinquency; actually helps propel Rock and Roll to the forefront of popular culture
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Rock Around the Clock
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The song that is used in the opening credits for Blackboard Jungle
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color, wide-screen, multi-channel sound
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To compete with television on the technological front, film made a move towards using ____ (which was essentially abandoned after WWII), using ______ images (a stark contrast to older films such as Robin Hood), and __________
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epic films
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To help showcase the "enhanced experience" at the theatres, __________ were starting to be made
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patriotism
|
Many epic films were Biblical in nature; as a fearful response to the long-reaching arm of McCarthyism, filmmakers needed to show their _______
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Ben Hur
|
The epic film scored by Miklos Rozsa
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suspension of disbelief
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Part of the reason why the score in Ben Hur was so big was that it needed to create distance to assist in the ______________ of the grand spectacle
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T
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(T/F) The chariot scene in Ben Hur was pretty much pointless, and was only meant to dazzle the audience
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T
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(T/F) Music is a large part of film's competition with television
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T
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(T/F) Bernard Herrmann was born in NYC, and studied at Julliard
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radio
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Like Elmer Bernstein, Bernard Herrmann got his start in _____
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T
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(T/F) The limitations associated with radio helped Bernard Herrmann develop the ability to write music very quickly, and for unusual instruments
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Orson Welles
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Bernard Herrmann's friend, with whom he made Citizen Kane
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Citizen Kane
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The film credited as starting the film noir movement
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1941
|
(Name the Year) Citizen Kane
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Bernard Herrmann
|
(Name the Composer) Citizen Kane
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T
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(T/F) In the opera scene of Citizen Kane, Bernard Herrmann purposefully forces a trained opera singer to sing out of her range, to give the sound an edgy quality
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T
|
(T/F) Bernard Herrmann realized that, since film music was to be played only once, he was not confined to just a standard symphony orchestra
|
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F
|
(T/F) Because he used standard arrangements of instruments commonly found in most symphony orchestras, Bernard Herrmann's music remains popular to this day because it is easily accessible by many performers
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Bernard Herrmann
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(Name the film) The Day the Earth Stood Still
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1951
|
(Name the Year) The Day the Earth Stood Still
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cloud of sound
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In the film The Day the Earth Stood Still, the music that plays when Klaatu and Gort land is best described as a ____ __ _______
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violins
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The score for The Day the Earth Stood Still is strange in that Bernard Herrmann does not use _______, so as to match the cold, methodical storyline
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T
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(T/F) In the score for The Day the Earth Stood Still, the music is very obscure and amorphous; it creates a mood, rather than hitting the action
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Alfred Hitchcock
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Bernard Herrmann is best knownn for his collaboration with this director
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auteur
|
The term that describes Alfred Hitchcock, especially his approach to filmmaking
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new wave
|
Films that begint to appear out of France, instantly recognizable from their highly stylized appearance, after which Hitchcock models his films
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banality of evil
|
The term used to describe the theme that underlies the characters in Hitchcock's films
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T
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(T/F) In all of Hitchcock's films, the heroines always have unnaturally white blonde hair
|
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mood
|
Bernard Herrmann's musical style fits Hitchcock's films very welll because his music holds a constant _____, which provides contrast to the shocking events unfolding on screen
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1959
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(Name the Year) North by Northwest
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North by Northwest
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(Name the film) Scored by Herrmann, this film talks about a man who is misunderstood as a spy and pursued by both US and Russian governments
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silence
|
In the film North by Northwest, Bernard Herrmann's greatest contribution to the scene where the cropdusting plane attacks Cary Grant is his astonishing use of _______
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T
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(T/F) In horror/thriller films, silence is oftentimes the best musical tool because it gives the audience a sense of unpredictability
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1960
|
(Name the Year) Psycho
|
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Berard Herrmann
|
(Name the Composer) Psycho
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T
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(T/F) Psycho was filmed in black and white for artistic reasons, although there was already a huge movement towards colour at the time
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strings
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The type of instruments that Hermmann uses to score Psycho
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marcato
|
In Psycho, the strings show off their remarkable versatility. The term used to describe the technique used for the famous shower scene is ______
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white tone
|
In Psycho, the strings show off their remarkable versatility. The term used to describe the technique used to portray Norman's psychopathic nature as he peeps at Marion getting undressed is ___________
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T
|
(T/F) Despite the brilliance of the score in Psycho, Herrmann really does not play with the themes too much; it is very emotionless
|
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T
|
(T/F) In Psycho, the scene where Marion dumps her car off, Hermmann only starts the music after she makes her getaway
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semitones
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The theme for Norman in Psycho is a pair of _______, played fairly high up in the register
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T
|
(T/F) In Psycho's shower scene, Herrmann actually appends Norman's theme as Mother makes her escape
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T
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(T/F) Hitchcock and Herrmann eventually part ways
|
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1960
|
(Name the year) The Magnificent Seven
|
|
Elmer Bernstein
|
(Name the composer) The Magnificent Seven
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Aaron Copland
|
The composer who influenced the score of The Magnificent Seven
|
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F
|
(T/F) Aaron Copland was a film composer who is credited with creating the sound of the American West
|
|
T
|
(T/F) Aaron Copland was one of the few respected concert composers who respected the power of film music
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The Great Depression
|
During _______, Aaron Copland realized that expressionism was irrelevant as a form of popular art. In response, he set out to deliberately write music that would reach the common man.
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T
|
(T/F) Aaron Copland's music is marked by its sense of nobility and gravitas
|
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T
|
(T/F) Aaron Copland incorporated elements of folk music into the orchestra
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F
|
(T/F) The Magnificent Seven is a film about seven sheriffs who are sworn to protect the towns they serve
|
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The Magnificent Seven
|
This film's theme has become an iconic part of culture, and is used to portray the sound of the American West
|
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Civil Rights, Vietnam, Generational Gap
|
The 1960s were a turbulent time in US history, because of these three issues
|
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F
|
(T/F) The dismantling of the studio system in the 1950s means that film costs drop dramatically in the 1960s
|
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F
|
(T/F) As a result of the stylistic changes that have occurred prior to this period, the 1960s was marked by smaller ensembles and the increased use of pop music
|
|
changing of the guard
|
In the 1960s, apart from increasing profits and identifying with the baby boomers, one of the reasons why the style moved towards more pop-influence was the _______ __ ___ ________
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|
T
|
(T/F) Apart from the rise of new American composers, the 1960s was marked by a second wave of European composers
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Spaghetti Western
|
Ennio Morricone is best known for his association with director Sergio Leone and his involvement in the _______ _______
|
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T
|
(T/F) The Good, the Bad, and the Ugly was mostly lip-dubbed because half of the actors could not speak English
|
|
T
|
(T/F) Spaghetti Westerns were hardly Westerns at all, in the sense that the characters were morally ambiguous
|
|
1966
|
(Name the Year) The Good, the Bad, and the Ugly
|
|
voices, electric guitar
|
The score for Good, the Bad, and the Ugly used sound effects, _____, and this instrument, the _____ ______
|
|
F
|
(T/F) The use of the electric guitar in The Good, the Bad, and the Ugly was meant to convey a sense of fear/panic
|
|
timbre
|
The use of the electric guitar in The Good, the Bad, and the Ugly introduces a new _____
|
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1986
|
(Name the year) The Mission
|
|
Ennio Morricone
|
(Name the composer) The Mission
|
|
priest
|
The theme that we studied in class for The Mission belongs to Gabriel, who was a _____.
|
|
T
|
(T/F) The main theme in The Mission incorporates both Baroque music and indigenous elements
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F
|
(T/F) John Barry is the first in the line of film composers that were not classically trained
|
|
1962
|
(Name the year) Dr. No
|
|
Monty Norman
|
The man who proved that he wrote the riff to the James Bond theme, despite earlier attribution to John Barry
|
|
strings, brass
|
John Barry's style is characterized by his grand use of _____ and ______
|
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pre-composed
|
2001 A Space Odyssey's score is largely _________ classical music
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1968
|
(Name the Year) 2001 A Space Odyssey
|
|
Stanley Kubrick
|
(Name the Director) 2001 A Space Odyssey
|
|
royalties
|
MGM did not want Kubrick to use his original score because they did not want to pay ______ to the composers
|
|
Alexander North
|
The composer that MGM brought in to compose the score for 2001 A Space Odyssey
|
|
T
|
(T/F) Kubrick inserts his music into 2001 A Space Odyssey at the last minute and destroys Alexander North's work
|
|
2001 A Space Odyssey
|
(Name the film) Aliens see how long it takes for primitive humans to get to the moon
|
|
Gyorgy Ligeti
|
(Name the composer) The vocal music that is hear when the primates approach the monolith in 2001 was composed by ______
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|
T
|
(T/F) After the brilliant use of classical music in 2001, the argument re-emrged that film can use classical music to uplift the masses
|
|
F
|
(T/F) In 2001, Kubrick uses classical music during the dialogue scenes to reinforce the "normalcy" of their interactions
|
|
T
|
(T/F) In 2001, music is inserted into long transitional scenes, where we see things going on, but we don't hear them happening
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|
F
|
(T/F) Jerry Goldsmith studied at Julliard
|
|
T
|
(T/F) Jerry Goldsmith studies film music under Miklos Rozsa
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|
television
|
Jerry Goldsmith's career begins in ______
|
|
Jerry Goldsmith
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(Name the composer) Patton
|
|
1970
|
(Name the Year) Patton
|
|
F
|
(T/F) Jerry Goldsmith used wall-to-wall scoring in Patton
|
|
F
|
(T/F) Jerry Goldsmith's score for Patton reinforces the fast-moving and chaotic nature of the battles
|
|
march, hymn, trumpet
|
Goldsmith's theme for Patton had three elements, a ______, a ______, and a three-note motif played on the _______
|
|
reincarnation
|
Patton's 3-note motif is meant to convey his intense belief in _______, as we saw in the scene at Carthage
|
|
T
|
(T/F) Goldsmith's score of Patton used electronic processing on orchestral instruments
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|
1979
|
(Name the Year) Alien
|
|
Jerry Goldsmith
|
(Name the composer) Alien
|
|
flute, lower
|
In the score for Alien, the frailty of the humans is conveyed using a _____ played in the _____ register
|
|
T
|
(T/F) The score for Alien incorporated both tonal and atonal elements
|
|
1968
|
(Name the Year) Planet of the Apes
|
|
Jerry Goldsmith
|
(Name the Composer) Planet of the Apes
|
|
avant-garde
|
The score for Planet of the Apes used ________/expressionist elements
|
|
F
|
(T/F) Tonal music is used in The Planet of the Apes to help the audience identify with Taylor
|
|
12-tone
|
The style of expressionism used for the music in The Planet of the Apes, based on equal weightings of pitches
|
|
T
|
(T/F) The music in the Planet of the Apes incorporates primitive elements such as animal horns along with the orchestra
|
|
prepared piano
|
The process that is used in The Planet of the Apes whereby "weird" sounds are created using the piano
|
|
woodwinds
|
In The Planet of the Apes, the first encounter with the savages is scored by the use of _____ along with very primitive percussive elements
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|
4, 3, 3
|
12-Tone music uses __ sets of ___ notes which use all 12 notes together, in ___ phrases
|
|
Arnold Schoenberg
|
The composer who was at the forefront of the 12-tone movement
|
|
tone row
|
The guidelines for 12-tone music dictate that all 12 notes are used, instead of the first 4. This is called a ______
|
|
retrograde
|
In serialism, this term refers to playing a progression (series) of notes in inverted order
|
|
serialism
|
The musical technique that uses a listing of values to dictate the progression of notes; considered the pinnacle of expressionism
|
|
T
|
(T/F) At the end of The Planet of the Apes, when Taylor rediscovers the Statue of Liberty, there is no music.
|
|
1970
|
In the ____s, music in film takes a dramatic turn away from atonality back to the style of Korngold
|
|
T
|
(T/F) As in the 1960s, film costs in the 1970s increase dramatically, and the number of films decrease
|
|
blockbuster
|
In the 1970s, the film studios' decreased appetite for risk meant they were more likely to maximize money-making potential by filming ____ films in series
|
|
pop scores
|
In the early part of the 1970s, music in film consisted mostly of ___ ______
|
|
T
|
(T/F) John Williams was classically trained at Julliard
|
|
UCLA
|
John Williams and Jerry Goldsmith studied film music at _____
|
|
television
|
John Williams, like Jerry Goldsmith, got his start in _______
|
|
Steven Spielberg
|
John Williams' film career takes off when he catches the eye of a filmmaker by the name of _______
|
|
1975
|
(Name the Year) Jaws
|
|
John Williams
|
(Name the composer) Jaws
|
|
wide release
|
Jaws was said to be the first film to have a ____ ____, which is a marketing technique that puts the film out to many theatres all at once
|
|
Jaws
|
The film that is credited as re-establishing the orchestra as an important force in film music after its disappearance in the 1960s
|
|
1977
|
(Name the Year) Star Wars
|
|
John Williams
|
(Name the Composer) Star Wars
|
|
The Force
|
In Star Wars, the scene where Luke is looking up at the double sunset is scored by the theme for _______
|
|
ABA
|
The structure of the opening theme for Star Wars
|
|
Korngold
|
It was said that George Lucas was looking for the sound of _____ in Star Wars, and Stephen Spielberg recommended John Williams.
|
|
fifth, sixth
|
As with more traditional scores, John Williams uses the inverval of the _____ for the main heroic melody, and a _____ for the love theme
|
|
pedal point
|
In the In Star Wars, the scene where Luke is looking up at the double sunset concludes with an unresolved cue, just like the ________ in Laura
|
|
post-modernism, neo-classic
|
Star Wars is credited as the film that marks the transition to __________ (which we talk about in class); the textbook refers to it also as the _________ phase
|
|
rejection, preceding, connect emotionally
|
Post-modernism is a response to and _____ of modernism. It uses tradition, with the approach that any _____ methods are fair game, and with the desire to _____ ______ with the audience.
|
|
T
|
(T/F) Jaws, at times, signals post-modernism, but at other times the atonal elements reveal an avant-garde nature
|
|
motif, The Rite of Spring
|
The two note _____ in Jaws is based on an early modernist piece by Igor Stravinsky called ___ _____ __ _______
|
|
T
|
(T/F) In the first half of Jaws, the theme for the shark always symbolizes its presence; in the final scenes, however, the association is lost
|
|
F
|
(T/F) Movie trailers can introduce the score of a film to the audience
|
|
Two Steps from Hell
|
A famous production company that makes much of the music for film trailers
|
|
F
|
(T/F) In Jaws, the scene where the people are panicking at the hoax is made even scarier by the presence of the shark theme
|
|
canon
|
In Jaws, the scene where Quint hits the shark for the first time with the harpoon gun is scored using a complex interleaving round called a _____
|
|
stops, The Sea Hawk
|
In Jaws, when the shark dives down with the barrels unexpectedly, the music _____; this is similar to the trumpet scene in ________
|
|
19th century orchestra
|
John Williams' style can be described as using the ___ _____ _______
|
|
T
|
(T/F) John Williams never uses pop songs
|
|
easy to play
|
John Williams' music takes on a life outside the film world because it is so ____ __ _____
|
|
T
|
(T/F) Between 1980-1993, John Williams serves as the conductor of the Boston Pops Orchestra
|
|
USA, England, Royal College of Music
|
James Horner was born in ____ but grew up in ______ where he attended the Royal College of Music
|
|
American Film Institute
|
James Horner originally had no interest in film music, and only composed for film at UCLA for the ___ just for fun
|
|
James Horner
|
(Name the composer) Titanic
|
|
T
|
(T/F) James Horner has a knack for writing pop songs
|
|
melodies
|
James Horner's style is most notable for his clear and beautiful _____
|
|
T
|
(T/F) James Horner's scores are not as ornate as John Williams'
|
|
synchronizing
|
James Horner is very strong at _______ his music to visual elements
|
|
1989
|
(Name the Year) Glory
|
|
James Horner
|
(Name the Composer) Glory
|
|
choir, naivety
|
In Glory, one of the leading instrument is a boys' ____, to symbolize the _____ of the white officer's impression of war
|
|
1982
|
(Name the Year) Star Trek II, The Wrath of Khan
|
|
James Horner
|
(Name the Composer) Star Trek II, The Wrath of Khan
|
|
T
|
(T/F) Kirk's theme in The Wrath of Khan is not heroic
|
|
collegno
|
In The Wrath of Khan, the battle scene uses ____, which is a percussive sound achieved by striking strings wih the wooden part of the bow
|
|
T
|
(T/F) Horner is considered a true post-modern composer; John Williams somewhat toes the divide
|
|
MIDI, synthesizers
|
With the advent of _____ and _______ popular musicians had an increasing role in film music
|
|
musical instrument digital interface
|
MIDI stands for __________
|
|
Danny Elfman, Hans Zimmer
|
Arguably the two most influential composers of the new "untrained" composer era are _______ and ________
|
|
Rain Man
|
Hans Zimmer's breakthrough film
|
|
Hans Zimmer
|
(Name the film) Inception
|
|
The Buggles
|
Hans Zimmer was a member of a pop music group called ___ _____
|
|
minimalism
|
The term used to describe Hans Zimmer's style
|
|
F
|
(T/F) Hans Zimmer sets up a basic pattern and repeats it, developing the melody through large changes in its intonation
|
|
Edit Piaf
|
In Inception, the wake-up music is Non, Je Ne Regrette Rien, sung by _______
|
|
slower, bass
|
In Inception, since dream time runs ____ than normal time, Zimmer simulates the presence of the wakeup music by blasting the ____ notes
|
|
minor second, major seventh
|
In Psycho, regardless of what music is being played, it all possesses a disturbing quality by the frequent use of these two intervals, which are known as dissonant
|
|
contrast
|
The most striking feature of the music in Psycho is that it lacks ____ in a given cue
|
|
instrumental, song
|
In the 1950s and early 1960s, ____ and ____ movie themes became popular
|
|
T
|
(T/F) In the 1950s, Hollywood realized it would be profitable to have popular musical themes in film scores, especially to appeal to the younger generation
|
|
Seven Samurai
|
The Magnificent Seven is actually based off of a Japanese story called ______ _______
|
|
Mexican
|
The Magnificent Seven incorporates _____ folk elements such as guitars in its music
|
|
ballad, High Noon
|
The Magnificent Seven establishes an iconic Western sound that is different from the _____ that Tiompkin uses in _______
|
|
instrumental theme
|
The theme for The Pink Panther is an example of an ______ _____ in film
|
|
Henry Mancini
|
(Name the composer) Henry Mancini
|
|
T
|
(T/F) In the 1950s, moviemakers recognized that songs are more popular with the public than instrumental themes
|
|
Elmer Bernstein
|
(Name the composer) The theme for The Great Escape
|
|
T
|
(T/F) In general, songs are not suitable as the main themes for films
|
|
Moon River, Breakfast at Tiffany's
|
Audrey Hepburn's rendition of _____ in the film _______ is a good use of a song for the main theme of a film
|
|
civil rights, nuclear warfare
|
Planet of the Apes is much more than just a science fiction film; it is a social commentary on the issues of ____ and the dangers of _______
|
|
coexist, detached
|
In 2001, Kubrick's extensive use of pre-composed music allows the music to ____ with the visual elements. It helps set the mood, but remains _____ from the drama
|
|
lower, depth
|
The two-note leitmotif in Jaws is pitched in the ____ register to suggest danger and the ____ of the ocean
|
|
Spanish Ladies
|
The song that Quint sings in Jaws as the boat leaves the harbour
|
|
originality, embraces, emotional
|
Post-modernism is based on three basic principles. First, it dismisses the need for _____; second, it ____ all art styles, even popular art; third, it recognizes the importance of _______ appeal
|
|
T
|
(T/F) As postmodernism became more popular, old cliches resurfaced and sequels came back into popularity
|
|
postromantic, wall-to-wall, phrasing, thematic transformation
|
Star Wars returns to the basic features of the classicla film score. It uses a symphony orchestra, a _____ musical style, ______ scoring, ____ the drama, and leitmotifs with _____ _______
|
|
F
|
(T/F) In the final Death Star battle scene in Star Wars, the Williams uses dramatic music as in Korngold's style, but cuts out the music right at the end to show his flair for the avant-garde
|
|
many
|
Unlike in Jaws, Williams uses ____ themes in the Star Wars Trilogy
|
|
T
|
(T/F) After a brief frenzy following Star Wars, critical and public tastes began to differ, largely because the public now consisted of many immature teens
|
|
synthesized, pop
|
After 1984, filmmakers no longer felt the need to produce symphonic scores. Instead, they used eclectic scores, adapted scores, ____ scores, and ___ music
|
|
modern, traditional, popular
|
There are three main style of synthesized scores; these are __________
|
|
Robert Moog
|
The man who popularized the synthesizer
|
|
patches
|
The term used to describe when musicians would create their own colours in the synthesizer
|
|
samples
|
The term used to describe when musicians would record external sounds and recreate them in the synthesizer
|
|
synthesizer
|
The _____ allowed for quicker composition and testing, and even allowed directors with musical backgroudns to contribute to the musical process
|
|
fantasy
|
____ films re-emerge in the 1990s after waning public interest in the 1980s
|
|
Danny Elfman
|
(Name the composer) Batman
|
|
darker, low, minor
|
In Batman, to convey the ____ nature of the character, the orchestration features ____ pitches, and often uses a ____ key
|
|
Tim Burton
|
Danny Elfman's work is closely tied to this composer
|
|
F
|
(T/F) Danny Elfman gets his start when Tim Burton liked his rock group The Buggles
|
|
T
|
(T/F) Danny Elfman gets his start when Tim Burton liked his rock group Oingo Boingo
|
|
Danny Elfman
|
(Name the composer) The Simpsons' Theme
|
|
suspension of disbelief
|
(Term) Keeping the audience accepting that events in the film are realistic
|
|
james horner
|
(Name the Composer) Apollo 13
|
|
apollo 13
|
(Name the Film) James Horner
|
|
trumpet, drum
|
Brass, percussion instruments associated with military marching bands
|
|
create a more convincing atmosphere of time and space
|
First function of music in film
|
|
underline or create psychological refinements
|
Second function of music in film
|
|
provide a sense of continuity in film
|
Third function of music in film
|
|
provide the underpinning for the theatrical buildup of a scene nd then round it off with a scene of finality
|
Fourth function of music in film
|
|
john williams
|
(Name the Composer) Indiana Jones and the Raiders of the Lost Ark
|
|
1, 3, 4
|
In Raiders of the Lost Ark, the transport scene from Napal to Egypt background music fullfils these functions of music (answer as "#,#,..")
|
|
oboe
|
In orchestral music, this instrument is often used for the 'foreign' elements of soundtracks
|
|
general major scale
|
Orchestral music generally follows this cultural standard of music notes (do, re, mi, ..., ti, do)
|
|
john frizzell
|
(Name the Composer) Alien Resurrection
|
|
2, 3, 4
|
In Alien Resurrection, the basketball/fight scene fulfills these functions of music (answer as "#,#,..")
|
|
chicken run
|
(Name the Film)| John Powell and Harry Gregson Williams
|
|
1, 2, 3, 4
|
In Chicken Run, the opening scene background music fulfills these functions of music (answer as "#,#,..")
|
|
montage
|
Method in film of advancing a story very quickly through a series of cut scenes
|
|
psychological subtext
|
The unspoken thoughts of a character or the unseen implications of a situation
|
|
mediation
|
A term when producing, manipulating, and otherwise giving you a particular point of view in a film
|
|
james newton howard
|
(Name the Composer) Restoration
|
|
diagesis
|
The world of the narrative. All characters, events, etc. are depicted, suggested, or described.
|
|
diagetic music
|
Music whose source is within the diagesis
|
|
diagetic
|
Music heard both by the characters within the narrative and the film audience
|
|
nondiagetic
|
Music heard only by the audience of the film
|
|
marvin hamlisch
|
(Name the Composer) The Sting
|
|
t
|
(T/F) The Sting (1973) has music taken directly from Scott Joplin
|
|
t
|
(T/F) Platoon (1986) has music taken directly from Samuel Barber
|
|
george delure
|
(Name the Composer) Platoon
|
|
t
|
(T/F) 2001 A Space Odyssey has no original music
|
|
war
|
(Fill in the Blank) Brass instruments and orchestral music is used heavily in ____ films
|
|
urban crime
|
(Fill in the Blank) Synths and drum machines are used heavily in _____ films
|
|
mark knopfler
|
(Name the Composer) Local Hero
|
|
local hero
|
(Name the Film) Mark Knopfler
|
|
harpsichord
|
An instrument commonly associated with the 17th century (aka mozart, beethoven era)
|
|
nino rota
|
(Name the Composer) The Godfather
|
|
the godfather
|
(Name the Film) Nino Rota
|
|
trumpet
|
This instrument is used in a solo to depict loneliness and isolation of Don Corleone in The Godfather
|
|
playing the drama
|
Music attempting to reinforce primarily emotional elements within the narrative is called ...
|
|
hitting the action
|
Music accenting the visual effects/physical action of a film is known as ...
|
|
mickey mousing
|
Overusage of the "hitting the action" conceptual approach to music is known as ...
|
|
hitting the action
|
Cartoons typically use this conceptual approach to music
|
|
phrasing the drama
|
Music creating a consistent mood that ignores specific moments of action or emotion is known as ...
|
|
t
|
(T/F) Melody is the most "recognizable" music element for Western ears
|
|
Wagner
|
A composer that brought together the elements of a visual and musical drama in early film
|
|
hum
|
The rule wherein the more sympathetic a composer wants you to be to a character, the easier the theme for the character will be to ___
|
|
john williams
|
(Name the Composer) Star Wars
|
|
harmony
|
Third musical characteristic in film is
|
|
battle of gondor
|
Scene in Lord of the Rings that demonstrates the tempo or pulse of the film
|
|
howard shore
|
(Name the Composer) Lord of the Rings
|
|
screenings, spotting session and cue sheets
|
(Fill in the Blank) preproduction, production, postproduction, hiring composers, ___________________, composing
|
|
zoopraxiscope
|
First commercially successful tool used to show film
|
|
Eadward Muybridge
|
creator of the zoopraxiscope
|
|
kinetophone
|
Peephole viewer with a phonograph (picture+sound)
|
|
kinetoscope
|
Peephole viewer with continuous loop of film
|
|
synchronization
|
Main problem with kinetophones
|
|
lumiere brothers
|
Name of the first parisian projected film (the guys who did it)
|
|
the arrival of a train
|
Name of the first film shown by Lumiere Brothers
|
|
max skladanowsky
|
Name of a russian competing with the Lumiere Brothers for the first projected film
|
|
pragmatic
|
(Reasons for Musical Accompaniment) mechanical noise / mechanical problems from the film projectors (i.e. covering up the noise) and having musical accompaniment in the even there was a mechanical malfunction
|
|
psychoanalytic
|
(Reasons for Musical Accompaniment) audience disturbed by ghostlike images; people make no sound and are devoid of colour (black and white), so people viewing this new technology would be disturbed (no historical context, unlike us). Thought that the addition of sound breathed more life into the figures on the screen
|
|
continuity of tradition
|
(Reasons for Musical Accompaniment) long history of musical accompaniment for visual presentation
|
|
george melies
|
Early experimenter with camera effects (he was a magician bv training)
|
|
a trip to the moon
|
(Name the Film) Not the first narrative, but over ten minutes in length, multiple scenes, sets, costumes, etc. ; early model for narrative film to come
|
|
the great train robbery
|
(Name the Film) The first narrative to use discontinuos action, cross cutting (following two or more plotlines continuously)
|
|
nickelodeon
|
A small shop that showed films exclusively, usually for a nickel
|
|
ballyhoo music
|
Continuous music playing mechanically (Phonograph or Player Piano) away from the theatre (eg in the store area) to attract customers
|
|
t
|
(T/F) Upscale music at nickelodeons included a small band, including singer for intermission entertainment
|
|
Camille Saint-Saens
|
(Name the Composer) L’Assassinat du Duc de Guise
|
|
movie palaces
|
Name of large viewing areas in 1910's for viewing films (very ornate, large opera pits)
|
|
star systems
|
Name of echelon used to describe celebrities in 1910 films
|
|
cue sheets
|
Documentation containing scene-by-scene suggestions for musical accompaniment
|
|
get lost
|
(fill in the blank) Main problem surrounding cue sheets were they would ____ _____
|
|
resource books
|
Attempted solution to cue sheets
|
|
max winkler
|
Composer in 1912 who suggested specific pieces of music with timings, standardizing silent film music scores
|
|
trade papers
|
(fill in the blank) Magazines containing columns and articles on musical accompaniment (eg. Motion Picture World, Moving Picture World) are referred to as ____
|
|
wall-to-wall
|
Style of musical accompaniment where music is continuous; should not stop playing from start to finish
|
|
ego
|
Main issue surrounding standardization of music related to conductors
|
|
joseph carl breil
|
(Name the Composer) Birth of a Nation
|
|
us civil war
|
Context of the film, 'Birth of a Nation'
|
|
organ
|
Most popular instrument in 1920s theatres
|
|
f
|
(T/F) orignal film scores were common in the first films in the 1910's
|
|
leitmotif
|
Themes that can be identified with a person, object, or idea in a story
|
|
thematic transformation
|
Altering a leitmotif as it recurs during a film
|
|
gesamtkunstwerk
|
Wagner's term of "total artwork"
|
|
visual
|
Art style covering paintings, photography; seen in entirety in one moment
|
|
temporal
|
Art style covering literature, music, dance; have to watch it unfold
|
|
auteur
|
Term used to describe the central role of the director
|
|
medley
|
Presenting a series of tunes (musical themes) from the film
|
|
overture
|
Sequence preceding beginning of a film. Common to epic films
|
|
arrangement
|
Verb referring to borrowing a melody from another source, and the film composer provides it with an original setting suited to the film
|
|
adaptation
|
Verb referring to borrowing a complete passage from another source (melody and accompaniment)
|
|
compilation scores
|
film music in the silent film era that are imitations of borrowed music; non-stop, wall-to-wall music
|
|
adapted scores
|
film music in the sound era that is substantially borrowed; more sparing than compilation scores
|
|
12/28/1895
|
Date of first showing of "The Arrival of a Train" (MM/DD/YYYY)
|
|
Max Skladanowsky
|
Name of a russian competing with the Lumiere Brothers for the first projected film
|
|
George Melies
|
Early experimenter with camera effects (he was a magician bv training)
|
|
A Trip to the Moon
|
(Name the Film) Not the first narrative, but over ten minutes in length, multiple scenes, sets, costumes, etc. ; early model for narrative film to come
|
|
The Great Train Robbery
|
(Name the Film) The first narrative to use discontinuous action, cross cutting (following two or more plotlines continuously)
|
|
Camille Saint-Saens
|
(Name the Composer) L’Assassinat du Duc de Guise
|
|
Max Winkler
|
Composer in 1912 who suggested specific pieces of music with timings, standardizing silent film music scores
|
|
Joseph Carl Breil
|
(Name the Composer) Birth of a Nation
|
|
Birth of a Nation
|
(Name the Film) Joseph Carl Breil
|
|
1895-1927
|
(Name the Era) The silent era
|
|
1891
|
(Name the Year) Kinetoscope
|
|
1895
|
(Name the Year) Kinetophone
|
|
11/1/1895
|
(Name the Year) Max Skladanowsky projection system MM/DD/YYYY
|
|
1905
|
(Name the Year) First nickelodeons
|
|
3000
|
Number of nickelodeons in 1907
|
|
10000
|
Number of nickelodeons in 1910
|
|
1908
|
(Name the Year) L'Assassinat du Duc de Guise
|
|
1912
|
(Name the Year) First movie palace
|
|
1909
|
(Name the Year) First cue sheets
|
|
1912
|
(Name the Year) Max Winkler suggests specific pieces of music with timings
|
|
1924
|
(Name the Year) Motion Picture Moods for Pianists and Organists
|
|
Erno Rapee
|
Writer of Motion Picture Moods for Pianists and Organists
|
|
JS Zamenik
|
Writer of Sam Fox Moving Picture Music
|
|
3/1915
|
(M/YYYY) Birth of a Nation
|
|
DW Griffith
|
Hollywood's first "great" director
|
|
Birth of a Nation
|
DW Griffith directed this film
|
|
1975
|
(Name the Year) Jaws
|
|
score
|
Another term for non-diegetic music
|
|
arrangement
|
Term used to describe the score that Marvin Hamlisch created for The Sting
|
|
f
|
(T/F) Adaptive scores are easy to write
|
|
thru-composed
|
Term used to describe Adagio for Strings; the characteristic that makes it suitable for film adaptation
|
|
compiled
|
Term used to describe the score in 2001 A Space Odyssey
|
|
Strauss
|
Last name of a composer whose works were compiled to form the score for 2001 A Space Odyssey
|
|
concept, style
|
____ and ____ are two terms used to describe film music. Write in alphabetical order, separated by comma
|
|
cartoon
|
Hitting the action is common to ____ scoring
|
|
Tim Burton
|
Mickey Mousing is actually done well by Danny Elfman in ___ _____’s films
|
|
preproduction
|
Script writing and editing occur during the ______ phase
|
|
production
|
Principle photography is done during the ______ phase
|
|
postproduction
|
Majority of composition occurs during the ______ phase
|
|
scripts
|
Production of important source music, especially for ethnic or historical references, can be done when the composers look at the _____
|
|
long
|
A problem with looking at scripts during composing is that you don’t know how ____ a scene is
|
|
rushes
|
Film shot that day
|
|
assembly cut
|
significantly longer than finished film
|
|
rough cut
|
Closer to finished film, but still undergoing significant editing
|
|
fine or locked cut
|
Most if not all editing is completed
|
|
rushes, assembly cut, rough cut, fine or locked cut
|
Name all the cuts that exist for a film
|
|
fine
|
John Williams oftentimes won’t see a film until a _____ cut
|
|
temp tracks
|
Filler music added to a film to help production or early editing
|
|
t
|
(T/F) Temp tracks are oftentimes obstacles for directors
|
|
cues
|
____ are separate pieces of music that directors want to write for different cuts; passages of underscoring from entrance to end
|
|
5,8
|
The schedule on composing or recording of a score ranges from ___ to ___ weeks on average
|
|
cues
|
The director, composer, and music editor get together to discuss the placement of ____
|
|
music editor, spotting notes, cue sheet
|
After discussing cues, the ____ _____ prepares the “____ ____”, otherwise known as the ___ ____
|
|
narration
|
Instead of music or silence, sometimes silent films were accompanied by ____
|
|
title associations
|
Popular songs which shared the titles of what was on the screen, played in silent films
|
|
bad form
|
Title associations were considered ___ ____
|
|
classical
|
In trade papers, ____ music was considered “good music”
|
|
f
|
(T/F) With the advent of cue sheets, it was easy to standardize the music for a particular film
|
|
Carli Elinor
|
_____ ____ was a music “fitter” for Birth of a Nation
|
|
Entr'acte
|
immediately follows the first intermission, common to epic films
|
|
motif
|
Jaws uses a two-note ____ to signify the shark
|
|
1902
|
(Name the Year) A Trip to the Moon
|
|
1903
|
(Name the Year) The Great Train Robbery
|
|
Vitascope
|
Edison’s version of the projector, sold to vaudeville theatres; coordinated projector with phonograph
|
|
t
|
(T/F) The Lumieres leave the world of cinema right after the Paris Exposition because they didn’t believe cinema had a future
|
|
The Great Train Robbery
|
The first American narrative film
|
|
dance melodies
|
Edison chose popular ____ ______ for shows with the Kinetophone
|
|
The Clansmen
|
The second half of Birth of a Nation was inspired by this novel, which was historically inaccurate and extremely racist
|
|
t
|
(T/F)Erno Rapee was the music director for the Radio City Music Hall
|
|
1920-1928
|
The golden age of silent film
|
|
1926-1928
|
The transition to sound
|
|
The Jazz Singer
|
The groundbreaking film in 1927 where Al Jolson ad-libs spoken word into a film
|
|
t
|
(T/F)Even in the advent of synchronized sound, there is no synchronized spoken word
|
|
Movietone
|
GE develops the ______ to compete with the Vitaphone, and sells this to Fox
|
|
1920
|
The film industry is considered mature by the ____s
|
|
voice
|
In the 1920s, technology was finally developed to synchronize (music or voice) with the film
|
|
T
|
(T/F)Sound and silent films co-existed into the early 1930s
|
|
talkies
|
The term attributed to early sound films, due to their use of voice recording
|
|
motor voltage
|
The earliest attempts at sound synchronization were done manually by controlling the _____ ______
|
|
same medium
|
The need for manual synchronization was eliminated by encoding sound onto the _____ ______
|
|
F
|
(T/F) The audio quality of sound on film is on par with gramophone records (the traditional method of recording sound)
|
|
Phonofilm
|
Early sound-on-film system, using vertical lines on film. Had excellent synch
|
|
Vitaphone
|
Audio recording on a phonograph disk synchronized with the film projector - excellent audio quality, poor synchronization
|
|
Warner Brothers
|
(Name the Vendor) Vitaphone
|
|
Phonophone
|
Competing sound system made by RCA; records could only be played 20 times
|
|
Fox
|
(Name the Vendor) MovieTone
|
|
T
|
(T/F) The movietone/vitaphone was an improved version of the phonofilm
|
|
poor audio quality
|
Downside to Phonofilm
|
|
vertical lines in film
|
Technique used to synchronize music in phonofilm
|
|
RCA
|
(Name the Vendor) Phonophone
|
|
include a recorded score
|
(Fill in the Blank) Don Juan was the first film to ___
|
|
F
|
(T/F) There was brief amounts of dialog included in Don Juan
|
|
Vitaphone
|
Sound system used for Don Juan
|
|
William Axt
|
(Name the Composer) Don Juan
|
|
Don Juan
|
(Name the Film) William Axt
|
|
T
|
(T/F) Don Juan was marketed heavily under label "vitaphone" (vs the film itself)
|
|
Louis Silvers
|
(Name the Composer) The Jazz Singer
|
|
The Jazz Singer
|
(Name the Film) Louis Silvers
|
|
recorded score
|
Don Juan was deemed a game changer because it was the first film to include a _____ _______
|
|
1926
|
(Name the Year) Don Juan
|
|
T
|
(T/F) Don Juan had a second score composed for live performance
|
|
1927
|
(Name the Year) The Jazz Singer
|
|
Al Jolson
|
The star of The Jazz Singer
|
|
T
|
(T/F) The Jazz Singer was primarily silent, save for a few minutes of synchronized sound
|
|
overhearing
|
The Jazz Singer’s effect was described as “not so much hearing him speak, but ______ him speak”
|
|
The Jazz Singer
|
(Name the Film) Signaled the end of the silent era
|
|
Vitaphone
|
Sound system for The Jazz Singer
|
|
Sunrise
|
First film with full-length recorded score and sound effects using the Movietone system
|
|
general sound effects
|
The original implementation of the Vitaphone in Don Juan as not good enough for dialogue, but it was good enough for ____ _____ ______.
|
|
aesthetics, making films, showing films
|
Name the three early problems facing sound film
|
|
overacting
|
Early talkies were characterized by _____; the actors seemed so out of place compared to today’s standards
|
|
acting style
|
Talkies required a new _____ _____ compared to silent films
|
|
mechanical noise
|
With the recording of sound alongside the film, the ____ ____ of the cameras was a major problem
|
|
glass booths
|
Built to isolate the camera’s noise from the sound recording
|
|
F
|
(T/F)In sound films, musicians were positioned in a sound booth, similar to a sound pit
|
|
F
|
(T/F)Apart from learning the new acting style, most silent film actors transitioned well to sound film
|
|
1000
|
1928, there were over ____ theatres
|
|
9000
|
1930, there were almost _____ theatres
|
|
1935
|
The marked transition where almost all movie theatres installed sound systems
|
|
Fox Movietone, RCA Phonophone
|
Variations of the __ ____, ___ ______ (both sound-on-film) continued to compete into the 1950s
|
|
competition
|
It was hard for a theatre to determine which system to invest in because there was too much _____
|
|
1930
|
The studio system began to take effect in the early ____s.
|
|
20th Century Fox, MGM, Paramount, RKO, Warner Brothers
|
Name the Big Five movie studios in lexicographical order
|
|
Columbia, United Artists, Universal
|
Name the Little Three, in alphabetical order
|
|
distribution, production, exhibition
|
The little three had everything they needed to make films; the big five, however, owned networks for ____, _____, and _____
|
|
F
|
(T/F)One main incentive for the development of the studio system was to bring freelancers together, so their products were consistent
|
|
studio system
|
The term used to describe the departmentalization of aspects of production under one roof
|
|
The Great Depression
|
The main event that pushed the production paradigm towards the studio system
|
|
musicals
|
In early sound film (1929), ____ were produced as gimmicky show-offs because they contained a LOT of sound
|
|
Rio Rita
|
An early musical filmed in sound
|
|
scripts
|
A major reason for using musicals, apart from their showcasing of sound, was that they had self-contained _____; something other early films had not quite worked out yet.
|
|
Busby Berkeley
|
Renowned for producing lavish numbers for musicals
|
|
source
|
By 1930, when dramatic films were coming into style, very little music was present; they didn’t want to confuse the audience as to the _____
|
|
T
|
(T/F)After the musical era in film production, film music vanishes almost altogether and is relegated to the diegesis.
|
|
Max Steiner
|
First important composer in the age of sound film
|
|
European
|
Max steiner was ____ trained
|
|
T
|
(T/F) Max Steiner was born into a family that had close ties to music
|
|
T
|
(T/F) Classical music has consistently been perceived as better than film music, because it is as if we are hearing a projection of the dead composer inspired by God
|
|
1914
|
Max Steiner comes to US from England
|
|
deportation
|
Max Steiner had to immigrate to the US due to fears of ______ in the face of WWI
|
|
broadway
|
In the US, Max Steiner works on ______
|
|
Rio Rita
|
In 1929, Max Steiner is invited to Hollywood to help compose for this film
|
|
turnaround time
|
Max Steiner is impressed with the remarkable system of Hollywood, most notably the quick ______ they could achieve
|
|
Cimarron
|
Max Steiner sneaks a bit more non-diegetic music into this film than was usual to the style; helps push the use of more non-diegetic music in film
|
|
1931
|
(Name the Year) Cimarron
|
|
David Selznick
|
RKO executive who noticed the good reviews of Steiner’s score of Cimarron
|
|
wall-to-wall
|
Steiner’s scores for Symphony of 6 Million and Bird of Paradise were composed ________
|
|
1933
|
(Name the Year) King Kong
|
|
Steiner
|
Composer for King Kong score
|
|
T
|
(T/F) The score for King Kong was the only thing that saved the film from obscurity
|
|
King Kong
|
After music essentially disappears from narrative films, this film puts it back at the forefront
|
|
Wagner
|
For the score of King Kong, Steiner borrows from this famous composer
|
|
F
|
(T/F) Despite King Kong’s score in reviving the movie, critics did not really notice it
|
|
Steiner
|
The first composer to develop conventions for narrative film scores, which still permeates through to modern films
|
|
fog bank
|
Steiner saves the music for King Kong until the characters reach the ____ _____
|
|
ethereal
|
When the music for King Kong is first introduced, it is not classical; rather, it is described as _______
|
|
T
|
(T/F) The scene from King Kong as they approach the island is actually confusing because they never thought of the source of the islanders’ music
|
|
mickey mousing
|
Steiner does this with the introduction of the chief in King Kong
|
|
T
|
(T/F) The music in King Kong primarily exists only when they are away from NYC
|
|
1935
|
The Informer
|
|
The Informer
|
First movie to win Oscar for “Best Original Score”
|
|
Gone with the Wind, Casablanca, A Summer Place
|
Other notable films scored by Steiner, but not discussed in class
|
|
F
|
(T/F) Steiner’s career, despite its short length, paves the way for the future of film music
|
|
emigre composer
|
Film music in 1930s is described as the time of the ______ _________
|
|
Nazis
|
The main reason why many European composers moved to the US in the 1930s
|
|
European art music
|
Composers such as Korngold, Rosza, Kaper, bring this style of music to their film work
|
|
1939
|
Hollywood’s most successful year, ever.
|
|
T
|
(T/F) Korngold is a childhood prodigy, with deep familial ties to music, just like Max Steiner
|
|
A Midsummer Night’s Dream
|
In 1934, Korngold is initially invited to Hollywood to supervise the recording of _______________
|
|
Anthony Adverse
|
Korngold wins an Academy Award for __________
|
|
Korngold
|
The scoring of Robin Hood was originally offered to _________, but he declined
|
|
1938
|
(Name the Year) Robin Hood
|
|
Korngold
|
The composer for Robin Hood
|
|
T
|
(T/F) Despite his success, Korngold dies a bitter man because he never got recognized as a serious composer, due to his affiliation with Hollywood
|
|
F
|
(T/F) Korngold, much Steiner, scored many films in his career
|
|
F
|
(T/F) Korngold becomes hired by Warner Brothers studios for the majority of his career
|
|
T
|
(T/F) Steiner becomes hired by Warner Brothers studios for the majority of his career
|
|
T
|
(T/F) Korngold never mickey mouses
|
|
ABA
|
Korngold’s overtures at the beginning of the film (where he presents the main themes) follows this pattern
|
|
1940
|
(Name the Year) The Sea Hawk
|
|
fanfare, love
|
The first theme in The Sea Hawk is a ____, followed by a ______ theme
|
|
ships
|
Sea Hawks refers to _____
|
|
F
|
(T/F) Korngold phrases the drama in The Sea Hawk; i.e., he does not hit the action
|
|
T
|
(T/F) The Sea Hawk is filmed in black and white (despite occurring after Robin Hood), because black and white was still the norm at the time
|
|
T
|
(T/F) The Sea Hawk, unlike Robin Hood, emphasizes the theme of the protagonist because the success of their missions depend on the captain, not so much on the group
|
|
Battle of Britain
|
What historic event does The Sea Hawk coincide with, that might suggest why some themes were used in the film
|
|
1938
|
(Name the Year) The Adventures of Robin Hood
|
|
ABC
|
Instead of Korngold’s typical style of introducing the themes, The Adventures of Robin Hood is done the following order
|
|
intertitles
|
Those cards explaining the story line in Robin Hood
|
|
march of the merry men
|
The opening theme of Robin Hood is the ___________________________.
|
|
F
|
(T/F) The opening theme for Robin Hood is for Robin Hood
|
|
woodwinds
|
In Robin Hood, although brass instruments were used for fight scenes, _____ are used for comedic effect
|
|
love, suffering
|
Violins are often used to depict _____ or ____ (internalized emotions)
|
|
french horn
|
Instrument connected to hunters, Little John in Robin Hood
|
|
19th century romantic
|
Korngold’s style, in a nutshell, is described as ________
|
|
primitive, folk
|
Lute playing is often used to signify ____ or ____ themes
|
|
tones alternating back and forth
|
A musical convention used to signify a babbling brook is ______
|
|
cup mute
|
A cone used to cover the trumpet is called a ________
|
|
cup mute
|
The instrument used to convey signify Friar Tuck
|
|
T
|
(T/F) cup-mutes are used in conjunction with trumpets for comedic effect
|
|
trumpet, bassoon
|
Two instruments used in Robin Hood to signify comedy in Robin Hood
|
|
country
|
Robin Hood, like many films of the era, convey the idea that personal love is secondary to love of one’s own _______
|
|
draw people into a scene
|
Solo instruments tend to have this function in movie soundtracks
|
|
maintain suspension of disbelief
|
Large ensembles tend to have this function in movie soundtracks
|
|
trumpet, bassoon
|
Thematic instruments for Friar Tuck in Robin Hood
|
|
interval of the sixth
|
orchestration interval interval used for connection with love and romance
|
|
themes
|
Korngold style typically uses _________
|
|
T
|
(T/F) Themes in Korngold style are typically long and involved
|
|
T
|
(T/F) Korngold style often phrases the drama
|
|
T
|
(T/F) Korngold style often allows themes to unfold without distortions
|
|
comedy or key moments of drama
|
Korngold style links hitting the action to ________
|
|
the golden age of hollywood
|
Depression Era films are often called _______
|
|
escapist
|
Depression Era films often have ____ themes
|
|
socialism
|
In addition to escapism, Depression era films also conveyed themes of __________
|
|
Alfred Newman
|
Who composed the 20th Century Fox fanfare?
|
|
19th century romantic
|
____________ orchestra becomes the dominant style in the Golden Age of Film
|
|
realism
|
1940s films have more an interest in _______
|
|
film noir
|
Films characterizing the dark side of the human condition are often referred to as ______
|
|
1940
|
A surge of American born composers rising to prominence in hollywood occurred during the ______s
|
|
event, character
|
The transition from 1930s films to 1940s films (film noir) can be characterised by a change from being _____-driven to ______-driven
|
|
Miklos Rozsa
|
(Name the Composer) Jungle Book
|
|
Jungle Book
|
First soundtrack release on record in the US is for ______
|
|
Miklos Rozsa
|
(Name the Composer) Double Indemnity
|
|
theremin
|
A new instrument introduced in the 40s with a ghost-like quality
|
|
atonality
|
A musical style linked to mental instability
|
|
theremin
|
first electronic instrument used in the orchestra
|
|
David Raksin
|
(Name the Composer)Laura
|
|
Laura
|
(Name the Film) David Raksin
|
|
Double Indemnity
|
A story about insurance fraud; scored by Rozsa
|
|
1944
|
(Name the Year) Laura
|
|
Otto Preminger
|
Director for Laura
|
|
Sophisticated Lady
|
The Duke Ellington song that was originally requested for Laura
|
|
T
|
(T/F) Laura only has one theme
|
|
American jazz
|
Instead of European orchestra, the theme of Laura is based on _____ ____
|
|
F
|
(T/F) The Laura theme is intended to drive the suspense
|
|
T
|
(T/F) In the original screening of The Lost Weekend, the audience was actually laughing at the scene where the protagonist relapses
|
|
alone
|
In The Lost Weekend, sad/haunting music is only played in parts where the protagonist is ______; in other parts, happy music is played to fit with the public’s perception of drinking at the time
|
|
F
|
(T/F) In The Lost Weekend, when the protagonist steals the lady’s purse to cover his bar tab, Rozsa plays the drama as that is the pinnacle of his depression
|
|
humiliation
|
In The Lost Weekend, the protagonist’s ejection from the bar is highlighted by the source music, conveying a sense of ________
|
|
fetishized
|
The concept of Laura’s theme plays on the idea that she is __________ by all of the characters throughout the story.
|
|
stops
|
When Laura returns, her theme _______ so as to change the characterization from that point onward
|
|
Steamboat Willie
|
Walt Disney astounded audiences with this sound cartoon, which exploited sound technology and has enormous audience appeal
|
|
F
|
(T/F) Steamboat Willie was Disney’s first cartoon with sound
|
|
F
|
(T/F) Audiences were impressed with the great synchronization in the dialogue for Steamboat Willie
|
|
animals
|
One of Steamboat Willie’s most memorable points was when he makes music with _____
|
|
Silly Symphonies
|
Following the success Steamboat Willie, Disney worked on more sophisticated musical settings in a cartoon series entitled _________
|
|
Carl Stalling
|
A silent film organist and orchestra director that joined Disney and created the music for many of the early cartoons
|
|
click track
|
A system developed by Carl Stalling in which holes placed in a film create a clicking sound, made audible to the conductor and musicians of the studio orchestra
|
|
Looney Tunes
|
Stalling began working for Warner Bros to begin composing for this famous cartoon series ______
|
|
F
|
(T/F) In the 1930s, as the classical film score tradition was being solidified, composers finally broke out of the habit of frequently borrowing familiar melodies
|
|
leitmotifs, thematic transformation
|
Classical film score created unity through ______ and ________ _______
|
|
opening title, credits
|
Classical film score established principle themes and moods during the _______ and ______
|
|
T
|
(T/F) One of the characteristics of films developing in the middle to late 1930s is an extensive use of music
|
|
three-strip Technicolor
|
Robin Hood (1938) is the first film by WB to use this process for picture production
|
|
brass, percussion
|
Korngold emphasized these two instruments in his symphonic orchestration of Robin Hood
|
|
motivic references
|
In Robin Hood, Korngold incorporated loud dynamics, passages of quick notes, irregular and hard accents, and occasional _____ ______
|
|
Star Wars
|
The score for Robin Hood laid down conventions that would later become cliched in future action films such as _______
|
|
T
|
(T/F) Unlike Steiner, Korngold was selective about his film assignments.
|
|
T
|
(T/F) Once he was labeled a film composer, Korngold’s reputation declined and interest in his concert works waned.
|
|
fighting
|
Korngold’s score for Robin Hood is renowned for its brilliance in scenes involving ______
|
|
T
|
(T/F) Korngold purposefully weaved familiarities in the motifs for different characters to suggest their closeness
|
|
thematic transformation
|
One of the brilliant parts of Korngold’s orchestration for Robin Hood is his effortless use of ____________
|
|
Will Hays
|
The guy who invented the Hays Code
|
|
moral standards
|
Line from the Hays Code - no picture shall be produced which will lower the ____________ of those who see it.
|
|
ridiculed
|
Line from the Hays Code - law, natural or human, shall not be ________
|
|
1966
|
Despite The Hays Office closing in 1945, the Code remained in effect until _______
|
|
Catholic Church
|
The _______ had begun to exert great influence on the Hays Office
|
|
expressionism, American nationalism
|
During the beginning of the golden age of Hollywood, two styles of concert music exerted an influence on Hollywood. These were _______
|
|
1940
|
American nationalism, expressionism, and film noir appeared in American films during the ____s
|
|
dissonant, disjunct
|
Expressionism is characterised by continuous _____ harmony and _____ melodies
|
|
serialism
|
The technique that Schoenberg came up with that is the style and sound for expressionism
|
|
Aaron Copland
|
This composer brought the style of American nationalism to Hollywood
|
|
T
|
(T/F) Essential to the sound of American nationalism are broad melodies featuring strong intervals, syncopated rhythms, colorful orchestration, and a modern but conservative harmonic system.
|
|
post-romantic, expressionism
|
Film noir essentially evolved from mixing the _______ style with elements of ________
|
|
1946
|
The term Film noir was first employed by French film critics in _____
|
|
T
|
(T/F) Film noir describes both a style of filmmaking and a film genre, in particular the detective or crime drama
|
|
T
|
(T/F) Voice narration is actually a very common thing in film noir
|
|
femme fatale
|
A common female role in film noir
|
|
T
|
(T/F) Film noir introduced disruptive elements that were shockingly different than the trends of Hollywood
|
|
F
|
(T/F) Musical cues were frequent in film noir, to underscore the ambiguous moral nature of the stories
|
|
lower
|
Film noir music emphasized the (upper/lower) register
|
|
jazz
|
Film noir used this musical genre as the soundtrack of cities at night
|
|
F
|
(T/F) Film noir music was known for its use of unwavering pitches to create dissonant melodies
|
|
F
|
(T/F) Like music in many film noir stories, contrasts of mood are frequent and obvious
|
|
T
|
(T/F) Unlike music in many film noir stories, the score of Laura does not create an overriding mood of pessimism, but rather an elegant, sophisticated sensation.
|
|
Miklos Rozsa
|
A leading figure in the creation of the film noir musical style is ____________
|
|
theremin
|
Miklos Rozsa famously incorporated his own style into film noir stories by using this instrument
|