The Invisible Art of Film Music: A Comprehensive History
Beginning with the era of synchronized sound in the 1920s, music has been an integral part of motion pictures. Whether used to heighten the tension of a scene or evoke a subtle emotional response, scores have played a significant—if often unrealized—role in the viewer’s enjoyment.
In The Invisible Art of Film Music, Laurence MacDonald provides a comprehensive introduction for the general student, film historian, and aspiring cinematographer. Arranged chronologically from the silent era to the present day, this volume provides insight into the evolution of music in cinema and analyzes the vital contributions of scores to hundreds of films.
MacDonald reviews key developments in film music and discusses many of the most important and influential scores of the last nine decades, including those from Modern Times, Gone with the Wind, Citizen Kane, Laura, A Streetcar Named Desire, Ben-Hur, Lawrence of Arabia, The Godfather, Jaws, Ragtime, The Mission, Titanic, Gladiator, The Lord of the Rings, Brokeback Mountain, and Slumdog Millionaire. MacDonald also provides biographical sketches of such great composers as Max Steiner, Alfred Newman, Franz Waxman, Bernard Herrmann, Elmer Bernstein, Henry Mancini, Maurice Jarre, John Barry, John Williams, Jerry Goldsmith, Dave Grusin, Ennio Morricone, Randy Newman, Hans Zimmer, and Danny Elfman.
Updated and expanded to include scores produced well into the twenty-first century, this new edition of The Invisible Art of Film Music will appeal not only to scholars of cinema and musicologists but also any fan of film scores.
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The Invisible Art of Film Music: A Comprehensive HistoryUser Review - Book Verdict
MacDonald (emeritus, music history, C.S. Mott Community Coll., MI) updates his work The Invisible Art of Film Music: A Comprehensive History, in this second edition. This version includes the ... Read full review
Ambitious attempt at film music history, but many mistakes: The Waltons was on CBS, not NBC; the three-note motif after the introduction in Star Wars is the Rebel Fanfare, not the Empire's (which before its fleshed-out motif in Empire Strikes Back was a separate six-note leitmotif); the peppy new theme in Return of the Jedi was for the Ewoks, not the Jawas.