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A History of Film Music
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  • Cited by 21
  • Cited by
    This book has been cited by the following publications. This list is generated based on data provided by CrossRef.

    CENCIARELLI, CARLO 2010. Bach and Cigarettes: Imagining the Everyday in Jarmusch's Int. Trailer. Night. twentieth-century music, Vol. 7, Issue. 02, p. 219.

    Hale, Matthew Raymond, Graham and Wright, Catherine 2010. List of publications on the economic and social history of Great Britain and Ireland published in 2009. The Economic History Review, Vol. 63, Issue. 4, p. 1129.

    kydd, Elspeth 2011. The Critical Practice of Film. p. 208.

    Coady, Christopher 2012. AfroModernist Subversion of Film Noir Conventions in John Lewis' Scores toSait-on Jamais(1957) andOdds Against Tomorrow(1959). Musicology Australia, Vol. 34, Issue. 1, p. 1.

    Lehman, Frank 2013. Hollywood Cadences. Music Theory Online, Vol. 19, Issue. 4,

    Kamp, Michiel 2014. Musical Ecologies in Video Games. Philosophy & Technology, Vol. 27, Issue. 2, p. 235.

    Jewanski, Jörg 2014. Motion in Music—Motion in Painting: The Use of Music in the Films of Oskar Fischinger*. Journal of Film Music, Vol. 4, Issue. 2,

    Perron-Brault, Alexis 2014. De l’ONF à Télé-Québec : le parcours de Pierre F. Brault, compositeur de musique de film et de télévision. Les Cahiers de la Société québécoise de recherche en musique, Vol. 15, Issue. 2, p. 9.

    Walus, Bartlomiej P 2014. Modular Structures in Film Music: The Answer to Synchronization Problems?. Journal of Film Music, Vol. 4, Issue. 2,

    Vendries, Christophe 2015. La musique de la Rome antique dans le péplum hollywoodien (1951-1963). Mélanges de l'École française de Rome. Antiquité,

    Richards, Mark 2016. Film Music Themes. Music Theory Online, Vol. 22, Issue. 1,

    Melvin, Adam 2016. The Palgrave Handbook of Sound Design and Music in Screen Media. p. 403.

    Powrie, Phil 2017. Music in Contemporary French Cinema. p. 1.

    Kakesu, Haruki Ito, Akinori and Ito, Kenichiro 2017. A Music Analysis on Atomospheric Sounds in Japanese Sci-Fi Anime. p. 99.

    Kakesu, Haruki Ito, Akinori and Ito, Ken'ichiro 2018. Development of Analytical Method on Musical Effect Sound in Japanimation Works. p. 26.

    Ireland, David 2018. Identifying and Interpreting Incongruent Film Music. p. 113.

    Henzel, Christoph 2018. Filmmusik. p. 101.

    Ireland, David 2018. Identifying and Interpreting Incongruent Film Music. p. 1.

    Ireland, David 2018. Identifying and Interpreting Incongruent Film Music. p. 167.

    Godsall, Jonathan 2018. The Cambridge Companion to Film Music. Edited by Mervyn Cooke and Fiona Ford. Cambridge: Cambridge University Press, 2016. 438 pp. ISBN 9781107476493. Popular Music, Vol. 37, Issue. 2, p. 323.

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    A History of Film Music
    • Online ISBN: 9780511814341
    • Book DOI: https://doi.org/10.1017/CBO9780511814341
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Book description

This book provides a comprehensive and lively introduction to the major trends in film scoring from the silent era to the present day, focussing not only on dominant Hollywood practices but also offering an international perspective by including case studies of the national cinemas of the UK, France, India, Italy, Japan and the early Soviet Union. The book balances wide-ranging overviews of film genres, modes of production and critical reception with detailed non-technical descriptions of the interaction between image track and soundtrack in representative individual films. In addition to the central focus on narrative cinema, separate sections are also devoted to music in documentary and animated films, film musicals and the uses of popular and classical music in the cinema. The author analyses the varying technological and aesthetic issues that have shaped the history of film music, and concludes with an account of the modern film composer's working practices.

Reviews

'Written in a clean, clear prose shot through with a lightly-worn, concisely-argued scholarship, this is a considerable achievement and an essential read for anyone interested in this vital and still developing genre.'

Source: Classical Music Magazine

'Mervyn Cooke hasn't written merely 'a' history of film music - when all the reckoning is done, this will surely be 'the' history of film music written for cinema, from 1920s silent films to the latest Hollywood blockbusters. Writing about a medium that, as Aaron Copland once cogently put it, is designed to be felt rather than explicitly heard is an exacting task, and one that leaves many floundering. But Cooke's background writing about opera and jazz puts his brain in the right place for considering an art form that aims to balance artifice and spontaneity. … An authoritative read, written with the cracking pace of a Bond thriller.'

Source: Classic FM

'Cooke writes accessibly yet with as much intellectual rigor on the propagandistic songs of Shostakovich as on MTV's impact on Flashdance. … Crammed with source acknowledgement for further reading, this is nothing short of essential reading for anyone with an interest in film.'

Source: BBC Music Magazine

'Cooke has written a book useful to readers with or without musical background … they [readers] will appreciate a historical study that incorporates music and film studies and keeps the film music, not the films, its focus.'

Source: Choice

'The real charm of Mervyn Cooke's A History of Film Music … is the sheer breadth of coverage and the passion with which this coverage is conveyed. Never before has a work attempted such a wide-ranging, vivid, and well-documented sweep of film music and, for this reason among many others, it is a work thoroughly to be recommended.'

Source: Music and Letters

'Cooke arranges his book thematically rather than chronologically, and gives substantial attention to the work of important film music composers such as Max Steiner, Alfred Newman, Hanns Eisler, Georges Auric, and Ennio Morricone.'

Larry M. Timm Source: Journal of the Society for American Music

‘The world of film music will rejoice at being the subject of Mervyn Cooke’s new book. It is both scholarly and highly accessible - a must have for anyone interested in this increasingly popular topic.’

George Fenton - film composer

'If you can only buy one film music book, make it this one … This is perhaps one of the most clear and cogently conceived overviews of music that one is likely to see … one is struck by the fine choices Cooke makes to illustrate his point, whether he is discussing a Virgil Thomson score, or why a Scott Bradley animated short score works best. … With no room for subsequent updates or supplements, this may very well be 'the' film music book for some time to come. … this is a book that every lover of film music should have on their shelves. It is a book not so much to be read but to be savoured and enjoyed.'

Source: Film Music Review

'… this is a wonderful and important book, and its comprehensive, encyclopedic scope makes it a valuable resource especially for upper-level courses beyond the general education curriculum.'

Blake Howe Source: Journal of Music History Pedagogy

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