By Kathryn Kalinak
Starting with the earliest experiments in musical accompaniment conducted within the Edison Laboratories, Kathryn Kalinak makes use of archival fabric to stipulate the heritage of yankee tune and picture. concentrating on the rankings of a number of key composers of the sound period, together with Erich Wolfgang Korngold’s Captain Blood, Max Steiner’s The Informer, Bernard Herrmann’s The incredible Ambersons, and David Raksin’s Laura, Kalinak concludes that classical scoring conventions have been designed to make sure the dominance of narrative exposition. Her analyses of up to date paintings resembling John Williams’ The Empire moves again and Basil Poledouris’ RoboCop display how the traditions of the classical period proceed to persuade scoring practices at the present time.
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Extra info for Settling the Score: Music and the Classical Hollywood Film (Wisconsin Studies in Film)
It is interesting to note in the convergence of the Arabic and Greek thought the same model for aural transmission and a similar physiological representation for the reception of music. Theologian al-Ghazzali in the twelfth century writes: "There is no way to the extracting of their [hearts'] hidden things save by ... " 7 A revealing variable in antiquity's discourse on acoustics is the source of the mechanism which initiates the perceptual process. The definition of natural science in antiquity differs considerably from the modern conception of scientific inquiry.
Part of Gurney's aesthetic project then becomes the investigation of a sonic analogue for visual beauty which is, not surprisingly, music. The scientific discourse of the nineteenth century, in fact, casts into relief the ideological subtext driving acoustical investigation: the value of objectivity over subjectivity. The mediating force of consciousness in the act of vision serves to objectify the information processed through it, while the act of hearing is more suspect because of its stronger connection to subjectivity.
Sometimes all copies of the full score have been lost or destroyed, and the music for a film will exist only in parts. Such is the case with Edmund Meisel's score for The Battleship Potemkin (1925). Although a complete version has not been found, orchestral parts were discovered, and from these a full score could be reconstructed. 18 The piano conductor part, also known as the conductor part, and sometimes the short score, is yet another version of a film score. This term refers to a reduced version of the full score, often used for conducting the recording session.