A History Of Film Music Mervyn Cooke Pdf Download
Sacha Weakland
At undergraduate and Master's levels, recent teaching has included modules in film music, music on stage and screen, jazz, fusion and crossover styles, composition, dissertation and research techniques.
Applications for PG research places are warmly welcomed in any of the following subject areas: Benjamin Britten; early twentieth-century music; film music; jazz; and music on stage and screen (including topics relating to film, theatre, radio, television, opera, and ballet, with a special interest in stage and film treatments of Shakespeare's plays).
Mervyn's primary research interests are the music of Benjamin Britten, film music, and jazz. He is the author of a handbook on Britten's War Requiem (CUP, 1996) and the monograph Britten and the Far East (The Boydell Press, 1998), and editor of The Cambridge Companion to Benjamin Britten (CUP, 1999); he also co-edited (with Philip Reed) an Opera Handbook on Billy Budd (CUP, 1993) and worked for The Britten-Pears Foundation as co-editor (with Donald Mitchell and Philip Reed) of the multi-volume edition of Britten's correspondence, of which the sixth and final instalment was published in 2012. As part of Britten's centenary celebrations in 2013, he organised and performed (as pianist) in premiere recordings of two of Britten's unpublished theatre scores from the 1930s, which were released on the CD Britten to America, an NMC disc nominated for a Grammy Award in 2014. He edited The Cambridge Companion to Twentieth-Century Opera (CUP, 2005), to which he contributed a chapter on opera and film. He has authored two illustrated books on the history of jazz for Thames & Hudson -- The Chronicle of Jazz and Jazz (World of Art) -- and co-edited with David Horn The Cambridge Companion to Jazz (2003). His books on jazz and film music have variously been translated into French, German, Spanish, Czech, Polish, Chinese and Korean. He is the author of the New Grove article on film music, and has written book chapters on the film music of Dave Grusin, Duke Ellington, George Fenton, Bernard Herrmann, and John Williams. His substantial A History of Film Music was published by CUP in 2008, and his The Hollywood Film Music Reader by OUP in 2010. His most recent books are The Cambridge Companion to Film Music (co-edited with Fiona Ford; CUP, 2016) and an analytical monograph on the ECM recordings of jazz guitarist Pat Metheny (OUP, 2017). His chapters in other books include studies of music in ocean documentaries, Britten's collaborations with his librettists, and music in the British war film. He is also the co-editor (with Christopher R. Wilson) of The Oxford Handbook of Shakespeare and Music, to be published by OUP in 2021.
About a month ago, friend of the Temp Track and fellow blogger Herr Vogler posted this over at his cyberdomain in which he details what books he feels a film composer should have on his/her shelf. In this post I intend to do the same but for the aspiring film music scholar.
The partial misattribution is reasonable, for the film's opening credits tell us that the music, even as it plays on the soundtrack, is by 'Lulli (transcription F. Oubradous)'. This 'fact' seems to be a staple of Bresson filmographies; 'A History of Film Music' by Mervyn Cooke (Cambridge UP 2008) says it is by Lully, and Cooke is a Professor of Music; my DVD of Pickpocket (Artificial Eye 2005) gives Lully as the composer.
Sweet and wonderful though it is, is there maybe too much music in Pickpocket? Perhaps Bresson thought so because ten years later he had abandoned music for his films, at least when it was externally added rather than coming from instruments seen to be played or a machine such as a record player.
In Pickpocket it acts not just as a punctuation but as a way of adding a tone to the film. This is grave except in two places: famously, at the end, but also (and I had not spotted this before) to mark the union of Michel and Jeanne, 57 minutes into the film, the end of act 2 as it were, and to mark the transition to Act 3, and the film's dénouement. Here, the music is lighter, even as the images show Michel leaving Jean to flee Paris. It is this therefore that maybe by Lully.
Music has long been a component of stage drama and, since the twentieth century, its usage has expanded into screen genres like film, television, and videogames. In each of these cases, music participates in something larger; sometimes it is the dominant partner while at other times it is subservient to the stage action or visual imagery. Music's role in videogames, especially, has attracted scholarly attention in recent years for the ways it reacts to player choices. Find resources on music for stage and screen below. For even more on musical theatre specifically, see the independent Musical Theatre Research Guide.
The recommended books below include print reference sources and books on different topics within music for stage and screen. Many books on musical theatre can be found in ML 2054, while music for film is shelved in ML 2075 and music for television nearby in ML 2080. Books on videogame music and the related field of study, ludomusicology, meanwhile, are shelved in ML 3540.7. Recommended books are sorted by their call numbers for ease of browsing. Hover over the info icon to see a description.
The Cambridge companion to literature and the posthuman /edited by Bruce Clarke, Manuela Rossini. The Cambridge Companion to Literature and the Posthuman is the first work of its kind to gather diverse critical treatments of the posthuman and posthumanism together in a single volume. Fifteen scholars from six different countries address the historical and aesthetic dimensions of posthuman figures alongside posthumanism as a new paradigm in the critical humanities. The three parts and their chapters trace the history of the posthuman in literature and other media, including film and video games; and identifies major political, philosophical, and techno-scientific issues raised in the literary and cinematic narratives of the posthuman and posthumanist discourses.
The Cambridge companion to the Rolling Stones /edited by Victor Coelho, John Covach. This groundbreaking, specifically commissioned collection of essays provides the first dedicated academic overview of the music, career, influences, history, and cultural impact of the Rolling Stones. Shining a light on the many communities and sources of knowledge about the group, this Companion brings together essays by musicologists, ethnomusicologists, players, film scholars, and filmmakers into a single volume intended to stimulate fresh thinking about the group as they vault well over the mid-century of their career. Threaded throughout these essays are album- and song-oriented discussions of the landmark recordings of the group and their influence. Exploring new issues about sound, culture, media representation, the influence of world music, fan communities, group personnel, and the importance of their revival post-1989, this collection greatly expands our understanding of their music.
The Cambridge companion to video game music /edited by Melanie Fritsch and Tim Summers. This book provides a comprehensive, up-to-date survey of video game music by a diverse group of scholars and industry professionals. Many popular games are analysed, including Super Mario Galaxy, Bastion, The Last of Us, Kentucky Route Zero and the Katamari, Gran Turismo and Tales series. Topics include chiptunes, compositional processes, localization, history and game music concerts. The book also engages with other disciplines such as psychology, music analysis, business strategy and critical theory.
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