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Released in 1954, On the Waterfront is considered one of the greatest films of all time, winning eight Academy Awardsincluding Best Pictureand placing in the top 20 on the American Film Institute's 100 Films survey. The film's Oscar-nominated score represented a rare venture into film music composition by Leonard Bernstein, one of the towering figures of classical music in the 20th century.In Leonard Bernstein's On the Waterfront: A Film Score Guide, Anthony Bushard examines this landmark work, a score that continues to influence composers of film and classical music alike. The book begins with a biographical survey of Bernstein's work, followed by an exploration of Bernstein's compositional method, a look at the context of the film, and an analysis of the score itself.Though other volumes have focused on Bernstein's overall career, Bushards book is the first to look specifically at the score of this film. A welcome examination of one of Bernstein's most accomplished works, Leonard Bernstein's On the Waterfront: A Film Score Guide highlights the invaluable contributions of this great composer and will be appreciated by fans of classical music and film scores.

Regarded as one of the greatest film composers of all time, Bernard Herrmann was responsible for some of the most memorable music in film. His work with Alfred Hitchcock produced a slew of classics including Vertigo (1958), North by Northwest (1959), and Psycho (1960). Several years before collaborating with Hitchcock, however, Herrmann composed the brilliant score for The Ghost and Mrs. Muir (1947), which remained a personal favorite of the composer's. Herrmann's score reinforces the film's romantic theme, and much of the music has an appropriately elegiac quality. In mood, orchestration, and even to some extent thematic identity, it seems to prefigure his music for Vertigo.In this latest addition to the Scarecrow Film Score Guide series, author David Cooper examines Herrmann's career in general, as well as the specific elements that went into the creation of The Ghost and Mrs. Muir's score. Cooper traces the development of Herrmann's craft as a film composer, especially through his radio work, where he made contact with many of the great artists of the age, most notably Orson Welles. This association was to give him a passport to Hollywood and led to the scoring of his first film, Citizen Kane. Herrmann's subsequent film scores of the 1940s included The Devil and Daniel Webster, The Magnificent Ambersons, and Jane Eyre. In this guide, Cooper considers Herrmann's musical technique and offers a theorization of some of the ways in which music can be "e;meaningful"e; in film. He also explores non-musical contexts of the film, including the screenplay's relationship to the popular novel from which it was adapted, as well as the contribution of director Joseph L. Mankiewicz, the performances of Gene Tierney and Rex Harrison, and the editing of Dorothy Spencer. Cooper also provides a quantitative, evidence-based study of the score. In doing so, he discusses the extent to which Herrmann adopted screenwriter Philip Dunne's suggestions for music in

This examination of Max Steiner's Academy Award winning score for the 1942 film "Now, Voyager" combines a full and detailed analysis of the score with critical and historical perspectives on the film. The study also discusses Steiner's musical background and his technique of film scoring.

This in-depth musicological and critical study examines how Bernard Herrmann's score for Alfred Hitchcock's Vertigo plays a crucial role in the articulation and development of the film's narrative and how it affects readings of the film.

Danny Elfman is recognized as one of the most successful, interesting, and innovative figures in recent film music composition. He came to the fore in the late 1980s in connection with his collaboration with Tim Burton on his films including Pee-Wee's Big Adventure (1985), Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), The Nightmare before Christmas (1993), and Sleepy Hollow (1999). In addition to this, Elfman has composed music for more than 40 other films, including Somersby (1993), Dolores Claibourne (1995), Good Will Hunting (1997), Men in Black (1997), and Spiderman (2002).Beetlejuice was the first mainstream commercial success of the collaboration, but Batman was the film which marked Tim Burton's arrival as a major figure in Hollywood film direction, and equally established Danny Elfman as a film score composer, particularly in relation to action and fantasy genres. The score for Batman won a Grammy in 1989 and is an outstanding example of his collaboration with Burton as well as admirably demonstrating his particular talents and distinctive compositional voice. In particular, it displays the characteristic "e;darkness"e; of his orchestration in this genre and the means he uses to create a full length film score from what is often a relatively small amount of musical material, in this case the famous Batman theme. This book examines Elfman's scoring technique and provides a detailed analysis and commentary on the Batman score. The film is discussed in the context of its comic-book origins and the fantasy-action genre, setting it and its score against the late 1970s and early 1980s equivalents such as Star Wars and Superman, and revealing how Burton and Elfman between them changed the cinematic idea of what a superhero is. The book also explores Elfman's musical background, his place within the film music industry and the controversy that sprang up following the release of B

Much like other volumes in the series, this book focuses on the background and development of Elmer Bernstein, a brief discussion of his notable scores, and the context in which he created the music The Magnificent Seven. Author Whitmer provides an analysis of the score.

One of the most successful films inspired by comic books, The Dark Knight was the second feature of a trilogy directed by Christopher Nolan. One of the film's highlights was its rich score, created by two of Hollywood's leading composers, Academy award winner Hans Zimmer and multiple Oscar nominee James Newton Howard. This volume offers a unique insight into the film and its music, detailing how the two composers created the memorable score.

Released in 2002, M. Night ShyamalanΓÇÖs Signs was the directorΓÇÖs follow-up to The Sixth Sense and Unbreakable, and his third collaboration with composer James Newton Howard. Well received by audiences and critics alike, the film was often cited by reviewers for its music. With its dependence on a single motive, the score is unique in HowardΓÇÖs career, and one of his most effective and haunting works. In James Newton HowardΓÇÖs Signs: A Film Score Guide, Erik Heine provides the first close reading of the composerΓÇÖs work. Heine discusses HowardΓÇÖs musical style and influences, as well as his ability to compose for a variety of genres, acknowledging him as one of the most versatile composers working today. The book shows how early sketches of cues for Signs were developed into the final score, allowing the reader insight into HowardΓÇÖs compositional process. The book also demonstrates how HowardΓÇÖs style is difficult to pigeonhole, since his focus is on serving the needs of the film. Drawing on completed orchestrated scores, as well as other material from the James Newton Howard Archive at the University of Southern California, the level of musical detail provided in this volume is unsurpassed. As a book that addresses HowardΓÇÖs compositional styleΓÇöand the only volume that significantly examines the music in any Shyamalan filmΓÇöJames Newton HowardΓÇÖs Signs: A Film Score Guide will be of interest to music scholars, film scholars, and fans of the composerΓÇÖs work.

Though overshadowed by the critical and commercial success of The Godfather, Part II, Francis Ford Coppola's other film of 1974 still managed to snag Oscar nominations for Best Screenplay and Best Picture. A study of paranoia that weaves together a balanced blend of music, dialogue, and sound effects, The Conversation is regarded as one of the greatest films of the 1970s.In this volume, the author focuses on the background of composer David Shire (who was Coppola's brother-in-law at the time the film was made) and the creation of the score, but also emphasizes the importance of sound in the film.

Ang Lee's The Ice Storm is a film of striking significance, which achieved widespread critical acclaim for its well crafted and superbly acted study of suburban morality in 1970s America. For the film, composer Mychael Danna created one of the most distinctive scores of the 1990s, one that constantly challenges perceptions of the form and function of film music.In Mychael Danna's The Ice Storm: A Film Score Guide, Miguel Mera explores the music and sound Danna uses in his score, investigating the narrative, structural, and aesthetic themes of the film and illustrating the techniques and stylistic features central to Danna's music. Mera carefully examines the collaborative processes that influenced the score's development, describing the significance of the composer's relationships with the director, producer, editor, orchestrator, and sound designers to the evolution of the score and demonstrating how the politics of filmmaking interact with creativity. This seventh volume in Scarecrow's Film Score Guide series also includes a biography of Danna and a complete analysis of the full soundtrack considering the sound design, pre-existent pop songs, and the specifically arranged song by David Bowie in conjunction with Danna's fascinating score, making this essential reading for film music scholars and students.

Based on Neil Gaiman's novel of the same name, Stardust (2007) was an instant hit with fans of fantasy and science-fiction. The film follows the adventures of a young man who crosses through a gap in a wall which separates England from a magical kingdom. The fantastical atmosphere required by the narrative is maintained by the scale and grandeur of much of the musical score, written by rising British composer Ilan Eshkeri. Trained in the craft by composers Michael Kamen, Ed Shearmur, and Hans Zimmer, Eshkeri more than lived up to the task of producing music for one of his first feature films.In Ilan Eshkeri's Stardust: A Film Score Guide, Ian Sapiro carefully examines both Eshkeri's music for the film and the working habits of the composer himself. An introduction to Eshkeri establishes the context within which he developed as a film-score composer, followed by an analysis of his musical style and his scoring strategies, particularly for the film Stardust. Eshkeri's collaborative partnerships with music producer Steve McLaughlin, contractor/conductor Andy Brown, orchestrator Robert Elhai, and copyist Vic Fraser are also discussed, in addition to Eshkeri's relationship with Stardust director Matthew Vaughn. Eshkeri's involvement in the musical identity of the film during the production phase is also evaluated, as are developments in the score in the context of a new conceptual model of film-score production in the UK.With complete cooperation from Eshkeri, who provided the author privileged access to primary materials, Sapiro presents a unique look into the art of film scoring. The first detailed investigation of this composer and his music, Ilan Eshkeri's Stardust: A Film Score Guide is sure to be of interest to film and music scholars and fans.

Among the many fine examples of film scores by Erich Wolfgang Korngold (1897-1957), the score for The Adventures of Robin Hood (1938) stands out the most. Winner of the Academy Award(TM) for best dramatic score in 1938, it is seen by many as the archetypal accompaniment to a Warner Brothers swashbuckler, and it established Korngold as one of the leading exponents of film score composition at a formative point in its history. In Erich Wolfgang Korngold's The Adventures of Robin Hood: A Film Score Guide, author Ben Winters uses manuscript and archival research to challenge preconceived notions about the score's composer and its authorship. In the first two chapters, Winters examines Korngold's career on its own and in relation to the film, including his background in composing concert music and opera, his film scoring techniques, and his engagement with the Hollywood studio system. Chapter three focuses on the Robin Hood film while placing Korngold's music in a larger framework. It examines the film's treatment of the Robin Hood legend, its historical and critical contexts, and its place within the swashbuckler genre and the studio's anti-fascist agenda. While looking closely at the composer's work on this score, chapter four shows sources Korngold used, the music's production process, and the changes the score had undergone. The book concludes with a thematic analysis and reading of the score, identifying the various musical 'voices' that the listener weaves together as he or she experiences the film. This detailed consideration of Korngold's masterpiece will be continually turned to by film and music scholars alike.

Released in 1972, 1974, and 1990 respectively, Francis Ford Coppolas three-part saga is one of the greatest artistic accomplishments (and financial successes) in the history of Hollywood cinema. The latest in Scarecrows Film Score Guides series, Nino Rotas The Godfather Trilogy: A Film Score Guide discusses the events that led to the realization of the three films and studies and analyzes their music. Sciannameo reexamines The Godfather Trilogy from a variety of perspectives, with special focus on the music Rota composed to bind together approximately nine hours of cinematic narrative. Probing Rotas formation as a musician amidst the cultural climate established by Italian Fascism, Sciannameo examines Rotas initial stylistic adherence to the Mussolini-dictated or inspired concept of Italianness and then his return to a more congenial 19th-century formulaic vocabulary. Sciannameo considers Rotas involvement with cinema and his collaboration with many celebrated directors, such as Luchino Visconti, Federico Fellini, Franco Zeffirelli, and Coppola, and deals with the sensitive issues of cultural analysis vis--vis the Mafia as a concept embedded within the Italian-American community. The book also discusses the sound of the Godfather films, describing and analyzing the musical subtexts underscoring a group of pivotal scenes. Relying substantially on Rotas notes, which are discussed here for the first time, the book reveals the composers interpretation of Coppolas cinematic narrative and the scoring methodologies he employed.

Anthony Minghella's 1996 film The English Patient won nine Academy Awards(TM), including one for Best Original Score. Though Gabriel Yared had previously composed scores for several films, including Betty Blue, Camille Claudel, and Vincent & Theo, his work on The English Patient launched him into international public consciousness. His score for this film testifies to the continued appeal of a classical, noncommercial style of scoring, eschewing the use of contemporary pop music for a more 'timeless' sound.In Gabriel Yared's The English Patient: A Film Score Guide, author Heather Laing offers the most in-depth examination to date of the work of the composer. Laing examines Yared's approach to film scoring, his compositional techniques and the impact of his partnership with Minghella before and after The English Patient-through an exploration of such films as The Moon in the Gutter, Betty Blue, Tatie Danielle, IP5, The Lover, City of Angels, and The Talented Mr. Ripley.The integral role of music in The English Patient is contextualized within a detailed analysis of the film's narrative construction, themes, and motifs. The soundtrack is examined as a whole, and the specific 'soundworlds' of each character, location, and relationship are drawn out as the basis for the overall style and construction of the score. Musical themes are viewed in both musical and narrative terms, and musical connections between the themes are identified. A close analysis of the placement and development of musical themes throughout the film reveals the complex musical journey that forms a unique and integral element of the characters.

In 1925, MGM produced a screen version of Lew Wallace's best-selling novel, Ben-Hur: A Tale of the Christ, which became a classic of silent cinema. Nearly 25 years later, the biblical epic was remade by William Wyler and received an unprecedented 11 Academy Awards, including one for Mikls Rzsa's music. Indeed, the score for Ben-Hur is one of the greatest achievements in Hollywood film music. In this book, Roger Hickman focuses on the confluence of traditions, trends, and innovations that shaped Rzsa's score.Hickman provides an overview of Rzsa's music into the 1960s, looks at the composer's musical influences and the development of his distinctive style, and examines how Rzsa applied these compositional techniques to film scoring. The author then explores the Ben-Hur phenomenon and traces the development of the story and its musical traditions from the original novel into the 21st century. Hickman also examines the conventions of epic films and ties these influences together with a detailed analysis of the score. Mikls Rzsa's Ben-Hur pays tribute to not only one of the great film scores but also to one of Hollywood's most influential composers.

Alex Norths A Streetcar Named Desire: A Film Score Guide examines the acclaimed score for Elia Kazans much-celebrated adaptation of Tennessee Williamss A Streetcar Named Desire (1951). Situating the score within the context of Alex Norths life and career, the book begins with an overview of Norths musical training and his works up to his first scores for Hollywood in 1950, demonstrating how his experience in writing music for stage, concert hall, dance, and documentaries each contributed to the skills necessary for film composition. Annette Davison uses examples from Norths film career to identify and describe his scoring techniques.Using manuscript and archival research, Davison explores both the plays debut stage production and the films production process, with a particular emphasis on the genesis and development of the music heard in the film. Considering the influence and changes imposed by the films studio (Warner Bros.), the Production Code Administration, and the Catholic Legion of Decency on the film, Davison explores the impact of these changes on the interpretation of this finely balanced drama, comparing the different versions of the film and its scores. The book concludes with a full and detailed analysis of the jazz-inflected score, taking a holistic approach and using both musicology and film studies to investigate the ways it gives a dynamic shape to the film as a whole.

Although five-time Academy-Award nominee Ennio Morricone has scored numerous films in various genres, his westerns will undoubtedly remain his most memorable cinematographic accomplishments. This guide demonstrates Morricone's unique and enduring contributions to the art of film music through a discussion of his compositional and orchestrational processes, many of which are evident in his music for The Good, the Bad and the Ugly in a way that can be easily understood by both musicians and nonmusicians.Leinberger begins his study with a brief discussion of Morricone's musical background through his experience in the Italian music business, his earliest Italian film scores, and his accomplishments in Hollywood. The second chapter is a discussion of the many compositional techniques that distinguish Morricone's music from that of other film composers. Subsequent chapters examine the historical and cultural context of the film and attempt to place the style of Morricone's score for The Good, the Bad and the Ugly in relation to his scores for other well-known Westerns. The book's final chapter is an analysis of compositional techniques presented in chronological order from the film's opening credits to its climactic ending.Although this guide focuses on Morricone and his music from a theoretical perspective, other non-musical issues that are relevant to the audience's ultimate experience of the film are also discussed.

With its unique focus on pacifism, The Big Country was an unusual Western for audiences of the 1950s. Produced in 1958, this epic film featured an all-star cast that included Gregory Peck, Charlton Heston, and Oscar-winner Burl Ives. One of the most enduring elements of the film has been Jerome Moross's score. Inspired to re-think the traditional Western score and approach it in a way that enhances the emotional content, rather than simply accompanying the action, Moross created a work that stands as one of the great achievements of cinematic music.In Jerome Moross's The Big Country: A Film Score Guide, Mariana Whitmer examines Moross's landmark work, a score that continues to attract listeners and influence composers of film, Westerns and otherwise. This book begins with a biographical survey of Moross's formative years, his early dramatic compositions in ballet and musical theater, and his early film work, providing an historical context for understanding his approach to scoring The Big Country. Drawing upon Moross's original manuscripts and correspondence, Whitmer looks carefully at the score itself. She relates the history of this magnificent score and how the film's music differs significantly from contemporary trends in the Western. Whitmer also examines the music's individual cues and describes how Moross approached the film as a dramatic entity, delineating sections of the narrative into mega-scenes through the music. Finally, the aftermath of this score is considered, including how it has influenced not only subsequent Westerns but also music videos.The first book devoted to a Western film score and the only biographical book on the composer, Jerome Moross's The Big Country: A Film Score Guide, will be a valuable read for musicologists, film scholars, and anyone interested in Moross and his music.

Director Krzysztof Kieslowski's Three Colors trilogy-Blue (1993), White (1993), and Red (1994)-is one of the great achievements of European film. A meditation on liberty, equality, and fraternity, these three films marked the culmination of the director's career, as well as the zenith of one of the most important creative collaborations in 20th-century cinema-between Kieslowski, scriptwriter Krzysztof Piesiewicz, and composer Zbigniew Preisner. Thanks to their close working relationship, music for the Three Colors trilogy achieves both a focal narrative and philosophical function. At times, Preisner's music advances the narrative independently of the films' other codes; at other times, it creates a metaphorical space into which the audience is invited in order to read for "e;deeper"e; messages.As the first major scholarly treatment of Preisner's music, Nicholas Reyland's Zbigniew Preisner's Three Colors Trilogy: A Film Score Guide fills an important void in film score scholarship. In this guide, Reyland analyzes the historical context of the film scores, the life of the composer, the hermeneutic and narrative role of the music within the film, and the musical scoring techniques used for the trilogy.This volume also draws on an interplay of established "e;classic"e; approaches to analyzing film music and more recent approaches in the exploration of its themes and readings. In addition, the composer's willingness to be interviewed by Reyland enhances the musicological scholarship of this book, giving the reader privileged access into the process of scoring. A significant contribution to both film studies and musicological literature, this book celebrates one of the great cinematic achievements of the last few decades.

Upon his arrival in Hollywood, Alfred Hitchcock began work on his first American film, an adaptation of Daphne du Maurier's best-selling novel. Produced by David O. Selznick and featuring compelling performances by Laurence Olivier, Joan Fontaine, and Judith Anderson, Rebecca became one of Hitchcock's most successful films. It was nominated for eleven Academy Awards and received the Oscar for Best Picture, the only Hitchcock work to be so honored. Without question, one of the reasons for the film's success is its ninety minutes of dramatic musical underscoring by Franz Waxman.In Franz Waxman's Rebecca: A Film Score Guide, David Neumeyer and Nathan Platte situate the score for this classic work within the context of the composer's life and career. Beginning with Waxman's early training and professional experience as a jazz musician and film-music arranger-orchestrator in Berlin, the authors also recount the composer's work in the music department at MGM between 1936 and 1942. During this period, Waxman was loaned out to Selznick International Pictures and wrote the music for Rebecca. Through manuscript and archival research, Neumeyer and Platte untangle the threads of the film's complicated music production process, which was strongly influenced by Selznick's habit of micromanaging music choices and placement. This volume concludes with a thematic analysis and reading of the score that incorporates commentary on scenes and cues.The first book devoted to the music of a single film by this great composer from Hollywood's golden age, Franz Waxman's Rebecca: A Film Score Guide will be of interest to musicologists and film scholars, as well as fans of Alfred Hitchcock and Franz Waxman.