Edwin Astley & His Orchestra • Secret Agent Meets The Saint Original - Music from the TV Shows

 

John Williams: vida y obra

 

Este libro es una pionera monografía que pretende ofrecer al lector una completa visión acerca de la figura del gran compositor norteamericano John Williams, autor de las bandas sonoras de toda una vida: las sagas de La Guerra de las Galaxias, Indiana Jones, Parque Jurásico o Harry Potter, y de películas inolvidable como E.T., La lista de Schlinder o Lincoln; y también de una importante obra para concierto, menos conocida entre el gran público. Narrado a su vez de forma biográfica para conocer tanto al músico como a la persona y enriquecido además con anécdotas de su vida tanto personal como profesional. John Williams: Vida y Obra muestra por vez primera en un solo libro todos los aspectos referentes sobre este gran músico y está dividido en dos partes, la primera realiza un recorrido por décadas en orden cronológico. En ella se da a conocer la historia musical y personal de Williams. La segunda parte profundiza en su obra mediante un estudio detallado de la orquestación, estilos, influencias, géneros y realiza un "viaje analítico" por sus grandes sagas cinematográficas. Además se incluyen análisis musicales, guías de audición, catálogo cronológico de obras y listados analíticos para que sirva también como manual de consulta y referencia. Todo el legado vital y musical de John Williams, desde su Boston natal, su vida familiar, Tanglewood, las mas famosas partituras escritas para el cine de Spielberg, sus obras de concierto menos conocidas y un juego de imágenes y partituras extra para disfrute de sus seguidores.

 

Tony Hymas • The Age Of Discovery - KPM 1235

 

A thematic suite portraying some of the great technological advances ot our age. The subject matter ranges from the development of microelectronics to man's quest tor the secrets ot the universe. Side A is scored for Full Orchestra. Side B is scored for synthesizers, featured trumpet and percussion.
https://productionmusic.fandom.com/wiki/KPM_1235_-_The_Age_Of_Discovery

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Un conjunto temático que retrata algunos de los grandes avances tecnológicos de nuestra época. El tema abarca desde el desarrollo de la microelectrónica hasta la búsqueda del hombre de los secretos del universo. La cara A está compuesta por una orquesta completa. La cara B está compuesta por sintetizadores, trompeta y percusión.
https://productionmusic.fandom.com/wiki/KPM_1235_-_The_Age_Of_Discovery

Film, Music, Memory

 

Film has shaped modern society in part by changing its cultures of memory. Film, Music, Memory reveals that this change has rested in no small measure on the mnemonic powers of music. As films were consumed by growing American and European audiences, their soundtracks became an integral part of individual and collective memory. Berthold Hoeckner analyzes three critical processes through which music influenced this new culture of memory: storage, retrieval, and affect. Films store memory through an archive of cinematic scores. In turn, a few bars from a soundtrack instantly recall the image that accompanied them, and along with it, the affective experience of the movie.Hoeckner examines films that reflect directly on memory, whether by featuring an amnesic character, a traumatic event, or a surge of nostalgia. As the history of cinema unfolded, movies even began to recall their own history through quotations, remakes, and stories about how cinema contributed to the soundtrack of people's lives. Ultimately, Film, Music, Memory demonstrates that music has transformed not only what we remember about the cinematic experience, but also how we relate to memory itself.

 

 

Yuji Ohno • Cafe Relaxin' Lupin

 

 

www.vap.co.jp/ohno ...

 

Contemporary Film Music: Investigating Cinema Narratives and Composition

 

 

The purpose of this book, through its very creation, is to strengthen the dialogue between practitioner and theorist. To that end, a film academic and musicologist have collaborated as editors on this book, which is in turn comprised of interviews with composers alongside complementary chapters that focus on a particular feature of the composer’s approach or style. These chapters are written by a fellow composer, musicologist, or film academic who specializes in that element of the composer’s output. In the interview portions of this book, six major film composers discuss their work from the early 1980s to the present day: Carter Burwell, Mychael Danna, Dario Marianelli, Rachel Portman, Zbigniew Preisner, and A.R. Rahman. The focus is on the practical considerations of film composition, the relationship each composer has with the moving image, narrative, technical considerations, personal motivations in composing, the relationships composers have with their directors, and their own creative processes. Contemporary Film Music also explores the contemporary influence of electronic music, issues surrounding the mixing of soundtracks, music theory, and the evolution of each composer’s musical voice.

 

Hitchcock's Ear: Music and the Director's Art

 

Music is an underexplored dimension in Hitchcock's works. Taking a different view from most works on Hitchcock, David Schroeder focuses on how an expanded definition of music influences Hitchcock's conception of cinema. The structure and rhythm of his films is an important addition to the critical literature on Hitchcock and our understanding of his films and approach to filmmaking.
Alfred Hitchcock liked to describe his work as a director in musical terms; for some of his films, it appears that he started with an underlying musical conception, and transformed that sense of music into visual images. The director's favorite scenes lacked dialogue, and they made their impact through a combination of non-verbal actions and music. For example, the waltz and the piano are used as powerful images in silent films, and this approach carries over into sound films. Looking at such films as Vertigo, Rear Window, and Shadow of a Doubt, Schroeder provides a unique look at the way that Hitchcock thought about cinema in musical terms.

Bruton Music Library • BRM06 Building Tension

 

Terror Tracks: Music, Sound and Horror Cinema

 

 

Kevin M J Hayward (Autor)

 

John Williams's Film Music

 

John Williams is one of the most renowned film composers in history. He has penned unforgettable scores for Star Wars, the Indiana Jones series, E.T. the Extra-Terrestrial, Jaws, Superman, and countless other films. Fans flock to his many concerts, and with forty-nine Academy Award nominations as of 2014, he is the second-most Oscar-nominated person after Walt Disney. Yet despite such critical acclaim and prestige, this is the first book in English on Williams’s work and career.
            Combining accessible writing with thorough scholarship, and rigorous historical accounts with insightful readings, John Williams’s Film Music explores why Williams is so important to the history of film music. Beginning with an overview of music from Hollywood’s Golden Age (1933–58), Emilio Audissino traces the turning points of Williams’s career and articulates how he revived the classical Hollywood musical style. This book charts each landmark of this musical restoration, with special attention to the scores for Jaws and Star Wars, Williams’s work as conductor of the Boston Pops Orchestra, and a full film/music analysis of Raiders of the Lost Ark. The result is a precise, enlightening definition of Williams’s “neoclassicism” and a grounded demonstration of his lasting importance, for both his compositions and his historical role in restoring part of the Hollywood tradition.

 

amazon.com ...

 

Henkel • Dust

Isolated high on a cliff a man weighs his options in wake of catastrophe. As food stores grow thin he guards the only way up and watches the masses below struggle through hunger and desperation. His mind wanders in solitude exploring thoughts of nihilism and hopelessness until someone or something ascends the cliff out of sight. Ashes to ashes, dust to dust.

This album is a conceptualized soundtrack to a post apocalyptic film set in the 70's. It's been a pet project I started early this year to explore new sounds and styles. Long intros, outros, different meters and instruments. I love vintage recording aesthetics and tried to capture them here with analog gear and tape.

Inspired by: Ennio Morricone, David Axelrod, Lalo Schifrin, Henry Mancini, John Barry and Bill Conti.

Credits:

released October 11, 2016

Electric guitar, 12 string acoustic, classical acoustic, guitalele, bass, synthesizers, keyboard, organs, pianos, wurlitzer, melodica, viola, trumpet, flute, bongo, congas, various percussion, drum programing, lead and background vocals: Kevin Henkel

Written, performed, produced, recorded, mixed and mastered, artwork by Kevin Henkel

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Aislado en lo alto de un acantilado, un hombre pesa sus opciones después de una catástrofe. A medida que las tiendas de alimentos se adelgazan, las guardan en el único camino y observan cómo las masas que se encuentran debajo luchan contra el hambre y la desesperación. Su mente vaga en soledad explorando los pensamientos de nihilismo y desesperanza hasta que alguien o algo asciende por el precipicio. Cenizas a las cenizas de polvo al polvo.

Este álbum es una pista de sonido conceptualizada para una película post apocalíptica ambientada en los años 70. Ha sido un proyecto favorito que comencé a principios de este año para explorar nuevos sonidos y estilos. Largas intros, outros, diferentes medidores e instrumentos. Me encanta la estética de grabación vintage y traté de capturarlos aquí con equipo y cinta analógicos.

Inspirado por: Ennio Morricone, David Axelrod, Lalo Schifrin, Henry Mancini, John Barry y Bill Conti.

Créditos:

publicado el 11 de octubre de 2016

Guitarra eléctrica, acústica de 12 cuerdas, acústica clásica, guitalele, bajo, sintetizadores, teclado, órganos, pianos, wurlitzer, melódica, viola, trompeta, flauta, bongo, congas, percusión, programación de batería, voz principal y antecedentes: Kevin Henkel

Escrito, realizado, producido, grabado, mezclado y masterizado, obra de arte por Kevin Henkel

Hitchcock’s Music

 

For half a century Alfred Hitchcock created films full of gripping and memorable music. Over his long career he presided over more musical styles than any director in history and ultimately changed how we think about film music. This book is the first to fully explore the essential role music played in the movies of Alfred Hitchcock.
Based on extensive interviews with composers, writers, and actors, and research in rare archives, Jack Sullivan discusses how Hitchcock used music to influence the atmosphere, characterization, and even storylines of his films. Sullivan examines the director’s important relationships with various composers, especially Bernard Herrmann, and tells the stories behind the musical decisions. Covering the whole of the director’s career, from the early British works up to Family Plot, this engaging look at the work of Alfred Hitchcock offers new insight into his achievement and genius and changes the way we watch―and listen―to his movies. 

 

Jack Sullivan (Author)

The Hollywood Film Music Reader

 

A rich and informative look at the experiences of composers working under high pressure in the US film industry, The Hollywood Film Music Reader brings readers from film's earliest days to the modern blockbuster era. Beginning with the origins of movie music in the heyday of silent film, the book traces film music's progress through Hollywood's so-called Golden Age to changes in musical styles and working practices from the 1960s to the present. Also included are vivid first-hand accounts from composers such as George Antheil, Elmer Bernstein, Aaron Copland, Adolph Deutsch, Jerry Goldsmith, Bernard Herrmann, Henry Mancini, Thomas Newman, André Previn, David Raksin, Miklós Rózsa, Max Steiner, Dimitri Tiomkin, Franz Waxman, and John Williams, along with testimonies from composers working in animation and documentary film. The book concludes with a section of criticism and commentary, including an essay on film music by Sidney Lumet and Igor Stravinsky's provocative views on the
subject.

 

Dieter Reith + Tender Aggression • Die Kette

 

German organist, pianist, composer, arranger, band leader.
Born February 25, 1938 in Mainz, Germany.
Died April 1, 2020.
https://www.discogs.com/artist/41400-Dieter-Reith

Bruton Music Library • BRI 6 - Alan Hawkshaw • Frontiers Of Science

 

Biography
by Timothy Monger
A prolific British composer, arranger, and session musician, Alan Hawkshaw created a widely-heard body of work without ever achieving any sort of celebrity, a situation which suited him just fine. Although he was a member of the Shadows, played keyboards with everyone from David Bowie to Donna Summer, and even scored a number one dance hit in the U.S., Hawkshaw's most enduring contributions were in the form of library music, which was licensed extensively across film and television from the late-1960s onward. By the time of his death in 2021, his theme songs to British programs like Countdown, Grange Hill, and the Channel 4 News remained intimately familiar to many.

Born in Leeds, Hawkshaw's professional music career began in the early-'60s when he joined the rock group Emile Ford and the Checkmates, playing on their hit single "Counting Teardrops." Eventually he immersed himself in the London music scene where he became a popular session musician, playing keys for artists like David Bowie and the Hollies and forming a short-lived studio band called the Mohawks whose 1968 song "The Champ" has been widely sampled, particularly in the hip-hop world. Heading into the '70s, Hawkshaw became a member of the Shadows and throughout the decade played on recordings by Serge Gainsbourg, Cliff Richard, Donna Summer, Olivia Newton-John, and many others. Despite his immense talent, he had no real desire for the spotlight and preferred to work in the background, composing music and playing a support role for other.

Although he appeared as a player on countless records, his real bread and butter came from composing and recording music for publisher Keith Prowse's KPM library. The wealth of instrumental music Hawkshaw made for KPM could be heard in a variety of facets from television programs like The Dave Allen Show and On the Move to American auteur Radley Metzger's late-'70s erotic films. Beginning in 1978, British soap opera Grange Hill adopted one of his library songs as its theme and a few years later, Channel 4 News did the same. The Channel 4 game show Countdown also used a Hawkshaw piece as its iconic "Chimes" jingle and he could be heard on hundreds of commercials as well. Hawkshaw even operated in the disco sphere where he managed to top the U.S. dance charts with 1979's "Here Comes That Sound Again" by his studio band Love De-Luxe.

He later formed the charitable organization the Alan Hawkshaw Foundation to support underprivileged music students. Just prior to his death from pneumonia in October 2021, Hawkshaw was awarded both a British Empire Medal and a Leeds fellowship.
https://www.allmusic.com/artist/alan-hawkshaw-mn0000506434/biography

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Biografía
por Timothy Monger
Prolífico compositor, arreglista y músico de sesión británico, Alan Hawkshaw creó una obra muy escuchada sin alcanzar nunca ningún tipo de celebridad, una situación que le venía muy bien. Aunque fue miembro de los Shadows, tocó los teclados con todo el mundo, desde David Bowie hasta Donna Summer, e incluso consiguió un número uno en los Estados Unidos, las contribuciones más duraderas de Hawkshaw fueron en forma de música de biblioteca, que se licenció ampliamente en el cine y la televisión desde finales de los años 60. En el momento de su muerte, en 2021, sus temas para programas británicos como Countdown, Grange Hill y Channel 4 News seguían siendo íntimamente conocidos por muchos.

Nacido en Leeds, la carrera musical de Hawkshaw comenzó a principios de los 60 cuando se unió al grupo de rock Emile Ford and the Checkmates, tocando en su exitoso single "Counting Teardrops". Con el tiempo, se sumergió en la escena musical londinense, donde se convirtió en un popular músico de sesión, tocando las teclas para artistas como David Bowie y los Hollies y formando una banda de estudio de corta duración llamada Mohawks, cuya canción de 1968 "The Champ" ha sido ampliamente sampleada, especialmente en el mundo del hip-hop. En los años 70, Hawkshaw se convirtió en miembro de los Shadows y, a lo largo de la década, tocó en grabaciones de Serge Gainsbourg, Cliff Richard, Donna Summer, Olivia Newton-John y muchos otros. A pesar de su inmenso talento, no tenía ningún deseo real de ser el centro de atención y prefería trabajar en segundo plano, componiendo música y desempeñando un papel de apoyo para otros.

Aunque apareció como intérprete en innumerables discos, su verdadero pan de cada día fue componer y grabar música para la biblioteca KPM del editor Keith Prowse. La abundante música instrumental que Hawkshaw hizo para KPM pudo escucharse en diversas facetas, desde programas de televisión como The Dave Allen Show y On the Move hasta las películas eróticas de finales de los 70 del autor estadounidense Radley Metzger. A partir de 1978, la telenovela británica Grange Hill adoptó como tema una de sus canciones de biblioteca y, unos años más tarde, Channel 4 News hizo lo mismo. El programa de juegos Countdown de Channel 4 también utilizó una pieza de Hawkshaw como su icónico jingle "Chimes" y también se le pudo escuchar en cientos de anuncios publicitarios. Hawkshaw actuó incluso en la esfera de la música disco, donde consiguió encabezar las listas de éxitos de baile de Estados Unidos con "Here Comes That Sound Again", de 1979, de su grupo de estudio Love De-Luxe.

Más tarde creó la organización benéfica Alan Hawkshaw Foundation para apoyar a los estudiantes de música más desfavorecidos. Justo antes de su muerte por neumonía en octubre de 2021, Hawkshaw recibió la Medalla del Imperio Británico y una beca de Leeds.
https://www.allmusic.com/artist/alan-hawkshaw-mn0000506434/biography

 

www.alanhawkshaw.com ...

Composers in the Movies: Studies in Musical Biography

 

Amadeus .. . Yankee Doodle Dandy .. . Swanee River .. . Rhapsody in Blue. Even before movies had sound, filmmakers dramatized the lives of composers. Movie biographies—or biopics—have depicted composers as diverse as Wolfgang Amadeus Mozart, George M. Cohan, Stephen Foster, and George Gershwin. In this enticing book, the first devoted entirely to such films, John C. Tibbetts surveys different styles and periods from the Hollywood of the 1920s and 1930s to the international cinema of today, exploring the role that film biographies play in our understanding of history and culture.
Tibbetts delves into such questions as: How historically accurate are composer biopics? How and why have inaccuracies and distortions been perpetrated? What strategies have been used to represent visually the creative process? The book examines the films in several contexts and considers their role in commodifying and popularizing music. Extensive archival research, dozens of illustrations, and numerous interviews make this an appealing book for film and music enthusiasts at all levels.

 

John C. Tibbetts (Author) 

 

 

Music in Cinema (Film and Culture Series)

 

Michel Chion is renowned for his explorations of the significance of frequently overlooked elements of cinema, particularly the role of sound. In this inventive and inviting book, Chion considers how cinema has deployed music. He shows how music and film not only complement but also transform each other.

The first section of the book examines film music in historical perspective, and the second section addresses the theoretical implications of the crossover between art forms. Chion discusses a vast variety of films across eras, genres, and continents, embracing all the different genres of music that filmmakers have used to tell their stories. Beginning with live accompaniment of silent films in early movie houses, the book analyzes Al Jolson’s performance in The Jazz Singer, the zither in The Third Man, Godard’s patchwork sound editing, the synthesizer welcoming the flying saucer in Close Encounters of the Third Kind, and the Kinshasa orchestra in Felicité, among many more. Chion considers both original scores and incorporation of preexisting works, including the use and reuse of particular composers across cinematic traditions, the introduction of popular music such as jazz and rock, and directors’ attraction to atonal and dissonant music as well as musique concrète, of which he is a composer.

Wide-ranging and original, Music in Cinema offers a welcoming overview for students and general readers as well as refreshingly new and valuable perspectives for film scholars. 

 

 by Michel Chion (Author)

 

Reel Music: Exploring 100 Years of Film Music

 

Reel Music, revised for a new generation of movie lovers, tells the story of film music through iconic scenes. The Second Edition features more in-depth exploration of international films―from classics like Seven Samurai to more recent works like Run Lola Run―as well as new suggestions for activities and classroom discussion, and even more Viewer Guides, which show how film music functions moment-by-moment.

 

Billy Strange • Great Western Themes

Spider-Man • Music From The KPM Music Library [1967-1969]

Nota: Lamentablemente la velocidad de bit, está por debajo de lo deseable, pero es un interesante compilado que he querido compartir.

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Note: Unfortunately the bit rate is below what is desirable, but it is an interesting compilation that I wanted to share.