As the movie and music industries have changed, film scoring has become an overwhelmingly independent process. Film composers have more responsibilities than ever before, and they must fulfill them with smaller budgets and shorter schedules. As a result, composers are increasingly becoming armies of one. In Guerrilla Film Scoring: Practical Advice from Hollywood Composers,Jeremy Borum provides valuable guidance on how to make a good film score both quickly and inexpensively. This handbook encompasses the entire film scoring process including education, preparation, writing and recording a score, editing, mixing and mastering, finding work, career development, and sample contracts. Offering strategic tools and techniques, this insider’s guide draws on the expertise from a number of prominent composers in movies, television, and video gaming, including Stewart Copeland, Bruce Broughton, and Jack Wall. A straightforward do-it-yourself manual, this book will help composers at all levels create the best-sounding scores quickly and cost effectively—without jeopardizing their art. With access to rare and extremely useful input from the best in the business, Guerrilla Film Scoring will benefit not only students but also professionals looking to update their game.

A compelling portrait of composer-performer Julius Eastman's enigmatic and intriguing life and music.

As fitting for the 21st century as von Clausewitz's "On War" was in its own time, "Invisible Armies" is a complete global history of guerrilla uprisings through the ages.

(Berklee Guide). Create effective film scores! This book presents a framework for creative decision-making that will lead to producing the best music for a given scene. It supports artists working in film, television, video games, or other media. The framework encourages clarity of concept and facilitates productive communication between the composer and director, music supervisor, and others involved with the project. Two case studies, featuring audio and video, illustrate how different creative choices can control the expressive effect of the scene. Practical worksheets are included, which will help your team brainstorm, articulate, organize, and communicate your collective ideas and decisions. Whether you are creating music yourself or working with a composer, this book will help you develop the music that is optimized for storytelling.

Film Music in the Sound Era: A Research and Information Guide offers a comprehensive bibliography of scholarship on music in sound film (1927–2017). Thematically organized sections cover historical studies, studies of musicians and filmmakers, genre studies, theory and aesthetics, and other key aspects of film music studies. Broad coverage of works from around the globe, paired with robust indexes and thorough cross-referencing, make this research guide an invaluable tool for all scholars and students investigating the intersection of music and film. This guide is published in two volumes: Volume 1: Histories, Theories, and Genres covers overviews, historical surveys, theory and criticism, studies of film genres, and case studies of individual films. Volume 2: People, Cultures, and Contexts covers individual people, social and cultural studies, studies of musical genre, pedagogy, and the Industry. A complete index is included in each volume.

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.

Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.

Released in late 1960, The Magnificent Seven was a Western reimagining of the 1954 Japanese film Seven Samurai. Despite such stars as Steve McQueen, Yul Brynner, and Charles Bronson, the film was not terribly successful when it premiered. However, in the years since, the film has become recognized as a classic of the genre. And though the movie received only one Academy Award nomination, that honor was bestowed on Elmer Bernstein’s rousing score. Beyond the scope of the film, the score has permeated American culture: the music has been used in countless commercials and referenced on television shows like Cheers and The Simpsons. But what makes this score so memorable? In Elmer Bernstein’s The Magnificent Seven: A Film Score Guide, Mariana Whitmer examines the creation and development of one of the most iconic soundtracks in the history of cinema. Whitmer explores the significance of the familiar score through a variety of lenses, first delving into the background of Elmer Bernstein and his emergence as one of the key composers of the Silver Age of film music. The author then traces Bernstein’s early musical endeavors and considers why he was attracted to “Americana” music, which particularly influenced his scoring of The Magnificent Seven. The book also summarizes Bernstein’s early Western scores, noting that although they are clearly in the mainstream of the genre’s musical style, they are also enhanced by Bernstein’s own distinctive touches. Providing unique insights into the creation of this iconic score—which was deemed one of the ten greatest film scores of all time by the American Film Institute—this book explains what makes this music so enduring. Elmer Bernstein’s The Magnificent Seven: A Film Score Guide will be of interest to cinema and music scholars in general, as well as to fans of film music and the work of one of Hollywood’s finest composers.

2. Armed Guerrilla Media Ecologies from Latin America to Europe -- Introduction: Contra 'Mass Mediated Terrorism' -- Revolution in the Revolution: The Urban Guerrilla Concept from Latin America to Europe and North America -- Brigate Rosse and Armed Struggle in Italy -- The 'Baader Meinhof Complex' and the June 2nd Movement -- Weather Variations: Weatherman, the Weather Underground, and the Symbionese Liberation Army -- 3. Autonomy Movements, the Nexus of 1977, and Free Radio -- Introduction: Radical Politics, Bifurcations, and the Event -- Italian Workerism and Autonomia -- 1977 as Nexus: The Movement of 1977, Creative Autonomia, and Punk -- Rebellious Radio from Marconi to Free Radios -- Media beyond 'Socialist Strategy': Enzensberger, Baudrillard, and the Genealogy of Radio Alice -- The Media Ecology of Radio Alice -- 4. Militant Anti-Cinemas, Minor Cinemas and the Anarchive Film -- Introduction: Destroying the (Cinema) Apparatus, Transforming the (Audiovisual) Machine -- Militant Anti-Cinemas in the 1970s -- Minor Anti-Cinemas: Anti Psychiatric, Heretical, Feminist, and Postcolonial -- The Counter-Public Sphere, Anarchival Film, and Documentary Symptomatologies -- 5. Ecologies of Radical and Guerrilla Television -- Introduction: Cinema/Television/Video or Cain vs. Abel Revisited -- Sonimage, Fassbinder, and Radical Auteur Television -- Ecologies of Guerrilla Television: Ant Farm, Raindance Corporation, TVTV, and Radical Software -- Conclusion: Terms of Cybernetic Warfare -- Endnotes -- Bibliography -- Key Film, Television, and Video Cited -- Index

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