The Boston Pops Orchestra was the first orchestra of its kind in the USA: founded in 1885 from the ranks of the Boston Symphony Orchestra, its remit was to offer concerts of light symphonic music. Over the years, and in particular during the fifty-year tenure of its most famous conductor, Arthur Fiedler, the Pops established itself as the premier US orchestra specialising in bridging the fields of 'art music' and 'popular music'. When the Hollywood composer John Williams was assigned the conductorship of the orchestra in 1980, he energetically advocated for the inclusion of film-music repertoire, changing Fiedler's approach significantly. This Element offers a historical survey of the pioneering agency that the Boston Pops had under Williams's tenure in the legitimisation of film music as a viable repertoire for concert programmes. The case study is complemented with more general discussions on the aesthetic of film music in concert.

An interdisciplinary exploration of the many facets of the composer John Williams's output, aimed at showing the range of his production (not merely focussing on film music) and at analyzing the depth of his dramaturgic and compositional skills with selected case studies.

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. Best Special Interest Books, selected by the American Association of School Librarians Best Books for General Audiences, selected by the Public Library Reviewers

The Insider's Guide to Making Money in the Music Industry. Millions dream of attaining glamour and wealth through music. This book reveals the secrets of the music business that have made fortunes for the superstars. A must-have for every songwriter, performer and musician.

Bringing together some of the most influential international scholars on the subject, this anthology provides a detailed, diverse and accessible perspective on music in the cinema.

Film music is as old as cinema itself. Years before synchronized sound became the norm, projected moving images were shown to musical accompaniment, whether performed by a lone piano player or a hundred-piece orchestra. Today film music has become its own industry, indispensable to the marketability of movies around the world. Film Music: A Very Short Introduction is a compact, lucid, and thoroughly engaging overview written by one of the leading authorities on the subject. After opening with a fascinating analysis of the music from a key sequence in Quentin Tarantino's Reservoir Dogs, Kathryn Kalinak introduces readers not only to important composers and musical styles but also to modern theoretical concepts about how and why film music works. Throughout the book she embraces a global perspective, examining film music in Asia and the Middle East as well as in Europe and the United States. Key collaborations between directors and composers--Alfred Hitchcock and Bernard Herrmann, Akira Kurosawa and Fumio Hayasaka, Federico Fellini and Nino Rota, to name only a few--come under scrutiny, as do the oft-neglected practices of the silent film era. She also explores differences between original film scores and compilation soundtracks that cull music from pre-existing sources. As Kalinak points out, film music can do many things, from establishing mood and setting to clarifying plot points and creating emotions that are only dimly realized in the images. This book illuminates the many ways it accomplishes those tasks and will have its readers thinking a bit more deeply and critically the next time they sit in a darkened movie theater and music suddenly swells as the action unfolds onscreen. About the Series: Combining authority with wit, accessibility, and style, Very Short Introductions offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundreds of key topics, from philosophy to Freud, quantum theory to Islam.

Today's culture says the only thing that matters is for you to stay true to your truth.Sound a bit confusing? It is. If you feel like you're drowning in a sea of personal opinions, pseudo-intellectual arguments, media hype, and blatantly biased news feeds, then this book is for you.An unchanging God has spoken timeless truth in his Word. And in this book, trusted ministry author Dr. Paul Kelm shows you how to anchor yourself in the truth of Scripture so you can successfully navigate our confusing culture. Truth in Our Time will help you develop a biblical litmus for deciphering what's real, right, wrong, and logical when it comes to some of the lies and views people spout today.You'll see that God's truth is the only real truth, and you'll learn to stand firm in that truth and speak it with love.

"Film Music: A Very Short Introduction focuses on the most central issues in the practice of film music. What is film music? How is it composed? How does film music work? Why does film music work? The rich and deeply moving sounds of film music are as old as cinema. The very first projected moving images were accompanied by music around the globe as a variety of performers-from single piano players to small orchestras-brought images to life. Film music has since become its own industry, an aesthetic platform for expressing creative visions, and a commercial vehicle for generating increased revenue. The second edition updates coverage to 2022 and includes attention to recent developments in global film music, women in film music, and African -American and minority composers"--

The Negro Motorist Green Book was a groundbreaking guide that provided African American travelers with crucial information on safe places to stay, eat, and visit during the era of segregation in the United States. This essential resource, originally published from 1936 to 1966, offered a lifeline to black motorists navigating a deeply divided nation, helping them avoid the dangers and indignities of racism on the road. More than just a travel guide, The Negro Motorist Green Book stands as a powerful symbol of resilience and resistance in the face of oppression, offering a poignant glimpse into the challenges and triumphs of the African American experience in the 20th century.

The growing presence of popular music in film is one of the most exciting areas of contemporary Film Studies. Written by a range of international specialists, this collection includes case studies on Sliding Doors, Topless Women Talk About Their Lives, The Big Chill and Moulin Rouge, considering the work of populist musicians such as the Beatles, Jimi Hendrix and Sting. Contributors to the volume include Robb Wright, Lesley Vize, Phil Powrie, Anno Mungen, Anaheid Kassabian, Lauren Anderson, Antti-Ville Karja, K. J. Donnelly, Lee Barron, Melissa Carey Michael Hannan and Jaap Kooijman.