Scoring for films: a complete text
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Criterion music corp.
1971
|
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | IV, 253 S. Ill., Notenbsp. |
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| adam_text | Titel: Scoring for Films
Autor: Hagen, Earle
Jahr: 1971
CONTENTS
Preface.............................................................................. II
A Short Short History of Movie Music...................................................III
BOOK I
THE MECHANICS AND VOCABULARY
OF FILM COMPOSITION
PAGE
Chapter 1 3 = 2................................................................... 1
Chapter 2 The Primary Equipment.................................................. 7
Chapter 3 Click Tracks............................................................ 11
Video (SMPTE time code) ................................................... 23
Chapter 4 The Mechanics Of Click Tracks............................................ 24
Chapter 5 The Breakdown Of A Film................................................ 38
Chapter 6 Conversions ............................................................. 56
Chapter 7 The Variable Click Track................................................. 59
Chapter 8 Special Click Tracks Designed For Creative Expression...................... 61
Chapter 9 The Mechanics Of Free Timing............................................ 72
Chapter 10 Picture Cueing .......................................................... 90
Chapter 11 Click Tracks To Free Timing.............................................110
Chapter 12 Segues And Overlaps.....................................................125
The Overlap From Click Track To Click Track..............................125
The Overlap From Free Timing To Free Timing .............................133
The Overlap From Free Timing To Click Track..............................134
The Overlap From Click Track To Free Timing...............................136
Overlaps From Cue To Cue................................................140
Chapter 13 Overlay Tracks..........................................................142
Chapter 14 Double Tracking.........................................................148
Chapter 15 Sweetener Tracks........................................................153
The Summary Of The Mechanics........................................,... 153
BOOK II
THE PSYCHOLOGY OF CREATING
MUSIC FOR FILMS
A Symposium On The Composer s View Towards The Psychology...............154
Interviews with Alfred Newman, Lalo Schifrin, Hugo Friedhofer, Quincy Jones and
Jerrald Goldsmith......................................................155
A Summary Of The Symposium...........................................166
The Psychology..........................................................167
Chapter 1 The Approach...........................................................168
Chapter 2 Why? ..................................................................170
Chapter 3 Where?.................................................................172
Chapter 4 When? ................................................................173
Chapter 5 What? ? And Who?.....................................................174
Chapter 6 Dialogue Is Counterpoint.................................................175
Chapter 7 The Different Types Of Scoring...........................................190
Technique #1 ? Source Music.............................................190
Technique #1 ? Transitions In Source .....................................192
Technique #1 ? Blocking Out A Source Scene.............................193
Technique #1 ? Blocking Out A Source Music Scene From Cue Sheets..........194
Technique #2 ? Source Scoring............................................200
Technique #3 ? Pure Dramatic Scoring ? Closed Or Open....................200
BOOK III
THE RESPONSIBILITIES OF THE COMPOSER
Chapter 1 Pre-Filming Preparation ..................................................208
#1 Legal Clearances................................ .....................210
#2 Pre-Recording........................................................218
#3 Guide Tracks And Tempo Tracks.........................................223
Chapter 2 Production Procedures....................................................224
#1 Lip Synch Of The Artist...............................................224
#2 Standard Recording On The Stage......................................224
#3 Sideline Musicians....................................................225
#4 Procedures For Using Guide Tracks, Tempo Tracks, Pre-Recorded Tracks .... 226
Chapter 3 Post Production Procedures...............................................227
#1 Assembly Of Pre-Recorded Tracks ......................................227
#2 The Complete Breakdown..............................................227
#3 The Recording.......................................................229
#4 Preparing For Dubbing.................................................233
#5 Dubbing (Re-Recording)...............................................233
A ? The Mechanics Of Dubbing...........................................236
B ? The Psychology Of Dubbing...........................................237
Chapter 4 Listening To The End Result..............................................241
Summary............................................................................243
Acknowledgement ....................................................................244
Glossary.............................................................................245
Photo of Author......................................................................252
About the Author.....................................................................253
Compact Disc Program .................................................................254
|
| adam_txt |
Titel: Scoring for Films
Autor: Hagen, Earle
Jahr: 1971
CONTENTS
Preface. II
A Short Short History of Movie Music.III
BOOK I
THE MECHANICS AND VOCABULARY
OF FILM COMPOSITION
PAGE
Chapter 1 3 = 2. 1
Chapter 2 The Primary Equipment. 7
Chapter 3 Click Tracks. 11
Video (SMPTE time code) . 23
Chapter 4 The Mechanics Of Click Tracks. 24
Chapter 5 The Breakdown Of A Film. 38
Chapter 6 Conversions . 56
Chapter 7 The Variable Click Track. 59
Chapter 8 Special Click Tracks Designed For Creative Expression. 61
Chapter 9 The Mechanics Of Free Timing. 72
Chapter 10 Picture Cueing . 90
Chapter 11 Click Tracks To Free Timing.110
Chapter 12 Segues And Overlaps.125
The Overlap From Click Track To Click Track.125
The Overlap From Free Timing To Free Timing .133
The Overlap From Free Timing To Click Track.134
The Overlap From Click Track To Free Timing.136
Overlaps From Cue To Cue.140
Chapter 13 Overlay Tracks.142
Chapter 14 Double Tracking.148
Chapter 15 Sweetener Tracks.153
The Summary Of The Mechanics.,. 153
BOOK II
THE PSYCHOLOGY OF CREATING
MUSIC FOR FILMS
A Symposium On The Composer's View Towards The Psychology.154
Interviews with Alfred Newman, Lalo Schifrin, Hugo Friedhofer, Quincy Jones and
Jerrald Goldsmith.155
A Summary Of The Symposium.166
The Psychology.167
Chapter 1 The Approach.168
Chapter 2 Why? .170
Chapter 3 Where?.172
Chapter 4 When? .173
Chapter 5 What? ? And Who?.174
Chapter 6 Dialogue Is Counterpoint.175
Chapter 7 The Different Types Of Scoring.190
Technique #1 ? Source Music.190
Technique #1 ? Transitions In Source .192
Technique #1 ? "Blocking Out" A Source Scene.193
Technique #1 ? Blocking Out A Source Music Scene From Cue Sheets.194
Technique #2 ? Source Scoring.200
Technique #3 ? Pure Dramatic Scoring ? Closed Or Open.200
BOOK III
THE RESPONSIBILITIES OF THE COMPOSER
Chapter 1 Pre-Filming Preparation .208
#1 Legal Clearances. .210
#2 Pre-Recording.218
#3 Guide Tracks And Tempo Tracks.223
Chapter 2 Production Procedures.224
#1 Lip Synch Of The Artist.224
#2 Standard Recording On The Stage.224
#3 Sideline Musicians.225
#4 Procedures For Using Guide Tracks, Tempo Tracks, Pre-Recorded Tracks . 226
Chapter 3 Post Production Procedures.227
#1 Assembly Of Pre-Recorded Tracks .227
#2 The Complete Breakdown.227
#3 The Recording.229
#4 Preparing For Dubbing.233
#5 Dubbing (Re-Recording).233
A ? The Mechanics Of Dubbing.236
B ? The Psychology Of Dubbing.237
Chapter 4 Listening To The End Result.241
Summary.243
Acknowledgement .244
Glossary.245
Photo of Author.252
About the Author.253
Compact Disc Program .254 |
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