Improvising the score: rethinking modern film music through jazz
"The first book of its kind, Improvising the Score vividly investigates unique collaborations between contemporary jazz artists and influential film directors, providing a behind-the-scenes look at innovative and integrative jazz-film productions that challenge us to rethink the possibilities o...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Jackson
University Press of Mississippi
[2022]
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "The first book of its kind, Improvising the Score vividly investigates unique collaborations between contemporary jazz artists and influential film directors, providing a behind-the-scenes look at innovative and integrative jazz-film productions that challenge us to rethink the possibilities of movie music. These in-depth case studies include collaborations between Terence Blanchard and Spike Lee (Malcolm X, When the Levees Broke), Dick Hyman and Woody Allen (Hannah and Her Sisters), Antonio Sanchez and Alejandro Gonzalez Iñárritu (Birdman), and Mark Isham and Alan Rudolph (Afterglow). Grounded in fascinating personal interviews, detailed film production analysis, and examinations of jazz artists' "creative labor" in the context of film production expectations, this book illustrates the dynamic possibilities of integrative artistic collaborations between jazz and film, and more broadly, music and media"-- |
| Beschreibung: | x, 212 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9781496840721 9781496840844 |
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| 505 | 8 | |a Introduction. Jazz goes to the movies -- When strangers meet : structures, tensions, and negotiations in jazz/film collaborations -- "Not a lot of people would go for that" : risk and experimentation in the improvised soundtracks of Birdman and Afterglow -- "Honest, true portrayals" : Terence Blanchard, Spike Lee, and the racial politics of jazz scoring -- "A film director's dream" : Dick Hyman plays the personal for Woody Allen -- Conclusion. Miles ahead : a new way of making movie music? | |
| 520 | 3 | |a "The first book of its kind, Improvising the Score vividly investigates unique collaborations between contemporary jazz artists and influential film directors, providing a behind-the-scenes look at innovative and integrative jazz-film productions that challenge us to rethink the possibilities of movie music. These in-depth case studies include collaborations between Terence Blanchard and Spike Lee (Malcolm X, When the Levees Broke), Dick Hyman and Woody Allen (Hannah and Her Sisters), Antonio Sanchez and Alejandro Gonzalez Iñárritu (Birdman), and Mark Isham and Alan Rudolph (Afterglow). Grounded in fascinating personal interviews, detailed film production analysis, and examinations of jazz artists' "creative labor" in the context of film production expectations, this book illustrates the dynamic possibilities of integrative artistic collaborations between jazz and film, and more broadly, music and media"-- | |
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Datensatz im Suchindex
| _version_ | 1804184324874960896 |
|---|---|
| adam_text | CONTENTS ACKNOWLEDGMENTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IX INTRODUCTION: JAZZ GOES TO THE MOVIES FROM “AUTHENTICITY” TO INNER CIRCLE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 CHAPTER I: WHEN STRANGERS MEET STRUCTURES, TENSIONS, AND NEGOTIATIONS IN JAZZ/FILM COLLABORATIONS. . . . . . . . . . 26 CHAPTER 2: “NOT A LOT OF PEOPLE WOULD GO FOR THAT” RISKAND EXPERIMENTATION IN THE IMPROVISED SOUNDTRACKS DF BIRDMAN AND AFTERGLOW. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 CHAPTER 3: “HONEST, TRUE PORTRAYALS” TERENCE BLANCHARD, SPIKE LEE, AND THE RACIAL POLITICS OF JAZZ SCORING. . . . . . . . 74 CHAPTER 4: “A FILM DIRECTOR’S DREAM” DICK HYMAN PLAYS THE PERSONAL FOR WOODY ALLEN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 CONCLUSION: MILES AHEAD A NEW WAY OF MAKING MOVIE MUSIC? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 NOTES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 BIBLIOGRAPHY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 INDEX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
|
| adam_txt |
CONTENTS ACKNOWLEDGMENTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IX INTRODUCTION: JAZZ GOES TO THE MOVIES FROM “AUTHENTICITY” TO INNER CIRCLE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 CHAPTER I: WHEN STRANGERS MEET STRUCTURES, TENSIONS, AND NEGOTIATIONS IN JAZZ/FILM COLLABORATIONS. . . . . . . . . . 26 CHAPTER 2: “NOT A LOT OF PEOPLE WOULD GO FOR THAT” RISKAND EXPERIMENTATION IN THE IMPROVISED SOUNDTRACKS DF BIRDMAN AND AFTERGLOW. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 CHAPTER 3: “HONEST, TRUE PORTRAYALS” TERENCE BLANCHARD, SPIKE LEE, AND THE RACIAL POLITICS OF JAZZ SCORING. . . . . . . . 74 CHAPTER 4: “A FILM DIRECTOR’S DREAM” DICK HYMAN PLAYS THE PERSONAL FOR WOODY ALLEN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 CONCLUSION: MILES AHEAD A NEW WAY OF MAKING MOVIE MUSIC? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 NOTES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 BIBLIOGRAPHY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 INDEX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 202 |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Carlson, Gretchen L. |
| author_GND | (DE-588)1266363815 |
| author_facet | Carlson, Gretchen L. |
| author_role | aut |
| author_sort | Carlson, Gretchen L. |
| author_variant | g l c gl glc |
| building | Verbundindex |
| bvnumber | BV048413789 |
| classification_rvk | AP 51450 LR 53509 LS 78200 |
| contents | Introduction. Jazz goes to the movies -- When strangers meet : structures, tensions, and negotiations in jazz/film collaborations -- "Not a lot of people would go for that" : risk and experimentation in the improvised soundtracks of Birdman and Afterglow -- "Honest, true portrayals" : Terence Blanchard, Spike Lee, and the racial politics of jazz scoring -- "A film director's dream" : Dick Hyman plays the personal for Woody Allen -- Conclusion. Miles ahead : a new way of making movie music? |
| ctrlnum | (OCoLC)1344103901 (DE-599)BVBBV048413789 |
| discipline | Allgemeines Musikwissenschaft |
| discipline_str_mv | Allgemeines Musikwissenschaft |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Book |
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| id | DE-604.BV048413789 |
| illustrated | Illustrated |
| index_date | 2024-07-03T20:25:48Z |
| indexdate | 2024-07-10T09:37:32Z |
| institution | BVB |
| isbn | 9781496840721 9781496840844 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-033792199 |
| oclc_num | 1344103901 |
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| physical | x, 212 Seiten Illustrationen, Notenbeispiele |
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| publishDate | 2022 |
| publishDateSearch | 2022 |
| publishDateSort | 2022 |
| publisher | University Press of Mississippi |
| record_format | marc |
| spelling | Carlson, Gretchen L. Verfasser (DE-588)1266363815 aut Improvising the score rethinking modern film music through jazz Gretchen L. Carlson Jackson University Press of Mississippi [2022] x, 212 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Introduction. Jazz goes to the movies -- When strangers meet : structures, tensions, and negotiations in jazz/film collaborations -- "Not a lot of people would go for that" : risk and experimentation in the improvised soundtracks of Birdman and Afterglow -- "Honest, true portrayals" : Terence Blanchard, Spike Lee, and the racial politics of jazz scoring -- "A film director's dream" : Dick Hyman plays the personal for Woody Allen -- Conclusion. Miles ahead : a new way of making movie music? "The first book of its kind, Improvising the Score vividly investigates unique collaborations between contemporary jazz artists and influential film directors, providing a behind-the-scenes look at innovative and integrative jazz-film productions that challenge us to rethink the possibilities of movie music. These in-depth case studies include collaborations between Terence Blanchard and Spike Lee (Malcolm X, When the Levees Broke), Dick Hyman and Woody Allen (Hannah and Her Sisters), Antonio Sanchez and Alejandro Gonzalez Iñárritu (Birdman), and Mark Isham and Alan Rudolph (Afterglow). Grounded in fascinating personal interviews, detailed film production analysis, and examinations of jazz artists' "creative labor" in the context of film production expectations, this book illustrates the dynamic possibilities of integrative artistic collaborations between jazz and film, and more broadly, music and media"-- Geschichte gnd rswk-swf Improvisation (DE-588)4127993-1 gnd rswk-swf Filmproduktion (DE-588)4124971-9 gnd rswk-swf Rezeption (DE-588)4049716-1 gnd rswk-swf Jazz (DE-588)4028532-7 gnd rswk-swf Filmmusik (DE-588)4017129-2 gnd rswk-swf Motion picture music / History and criticism Jazz / History and criticism Jazz in motion pictures Motion pictures / Production and direction / History Film, Musique de / Histoire et critique Jazz au cinéma Cinéma / Production et réalisation / Histoire Jazz Motion picture music Motion pictures / Production and direction Criticism, interpretation, etc History Filmmusik (DE-588)4017129-2 s Filmproduktion (DE-588)4124971-9 s Rezeption (DE-588)4049716-1 s Jazz (DE-588)4028532-7 s Improvisation (DE-588)4127993-1 s Geschichte z DE-604 Erscheint auch als Online-Ausgabe, epub 978-1-4968-4073-8 Erscheint auch als Online-Ausgabe, epub 978-1-4968-4074-5 Erscheint auch als Online-Ausgabe, pdf 978-1-4968-4075-2 Erscheint auch als Online-Ausgabe, pdf 978-1-4968-4076-9 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033792199&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Carlson, Gretchen L. Improvising the score rethinking modern film music through jazz Introduction. Jazz goes to the movies -- When strangers meet : structures, tensions, and negotiations in jazz/film collaborations -- "Not a lot of people would go for that" : risk and experimentation in the improvised soundtracks of Birdman and Afterglow -- "Honest, true portrayals" : Terence Blanchard, Spike Lee, and the racial politics of jazz scoring -- "A film director's dream" : Dick Hyman plays the personal for Woody Allen -- Conclusion. Miles ahead : a new way of making movie music? Improvisation (DE-588)4127993-1 gnd Filmproduktion (DE-588)4124971-9 gnd Rezeption (DE-588)4049716-1 gnd Jazz (DE-588)4028532-7 gnd Filmmusik (DE-588)4017129-2 gnd |
| subject_GND | (DE-588)4127993-1 (DE-588)4124971-9 (DE-588)4049716-1 (DE-588)4028532-7 (DE-588)4017129-2 |
| title | Improvising the score rethinking modern film music through jazz |
| title_auth | Improvising the score rethinking modern film music through jazz |
| title_exact_search | Improvising the score rethinking modern film music through jazz |
| title_exact_search_txtP | Improvising the score rethinking modern film music through jazz |
| title_full | Improvising the score rethinking modern film music through jazz Gretchen L. Carlson |
| title_fullStr | Improvising the score rethinking modern film music through jazz Gretchen L. Carlson |
| title_full_unstemmed | Improvising the score rethinking modern film music through jazz Gretchen L. Carlson |
| title_short | Improvising the score |
| title_sort | improvising the score rethinking modern film music through jazz |
| title_sub | rethinking modern film music through jazz |
| topic | Improvisation (DE-588)4127993-1 gnd Filmproduktion (DE-588)4124971-9 gnd Rezeption (DE-588)4049716-1 gnd Jazz (DE-588)4028532-7 gnd Filmmusik (DE-588)4017129-2 gnd |
| topic_facet | Improvisation Filmproduktion Rezeption Jazz Filmmusik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033792199&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT carlsongretchenl improvisingthescorerethinkingmodernfilmmusicthroughjazz |