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Gotowe bibliografie tematyczne / Rap (Music) in motion pictures

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Gotowa bibliografia na temat „Rap (Music) in motion pictures”

Autor: Grafiati

Data publikacji: 28 lipca 2024

Data aktualizacji: 30 lipca 2024

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Artykuły w czasopismach na temat "Rap (Music) in motion pictures"

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Haines. "Stephen Foster’s Music in Motion Pictures and Television". American Music 30, nr 3 (2012): 373. http://dx.doi.org/10.5406/americanmusic.30.3.0373.

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Taranto, Cheryl, i Sharon Almquist. "Opera Mediagraphy: Video Recordings and Motion Pictures". Notes 52, nr 1 (wrzesień 1995): 81. http://dx.doi.org/10.2307/898803.

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Smekalin, I. "Movies That Change Lives. Evaluating the Social Impact of Motion Pictures and the Practice of Evidence in Filmmaking". Positive changes 3, nr 2 (23.06.2023): 28–38. http://dx.doi.org/10.55140/2782-5817-2023-3-2-28-38.

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Cinema is one of the most popular art forms among people of all ages. Just like music, theater, architecture, literature or painting, cinema certainly has an impact on people. At the same time, it has the capability to not just draw attention to social problems, but also to change people’s attitudes and behaviors — thus changing the world as a whole. This article provides an overview of various approaches to researching social impact of motion pictures and raises a number of important issues related to the current state of the impact assessment industry in motion pictures.

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Ringle, Carter. "Mind, Music, and Motion Pictures: The Making and Remaking of the Sensuous Consumer". Enterprise & Society 16, nr 2 (2015): 446–63. http://dx.doi.org/10.1353/ens.2015.0016.

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Simonton, Dean Keith. "Film music: Are award-winning scores and songs heard in successful motion pictures?" Psychology of Aesthetics, Creativity, and the Arts 1, nr 2 (maj 2007): 53–60. http://dx.doi.org/10.1037/1931-3896.1.2.53.

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Hirschman, Elizabeth C. "Consumer Preferences in Literature, Motion Pictures, and Television Programs". Empirical Studies of the Arts 5, nr 1 (styczeń 1987): 31–46. http://dx.doi.org/10.2190/3c9d-4vf6-v7nt-hbpw.

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This study examined the relationship between five motives—sensory arousal, cognitive arousal, escapism, mastery-control, and emotional involvement—and preferences for different types of content in three cultural media—television programs, motion pictures, and books. The findings both confirmed and extended prior theorization and found some intriguing differences in content preferences between women and men.

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Schubert, Linda. "Plainchant in Motion Pictures: The "Dies irae" in Film Scores". Florilegium 15, nr 1 (styczeń 1998): 207–29. http://dx.doi.org/10.3138/flor.15.011.

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Several summers ago, the album Chant, a collection of plainsong performed by the monks of Santo Domingo de Silos, hit the top of the popular music charts, triggering the release and reissue of more chant albums by other groups. These included Greatest Hits—Chant, Mad About the Monks, and Chill to the Chant. In the meantime, the monks of Santo Domingo de Silos have followed up Chant with several other albums (Chant Noel, Chant II, Easter), and there is also a Chant video (see Chant, Visions, and Requiem). Though it may seem that plainchant has only just been discovered in popular culture, it has been heard for many years in film, a medium with strong ties to popular as well as "art" audiences. Some chants have become standard melodies for films, in particular the "Dies irae" from the Roman Catholic Mass for the Dead. The "Dies irae" is, in fact, one of the most frequently heard chants in film, used in television theme songs, commercials, and even a Christmas film (It's a Wonderful Life). Death, danger or the supernatural are invariably part of the story or visual situation where it is used.

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Caston, Emily, i Justin Smith. "Dancing and dreaming". Alphaville: Journal of Film and Screen Media, nr 19 (23.07.2020): 184–94. http://dx.doi.org/10.33178/alpha.19.16.

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This report reflects on a follow-on initiative from the AHRC-funded project “Fifty Years of British Music Video” designed to explore a collaboration between Cuba’s dance, film, and music cultures to create non-performance-based dance videos. Facilitated by service company Island Pictures, we worked with a young director, Giselle Garcia Castro, dancers at Danza Contemporánea de Cuba, and leading Cuban rap artist Telmary. The result was a single-shot video for Telmary’s “Soy el Verso” (2018), filmed in the dance studio, based on an improvisation guided by Giselle, and inspired by the José Martí poem in the song. The video fulfilled PI Caston’s ambition to break down the barrier between “dance film” and “music video” by building the choreography from the lyrics and making it the centre of the exercise. It endorsed Caston’s conceptual aim to encourage practitioners to identify and articulate their own narrative and iconography. The team also produced a fifteen-minute documentary of the process including interviews with filmmakers, teachers and students. The project demonstrated that academic collaboration with artistic communities can stimulate new creative practices and economic development. It also showed how creative industries researchers can use networks established by institutions such as the British Council and British Embassies to exchange media practice.

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Durst, Samantha L., i Charldean Newell. "Two Thumbs Up: The Media Are the Message". Public Voices 3, nr 3 (11.04.2017): 29. http://dx.doi.org/10.22140/pv.352.

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This account is a commentary on efforts to incorporate a "creative" project into a graduate-level public management course. Students must complete an "Images of the Public Sector" project for which they review, reflect on, and analyze the effect of specific media images of the public sector on public perceptions. The students select the images from books, music, television, motion pictures, or other art or literary form.

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Bolivar, Valerie J., Annabel J. Cohen i John C. Fentress. "Semantic and formal congruency in music and motion pictures: Effects on the interpretation of visual action." Psychomusicology: A Journal of Research in Music Cognition 13, nr 1-2 (1994): 28–59. http://dx.doi.org/10.1037/h0094102.

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Rozprawy doktorskie na temat "Rap (Music) in motion pictures"

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Prince, Rob. "Say Hello to My Little Friend: De Palma's Scarface, Cinema Spectatorship, and the Hip Hop Gangsta as Urban Superhero". Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1256860175.

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Schweitzer, Dennis C. "Ton & traum : a critical analysis of the use of sound effects and music in contemporary narrative film /". Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1108483481.

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Trainer, Adam. "Rock'n'roll cinema". Thesis, Trainer, Adam (2005) Rock'n'roll cinema. PhD thesis, Murdoch University, 2005. https://researchrepository.murdoch.edu.au/id/eprint/364/.

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Popular music and film are separate media, framed by specific discourses, histories of distribution and reception, semiotic relationships and literacies. Through these divergent manifestations and ideologies nodes of convergence exist. At moments of connection, new and innovative textual and contextual possibilities emerge, transforming the ways in which audiences both engage and read these media. Whilst often driven by capitalist goals, both popular music and film capture and tether personal expression and collective memory. Through these processes of signification, popular cultural texts belonging to both media forms are able to resist their commodified origins to inform and construct both collective and individual identities. This thesis charts the movement of popular music across cinema. Rock'n'Roll is utilized not only as an amalgam of texts made up of sounds and images, but also as a critical and interpretative apparatus through which specific cultural identities are configured. This work is concerned with various manifestations of political resistance in popular culture, and the ways in which this resistance is moderated through cultural commodification. Using an interdisciplinary approach - converging film analysis, popular music studies and music journalism - this thesis constructs an ideological framework through which film and popular music can be aligned, and through which this alignment can be researched. Through an engagement with myriad cinematic and popular cultural texts, executed through interdisciplinary methods, this thesis establishes a theoretical framework for understanding and analyzing the convergence of popular music and cinema. Its original contribution to knowledge is an evaluation of the ways in which these media are changed through their alignment and how they inform each other both structurally, as tangible manifestations of specific media codes and structures, and politically, in the ideological embodiment of particular identities and representational realities. This goal is achieved through the selection of specific research materials, especially those which have not been subject to detailed investigation in other scholarly studies. Specific filmic and musical texts are discussed because they embody the aesthetic and political synergy of these two media forms as well as demonstrating the cultural processes through which this synergy is enacted. This thesis offers interdisciplinary dialogue as a valid strategy to understand the processes involved in the creation and reception of texts which are cinematic in nature but utilize the language and discourse of popular music. The textual and contextual manifestations of this process are a primary concern. Emphasis is placed on the implications for film form in terms of the structure of texts and their existence within specific genres, the shifting position of the auteur and the renegotiation of the term and its meaning to film and popular music, and the conjunction and interaction between creativity and commerce. In addressing the political and aesthetic possibilities of the film and popular music hybrid, as well as the cultural implications of their convergence, this thesis provides new perspectives for the analysis of both forms.

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Trainer, Adam. "Rock'n'roll cinema". Trainer, Adam (2005) Rock'n'roll cinema. PhD thesis, Murdoch University, 2005. http://researchrepository.murdoch.edu.au/364/.

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Popular music and film are separate media, framed by specific discourses, histories of distribution and reception, semiotic relationships and literacies. Through these divergent manifestations and ideologies nodes of convergence exist. At moments of connection, new and innovative textual and contextual possibilities emerge, transforming the ways in which audiences both engage and read these media. Whilst often driven by capitalist goals, both popular music and film capture and tether personal expression and collective memory. Through these processes of signification, popular cultural texts belonging to both media forms are able to resist their commodified origins to inform and construct both collective and individual identities. This thesis charts the movement of popular music across cinema. Rock'n'Roll is utilized not only as an amalgam of texts made up of sounds and images, but also as a critical and interpretative apparatus through which specific cultural identities are configured. This work is concerned with various manifestations of political resistance in popular culture, and the ways in which this resistance is moderated through cultural commodification. Using an interdisciplinary approach - converging film analysis, popular music studies and music journalism - this thesis constructs an ideological framework through which film and popular music can be aligned, and through which this alignment can be researched. Through an engagement with myriad cinematic and popular cultural texts, executed through interdisciplinary methods, this thesis establishes a theoretical framework for understanding and analyzing the convergence of popular music and cinema. Its original contribution to knowledge is an evaluation of the ways in which these media are changed through their alignment and how they inform each other both structurally, as tangible manifestations of specific media codes and structures, and politically, in the ideological embodiment of particular identities and representational realities. This goal is achieved through the selection of specific research materials, especially those which have not been subject to detailed investigation in other scholarly studies. Specific filmic and musical texts are discussed because they embody the aesthetic and political synergy of these two media forms as well as demonstrating the cultural processes through which this synergy is enacted. This thesis offers interdisciplinary dialogue as a valid strategy to understand the processes involved in the creation and reception of texts which are cinematic in nature but utilize the language and discourse of popular music. The textual and contextual manifestations of this process are a primary concern. Emphasis is placed on the implications for film form in terms of the structure of texts and their existence within specific genres, the shifting position of the auteur and the renegotiation of the term and its meaning to film and popular music, and the conjunction and interaction between creativity and commerce. In addressing the political and aesthetic possibilities of the film and popular music hybrid, as well as the cultural implications of their convergence, this thesis provides new perspectives for the analysis of both forms.

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Mollaghan, Aimée. "The musicality of the visual music film". Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3205/.

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This thesis explores the concept and expression of musicality in the absolute visual music film, in which visual presentations are given musical attributes such as rhythmical form, structure and harmony. The role of music has, in general, been neglected when analysing visual music textually and if discussed it has been examined predominantly from the academic vantage points of art and avant-garde film theory. To adequately scrutinise these texts I consider it essential to look at them not only in terms of their existence as moving pictures but also to give equal weight to their aural aspect and to consider them in terms of specifically musical parameters. This thesis therefore seeks to redress previous imbalances by undertaking a close analysis of the expressly musical qualities of these texts. Drawing on the seemingly disparate areas of film theory, art history, music theory and philosophy, it takes an interdisciplinary approach to investigating the measurable influence that wider contextual, philosophical and historical developments and debates in these areas bore on the aesthetics of specific visual music films. By drawing on the analogy of the absolute in music to demonstrate how musical concepts can function across the disciplinary boundaries of music and film, the first half of this thesis illustrates how musical ideas can be applied both formally and conceptually to the moving image in order to elucidate the musical characteristics of the text. Using the notion of the absolute as a conceptual framework allows for a thorough overview of changing trends and aesthetics in music, film and art and the visual music film. The centrality of notions of the absolute to visual music is demonstrated through close analysis of films by Viking Eggeling, Hans Richter, Walter Ruttmann, Norman McLaren, James Whitney and Jordan Belson. The second part of this thesis concentrates less on the philosophical vestiges carried over from musical thought to the visual music film, instead focusing on the variety of techniques and technological developments that evolved in tandem with the visual music film, each simultaneously exerting an influence on one another. It explores the effect that colour processing had on not only the visual but the overall audiovisual structure of the visual music film through a textual analysis of Kreise (1933) by Oskar Fischinger. It also investigates how particular styles of musical composition dictated the development of specific technical processes such as painting directly onto the celluloid strip, in order to capture the syncopated and frenetic musicality of jazz music. The case studies here are Begone Dull Care (1949) by Norman McLaren and A Colour Box (1935) by Len Lye. Further to this, it examines how the technical processes of animated sound emerged in the search for a greater correlation between the visual and sound tracks of the visual music film through close analysis of Synchromy (1971) by Norman McLaren and the optical sound films of Guy Sherwin. Finally, this thesis marries the inquiry into technological innovation of its second half with the historical, aesthetic and philosophical concerns of earlier chapters by considering the work of visual music pioneer John Whitney. Focusing on his digitally produced visual music films, the thesis explores Whitney’s enduring concern with the unification of sound and image through the shared foundation of mathematical harmony.

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Steele, Geoge. "Scoring silent film : music/nation/affect /". View online ; access limited to URI, 2009. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3380539.

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Nozaic, Claire. "An introduction to audio post-production for film". Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/17405.

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Thesis (M.Mus.)--University of Stellenbosch, 2006.
ENGLISH ABSTRACT: In South Africa there has been an increase over the last few years in audio engineering courses which include modules of study in audio post-production or even offer audio post-production as a major focus of study. From an academic standpoint however, and despite the growth in the local film industry, very little study of this field has been undertaken in South Africa until recently. In 2005, a MMus thesis was submitted at the University of KwaZulu-Natal entitled Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: online). The thesis briefly outlines the basic components of the soundtrack and focuses on describing and analysing the properties of ambience, a sub-section of sound effects. At Stellenbosch University, research has recently begun in the fields of film music and Foley (sound effects associated with human movement onscreen). The purpose of this thesis is to provide an overview of audio post-production and the contribution of sound to the film medium. It provides an outline of the processes involved in creating a soundtrack for film and includes a description of the components of the soundtrack and recommendations for practical application.
AFRIKAANSE OPSOMMING: Gedurende die afgelope paar jaar was daar ‘n toename in oudio-ingenieurskursusse, insluitend studiemodules in oudio post-produksie, en selfs ‘n aanbod vir modules in post-produksie as hoofstudierigting. Desnieteenstaande, en ten spyte van die groei in die plaaslike filmindustrie is tot onlangs min akademiese studies op dié terrein in Suid-Afrika onderneem. In 2005 is ‘n MMus-tesis aan die Universiteit van KwaZulu-Natal voorgelê, met die titel Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: aanlyn). Hierdie tesis gee ‘n basiese oorsig oor die basiese komponente van die klankbaan, en fokus op die beskrywing en analise van die eienskappe van ambience – ‘n onderafdeling van klankeffekte. By die Universiteit van Stellenbosch is onlangs ‘n begin gemaak met navorsing oor die terreine van filmmusiek en Foley, d.w.s. klankeffekte geassosieer met menslike bewegings op die skerm.. Hierdie tesis beoog om ‘n oorsig te gee van oudio post-produksie en die bydrae van klank tot die filmmedium. Dit verskaf ‘n oorsig oor die prosesse betrokke by die daarstelling van ‘n filmklankbaan en sluit ook in ‘n beskrywing van die komponente van die klankbaan en aanbevelings vir die praktiese toepassing daarvan.

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Glover, Kristin Lynn. "Connections making sense of the world around us (the use of music in documentary films) /". Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/glover/GloverK0809.pdf.

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Thesis (MFA)--Montana State University--Bozeman, 2009.
Typescript. Chairperson, Graduate Committee: Walter Metz. Troubador is a DVD accompanying the thesis. Includes bibliographical references (leaf 31).

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Alexander, Helen. "Happy harmonies and disturbing discords : Scott Bradley's music for MGM's cartoons". Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6809/.

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The musical scores of composer Scott Bradley for the cartoons of the Metro- Goldwyn-Mayer studio form the basis of this dissertation, which uses close observation and analysis to address some of the pertinent technical and cultural issues that have been raised in the literature of musicology and of cartoon studies. Bradley’s collaborations with three sets of directors are discussed separately in order to highlight three academic concerns. An investigation into the various practical necessities and cultural influences on Bradley’s work with directors Hugh Harman and Rudolf Ising sets the historical scene at the beginning of the composer’s career. I examine the pervading style of these cartoons and their music in order to reveal some of the personal preoccupations that Bradley’s work would exhibit throughout his life. And I interrogate the general musicological approach to the audiovisual pairing and cartoon scoring practices in order to re-evaluate close synchronization as a variegated technique capable of diverse and nuanced effects. Director Tex Avery and Bradley have independently been considered by various scholars for their adoption of modernist techniques. Their collaboration produced works that challenge the distinction of popular entertainment and modernist art, in a way that is shown to be both multifaceted and difficult to quantify. The position of their cartoons in terms of more frequently recognized modern artforms and its own tradition of slapstick comedy complicate any simple distinction between the two fields. The directorial team of William Hanna and Joseph Barbera produced cartoons that amalgamated some of the techniques learned from the other animators in this study. As well as being the most famous of MGM’s cartoon series, their Tom and Jerry cartoons were the most consistent in terms of style. The comic formula of this series is examined from the relatively new academic area of ‘comic timing’. I explore the possible effect of a constant musical presence on the audience perception of pacing and thereby add a new perspective to an aspect of comedy that has not before been considered with reference to music.

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Garwood, Ian. "Pop music and characterisation in narrative film". Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/4263/.

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This thesis discusses the use of pop songs in narrative films, with particular attention paid to their role in characterisation. My argument concerns the potential for pop to retain its specificity as a certain type of music whilst it carries out functions normally attributed to a composed score. Many commentators have assumed that, because a song may be known before it is used in a film, its narrative meanings are "pre-packaged". I combine an appreciation of pop music's propensity to come to a film already 'known' with an attempt to demonstrate how individual narratives ask songs to perform different affective roles. It is my contention that pop music's quality of 'knownness' is fundamental to its narrative affect in films, without, however, pre-determining that affect. I argue my case through close textual analysis, discussing the relationship between real-life pop stars' musical personas and the film characters they are asked to play, as well as offering numerous examples of songs without an on-screen performer becoming involved in processes of filmic narration.

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Książki na temat "Rap (Music) in motion pictures"

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Eminem. 8 mile: Music from and inspired by the motion picture. Santa Monica, CA: Shady/Interscope Records, 2002.

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Gricinella, Luca. Cinema in rima: La messa in scena del rap. Milano: Agenzia X, 2013.

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Woldu, Gail Hilson. The words and music of Ice Cube. Westport, Conn: Praeger Publishers, 2008.

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Sinatra, Nancy. Kill Bill: Original soundtrack. Beverly Hills, CA: Band Apart/Maverick, 2003.

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Takemitsu, Tōru. Highlights from the original soundtrack of the Akira Kurosawa film "Ran". Berkeley, Calif: Fantasy, 1985.

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Rona, Jeffrey C. The reel world: Scoring for pictures. Wyd. 2. New York: Hal Leonard, 2009.

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Erdoğan, Şulenur Özkan, i Ozan Zengin. Prof. Dr. Oğuz Onaran'a armağan. Ankara: Ankara Üniversitesi Siyasal Bilgiler Fakültesi, 2016.

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Churchill, Sharal. The indie guidebook to music supervision for films. Los Angeles, CA: Filmic Press, 2000.

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Dickinson, Kay. Off key: When film and music won't work together. New York: Oxford University Press, 2008.

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Barkemeyer, Jörn. Filmmusik bei Aki Kaurismäki: Eine Analyse der Musik und ihrer Verwendung als dramaturgisches Gestaltungsmittel. Saarbrücken: VDM Verlag Dr. Müller, 2011.

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Części książek na temat "Rap (Music) in motion pictures"

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Fuller, Linda K. "Media-Mediated Relationships in Motion Pictures, Music, and More". W Media-Mediated Relationships, 147–70. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003250234-5.

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Greco, Albert N. "The US Government and the Entertainment Industries Confront the War: Motion Pictures, Music, and Book Publishing". W The Marketing of World War II in the US, 1939-1946, 71–107. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39519-3_4.

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"3. Stasis in Fluxus Disappearing Music for Face and Protracted Cinema". W Motion(less) Pictures. New York Chichester, West Sussex: Columbia University Press, 2015. http://dx.doi.org/10.7312/reme16962-003.

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"11. Music and Motion Pictures (1926)". W Celluloid Symphonies, 100–105. University of California Press, 2019. http://dx.doi.org/10.1525/9780520947436-014.

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Marks, Martin Miller. "Film and Music". W Music and the Silent Film, 3–25. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195068917.003.0001.

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Abstract From the time of the first public demonstration of a Lumière cinématographe, for which a pianist is said to have improvised an accompaniment, until today’s widescreen features with their multichanneled, digitally recorded scores, there has always been music for motion pictures. The pictures have fostered an abundant and rich variety of music-making, which for more than eight decades has affected us in ways both simple and subtle. Yet most of us have a very poor knowledge of what film music is all about. Why should there be this discrepancy? Why are the facts of film music not widely understood? Why should Peter Odegard, in a review of two mid-seventies reference works devoted to music of the twentieth century, have to take both to task for all but ignoring film music, “the most widely dispersed repertoire being performed today, and hence in its peculiar way the most influential”?

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Strohm, Reinhard. "Townscape–Soundscape". W Music in Late Medieval Bruges, 1–9. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193164185.003.0001.

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Abstract LATE medieval Bruges is known to us through the stillness of pictures. Motion and sound are contained in them, but in a frozen form: reduced to an infinitely small fraction of time. Given time, the pictures would start to move, and the music would be heard. In the Ghent panels by Hubert and Jan van Eyck, an angel is seen playing the organ: she is about to press the keys F, c and a.— The time lapse between her action and the perception of the chord is extended to eternity. Next to the organ-player another angel, holding a harp, counts the time with her fingers on the shoulder of the partner in front of her, who holds a viol and is ready to play, but is resting. In the opposite wing of the picture, eight angels are singing mensural polyphony. Musical measure determines the precise moment in time in which the whole picture is set.

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Burlingame, Jon. "“Hi-yo, Silver!”The Birth of TV Music". W Music for Prime Time, 5—C1.P130. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190618308.003.0002.

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Abstract Chapter 1 explores the beginnings of music for television, which follows radio tradition by using classical music for some shows (The Lone Ranger), and original scores for a very few series (Dragnet), while most—the result of the American musicians’ union’s insistence upon high fees—utilize libraries of generic dramatic music or go overseas to record music that enables producers to skirt union rules. Movie studios (Fox, Disney, Warner Bros.) eventually create content for TV and commission original scores. One major film composer near the end of his career (Victor Young) scores a series, while another just starting out, CBS’s Jerry Goldsmith, emerges from live TV before moving on to success in motion pictures.

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Kalinak, Kathryn. "A history of film music I". W Film Music: A Very Short Introduction, 30—C4P35. Wyd. 2. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/actrade/9780197628034.003.0004.

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Abstract Music has been central to the history of film. This chapter charts that history through a global perspective, looking at the origins and development of musical accompaniment to motion pictures from the United States to South America, from Europe, Russia, and the Soviet Union to India, Japan, China, and numerous other countries in between. That history includes attention to the variety of forms that musical accompaniment to early film took from phonographic accompaniment to live performance, from improvisation to cue sheets to original film scores, and from a single musician to a symphony orchestra. This chapter incorporates new research since the first edition of this book in 2010 on film music in Ireland, Austria, Turkey, the Dutch East Indies, and the Netherlands; the role of women in the early film music industry; and the role of film music in the continued resurgence of silent film screenings.

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Leonard, Kendra Preston. "Women’s Compiled Scores in Early Film Music". W Hidden Harmonies, 53–70. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496845375.003.0004.

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Women from all classes across the United States were recognized as highly successful and effective composers and arrangers. In contemporary and later interviews and publications including The American Organist, Moving Picture News, and Moving Picture World, accompanists such as organists Rosa Rio and Alice Smyth-Jay and violinist Helen Ware describe composing motifs or themes for characters and events in silent films that they then used to create full scores for the motion pictures they accompanied. Industry insiders credited accompanist-composers who were deemed especially good at their jobs with the success of many theatres and for providing artistic excellence in the burgeoning medium. Women’s music for feature films, shorts, and newsreels served to suggest, shape, and help define the musical tastes of the time, to educate listeners, and to show how music could serve as a creative, narrative, and interpretative force in the cinema.

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Marks, Martin Miller. "First Stages, Dimly ,Lit". W Music and the Silent Film, 26–61. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195068917.003.0002.

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Abstract Little has been written about the music of early cinema, and it is easy to understand why. First, let us be clear about the period in question: altogether it comprises about a decade and a half, from the mid-189os, when motion pictures made their public debuts, until circa 1910, when the film industry began to emerge. As demonstrated in Chapter One, most of our information about music and silent cinema dates from after 1910; earlier than that, documents are lacking and extant scores are few. Moreover, such materials as do exist have generally been disregarded, because the attention of most film historians has been absorbed by other pressing projects, which relate only indirectly to music. Much work has been done, for example, tracing the origins of cinema’s technological apparatus (what is sometimes called its “prehistory”1), including the various methods of synchronizing sound which came to fruition in the 192os.2 More important, during recent years, while research into early cinema has flourished as never before, leading scholars have had more than enough to do bringing long-neglected films to light. Thus, musical matters remained largely unexplored.

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