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Complete Guide to Film Scoring The Art and Business of Writing Music for Movies and TV

ISBN-10: 0876391099
ISBN-13: 9780876391099
Edition: 2nd 2010 (Revised)
List price: $27.99 Buy it from $22.12
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Description: Essential for anyone interested in the business, process and procedures of writing music for film or television, this book teaches the Berklee approach to the art, covering topics such as: preparing and recording a score, contracts and fees,  More...

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Book details

List price: $27.99
Edition: 2nd
Copyright year: 2010
Publisher: Hal Leonard Corporation
Publication date: 5/1/2010
Binding: Paperback
Pages: 424
Size: 6.00" wide x 9.00" long x 1.00" tall
Weight: 1.716
Language: English

Essential for anyone interested in the business, process and procedures of writing music for film or television, this book teaches the Berklee approach to the art, covering topics such as: preparing and recording a score, contracts and fees, publishing, royalties, copyrights and much more. Features interviews with 21 top film-scoring professionals, including Michael Kamen, Alf Clausen, Alan Silvestri, Marc Shaiman, Mark Snow, Harry Gregson-Williams and Elmer Bernstein. Now updated with info on today's latest technology, and invaluable insights into finding work in the industry.

Author and journalist Richard Harding Davis was born in Philadelphia on April 18, 1864. After studying at Lehigh and Johns Hopkins universities, he became a reporter and in 1890, he was the managing editor of Harper's Weekly. On assignments, he toured many areas of the world and recorded his impressions of the American West, Europe, and South America in a series of books. As a foreign correspondent, he covered every war from the Greco-Turkish to World War I and published several books recording his experiences. In 1896, he became part of William Randolph Hearst's unproven plot to start the Spanish-American War in order to boost newspaper sales when Hearst sent him and illustrator Frederick Remington to cover the Cuban rebellion against Spanish rule. In Cuba, Davis wrote several articles that sparked U.S. interest in the struggles of the Cuban people, but he resigned when Hearst changed the facts in one of his stories. Davis was aboard the New York during the bombing of Mantanzas, which gave the New York Herald a scoop on the war. As a result, the U.S. Navy prohibited reporters from being aboard any U.S. ships for the rest of the Cuban conflict. Davis was captured by the German Army in 1914 and was threatened with execution as a spy. He eventually convinced them he was a reporter and was released. He is considered one of the most influential reporters of the yellow journalist era. He died in Mount Kisco, New York on April 11, 1916.

Acknowledgements
Preface to the Second Edition
Introduction
The History of Film Music
Early Films and Music: The Silent Movies
The First Talkies: The Beginning of Synchronized Music
The Studio System and The Studio Music Department
Musical Styles-1930 to 1950: The Golden Age of Hollywood
Musical Styles 1950 to 1975
1975 to Today
Film-Scoring Technology
Production
The Film-Making Process
The Composer's Time Frame
Spotting
The Music Editor
The Music Team: Orchestrators and Music Preparation
The Recording Session and Mix
The Music
Creating the Music
Technical Requirements of the Score
Syncing the Music to Picture
Television
Ethnic and Period Music
Animation
Songs, Soundtracks, and Source Music
The Business of Film Scoring
Making the Deal: Agents, Attorneys, and Contracts
Publishing and Copyrights
Royalties
Demos and Marketing
Finding Work
Interviews
Elmer Bernstein
Terence Blanchard
Alf Clausen
Cliff Eidelman
Danny Elfman
Richard Gibbs
Elliot Goldenthal
Michael Gorfaine & Sam Schwarts
Harry Gregson-Williams
Mark Isham
Michael Kamen
Mark Mancina
David Newman
David Raksin
Lolita Ritmanis
William Ross
Marc Shaiman
Alan Silvestri
Mark Snow
Richard Stone
Shirley Walker
End Notes
Resources
About the Author
Index

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