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With nearly 400 scores to his credit, Ennio Morricone is one of the
most prolific and influential film composers working today. He has
collaborated with many significant directors, and his scores for
such films as The Good, the Bad, and the Ugly; Once Upon a Time in
America; Days of Heaven; The Mission; The Untouchables; Malena; and
Cinema Paradiso leave moviegoers with the conviction that something
special was achieved a conviction shared by composers, scholars,
and fans alike. In Composing for the Cinema: The Theory and Praxis
of Music in Film, Morricone and musicologist Sergio Miceli present
a series of lectures on the composition and analysis of film music.
Adapted from several lectures and seminars, these lessons show how
sound design can be analyzed and offer a variety of musical
solutions to many different kinds of film. Though aimed at
composers, Morricone s expositions are easy to understand and
fascinating even to those without any musical training. Drawing
upon scores by himself and others, the composer also provides
insight into his relationships with many of the directors with whom
he has collaborated, including Sergio Leone, Giuseppe Tornatore,
Franco Zeffirelli, Warren Beatty, Ridley Scott, Roland Joffe, the
Taviani Brothers, and others. Translated and edited by Gillian B.
Anderson, an orchestral conductor and musicologist, these lessons
reveal Morricone s passion about musical expression. Delivered in a
conversational mode that is both comprehensible and interesting,
this groundbreaking work intertwines analysis with practical
details of film music composition. Aimed at a wide audience of
composers, musicians, film historians, and fans, Composing for the
Cinema contains a treasure trove of practical information and
observations from a distinguished musicologist and one of the most
accomplished composers on the international film scene."
With nearly 400 scores to his credit, Ennio Morricone is one of the
most prolific and influential film composers working today. He has
collaborated with many significant directors, and his scores for
such films as The Good, the Bad, and the Ugly; Once Upon a Time in
America; Days of Heaven; The Mission; The Untouchables; Malena; and
Cinema Paradiso leave moviegoers with the conviction that something
special was achieved-a conviction shared by composers, scholars,
and fans alike. In Composing for the Cinema: The Theory and Praxis
of Music in Film, Morricone and musicologist Sergio Miceli present
a series of lectures on the composition and analysis of film music.
Adapted from several lectures and seminars, these lessons show how
sound design can be analyzed and offer a variety of musical
solutions to many different kinds of film. Though aimed at
composers, Morricone's expositions are easy to understand and
fascinating even to those without any musical training. Drawing
upon scores by himself and others, the composer also provides
insight into his relationships with many of the directors with whom
he has collaborated, including Sergio Leone, Giuseppe Tornatore,
Franco Zeffirelli, Warren Beatty, Ridley Scott, Roland Joffe, the
Taviani Brothers, and others. Translated and edited by Gillian B.
Anderson, an orchestral conductor and musicologist, these lessons
reveal Morricone's passion about musical expression. Delivered in a
conversational mode that is both comprehensible and interesting,
this groundbreaking work intertwines analysis with practical
details of film music composition. Aimed at a wide audience of
composers, musicians, film historians, and fans, Composing for the
Cinema contains a treasure trove of practical information and
observations from a distinguished musicologist and one of the most
accomplished composers on the international film scene.
This is a high quality reprint of a fascinating book first
published by The Library of Congress in 1988. Illustrated
throughout.
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