Kathryn Kalinak's Books

Film Music

A Very Short Introduction

By: Kathryn Kalinak

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Film Music

A Very Short Introduction

By: Kathryn Kalinak

The rich and deeply moving sounds of film music are as old as cinema itself. Even the very first projected moving images were accompanied by music in many places as a variety of performers - from single piano players to small orchestras - brought images to life through musical accompaniment. Film music has since become its own industry, an aesthetic platform for expressing creative visions and a commercial vehicle for growing musical stars of all varieties. This Very Short Introduction provides a lucid, accessible, and engaging overview of the subject of film music. Beginning with an analysis of the music from a well-known sequence in the film Reservoir Dogs, the book focuses on the most central issues in the practice of film music. Expert author Kay Kalinak takes readers behind the scenes to understand both the practical aspects of film music - what it is and how it is composed - and also the theories that have been developed to explain why film music works. This compact book not entertains with the fascinating stories of the composers and performers who have shaped film music across the globe but also gives readers a broad sense for the key questions in film music studies today. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

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Page Count

152

Publisher

OUP USA

Published Date

ISBN 10

0195370872

ISBN 13

9780195370874

Film Music: a Very Short Introduction

By: Kathryn Kalinak

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Film Music: a Very Short Introduction

By: Kathryn Kalinak

Film Music: A Very Short Introduction focuses on the most central issues in the practice of film music. What is film music? How is it composed? How does film music work? Why does film music work? The rich and deeply moving sounds of film music are as old as cinema. The very first projected moving images were accompanied by music around the globe as a variety of performers-from single piano players to small orchestras-brought images to life. Film music has since become its own industry, an aesthetic platform for expressing creative visions, and a commercial vehicle for generating increased revenue. The second edition updates coverage to 2022 and includes attention to recent developments in global film music, women in film music, and African -American and minority composers"--

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Page Count

177

Publisher

Oxford University Press

Published Date

ISBN 10

0197628036

ISBN 13

9780197628034

Settling the Score

Music and the Classical Hollywood Film

By: Kathryn Kalinak

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Settling the Score

Music and the Classical Hollywood Film

By: Kathryn Kalinak

Beginning with the earliest experiments in musical accompaniment carried out in the Edison Laboratories, Kathryn Kalinak uses archival material to outline the history of American music and film. Focusing on the scores of several key composers of the sound era, including Erich Wolfgang Korngold’s Captain Blood, Max Steiner’s The Informer, Bernard Herrmann’s The Magnificent Ambersons, and David Raksin’s Laura, Kalinak concludes that classical scoring conventions were designed to ensure the dominance of narrative exposition. Her analyses of contemporary work such as John Williams’ The Empire Strikes Back and Basil Poledouris’ RoboCop demonstrate how the traditions of the classical era continue to influence scoring practices today.

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Page Count

267

Publisher

Univ of Wisconsin Press

Published Date

ISBN 10

029913363X

ISBN 13

9780299133634

Music in the Western

Notes From the Frontier

By: Kathryn Kalinak

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Music in the Western

Notes From the Frontier

By: Kathryn Kalinak

Music in the Western: Notes from the Frontier presents essays from both film studies scholars and musicologists on core issues in western film scores: their history, their generic conventions, their operation as part of a narrative system, their functioning within individual filmic texts and their ideological import, especially in terms of the western’s construction of gender, sexuality, race and ethnicity. The Hollywood western is marked as uniquely American by its geographic setting, prototypical male protagonist and core American values. Music in the Western examines these conventions and the scores that have shaped them. But the western also had a resounding international impact, from Europe to Asia, and this volume distinguishes itself by its careful consideration of music in non-Hollywood westerns, such as Ravenous and The Good, the Bad, and the Ugly and in the “easterns” which influenced them, such as Yojimbo. Other films discussed include Wagon Master, High Noon, Calamity Jane, The Big Country, The Unforgiven, Dead Man, Wild Bill, There Will Be Blood and No Country for Old Men. Contributors Ross Care Corey K. Creekmur Yuna de Lannoy K. J. Donnelly Caryl Flinn Claudia Gorbman Kathryn Kalinak Charles Leinberger Matthew McDonald Peter Stanfield Mariana Whitmer Ben Winters The Routledge Music and Screen Media Series offers edited collections of original essays on music in particular genres of cinema, television, video games and new media. These edited essay collections are written for an interdisciplinary audience of students and scholars of music and film and media studies.

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Page Count

285

Publisher

Routledge

Published Date

ISBN 10

1136620567

ISBN 13

9781136620560

How the West Was Sung

Music in the Westerns of John Ford

By: Kathryn Kalinak

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How the West Was Sung

Music in the Westerns of John Ford

By: Kathryn Kalinak

Kalinak offers an accessible and comprehensive analysis of John Ford's use of music in his iconic westerns. Encompassing a variety of critical approaches and incorporating original archival research, this book explores Ford's predilection for American folk song, hymnody and period music.

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