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James Eugene Wierzbicki

Film Music: A History 1st Edition

by James Wierzbicki (Author)

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Film Music: A History explains the development of film music by considering large-scale aesthetic trends and structural developments alongside socioeconomic, technological, cultural, and philosophical circumstances.

The book’s four large parts are given over to Music and the "Silent" Film (1894--1927), Music and the Early Sound Film (1895--1933), Music in the "Classical-Style" Hollywood Film (1933--1960), and Film Music in the Post-Classic Period (1958--2008). Whereas most treatments of the subject are simply chronicles of "great film scores" and their composers, this book offers a genuine history of film music in terms of societal changes and technological and economic developments within the film industry. Instead of celebrating film-music masterpieces, it deals―logically and thoroughly―with the complex ‘machine’ whose smooth running allowed those occasional masterpieces to happen and whose periodic adjustments prompted the large-scale twists and turns in film music’s path.

ISBN-10

0415991994
ISBN-13

978-0415991995
Edition

1st
Publisher

Routledge
Publication date

November 28, 2008
Language

English
Dimensions

7.01 x 0.75 x 10 inches
Print length

332 pages
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Editorial Reviews

About the Author

James Wierzbicki is a musicologist who teaches at the University of Michigan and serves as executive editor of the American Musicological Society's Music of the United States of America series of scholarly editions. His current research focuses on twentieth-century music in general and film music and electronic music in particular.

Product details

Publisher ‏ : ‎ Routledge; 1st edition (November 28, 2008)
Language ‏ : ‎ English
Paperback ‏ : ‎ 332 pages
ISBN-10 ‏ : ‎ 0415991994
ISBN-13 ‏ : ‎ 978-0415991995
Item Weight ‏ : ‎ 1.35 pounds
Dimensions ‏ : ‎ 7.01 x 0.75 x 10 inches

Best Sellers Rank: #1,903,549 in Books (See Top 100 in Books)
- #1,432 in Film & Television
- #2,316 in Music Theory (Books)
- #2,794 in Music (Books)

Customer Reviews:
9 ratings

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James Eugene Wierzbicki

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5 star		61%
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2 star		8%
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K. French

The perfect gift

Reviewed in the United States on February 3, 2012

Verified Purchase

We know nothing about music or music history but we bought this as a gift for our nephew who is studying to be a symphonic composer, specifically for film. He said it was exactly the book he was searching for. We will take his word on that and you should too because he is a creative genius!

3 people found this helpful

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Gilly

pleased w text

Reviewed in the United States on November 27, 2018

Verified Purchase

I actually Googled searched test questions so, I wasted $ buying but, a good text. LOl

Reviewed in the United States on May 29, 2017

Verified Purchase

A marvelous history.
How to Have Fun with Your Aging Parents: I Want to Go to Lithuania

Reviewed in the United States on February 13, 2013

Verified Purchase

This substantial piece of literature is the missing link on this subject. James Wierzbicki has a very clear style of writing, deeply engaging and compelling. This book is essential for every serious inquisitor on the subject of film music.

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P. Carli

Insufficient and historically inaccurate

Reviewed in the United States on March 29, 2014

Spotty at best, and especially in the study of early sound film quite riddled with errors. For example, a) Gaumont's "Chronophone" system was a post-synch system, that is, the actors lip synched to pre-recorded discs (which a commonly-seen photograph of Alice Guy directing a Chronophone production proves - there is a disc machine with an amplifying horn, not a recording horn, pointed at the actors from a distance that would have been impossible to record from); b) the 1913 Edison Kinetophone did not use a compressed-air amplifying playback system, but an inversion of the recording system, based upon Daniel Higham's friction-amplifying patents previously applied to Columbia's "Twentieth Century" Graphophones of 1906-08; c) Kinetophone cylinders don't have "noisy surfaces...[with] everybody practically screaming their lines", as they were made of the same practically indestructible smooth celluloid used in Edison's Blue Amberol cylinders for domestic use, and the Higham recorder allowed quite nuanced voice recording - even outside (as in one extant Kinetophone short filmed in Bronx Park). This is all well-known among recording scholars, but the author relied on secondary printed sources rather than consulting other experts or doing much original research - as he has in much of the book, which is its greatest weakness. VERY poorly proofread as well - this is not well produced.

3 people found this helpful

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krh

Good information, but difficult for readers to get through the book in a timely manner.

Reviewed in the United States on January 24, 2012

I bought this book because it was needed for my film music class, and the topic is good, however the way it reads takes a long time to get through a page. It's a good book if you want to spend time reading through and taking your time reading this, but if you're a student like me, taking four or five classes, this book takes a long time to read through when you have other classes to focus on as well. I will say "The Hollywood Film Music Reader" edited by Mervyn Cooke does read much smoother and quickly, however, the way that book is written is from the people that have been in the film music business and about their experiences, not focusing as much on the history of film music. If Weirzbicki made this book a little more fast paced and interesting, I would enjoy this book better.

2 people found this helpful

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Nicholas Pavkovic

Who would spend $30 on a book with a typo in the title?

Reviewed in the United States on December 13, 2012

Note that this applies only to the Kindle version. If you've ever spent any time at all proofreading, a misspelling like "Histroy" -- on every page, in the header -- will be a terrible distraction.

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