- File Size: 21547 KB
- Print Length: 310 pages
- Page Numbers Source ISBN: 0190606398
- Publisher: Oxford University Press (May 1, 2018)
- Publication Date: May 1, 2018
- Sold by: Amazon.com Services LLC
- Language: English
- ASIN: B07C77JJRW
- Text-to-Speech: Enabled
- Word Wise: Not Enabled
- Lending: Enabled
- Amazon Best Sellers Rank: #260,680 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
|Digital List Price:||$26.99|
|Print List Price:||$99.00|
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Hollywood Harmony: Musical Wonder and the Sound of Cinema (Oxford Music/Media Series) Kindle Edition
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"an engaging style and rich insights into films and their music ... Lehman's musical, dramaturgical, and psychological insights will lead to more engaged film listening and viewing." -- S. C. Pelkey, CHOICE
"presenting fascinating insights into the creative processes of game programmers and composers, as they worked to come up with new ideas for game consoles and music ... Recommended." -- K. George, CHOICE
"Hollywood Harmony brings analysis of film music fully into the present. Sophisticated theoretical modeling of associations and effects in the currently prevalent triadic style of underscore practice combines with close readings that not only offer fresh insights but also an over-the-composer's-shoulder immediacy."--David Neumeyer, Professor Emeritus of Music, The University of Texas at Austin and co-author of Hearing the Movies
"Lehman does more than illuminate an intriguing and analytically neglected repertoire; his study demonstrates how well suited the tools and technologies of neo-Riemannian theory are to reveal the affective devices of film music."--Ed Gollin, Professor of Music, Williams College
--This text refers to the hardcover edition.
About the Author
Frank Lehman is an Assistant Professor of Music at Tufts University, and holds degrees from Brown University and Harvard University. As a music theorist, he is interested in how music works and what effects it has on its listeners. His research has explored a range of styles and repertoires, from nineteenth century instrumental compositions to film scores to ambient music. He has recently focused on the composers John Williams and Hans Zimmer. He lives in Belmont, Massachusetts.
--This text refers to the hardcover edition.
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Like a lot of other people I was frustrated by the sound of Hollywood featuring a Harmony that wasn't really taught. The actual note choices seem to be allusive and had no real fixed point in the pop world I lived in. Indeed it was only through late romantic and early twentieth century music ( the stuff hollywood stole from ) that i started to get a grip on where the sound originated. Even then i could only map specific pieces ( Antarctica Vaughn Williams= Star Trek TMP Jerry Goldsmith....... The Rite of Spring Stravinsky= Dune Sea ,Star Wars John Williams ) which wasn't much of a help. Slowly but surely through books and a lot of help with people on the interwebs I got a grip on where it all comes from. Frank Lehman IS one of those people and this is HIS book.
It's a very very thorough recipe book for writing Hollywood music. It has a lot of detail but it's not what you are used to. It's painstakingly put together and will guide you through how the harmony works and is used. How chords are connected and what the system is to connect them. How the sound we all have grown up with from Korngold through to Zimmer is really just the web woven through parallel pitch choices and how storytelling is related to those choices.......
BUY THIS BOOK !
First and foremost -- even if you are not interested in the harmonic techniques of the Hollywood composers, if you (or your students) have ever been been interested in Neo-Riemannian theory and found the original texts more than a little obtuse -- chapter three, and specifically the first 10 pages of chapter 3 are worth the price of this book. Lehman summarizes the theories so clearly and plainly, that I went back to the original texts and found myself shaking my head and saying to myself...well of course that's what they were on about.
Second -- this is an excellent text analyzing samples of film music both modern and classic and for the composer who might read this text provides more formalized techniques for expanding their harmonic tool box. The added bonus -- Most if not all of the examples have their audio available on the companion website.
Third -- For the musicologist, this survey provides a framework for more extensive and theoretically rigorous work in the history and techniques of cinematic music in general and/or for specific composers, or groups of composers.
The only issue I had with this text is that it did take me three tries to get the right book in the right cover. Likely due to a tail of one books run going into the head of another -- I did end up contacting Oxford after the replacement had the same issue, and between Amazon and Oxford the problem was corrected.
It is with this thought in mind that I would defend Hollywood Harmony as an academic approach to "neo-Riemannian pantriadic chromaticism". Is that a mouthful? Absolutely. And are the concepts here a "brainful". Yes, they are. But for those interested in the unique harmony found in cinematic music and are willing to dig deep into new mental and musical territory, this book is the source of a vast buried treasure.
This book does leave room for writing on this subject with a more general audience in mind. To a degree, Andy Hill's Scoring the Screen fills that space, a book I am reading in tandom with this one. There may be appetite for further simplified presentations of these ideas as well, perhaps even to the point of lists of "formulas" for particular musical effects. That, I think, would be the musical equivalent of painting by number, the apex of "pretension". But, books of that nature may usefully fill a niche.
Having said all that, this book, while not quickly and easily accessible, is valuable for those interested in the engine of cinematic harmony. Highly recommended.