categorize the stylistic influences that Hickman highlights which come
to prominence in film music through the 1950’s and describe the qualites
used to identify each style.
does Hickman describe the ways that a style of music can influence our
understanding of the narrative (storyline) of the film?
What was the HUAC’s role in the film industry during this time? Include examples from the articles, Hickman, and lesson content.
use examples from Reel Music, the film music of the 50’s from that of
the earlier decades particularly of Max Steiner and King Kong. Provide
two examples from each era.
Now, on to the film, please, consider how diversity of music styles is evident in Bernstein’s score for On the Waterfront.
ex. jazz, and grand orchestral music, small combinations of
instruments, and harsh dissonant music. Give examples when each of these
styles can be heard in the score (use the listening guide)
and write a description of the scenes that they underscore, therefore 4
scenes, one for jazz, one for grand orchestral music, one with a small
combination of instruments, and one with harsh dissonant music. Describe
why the music is or isn’t appropriate for the scene. Be sure to include
points from the Keller article.
answer this question that addresses the relationship between the
director’s approach to the film and the composer’s approach to the
famous American composer Aaron Copland said that in differentiating
composers we must, “hear each separately in terms of what he wishes to
communicate.” How might you reconcile the diverse music score of On the
Water Front (jazz, harsh dissonances, symphonic elements, and small
combinations of instruments) with the realism that
Kazan’s film tries to convey? In thinking deeply about the relationship
between score and film what do you surmise, this is your educated view,
that Bernstein is trying to communicate about this story through music?
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