[PDF / Epub] ✍ Scoring the Screen: The Secret Language of Film Music (Music Pro Guides) (English Edition) ☁ Andy Hill – Bilb-weil.de

As a college film music educator, visual media music supervisor, and hit songwriter producer, I ve had occasion to study several good film music texts that focus primarily on the technical mechanical philosphical aspects of scoring However, with his tireless, detailed study of how composers actually use music to support the emotional narrative, which, after all is what visual media scoring is really about, Andy Hill has created the only modern film scoring text that matters.Thanks Andy. SCORING THE SCREEN THE SECRET LANGUAGE OF FILM MUSICToday, Musical Composition For Films Is Popular Than Ever In Professional And Academic Spheres, Media Music Study And Practice Are Growing Undergraduate And Postgraduate Programs In Media Scoring Are Offered By Dozens Of Major Colleges And Universities And Increasingly, Pop And Contemporary Classical Composers Are Expanding Their Reach Into Cinema And Other Forms Of Screen Entertainment Yet A Search On Reveals At Least Titles Under The Category Of Film Music, And, Remarkably, Only A Meager Few Actually Allow Readers To See The Music Itself, While None Of Them Examine Landmark Scores Like Vertigo, To Kill A Mockingbird, Patton, The Untouchables, Or The Matrix In The Detail Provided By Scoring The Screen The Secret Language Of Film MusicThis Is The First Book Since Roy M Prendergast S Benchmark, Film Music A Neglected Art, To Treat Music For Motion Pictures As A Compositional Style Worthy Of Serious Study Through Extensive And Unprecedented Analyses Of The Original Concert Scores, It Is The First To Offer Both Aspiring Composers And Music Educators With A View From The Inside Of The Actual Process Of Scoring To PictureThe Core Thesis Of Scoring The Screen Is That Music For Motion Pictures Is Indeed A Language, Developed By The Masters Of The Craft Out Of A Dramatic And Commercial Necessity To Communicate Ideas And Emotions Instantaneously To An Audience Like All Languages, It Exists Primarily To Convey Meaning To Quote Renowned Orchestrator Conrad Pope Who Has Worked With John Williams, Howard Shore, And Alexandre Desplat, Among Others If You Have Any Interest In What Music Means In Film, Get This Book Andy Hill Is Among The Handful Of Penetrating Minds And Ears Engaged In Film Music TodayDY HILL Nashville, TN Is A Grammy Award Winning Motion Picture Music Producer From To , He Served As Vice President Of Music Production For Walt Disney Pictures He Developed And Directed, From To , The MFA In Music Composition For The Screen At Columbia College Chicago And Oversaw The Launch Of The MA In Scoring For Film, Television And Video Games At The International Campus Of The Berklee College Of Music He Is An Industry Advisor To The MA In Film Scoring At Pulse College, Dublin I am so stunned by how knowledgeable and experienced, but also incredibly generous the author Andy Hill is He was a pro in Hollywood for many years, but also he is very talented in education He has than enough patience and theories to break down this fairly young, but extremely complicated art form.Recently, I purchased his video instruction course from Cinematic Score website run by a film composer and Berklee instructor, Marc Jovani I could hear and see some of the examples with his explanation Because of copyright issue of film scores, I ve never seen this before from other film scoring books There are very few, a handful amount of film scoring books like On The Track by Fred Karlin Music Composition for Film and Television by the film composer of Mission Impossible and jazz pianist, Lalo Schifrin, but this is truly a one and only gem textbook with actual media examples both classics and recent film scores created by highly renowned Hollywood film composers.Thank you so much for your compassion and intelligence serving greatly for aspiring film composers today, Professor Andy Hill There are a decent amount of film scoring books on the market, and many that get in to analysis, as well What excites me the most about this one is that it s not just a harmonic analysis, but an orchestration, emotional and basically, film music analysis of some of the best scores most of which can t be found in full orchestra versions.The introduction touches on the first minute or so of Malcolm is Dead from The Sixth Sense, by James Newton Howard, and with full orchestral excerpts, Andy goes through everything from the bitonality, slippery intervallic motions of harmonies, melodic lines, and how this music works with the emotions, thoughts and storyline It s an inspirational introduction to a very in depth book that I m looking forward to delving in to.Take notes. There have been quite a few attempts in this relatively young art for people to survey the landscape that is film and television scoring, and make sense of it in writing most of them are hugely out of date, stopping even before the advent of the DAW, or incredibly wordy having little in the way of musical examples , and some still come from an incredibly biased perspective about what is good scoring or not.Then there are some books that are just incredibly superficial, either by focussing solely on the technology which changes so fast as to be almost instantly irrelevant or really aimed at a very basic, beginner level where someone might not even have the basics of music theory down Either way, there has not yet been a book with an enormous amount of meat on the bone both in terms of the reality of how film scores get put together, or in terms of truly understanding the musical language of film and expressing it clearly.Scoring the Screen changes that a meticulously researched survey of film scoring as it is today, including the roots and the development through the early years, but focussing on real world examples and a practical approach, tying ideas in music theory to actual emotional responses and the effect of the music on the audience It is a book that realizes that ultimately film music is designed for an audience, and its power is in its effect on them The musical score reductions get right to the point, without being dumbed down as has certainly been true of some books prior , and there are an incredible number of them, from highly relevant work from Elliot Goldenthal, through John Powell, Don Davis, Hans Z, Danny Elfman, showing you exactly what is going on and why it works.This is the first truly indispensable book for anybody wanting to really read about film scoring as it is today it is written with a palpable sense of joy and love for the industry and the art, by someone who has been on point in the very, very front line of the industry, managing and overseeing numerous scores from movies you have seen recently, and loved If you are studying film scoring, you absolutely need it, and I d be stunned if it s not already on the required reading list of any media music course worldwide And even if you re just an enthusiast and are interested in delving a little deeper, you really need it Thoroughly, thoroughly recommended. As a film composing student, this book is a TREASURE with loads of film music gems From a music analysis standpoint it is spot on Mr Hill is not only knowledgeable about his music and composition skills, but his analysis of the stuff written between the lines on the screen and the lines on the music paper is the REAL treasure It s the missing element, the secret language that they don t teach in ANY of the finest film music institutions BRAVO Thank you for taking the time Mr Hill.And just as a side note the the reviewer that gave this book a poor rating because it didn t have a CD with it you are obviously NOT a film composer or a serious film music enthusiast NONE of the film scoring study books EVER come with a CD, for good reason So, get off your lazy butt for 2 seconds, go to Youtube and listen they re ALL there I KNOW because I ve listened to all of them.