0 Jean Gremillon, the composer Film critics and historians have long thought of Jean Gremillon as one of the most musical filmmakers. They have emphasized Gremillon 's distinctive use of music and the meticously constructed soundtrack of some of his films. They have also stressed the fact that Gremillon was a musician before becoming a film director. Born in 1901, Bayeux of Normandy, Gremillon came up to Paris in 1920 and studied composition at the Schola Cantorum. His first contact with films came when he played the violin in a small orchstra that accampanied silent pictures.
His vocal and instrumental music for court ballets gradually made him indispensable. In 1660 and 1662 he collaborated on court performances of Francesco Cavalli Xerse and Ercole amante. When Louis XIV took over the power of government in 1661, he named Lully superintendent of the royal music and music master of the royal family. Lully's music was known for its power, liveliness in its fast movements and its deep emotional character in its slower movements. Some of his most popular works are his passacailles (passacaglias) and chaconnes, which are dance movements found in many of his works such as Armide or Phaëton..
This is especially observable in Andante, the second movement, of the concerto. There has been some controversy over the meaning of ‘fiauti d’echo’ (echo flutes) which Bach wrote in his original manuscript. One possibility is that ‘fiauti d’echo’ refers to a specific instrument that was used in the 18th century. Dart (1960) argues that ‘fiauti d’echo’ could possibly refer to the flageolet as it was popular during the first 20 years of the 18th century. He also assumed that bird flageolets in G sounding an octave higher than written it would eliminate problems of balance in the orchestra and “add brilliant high entries to the fugue” (Dart,
As a composer Holst was inspired by literature. He set poetry by Thomas Hardy, Robert Bridges, and Walt Whitman, whose words he set in “Dirge for Two Veterans” and The Mystic Trumpeter. He wrote a orchestral Walt Whitman Overture in 1899. He found the existing English versions of texts unconvincing and decided to make his own translations. In 1913, St Paul’s Girl’s School opened an new music wing, Holst composed St Paul’s Suite for the
It expanded the orchestra, providing the depth on timbre. Especially in the middle of the century, with the domination of the German influences, their own-country-styled-music was started to discover by composers of the other country from Germany. The investigation evaluates how this nationalistic movements was influenced musical elements of this period. I have chosen to investigate two Romantic pieces, L’Arlesienne by Bizet and Symphony No.2 by Tchaikovsky. The both music I chose is the music that I have played in orchestra by violin before.
At the same time the composer takes special timing notes on when to entre a cue and when to end it. This whole process is what is called spotting. However, there are special cases where the composer is required to compose the score by only going through the scripts without watching the film. In this case he/she is given the authority to control the film flow and be able to reason independent. In this case the director will edit the film to fit the flow of the music.
272) and Nigel Bruce as Dr. James Watson, can be considered as an adaptation within an adaptation. The movies were very popular and were probably first motion pictures which depicted the adaptation of the Victorian detective for the purposes of the modern times. Featuring Holmes and Watson in the Second World War set, ferreting out Nazi spies, was one of the way for the USA to show its anti-Hitler propaganda through the film industry (Field 119). The fact that at least two movies were released in one year, sometimes there were even three, proves again the audience`s huge demand for Sherlock Holmes`s adventures. Some of the scenes in the movies were used in the latest adaptations.
Independent producers, music directors, and musicians influenced how Hindi films relied on a specific blend of songs, dances and acting in each film for an all-around balance formula in Hindi films. There are three types of influential music behind the success of Hindi cinema originating from Indian classical music, Western pop and classical music and a variety of folk music from across different regions (Mohita, n.d., p. 1). Along with music, Bollywood cinema encompasses action, drama, emotion, romance, and comedy all wrapped up in one movie. Having one set genre proves to be challenging and highlight the importance of promoting the music in Hindi cinema. During the 1970’s, “playback” singers emerged as a critical aspect of the success of Hindi film and remains an essential element to the Indian film industry to
The musicians did well to truly bring to life what the composer had composed, with the truly emotional scenes being emotional, and the comedic scenes being comedic, all through the means of not only just the acting, but the music as well. I have based my judgement of this play on the many other cultural inspired music and other musical theatre shows I’ve attended. Listening to cultural ties between the U.S. and more European forms of music really brought home the concept of unity in the play. This act of musicianship and performance arts has truly been a gratifying