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Hitchcock's Music

Author: Jack Sullivan

Publisher: Yale University Press

Published: 2006-12-01

Total Pages: 376

ISBN-13: 0300134665

"A wonderfully coherent, comprehensive, groundbreaking, and thoroughly engaging study” of how the director of Psycho and The Birds used music in his films (Sidney Gottlieb, editor of Hitchcock on Hitchcock). Alfred Hitchcock employed more musical styles and techniques than any film director in history, from Marlene Dietrich singing Cole Porter in Stage Fright to the revolutionary electronic soundtrack of The Birds. Many of his films—including Notorious, Rear Window, Vertigo, North by Northwest, and Psycho—are landmarks in the history of film music. Now author and musicologist Jack Sullivan presents the first in-depth study of the role music plays in Hitchcock’s films. Based on extensive interviews with composers, writers, and actors, as well as archival research, Sullivan discusses how Hitchcock used music to influence his cinematic atmospheres, characterizations, and even storylines. Sullivan examines the director’s relationships with various composers, especially Bernard Herrmann, and tells the stories behind some of their now-iconic musical choices. Covering the entire director’s career, from the early British works up to Family Plot, this engaging work will change the way we watch—and listen—to Hitchcock’s movies.

Music From The Hitchcock Films (Solo Piano)

Author: Wise Publications

Publisher: Wise Publications

Published: 2014-05-16

Total Pages: 96

ISBN-13: 1783233370

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Alfred Hitchcock was once so famous he was the only film director whose name appeared on the cinema marquee above the title. He disparaged actors and loathed location shooting since both threatened the precise realisation of the film he had already made in his mind. Yet, in his Hollywood heyday he forged some creative collaborations he truly valued: those with composers. From the start, Hitchcock knew that music was an invaluable aid to any director of suspense movies who wanted to put his audience through the emotional wringer. From Arthur Benjamin’s pivotal cantata in the 1934 version of 'The Man Who Knew Too Much' to Bernard Herrmann’s jagged soundtrack for the landmark shocker 'Psycho', the music was usually a visceral part of any Hitchcock movie. By the time John Williams scored Hitchcock’s final film 'Family Plot' (1976), a whole generation of moviegoers would always remember their favourite Hitchcock film with, as it were, the soundtrack attached. Here, arranged for Piano, are some of the most evocative themes from some of Hitchcock’s most unforgettable films.

A Companion to Alfred Hitchcock

Author: Thomas Leitch

Publisher: John Wiley & Sons

Published: 2011-03-01

Total Pages: 624

ISBN-13: 1444397311

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The most comprehensive volume ever published on Alfred Hitchcock, covering his career and legacy as well as the broader cultural and intellectual contexts of his work. Contains thirty chapters by the leading Hitchcock scholars Covers his long career, from his earliest contributions to other directors’ silent films to his last uncompleted last film Details the enduring legacy he left to filmmakers and audiences alike

The Silent Scream

Author: Elisabeth Weis

Publisher:

Published: 1982

Total Pages: 200

ISBN-13:

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When moviegoers refer to Alfred Hitchcock's style, they are usually thinking of his virtuoso camera work and editing. Yet this seminal book reveals that Hitchcock's use of sound -- language, sound effects, and music -- is just as essential, distinctive, and masterly. The premise of "The Silent Scream" is that Hitchcock's aural style is inseparably linked with his visual and thematic interests. Technical achievement are treated here not as isolated bravura effects but as components of a film's overall meaning. Hence, much of this book is about aural motifs in the work of a director who could find something healthy in a scream and something sinister in laughter or a children's song. "The Silent Scream" should fascinate anyone interested in learning more about Hitchcock's films or about the ways in which the sound track subtly manipulates the movie audience. -- From publisher's description.

Hitchcock's Ear

Author: David Schroeder

Publisher: A&C Black

Published: 2012-03-22

Total Pages: 277

ISBN-13: 1441182160

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The author focuses on the way that music has infiltrated Hitchcock’s thinking as a director, from his earliest silent films to his last works.

Music, Sound and Filmmakers

Author: James Wierzbicki

Publisher: Routledge

Published: 2012-08-06

Total Pages: 234

ISBN-13: 1136597018

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Music, Sound and Filmmakers: Sonic Style in Cinema is a collection of essays that examine the work of filmmakers whose concern is not just for the eye, but also for the ear. The bulk of the text focuses on the work of directors Wes Anderson, Ingmar Bergman, the Coen brothers, Peter Greenaway, Krzysztof Kieślowski, Stanley Kubrick, David Lynch, Quentin Tarantino, Andrey Tarkovsky and Gus Van Sant. Significantly, the anthology includes a discussion of films administratively controlled by such famously sound-conscious producers as David O. Selznick and Val Lewton. Written by the leading film music scholars from Europe, North America, and Australia, Music, Sound and Filmmakers: Sonic Style in Cinema will complement other volumes in Film Music coursework, or stand on its own among a body of research.

Hitchcock's Ear

Author: David Schroeder

Publisher: Bloomsbury Publishing USA

Published: 2012-03-22

Total Pages: 276

ISBN-13: 1441108882

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Music is an underexplored dimension in Hitchcock's works. Taking a different view from most works on Hitchcock, David Schroeder focuses on how an expanded definition of music influences Hitchcock's conception of cinema. The structure and rhythm of his films is an important addition to the critical literature on Hitchcock and our understanding of his films and approach to filmmaking. Alfred Hitchcock liked to describe his work as a director in musical terms; for some of his films, it appears that he started with an underlying musical conception, and transformed that sense of music into visual images. The director's favorite scenes lacked dialogue, and they made their impact through a combination of non-verbal actions and music. For example, the waltz and the piano are used as powerful images in silent films, and this approach carries over into sound films. Looking at such films as Vertigo, Rear Window, and Shadow of a Doubt, Schroeder provides a unique look at the way that Hitchcock thought about cinema in musical terms.

The Sound of Pictures

Author: Andrew Ford

Publisher: ReadHowYouWant.com

Published: 2011-02

Total Pages: 426

ISBN-13: 1458762947

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The Sound of Pictures is an illuminating journey through the soundtracks of more than 400 films. How do filmmakers play with sound? And how does that affect the way we watch their movies? Whether pop or classical, sweeping or sparse, music plays a crucial role in our cinematic experience. Other sounds can be even more evocative: the sounds of na...

Making Music in Selznick's Hollywood

Author: Nathan Platte

Publisher: Oxford University Press

Published: 2018

Total Pages: 417

ISBN-13: 0199371113

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This book tells the fascinating story of the evolution of David O. Selznick's style through the many artists whose work defined Hollywood sound.

A Heart at Fire's Center

Author: Steven C. Smith

Publisher: Univ of California Press

Published: 2002-05-31

Total Pages: 468

ISBN-13: 9780520927230

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No composer contributed more to film than Bernard Herrmann, who in over 40 scores enriched the work of such directors as Orson Welles, Alfred Hitchcock, François Truffaut, and Martin Scorsese. In this first major biography of the composer, Steven C. Smith explores the interrelationships between Herrmann's music and his turbulent personal life, using much previously unpublished information to illustrate Herrmann's often outrageous behavior, his working methods, and why his music has had such lasting impact. From his first film (Citizen Kane) to his last (Taxi Driver), Herrmann was a master of evoking psychological nuance and dramatic tension through music, often using unheard-of instrumental combinations to suit the dramatic needs of a film. His scores are among the most distinguished ever written, ranging from the fantastic (Fahrenheit 451, The Day the Earth Stood Still) to the romantic (Obsession, The Ghost and Mrs. Muir) to the terrifying (Psycho). Film was not the only medium in which Herrmann made a powerful mark. His radio broadcasts included Orson Welles's Mercury Theatre on the Air and The War of the Worlds. His concert music was commissioned and performed by the New York Philharmonic, and he was chief conductor of the CBS Symphony. Almost as celebrated as these achievements are the enduring legends of Herrmann's combativeness and volatility. Smith separates myth from fact and draws upon heretofore unpublished material to illuminate Herrmann's life and influence. Herrmann remains as complex as any character in the films he scored—a creative genius, an indefatigable musicologist, an explosive bully, a generous and compassionate man who desperately sought friendship and love. Films scored by Bernard Herrmann: Citizen Kane, The Ghost and Mrs. Muir, Vertigo, Psycho, Fahrenheit 451, Taxi Driver, The Magnificent Ambersons, The Man Who Knew Too Much, North By Northwest, The Birds, The Snows of Kilimanjaro, Cape Fear, Marnie, Torn Curtain, among others