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The Early Film Music of Dmitry Shostakovich (Oxford Music / Media), Titus, Joan,
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Item specifics
- Condition
- Book Title
- The Early Film Music of Dmitry Shostakovich (Oxford Music / Media
- ISBN
- 9780199315147
- Subject Area
- Music, Performing Arts
- Publication Name
- Early Film Music of Dmitry Shostakovich
- Publisher
- Oxford University Press, Incorporated
- Item Length
- 9.3 in
- Subject
- History & Criticism, Genres & Styles / Classical, Genres & Styles / General, Film / History & Criticism
- Publication Year
- 2016
- Series
- Oxford Music / Media Ser.
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Item Height
- 0.9 in
- Item Weight
- 19.1 Oz
- Item Width
- 6.2 in
- Number of Pages
- 272 Pages
About this product
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0199315140
ISBN-13
9780199315147
eBay Product ID (ePID)
219553163
Product Key Features
Number of Pages
272 Pages
Language
English
Publication Name
Early Film Music of Dmitry Shostakovich
Publication Year
2016
Subject
History & Criticism, Genres & Styles / Classical, Genres & Styles / General, Film / History & Criticism
Type
Textbook
Subject Area
Music, Performing Arts
Series
Oxford Music / Media Ser.
Format
Hardcover
Dimensions
Item Height
0.9 in
Item Weight
19.1 Oz
Item Length
9.3 in
Item Width
6.2 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2015-028106
Dewey Edition
23
Reviews
"It is certainly an important milestone in Shostakovich studies that will be of great interest not only to musicologists and students of film, but also to all with an interest in the vagaries of Soviet thought and practice. Promised future volumes on the composers later film music will be eagerly awaited." -- Arnold McMillin, Slavonic and East European Review"Joan Titus's exciting book on Dmitry Shostakovich richly demonstrates the importance of a synthetic approach to music studies - in this case, a study of how a young, classically trained composer learned to write for popular new media and developed as an artist in the process. Titus illustrates how the composer coped with the challenges, both technical and political, in producing sounds, scores, and songs for each movie and how he eventually pioneeredsuccessful models of film music that were intelligible for the masses."--Beth Holmgren, Duke University"With an impressive set of scholarly tools that span many methods and disciplines and an essential companion website that contains clips from difficult-to-find early Soviet films, Titus's study of Shostakovich's early film scores adroitly introduces a new world of important details and ideas to our understanding of both Shostakovich's music as well as Soviet cinema and culture."--Neil Lerner, Davidson College"A welcome addition to the ever-growing field of film music studies. Joan Titus has brought the complex contexts for early Soviet film and film music to vivid life. Hers is that rare kind of interdisciplinary study that benefits both from her extensive knowledge of period documents and willingness to engage with questions of interest to scholars today. Her book also provides tantalizing new insights and speculations on the cross-influences of soundtracks andsymphonies in Shostakovich's compositional career."--David Haas, University of Georgia"Joan Titus's book is the first systematic study of the composer's film-music. It is therefore a most welcome contribution to both Shostakovich studies and the growing body of film-music scholarship. Titus deals with aesthetic and ideological considerations that affected the Soviet film-industry during the technological passage from silent to sound films in her introduction and throughout the book. Her discourse on these subjects is interesting and thought-provoking." --Slavic Review, "It is certainly an important milestone in Shostakovich studies that will be of great interest not only to musicologists and students of film, but also to all with an interest in the vagaries of Soviet thought and practice. Promised future volumes on the composers later film music will be eagerly awaited." -- Arnold McMillin, Slavonic and East European Review"Joan Titus's exciting book on Dmitry Shostakovich richly demonstrates the importance of a synthetic approach to music studies - in this case, a study of how a young, classically trained composer learned to write for popular new media and developed as an artist in the process. Titus illustrates how the composer coped with the challenges, both technical and political, in producing sounds, scores, and songs for each movie and how he eventually pioneered successful models of film music that were intelligible for the masses."--Beth Holmgren, Duke University"With an impressive set of scholarly tools that span many methods and disciplines and an essential companion website that contains clips from difficult-to-find early Soviet films, Titus's study of Shostakovich's early film scores adroitly introduces a new world of important details and ideas to our understanding of both Shostakovich's music as well as Soviet cinema and culture."--Neil Lerner, Davidson College"A welcome addition to the ever-growing field of film music studies. Joan Titus has brought the complex contexts for early Soviet film and film music to vivid life. Hers is that rare kind of interdisciplinary study that benefits both from her extensive knowledge of period documents and willingness to engage with questions of interest to scholars today. Her book also provides tantalizing new insights and speculations on the cross-influences of soundtracks and symphonies in Shostakovich's compositional career."--David Haas, University of Georgia"Joan Titus's book is the first systematic study of the composer's film-music. It is therefore a most welcome contribution to both Shostakovich studies and the growing body of film-music scholarship. Titus deals with aesthetic and ideological considerations that affected the Soviet film-industry during the technological passage from silent to sound films in her introduction and throughout the book. Her discourse on these subjects is interesting and thought-provoking." --Slavic Review, "Joan Titus's exciting book on Dmitry Shostakovich richly demonstrates the importance of a synthetic approach to music studies - in this case, a study of how a young, classically trained composer learned to write for popular new media and developed as an artist in the process. Titus illustrates how the composer coped with the challenges, both technical and political, in producing sounds, scores, and songs for each movie and how he eventually pioneered successful models of film music that were intelligible for the masses."--Beth Holmgren, Duke University "With an impressive set of scholarly tools that span many methods and disciplines and an essential companion website that contains clips from difficult-to-find early Soviet films, Titus's study of Shostakovich's early film scores adroitly introduces a new world of important details and ideas to our understanding of both Shostakovich's music as well as Soviet cinema and culture."--Neil Lerner, Davidson College "A welcome addition to the ever-growing field of film music studies. Joan Titus has brought the complex contexts for early Soviet film and film music to vivid life. Hers is that rare kind of interdisciplinary study that benefits both from her extensive knowledge of period documents and willingness to engage with questions of interest to scholars today. Her book also provides tantalizing new insights and speculations on the cross-influences of soundtracks and symphonies in Shostakovich's compositional career."--David Haas, University of Georgia, "It is certainly an important milestone in Shostakovich studies that will be of great interest not only to musicologists and students of film, but also to all with an interest in the vagaries of Soviet thought and practice. Promised future volumes on the composers later film music will be eagerly awaited." -- Arnold McMillin, Slavonic and East European Review "Joan Titus's exciting book on Dmitry Shostakovich richly demonstrates the importance of a synthetic approach to music studies - in this case, a study of how a young, classically trained composer learned to write for popular new media and developed as an artist in the process. Titus illustrates how the composer coped with the challenges, both technical and political, in producing sounds, scores, and songs for each movie and how he eventually pioneered successful models of film music that were intelligible for the masses."--Beth Holmgren, Duke University "With an impressive set of scholarly tools that span many methods and disciplines and an essential companion website that contains clips from difficult-to-find early Soviet films, Titus's study of Shostakovich's early film scores adroitly introduces a new world of important details and ideas to our understanding of both Shostakovich's music as well as Soviet cinema and culture."--Neil Lerner, Davidson College "A welcome addition to the ever-growing field of film music studies. Joan Titus has brought the complex contexts for early Soviet film and film music to vivid life. Hers is that rare kind of interdisciplinary study that benefits both from her extensive knowledge of period documents and willingness to engage with questions of interest to scholars today. Her book also provides tantalizing new insights and speculations on the cross-influences of soundtracks and symphonies in Shostakovich's compositional career."--David Haas, University of Georgia "Joan Titus's book is the first systematic study of the composer's film-music. It is therefore a most welcome contribution to both Shostakovich studies and the growing body of film-music scholarship. Titus deals with aesthetic and ideological considerations that affected the Soviet film-industry during the technological passage from silent to sound films in her introduction and throughout the book. Her discourse on these subjects is interesting and thought-provoking." --Slavic Review, "Joan Titus's exciting book on Dmitry Shostakovich richly demonstrates the importance of a synthetic approach to music studies - in this case, a study of how a young, classically trained composer learned to write for popular new media and developed as an artist in the process. Titus illustrates how the composer coped with the challenges, both technical and political, in producing sounds, scores, and songs for each movie and how he eventually pioneered successful models of film music that were intelligible for the masses."--Beth Holmgren, Duke University "With an impressive set of scholarly tools that span many methods and disciplines and an essential companion website that contains clips from difficult-to-find early Soviet films, Titus's study of Shostakovich's early film scores adroitly introduces a new world of important details and ideas to our understanding of both Shostakovich's music as well as Soviet cinema and culture."--Neil Lerner, Davidson College "A welcome addition to the ever-growing field of film music studies. Joan Titus has brought the complex contexts for early Soviet film and film music to vivid life. Hers is that rare kind of interdisciplinary study that benefits both from her extensive knowledge of period documents and willingness to engage with questions of interest to scholars today. Her book also provides tantalizing new insights and speculations on the cross-influences of soundtracks and symphonies in Shostakovich's compositional career."--David Haas, University of Georgia "Joan Titus's book is the first systematic study of the composer's film-music. It is therefore a most welcome contribution to both Shostakovich studies and the growing body of film-music scholarship. Titus deals with aesthetic and ideological considerations that affected the Soviet film-industry during the technological passage from silent to sound films in her introduction and throughout the book. Her discourse on these subjects is interesting and thought-provoking." --Slavic Review
TitleLeading
The
Illustrated
Yes
Dewey Decimal
781.5/42092
Table Of Content
Contents Abbreviations Notes on transliteration About the Companion Website Chapter 1: Introduction Chapter 2: New Babylon (1928-1929) and Scoring for the Silent Film Chapter 3: Alone (1929-1931) and the Beginnings of Sound Film Chapter 4: Golden Mountains (1931) and the New Soviet Sound Film Chapter 5: Counterplan (1932) and the Socialist Realist Film Chapter 6: Youth of Maxim (1934-1935) and the Minimal Score Chapter 7: Girlfriends (1935-1936) and the "Girls of the Future" Chapter 8: Epilogue Bibliography Index
Synopsis
In The Early Film Music of Dmitry Shostakovich, Joan Titus examines the scores of six of Shostakovich's films, from 1928 through 1936 with an approach that combines film studies, musicology, Russian studies and original scholarship. Through Shostakovich's scores, Titus engages with the construct of Soviet intelligibility, the filmmaking and scoring processes, and the cultural politics of scoring Soviet film music, asking why and how listeners understand the composer the way they do., In the late 1920s, Dmitry Shostakovich emerged as one of the first Soviet film composers. With his first score for the silent film New Babylon (1928-29) and the many sound scores that followed, he was situated to observe and participate in the changing politics of the film industry and negotiate the role of the film composer. In The Early Film Music of Dmitry Shostakovich, author Joan Titus examines the relationship between musical narration, audience, filmmaker, and composer in six of Shostakovich's early film scores, from 1928 through 1936. Titus engages with the construct of Soviet intelligibility, the filmmaking and scoring processes, and the cultural politics of scoring Soviet film music, asking how listeners hear and see Shostakovich. The discussions of the scores are enriched by the composer's own writing on film music, along with archival materials and recently discovered musical manuscripts that illuminate the collaborative processes of the film teams, studios, and composer. The Early Film Music of Dmitry Shostakovich commingles film/media studies, musicology, and Russian studies , and is sure to be of interest to a wide audience including those in music studies, film/media scholars, and Slavicists., In the late 1920s, Dmitry Shostakovich emerged as one of the first Soviet film composers. With his first score for the silent film New Babylon (1928-29) and the many sound scores that followed, he was situated to observe and participate in the changing politics of the film industry and negotiate the role of the film composer. In The Early Film Music of Dmitry Shostakovich, author Joan Titus examines the relationship between musical narration, audience, filmmaker, and composer in six of Shostakovich's early film scores, from 1928 through 1936. Titus engages with the construct of Soviet intelligibility, the filmmaking and scoring processes, and the cultural politics of scoring Soviet film music, asking how listeners hear and see Shostakovich. The discussions of the scores are enriched by the composer's own writing on film music, along with archival materials and recently discovered musical manuscripts that illuminate the collaborative processes of the film teams, studios, and composer. The Early Film Music of Dmitry Shostakovich commingles film/media studies, musicology, and Russian studies, and is sure to be of interest to a wide audience including those in music studies, film/media scholars, and Slavicists., In the late 1920s, Dmitry Shostakovich emerged as one of the first Soviet film composers. With his first score for the silent film the New Babylon (1929) and the many sound scores that followed, he was positioned to observe and participate in the changing politics of the film industry and negotiate the role of the film composer. In The Early Film Music of Dmitry Shostakovich, Joan Titus examines the scores of six of Shostakovich's films, from 1928 through 1936. Instead of investigating Shostakovich as a composer, a rebel, a communist, or a dissident, as innumerable studies do, Titus approaches him as a concept in itself-as an idea-and asks why and how listeners understand him as they do. Through Shostakovich's scores, Titus engages with the construct of Soviet intelligibility, the filmmaking and scoring processes, and the cultural politics of scoring Soviet film music, asking why and how listeners understand the composer the way they do. The discussions of the scores are enriched by the composer's own writing on film music, along with archival materials and recently discovered musical manuscripts that illuminate the collaborative processes of the film teams, studios, and composer. The Early Film Music of Dmitry Shostakovich commingles film studies, musicology, and Russian studies with original scholarship, and is sure to be of interest to a wide audience including musicologists, film scholars, historians of Russia and the Soviet Union, and Slavicists.
LC Classification Number
ML410.S53T58 2016
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