Ennio Morricone
-10%
portes grátis
Ennio Morricone
In His Own Words
De Rosa, Alessandro (Composer)
Oxford University Press Inc
03/2019
352
Dura
Inglês
9780190681012
15 a 20 dias
This book present a years-long discussion between composers Ennio Morricone and Alessandro De Rosa about life, music, and the unpredictable ways that the two influence each other.
Translator's Note Preface Introduction Where These Conversations Come From Chapter One Playing (Chess) with Mephisto Chapter Two A Composer Lent to Cinema 2.1. On Arranging 2.2. The Beginnings in Cinema 2.2.1 Paying My Dues 2.2.2 Luciano Salce 2.3 Sergio Leone and the Dollar Trilogy 2.2.1 A Fistful of Dollars: Myth and Reality 2.2.2 For a Few Dollars More 2.2.3 The Good, the Bad and the Ugly 2.4 Pier Paolo Pasolini 2.4.1 The Hawks and the Sparrows and a Strange Poem 2.4.2 Teorema and an Unrealized Story 2.4.3 Surrendering to Pasolini 2.5 Collaborations, Experiments, and Professional Consolidation 2.5.1 Pontecorvo, De Seta, Bellocchio 2.5.2 Bolognini, Montaldo 2.5.3 Wertmuller, Bertolucci 2.5.4 Consensus or Consumption? 1968 and Once Upon a Time in the West 2.5.5 Duck, You Sucker 2.5.6 Elio Petri 2.5.7 Sergio the Producer 2.5.8 Once Upon a Time in America 2.5.9 The "Leningrad Project" and Leone's Death Chapter Three Music and Images 3.1 Reflections and Memories of a Film Music Composer 3.1.1 No Theme? More Fun ! 3.1.2 Giuseppe Tornatore 3.1.3 Singers and Songs in Film: On Music's Adaptability 3.1.4 Quentin Tarantino 3.1.5 Temporality and the "EST" Principle 3.2 Backward Path to the Beginnings in Hollywood 3.2.1 The Academy Honorary Award 3.2.2 The Beginnings in U.S. Cinema 3.2.3 A House in the United States? 3.2.4 U.S. Composers 3.2.5 Terrence Malick 3.2.6 The Interpreter Didn't Help with John Carpenter 3.3 Creativity and Constraints: The Double Aesthetics 3.4 On Theater, the Musical, and Television 3.4.1 The Betrothed 3.4.2 Moses, the Lawgiver 3.4.3 Marco Polo 3.4.4 Secret of the Sahara 3.4.5 The Octopus 3.5 Pains and Experiments 3.5.1 Roberto Faenza 3.5.2 Nino Rota 3.5.3 Difficult Relationships 3.5.4 Joanou, Stone, and the Overtones 3.5.5 Warren Beatty 3.5.6 Pride and Repentance 3.5.7 Fights and Arguments 3.6 Beyond Cinema, Beyond Music Chapter 4 Mystery and Mastery 4.1 The Mystery of Creation 4.2 What Is Music? 4.2.1 Birth, Death, and Resurrection of Music 4.2.2 In Search of Myself: How to Listen to Contemporary Music 4.2.3 My Way 4.2.4 A Dilated Present 4.2.5 Studying Music Today? 4.3 A Sophisticated Balance between the Predictable and the Unforeseeable 4.4 Digressions 4.4.1 Cinema's Transformations 4.4.2 Timbre, Sound, and Performers 4.4.3 On Teaching 4.4.4 High Productivity? A Healthy Mind in a Healthy Body Chapter Five An Absolute Music? 5.1 The Roots 5.1.1 A Short Introduction to the "Absolute" 5.1.2 Darmstadt: A Summer of Experiments 5.1.3 Gruppo d'Improvvisazione Nuova Consonanza 5.2 A Response to the Conflict of Times: Towards
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This book present a years-long discussion between composers Ennio Morricone and Alessandro De Rosa about life, music, and the unpredictable ways that the two influence each other.
Translator's Note Preface Introduction Where These Conversations Come From Chapter One Playing (Chess) with Mephisto Chapter Two A Composer Lent to Cinema 2.1. On Arranging 2.2. The Beginnings in Cinema 2.2.1 Paying My Dues 2.2.2 Luciano Salce 2.3 Sergio Leone and the Dollar Trilogy 2.2.1 A Fistful of Dollars: Myth and Reality 2.2.2 For a Few Dollars More 2.2.3 The Good, the Bad and the Ugly 2.4 Pier Paolo Pasolini 2.4.1 The Hawks and the Sparrows and a Strange Poem 2.4.2 Teorema and an Unrealized Story 2.4.3 Surrendering to Pasolini 2.5 Collaborations, Experiments, and Professional Consolidation 2.5.1 Pontecorvo, De Seta, Bellocchio 2.5.2 Bolognini, Montaldo 2.5.3 Wertmuller, Bertolucci 2.5.4 Consensus or Consumption? 1968 and Once Upon a Time in the West 2.5.5 Duck, You Sucker 2.5.6 Elio Petri 2.5.7 Sergio the Producer 2.5.8 Once Upon a Time in America 2.5.9 The "Leningrad Project" and Leone's Death Chapter Three Music and Images 3.1 Reflections and Memories of a Film Music Composer 3.1.1 No Theme? More Fun ! 3.1.2 Giuseppe Tornatore 3.1.3 Singers and Songs in Film: On Music's Adaptability 3.1.4 Quentin Tarantino 3.1.5 Temporality and the "EST" Principle 3.2 Backward Path to the Beginnings in Hollywood 3.2.1 The Academy Honorary Award 3.2.2 The Beginnings in U.S. Cinema 3.2.3 A House in the United States? 3.2.4 U.S. Composers 3.2.5 Terrence Malick 3.2.6 The Interpreter Didn't Help with John Carpenter 3.3 Creativity and Constraints: The Double Aesthetics 3.4 On Theater, the Musical, and Television 3.4.1 The Betrothed 3.4.2 Moses, the Lawgiver 3.4.3 Marco Polo 3.4.4 Secret of the Sahara 3.4.5 The Octopus 3.5 Pains and Experiments 3.5.1 Roberto Faenza 3.5.2 Nino Rota 3.5.3 Difficult Relationships 3.5.4 Joanou, Stone, and the Overtones 3.5.5 Warren Beatty 3.5.6 Pride and Repentance 3.5.7 Fights and Arguments 3.6 Beyond Cinema, Beyond Music Chapter 4 Mystery and Mastery 4.1 The Mystery of Creation 4.2 What Is Music? 4.2.1 Birth, Death, and Resurrection of Music 4.2.2 In Search of Myself: How to Listen to Contemporary Music 4.2.3 My Way 4.2.4 A Dilated Present 4.2.5 Studying Music Today? 4.3 A Sophisticated Balance between the Predictable and the Unforeseeable 4.4 Digressions 4.4.1 Cinema's Transformations 4.4.2 Timbre, Sound, and Performers 4.4.3 On Teaching 4.4.4 High Productivity? A Healthy Mind in a Healthy Body Chapter Five An Absolute Music? 5.1 The Roots 5.1.1 A Short Introduction to the "Absolute" 5.1.2 Darmstadt: A Summer of Experiments 5.1.3 Gruppo d'Improvvisazione Nuova Consonanza 5.2 A Response to the Conflict of Times: Towards
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
