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Acknowledgements | p. vii |
Preface to the Second Edition | p. viii |
Introduction | p. x |
The History of Film Music | p. 1 |
Early Films and Music: The Silent Movies | p. 3 |
The First Talkies: The Beginning of Synchronized Music | p. 13 |
The Studio System and The Studio Music Department | p. 19 |
Musical Styles-1930 to 1950: The Golden Age of Hollywood | p. 27 |
Musical Styles 1950 to 1975 | p. 35 |
1975 to Today | p. 45 |
Film-Scoring Technology | p. 55 |
Production | p. 65 |
The Film-Making Process | p. 67 |
The Composer's Time Frame | p. 79 |
Spotting | p. 87 |
The Music Editor | p. 93 |
The Music Team: Orchestrators and Music Preparation | p. 109 |
The Recording Session and Mix | p. 119 |
The Music | p. 127 |
Creating the Music | p. 129 |
Technical Requirements of the Score | p. 139 |
Syncing the Music to Picture | p. 151 |
Television | p. 163 |
Ethnic and Period Music | p. 171 |
Animation | p. 179 |
Songs, Soundtracks, and Source Music | p. 189 |
The Business of Film Scoring | p. 203 |
Making the Deal: Agents, Attorneys, and Contracts | p. 205 |
Publishing and Copyrights | p. 217 |
Royalties | p. 231 |
Demos and Marketing | p. 245 |
Finding Work | p. 255 |
Interviews | p. 263 |
Elmer Bernstein | p. 264 |
Terence Blanchard | p. 270 |
Alf Clausen | p. 276 |
Cliff Eidelman | p. 281 |
Danny Elfman | p. 286 |
Richard Gibbs | p. 293 |
Elliot Goldenthal | p. 299 |
Michael Gorfaine & Sam Schwarts | p. 305 |
Harry Gregson-Williams | p. 310 |
Mark Isham | p. 316 |
Michael Kamen | p. 322 |
Mark Mancina | p. 329 |
David Newman | p. 333 |
David Raksin | p. 338 |
Lolita Ritmanis | p. 345 |
William Ross | p. 351 |
Marc Shaiman | p. 356 |
Alan Silvestri | p. 366 |
Mark Snow | p. 372 |
Richard Stone | p. 377 |
Shirley Walker | p. 382 |
End Notes | p. 388 |
Resources | p. 389 |
About the Author | p. 393 |
Index | p. 394 |
Table of Contents provided by Ingram. All Rights Reserved. |
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