具体描述
The product of 45 years of research, this landmark reference stands as the first attempt to identify all composers who wrote background musical scores for motion pictures in the US through 1970. In the process, film-expert McCarty also documents the authorship of approximately 20,000 film scores. More than 1,500 composers are represented in these pages, not only Hollywood professionals but also many composers of concert music--as well as popular music and other genres--whose cinematic work has never before been fully catalogued.
Movies of all types are included: features, shorts, cartoons, documentaries, nontheatrical works, avant-garde films, and even trailers. Wherever possible, the information is based on the most reliable evidence, that of the manuscript scores and cue sheets (as opposed to less accurate screen credits).
"McCarty's massive book testifies to his extensive effort to identify composers who have written musical scores for motion pictures in the US, 1911-70, and to uncover the proper authorship of these scores. McCarty should be commended for giving credit where credit is due. Valuable for film and music researchers at all levels."--Choice
"A definitive record of film music's beginnings and its Golden Age of the 40's and 50;s. McCarty's book is a treasure trove- and one...fans ought to delve into with eagerness." Soundtrack Magazine
American Sonic Tapestries: A Chronicle of Film Scoring Pioneers This volume delves into the rich and often overlooked history of American film music composition, tracing the evolution of cinematic soundscapes from the silent era’s live accompaniment to the sophisticated orchestral scores of the mid-20th century. Rather than offering a mere catalog of works, this book provides a comprehensive narrative examining the cultural, technological, and artistic forces that shaped how moving pictures were emotionally underscored in the United States. The narrative begins by setting the stage in the early 1900s, exploring the necessity of music in the nascent motion picture industry. Before standardized soundtracks, exhibitors relied on diverse and often improvised methods—from pianists and organists to small ensembles—to enhance the visual experience. We examine the early attempts at systematization, such as the cue sheets distributed by publishers, which suggested mood-appropriate selections, often drawn from classical repertoire or popular parlor songs. This section emphasizes the crucial role of local musicians and the very first composers who began writing specifically for the screen, even before synchronized sound became feasible. As the industry migrated to Hollywood, the focus shifts to the arrival of synchronized sound in the late 1920s. This technological leap precipitated a crisis and an opportunity. Suddenly, the music had to be precisely integrated with the action. The book meticulously chronicles the influx of European émigré composers, many fleeing political turmoil in the 1930s. These émigrés—often classically trained and steeped in the Romantic and late-Romantic traditions of European opera and symphonic writing—brought a high level of formal expertise that profoundly influenced the emerging American style. We analyze how figures like Erich Wolfgang Korngold, Max Steiner, and Franz Waxman adapted complex European compositional techniques to the demands of the Hollywood studio system, establishing the foundational grammar of the “Hollywood sound.” A significant portion of the text is dedicated to the studio system’s role as a crucible for musical development. Major studios like Warner Bros., MGM, and 20th Century Fox developed in-house music departments, treating composers as salaried artisans rather than independent contractors. This environment fostered rapid productivity but also imposed strict stylistic constraints. The volume explores the distinct musical personalities that flourished within these structures—the sweeping romanticism of Steiner, the agile adaptation skills of Alfred Newman, and the darker, more psychological scores characteristic of composers working in the burgeoning horror and noir genres. We investigate the standardization of practices, including the development of the "mickey-mousing" technique and the careful scoring of dialogue. The mid-century transition period, spanning the 1940s and 1950s, marks a period of intense stylistic diversification. The dominance of the large symphonic orchestra began to face challenges from new compositional voices. The book highlights the rise of figures who sought to break free from the pervasive operatic grandeur, introducing jazz, blues, and vernacular American idioms into film scoring. Bernard Herrmann stands as a pivotal figure in this era, celebrated for his lean, psychologically acute scores that prioritized texture and timbre over lush melody. His collaborations with Alfred Hitchcock are dissected, demonstrating how economy of instrumentation could achieve greater dramatic tension than excessive orchestration. Similarly, the influence of emerging television production is briefly touched upon, showing how smaller budgets necessitated more inventive, often modal or percussive approaches to scoring. The later chapters address the profound impact of the social and cultural revolutions of the 1960s and 1970s on film music. As cinema became more cynical, personal, and youth-oriented, film scores mirrored this shift. The reliance on pre-existing popular songs, the incorporation of rock and pop instrumentation, and the increased visibility of the composer as an auteur—rather than a studio functionary—are key themes. We look at how composers like Jerry Goldsmith pushed the boundaries of modernism and dissonance, while others integrated folk and contemporary popular music seamlessly into narrative structures. This section explores the growing recognition of film music as a legitimate art form deserving of critical and academic attention, moving beyond its reputation as mere background accompaniment. Throughout the study, the technical aspects of scoring—from the early reliance on dubbing and optical sound recording to the advancements in magnetic tape and multi-track recording—are integrated into the historical narrative. Understanding the limitations and possibilities of recording technology is crucial to appreciating the creative choices made by these pioneering composers. The volume also considers the business side: contract disputes, the role of music supervisors, and the eventual emergence of the soundtrack album as a significant commercial product separate from the film itself. In sum, this book aims to provide a robust historical framework for understanding the development of American film composition, profiling the individuals, the institutional pressures, and the artistic innovations that collectively forged the auditory backbone of American cinema across its first seven decades. It is an exploration of an essential, yet often marginalized, American musical tradition.
