The Art of Film Music

出版者:Northeastern University Press

作者:George Burt

页数:288页

出版时间:01 April, 1996

价格:$22.00

装帧:Paperback

isbn号码:9781555532703

具体描述

Burt, a music professor with extensive film scoring experience, offers what amounts to a textbook for aspiring film composers, one that employs many musical examples from film scores by composers ranging from Erich Wolfgang Korngold, biggest gun among 1930s Hollywood composers, to John Williams, the most successful contemporary exponent of the trade. Burt especially emphasizes, however, the work of four other composers--Hugo Friedhofer, Alex North, David Raksin, and Leonard Rosenman--and uses their work to illustrate topics ranging from creating character through music to how to pace action with music. Particularly useful are extended discussions on how specific sequences in such famous movies as East of Eden, Laura, and The Best Years of Our Lives were scored. Burt concludes with a chapter emphasizing such practical details as timing, synchronization, use of the synthesizer, and mixing and dubbing. Although fairly technical, Burt's effort will interest, besides budding film composers, those interested in the nuts and bolts of film scoring. Libraries with hefty film collections can safely add this. John Shreffler

作者简介

Burt (music, Rice Univ.), himself a composer and former student of Babbitt, Mil- haud, and Sessions, is well qualified to offer this inside look at a complex art. He covers a lot of ground in just six chapters, making extensive use of dozens of musical excerpts and scene summaries from classic films from the 1930s through the 1980s. The author examines philosophical, aesthetic, and highly technical aspects in the course of discussions with leading film composers Hugo Friedhofer, Alex North, David Rakson, and Leonard Rosenman. Burt's credentials will lure the serious musician/composer, but this book's range of information will appeal also to the avid film enthusiast, though an ability to read music is key to fully appreciating the book. Notes and a glossary are included. For a more encyclopedia-style account and time period expansion, see William Darby and Jack Du Bois's American Film Music: Major Composers, Techniques, Trends (LJ 11/15/90).

Cynthia Ann Cordes, Onondaga Cty. P.L., Syracuse, N.Y.

Copyright 1994 Reed Business Information, Inc.

读后感

The terrific book shows the work of 4 great film composers. Burt's approach is for both musician and non-musician, so the book is ideal for composers and for directors and producers. There is a general descriptive text explaining what film music should do,...

The terrific book shows the work of 4 great film composers. Burt's approach is for both musician and non-musician, so the book is ideal for composers and for directors and producers. There is a general descriptive text explaining what film music should do,...

The terrific book shows the work of 4 great film composers. Burt's approach is for both musician and non-musician, so the book is ideal for composers and for directors and producers. There is a general descriptive text explaining what film music should do,...

The terrific book shows the work of 4 great film composers. Burt's approach is for both musician and non-musician, so the book is ideal for composers and for directors and producers. There is a general descriptive text explaining what film music should do,...

The terrific book shows the work of 4 great film composers. Burt's approach is for both musician and non-musician, so the book is ideal for composers and for directors and producers. There is a general descriptive text explaining what film music should do,...

用户评价

坦白说，这本书的某些章节读起来，需要极大的耐心和专注力，它绝对不是那种可以边喝咖啡边翻阅的轻松读物。我花了整整一个周末才消化完关于“主题动机发展与潜意识暗示”的那几章。作者似乎对古典主义音乐结构有着近乎迷恋的执着，他不断地将电影配乐的技法追溯到瓦格纳歌剧和巴赫的对位法中去，这使得整本书的论述基础异常稳固，但也意味着，如果你对古典音乐史一窍不通，可能会在中途感到吃力。我个人最欣赏的是作者对“情感欺骗”这一概念的探讨——即配乐如何通过制造一个听觉上的假象，引导观众进入一个导演并不想让你长期停留的情绪陷阱。这种对“操控感”的直白剖析，让我对那些被完美地“引导”过的观影体验，有了一种既被冒犯又不得不佩服的复杂情感。这本书的价值在于，它让你看清了幕后的魔术师是如何挥舞指挥棒的。

这本书最令人惊喜的特质，在于它对待“音乐与时代精神”之间关系的深刻反思。它不仅仅是一本技术手册，更像是一部小型的文化史。作者并没有将电影音乐视为一个孤立的艺术形式，而是将其放置在社会变迁的宏大背景下进行审视。比如，他分析了二战后，爵士乐如何从早期的乐观主义，逐渐演变成后朋克时代那种疏离、破碎的城市噪音，以及这种转变如何精准地映照了人们对宏大叙事信念的瓦解。这种将美学分析与社会学观察完美融合的写作方式，使得这本书具有了超越专业领域的广阔意义。每一次翻阅，都能发现新的共鸣点，仿佛作者在跟你进行一场跨越时空的对话，探讨的不仅是银幕上的光影，更是我们身处的这个世界的声响本质。读完它，我感到自己对“媒介”这个概念的理解都变得更加立体和深刻了，简直是一次酣畅淋漓的思想洗礼。

如果用一个词来形容这本书的阅读体验，我会选择“颠覆性”。我一直以为，电影配乐的精髓在于宏大叙事和情感渲染，那些史诗般的交响乐，或者浪漫的弦乐铺陈。然而，作者在探讨“沉默的力量”以及“声音的负空间”时，彻底击碎了我的固有认知。他引用的那些晦涩的实验电影案例，虽然初看之下有些让人摸不着头脑，但细细品味，才能体会到他想表达的：音乐的缺席，有时比最响亮的和弦更具冲击力。这种写作风格相当大胆，一点也不迎合主流审美，它迫使你停下来，在脑海中重构那些经典场景——当配乐突然消失时，观众的焦虑感是如何瞬间飙升的？作者对于“李斯特效应”在现代电影配乐中如何被反向运用（即故意制造听觉上的不适，以匹配角色的精神状态）的分析，简直是教科书级别的案例拆解。这本书的语言风格非常学术化，但又带着一种近乎偏执的精确性，每一次论证都有扎实的理论支撑，读起来酣畅淋漓，感觉自己的智商都被这本书强行拉高了几个档次。

这本书，天哪，我简直不敢相信我竟然等了这么久才翻开它！我得说，我的期望值本来就很高，毕竟“电影音乐的艺术”这个标题本身就充满了魔力与承诺。但读完第一部分，我立刻意识到，这不是一本简单的教科书，而更像是一份精心制作的导览图，带你深入到声音的迷宫深处。作者在叙事上的功力令人叹服，他没有用那些晦涩难懂的音乐学术语把我轰走，而是像一个经验丰富的向导，用流畅而富有洞察力的笔触，引导读者去倾听那些我们习以为常，却从未真正“听见”的元素。比如，他对配乐如何通过对位法与画面情绪进行微妙的拉扯和平衡的论述，简直是醍醐灌顶。我立刻回想起《卡萨布兰卡》中那段著名的钢琴独奏，之前只是觉得它很感人，但现在我能清晰地分辨出旋律进行中那种“故作洒脱”背后的心碎，那完全是音乐语言的胜利。这本书真正厉害的地方在于，它没有停留在“好听”这个肤浅的层面，而是拆解了“好听”背后的结构和意图，让我对每一次管弦乐的推进、每一次主题的变奏，都有了全新的敬畏感。这种深入骨髓的理解，让人看电影的体验都升华了，简直是打开了一个全新的感官世界。

我必须承认，这本书的排版和插图部分处理得非常精妙，这对于一本探讨“艺术”的书来说至关重要。它不像某些学术著作那样，只有密密麻麻的文字，让人望而却步。相反，作者似乎非常懂得视觉引导的重要性。比如，在讨论约翰·威廉姆斯如何为“异形”系列构建那种非人的、令人毛骨悚然的音景时，书中插入了几个不同配器法在频谱图上的对比分析，虽然我不是专业作曲家，但那些图表直观地展示了低音提琴和打击乐在构建“压迫感”时的物理能量分布。而且，这本书的选材范围极其广阔，我原本以为它只会关注好莱坞的黄金时代，结果它居然花了不少篇幅去剖析欧洲先锋派电影配乐对节奏的解构主义处理，甚至提到了亚洲电影中对自然声响的极简主义运用。这种跨文化的视野，让这本书的厚度瞬间提升了好几个维度。它不是在教你如何作曲，而是在教你如何成为一个对声音极其敏感的、拥有全球视野的“聆听者”。