John Williams and film music since 1971

Scheurer, Timothy E.

doi:10.1080/03007769708591655

Cited by 7 publications

(4 citation statements)

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“…His orchestral compositions for Star Wars and Indiana Jones, in particular, have been described as part of a 'hyperclassical' renaissance in Hollywood film music from the 1980s (Kassabian 2001, 89). While Williams' and Hollywood's stylistic repertoire is far broader than this might imply (Cooke 2008), Williams' approach is rooted in the Romantic approach of the earliest film composers (Scheurer 1997), especially that of Erich Korngold (Flinn 1992). In terms of Williams' characterisation of male and female characters, this lineage has generally lent itself to more traditional interpretations of gender, including via the use of leitmotif (Moormann 2012;Paulus 2000).…”

Section: Supermanmentioning

confidence: 99%

Musical Geopolitics: Masculinity, Nationhood, and the Scoring of Superman (1978–2006)

Kirby

2021

Geopolitics

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This article explores the potential for the field of popular geopolitics of close attention to the form and structure of instrumental film music. Specifically, it analyses the film scores for Superman (1978) and Superman Returns (2006), showing how these, in conjunction with the films' visual components, communicate a series of geopolitical logics and ideas about gender and nationhood. In so doing, this article extends existing concerns in popular geopolitics with music, principally lyrical popular music, contributing to a new research agenda that offers detailed readings of musical scores and notation, informed by semiotic perspectives. It advocates an interdisciplinary approach to the analysis of film music, drawing on research in the rich and expanding field of film music studies. It supplements the close reading of the scores here with an analysis of audience reviews.

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Section: Supermanmentioning

confidence: 99%

Musical Geopolitics: Masculinity, Nationhood, and the Scoring of Superman (1978–2006)

Kirby

2021

Geopolitics

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“…El score de Williams, creado específicamente para estas películas, ayuda a captar de forma magistral la esencia de la saga, su tono emocional, al tiempo que captura y articula la experiencia visual de los espectadores. Como destaca Scheurer (1997), en sus bandas sonoras Williams apuesta por el desarrollo artístico, buscando constantemente la metáfora audiovisual que permitirá a los espectadores ampliar la experiencia más allá de sus expectativas. Una apuesta que se hará patente a lo largo de las cuatro entregas de Indiana Jones.…”

Section: La Música En Indiana Jonesunclassified

Composición, variación y funciones del leitmotiv en el universo Indiana Jones

Piñeiro-Otero

2015

SEECI

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Universidade da Coruña. España. teresa.pineiro@udc.es RESUMEN:La banda sonora de las películas asume un papel esencial en la experiencia del espectador. La música aporta a la imagen una serie de efectos, sensaciones y significados que dotan de una nueva dimensión a la narración audiovisual. El empleo de determinadas composiciones como los leitmotivs ha permitido establecer unos códigos audiovisivos con los espectadores, para una lectura enriquecida del relato cinematográfico. La integración de estos motivos recurrentes permite diversas posibilidades narrativas y expresivas por lo que su empleo ha sido bastante frecuente en la música fílmica. Autores como John Williams han hecho de los leitmotivs su sello personal, llegando a desarrollar un código propio para su composición y uso. En este sentido, el presente trabajo ha tenido por objeto efectuar un análisis del uso de los leitmotivs en la saga de Indiana Jones. Un análisis que se abordó desde una perspectiva narrativa del discurso musical.

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“…lasting success and wide appeal (Golding, 2019). John Williams's contributions to the nine live-action films that make up the "Skywalker Saga" and its interlinked Original (1977-1983), Prequel (1999-2005), and Sequel (2015 trilogies have had a significant and continuing impact on cinematic scoring since the late 1970s (Audissino, 2021;Cooke, 2008;Scheurer, 1997). As an object of study, the music from the Star Wars films is particularly useful as a vehicle for corpus analysis given that the music was written by a single composer across all major series entries and over a period of four decades.…”

mentioning

confidence: 99%

Presenting the SWTC: A Symbolic Corpus of Themes from John Williams’ Star Wars Episodes I-IX

Arthur,

Lehman,

McNamara

2023

EMR

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This paper presents a new symbolic corpus of musical themes from the complete Star Wars trilogies (Episodes I-IX) by John Williams. The corpus files are made available in multiple formats (.krn, .sib., and .musicxml) and include melodic, harmonic, and formal information. The Star Wars Thematic Corpus (SWTC) contains a total of 64 distinctive, recurring, and symbolically meaningful themes and motifs, commonly referred to as leitmotifs. Through this corpus we also introduce a new humdrum standard for non-functional harmony encodings, **harte (Harte et al., 2005; Harte, 2010). This report details the motivation, describes the transcription and encoding processes, and provides some brief summary statistics. While relatively small in scale, the SWTC represents a unified collection from one of the most prolific and influential composers of the 20th and 21st centuries, and the under-studied subset of film and multimedia musical material in general. We hope the SWTC will provide insights into John Williams’ compositional style, as well as prove useful in comparisons against other thematic corpora from film and beyond.

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John Williams and film music since 1971

Cited by 7 publications

References 0 publications

Musical Geopolitics: Masculinity, Nationhood, and the Scoring of Superman (1978–2006)

Musical Geopolitics: Masculinity, Nationhood, and the Scoring of Superman (1978–2006)

Composición, variación y funciones del leitmotiv en el universo Indiana Jones

Presenting the SWTC: A Symbolic Corpus of Themes from John Williams’ Star Wars Episodes I-IX

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