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200 10$aComposing for the cinema $ethe theory and praxis of music in film /$fEnnio Morricone and Sergio Miceli, translated by Gillian B. Anderson
210  1$aLanham :$cScarecrow Press,$d[2013]
210  4$d©2013
215   $a1 online resource (311 p.)
300   $aDescription based upon print version of record.
311   $a0-8108-9241-3 
311   $a1-306-15155-4 
320   $aIncludes bibliographies and index.
327   $aContents; Translator's Note; Editor's Note; Acknowledgments; Abbreviations; 1 Introduction; 2 Audiovisual Analysis-Part 1; 3 Production Procedures; 4 Audiovisual Analysis-Part 2; 5 Premix and Final Mix; 6 Compositional Elements; 7 Questions and Answers; Appendix 1: Composing for the Cinema; Appendix 2: Writing for the Cinema; Filmography; Bibliography [to 1999]; Index; About the Authors and Translator
330   $aWith nearly 400 scores to his credit, Ennio Morricone is one of the most prolific and influential film composers working today. In Composing for the Cinema, Morricone and musicologist Sergio Miceli present a series of lectures on the composition and analysis of film music. Adapted from several lectures and seminars, these lessons show how sound design can be analyzed and offer a variety of musical solutions to many different kinds of film. Drawing upon scores by himself and others, the composer also provides insight into his re
606   $aComposition (Music)
606   $aMotion picture music$xInstruction and study
606   $aMotion picture music
615  0$aComposition (Music)
615  0$aMotion picture music$xInstruction and study.
615  0$aMotion picture music.
676   $a781.54213
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701   $aAnderson$b Gillian B.$f1943-$01522150
701   $aMiceli$b Sergio$f1944-$040180
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