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The Early Film Music of Dmitry Shostakovich (Oxford Music / Media), Titus, Joan,
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Item specifics
- Condition
- Book Title
- The Early Film Music of Dmitry Shostakovich (Oxford Music / Media
- ISBN
- 9780199315147
- Publication Name
- Early Film Music of Dmitry Shostakovich
- Item Length
- 6.2in
- Publisher
- Oxford University Press, Incorporated
- Publication Year
- 2016
- Series
- Oxford Music / Media Ser.
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Item Height
- 0.9in
- Item Width
- 9.3in
- Item Weight
- 19.1 Oz
- Number of Pages
- 272 Pages
About this product
Product Information
In The Early Film Music of Dmitry Shostakovich, Joan Titus examines the scores of six of Shostakovich's films, from 1928 through 1936 with an approach that combines film studies, musicology, Russian studies and original scholarship. Through Shostakovich's scores, Titus engages with the construct of Soviet intelligibility, the filmmaking and scoring processes, and the cultural politics of scoring Soviet film music, asking why and how listeners understand the composer the way they do.
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0199315140
ISBN-13
9780199315147
eBay Product ID (ePID)
219553163
Product Key Features
Publication Name
Early Film Music of Dmitry Shostakovich
Format
Hardcover
Language
English
Publication Year
2016
Series
Oxford Music / Media Ser.
Type
Textbook
Number of Pages
272 Pages
Dimensions
Item Length
6.2in
Item Height
0.9in
Item Width
9.3in
Item Weight
19.1 Oz
Additional Product Features
Lc Classification Number
Ml410.S53t58 2016
Reviews
"It is certainly an important milestone in Shostakovich studies that will be of great interest not only to musicologists and students of film, but also to all with an interest in the vagaries of Soviet thought and practice. Promised future volumes on the composers later film music will be eagerly awaited." -- Arnold McMillin, Slavonic and East European Review"Joan Titus's exciting book on Dmitry Shostakovich richly demonstrates the importance of a synthetic approach to music studies - in this case, a study of how a young, classically trained composer learned to write for popular new media and developed as an artist in the process. Titus illustrates how the composer coped with the challenges, both technical and political, in producing sounds, scores, and songs for each movie and how he eventually pioneeredsuccessful models of film music that were intelligible for the masses."--Beth Holmgren, Duke University"With an impressive set of scholarly tools that span many methods and disciplines and an essential companion website that contains clips from difficult-to-find early Soviet films, Titus's study of Shostakovich's early film scores adroitly introduces a new world of important details and ideas to our understanding of both Shostakovich's music as well as Soviet cinema and culture."--Neil Lerner, Davidson College"A welcome addition to the ever-growing field of film music studies. Joan Titus has brought the complex contexts for early Soviet film and film music to vivid life. Hers is that rare kind of interdisciplinary study that benefits both from her extensive knowledge of period documents and willingness to engage with questions of interest to scholars today. Her book also provides tantalizing new insights and speculations on the cross-influences of soundtracks andsymphonies in Shostakovich's compositional career."--David Haas, University of Georgia"Joan Titus's book is the first systematic study of the composer's film-music. It is therefore a most welcome contribution to both Shostakovich studies and the growing body of film-music scholarship. Titus deals with aesthetic and ideological considerations that affected the Soviet film-industry during the technological passage from silent to sound films in her introduction and throughout the book. Her discourse on these subjects is interesting and thought-provoking." --Slavic Review, "It is certainly an important milestone in Shostakovich studies that will be of great interest not only to musicologists and students of film, but also to all with an interest in the vagaries of Soviet thought and practice. Promised future volumes on the composers later film music will be eagerly awaited." -- Arnold McMillin, Slavonic and East European Review"Joan Titus's exciting book on Dmitry Shostakovich richly demonstrates the importance of a synthetic approach to music studies - in this case, a study of how a young, classically trained composer learned to write for popular new media and developed as an artist in the process. Titus illustrates how the composer coped with the challenges, both technical and political, in producing sounds, scores, and songs for each movie and how he eventually pioneered successful models of film music that were intelligible for the masses."--Beth Holmgren, Duke University"With an impressive set of scholarly tools that span many methods and disciplines and an essential companion website that contains clips from difficult-to-find early Soviet films, Titus's study of Shostakovich's early film scores adroitly introduces a new world of important details and ideas to our understanding of both Shostakovich's music as well as Soviet cinema and culture."--Neil Lerner, Davidson College"A welcome addition to the ever-growing field of film music studies. Joan Titus has brought the complex contexts for early Soviet film and film music to vivid life. Hers is that rare kind of interdisciplinary study that benefits both from her extensive knowledge of period documents and willingness to engage with questions of interest to scholars today. Her book also provides tantalizing new insights and speculations on the cross-influences of soundtracks and symphonies in Shostakovich's compositional career."--David Haas, University of Georgia"Joan Titus's book is the first systematic study of the composer's film-music. It is therefore a most welcome contribution to both Shostakovich studies and the growing body of film-music scholarship. Titus deals with aesthetic and ideological considerations that affected the Soviet film-industry during the technological passage from silent to sound films in her introduction and throughout the book. Her discourse on these subjects is interesting and thought-provoking." --Slavic Review, "Joan Titus's exciting book on Dmitry Shostakovich richly demonstrates the importance of a synthetic approach to music studies - in this case, a study of how a young, classically trained composer learned to write for popular new media and developed as an artist in the process. Titus illustrates how the composer coped with the challenges, both technical and political, in producing sounds, scores, and songs for each movie and how he eventually pioneered successful models of film music that were intelligible for the masses."--Beth Holmgren, Duke University "With an impressive set of scholarly tools that span many methods and disciplines and an essential companion website that contains clips from difficult-to-find early Soviet films, Titus's study of Shostakovich's early film scores adroitly introduces a new world of important details and ideas to our understanding of both Shostakovich's music as well as Soviet cinema and culture."--Neil Lerner, Davidson College "A welcome addition to the ever-growing field of film music studies. Joan Titus has brought the complex contexts for early Soviet film and film music to vivid life. Hers is that rare kind of interdisciplinary study that benefits both from her extensive knowledge of period documents and willingness to engage with questions of interest to scholars today. Her book also provides tantalizing new insights and speculations on the cross-influences of soundtracks and symphonies in Shostakovich's compositional career."--David Haas, University of Georgia, "It is certainly an important milestone in Shostakovich studies that will be of great interest not only to musicologists and students of film, but also to all with an interest in the vagaries of Soviet thought and practice. Promised future volumes on the composers later film music will be eagerly awaited." -- Arnold McMillin, Slavonic and East European Review "Joan Titus's exciting book on Dmitry Shostakovich richly demonstrates the importance of a synthetic approach to music studies - in this case, a study of how a young, classically trained composer learned to write for popular new media and developed as an artist in the process. Titus illustrates how the composer coped with the challenges, both technical and political, in producing sounds, scores, and songs for each movie and how he eventually pioneered successful models of film music that were intelligible for the masses."--Beth Holmgren, Duke University "With an impressive set of scholarly tools that span many methods and disciplines and an essential companion website that contains clips from difficult-to-find early Soviet films, Titus's study of Shostakovich's early film scores adroitly introduces a new world of important details and ideas to our understanding of both Shostakovich's music as well as Soviet cinema and culture."--Neil Lerner, Davidson College "A welcome addition to the ever-growing field of film music studies. Joan Titus has brought the complex contexts for early Soviet film and film music to vivid life. Hers is that rare kind of interdisciplinary study that benefits both from her extensive knowledge of period documents and willingness to engage with questions of interest to scholars today. Her book also provides tantalizing new insights and speculations on the cross-influences of soundtracks and symphonies in Shostakovich's compositional career."--David Haas, University of Georgia "Joan Titus's book is the first systematic study of the composer's film-music. It is therefore a most welcome contribution to both Shostakovich studies and the growing body of film-music scholarship. Titus deals with aesthetic and ideological considerations that affected the Soviet film-industry during the technological passage from silent to sound films in her introduction and throughout the book. Her discourse on these subjects is interesting and thought-provoking." --Slavic Review, "Joan Titus's exciting book on Dmitry Shostakovich richly demonstrates the importance of a synthetic approach to music studies - in this case, a study of how a young, classically trained composer learned to write for popular new media and developed as an artist in the process. Titus illustrates how the composer coped with the challenges, both technical and political, in producing sounds, scores, and songs for each movie and how he eventually pioneered successful models of film music that were intelligible for the masses."--Beth Holmgren, Duke University "With an impressive set of scholarly tools that span many methods and disciplines and an essential companion website that contains clips from difficult-to-find early Soviet films, Titus's study of Shostakovich's early film scores adroitly introduces a new world of important details and ideas to our understanding of both Shostakovich's music as well as Soviet cinema and culture."--Neil Lerner, Davidson College "A welcome addition to the ever-growing field of film music studies. Joan Titus has brought the complex contexts for early Soviet film and film music to vivid life. Hers is that rare kind of interdisciplinary study that benefits both from her extensive knowledge of period documents and willingness to engage with questions of interest to scholars today. Her book also provides tantalizing new insights and speculations on the cross-influences of soundtracks and symphonies in Shostakovich's compositional career."--David Haas, University of Georgia "Joan Titus's book is the first systematic study of the composer's film-music. It is therefore a most welcome contribution to both Shostakovich studies and the growing body of film-music scholarship. Titus deals with aesthetic and ideological considerations that affected the Soviet film-industry during the technological passage from silent to sound films in her introduction and throughout the book. Her discourse on these subjects is interesting and thought-provoking." --Slavic Review
Table of Content
Contents Abbreviations Notes on transliteration About the Companion Website Chapter 1: Introduction Chapter 2: New Babylon (1928-1929) and Scoring for the Silent Film Chapter 3: Alone (1929-1931) and the Beginnings of Sound Film Chapter 4: Golden Mountains (1931) and the New Soviet Sound Film Chapter 5: Counterplan (1932) and the Socialist Realist Film Chapter 6: Youth of Maxim (1934-1935) and the Minimal Score Chapter 7: Girlfriends (1935-1936) and the "Girls of the Future" Chapter 8: Epilogue Bibliography Index
Copyright Date
2016
Topic
History & Criticism, Genres & Styles / Classical, Genres & Styles / General, Film / History & Criticism
Lccn
2015-028106
Dewey Decimal
781.5/42092
Intended Audience
Scholarly & Professional
Dewey Edition
23
Illustrated
Yes
Genre
Music, Performing Arts
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