Full text
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| Author(s): |
Daniel Tapia
Total Authors: 1
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| Document type: | Master's Dissertation |
| Press: | Campinas, SP. |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Artes |
| Defense date: | 2012-08-23 |
| Examining board members: |
Claudiney Rodrigues Carrasco;
Orlando Marcos Martins Mancini;
Fernando Augusto de Almeida Hashimoto
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| Advisor: | Claudiney Rodrigues Carrasco |
| Abstract | |
This research has the aim of demonstrate the process on which the language of orchestration pervaded up to its arrival at film music composition and after, bring upon the processes acquired by film music using Bernard Herrmann's work as an example. On observing the musical production of the first decade of the north american cinema, it is possible to infer that the symphonic orchestration of cinema is one of the direct results of the concert music orchestration. To demonstrate this process, an cronological analysis of the works of the german composers was structured, considering this the closer model of cinema production. In advance, an equal analyses is made with the works of the cinema composers who preceeded Herrmann, considered references to the formation of the language. The third fase deals with Herrmann's work directly and analyses two of his works: Vertigo (1958) and Psycho (1960) (AU) | |
| FAPESP's process: | 10/03241-0 - The orchestra of the north american cinema: the example of Bernard Herrmann |
| Grantee: | Daniel Tapia |
| Support Opportunities: | Scholarships in Brazil - Master |