FINAL REVIEW CHAPTERS 5 THRU 11 XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX THE RISE OF THE SYMPHONIC FILM SCORE (1930’s) Chapter 5 Max Steinerw Major pioneer of original music for films w The first serious composer of the sound era. w Called the father of film music. w One of the first to use the click track method (The Informer, 1935) w Very prolific composer, over 300 scores to his credit. w He believed in catching almost everything, he “mickey- moused the action.” KING KONGwThis score by Steiner isdeemed film music’s greatest achievement in the early 1930’s. w This was one of the first times a Hollywood composer received on-screen credit as film composer. w He wrote a descending three-note leitmotif for Kong. Franz Waxmanw Most prominent German musician to contribute to film scoring in Hollywood. w He became the head of music at Universal Studios. w He moved to Warner Bros. with Korngold and Steiner. w He placed great emphasis on orchestral color. He chose instruments to create the sounds that would match the style of the scene. The Bride of Frankensteinw Established a new standard in the music of horror films. w This was the most significant score Waxman composed while at Universal. w This utilized the leitmotif technique for the monster and his bride. Alfred Newmanw One of the most powerful and influential musicians in the history of Hollywood music. w He was a composer, conductor, and an executive. w He wrote the 20th century Fox music logo in 1935. w He ruled the 20thcentury Fox music department from 1939 to 1960 with firm control and great authority. w He was nominated 45 times for an Oscar. (He won 9). w He composed 255 scores. w He created the “fox string sound”…strings playing in their highest register. w He liked fast vibratos.
