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03483aam a2200457 i 4500 001 9B0D6FBC462211E9A3F20F6897128E48 003 SILO 005 20190314012734 008 150716s2016 nyuag b 001 0 eng 010 $a 2015028106 020 $a 0190456833 020 $a 9780190456832 020 $a 0199315167 020 $a 9780199315161 020 $a 0199315159 020 $a 9780199315154 020 $a 0199315140 020 $a 9780199315147 035 $a (OCoLC)914295964 040 $a DLC $b eng $e rda $c DLC $d YDX $d BDX $d YDXCP $d BTCTA $d CWR $d CDX $d GZM $d OSU $d ZWZ $d EUM $d S3O $d SFR $d ZEM $d DHA $d OCLCQ $d SILO 042 $a pcc 043 $a e-ur--- 050 00 $a ML410.S53 $b T58 2016 082 00 $a 781.5/42092 $2 23 100 1 $a Titus, Joan, $d 1975- $e author. 245 14 $a The early film music of Dmitry Shostakovich / $c Joan Titus. 264 1 $a New York : $b Oxford University Press, $c [2016] 300 $a xv, 253 pages : $b illustrations, music ; $c 25 cm. 490 1 $a The Oxford music/media series 504 $a Includes bibliographical references (pages 237-247) and index. 505 0 $a New Babylon (1928-1929) and scoring for the silent film -- Alone (1929-1931) and the beginnings of sound film -- Golden mountains (1931) and the new Soviet sound film -- Counterplan (1932) and the socialist realist film -- Youth of maxim (1934-1935) and the minimal score -- Girlfriends (1935-1936) and the girls of the future. 520 8 $a In the late 1920s, Dmitry Shostakovich emerged as one of the first Soviet film composers. With his first score for the silent film the New Babylon (1928-29) and the many sound scores that followed, he was positioned to observe and participate in the changing politics of the film industry and negotiate the role of the film composer. In The Early Film Music of Dmitry Shostakovich, Joan Titus examines the scores of six of Shostakovich's films, from 1928 through 1936. Instead of investigating Shostakovich as a composer, a rebel, a communist, or a dissident, as innumerable studies do, Titus approaches him as a concept in itself--as an idea--and asks why and how listeners understand him as they do. 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. The discussions of the scores are enriched by the composer's own writing on film music, along with archival materials and recently discovered musical manuscripts that illuminate the collaborative processes of the film teams, studios, and composer. The Early Film Music of Dmitry Shostakovich commingles film/media studies, musicology, and Russian studies with original scholarship, and is sure to be of interest to a wide audience including musicologists, film scholars, historians of Russia and the Soviet Union, and Slavicists. 600 10 $a Shostakovich, Dmitrii Dmitrievich, $d 1906-1975. $t Motion picture music. 600 17 $a Chostakovitch, Dimitri Dimitrievitch, $d (1906-1975) $x Musique de film. $2 ram 650 0 $a Motion picture music $z Soviet Union $x History and criticism. 650 7 $a Musique de film $z URSS $x Histoire et critique. $2 ram 650 7 $a Filmmusik, Sovjetunionen. $2 sfit 830 0 $a Oxford music/media series. 941 $a 1 952 $l OVUX522 $d 20191213022622.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=9B0D6FBC462211E9A3F20F6897128E48Initiate Another SILO Locator Search