Bernard Herrmann

The Beethoven of Film Music?

Authors

  • William H. Rosar University of California, San Diego

DOI:

https://doi.org/10.1558/jfm.v1i2/3.121

Keywords:

Bernard Herrmann

References

Atkins, Irene Kahn. 1974. An American Film Institute / Louis B. Mayer Foundation Oral History: Hugo Friedhofer. Los Angeles: American Film Institute.

Bagar. Robert and Louis Biancolli. 1947. The concert companion: A comprehensive guide to symphonic music. New York: Whittlesey House.

Bazelon, Irwin. 1975. Knowing the score: Notes on film music. New York: Van Nostrand Reinhold.

Berlioz, Hector, 1948. Treatise on instrumentation. Enlarged and revised by Richard Strauss, translated by Theodore Front. New York: E. F. Kalmus.

Bruce, Graham Donald. 1982. Bernard Herrmann: Film music and film narrative. Ph.D. diss., New York University.

Bruce, Graham. 1985. Bernard Herrmann: Film music and narrative. Ann Arbor: UMI Research Press.

Buhler, James, Caryl Flinn, and David Neumeyer. 2000. Introduction. In Music and Cinema. Hanover, NH: Wesleyan University Press.

Cook, Page. 1967. Bernard Herrmann. Films in Review. (August-September), 398-412.

Cook, Page. 1968. Franz Waxman. Films in Review (August-September), 415-430.

Cooper, David. 2001. Bernard Herrmann’s Vertigo: A film score handbook. Westport, CT: Greenwood Press.

Dahl, Ingolf. 1946. Igor Stravinsky on film music as told to Ingolf Dahl. Musical Digest 28, no.1: 4-5, 35-6.

Dorian, Frederick. 1971. The Musical workshop. Westport, CT: Greenwood Press.

Duchen, Jessica. 1996. Erich Wolfgang Korngold. London: Phaidon Press.

Evans, Mark. 1979. Soundtrack: The music of the movies. New York: Da Capo Press.

Faulkner, Robert R. 1980. Music on demand: Composers & careers in the Hollywood film industry. New Brunswick, NJ: Transaction Publishers.

Ginzburg, Carlo. 1989. Clues, myths, and the historical method. trans. by John and Anne C. Tedeschi. Baltimore: The Johns Hopkins University Press.

———. 1993. Microhistory: Two or three things that I know about it. Critical Inquiry 20: 10-35.

Hamilton, James Clifford. 1976. Leith Stevens: A critical analysis of his works. D.M.A. diss., University of Missouri, Kansas City.

Heinsheimer, H[ans]. W. 1947. Menagerie in f sharp. New York: Doubleday.

Herrmann, Bernard. 1959. Letter to the editor. The Musical Times, (January), 24.

———. 1971-72. An interview with Bernard Herrmann: The colour of the music. Sight and Sound 41, no. 1: 36-39.

———. 1974. Bernard Herrmann: A John Player Lecture. Pro Musica Sana 3, no. 1: 10-16.

———. 1980. Bernard Herrmann, Composer. In Sound and the Cinema: The coming of sound to American film. ed. Evan William Cameron. Pleasantville, NY: Redgrave Publishing Co.

———. 1989. A conversation with Bernard Herrmann. Interview by Leslie T. Zador and Gregory Rose In Film Music 1. ed. Clifford McCarty. New York: Garland Publishing, Inc.

Hickman, C. Sharpless. 1955. Movies and music. Music Journal 13, no. 4: 46-47.

Holloway, Robin. Debussy and Wagner. London: Eulenburg Books 1979.

Kolodin, Irving. 1969. The continuity of music: A history of influence. New York: Alfred A. Knopf.

Kosovsky, Robert. 2000. Bernard Herrmann’s radio music for the “Columbia Workshop.” Ph.D. diss., City University of New York.

Kuhn, Laura Diane. 1986. Film as Gesamtkunstwerk: An argument for the realization of a romantic ideal in the visual age. Master’s thesis, University of California at Los Angeles.

Levant, Oscar. 1942. A smattering of ignorance. Garden City, NY: Garden City Publishing, Co.

London, Kurt. 1936. Film music: A summary of the characteristic features of its history, aesthetics, technique; and possible developments. Translated by Eric S. Bensinger. London: Faber & Faber.

Manson, Eddy Lawrence. 1989. The film composer in concert and the concert composer in film. In Film Music 1. ed. Clifford McCarty. New York: Garland Publishing, Inc.

McCarty, Clifford. 2000. Film composers in America: A filmography 1911-1970. New York: Oxford University Press.

Morton, Lawrence. 1946. The music of ‘Objective: Burma.’ Hollywood Quarterly 1: 378-395.

Morton, Lawrence. 1947. A smattering of Antheil. Hollywood Quarterly 2: 430.

Morton, Lawrence. 1953. Foreword. In Clifford McCarty, Film composers in America: A checklist of their work. Los Angeles: Clifford McCarty.

Music. 1958. Time. February 24: 49-50.

Nelson, Robert U. 1947. The craft of the film score. The Pacific Spectator 1: 435-446.

Neumeyer, David and James Buhler. 2001. Analytical and interpretive approaches to film music (I): Analyzing the music. In Film music: Critical approaches. ed. K.J. Donnelly. Edinburgh: University of Edinburgh Press.

Peyser, Joan. 1998. Leonard Bernstein: A biography. Revised and updated. New York: Billboard Books.

Pollak, Robert. 1938. Hollywood’s music. Magazine of Art 31: 512-13.

Rosar, William H. 1978. Lost Horizon—An account of the composition of the score. Film Music Notebook 4, no. 2: 40-52.

———. 1983. Music for the monsters—Universal Pictures’ horror film scores of the thirties. The Quarterly Journal of the Library of Congress 40: 391-421.

———. 1985. Visual space as physical geometry. Perception 14: 403-25.

———. 1989. Stravinsky and MGM. In Film Music 1. ed. Clifford McCarty. New York: Garland Publishing, Inc.

———. 1994. Film music and Heinz Werner’s theory of physiognomic perception. Psychomusicology 13: 154-165.

———. 1996. Letter to the editor. William H. Rosar on “Theory and practice in Porgy and Bess: The Gershwin-Schillinger connection,” by Paul Nauert. The Musical Quarterly 80: 182-84.

———. 2001. The Dies Irae in Citizen Kane: Musical hermeneutics applied to film music. In Film music: Critical approaches. ed. K.J. Donnelly. Edinburgh: University of Edinburgh Press.

Schillinger, Joseph. 1946. The Schillinger system of musical composition. New York: Carl Fischer.

Skiles, Marlin. 1976. Music scoring for TV & motion pictures. Blue Ridge Summit, PA: Tab Books.

Slonimsky, Nicolas. 1965. Lexicon of musical invective: Critical assaults on composers since Beethoven’s time. New York: Coleman-Ross.

Smith, Steven C. 1991. A heart at fire’s center: The life and music of Bernard Herrmann. Berkeley: University of California Press.

Steele, R. Vernon. 1938. The wheels go ‘round—literally. Pacific Coast Musician. June 4: 10.

Steiner, Fred. 1974. Herrmann’s “Black-and-White” music for Hitchcock’s Psycho. Part 1. Film Music Notebook 1, no. 1: 29-36.

———. 1981. The making of an American film composer: A study of Alfred Newman’s music in the first decade of the sound era. Ph.D. diss., University of Southern California.

———. 1989. What were musicians saying about movie music during the first decade of sound? A symposium of selected writings. In Film Music 1. ed. Clifford McCarty. New York: Garland Publishing, Inc.

Stothart, Herbert. 1933. The place of music in the motion picture. The Film Daily (July 13), n.p.

———. 1938. Film music. In Behind the Screen. ed. Stephen Watts. London: Barker.

Stravinsky, Igor and Robert Craft. 1960. Memories and commentaries. Garden City, NY: Doubleday.

Stroll, Avrum. 1988. Surfaces. Minneapolis: University of Minnesota Press.

Thomas, Tony. 1965. Hugo Friedhofer. Films in Review 16: 496-502.

———. 1973. Music for the movies. New York: A.S. Barnes and Co.

Tiomkin, Dimitri and Prosper Buranelli. 1959. Please don’t hate me. Garden City, NY: Doubleday.

Wescott, Steven D. 1985. A comprehensive bibliography of music for film and television. Detroit: Information Coordinators.

Wind, Edgar. 1963. Art and anarchy. London: Faber and Faber.

Wölfflin, H(einrich). 1958. The sense of form in art: A comparative psychological study. Translated by Alice Muehsam and Norma A. Shatan. New York: Chelsea Publishing Co.

Downloads

Published

2010-12-02

How to Cite

Rosar, W. H. (2010). Bernard Herrmann: The Beethoven of Film Music?. Journal of Film Music, 1(2/3), 121–150. https://doi.org/10.1558/jfm.v1i2/3.121

Issue

Section

Editorial