Film Form and Musical Form in Bernard Hrrmann's Score to Vertigo
DOI:
https://doi.org/10.1558/jfm.v1i2/3.239Keywords:
Bernard Herrmann, VertigoAbstract
ss
References
Adorno, Theodor W., and Hanns Eisler. 1947. Composing for the films. New York: OUP.
Bruce, Graham. 1985. Bernard Herrmann: Film music and narrative. Ann Arbor: UMI Research Press.
Cook, Nicholas. 1987. A guide to musical analysis. London: Oxford University Press.
Cooper, David. 2001. Bernard Herrmann’s Vertigo: A film score handbook. Westport: Greenwood Press.
Dahlhaus, Carl. 1987. Schoenberg and the new music. Cambridge: Cambridge University Press.
Herrmann, Bernard. [1989] 1998. A conversation with Bernard Herrmann. Interview by Leslie T. Zador and Gregory Rose In Film Music 1, ed. Clifford McCarty. Reprint, Los Angeles: The Film Music Society, 1998, 209-53.
Keller, Hans. 1978. “The state of the symphony: Not only Maxwell Davies.” Tempo, no.125: 8-9.
Keller, Hans. 1949. “Vaughan Williams’ Scott of the Antarctic.” The Music Review, no. 10: 138.
LaRue, Jan. 1992. Guidelines for style analysis. Warren, MI: Harmonie Park Press.
Lendvai, Erno”. 1983. The workshop of Bartók and Kodály. Budapest: Editio Musica.
Lerdahl, Fred, and Ray K. Jackendorff. 1983. A generative theory of tonal music. Cambridge, MA: The MIT Press.
Levant, Oscar. 1940. A smattering of ignorance. New York: Doubleday.
London, Kurt. 1936. Film music. London: Faber & Faber Ltd.
Narmour, Eugene. 1977. Beyond Schenkerism. Chicago: University of Chicago Press.
Nattiez, Jean-Jacques. 1990. Music and discourse: Toward a semiology of music. Princeton: Princeton University Press.
Neumeyer, David. 1998. “Tonal design and narrative in film music: Bernard Herrmann’s A Portrait of Hitch and The Trouble With Harry.” Indiana Theory Review, no. 19: 87-123.
Rosen, Charles. 1995. The romantic generation. Cambridge, MA: Harvard University Press.
Bruce, Graham. 1985. Bernard Herrmann: Film music and narrative. Ann Arbor: UMI Research Press.
Cook, Nicholas. 1987. A guide to musical analysis. London: Oxford University Press.
Cooper, David. 2001. Bernard Herrmann’s Vertigo: A film score handbook. Westport: Greenwood Press.
Dahlhaus, Carl. 1987. Schoenberg and the new music. Cambridge: Cambridge University Press.
Herrmann, Bernard. [1989] 1998. A conversation with Bernard Herrmann. Interview by Leslie T. Zador and Gregory Rose In Film Music 1, ed. Clifford McCarty. Reprint, Los Angeles: The Film Music Society, 1998, 209-53.
Keller, Hans. 1978. “The state of the symphony: Not only Maxwell Davies.” Tempo, no.125: 8-9.
Keller, Hans. 1949. “Vaughan Williams’ Scott of the Antarctic.” The Music Review, no. 10: 138.
LaRue, Jan. 1992. Guidelines for style analysis. Warren, MI: Harmonie Park Press.
Lendvai, Erno”. 1983. The workshop of Bartók and Kodály. Budapest: Editio Musica.
Lerdahl, Fred, and Ray K. Jackendorff. 1983. A generative theory of tonal music. Cambridge, MA: The MIT Press.
Levant, Oscar. 1940. A smattering of ignorance. New York: Doubleday.
London, Kurt. 1936. Film music. London: Faber & Faber Ltd.
Narmour, Eugene. 1977. Beyond Schenkerism. Chicago: University of Chicago Press.
Nattiez, Jean-Jacques. 1990. Music and discourse: Toward a semiology of music. Princeton: Princeton University Press.
Neumeyer, David. 1998. “Tonal design and narrative in film music: Bernard Herrmann’s A Portrait of Hitch and The Trouble With Harry.” Indiana Theory Review, no. 19: 87-123.
Rosen, Charles. 1995. The romantic generation. Cambridge, MA: Harvard University Press.
Published
2010-12-02
Issue
Section
Articles
How to Cite
Cooper, D. (2010). Film Form and Musical Form in Bernard Hrrmann’s Score to Vertigo. Journal of Film Music, 1(2/3), 239-248. https://doi.org/10.1558/jfm.v1i2/3.239
