Archival Research and the Study of the Concert Presentations of Film Music
The Case of John Williams and the Boston Pops
DOI:
https://doi.org/10.1558/jfm.30701Keywords:
Arthur Fiedler, Boston Pops orchestra, film music in concert, John WilliamsAbstract
Film music has increasingly populated the concert programs inthe last twenty years. Yet, the presentation of the film-music repertoire in concerts is a corner of the film–music fieldthat has received little scholarly attention. Archival research combined with the study of audio–visual documents in particular is the key to reconstruct the story of the presentation of film music in concerts. As a case study, I present the findings of the research that I conducted in Boston, U.S.A., in 2010 and 2011. Its aim was to demonstrate John Williams's seminal contribution to the legitimization of film music as a viable concert repertoire during his tenure as conductor of the Boston Pops Orchestra—“America's orchestra”. The results showed very convincingly that John Williams's association withthe most trend–setting and visible orchestra in the U.S.A. has been a major force and a seminal influence for the acceptance of film music as a legitimate concert repertoire.
References
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Anon. 2000. Boston Pops. The story of America’s orchestra. Boston, MA: Boston Symphony Orchestra Inc.
Audissino, Emilio. 2014. Film music and multimedia: An immersive experience and a throwback to the past. In Jahrbuch Immersiver Medien 2014: Sounds, music and soundscapes, ed. Patrick Rupert-Kruse, 46-56. Marburg, Germany: Schüren Verlag.
Audissino, Emilio. 2012. “Neoclassical Hollywood music. John Williams e il recupero dello stile classico di Hollywood. PhD dissertation, University of Pisa, Italy.
Audissino, Emilio. 2014. Overruling a romantic prejudice. Forms and formats of film music in concert programs. In Film in concert, film scores and their relation to classical concert music, ed. Sebastian Stoppe, 25-44. Glücksstadt, Germany: VWH Verlag.
Audissino, Emilio. 2014. John Williams’s film music. “Jaws,” “Star Wars,” “Raiders of the Lost Ark,” and the return of the classical Hollywood music style. Madison, WI: University of Wisconsin Press.
Burlingame, Jon. 2000. From Hollywood to Boston. In Boston Pops. The story of America’s orchestra, 18-23. Boston, MA: Boston Symphony Orchestra Inc.
Burlingame, Jon. 2015. Live movie concerts: A cash cow for orchestras. Variety (April 29).
Dyer, Richard. 1980. Williams is candidate for Fiedler’s job, Boston Globe (January 6).
Dyer, Richard. 1980. Mix design and mystery, you get a Pops maestro. Boston Globe (January 10).
Dyer, Richard. 1980. John Williams bows in. Boston Globe (January 11).
Dyer, Richard. 1980. Q&A with John Williams: Pops conductor talks about his new beat.” Boston Globe (April 27).
Dyer, Richard. 1983. John Williams. Bringing Hollywood magic to the Boston Pops. Ovation (June), 12-15.
Dyer, Richard. 1984. Williams, Pops in harmony. Boston Globe (August 19).
Dyer, Richard. 1985. Stars and Stripes forever and ever. Boston Globe (April 28).
Dyer, Richard. 1991. Pops’ Williams to retire in ’93. Boston Globe (December 20).
Dyer, Richard. 1991. Williams and the art of Pops.” Boston Globe (December 20).
Dyer, Richard. 1993. The Williams years: Knowing what counts. Booklet for the “Opening Night at Pops: A Gala Celebration for John Williams” (May 12). Programs Collection, 1993 Season, Boston Symphony Archives.
Dyer, Richard. 1994. Williams to stay on as Pops adviser. Boston Globe (February 4).
Gorfinkle, Constance. 1984. Why John Williams changed his mind. The Patriot Ledger (August, 8).
Gorfinkle, Constance. 1985. “Light stuff” is hard work. The Patriot Ledger (January 15).
Hughes, Allen. 1979. Arthur Fiedler, 84, conductor of Boston Pops 50 years, dies. New York Times (July 11).
Ledbetter, Steven. 1993. John Williams: Six decades and counting. BOOKLET for the “Opening Night at Pops: A Gala Celebration for John Williams” (May 12). Programs Collection, 1993 Season, Boston Symphony Archives.
Livingstone, William. 1980. John Williams and the Boston Pops: An American institution enters a new era. Stereo Review (December), 74.
Montgomery, M.R. 1981. John Williams’ quiet side. Boston Globe (March 18).
Moss, Peter. 1984. A John Williams triumph at Bowl. Herald Examiner (September 15).
Pasles, Chris. 1988. John Williams brings bland offerings to the Art Center. Los Angeles Times (April 4).
Pfeifer, Ellen. 1980. A diary of the Pops decision: How John Williams got the job. Boston Herald American (January 13).
Pfeifer, Ellen. 1980. Williams: “I never intended to conduct in public.” Boston Herald American (April 28).
Pfeifer, Ellen. 1993. Passing the baton. Boston Sunday Herald (May 9).
Rockwell, John. 1979. Exponent of populist music. New York Times (July 11).
Rothemberg, Fred. 1983. Boston Pops alters concert look in wake of the video revolution. Orlando Sentinel (July 16).
Speyer, Andre. 1984. Pops goes the orchestra. The Berkshire Eagle (July 19).
Swan, Annalyn, Abigail Kuflik, Lea Donosky, and Ron LaBrecque. 1980. Boston strikes up the band. Newsweek (January), 85-86.
Williams, John. 2004. The Cowboys Overture [1980], orchestral score. “John Williams Signature Edition,” Hal Leonard 04490061.
Wood, Daniel B. 1985. Bang-up centennial at the Pops. Christian Science Monitor (April 30).
Anon. 2000. Boston Pops. The story of America’s orchestra. Boston, MA: Boston Symphony Orchestra Inc.
Audissino, Emilio. 2014. Film music and multimedia: An immersive experience and a throwback to the past. In Jahrbuch Immersiver Medien 2014: Sounds, music and soundscapes, ed. Patrick Rupert-Kruse, 46-56. Marburg, Germany: Schüren Verlag.
Audissino, Emilio. 2012. “Neoclassical Hollywood music. John Williams e il recupero dello stile classico di Hollywood. PhD dissertation, University of Pisa, Italy.
Audissino, Emilio. 2014. Overruling a romantic prejudice. Forms and formats of film music in concert programs. In Film in concert, film scores and their relation to classical concert music, ed. Sebastian Stoppe, 25-44. Glücksstadt, Germany: VWH Verlag.
Audissino, Emilio. 2014. John Williams’s film music. “Jaws,” “Star Wars,” “Raiders of the Lost Ark,” and the return of the classical Hollywood music style. Madison, WI: University of Wisconsin Press.
Burlingame, Jon. 2000. From Hollywood to Boston. In Boston Pops. The story of America’s orchestra, 18-23. Boston, MA: Boston Symphony Orchestra Inc.
Burlingame, Jon. 2015. Live movie concerts: A cash cow for orchestras. Variety (April 29).
Dyer, Richard. 1980. Williams is candidate for Fiedler’s job, Boston Globe (January 6).
Dyer, Richard. 1980. Mix design and mystery, you get a Pops maestro. Boston Globe (January 10).
Dyer, Richard. 1980. John Williams bows in. Boston Globe (January 11).
Dyer, Richard. 1980. Q&A with John Williams: Pops conductor talks about his new beat.” Boston Globe (April 27).
Dyer, Richard. 1983. John Williams. Bringing Hollywood magic to the Boston Pops. Ovation (June), 12-15.
Dyer, Richard. 1984. Williams, Pops in harmony. Boston Globe (August 19).
Dyer, Richard. 1985. Stars and Stripes forever and ever. Boston Globe (April 28).
Dyer, Richard. 1991. Pops’ Williams to retire in ’93. Boston Globe (December 20).
Dyer, Richard. 1991. Williams and the art of Pops.” Boston Globe (December 20).
Dyer, Richard. 1993. The Williams years: Knowing what counts. Booklet for the “Opening Night at Pops: A Gala Celebration for John Williams” (May 12). Programs Collection, 1993 Season, Boston Symphony Archives.
Dyer, Richard. 1994. Williams to stay on as Pops adviser. Boston Globe (February 4).
Gorfinkle, Constance. 1984. Why John Williams changed his mind. The Patriot Ledger (August, 8).
Gorfinkle, Constance. 1985. “Light stuff” is hard work. The Patriot Ledger (January 15).
Hughes, Allen. 1979. Arthur Fiedler, 84, conductor of Boston Pops 50 years, dies. New York Times (July 11).
Ledbetter, Steven. 1993. John Williams: Six decades and counting. BOOKLET for the “Opening Night at Pops: A Gala Celebration for John Williams” (May 12). Programs Collection, 1993 Season, Boston Symphony Archives.
Livingstone, William. 1980. John Williams and the Boston Pops: An American institution enters a new era. Stereo Review (December), 74.
Montgomery, M.R. 1981. John Williams’ quiet side. Boston Globe (March 18).
Moss, Peter. 1984. A John Williams triumph at Bowl. Herald Examiner (September 15).
Pasles, Chris. 1988. John Williams brings bland offerings to the Art Center. Los Angeles Times (April 4).
Pfeifer, Ellen. 1980. A diary of the Pops decision: How John Williams got the job. Boston Herald American (January 13).
Pfeifer, Ellen. 1980. Williams: “I never intended to conduct in public.” Boston Herald American (April 28).
Pfeifer, Ellen. 1993. Passing the baton. Boston Sunday Herald (May 9).
Rockwell, John. 1979. Exponent of populist music. New York Times (July 11).
Rothemberg, Fred. 1983. Boston Pops alters concert look in wake of the video revolution. Orlando Sentinel (July 16).
Speyer, Andre. 1984. Pops goes the orchestra. The Berkshire Eagle (July 19).
Swan, Annalyn, Abigail Kuflik, Lea Donosky, and Ron LaBrecque. 1980. Boston strikes up the band. Newsweek (January), 85-86.
Williams, John. 2004. The Cowboys Overture [1980], orchestral score. “John Williams Signature Edition,” Hal Leonard 04490061.
Wood, Daniel B. 1985. Bang-up centennial at the Pops. Christian Science Monitor (April 30).
Published
2016-08-30
Issue
Section
Articles
How to Cite
Audissino, E. (2016). Archival Research and the Study of the Concert Presentations of Film Music: The Case of John Williams and the Boston Pops. Journal of Film Music, 6(2), 147-163. https://doi.org/10.1558/jfm.30701
