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Product Identifiers
PublisherUniversity of California Press
ISBN-100520253116
ISBN-139780520253117
eBay Product ID (ePID)57082625
Product Key Features
Book TitleTunes for 'toons : Music and the Hollywood Cartoon
Number of Pages243 Pages
LanguageEnglish
TopicFilm / Genres / Animated, History & Criticism, Television / General, General, Animation (See Also Film / Genres / Animated)
Publication Year2007
IllustratorYes
GenreMusic, Performing Arts
AuthorDaniel Ira Goldmark
FormatPerfect
Dimensions
Item Height0.7 in
Item Weight12.8 Oz
Item Length9 in
Item Width6 in
Additional Product Features
Intended AudienceTrade
LCCN2004-025268
Dewey Decimal781.542
Table Of ContentList of Illustrations and Tables List of Music Examples Acknowledgments Introduction. Why Cartoon Music? 1. Carl Stalling and Popular Music in the Warner Bros. Cartoons 2. "You Really Do Beat the Shit out of That Cat": Scott Bradley's (Violent) Music for MGM 3. Jungle Jive: Animation, Jazz Music, and Swing Culture 4. Corny Concertos and Silly Symphonies: Classical Music and Cartoons 5. What's Opera, Doc? and Cartoon Opera A Brief Conclusion Appendix 1: Carl Stalling Documents Appendix 2: Scott Bradley Documents Notes Bibliography Index
SynopsisIn the first in-depth examination of music written for Hollywood animated cartoons of the 1930s through the 1950s, Daniel Goldmark provides a brilliant account of the enormous creative effort that went into setting cartoons to music and shows how this effort shaped the characters and stories that have become embedded in American culture. Focusing on classical music, opera, and jazz, Goldmark considers the genre and compositional style of cartoons produced by major Hollywood animation studios, including Warner Bros., MGM, Lantz, and the Fleischers. Tunes for 'Toons discusses several well-known cartoons in detail, including What's Opera, Doc?, the 1957 Warner Bros. parody of Wagner and opera that is one of the most popular cartoons ever created. Goldmark pays particular attention to the work of Carl Stalling and Scott Bradley, arguably the two most influential composers of music for theatrical cartoons. Though their musical backgrounds and approaches to scoring differed greatly, Stalling and Bradley together established a unique sound for animated comedies that has not changed in more than seventy years. Using a rich range of sources including cue sheets, scores, informal interviews, and articles from hard-to-find journals, the author evaluates how music works in an animated universe. Reminding readers of the larger context in which films are produced and viewed, this book looks at how studios employed culturally charged music to inspire their stories and explores the degree to which composers integrated stylistic elements of jazz and the classics into their scores., In the first in-depth examination of music written for Hollywood animated cartoons of the 1930s through the 1950s, Daniel Goldmark provides a brilliant account of the enormous creative effort that went into setting cartoons to music and shows how this effort shaped the characters and stories that have become embedded in American culture. Focusing on classical music, opera, and jazz, Goldmark considers the genre and compositional style of cartoons produced by major Hollywood animation studios, including Warner Bros., MGM, Lantz, and the Fleischers. "Tunes for 'Toons "discusses several well-known cartoons in detail, including "What's Opera, Doc?, "the 1957 Warner Bros. parody of Wagner and opera that is one of the most popular cartoons ever created. Goldmark pays particular attention to the work of Carl Stalling and Scott Bradley, arguably the two most influential composers of music for theatrical cartoons. Though their musical backgrounds and approaches to scoring differed greatly, Stalling and Bradley together established a unique sound for animated comedies that has not changed in more than seventy years. Using a rich range of sources including cue sheets, scores, informal interviews, and articles from hard-to-find journals, the author evaluates how music works in an animated universe. Reminding readers of the larger context in which films are produced and viewed, this book looks at how studios employed culturally charged music to inspire their stories and explores the degree to which composers integrated stylistic elements of jazz and the classics into their scores.
LC Classification NumberML2075.G65 2007
