Ennio Morricone Research Articles

Musical culture of screen direction

The article examines the phenomenon of music in audiovisual art. The work of Ennio Morricone in world cinema is analyzed. This approach made it possible to deeply reveal the role of music in the screen arts and to show the peculiarities of the collaboration between the director and the composer. Signs of collective authorship in the screen arts have been identified, which provoked the emergence of creative tandems, a director-composer. In addition, the director's creativity was studied in the context of the composer's practices of creating music for audiovisual art. Composer practices of Ennio Morricone in different directorial models are analyzed. The main features of the author's style of the composer are revealed, his innovative approaches in creating music for the screen and symphonic music are revealed. The experimental music of a prominent composer is characterized. The main techniques of E. Morricone's tonal music are singled out and the specifics of the use of musical instruments in the artist's scores are clarified. The artist's use of various composing technologies is analyzed. It is substantiated that the composer tried to reform film music and modern music in general. The composer's unique ability to work in a cinematographic production team has been proven. It is shown that sometimes the screen music of the maestro became more popular than the films for which it was written.
 In the development of the topic, the methods of scientific analysis, comparison, and generalization were comprehensively applied. Analytical and systematic methods in their unity were involved to consider the art-historical aspect of the problem.
 As a result, the specifics of the use of musical means in screen arts are determined through the study of creative models of the director and composer, the relevance of using the systematic method in studying the peculiarities of composers' creativity in the context of audiovisual art and production is proven.

Music as an Element of the Screen Language of the Director. Part 2. Ennio Morricone's compositional practices in screen directing models

The purpose of the article is to determine the peculiarities of the use of music in the screen plane through the study of artistic director-composer tandems. Research methodology. In the development of the topic, the methods of scientific analysis, comparison, and generalisation were comprehensively applied. Analytical and systematic methods in their unity were involved to consider the art-historical aspect of the problem. The scientific novelty of the research lies in the fact that the director's creativity is investigated in the context of composer practices of creating music for audiovisual art; the appropriateness of using the systematic method in studying the features of composers' creativity in the context of audiovisual art and production has been proven. Conclusions. The materials presented in the article expand the arsenal of knowledge regarding the specifics of the co-creation of the director and composer in the screen arts and enable their application in educational courses, the creation of educational and methodological literature on the theory and history of music, film and television, directing, composition.
 Keywords: musical art, composer's practices, screen arts, directing creativity, musical image, symphonic music, composer's technologies.

Music as an Element of Director’s Screen Language. Part 1. Sergio Leone and Ennio Morricone: Creating a Musical Image as Basis for Creative Tandem

The purpose of the article is to determine the peculiarities of using music in the screen plane through the study of artistic tandems of director-composer. Research methodology. The methods of scientific analysis, comparison, and generalisation were comprehensively applied in the development of the topic. Analytical and systematic methods in their unity were used to consider the art historical aspect of the problem. The scientific novelty of the research is that the director's creativity is studied in the context of composers’ practices of creating music for audio-visual art; the appropriateness of using a systematic method in studying the peculiarities of composers' creativity in the context of audio-visual art and production has been proven. Conclusions. The materials presented in the article expand the arsenal of knowledge regarding the specifics of co-creation of a director and a composer in the screen arts and enable their application in educational courses, creation of educational and methodological literature on the theory and history of music, film and television, directing, and composition.
 Key words: musical art, composer, screen art, directing creativity, musical image, creative tandem, musical instruments.

About the Authors

Other| July 01 2023 About the Authors Music and the Moving Image (2023) 16 (2): 55. https://doi.org/10.5406/19407610.16.2.05 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn Email Permissions Search Site Citation About the Authors. Music and the Moving Image 1 July 2023; 16 (2): 55. doi: https://doi.org/10.5406/19407610.16.2.05 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressMusic and the Moving Image Search Advanced Search gillian b. anderson is a musicologist and orchestral conductor who has restored, reconstructed, or commissioned scores for over fifty mute films for performances with orchestras throughout Europe and North and South America. A number of her scores are available from Criterion Films and from the Museum of Modern Art. Her books include Music for Silent Films 1898–1929: A Guide and the translation of Ennio Morricone and Sergio Micelli's Composing for the Cinema. Her edition of the score for Way Down East (D. W. Griffith, 1920) is forthcoming from the AMS in its series Music of the United States of America. www.gilliananderson.itchristy thomas adams is an assistant professor of musicology at the University of Alabama School of Music. Her research focuses on the intersection between Italian opera and emerging media technologies at the turn of the twentieth century, with broad interests in the history of media technologies and the... You do not currently have access to this content.

Tiziana Fuoco

Angewandte ChemieVolume 133, Issue 34 p. 18526-18526 Introducing …Free Access Tiziana Fuoco First published: 09 July 2021 https://doi.org/10.1002/ange.202107180AboutSectionsPDF ToolsRequest permissionAdd to favorites ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinked InRedditWechat Abstract “My motto is: dare to be different … My favorite time of day is late night when I take time for unspecific thinking and random reading …” Find out more about Tiziana Fuoco in her Introducing … Profile. Tiziana Fuoco The author presented on this page has published her first article as a submitting corresponding author in Angewandte Chemie: “Degradation in order: simple and versatile one-pot combination of two macromolecular concepts to encode diverse and spatially regulated degradability functions”: T. Fuoco, Angew. Chem. Int. Ed. 2021, 60, doi.org/10.1002/anie.202103143; Angew. Chem. 2021, 133, doi.org/10.1002/ange.202103143. Position: Researcher, Department of Fibre and Polymer Technology, KTH Royal Institute of Technology Homepage: https://www.kth.se/profile/tiziana ORCID: orcid.org/0000-0001-7135-9158 Education: 2012 Master's Degree in Chemistry, University of Salerno (Italy) 2016 PhD in Chemistry with Daniela Pappalardo and Marina Lamberti, University of Salerno 2016–2018 Postdoctoral position with Anna Finne-Wistrand, KTH Royal Institute of Technology (Sweden) Research: Degradable and functional polymers, copolymers, ring-opening (co)polymerization, macromolecular design and catalysis Hobbies: Reading, art, travel I am waiting for the day when someone will discover innovative and robust synthetic strategies to mimic the modus operandi of Nature. The biggest challenge facing my generation of scientists is to balance curiosity-driven research with societal needs. The greatest scientific advance of the last decade was the development of vaccines against COVID-19. I chose chemistry as a career because I wanted to create new molecules, indeed I started with organic chemistry and later I “scaled-up” to macromolecules. In five years, I hope to be an established research leader who is an inspiring supervisor and an enthusiastic, passionate colleague. If I were not a scientist, I would be a veterinarian. The advice I wish I had received is strive for excellence by following the pathway that is yours. My favorite time of day is late night when I take time for unspecific thinking and random reading. If I could be described as an animal it would be a cat according to my family and friends, but I prefer the Ugly Duckling. My motto is dare to be different. The most important quality of a role model is a quiet demeanor that hides a great intellect, preparation, patience, and discipline. My favorite way to spend a holiday is wandering around fishing villages and small islands in Southern Italy. My favorite composer is Ennio Morricone. My favorite quote is “Luck favors the prepared mind” (Louis Pasteur). My favorite painter is Sandro Botticelli together with Perugino and Caravaggio. Behind the Science References 1The idea of this contribution came out by building on different models and concepts that apply to diverse areas of chemistry, and on a good dose of reading and curiosity. Recently, I could dedicate myself to that idea. Indeed, I had been wondering and elaborating for some time now, on how to develop innovative ways to properly design the polymer's primary structure and endow specific performance, yet the simplicity and versatility of the strategy presented here were what surprised me the most on the way to the results. Google Scholar Volume133, Issue34August 16, 2021Pages 18526-18526 This is the German version of Angewandte Chemie. Note for articles published since 1962: Do not cite this version alone. Take me to the International Edition version with citable page numbers, DOI, and citation export. We apologize for the inconvenience. ReferencesRelatedInformation

The Morricone Paradox: A Film Music Genius Who Missed Writing Symphonies

This short essay reviews a specific aspect of Ennio Morricone’s work as a film music composer. The review is of personal character and analyses the expectation of the composer as a projection of the social conditions he lived in. The review invites controversial discussions and may show some ideas of the way how purposeful research can turn into culturally contributing subjectivity.

Italian singer Daisy Lumini as an interpreter of the post-avant-garde music

Italian singer Daisy Lumini as an interpreter of the post-avant-garde music

Comment: Foreign Contracts and U.S. Copyright Termination Rights: What Law Applies?

The U.S. Copyright Act gives authors the right to terminate assignments ofcopyrights in works other than works for hire, executed on or after January 1, 1978,after thirty-five years, and to do so notwithstanding any agreement to the contrary.Given that agreements which are subject to the laws of other countries can assignU.S. copyrights, and purport to do so in perpetuity, U.S. law’s preclusion ofagreements contrary to the author’s right to exercise her termination right can giverise to a difficult choice of law issue. Two recent cases which came before courts inthe U.S. and England respectively, Ennio Morricone Music Inc. v. Bixio MusicGroup Ltd. and Gloucester Place Music Ltd v. Le Bon illustrate the problem. Inneither case was the choice of law question disputed by the parties, and hence neithercourt had occasion fully to analyze it. Nevertheless, the Court of Appeals for theSecond Circuit in the Morricone case made an observation about the nature of U.S.copyright which has a potentially important bearing on the matter. In this article weconsider the choice of law issue from the perspectives of U.S. law and English law.Under either law, the key question is what law governs the permissible scope ofan author’s grant. Given that copyright is territorial, as a matter of principle, onewould expect that law to be the lex loci protectionis, and that is essentially what bothU.S. law and English law stipulate. Where the copyright is a U.S. copyright,application of the lex loci protectionis in accordance with the conceptualizationsuggested by Morricone, concerning the inalienable character of the right, leads tothe conclusion that § 203 cannot be overridden by a contract subject to a differentlaw. We do not conclude, however, that a multinational grant will incorporate everynational law limitation on the scope of the grant. Limits on the scope of the grantwhich are substantive, when characterized in accordance with the lex lociprotectionis, must be given effect, but not limits which are evidential or procedural.

Sonoridades e ambiências nos filmes: Cão branco e A missão

Tendo como fundamento os estudos do teórico alemão Hans Ulrich Gumbrecht1 e seu instigante conceito de Stimmung, nas diversas camadas de significações que o compõem (clima, atmosfera, som, humores, ambiência), esta resenha pretende explorar como essa categoria estética influi na construção e leitura da obra cinematográfica. O foco central de nossas reflexões será a dimensão sonora do filme, especificamente na música ou trilha sonora, e em como ela participa do Stimmung, sugerindo efeitos de intensa presença, que redimensionam a obra. Para realizar esta proposta de leitura, apresentaremos dois filmes: Cão branco (1982), de Samuel Fuller, e A missão (1986), de Roland Joffé; ambos com trilha do compositor italiano Ennio Morricone. Investigaremos também como o Stimmung permeia várias etapas do processo de criação da música, tornando-se parte intrínseca da práxis do compositor, no transcorrer da realização da obra.

The Miracle of Music: A Conversation with Ennio Morricone

In a conversation with Emanuele Colombo, Ennio Morricone—one of the great contemporary composers—discusses the maestro’s relation to the Society of Jesus. One of the highlights of this interview is a thin thread that unites the masterful soundtrack Morricone composed for the 1986 movie The Mission (on the Jesuit reducciones in Paraguay) with a Mass he dedicated to the first Jesuit pope, Francis, on the occasion of the 200th anniversary of the Society of Jesus’s restoration (2014)

Tragic Heroes of the Southwest: A Solo Guitar Performance Featuring the Music of Aaron Copland, Ennio Morricone, Luis Bacalov, and The Handsome Family

Tragic Heroes of the Southwest: A Solo Guitar Performance Featuring the Music of Aaron Copland, Ennio Morricone, Luis Bacalov, and The Handsome Family

Influencias de la música para western de Dimitri Tiomkin en el spaghetti western

La música del spaghetti western tiene una fuerte personalidad, conformada por ciertos elementos intrínsecos al momento de su creación y al género. Su principal representante es el compositor italiano Ennio Morricone. Ante la decadencia del western americano en la década de 1960, algunos de sus rasgos formales y musicales resultaron revolucionarios. Ello se debió al abandono de la tendencia dominante, impuesta por los norteamericanos Elmer Bernstein y Jerome Moross. Pero un análisis profundo de la historia de la música del western revela que algunos elementos considerados novedosos ya se daban en el western americano de los años 50, concretamente en las composiciones de Dimitri Tiomkin. Al estudio de estos aspectos está dedicado el presente trabajo, donde se aportan los precedentes americanos y algunos ejemplos de su utilización en Italia.

About the Authors

Abstract gillian anderson (http://www.gilliananderson.it) is a conductor and musicologist. She has participated in the restoration and reconstruction of the original orchestral scores written to accompany over forty of the great “mute” films and has conducted them in synchronization with their projection at many important film festivals, universities, and performing arts centers with many symphony orchestras, most recently Modern Times (Chaplin) with the FVG Orchestra in Udine, Nosferatu with the Vancouver Symphony, Stark Love (Brown, 1928) with Cinemusica Viva NYU at MoMA, and The Birth of a Nation with the Opera Orchestra of the Teatro Sao Carlos in Lisbon. Her releases include Nosferatu (Murnau, 1921) BMG Classics, Carmen (DeMille, 1915) Video Artists International, Haexan (Christiansen, 1922), Pandora’s Box (Pabst, 1928), and Master of the House (Dreyer, 1925) Criterion Films. Her books include Music for Silent Films 1894–1929: A Guide (Washington, DC, Library of Congress, 1988), which is available online from the Haithi Trust; and the translation of Ennio Morricone and Sergio Miceli’s Composing for the Cinema (Scarecrow Press, 2013). Her article “D. W. Griffith’s Intolerance: Revisiting a Reconstructed Text,” has appeared in Film History, 25, 3. matthew mcdonald (mmcdonald@neu.edu) is an associate professor of music at Northeastern University, where he directs the music theory program and teaches courses in music theory, music history, and film music. He holds a PhD in music theory from Yale University and is the author of numerous articles and essays on early modernist music and music in film, including contributions to Routledge’s Music in the Western and Music, Sound, and Filmmakers. His book, Breaking Time’s Arrow: Experiment and Expression in the Music of Charles Ives, was published by Indiana University Press (2014). Currently, he is working on a new book project on music and sound in the films of the Coen brothers. reba wissner (reba.wissner@gmail.com) is an adjunct professor at the John J. Cali School of Music at Montclair State University, adjunct assistant professor of music history at Westminster Choir College of Rider University, and an adjunct professor at Berkeley College. She received her MFA and PhD in musicology from Brandeis University and her BA in music and Italian from Hunter College. Her first book, A Dimension of Sound: Music in The Twilight Zone,was published by Pendragon Press, and she also serves as the series editor for their Music and Media series. Currently, she is working on her second book, titled, We Will Control All That You Hear: The Outer Limits and the Aural Imagination.

Composing for the cinema: the theory and praxis of music in film

With nearly 400 scores to his credit, Ennio Morricone is one of the most prolific and influential film composers working today. In Composing for the Cinema, Morricone and musicologist Sergio Miceli present a series of lectures on the composition and analysis of film music. Adapted from several lectures and seminars, these lessons show how sound design can be analyzed and offer a variety of musical solutions to many different kinds of film. Drawing upon scores by himself and others, the composer also provides insight into his relationships with many of the directors with whom he has collaborated, including Sergio Leone, Giuseppe Tornatore, Franco Zeffirelli, Warren Beatty, Ridley Scott, Roland Joffe, the Taviani Brothers, and others. Delivered in a conversational mode that is both comprehensible and interesting, this groundbreaking work intertwines analysis with practical details of film music composition.

Miceli’s Method of Internal, External, and Mediated Levels: Elements for the Definition of a Film-Musical Dramaturgy

Abstract Most systems for locating music within a film’s dramaturgy have been formulated by and for musicologists or cinema studies specialists. The present translated excerpt from chapter 4 of Ennio Morricone and Sergio Miceli’s book Composing for the Cinema (2001) is aimed at composers. It postulates three levels or points of view for understanding the position and function of the music within a film, internal, external and mediated, and gives many complex examples. Particularly the mediated level is an original contribution to the discourse on this subject. In addition, the excerpt includes a breathtakingly insightful short essay by Pier Paolo Pasolini about the purpose and function of film music. The editors wish to thank the Film Music Foundation for making possible the translation of the Miceli article.

ITALIANS IN ALGIERS

Why did Saadi Yacef decide to go to Italy in 1964 to find a director to make a film based on his memoirs of the Battle of Algiers? How far was the resulting film shaped by its Algerian producer and how far by the Italians who worked on it – director Gillo Pontecorvo and screenwriter Franco Solinas, but also cinematographer Marcello Gatti, editor Mario Morra and composer Ennio Morricone? How far did it differ on the one hand from Yacef's original story idea and on the other from the film called Parà that Pontecorvo and Solinas had originally intended to make in Algiers and for which they already had a complete script ready? This article looks at the making of The Battle of Algiers and considers these questions in relation to the film's politics, its narrative construction and its style. It also considers some parallels between the film and the work of Rossellini, in particular Rome Open City.

Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s and 1990s (review)

Reviewed by: Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s and 1990s Leslie N. Andersen Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s and 1990s. By Annette Davison. Burlington, VT: Ashgate, 2004. (Ashgate Popular and Folk Music Series.) [x, 221 p. ISBN 0-75460-5825. $69.95.] Music examples, illustrations, bibliography, index. "[I]n their attempts to show how movies purportedly mystify spectators," argues Noël Carroll in Mystifying Movies: Fads & Fallacies in Contemporary Film Theory (New York: Columbia University Press, 1988, 2), "contemporary film theorists, in fact, mystify our understanding of cinema." Carroll's comments adequately describe the end result of Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s and 1990s, a new title in Ashgate's Popular and Folk Music Series. The stated mission of the series is to present music "in cultural context, and may draw upon [End Page 999] methodologies and theories developed in cultural studies, semiotics, poststructuralism, psychology and sociology." Davison's book is not primarily about film music but rather about how it can be construed in the context of film theory. The analysis of film scores as a musical form is not found here. Because of this, it rightly should be cataloged in PN 1995.7 (Motion pictures—Sound effects) instead of ML 2075 (Motion picture music—Analysis, appreciation, or Motion picture music—History and criticism). A working knowledge of film theory is really needed to adequately understand this difficult text, something that most musicians are not likely to possess. Although Robynn Stilwell, quoted on the dust jacket of the book, states that "[the book] will be an excellent foundation for any student in the field" only those with a strong background in film theory will be served or, more precisely, a background mostly in yesteryear's film theory, rather than more recent alternative theories advanced in the past decade and a half, as found in Post-Theory: Reconstructing Film Studies (David Bordwell and Noël Carroll, eds. [Madison: University of Wisconsin Press, 1996]). Davison makes a distinction between classical Hollywood scoring practices, defined as "a set of structural conventions originally institutionalized as a set of filmmaking practices in the 1930s and 1940s" (p. 2) and non-Hollywood practices, described as "film soundtrack composition" or "alternative scoring," presumably to mean any music that does not adhere to the form of the "traditional" orchestral film score. Hence pre-existing music (not originally composed for the film), and sound effects used as music, or vice versa, fit this definition. Terminology is a problem in this book. Davison describes this type of research early on as "film musicology" (p. 1) without a definition as to what this is. Is "film musicology" the musicology of film or the study of film music? Davison assumes that the reader understands what this term means without documenting its origin. "Sound track" is another word used copiously throughout the book without acknowledging that the word has more than one meaning. In cinema parlance, "sound track" refers to the part of the physical film that carries the sound recording. It can also mean the commercially-available recording of the music from a film. Davison assumes that the reader knows she is using the film theory definition of the word meaning all of the sound in a film. Another assumption Davison makes concerns the distinction between the "dominant scoring practice of Hollywood films made between the mid-1930s and the early 1950s." (p. 1) and "the re-emergence of classical scoring in the mid-to-late 1970s." Although it is undeniably true that movies and moviemaking "changed" after the studio system was broken up in the late 1950s, it does not necessarily follow that "classical scoring" was simply abandoned until the 1970s. A cursory survey of the creative output of a number of film composers active during this period belies this, and instead shows that traditional scores continued to be the mainstay, written by the likes of John Addison, Elmer Bernstein, Georges Delerue, Hugo Friedhofer, Jerry Goldsmith, Bernard Herrmann, Bronislaw Kaper, Maurice Jarre, Ennio Morricone, Alfred Newman, Alex North, André Previn, Leonard Rosenman, Nino Rota, Miklós Rózsa, Masaru Satô, and Dimitri Tiomkin, to name just...