In 1854, the originator of Viennese Operetta, Franz von Suppé created the music for a new play by Leonhart Wohlmuth. It is part of a forgotten art form where the music underlines and accompanies the action on stage in a similar way to a soundtrack for a film. While the music works very well in the present day, the real challenge is to modernise the script to make it relevant and interesting for a modern audience. Originally written in early 19th century German, the script sounds outdated and received a less than positive reception at its original outing. Its dialogue is more in keeping with Opera and required significant work to make it palatable to a contemporary audience. The project on which this book is based maintained the music by Suppé as indicated in the manuscript score, while translating and adapting the German script by Wohlmuth into a version more interesting in the present day.

How did a late-blooming midwestern orchestra rise amid gritty Big Industry to become a titan in the world of Big Art? This groundbreaking book tells the complete story of the people and events that shaped the Cleveland Orchestra into a classical music legend. It taps the most authoritative sources to show how decisions were made along the often bumpy road to artistic and financial success. Told with plenty of anecdotes and intriguing behind-the-scenes details.

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Film Music: A History explains the development of film music by considering large-scale aesthetic trends and structural developments alongside socioeconomic, technological, cultural, and philosophical circumstances. The book’s four large parts are given over to Music and the "Silent" Film (1894--1927), Music and the Early Sound Film (1895--1933), Music in the "Classical-Style" Hollywood Film (1933--1960), and Film Music in the Post-Classic Period (1958--2008). Whereas most treatments of the subject are simply chronicles of "great film scores" and their composers, this book offers a genuine history of film music in terms of societal changes and technological and economic developments within the film industry. Instead of celebrating film-music masterpieces, it deals—logically and thoroughly—with the complex ‘machine’ whose smooth running allowed those occasional masterpieces to happen and whose periodic adjustments prompted the large-scale twists and turns in film music’s path.

Stephen Toulmin argues that the potential for reason to improve our lives has been hampered by a serious imbalance in our pursuit of knowledge. The centuries-old dominance of rationality has diminished the value of reasonableness. Toulmin issues a powerful call to redress the balance between rationality and reasonableness.

Music and Levels of Narration in Film is the first book-length study to synthesize scholarly contributions toward a narrative theory of film music. Moving beyond the distinction between diegetic and nondiegetic music--or music that is not understood as part of a film's "story world"--Guido Heldt systematically discusses music at different levels of narration, from the extrafictional to "focalizations" of subjectivity. Heldt then applies this conceptual toolkit to study the narrative strategies of music in individual films, as well as genres, including musicals and horror films. The resulting volume will be an indispensable resource for anyone researching or studying film music or film narratology. A PDF version of this book is available for free in open access via the OAPEN Library platform, www.oapen.org It has been made available under a Creative Commons Attribution 4.0 International Public License and is part of Knowledge Unlatched.