In Chapter 9 of his work Hitchcock's Music, Jack Sullivan discusses the score of Notorious and its role in the movie and the audience's experience.  Sullivan argues that though the movie's score, composed by Roy Webb, is often overlooked by Hitchcock scholars, it is one of the best scores of any Hitchcock movie.  Although Hitchcock had hoped for a more well-known composer than Webb, in the end Webb's subdued, non-flashy style and his use of dissonance and jagged rhythms fit well, even perfectly, as Sullivan argues, with Hitchcock's vision for the movie.  The music, which often meshes so well with a scene that it seems to fade imperceptibly into the background, enhances the drama and danger that is written into the plot and that Hitchcock works so painstakingly to portray in the film through careful use of the camera and coaching of his actors.

        The chapter provides a clear example of one of the many unexpected and unconventional elements of Notorious that, when combined with the other building blocks of the movie, creates the classic suspense for which Hitchcock is so well-known.  The music is in no way a typical Hollywood film score - the tunes are not particularly catchy or melodramatic.  However, Webb's varied and sometimes unsettling style works in the moment and matches the movie's plot, with its characters buried in layers of unresolved conflict and life-threatening danger, and its audience immersed in the uncomfortable coexistence of personal and political conflict embodied by both Devlin and Alicia's love vs. duty conflicts.

how to but wealth of examples.  Genres and Source Music; Using Melody; Using Harmony; Using Rhythm; Using Orchestration. Also on recording and the business.

Melissa Ursula Dawn Goldsmith, Louisian State University and Agricultural and Mechancial College 2002

Fred Steiner, "What Were Musicians Saying About Movie Music During the First Decade of Sound? A Symposium of Selected Writings," 81-107.

Most frequently written about topics 1930-39 were "nature of film music and its integration with the other elements of cinema, problems of form and style, the status of the composer and his relationship with the film director, the attitudes of directors and producers toward music, the quality of current film scores, the opportunities for composers, and the pitfalls that might await them." (84) This selection focuses on functional and theoretical aspects and excludes "historical and biographical writings, discussions of composition methods or orchestration, special topics such as musicals and filmed opera, technical matters such as studio routine, recording and microphone technique, and, with a few exceptions, reviews of film scores." (84)

Darius Milhaud had written origianl scores for silent films, one of first to write about musical situation in earliets days of sound film.

Herman Closson in "The Case Against Gebrauchsmusik," Modern Music, 7/2, 15-19 (1930) discusses problem "It sometimes happens in the movies that the music suddenly asserts its rights, taking one away from the visual images into a blind world of sound." further mentions symphonic poem as regressive, mistakes of program music, hazardous impressionism.

Raybould, Britich composer for documentary films, complains of sound quality, banjo, plucked string and saxophone comee off ok but "There has as yet ben no film recording of an orchestra, or even a part of one, to my knowledge which can stand comparison with the standard tonequality of the best gramophone records." 1933 in Sight and Sound.

Virgil Thompson "To break the music with every shot or change of scene is an error and ineffective." MM: 188, 1933. echoed in coming years by Antheil, Calvocoressi and Sabaneev. problem of musical form/unity vs. visual/narrative variety.

Constant Lambert, British compower and conductor in book Music Ho! (1934): In spite of its ephemeral nature it is the only art whose progress is not at the moment depressing to watch...Films have the emotional impact for the twentieth century that operas had for the nineteenth. Pudovkin and Eisenstein are the true successors of Mussorgsky, D.W. Griffith is our Puccini, Cecil B. DeMille our Meyerbeer and Rene Clair our Offenbach. (260)

Maurice Jaubert, French composer of film music, and interesting character. "Into the raw materials of cinema - which acquire artistic meaning only from their relations to one another - music brings an unreal element which is bound to break the rules of objective realism...All its power of suggestion will serve to intensify and prolong that impression of strangeness, of departure from photographic truth, which th director is seeking." ("Music on the Screen" in Footnotes to Film, ed. Charles Davey, 1937, p. 109)

Hollywood composers Herbert Stothart (in Behind the Scenes, ed. Stephen Watts, 1939) and Ernst Toch (Modern Music 13/2, 1936) believed sound film could bring good music to "the masses." (102)

David Raksin's article "Holding a Nineteenth Century Pedal at Twentieth Century-Fox" an engaging tale of film scoring c. 1938.

Seven D. Wescott's "Miklos Rozsa's Ben-Hur:The Musical-Dramatic Function of the Hollywood Leitmotiv" a detailed blow-by-blow analysis.

Kalinak, "Mas Steiner and the Classical Hollywood Film Score: An Analysis of the Informer"

Rosar, "Stravinsky and MGM" 

first electronic music throughout; Barrons' "electronic tonalities"

Ernest Gold. 12-tone for nuclear reaction.

Verdi and Schoenberg in Bertolucci's 'The Spider's Stratagem'
Deborah Crisp; Roger Hillman
Music & Letters > Vol. 82, No. 2 (May, 2001), pp. 251-267

Stable URL: http://links.jstor.org/sici?sici=0027-4224%28200105%2982%3A2%3C251%3AVASIB%27%3E2.0.CO%3B2-O

Beginning Credits and Beyond: Music and the Cinematic Imagination in Echo

Claudia Gorbman, "Scoring the Indian: Music in the Liberal Western"

Paramount hired Antheil to do "modernistic" music - Antheil calls music in long Indian scenes "the works"

oscar nominated score, jerry fielding.  according to imdb "Inspired by Stravinsky's Histoire Du Soldat, and with a large orchestra supplying dense, yearning sound clusters, this remarkable work gives voice to both the characters' inner turmoil and the desolate Cornish landscapes of the film's setting." cf. wild bunch

discussed in Strains of Utopia

discussed in Strains of Utopia

significant score

first big score for tiomkin

cornerstone Hollywood Wesern score

cornerstone of Hollywood Western score

hans eisler

music, Marc Blitzstein (The Spanish earth), Hanns Eisler (The 400 million).

hans eisler

hans eisler

Hush, "Modes of Continuity in Schoenberg's Begleitmusik zu einer Lichtspielszene" suppl. to vol. 8 no. 1 (1984): 5.

accorrding to Ashby, Leonard Rosenman recomposed 2nd mvmt of Bartok's Music for Strings, Percussion and Celesta for planetarium scene

see Murray Pomerancee, "Find Release: 'Storm Clouds' and The Man Who Knew Too Much" in Music and Cinema

David Neumeyer, "Film Theory and Music Theory: On the Intersection of Two Traditions," in Music in the Mirror, ed. Andreas Giger and Thomas Mathiesen (Lincoln: University of Nebraska Press, 2002), 275-294.

introductory. terminology.

entire issue

suggestions for accompanying silent films

film music aesthetics before film. in french

Contents
List of Illustrations
Introduction: Phonoplay: Recasting Film Music

PART I. MUSICAL MEANING
1. The Boy on the Train, or Bad Symphonies and Good Movies: The Revealing Error of the "Symphonic Score"
Peter Franklin
2. Representing Beethoven: Romance and Sonata Form in Simon Cellan Jones's Eroica
Nicholas Cook
3. Minima Romantica
Susan McClary
4. Melodic Trains: Music in Polanksi's The Pianist
Lawrence Kramer
5. Mute Music: Polanski's The Pianist and Campion's The Piano
Michel Chion
PART II. MUSICAL AGENCY
6. Opera, Aesthetic Violence, and the Imposition of Modernity: Fitzcarraldo
Richard Leppert
7. Sight, Sound, and the Temporality of Myth Making in Koyaanisqatsi
Mitchell Morris
8. How Sound Floats on Land: The Suppression and Release of Folk and Indigenous Musics in the Cinematic Terrain
Philip Brophy
9. Auteur Music
Claudia Gorbman
10. Transport and Transportation in Audiovisual Memory
Berthold Hoeckner
11. The Fantastical Gap between Diegetic and Nondiegetic
Robynn J. Stilwell
PART III. MUSICAL IDENTITY
12. Early Film Themes: Roxy, Adorno, and the Problem of Cultural Capital
Rick Altman
13. Before Willie: Reconsidering Music and the Animated Cartoon of the 1920s
Daniel Goldmark
14. Side by Side: Nino Rota, Music, and Film
Richard Dyer
15. White Face, Black Noise: Miles Davis and the Soundtrack
Krin Gabbard
16. Men at the Keyboard: Liminal Spaces and the Heterotopian Function of Music
Gary C. Thomas

score by Antheil uncredited.

"Ever since the advent of the two- and three-our photoplay, which also inaugurated an era of building palatial playhouses for their exhibition, there has come an increased demand for these so-called organ-orchestras and the one at the Strand has attracted so much attention that th ewriter ventured to ask Mr. Austin whether he believed that the mechanical orchestra - though operated at the console by a competent musician - was destined to eventually replace the large orchestral bodies in our play-houses of various grades" (335)..."'But we are convinced that the organ can be made a vital part of the equipment of the modern photoplay-house and by special arrangements of its tonal scheme and voicing can be rendered truly imitative of orchestral qualities and at the same time have sufficient inherent dignity which is invariably lacking in the usual theatre orchestra. The best results in my opinion,' continued Mr. Austin, 'can be obtained in the combination of the pipe organ and a limited orchestra, in fact, I think that not only in the moving picture theatres but in all play-houses the best effects will be achieved by such a combination of the larger organ and a few solo pieces in the orchestra.' The influence of the organ orchestra in the theatre of science has tended to greatly augment the musical side of photplay presentation and it is, indeed, a befitting as well as a truly artistic adjunct of the modern motion picture theatre, illustrating as it does the gradual resort to scientific means of expression. Hence, it is not surprising in this era of newly erected palatial photoplay houses that as high as $50,000 is being expended for what is known as the Wurlitzer Unit Orchestra." (336)

Also discusses potential of talking pictures and first experience with telephone. 

score by Antheil

score by Antheil

score by Antheil. documentary.

score by Antheil. film has no dialogue.

score by Antheil

score by Antheil

score by Antheil

score by Antheil

score by Antheil

score by Antheil

score by Antheil

score by Antheil

score by Antheil

score by Antheil

score by Antheil lost?

score by Antheil lost?

score by Antheil

score by Antheil

score by Antheil

score by Antheil

According to Jeff Smith (Sounds of Commerce, 239), offers most cogent analysis of Romanticism's influence on Hollywood composers, shows it to be both musical and ideological, figuring in legal, institutional and critical discourses of the classical Hollywood era.

Charlotte Greenspan writes about the adaptability of Irving Berlin and his music. Berlin paid attention not only to different ethnicities in his songs, but also to the entertainment trends and technological developments of time. He also wrote patriotic songs during the First World War. Greenspan notes that although Berlin was always conscious of the era, there is also a timeless quality to many of his songs. As sound emerged in film Berlin left the stage and moved to California to write songs for films, one of his first was The Jazz Singer. After not having much success in Hollywood, Berlin left to go back to the stage, only to return in 1935. Greenspan writes that Berlin signed a contract with RKO that allowed him more creative freedom than any of the studios he had worked with earlier in his career as well as a good share of the profits. Greenspan looks at the film Top Hat for which Berlin did the music. She describes each of the five songs as “unusual in one way or another.” She also explains how the music functions in early sound films and addresses the issue of why the characters are singing? Greenspan claims that in this film Berlin wrote songs that interesting so they could be played repeatedly and so they could be recognizable. This was Berlin’s method of plugging a song in a film. Greenspan also notes how Berlin lengthened songs and adapted form to fit the film so a piece was not repeated over and over. She examines this more with an in-depth analysis of Berlin’s song “Cheek to Cheek” which is nine minutes long in the film Top Hat.
Greenspan then turns to the compiled score for Alexander’s Ragtime Band. This film is significant because it details the development of the popular song and is also a biography of Berlin, in a sense. The film’s score only had three pieces composed for it, the rest of the twenty-three pieces were compiled from previous works. Greenspan uses this film to show how popular songs were placed in film at that time and also shows its significance in the history of film and Berlin’s career.
Greenspan concludes her article with an explanation of how Berlin went to Hollywood and adapted himself for scoring films. He not only developed his style for film music but put songs in films in a way that was original and innovative.
This article gives an interesting look at the early film score and how the popular song fit into it. Irving Berlin is an Icon and he demonstrates the connection between the music and film worlds. He shows how the two adapt and fuse together.

Rick Altman's article calls for further attention to: interaction b/t “classical” music and popular song in films that include both. Song melody thematized, turned into leitmotif; song used according to “classical principles; lyrics/title imposed on “classical” material; “classical” theme repeated emulating pop song.

Only original music by Clifford Vaughan for main title and "Narrative" (resume). Uses tons of underscoring from previous films.  See Richard Bush "The Music of Flash Gordon and Buck Rogers" in Film Music 1.

Score by W. Franke Harling heavily derivative of Wagner, liberally quotes "Grail" theme from Parsifal "as a religioso." inerowen with Liszt's Hungarian Rhapsody No. 1. Reused in Flash Gordon, flight and arrival on mysterious planet Mongo (Richard H. Bush, Film Music 1, 146)

Score by Roemheld features principal theme of Liszt's Sonata in B minor and part of symphonic poem Tasso, and paraphrase of Tchaikovsky's love theme from Romeo and Julet.  Score re-used in Flash Gordon.

First edition 1937.
Jaubert: "Music is by nature continuous, organised rhythmically in time. If you compel it to follow slavishly events or gestures which are themselves discountinuous, not rhythmically ordered but the outcome simply of physiological or psychological reactions, you destroy in it the very quality by virtue of which it is music, reducing it to its primary condition of crude sound. Used for these purposes, music will never, I am convinced, prove to be a satisfactory substitute for natural sounds, justified by their authenticity." 108.

Continued by World Film News - do we have this?  Eisler article "Music and Film: Illustration or Creation?" 1/2, 23.

Film Technique (Music and the Movies); Film and Society (1930-33); National Traits; Film Reviews.  This critic's opinions may be useful.

1. Theater Music During the Boom Years

2. "Making Friends with Music": Music Education in the Classroom and Concert Hall

3. "Symphonies Under the Stars": The Romance of the Hollywood Bowl

4. The Art of Pageants, Plays, and Dance

5. Leaving a Legacy: Early Recording of Indigenous, Classical, and Popular Music

6. "An Invisible Empire in the Air": Broadcasting the Classics during the Golden Age

7. Music on Film: Hollywood and the Conversion to Sound

Chapter 7 of Musical Metropolis is devoted to “Music on Film: Hollywood and the Conversion to Sound,” with the goal of demonstrating music’s vital role in creating “an atmosphere or mood in both nonanimated and animated films,” though to my mind Marcus’s argument amounts to, ‘films had music so music was vital.’ Marcus’s history of film music is concise and informative, however. Marcus shows that during the silent era most musical accompanied was drawn from preexisting European art music, and that the idea of composing music for films came only gradually. Marcus credits Warner Bros.’s 1926 The Jazz Singer, presented using Vitaphone, with “demonstrat[ing] with finality that audiences wanted to hear music on film (167). Many theaters kept their orchestras for the first few years of sound films, using them as entertainment between viewings. “In 1929 theaters were by far the largest employer of musicians in the country,” but the financial strain put on theaters by the Depression combined with sound film put an end to that.
While I find the explanation, “Because music had become an essential part of filmmaking, each of the studios formed a music department following the conversion to sound,” (168) wanting, Marcus’s account of the early music departments is informative, including figures for number of musicians employed and the typical pay around 1930. Marcus then turns to in depth biographical and musical discussions of the three leading symphonic film score writers, Max Steiner (the pioneer of letimotivc symphonic underscoring), Erich Wolfgang Korngold (the face of high-art respectability) and Alfred Newman (less educated but master of subtlety), and then to a discussion of music in animated films at Warners and Disney.