In this Book

John Williams's Film Music
summary
John Williams is one of the most renowned film composers in history. He has penned unforgettable scores for Star Wars, the Indiana Jones series, E.T. the Extra-Terrestrial, Jaws, Superman, and countless other films. Fans flock to his many concerts, and with forty-nine Academy Award nominations as of 2014, he is the second-most Oscar-nominated person after Walt Disney. Yet despite such critical acclaim and prestige, this is the first book in English on Williams’s work and career.
            Combining accessible writing with thorough scholarship, and rigorous historical accounts with insightful readings, John Williams’s Film Music explores why Williams is so important to the history of film music. Beginning with an overview of music from Hollywood’s Golden Age (1933–58), Emilio Audissino traces the turning points of Williams’s career and articulates how he revived the classical Hollywood musical style. This book charts each landmark of this musical restoration, with special attention to the scores for Jaws and Star Wars, Williams’s work as conductor of the Boston Pops Orchestra, and a full film/music analysis of Raiders of the Lost Ark. The result is a precise, enlightening definition of Williams’s “neoclassicism” and a grounded demonstration of his lasting importance, for both his compositions and his historical role in restoring part of the Hollywood tradition.

Table of Contents

  1. Cover
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  1. Title Page, Copyright Page, Dedication, Quote
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  1. Contents
  2. pp. xi-xii
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  1. List of Illustrations
  2. pp. xiii-xiv
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  1. Acknowledgments
  2. pp. xv-xviii
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  1. Prefaceon Methodology
  2. pp. xix-2
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  1. Introduction
  2. pp. 3-6
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  1. Part I: The Classical Hollywood Music Style
  2. pp. 7-8
  1. 1. “The Classical Hollywood Music”: A Chronicle
  2. pp. 9-25
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  1. 2. “The Classical Hollywood Music”: A Stylistic Definition
  2. pp. 26-54
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  1. Part II: John Williams and the Classical Hollywood Music Style
  2. pp. 55-56
  1. 3. The “Modern” Hollywood Music Style: The Context of Williams’s Restoration
  2. pp. 57-68
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  1. 4. Star Wars: An Oppositional Score
  2. pp. 69-85
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  1. 5. Williams’s Early Years: Spotting the First Traces of Neoclassicism
  2. pp. 86-103
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  1. 6. Jaws: Williams’s Neoclassicism Floats Up to the Surface
  2. pp. 104-118
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  1. 7. Williams’s Neoclassicism: Style and Habits
  2. pp. 119-133
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  1. 8. Williams’s Naysayers: A Deconstruction of Classical and New Criticisms
  2. pp. 134-144
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  1. 9. Raiders of the Lost Ark Background: A Neoclassical Film
  2. pp. 145-160
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  1. 10. Raiders of the Lost Ark Analysis: The Return of Max Steiner
  2. pp. 161-182
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  1. 11. Beyond the Films: Conductor John Williams
  2. pp. 183-196
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  1. Conclusion
  2. pp. 197-204
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  1. Appendix 1: Completing the Picture
  2. pp. 205-228
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  1. Appendix 2: Film and TV Scores, Concert Pieces, and Arrangements
  2. pp. 229-246
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  1. Glossary
  2. pp. 247-250
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  1. Notes
  2. pp. 251-286
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  1. Bibliography
  2. pp. 287-302
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  1. Index
  2. pp. 303-318
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  1. Series Page
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