OXFORD UNIVERSITY PRESS

The Early Film Music of Dmitry Shostakovich

ISBN : 9780199315147

Price(incl.tax): 
¥8,162
Author: 
Joan Titus
Pages
272 Pages
Format
Hardcover
Size
156 x 235 mm
Pub date
Apr 2016
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In the late 1920s, Dmitry Shostakovich emerged as one of the first Soviet film composers. With his first score for the silent film the New Babylon (1929) and the many sound scores that followed, he was positioned to observe and participate in the changing politics of the film industry and negotiate the role of the film composer. In The Early Film Music of Dmitry Shostakovich, Joan Titus examines the scores of six of Shostakovich's films, from 1928 through 1936. Instead of investigating Shostakovich as a composer, a rebel, a communist, or a dissident, as innumerable studies do, Titus approaches him as a concept in itself-as an idea-and asks why and how listeners understand him as they do. Through Shostakovich's scores, Titus engages with the construct of Soviet intelligibility, the filmmaking and scoring processes, and the cultural politics of scoring Soviet film music, asking why and how listeners understand the composer the way they do. The discussions of the scores are enriched by the composer's own writing on film music, along with archival materials and recently discovered musical manuscripts that illuminate the collaborative processes of the film teams, studios, and composer. The Early Film Music of Dmitry Shostakovich commingles film studies, musicology, and Russian studies with original scholarship, and is sure to be of interest to a wide audience including musicologists, film scholars, historians of Russia and the Soviet Union, and Slavicists.

Index: 

Contents
Abbreviations
Notes on transliteration
About the Companion Website
Chapter 1: Introduction
Chapter 2: New Babylon (1928-1929) and Scoring for the Silent Film
Chapter 3: Alone (1929-1931) and the Beginnings of Sound Film
Chapter 4: Golden Mountains (1931) and the New Soviet Sound Film
Chapter 5: Counterplan (1932) and the Socialist Realist Film
Chapter 6: Youth of Maxim (1934-1935) and the Minimal Score
Chapter 7: Girlfriends (1935-1936) and the Girls of the Future
Chapter 8: Epilogue
Bibliography
Index

About the author: 

Joan Titus is an associate professor of musicology at the University of North Carolina at Greensboro. With a background in musicology, film studies, and Slavic, her research interests span cultural politics, music for Russian/Soviet film, gender and music, and indigenous music.

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