Daniel Ira Goldmark – författare

This groundbreaking collection by the most distinguished musicologists and film scholars in their fields gives long overdue recognition to music as equal to the image in shaping the experience of film. Refuting the familiar idea that music serves as an unnoticed prop for narrative, these essays demonstrate that music is a fully imagined and active power in the worlds of film. Even where films do give it a supporting role--and many do much more--music makes an independent contribution. Drawing on recent advances in musicology and cinema studies, Beyond the Soundtrack interprets the cinematic representation of music with unprecedented richness. The authors cover a broad range of narrative films, from the "silent" era (not so silent) to the present. Once we think beyond the soundtrack, this volume shows, there is no unheard music in cinema.

In this first in-depth examination of music written for Hollywood animated cartoons of the 1930s through the 1950s, Daniel Goldmark provides a brilliant account of the enormous creative effort that went into setting cartoons to music and shows how this effort shaped the characters and stories that have become embedded in American culture. Focusing on classical music, opera, and jazz, Goldmark considers the genre and compositional style of cartoons produced by major Hollywood animation studios, including Warner Bros., MGM, Lantz, and the Fleischers. "Tunes for 'Toons" discusses several well-known cartoons in detail, including "What's Opera, Doc?", the 1957 Warner Bros. parody of Wagner and opera that is one of the most popular cartoons ever created. Goldmark pays particular attention to the work of Carl Stalling and Scott Bradley, arguably the two most influential composers of music for theatrical cartoons. Though their musical backgrounds and approaches to scoring differed greatly, Stalling and Bradley together established a unique sound for animated comedies that has not changed in more than seventy years.Using a rich range of sources including cue sheets, scores, informal interviews, and articles from hard-to-find journals, the author evaluates how music works in an animated universe. Reminding readers of the larger context in which films are produced and viewed, this book looks at how studios employed culturally charged music to inspire their stories and explores the degree to which composers integrated stylistic elements of jazz and the classics into their scores.

This collection of essays explores the link between comedy and animation in studio-era cartoons, from filmdom's earliest days through the twentieth century. Written by a who's who of animation authorities, "Funny Pictures" offers a stimulating range of views on why animation became associated with comedy so early and so indelibly, and illustrates how animation and humor came together at a pivotal stage in the development of the motion picture industry. To examine some of the central assumptions about comedy and cartoons and to explore the key factors that promoted their fusion, the book analyzes many of the key filmic texts from the studio years that exemplify animated comedy. "Funny Pictures" also looks ahead to show how this vital American entertainment tradition still thrives today in works ranging from The Simpsons to the output of Pixar.

What is jazz? What is gained - and what is lost - when various communities close ranks around a particular definition of this quintessentially American music? "Jazz/Not Jazz" explores some of the musicians, concepts, places, and practices which, while deeply connected to established jazz institutions and aesthetics, have rarely appeared in traditional histories of the form. David Ake, Charles Hiroshi Garrett, and Daniel Goldmark have assembled a stellar group of writers to look beyond the canon of acknowledged jazz greats and address some of the big questions facing jazz today. More than just a history of jazz and its performers, this collections seeks out those people and pieces missing from the established narratives to explore what they can tell us about the way jazz has been defined and its history has been told.