Gregory Camp – författare

Known for creating classic films including His Girl Friday, The Big Sleep, Bringing Up Baby, and Gentlemen Prefer Blondes, Howard Hawks is one of the best-known Hollywood ‘auteurs’, but the important role that music plays in his films has been generally neglected by film critics and scholars. In this concise study, Gregory Camp demonstrates how Hawks'' use of music and musical treatment of dialogue articulate the group communication that is central to his films. In five chapters, Camp explores how the notion of ''music'' in Hawks'' films can be expanded beyond the film score, and the techniques by which Hawks and his collaborators (including actors, screenwriters, composers, and editors) achieve this heightened musicality.

Known for creating classic films including His Girl Friday, The Big Sleep, Bringing Up Baby, and Gentlemen Prefer Blondes, Howard Hawks is one of the best-known Hollywood ‘auteurs’, but the important role that music plays in his films has been generally neglected by film critics and scholars. In this concise study, Gregory Camp demonstrates how Hawks'' use of music and musical treatment of dialogue articulate the group communication that is central to his films. In five chapters, Camp explores how the notion of ''music'' in Hawks'' films can be expanded beyond the film score, and the techniques by which Hawks and his collaborators (including actors, screenwriters, composers, and editors) achieve this heightened musicality.

Scoring the Hollywood Actor in the 1950s theorises the connections between film acting and film music using the films of the 1950s as case studies.

Closely examining performances of such actors as James Dean, Montgomery Clift, and Marilyn Monroe, and films of directors like Elia Kazan, Douglas Sirk, and Alfred Hitchcock, this volume provides a comprehensive view of how screen performance has been musicalised, including examination of the role of music in relation to the creation of cinematic performances and the perception of an actor’s performance. The book also explores the idea of music as a temporal vector which mirrors the temporal vector of actors’ voices and movements, ultimately demonstrating how acting and music go together to create a forward axis of time in the films of the 1950s.

This is a valuable resource for scholars and researchers of musicology, film music and film studies more generally.

Scoring the Hollywood Actor in the 1950s theorises the connections between film acting and film music using the films of the 1950s as case studies.

Closely examining performances of such actors as James Dean, Montgomery Clift, and Marilyn Monroe, and films of directors like Elia Kazan, Douglas Sirk, and Alfred Hitchcock, this volume provides a comprehensive view of how screen performance has been musicalised, including examination of the role of music in relation to the creation of cinematic performances and the perception of an actor’s performance. The book also explores the idea of music as a temporal vector which mirrors the temporal vector of actors’ voices and movements, ultimately demonstrating how acting and music go together to create a forward axis of time in the films of the 1950s.

This is a valuable resource for scholars and researchers of musicology, film music and film studies more generally.

Linguistics for Singers: An Introduction is a textbook and manual that provides singers with a foundation in linguistic features of four major singing languages—English, Italian, French, and German—and shows how these features can be used to inform vocal performance and interpretation.

Going beyond the basics of lyric diction, a grounding in linguistics enables student musicians to understand language holistically and more fully comprehend the music they are learning. The comparative approach to four common languages allows readers to readily grasp similarities and apply principles across vocal repertoire. Beginning with the sounds of a language and gradually moving up through larger levels of linguistic structure, from words to full texts, the chapters illustrate concepts using real examples from art songs and opera. The clear explanations enable readers new to linguistics to connect these concepts with their own musical practice.

Designed for flexible use in courses on language and singing, lyric diction, repertoire studies, and collaborative piano, this book provides a vital resource for singers, vocal instructors, and conductors.

Linguistics for Singers: An Introduction is a textbook and manual that provides singers with a foundation in linguistic features of four major singing languages—English, Italian, French, and German—and shows how these features can be used to inform vocal performance and interpretation.

Going beyond the basics of lyric diction, a grounding in linguistics enables student musicians to understand language holistically and more fully comprehend the music they are learning. The comparative approach to four common languages allows readers to readily grasp similarities and apply principles across vocal repertoire. Beginning with the sounds of a language and gradually moving up through larger levels of linguistic structure, from words to full texts, the chapters illustrate concepts using real examples from art songs and opera. The clear explanations enable readers new to linguistics to connect these concepts with their own musical practice.

Designed for flexible use in courses on language and singing, lyric diction, repertoire studies, and collaborative piano, this book provides a vital resource for singers, vocal instructors, and conductors.