The Hollywood careers of Aaron Copland and Hanns Eisler brought the composers and their high art sensibility into direct conflict with the premier producer of America's potent mass culture. Drawn by Hollywood's potential to reach—and edify—the public, Copland and Eisler expertly wove sophisticated musical ideas into Hollywood and, each in their own distinctive way, left an indelible mark on movie history. Sally Bick's dual study of Copland and Eisler pairs interpretations of their writings on film composing with a close examination of their first Hollywood projects: Copland's music for Of Mice and Men and Eisler's score for Hangmen Also Die! Bick illuminates the different ways the composers treated a film score as means of expressing their political ideas on society, capitalism, and the human condition. She also delves into Copland's and Eisler's often conflicted attempts to adapt their music to fit Hollywood's commercial demands, an enterprise that took place even as they wrote hostile critiques of the film industry.| Cover Title Copyright Contents Preface Acknowledgments 1. Background Stories 2. Copland on Hollywood 3. Copland, Hollywood, and American Musical Modernism: Of Mice and Men 4. Eisler in America: The Film Music Project and Composing for the Films 5. Eisler in Hollywood: Hangmen Also Die! Epilogue Notes Bibliography Index Back cover | "Engaging and informative study of film scores by Aaron Copland and Hanns Eisler within the larger artistic, intellectual, musical, and political climate of midcentury America. Bick's work offers a significant contribution to the new wave of film music studies, which place equal emphasis on insightful and detailed music discussion."—Gayle Sherwood Magee, author of Robert Altman's Soundtracks: Film, Music, and Sound from M*A*S*H to A Prairie Home Companion
|Sally Bick is an associate professor of music at the University of Windsor.