In The Early Film Music of Dmitry Shostakovich, Joan Titus examines the scores of six of Shostakovich's films, from 1928 through 1936 with an approach that combines film studies, musicology, Russian studies and original scholarship.
In The Early Film Music of Dmitry Shostakovich, Joan Titus examines the scores of six of Shostakovich's films, from 1928 through 1936 with an approach that combines film studies, musicology, Russian studies and original scholarship.
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.
Inhaltsangabe
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
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
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