Star Wars: A New Hope, commonly considered one of the greatest films of all time, launched the space era craze backed by lovely and memorable music. John Williams created the musical score of Star Wars, reviving the grand symphonic scores from the early film era with the leitmotif inspired by the works of Wagner and Steiner. Star Wars: A New Hope is a film with a successful storyline, inspiring characters, and amazing visual presentation with an unforgettable musical score. The musical score of Star Wars returns to the basic features of classical film score with the use of a symphony orchestra, postromantic musical style, wall-to-wall scoring, and thematic transformation. In Star Wars: A New Hope, John Williams brought back the film score renaissance, shifting perceptions of greatness back in the direction of large orchestras.
This has been made possible thanks to good music, excellent actors and an unpredictable story. While watching the movie Casablanca, I really enjoyed the different types of music. The music was nice because it shows all kinds of languages and sounds. For example, in one of the flashback scenes in Paris, Rick and Ilsa dance to Rhythm of Perfidia by the Mexican composer Alberto Domínguez. Also another scene from the movie, which was characterized by music and that definitely impressed me, was when Laszlo begins singing followed by many people, La Marsellesa, the French national anthem, even before the occupation of the country.
Later, the strings came in as an accompanying section along with the guitar playing chords. After the English horn finished the melodic solo, Mr. Williams played the melodic line, which is almost identical to that of the English horn. Mr. Williams’s solo was very melancholic, yet uplifting. Both the soloist and the orchestra were very sensitive to harmonic changes and drama during the movement. The cadenza was very impressive musically and technically.
The first song is a major musical motif in Baz Lurhmann’s 2013 Great Gatsby, and the title is “Young and Beautiful”, sung by the amazingly talented Lana Del Ray. The lyrical development of the song helped to ground it in the world of the film. Lana chose a very clever way of wrapping universal pop lyrics around universal themes, but somehow her lyrics fall in beautifully with the themes of the film. Musically, I think it’s an unusual song, because on the one hand, it has romance and tells a love story, but at the same time, it’s filled with real yearning and melancholy, which I think is at the heart of the story, whether you’re looking at it from Gatsby’s or Daisy’s point of view. There’s a real sadness in the story, and that’s reflected beautifully in this song.
He reminds me a Jack Nicholson in all his magnificent roles. Following a few bars of pastoral music, Faust's opening narrative is wonderfully recieved. It seems Faust is peaceful and rejoicing in the spring time. The flutes make for the most amazing sounding birds. Coupled with glorious harp interjections, the music cause me to tear up in joy.
The third type of music used for films in the silent era was music that was composed specifically for a particular film. The most notable adaptations used in The Birth of a Nation are in the scene of Lincoln’s assassination as well as at the end of the film. One of the most well known arrangements used in this film is Ride of the Valkyries by Richard Wagner. Other popular arrangements included “Maryland, My Maryland” which was used to help lighten the mood. Joseph Carl Breil was the composer of all the original scores for The Birth of a Nation.
Marches were still effective in all their customary roles, and the popular song again became the vehicle for knee-jerk sentiments. Most historians of popular culture agree that World War II's pop songs were curiously inferior to those of World War I — few outlived their brief moment, and most have become dated to the point of embarrassment — but World War II was also the first time that classical music was mobilized as a weapon of war. The Allies co-opted a prize from the Axis by adopting as their trademark the opening notes of Ludwig van Beethoven's Symphony No. 5 — three Gs and an E-flat, corresponding to three dots and one dash in Morse code — to signify V for Victory. That musical signature served as a recurring leitmotif in Allied films, concerts and countless other forms of propaganda.
I melded the “beyond category” individuals of my orchestra into the most well-known jazz orchestral units in the history of jazz. My style is often used to create the many styles of music today, like a foundation or standard to make other music. My reputation increased after my death on May 24, 1974 because of the broad influence of my music and its diversity. I am the greatest icon of the 1920s. I am the one and only,
Radio exposure brought him to the attention of bandleader Harry James, with whom Sinatra made his first recordings, including "All or Nothing at All." In 1940, Sinatra joined Tommy Dorsey’s band. After two years of chart-topping success with Dorsey, Sinatra decided to strike out on his own (Frank Sinatra: the Boudoir Singer, 2011). In the 1940s Sinatra embarked on a solo career and became the idol of “bobby-soxers,” teenage girls who swooned over his crooning, soft-voiced singing. He appeared in such film musicals as Anchors Aweigh (1945), Till the Clouds Roll By (1947), and On the Town (1949).
Count Basie “Jumpin’ at the Woodside” Count Basie was born in 1904 in Red Bank, New Jersey, and grew up playing the piano. He was a leading figure of the swing era in jazz and formed the Count Basie Orchestra, which was one of the first big bands made. The band reached fame with hit songs such as “One o'clock Jump” (1937), “Jumpin' at the Woodside” (1938), and “Taxi War Dance” (1939). However, I will be focusing primarily on the song “Jumpin’ at the Woodside” and educate you with an in-depth description of the piece. It was recorded on August 22, 1938 by Decca Records, whom he had a record deal with.