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Composing for the Narrative: Opera and Cinema

Composing for the Narrative: Opera and Cinema. Saturday, October 5, 2013. Music for Silent Film: Phillip Johnston questions, I answer (Part 4). Part 4 of my interview. Phillip Johnston, leader of the Microscopic Septet and a prolific composer for silent film, emailed me a set of questions in February 2012. This is Fourth installment. 2) Do you think you have a recognizable style in silent film scoring, or that your work is chameleon-°©‐like (like some composers for contemporary film)? Everything from ran...

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Composing for the Narrative: Opera and Cinema | rmarrio.blogspot.com Reviews

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Composing for the Narrative: Opera and Cinema. Saturday, October 5, 2013. Music for Silent Film: Phillip Johnston questions, I answer (Part 4). Part 4 of my interview. Phillip Johnston, leader of the Microscopic Septet and a prolific composer for silent film, emailed me a set of questions in February 2012. This is Fourth installment. 2) Do you think you have a recognizable style in silent film scoring, or that your work is chameleon-°©‐like (like some composers for contemporary film)? Everything from ran...

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Composing for the Narrative: Opera and Cinema | rmarrio.blogspot.com Reviews

https://rmarrio.blogspot.com

Composing for the Narrative: Opera and Cinema. Saturday, October 5, 2013. Music for Silent Film: Phillip Johnston questions, I answer (Part 4). Part 4 of my interview. Phillip Johnston, leader of the Microscopic Septet and a prolific composer for silent film, emailed me a set of questions in February 2012. This is Fourth installment. 2) Do you think you have a recognizable style in silent film scoring, or that your work is chameleon-°©‐like (like some composers for contemporary film)? Everything from ran...

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Composing for the Narrative: Opera and Cinema: August 2013

http://www.rmarrio.blogspot.com/2013_08_01_archive.html

Composing for the Narrative: Opera and Cinema. Wednesday, August 14, 2013. Music for Silent Film: Phillip Johnston questions, I answer (Part 2). Part 2 of my interview. Phillip Johnston, leader of the Microscopic Septet and a prolific composer for silent film, emailed me a set of questions in February 2012. This is second installment. 1) Are you the sole composer, or do you work in a collaborative fashion with co-composers and/or members of your ensemble? Sheldon assumed the music director role for Golem.

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Composing for the Narrative: Opera and Cinema: Music for Silent Film: Phillip Johnston questions, I answer (Part 3)

http://www.rmarrio.blogspot.com/2013/10/music-for-silent-film-phillip-johnston.html

Composing for the Narrative: Opera and Cinema. Wednesday, October 2, 2013. Music for Silent Film: Phillip Johnston questions, I answer (Part 3). Part 3 of my interview. Phillip Johnston, leader of the Microscopic Septet and a prolific composer for silent film, emailed me a set of questions in February 2012. This is Third installment. 1 Is it morally acceptable to use another artist's work and change the original meaning? And again, what is the director's original meaning? How do we know? I postulate that...

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Composing for the Narrative: Opera and Cinema: Music for Silent Film: Phillip Johnston questions, I answer (Part 4)

http://www.rmarrio.blogspot.com/2013/10/music-for-silent-film-phillip-johnston_5.html

Composing for the Narrative: Opera and Cinema. Saturday, October 5, 2013. Music for Silent Film: Phillip Johnston questions, I answer (Part 4). Part 4 of my interview. Phillip Johnston, leader of the Microscopic Septet and a prolific composer for silent film, emailed me a set of questions in February 2012. This is Fourth installment. 2) Do you think you have a recognizable style in silent film scoring, or that your work is chameleon-°©‐like (like some composers for contemporary film)? Everything from ran...

4

Composing for the Narrative: Opera and Cinema: Music for Silent Film: Phillip Johnston questions, I answer (Part 2)

http://www.rmarrio.blogspot.com/2013/08/music-for-silent-film-phillip-johnston_14.html

Composing for the Narrative: Opera and Cinema. Wednesday, August 14, 2013. Music for Silent Film: Phillip Johnston questions, I answer (Part 2). Part 2 of my interview. Phillip Johnston, leader of the Microscopic Septet and a prolific composer for silent film, emailed me a set of questions in February 2012. This is second installment. 1) Are you the sole composer, or do you work in a collaborative fashion with co-composers and/or members of your ensemble? Sheldon assumed the music director role for Golem.

5

Composing for the Narrative: Opera and Cinema: Music for Silent Film: Phillip Johnston questions, I answer (Part 1)

http://www.rmarrio.blogspot.com/2013/08/music-for-silent-film-phillip-johnston.html

Composing for the Narrative: Opera and Cinema. Monday, August 12, 2013. Music for Silent Film: Phillip Johnston questions, I answer (Part 1). Dear Readers, I'm returning to my blog in part to help clarify my approach to music composition and the creative process in a period of transition. I begin with an interview. Phillip Johnston, leader of the Microscopic Septet and a prolific composer for silent film, emailed me a set of questions in February 2012. This is part 1 of 4. San Francisco / New York. The s...

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Richard Marriott

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Blog: Composing for the Narrative. Club Foot Orchestra Film Collection:. Legong Dance of the Virgins. Phantom of the Opera. Collaborations with Della Davidson. Twisted Tales of Felix. CD's and DVD's Available. Send Email to Richard. The premiere ensemble for live music performance with silent films. The orchestra has a repertoire of 14 feature-length scores. His Metropolis Concerto for Violin an Wind Ensemble. With Gamelan Sekar Jaya and Club Foot Orchestra. Read the review on FANDOR. At San Francisco's ...

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Composing for the Narrative: Opera and Cinema

Composing for the Narrative: Opera and Cinema. Saturday, October 5, 2013. Music for Silent Film: Phillip Johnston questions, I answer (Part 4). Part 4 of my interview. Phillip Johnston, leader of the Microscopic Septet and a prolific composer for silent film, emailed me a set of questions in February 2012. This is Fourth installment. 2) Do you think you have a recognizable style in silent film scoring, or that your work is chameleon-°©‐like (like some composers for contemporary film)? Everything from ran...

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