By Kevin Bartig
Author Kevin Bartig examines how Prokofiev's movie song derived from a self-imposed problem: to compose "serious" tune for a wide viewers. the image that emerges is of a composer looking a person film-music voice, shunning Hollywood types and objecting to his Soviet colleagues' ideologically expedient movie songs. taking a look at Prokofiev's movie track as a complete - with recognized blockbusters like Alexander Nevsky thought of along extra imprecise or aborted initiatives - unearths that there have been a number of options to the problem, every one with various levels of good fortune. Prokofiev conscientiously balanced his personal populist time table, the perceived aesthetic calls for of the flicks themselves, and, in a while, Soviet bureaucratic calls for for accessibility.
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Extra resources for Composing for the Red Screen: Prokofiev and Soviet Film (Oxford Music / Media)
Composing for the Red Screen: Prokofiev and Soviet Film (Oxford Music / Media) by Kevin Bartig