Henry Mancini: Reinventing Film Music by John Caps

By John Caps


Through movie composer Henry Mancini, mere historical past tune in videos turned a part of pop culture--an expression of class and wit with a latest feel of cool and a long-lasting lyricism that has no longer dated. the 1st entire learn of Mancini's song, Henry Mancini: Reinventing movie Music describes how the composer served as a bridge among the massive Band interval of global battle II and the impatient eclecticism of the child Boomer new release, among the grand formal orchestral movie rankings of the earlier and a latest American minimalist strategy. Mancini's sound appeared to catch the brilliant, convinced, welcoming voice of the center class's new effective lifestyles: attracted to pop songs and jazz, in motion picture and tv, in outreach politics but in addition traditional stay-at-home comforts. As John Caps indicates, Mancini simply mixed all of it in his music.
Mancini wielded effect in Hollywood and around the globe along with his iconic rankings: dynamic jazz for the noirish detective television exhibit Peter Gunn, the sly subject from The crimson Panther, and his wistful people music "Moon River" from Breakfast at Tiffany's. via insightful shut readings of key movies, Caps lines Mancini's collaborations with very important administrators and indicates how he homed in on particular dramatic or comedian points of the movie to create musical results via shrewdpermanent instrumentation, eloquent musical gestures, and significant resonances and continuities in his rankings. available and interesting, this clean view of Mancini's oeuvre and effect will satisfaction and tell fanatics of movie and renowned music.
John Caps is an award-winning author and manufacturer of documentaries. He served as manufacturer, author, and host for 4 seasons of the nationwide Public Radio syndicated sequence The Cinema Soundtrack, that includes interviews with and track of movie composers. He lives in Baltimore, Maryland.

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The wartime consumers and big band listeners had had their day—these were the postwar babies coming of age, and they wanted to hear their kind of music. We can imagine the fear struck in the hearts of Universal’s music department at a time like this. Mancini was the youngest guy there, and they were looking to him now as the conduit that might connect the orchestral traditions they had taught him, the band music from which he had come, and this new breed of garage pop. James Dean had just been martyred on the California highways to the “cause” of restlessness and recklessness.

Nor was the idea of a raucous music score ever really on the table. But Mancini could work with that. This was a chance to write original songs and to gain screen credit for them. Mancini’s main love song, original to this film, was called “What’s It Gonna Be,” with lyrics by Bill Carey, a gently reassuring and conservative tune preserving an atmosphere of safety around these movie kids. Only in its transitional phrase setting up the end, as Mancini passes from F through A ♭7 and D ♭ to a suspended C7 chord, is there a sense of something modern.

Man Afraid’s second music cue (low, searching strings) comes as the two fathers meet at the police station, one reaching out, the other turning away. Its third cue is a variation of the opening horn motif in the main title and is heard as Simmons sees a photograph of young Michael in a TV story about the burglary and comes up with his revenge idea. These are Mancini’s intelligent and somewhat individualistic reactions to the Universal suspense formula, a cut above B-movie scoring per se, yet still part of the tradition.

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