Answer the following questions – 20210630R

Requirements: 3 page minimum | _____________________Order any type of Service We Provide We are the best assignment service that can satisfy student’s demands in different scientific fields. We perform tasks of any kind. Our specialists provide diverse custom assignment writing services to students from all over the world every day. You can contact us for assistance with: • Essays of any type (application, scholarship, argumentative, personal, informative, persuasive, compare and contrast, narrative, analytical, cause and effect, critical, process, descriptive, expository essays); • Homework, • Assignments, • Reviews of all types (for a book, an article, or a film), • Reports, • Annotated bibliography, • Projects, • Thesis, • Term papers, • Presentations, • Lab works, • Research papers, • Speeches, • Critical thinking, • Capstone projects; • plan; • Coursework’s; • Dissertations. The list is far from complete! Representatives of our student assignment service are connoisseurs of the peculiarities of presentation in regards to academics. Please categorize the stylistic influences that Hickman highlights which come to prominence in film music through the 1950’s and describe the qualites used to identify each style. How does Hickman describe the ways that a style of music can influence our understanding of the narrative (storyline) of the film? What was the HUAC’s role in the film industry during this time? Include examples from the articles, Hickman, and lesson content. Compare, use examples from Reel Music, the film music of the 50’s from that of the earlier decades particularly of Max Steiner and King Kong. Provide two examples from each era. Now, on to the film, please, consider how diversity of music styles is evident in Bernstein’s score for On the Waterfront. ex. jazz, and grand orchestral music, small combinations of instruments, and harsh dissonant music. Give examples when each of these styles can be heard in the score (use the listening guide) and write a description of the scenes that they underscore, therefore 4 scenes, one for jazz, one for grand orchestral music, one with a small combination of instruments, and one with harsh dissonant music. Describe why the music is or isn’t appropriate for the scene. Be sure to include points from the Keller article. Next, answer this question that addresses the relationship between the director’s approach to the film and the composer’s approach to the score. The famous American composer Aaron Copland said that in differentiating composers we must, “hear each separately in terms of what he wishes to communicate.” How might you reconcile the diverse music score of On the Water Front (jazz, harsh dissonances, symphonic elements, and small combinations of instruments) with the realism that Kazan’s film tries to convey? In thinking deeply about the relationship between score and film what do you surmise, this is your educated view, that Bernstein is trying to communicate about this story through music? i was unable to attach the lecture word doc due to large file size. i have uploaded the file into google drive and here is the link. please let me know if you are unable to view it. https://drive.google.com/file/d/1pE5lCqcdf9KyLNJ4a… Please categorize the stylistic influences that Hickman highlights which come to prominence in film music through the 1950’s and describe the qualites used to identify each style.
How does Hickman describe the ways that a style of music can influence our understanding of the narrative (storyline) of the film?
What was the HUAC’s role in the film industry during this time? Include examples from the articles, Hickman, and lesson content.
Compare, use examples from Reel Music, the film music of the 50’s from that of the earlier decades particularly of Max Steiner and King Kong. Provide two examples from each era.
Now, on to the film, please, consider how diversity of music styles is evident in Bernstein’s score for On the Waterfront. ex. jazz, and grand orchestral music, small combinations of instruments, and harsh dissonant music. Give examples when each of these styles can be heard in the score (use the listening guide) and write a description of the scenes that they underscore, therefore 4 scenes, one for jazz, one for grand orchestral music, one with a small combination of instruments, and one with harsh dissonant music. Describe why the music is or isn’t appropriate for the scene. Be sure to include points from the Keller article.
Next, answer this question that addresses the relationship between the director’s approach to the film and the composer’s approach to the score. The famous American composer Aaron Copland said that in differentiating composers we must, “hear each separately in terms of what he wishes to communicate.” How might you reconcile the diverse music score of On the Water Front (jazz, harsh dissonances, symphonic elements, and small combinations of instruments) with the realism that Kazan’s film tries to convey? In thinking deeply about the relationship between score and film what do you surmise, this is your educated view, that Bernstein is trying to communicate about this story through music?
i was unable to attach the lecture word doc due to large file size. i have uploaded the file into google drive and here is the link. please let me know if you are unable to view it. https://drive.google.com/file/d/1pE5lCqcdf9KyLNJ4a…