Explores the intersection of the movie and music industries in contemporary American life by tracing the development of the range and diversity of compositional practices in the pop score that emerged alongside the growth of the soundtrack album. Combining history and critical analysis, the author focuses on the works of Henry Mancini, John Barry, and Ennio Morricone, as well as the recent rise of the compilation album, and discusses the economic and social factors the govern the structural interactions between the film and music industries. Annotation c. by Book News, Inc., Portland, Or.
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