From Korngold to the Movies: Korngold\u27s Influence on Film Scores

During the 1920s, a new cultural movement called Neue Sachlichkeit (or New Objectivity) was developing in Germany and Austria. During the rise of Nazi Germany, the Neue Sachlichkeit movement protested by bringing back elements of the Romantic era in art, literature and music. One of the most recognizable composers of this time was Erich Wolfgang Korngold (1897 – 1957). Today’s listeners often hear Korngold’s concert works as being very similar to contemporary film scores; but in reality, Korngold wrote in his very distinctive harmonic and melodic style from the beginning of his career, before film scores came to be, and before he himself turned to film composition. In a word, then: Korngold’s music does not sound like a film score, but rather, film scores sound like Korngold

I Am a Shirt

In order to understand the technological developments and achievements of the Islamic world, it is important to highlight the different processes, practices, and techniques used in creating objects, whether artistic or otherwise. This paper follows a plausible journey for a single shirt, from its initial creation as a piece of cloth to the epigraphic designs that gave it its deeply religious and mystical power to whoever wore it in Mughal India

Cultural Environmentalism and the Constructed Commons

Van Houweling explores both the benefits and failings of conservation easements on land on the one hand and the licensing commons on the other. Conservation easement The tools of cultural environmentalism in the lights of objections to conservation easements and more general concerns with complicated and fragmented property rights are also considered. Among other things, she provides clear theoretical differences between the public domain, where freedom is based on the absence of property rights, and the licensing commons, where freedom is based on the absence on the preemptive exercise of the property rights by the rights holder in order to grant use privileges to users of the commons, and sometimes binds to those future users to add their own improvements back to the common pool

216 Jewish Hospital of St. Louis

https://digitalcommons.wustl.edu/bjc_216/1040/thumbnail.jp

Boston University Symphony Orchestra, February 28, 2012

This is the concert program of the Boston University Symphony Orchestra performance on Tuesday, February 28, 2012 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Overture to "The Sea Hawk" by Erich Wolfgang Korngold, Suite from "Vertigo" by Bernard Herrman, Symphonic Suite from "On the Waterfront" by Leonard Bernstein, and Symphony in F-sharp, op. 40 by Erich Wolfgang Korngold. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

‘There have been developments’: Frankenstein’s Monster finds a (Mahlerian) voice

The article discusses the author's insights on the implications of the musical score of the motion picture "Bride of Frankenstein," by Max Steiner and Erich Wolfgang Korngold in the U.S. in the 1930s. He believes that the musical score critiques the Nazi Germany at that time. He notes the violation of the musical score to the censorship practices in Hollywood. Further, he states several features depicted by the score from classical composer Gustav Mahler including marches, waltzes, and triads

Faculty recital series: George Neikrug, cello Kathleen Forgac, guest pianist, October 22, 2004

This is the concert program of the Faculty recital series: George Neikrug, cello Kathleen Forgac, guest pianist performance on Friday, October 22, 2004 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were "Tempo di Menuetto in the style of Pugnani," "May Breezes by Mendelssohn," "Schön Rosmarin," and "Tambourin Chinois" by Fritz Kreisler, "Serenade Viennoise" by Wilhelm Jeral, "Serenata napoletana" by Giovanni Sgambati, "Serenade" by David Popper, "Petite Valse" by Victor Herbert, "La Plus Que Lente" by Claude Debussy, "Valse Bluette" by Riccardo Drigo, "Alborada del Gracioso by Maurice Ravel (arr. Tedesco), "Capriccio" by Paul Hindemith, "Gypsy Andante" by Ernö Dohnanyi, "Hora Staccato" by Grigoraş Dinico (transcribed by Jascha Heifetz), "Nocturne in D Major" by Claude Debussy (arr. Wilhelm), "Pastoral and Reel" by Cyril Scott, "Ziguenerweisen" by Pablo de Sarasate, and Pierrots Song by Erich Wolfgang Korngold. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund