图书简介

Translator’s Note; Preface; Introduction Where These Conversations Come From; Chapter One Playing (Chess) with Mephisto; Chapter Two A Composer Lent to Cinema; 2.1. On Arranging; 2.2. The Beginnings in Cinema; 2.2.1 Paying My Dues; 2.2.2 Luciano Salce; 2.3 Sergio Leone and the Dollar Trilogy; 2.2.1 A Fistful of Dollars: Myth and Reality; 2.2.2 For a Few Dollars More; 2.2.3 The Good, the Bad and the Ugly; 2.4 Pier Paolo Pasolini; 2.4.1 The Hawks and the Sparrows and a Strange Poem; 2.4.2 Teorema and an Unrealized Story; 2.4.3 Surrendering to Pasolini; 2.5 Collaborations, Experiments, and Professional Consolidation; 2.5.1 Pontecorvo, De Seta, Bellocchio; 2.5.2 Bolognini, Montaldo; 2.5.3 Wertmuller, Bertolucci; 2.5.4 Consensus or Consumption? 1968 and Once Upon a Time in the West; 2.5.5 Duck, You Sucker; 2.5.6 Elio Petri; 2.5.7 Sergio the Producer; 2.5.8 Once Upon a Time in America; 2.5.9 The Leningrad Project and Leone’s Death; Chapter Three Music and Images; 3.1 Reflections and Memories of a Film Music Composer; 3.1.1 No Theme? More Fun !; 3.1.2 Giuseppe Tornatore; 3.1.3 Singers and Songs in Film: On Music’s Adaptability; 3.1.4 Quentin Tarantino; 3.1.5 Temporality and the EST Principle; 3.2 Backward Path to the Beginnings in Hollywood; 3.2.1 The Academy Honorary Award; 3.2.2 The Beginnings in U.S. Cinema; 3.2.3 A House in the United States?; 3.2.4 U.S. Composers; 3.2.5 Terrence Malick; 3.2.6 The Interpreter Didn’t Help with John Carpenter; 3.3 Creativity and Constraints: The Double Aesthetics; 3.4 On Theater, the Musical, and Television; 3.4.1 The Betrothed; 3.4.2 Moses, the Lawgiver; 3.4.3 Marco Polo; 3.4.4 Secret of the Sahara; 3.4.5 The Octopus; 3.5 Pains and Experiments; 3.5.1 Roberto Faenza; 3.5.2 Nino Rota; 3.5.3 Difficult Relationships; 3.5.4 Joanou, Stone, and the Overtones; 3.5.5 Warren Beatty; 3.5.6 Pride and Repentance; 3.5.7 Fights and Arguments; 3.6 Beyond Cinema, Beyond Music; Chapter 4 Mystery and Mastery; 4.1 The Mystery of Creation; 4.2 What Is Music?; 4.2.1 Birth, Death, and Resurrection of Music; 4.2.2 In Search of Myself: How to Listen to Contemporary Music; 4.2.3 My Way; 4.2.4 A Dilated Present; 4.2.5 Studying Music Today?; 4.3 A Sophisticated Balance between the Predictable and the Unforeseeable; 4.4 Digressions; 4.4.1 Cinema’s Transformations; 4.4.2 Timbre, Sound, and Performers; 4.4.3 On Teaching; 4.4.4 High Productivity? A Healthy Mind in a Healthy Body; Chapter Five An Absolute Music?; 5.1 The Roots; 5.1.1 A Short Introduction to the Absolute; 5.1.2 Darmstadt: A Summer of Experiments; 5.1.3 Gruppo d’Improvvisazione Nuova Consonanza; 5.2 A Response to the Conflict of Times: Towards Dynamic Immobility; 5.2.1 Suoni per Dino; 5.2.2 Vidi Aquam. Id Est Benacum; 5.3 Musical Creationism versus Musical Evolutionism; 5.3.1 Gestazione; 5.3.2 Beliefs: The Origins of Life and the Universe; 5.4 Mystical Production; 5.4.1 Mass for Pope Francis; 5.5 The Ideal of Unity: Blend and Hope; 5.5.1 The Mission; 5.5.2 Voci dal silenzio and La voce dei sommersi; 5.5.3 Cantata per l’Europa and a Poem for Maria; 5.6 Exchanges, Form, and Linguistic Combinations; 5.6.1 UT; 5.6.2 The Four Concertos: Form and Non-Form; 5.7 The Future of Music: Noise and Silence; Chapter 6 Looking Ahead: A Silent Nod towards the Future; Chronological List of the Absolute Music; Chronological List of the Applied Music; Acknowledgments; Index $ https://global.oup.com/academic/product/9780190681012 $ Musical scores, lyrics & libretti; Films, cinema

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