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Film Music in the Sound Era
Film Music in the Sound Era: A Research and Information Guide offers a comprehensive bibliography of scholarship
on music in sound film (1927–2017). Thematically organized sections cover historical studies, studies of musicians
and filmmakers, genre studies, theory and aesthetics, and other key aspects of film music studies. Broad coverage of
works from around the globe, paired with robust indexes and thorough cross-referencing, make this research guide an
invaluable tool for all scholars and students investigating the intersection of music and film.
This guide is published in two volumes:

• Volume 1: Histories, Theories, and Genres covers overviews, historical surveys, theory and criticism, studies of film
genres, and case studies of individual films.
• Volume 2: People, Cultures, and Contexts covers individual people, social and cultural studies, studies of musical
genre, pedagogy, and the Industry.

A complete index is included in each volume.

Jonathan Rhodes Lee is Assistant Professor of Music at the University of Nevada, Las Vegas, and the director of the
Arnold Shaw Popular Music Research Center.
ROUTLEDGE MUSIC BIBLIOGRAPHIES

RECENT TITLES
COMPOSERS Gustav Holst (2011) GENRES
Mary Christison Huismann
Isaac Albéniz, 2nd Edition (2015) Blues, Funk, R&B, Soul, Hip Hop,
Walter A. Clark Charles Ives, 2nd Edition (2010) and Rap (2010)
Gayle Sherwood Magee Eddie S. Meadows
William Alwyn (2013)
John C. Dressler Quincy Jones (2014) Chamber Music, 3rd Edition (2010)
Clarence Bernard Henry John H. Baron
Samuel Barber, 2nd Edition (2012)
Wayne C. Wentzel Alma Mahler and Her Contemporaries Choral Music, 3rd Edition (2019)
(2017) James Michael Floyd
Béla Bartók, 3rd Edition (2011) Susan M. Filler
Elliott Antokoletz and Paolo Susanni Church and Worship Music in the United
Bohuslav Martinů (2014)
Alban Berg, 3rd Edition (2018) States, 2nd Edition (2017)
Robert Simon
Bryan R. Simms Avery T. Sharp and James Michael Floyd
Felix Mendelssohn Bartholdy,
Leonard Bernstein, 2nd Edition (2015) Ethnomusicology, 2nd Edition (2013)
2nd Edition (2011)
Paul R. Laird and Hsun Lin Jennifer C. Post
John Michael Cooper with
Johannes Brahms, 2nd Edition (2011) Angela R. Mace Film Music in the Sound Era,
Heather Platt Volumes 1 & 2 (2020)
Olivier Messiaen, 2nd Edition (2017)
Jonathan Rhodes Lee
William Byrd, 3rd Edition (2012) Vincent P. Benitez
Richard Turbet Free Jazz (2018)
Claudio Monteverdi (2018)
Susan Lewis and Maria Virginia Acuña Jeffrey Schwartz
John Cage (2017)
Sara Haefeli The Madrigal (2012)
Nikolay Andreevich Rimsky-Korsakov,
2nd Edition (2015) Susan Lewis Hammond
Frédéric Chopin, 2nd Edition (2015)
William Smialek and Maja Trochimczyk Gerald R. Seaman The Musical, 2nd Edition (2011)
Miles Davis (2017) Gioachino Rossini, 2nd Edition (2010) William A. Everett
Clarence Henry Denise P. Gallo North American Fiddle Music (2011)
John Dowland (2019) Pëtr Il’ich Tchaikovsky (2019) Drew Beisswenger
K. Dawn Grapes Gerald R. Seaman Popular Music Theory and Analysis
Edward Elgar, 2nd Edition (2013) Ralph Vaughan Williams (2016) (2017)
Christopher Kent Ryan Ross Thomas Robinson

Gabriel Fauré, 2nd Edition (2011) Giuseppe Verdi, 2nd Edition (2012) The Recorder, 3rd Edition (2012)
Edward R. Phillips Gregory W. Harwood Richard Griscom and David Lasocki

Alberto Ginastera (2011) Richard Wagner, 2nd Edition (2010) String Quartets, 2nd Edition (2011)
Deborah Schwartz-Kates Michael Saffle Mara E. Parker
Fanny Hensel (2019) Anton Webern (2017) Women in Music, 2nd Edition (2011)
Laura K.T. Stokes Darin Hoskisson Karin Pendle and Melinda Boyd
Film Music in the Sound Era
A Research and Information Guide

VOLUME 2: PEOPLE, CULTURES, AND CONTEXTS

Jonathan Rhodes Lee

First published 2020
by Routledge
52 Vanderbilt Avenue, New York, NY 10017
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2020 Taylor & Francis
The right of Jonathan Rhodes Lee to be identified as author of this work has been asserted by him in
accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by
any electronic, mechanical, or other means, now known or hereafter invented, including photocopying
and recording, or in any information storage or retrieval system, without permission in writing from the
publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used
only for identification and explanation without intent to infringe.
Library of Congress Cataloging-in-Publication Data
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ISBN: 978-0-367-82105-0 (hbk)
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Contents
VOLUME 2: PEOPLE, CULTURES, AND CONTEXTS

Preface vii
Acknowledgments xi

VI People 1
Composers 1
Conductors 134
Directors and Filmmakers 135
Musicians and Bands on Screen 179
Orchestrators and Arrangers 188
Other 189
Studio Musicians 192

VII Social and Cultural Studies 194

Film, Music, Politics, and Society 194
Gender 198
National and Cultural Studies 203
Race and Other Identity 269
Religion 270
Sexuality 270
Depictions of Music Making, Teaching, Instruments, and Listening 271

VIII Musical Genre 275

Film Music in Concert/Film Music and Concert Music 275
Jazz and Film 277
New Music, Modernist Techniques, and Electronic Music in Cinema 288
Popular Music in Film 290
Use of Pre-Existing Classical and World Music in Film 321

IX Pedagogy 330
Film Music Analysis 330
Film Music and General Education 333
Film Music Composition and Preparation 334
Movies and Music Education 338

v
vi Contents

X The Industry 342

Film Business Marketing, Copyright, and “the Industry” 342
Technology Studies and Studies of the Recording Process 353

Note on the Indexes 369

Names Index 371
Film Titles Index 437
Preface
When academic film music studies hit their early stride in the 1980s and ’90s, authors frequently issued apologetics
about the importance of the musical material under investigation. These sounds, they said, were the “unheard melo-
dies” of a “neglected art.”1 As late as 2007, the editors of one volume could lament, “Although a solid body of research
on film music has accumulated over the years, it is still a marginal part of the much larger field of study focused on
image, narrative, the cinematic apparatus, and the history of film production.”2 If the pages that follow show anything,
it is that we can put such plaints to rest; scholars have indeed heard film music—listened to it quite closely in fact—and
generated a broad discourse about it. The present study records this scholarly field as more than 11,000 bibliographical
entries sorted into ten topically ordered chapters, cataloging writings on over 3,000 film titles and nearly 9,000 people.
The need for such a bibliographic study is clear. Existing guides to scholarship on music in sound film (cataloged
here as A46–A237) are selective, either by language, generic focus, or chronological coverage. In part, the success of
film music studies has inspired these limitations. Music research database searches for the keyword “film” yield long
lists of results, making comprehensiveness a staggering prospect. The count of 11,000 relevant publications stands in
striking relation to other popular subjects: “Mozart,” for instance, yields just 5,800 relevant entries, “symphony” 5,799,
and “gender” 4,800.3 Moreover, the normal musicological research tools do not provide complete coverage for scholars
of film music. To take just one example, a search for the terms “Psycho” and “Herrmann” in Répertoire International
de Littérature Musicale (RILM) fails to yield Royal S. Brown’s well-known article titled “Herrmann, Hitchcock, and the
Music of the Irrational,” since this article was published in Cinema Journal—not a mainstream musicological periodi-
cal, hence outside the scope of RILM’s coverage.4 The present volume aims to address such problems by cataloging as
comprehensively as feasible scholarship on film music made in the era of synchronized sound: 1927–2017.
The breadth of film music scholarship described above also imposes certain limits on the current study. Inadvertent
omissions have surely occurred, and I hope that readers will be generous when some expected item is missing from
these volumes, taking into consideration the scope of this bibliography and the size of the results. The book’s method-
ology also accepts some limits. Each entry focuses specifically on film music, not on more general topics, such as mass
media or popular culture, and not on film sound more broadly. Specifically, this book excludes the following types of
items:

• Film and book reviews.

• Printed music (although bibliographies of sheet music are included).
• Recordings (although discographies are included).
• Items about silent film sound, including scholarship on modern scores for old silent films. Readers interested in
silent film sound have other bibliographical resources to which they can turn.5 Some exceptions have been made
for items that connect directly to sound film, and these connections have been explained in annotations.
• Scholarship about television music, as the literature on this topic is nearly as large as that for film music. Excep-
tions have been made for items that may be of direct relevance to researchers of film music. For instance, the
music of the various Star Trek television series has been included because of its continuity with film treatments of
this fictional “universe.” This study also does include articles on televised concerts and live performances under
Chapter 4, “Concert Films,” due to the overlapping questions that scholars ask about filmed and televised per-
formances. Finally, made-for-TV films have occasionally been included, particularly if they connect to theatrical
releases; readers should not expect a comprehensive coverage of made-for-TV programming, however.
• Scholarship that focuses on the use of film in multimedia compositions that are not strictly considered films, such
as experimental art installations and live productions (e.g., opera) that include video work.
• Items in which film composition is listed as part of a publication, but not the central focus (e.g., Great Men of
American Popular Song).6

vii
viii Preface

• Filmographies of films that take musical performance as a documentation of activity (e.g., Films on Traditional
Music and Dance: A First International Catalogue).7
• Documents that discuss the use of film in musicological, ethnomusicological, or other research (e.g., “Research
Film in Ethnomusicology: Aims and Achievements”).8
• Scholarship directed toward archivists and librarians (e.g., “A Librarian’s Guide to Rock Videos . . . and How to
Acquire a Core Collection”).9
• Video game music and ludomusicological studies, which are properly the subject of a separate bibliography
despite the numerous overlaps between this media type and film music. Exceptions have been made in cases
where an article considers video game music in a more general audio-visual context that includes film.10
• Items that focus on the influence of film music on concert composers, except when those composers themselves
have experience with film scoring.
• Scholarship that falls primarily under the category of “sound studies.” The focus of this volume is on film music;
many items on soundscapes, sound design, effects, and the like will not appear here. Exceptions have been made
for theoretical writings that have proven fundamental to film music studies. For example, many of the writings of
Michel Chion and Rick Altman that deal with sound in film as opposed to music per se have been included due
to their frequent citation in film music studies.
• Obituaries. A few exceptions have been made in Chapter 6, where an obituary serves as a particularly valuable
addition to a composer’s bibliography.
I have also made the following concessions out of practical necessity and concern for the volume’s size:

• The bibliography focuses on scholarly writing, and not on popular press. It makes exceptions for items of partic-
ular interest to researchers, such as film music criticism by significant music-historical figures.
• The basic reference sources available to North American researchers limit our awareness of materials in East-
Asian languages. Rather than exclude these materials entirely, this book includes an admittedly sparse coverage of
them. Complete exclusion of items in Asian languages would have led to the erasure of numerous composers and
film titles, so this study accepts its limitations and presents what is available in standard Western reference sources.
• Annotations are kept to a minimum, included only where the contents of an entry are not clear from the item’s
title. Film titles and names of important people discussed in each item appear in annotations if these are not clear
from the entry title. Otherwise, where entries are clear from basic bibliographic information alone, they have
been left to speak for themselves.
Finally, the following guidelines for using this book may be helpful to the reader. The contents have been orga-
nized to mirror the interests of actual researchers: the names of composers, the titles of films, and conceptual group-
ings (studies of national cultures, theories of film music, etc.). Whenever an item belongs in more than one chapter,
that item has been cross-referenced. Chapters 5 and 6 cover, respectively, case studies of individual films and people
involved in film music and sound. The reader should note that these chapters do not fully encompass all the items on
these films and people cataloged in this book; Chapters 5 and 6 include individual case studies only, and they exclude
items that discuss films/people in a broader context. Therefore, a reader who is interested in the music for Psycho, for
instance, will want to consult the film titles index (under Psycho) and the names index (under both “Hitchcock” and
“Herrmann”) in addition to the items indexed under the header Psycho in Chapter 5.
This book’s goal is both to provide the researcher with an Ariadne’s thread through the thicket of literature on film
music and to provide a broad overview of the degree of focus on various subjects, films, and people in this literature.
Hopefully, topics that do not appear in these pages reflect not only inadvertent omission, but the places where new
inroads can be made as studies of these closely heard and much beloved melodies continue to proliferate.

NOTES

1 Claudia Gorbman, Unheard Melodies: Narrative Film Music (London: BFI, 1987); Roy M. Prendergast, A Neglected
Art: A Critical Study of Music in Films (New York: New York University Press, 1978).
Preface ix

2 Daniel Goldmark, Lawrence Kramer, and Richard D. Leppert, eds., Beyond the Soundtrack: Representing Music in
Cinema (Berkeley: University of California Press, 2007), 2.
3 These numbers are taken from search results of the RILM database in April 2017.
4 Royal S. Brown, “Herrmann, Hitchcock, and the Music of the Irrational,” Cinema Journal 21, no. 2 (1982): 14–49.
5 See, for instance, Kendra Preston Leonard, Music for Silent Film: A Guide to North American Resources, MLA
Index and Bibliography Series (Middleton: Music Library Association, 2016).
6 David Ewen, Great Men of American Popular Song (Englewood Cliffs: Prentice-Hall, 1970).
7 Peter Kennedy, Films on Traditional Music and Dance: A First International Catalogue (Paris: UNESCO Press,
1970).
8 Alfons Michael Dauer, “Research Film in Ethnomusicology: Aims and Achievements,” Yearbook of the Interna-
tional Folk Music Council 1 (1969): 226–33.
9 Karen A. Romanko, “A Librarian’s Guide to Rock Videos . . . and How to Acquire a Core Collection,” American
Libraries 20, no. 2 (1989): 168–72.
10 See, for instance, the following, which discusses the aesthetics of film sound and video game music: Rob Bridgett,
“Postproduction Sound: A New Production Model for Interactive Media,” The Soundtrack 1, no. 1 (2007): 29–39.
Acknowledgments
My deepest debt of gratitude goes to the librarians without whom this study would have been impossible. Kate Lam-
baria, Music and Performing Arts Librarian and Assistant Professor at the University of Illinois, assisted with the
earliest stages of this project, providing access to databases to which our library does not typically subscribe. Michael
Platte, Library Technician for the University of Nevada, Las Vegas Music Library, and James Tucker, Head of Continu-
ing Resources and Collections for the UNLV Libraries, provided further assistance with my numerous requests for
database access; I am grateful for the trouble that they took to accommodate a single researcher in such a large insti-
tution as ours. I would also like to thank the staff members of our Interlibrary Loan department, whose names remain
mostly anonymous to me, for dutifully tracking down many requests for volumes from Europe and Asia, even when
sometimes provided with relatively scant bibliographical information.
Substantial methodological advice and encouragement for this project came from various scholars. I am particularly
indebted to Peter Franklin of Oxford University, Daniel Goldmark of Case Western Reserve, and Scott Paulin of North-
western University’s Bienen School of Music for offering sage ideas to refine my approach before I undertook the bulk
of this work. An anonymous reader for Routledge reviewed my initial manuscript submission and provided careful,
detailed feedback for which I am deeply grateful.
This project was supported by funding from the Arnold Shaw Popular Music Center at UNLV; I am grateful to the
administrations of the School of Music and the College of Fine Arts for recognizing the relevance of this work to the
mission of the Shaw Center, and for helping me to organize financial matters. Special thanks in this regard are due to
Susan Mueller, Director of UNLV’s School of Music; Kaci Kerfeld, our Office Manager; and LeeAnn O’Connell Griffin,
Accounting Assistant.
Several research assistants provided indispensable aid. Jonathan Snyder undertook the task of cleaning up bib-
liographic entries pulled from databases that exhibited varying levels of consistency with my reference management
software. Andrew Smouse, Marta Plominska, and Terry Ousley deserve lavish thanks for their advice and ideas and for
cheerfully and unblinkingly assisting with the indexing of 11,000 line items. Finally, in the late stages of this project,
Adam Stiber devoted many hours to revisions and copy editing, applying a patient eagle’s eye to a rather chaotic draft.
The faculty at UNLV’s School of Music have provided enthusiastic support to this project. I am particularly grate-
ful to my colleagues in the Division of Musicology, Anthony Barone and Richard Miller, for indulging my rambling
reports of bibliographic sleuthing. Most importantly, I appreciate their constant reminders that anyone who willingly
undertakes such a project deserves no pity.
At home, Sara, Ethan, Addey, and Goldie Lee provided an endless supply of clerical assistance, support, and
understanding.
Finally, thanks are due to the staff at Routledge, and particularly to Genevieve Aoki, whose indulgence of my inabil-
ity to meet deadlines shows a grace that I surely don’t deserve. I am deeply grateful for being given the time necessary
to complete this task, which began as an “easy” research project, and soon developed into a labor of love.

xi
VI
People

COMPOSERS

General Discussion and Various Composers

See also A56, A57, A58, A59, A73, A92, A97, A102, A116, A135, A136, A199, A249, A296, B63, B195, B207, C578,
C1292, D80, E105, F225, G53, G86, G89, G102, G281, G647, G709, H285, J21, J53, J75.
F1 Alunno, Marco. “Compositori d’area colta nel cinema del secondo Novecento [Classical Composers in the
Cinema During the Second Half of the Twentieth Century].” In La musica nel cinema e nella televisione, edited
by Roberto Giuliani, 51–63. Musica nel 900 italiano 3. Milano: Guerini, 2011.
Discusses Giacomo Manzoni, Luigi Nono, Luciano Berio, Bruno Maderna, Vittorio Gelmetti, and Egisto Macchi.
F2 Andersen, Leslie N. “Women Film and Television Composers in the United States.” In The Musical Woman: An
International Perspective: 1986–1990, edited by Judith Lang Zaimont, 353–70. The Musical Woman 3. West-
port: Greenwood, 1991.
Discusses Ann Ronell, Nan Schwartz, Shirley Walker, Suzanne Ciani, Anne Dudley, Nicky Holland, and Eliz-
abeth Swados.
F3 Anonymous. The Men Who Write the Music Scores. Hollywood: Motion Picture Producers and Distributors of
America, 1943.
A brief pamphlet.
F4 Bellis, Richard. The Emerging Film Composer: An Introduction to the People, Problems, and Psychology of the
Film Music Business. North Charleston: BookSurge, 2006.
Addresses primarily the interpersonal and pragmatic aspects of the business of writing music for the cinema.
F5 Benítez, José María, and Luis Miguel Carmona, eds. Nombres de la banda sonora: diccionario de compositores
cinematográficos [Names of the Soundtrack: Dictionary of Cinematic Composers]. Madrid: Stripper, 1996.
F6 Bennett, Ray, ed. Moving Music: beroemde filmcomponisten aan het woord [Interviews with Famous Film Com-
posers]. Tielt: Lannoo, 2003.
Interviews 30 film composers, including 12 Belgians, at the Thirtieth International Film Festival Vlaanderen
in Ghent (October 7–18, 2003).
F7 Bernstein, Charles, Alf Clausen, Fred Karlin, David Raksin, Christopher Young, and John Gavin Scott. “Issues
Facing Contemporary Composers of Film and Television Music.” The Cue Sheet 11, no. 3 (1995): 2–25.
A transcript of the round-table discussion in 1992 at the American Film Institute Film Fest, organized by the
Society for the Preservation of Film Music and the Society of Composers and Lyricists.

1
2 People

F8 Burlingame, Jon. “Clifford McCarty and Film Composers in America.” The Cue Sheet 16, no. 4 (2000):
4–9.
Discussion of McCarty’s book, first published in 1953, the first movie-music reference book published in the
United States.
F9 Cantor, Mark. “Celluloid Improvisations: Joe Marsala and His Orchestra, Featuring Adele Girard.” The IAJRC
Journal 35, no. 3 (2002): 21–28.
F10 Carmona, Luis Miguel. Diccionario de compositores cinematográficos [Dictionary of Cinematic Composers].
Madrid: T and B Editores, 2003.
F11 . Diccionario de compositores cinematográficos. Madrid: T and B Editores, 2008.
F12 Casella, Alfredo. “Il cinema arte e gli artisti delle altri arti [Cinematic Art and the Artists of This Art].” Cinema
(Rome; February 1937): 91.
F13 Černyšov, Aleksandr Valer’evič. “Нотные цифровые технологии: Kонвергенция [Printed Music and Digital
Technology: Convergence].” Mediamuzyka [Mediamusic] 2 (2013).
Discusses the role of digital technologies in film music composition.
F14 Chase, Donald, ed. “The Composer.” In Filmmaking: The Collaborative Art, Chapter 9. Boston and Toronto:
Little, Brown, and Company, 1975.
F15 Cocking, Loren, and Lyn Murray. “Ode to a Composer.” Journal of the University Film Association 33, no. 1
(1981): 49–57.
Explains the genesis and content of a humorous song designed to be performed at the Composers and Lyri-
cists Guild of America, with music by Lyn Murray and Sid Kuller. Described by the author as “a charming little
footnote to film music history.”
F16 “Composers on Film Music: A Bibliography.” Films 1 (1940): 21–24.
F17 Cooke, Mervyn. “Film Composers in Their Own Words.” In The Hollywood Film Music Reader, 49–53. New
York: Oxford University Press, 2010.
A brief overview of the history and development of Hollywood film music.
F18 DesJardins, Christian. Inside Film Music: Composers Speak. Los Angeles: Silman-James Press, 2006.
Interviews with the following: Composers—Ryan Shore, Klaus Badelt, John Barry, Marco Beltrami, Bruce
Broughton, Teddy Castellucci, Jeff Danna, Mychael Danna, Don Davis, John Debney, Cliff Eidelman, Rob-
ert Folk, John Frizzell, Philip Glass, Lee Holdridge, Mark Isham, Jan Kaczmarek, Rolfe Kent, Cliff Marti-
nez, John Ottman, Basil Poledouris, Jocelyn Pook, Rachel Portman, John Powell, David Raksin, Graeme
Revell, Jeff Rona, Marc Shaiman, Ryan Shore, Alan Silvestri, Brian Tyler, Stephen Warbeck, Gabriel Yared,
and Christopher Young; Orchestrators and other members of the film music team—Pete Anthony, Jeff
Atmajian, Brad Dechter, Robert Elhai, Sandy DeCrescent discusses her role as a music contractor, and Tom
Milano discusses his role as a music editor; Directors/Producers—Jon Amiel, Atom Egoyan, and Norman
Jewison.
F19 Deutsch, Stephen, Larry Sider, and Dominic Power. “Scoring Film: The New Soundtrack Interview with Neil
Brand.” The New Soundtrack 4, no. 1 (2014): 1–13.
F20 Evans, Mark. Soundtrack: The Music of the Movies. New York: Da Capo Press, 1979.
Profiles the often-overlooked role of the composers who supply motion picture soundtracks, analyzing the
careers and music of the most outstanding and discussing the technical aspects of the craft.
F21 Faulkner, Robert R. Music on Demand: Composers and Careers in the Hollywood Film Industry. New Observa-
tion Series. New Brunswick: Transaction, 1982.
F22 Genton, George, and Mervyn Cooke. “ ‘A Film’s First Audience’: The Composer’s Role in Film and Television.”
In The Cambridge Companion to Film Music, edited by Mervyn Cooke and Fiona Ford, 81–94. Cambridge
Companions to Music. Cambridge: Cambridge University Press, 2016.
People 3

F23 Ghisi, Federico. “Music in Film.” Rivista musicale italiana 40, no. 1 (1936): 538–43.
Urges Italian composers to work in film music composition and discusses Antonio Veretti’s Squadrone bianco
and Scarpe al sole.
F24 Goldmark, Daniel. “An Interview with Richard Stone, Steve Bernstein, and Julie Bernstein.” In The Cartoon
Music Book, edited by Daniel Goldmark and Yuval Taylor, 225–38. Chicago: A Cappella, 2002.
F25 Gutman, John A. “Casting the Film Composer.” Modern Music 15, no. 4 (1938): 216–21.
Topics discussed include Darius Milhaud and Madame Bovary, Arthur Honneger (described as “ideal film com-
poser”), troubles of film composers in Germany and central Europe, and conditions of English film composition.
F26 Hammond, Richard. “Pioneers of Movie Music.” Modern Music 8, no. 3 (April 1931): 35–38.
Aaron Copland, Darius Milhaud, Marc Blitzstein, Roger Sessions, and Colin McPhee are discussed.
F27 Hoover, Tom. Keeping Score: Interviews with Today’s Top Film, Television, and Game Music Composers. Boston:
Course Technology, 2010.
F28 Lejeune, Vivien. Le guide des compositeurs de musique de film [The Guide to the Composers of Film Music].
Paris: Ynnis, 2017.
F29 Limbacher, James. “Classical Composers on the Screen.” In Film Music: From Violins to Video, edited by James
L. Limbacher, 158–59. Metuchen: Scarecrow Press, 1974.
Introduces a section of a book that discusses the contributions of recognized “art” composers to film music, as
well as the use of concert music in film.
F30 Morgan, David. Knowing the Score: Film Composers Talk About the Art, Craft, Blood, Sweat, and Tears of Writing
Music for Cinema. New York: Harper Entertainment, 2000.
Interviews with seventeen composers.
F31 Morgan, David, David Shire, Jerry Goldsmith, and Jocelyn Pook. “Collaboration with Other Composers.” In
Knowing the Score: Film Composers Talk About the Art, Craft, Blood, Sweat, and Tears of Writing Music for Cin-
ema, 101–3. New York: Harper Entertainment, 2000.
F32 Moya Llorente, Fernando. Los grandes músicos de cine [The Great Movie Musicians]. 100 años de cine. Barce-
lona: Royal Books, 1993.
F33 “Music in Films: A Composer’s Symposium.” Films: A Quarterly of Discussion and Analysis (Winter 1940);
reprinted as Music in Films: A Symposium of Composers. New York: Arno, 1968.
F34 Musiker, Reuben, and Naomi Musiker. Conductors and Composers of Popular Orchestral Music: A Biographical
and Discographical Sourcebook. London: Fitzroy Dearborn and Westport: Greenwood, 1998.
F35 Padrol, Joan. Conversaciones con músicos de cine [Conversations with Cinema Musicians]. Colección Cine 10.
Diputación Provincial de Badajoz: Festival Ibérico de Cine, 2006.
Interviews with Alessandro Alessandroni, Augusto Algueró, David Arnold, Malcolm Arnold, Roque Baños,
John Barry, Carmelo A. Bernaola, Elmer Bernstein, Bernardo Bonezzi, Goran Bregovic, John Cale, Carles
Cases, Bill Conti, Carl Davis, Francesco de Masi, Patrick Doyle, Eva Gancedo, Antón García Abril, Jerry Gold-
smith, David Holmes, Alberto Iglesias, Ángel Illaramendi, Maurice Jarre, Trevor Jones, Rolfe Kent, Francis Lai,
Bingen Mendizábal, Xavier Montsalvatge, Ennio Morricone, José Nieto, Michael Nyman, José Manuel Pagán,
Joan Pineda, Rachel Portman, André Previn, Carlo Rustichelli, Ryuichi Sakamoto, Lalo Schifrin, Josep Solá,
David S. Whitaker, Gabriel Yared, and Hans Zimmer.
F36 . Pentagramas de película: entrevistas a grandes compositores de bandas sonoras. Madrid: Nuer, 1998.
Interviews with Luis Enrique Bacalov, Carmelo Bernaola, Elmer Bernstein, Alessandro Cicognini, Carmine
Coppola, Carl Davis, Georges Delerue, Patrick Doyle, Antón García Abril, Berndt Heller, Maurice Jarre,
Franco Mannino, Alejandro Massó, Xavier Montsalvatge, Ennio Morricone, Mario Nascimbene, José Nieto,
Alex North, Antonio Pérez Olea, Piero Piccioni, Joan Pineda, David Raksin, Carlo Savina, Lalo Schifrin, Eric
Serra, Manuel De Sica, Manuel Valls Gorina, and Gabriel Yared.
4 People

F37 Pillich, Gualberto Simeon. “Invisible Virtuosi: The Deskilling and Reskilling of Hollywood Film and Television
Studio Musicians.” Ph.D. diss., University of California, Los Angeles, 2009.
This dissertation examines the changing work environment of musicians in film and television in light of
technical and legal developments, including interviews with composers, studio musicians, industry executives,
union representatives, and heads of music departments of major film studios.
F38 Porter i Moix, Miquel. “Cinemúsica: un retorn de visita [Cinema Music: A Return Visit].” Catalunya música 32
(1987): 24–25.
Discusses contemporary composers of the late 1980s who were writing for the screen.
F39 “Rescoring.” Sight and Sound 14, no. 9 (2004): 48–49.
A series of short interview responses in which composers say which film they would like to rescore and why.
F40 Ross, Lilian. Picture. New York: Avon and Discus Books, 1969.
See chapter titled “Piccolos under Your Name, Strings under Mine.”
F41 Russell, Mark. Les compositeurs de musique [Music Composers]. Métiers du cinéma. Paris: La Compagnie du
livre, 2000.
Discusses the work of the following: Bernard Hermann, Elmer Bernstein, Maurice Jarre, Jerry Goldsmith, John
Barry, Lalo Schifrin, Michael Nyman, G. Yared, P. Glass, Howard Shore, Danny Elfman, Zbigniew Preisner, and
Ryuichi Sakamoto.
F42 Russell, Mark, and James Young. Film Music. Boston: Focal Press, 2000.
Includes interviews with the following composers and a CD of musical examples: Bernard Herrmann, Elmer
Bernstein, Maurice Jarre, John Goldsmith, John Barry, Lalo Schifrin, Michael Nyman, Gabriel Yared, Philip
Glass, Howard Shore, Danny Elfman, Zbigniew Preisner, and Ryuichi Sakamoto.
F43 Schelle, Michael. The Score: Interviews with Film Composers. Los Angeles: Silman-James, 1999.
Interviews with John Barry, Elmer Bernstein, Terence Blanchard, Bruce Broughton, Paul Chihara, John Cori-
gliano, James Newton Howard, Mark Isham, Daniel Licht, Joel McNeely, Thomas Newman, Marc Chaiman,
Howard Shore, Shirley Walker, and Christopher Young.
F44 Schmidt, Martin. Short Cues: Samtaler om filmmusik [Short Cues: Conversations about Film Music]. Copenha-
gen: Frydenlund Grafisk, 1999.
Includes interviews with Bille August, Frans Bak, John Carpenter, Gary Chang, Edgar Froese, Harry
Gregson-Williams, Joachim Holbek, Alan Howarth, Søren Hyldgaard, Mark Isham, Søren Kragh-Jacobsen,
Shirley Walker, Christopher Young, and Hans Zimmer.
F45 Schrader, Matt, and Trevor Thompson. SCORE: A Film Music Documentary—The Interviews. Los Angeles:
Epicleff Media, 2017.
Includes interviews with: David Arnold, James Cameron, Quincy Jones, Randy Newman, Rachel Portman,
Howard Shore, Hans Zimmer, Gary Marshall, Bear McCreary, Trent Reznor/Atticus Ross, Brian Tyler, Mychael
Danna, Tom Holkenborg, Harry Gregson-Williams, Steve Jablonsky, John Debney, Trevor Rabin, Patrick
Doyle, Mervyn Warren, John Powell, Alexandre Desplat, Elliot Goldenthal, Henry Jackman, Marco Beltrami,
and Mark Mothersbaugh.
F46 Sheed, Wilfrid. “The Songwriters in Hollywood.” American Heritage 44, no. 6 (1993): 82–93.
Discusses the contributions of the following to film music: Richard Rodgers, Jerome Kern, the Gershwins, Cole
Porter, Harry Warren, Hoagy Carmichael, and Irving Berlin.
F47 Sojcher, Frédéric, N.T. Binh, and José Moure, eds. Cinéma et musique: accords parfaits—Dialogues avec des
compositeurs et des cinéastes [Cinema and Music: Perfect Accords—Dialogues with Composers and Filmmakers].
Brussels: Les impressions nouvelles, 2014.
F48 Stemmer, Michael. Western Movie Composers: A Selected, Annotated Listing of 2006 Genre Films, Shown in
Germany. Berlin: Wiesjahn, 1996.
People 5

F49 Thomas, Tony, ed. Film Score: The View from the Podium. South Brunswick: A.S. Barnes, 1979.
Presents short essays on 20 film composers (cataloged individually in this bibliography), including a bibliog-
raphy and discography.
F50 . Music for the Movies. South Brunswick: A.S. Barnes, 1973; 2nd ed. rev. Los Angeles: Silman-James, 1997.
Presents biographical information and filmographies about 24 composers.
F51 Ulrich, Allan. The Art of Film Music: A Tribute to California’s Film Composers, the Oakland Museum, March 12,
13 and 14, 1976. Oakland, CA: The Museum, 1976.
Contains interviews with Elmer Bernstein, Ernest Gold, Lyn Murray, David Raksin, and Fred Steiner.
F52 Van de Ven, Luc, ed. Motion Picture Music. Mechelen, Belgium: Soundtrack, 1980.
Anthology of essays from SCN, including discographies, filmographies, and interviews with film composers.
F53 Vlad, Roman. “Il compositore e la musica per film [The Composer and Film Music].” In Musica e film, edited
by S.G. Biamonte, 197–202. Rome: Edizioni dell’Ateneo, 1959.
F54 Ward, Robert. “Composers in Uniform.” Modern Music 23, no. 2 (Spring 1946): 108–10.
Discusses Lehman Engel’s music for navy films, Dai-Keong Lee’s film scores, and Gail Kubik’s film scores.
F55 Whorf, Michael. American Popular Song Composers: Oral Histories, 1920s–1950s. Jefferson: McFarland, 2012.
Transcripts of radio interviews with 39 composers about their popular songs, including music composed for
film.
F56 Wölfer, Jürgen. Das große Lexikon der Filmkomponisten: Die Magier der cineastischen Akustik—Von Ennio Mor-
ricone bis Hans Zimmer [The Great Encyclopaedia of Film Composers: The Magicians of Cineastic Acoustics—
From Ennio Morricone to Hans Zimmer]. Berlin: Schwarzkopf and Schwarzkopf, 2003.
F57 Wootton, Adrian. “Interview with Allison Anders, Michael Mann, Ry Cooder, Amos Poe, Julien Temple, Cam-
eron Crowe, Penelope Spheeris, Wim Wenders, Quentin Tarantino, Alan Rudolph, David Byrne, Isaac Julien,
Bob Last, and Leslie Harris.” In Celluloid Jukebox: Popular Music and the Movies Since the ’50s, edited by Jona-
than Romney and Adrian Wootton, 119–20. London: British Film Institute, 1995.
F58 Wulff, Hans J. “Komponistenportraits.” Kieler Beiträge zur Filmmusikforschung 1 (2008): 171–90.
Portraits of the following: John Addison (1920–98), Giuseppe Becce (1877–1973), Werner Eisbrenner (1908–
81), and Jiří Šust (1919–95).

Abril, Antón García

See also F35, F36.

F59 Hernández Ruiz, Javier, and Pablo Pérez Rubio. Antón García Abril: el cine y la televisión. Música en la imagen
1. Zaragoza: Diputación Provincial de Zaragoza, 2002.
F60 Martín Félez, David. “¿Existe Antón García Abril dentro de la banda sonora española? [Does Antón García
Abril Have a Place in Spanish Film Music Composition?]” In La música en los medios audiovisuales, 523–26.
Salamanca: Plaza Universitaria, 2005.
F61 Sagardía, Ángel. “Entrevista: Antón García Abril.” Monsalvat 115 (1984): 48–51.
F62 Werba, Marco. “Anton Garcia Abril.” In Film Music Around the World, edited by Randall D. Larson, 53–54. San
Bernardino: Borgo, 1987.

Achron, Joseph

F63 Nemtsov, Jascha. “Joseph Achron.” In Komponisten der Gegenwart: Loseblatt-Lexikon—Nachlieferung XVII,
edited by Hanns-Werner Heister and Walter-Wolfgang Sparrer. München: Edition Text + Kritik, 1999.
6 People

Adler, Larry

F64 Adler, Larry. It Ain’t Necessarily So. London: Collins, 1984.

An autobiography, including information about the film score for Geneviève (1953).

Alemany, Juan Durán

F65 Botella Nicolás, Ana María, and José Vicente Gimeno Romero. “Estudio y análisis del lenguaje musical cine-
matográfico de Juan Durán Alemany (1894–1970) [Study and Analysis of the Cinematographic Musical Lan-
guage of Juan Durán Alemany (1894–1970)].” Revista del Instituto de Investigación Musicológica Carlos Vega 28
(2014): 55–103.

Alessio, Carlos d’

F66 Phéline, Marc. “Les Mélodies de Carlos d’Alessio: d’India Song à L’Eden cinéma.” In Marguerite Duras, Alain
Robbe-Grillet, edited by Dominique Bax, 70–71. Bobigny: Magic Cinéma, 2002.

Alizadeh, Hossein

F67 Mehrabi, Massoud. “Notes on Canvas: An Interview with Hossein Alizadeh, Composer.” Film International:
Iranian Film Quarterly 11, no. 1–2 (2004): 53–57.

Almazan, Fabian

F68 West, Michael J. “Scoring Big.” JazzTimes 42, no. 1 (2012): 11–12.

Alonso, Francisco

F69 Montero Alonso, José. Francisco Alonso. Madrid: Espasa Calpe, 1987.

Alwyn, William

F70 Alwyn, William. “Film Music: Sound or Silence?” In Composing in Words: William Alwyn on His Art, 273–89.
Musicians on Music 9. London: Toccata, 2009.
Reprint of a lecture given at the Edinburgh Film Festival in 1958.
F71 Johnson, Ian. “Odd Man Out: A Tribute to British Film Composer William Alwyn.” The Cue Sheet 21, no. 1
(2006).
F72 . William Alwyn: The Art of Film Music. Woodbridge: Boydell Press, 2005.
F73 Lindgren, Ernest. “ ‘The Composer’: William Alwyn.” Sight and Sound 19, no. 10 (supplement, Spring 1951):
19–20.
Discusses Alwyn’s film music, beginning with the proclamation, “The supremacy of British film music during
the last ten years is unquestionable.”
F74 Thomas, Tony, ed. “William Alwyn.” In Film Score: The View from the Podium, 187–96. South Brunswick: A.S.
Barnes, 1979.
People 7

Amfitheatrof, Daniele

F75 Bernstein, Elmer. “A Conversation with Daniele Amfitheatrof.” Film Music Notebook 1, no. 4 (1975): 14–22;
reprinted in Film Music Notebook: A Complete Collection of the Quarterly Journal, 1974–1978, edited by Jon
Burlingame and Elmer Bernstein, 148–56. Sherman Oaks: The Film Music Society, 2004.

Amram, David

See also E724.

F76 Romer, Wayne Allen. “David Amram (b.1930) Analysis of Selected Works for Wind Band: King Lear Variations,
Andante and Variations on a Theme for Macbeth, and Ode to Lord Buckley.” DMA diss., University of Cincin-
nati, 2010.

Anand, Vijay

F77 Anand, Vijay. “Vijay Anand.” In Noise of the World: Non-Western Musicians in Their Own Words, edited by
Hank Bordowitz, 363–68. New York: Soft Skull, 2004.

Andréa, Oswald d’

F78 D’Andréa, Oswald. L’oreille en fièvre [Fever of the Ear]. Pont-Scorff: Arthemus, 2002.
Autobiography of the composer.

Antheil, George

See also A255, B85, C1320, C1321, C1322, C1323, C1324, C1325, C1326, C1327, C1328, C1329, C1330, C1331, C1332,
C1333, C1334, C1335, C1386, C1400, C1411, C1414, E85, E86, E1246, H184.
F79 Antheil, George. Bad Boy of Music. New York: Doubleday, 1945.
See Chapter 5, “Hollywood,” pp. 281–368.
F80 . “Breaking into the Movies.” Modern Music 14, no. 2 (January 1937): 82–86.
F81 . “Composers in Movieland.” Modern Music 12, no. 2 (February 1935): 62–68.
F82 . “Composers in Movieland (1935).” In Celluloid Symphonies: Texts and Contexts in Film Music History,
edited by Julie Hubbert, 209–12. Berkeley: University of California Press, 2011.
Originally published in Modern Music 12, no. 2 (1935), this article discusses The Gay Divorcee.
F83 . “Good Russian Advice about Movie Music.” Modern Music (November 1936): 53–56.
F84 . “George Antheil: ‘I am Not a Businessman’ (1945).” In The Hollywood Film Music Reader, edited by
Mervyn Cooke, 259–71. New York: Oxford University Press, 2010.
F85 . “Hollywood and the New Music.” Cinema Arts (July 1937): 28–29.
F86 . “Hollywood Composer.” Atlantic Monthly 165 (1940): 160–67.
F87 . “Music in the Film.” New Theatre (October 1935): 14–15.
Calls the “American composite score” system inferior to the Russian (Eisensteinian) vertical montage
technique.
8 People

F88 . “Music Takes a Screen Test.” The American Scholar 6, no. 3 (1937): 354–64.
Argues that “serious” music will soon come to the silver screen. Mentions Werner Janssen’s score for The Gen-
eral Dies at Dawn, Antheil’s score for The Plainsman, and the relationship between opera and cinema.
F89 . “The Hollywood Front.” Modern Music 14, no. 2 (February 1937): 105–8.
Discusses Werner Janssen’s score for The General Dies at Dawn, the engagement of Schönberg and Stravinsky
for film scores, Honegger’s film score for Joan of Arc, Kurt London’s Film Music, and William Walton’s film
score for As You Like It.
F90 . “On the Hollywood Front.” Modern Music 15, no. 1 (December 1937): 48–50.
Complains of the increasing stagnation of scoring practices, mentioning (unfavorably) Korngold and (favor-
ably) Steiner (The Green Light), Virgil Thomson, the Ballet Méchanique, The Wave, Kurt Weill’s scores for
Wanger and Lang, and Ernest Toch’s score to The Outcast. Laments the lack of contributions from Stravinsky
and Schoenberg. Urges East Coast critics to pay more attention to film music.
F91 . “On the Hollywood Front.” Modern Music 15, no. 2 (1938): 117–18.
Discusses the disappointment of the current state of film scoring, including Antheil’s own anger at the studio
manipulation of his score for Cecil B. DeMille’s The Buccaneer. Other films and figures mentioned include
Krenek, Toch, Gruenberg, Stokowski, Disney (including an early mention of Fantasia, indicating Stokowski’s
intent to work on “The Sorcerer’s Apprentice”), Gailland’s Club des femmes, and Weill’s score for Kurt Lang’s
You and Me.
F92 . “On the Hollywood Front.” Modern Music 15, no. 3 (April 1938): 187–89.
Bemoans the low state of “Hollywoodian music,” but at the same time urges composers to remember that it
reaches “the largest audience on earth,” and predicts vast improvement in the near future. Announce’s Weill’s
score to You and Me.
F93 . “On the Hollywood Front.” Modern Music 15, no. 4 (June 1938): 251–54; in The Routledge Film Music
Sourcebook, edited by James Wierzbicki, 96–99. New York: Routledge, 2012.
Discusses synchronization of action and locale, Copland and Blitzstein’s Spanish Earth and Shostakovich’s
Alone. Bemoans the state of culture in Hollywood.
F94 . “On the Hollywood Front.” Modern Music 16, no. 1 (December 1938): 62–65.
Discusses the normal method of post-production scoring and its effect on film music. Discusses the following
films and people: Max Steiner, Alfred Newman, Richard Hagemann’s If I Were King, Weill’s You and Me, and
Stokowski and the Disney project eventually to be called Fantasia.
F95 . “On the Hollywood Front.” Modern Music 16, no. 2 (February 1939): 130–33.
Discusses the effect of economic depression on film production, and the sad state of music in the films. Praises
Stokowski’s collaboration with Disney on what was soon to be called Fantasia, and briefly discusses the resig-
nation of Paramount Music Director Boris Morros and Adolphe Borchard’s score for The Story of a Cheat and
Honneger’s for Grand Illusion.
F96 . “On the Hollywood Front.” Modern Music 16, no. 3 (April 1939): 194–96.
Discusses the cost of making films in the U.S. and Europe, Adolph Borchard’s score for The Story of a Cheat,
Karol Rathaus’s score for Let Us Live, L. Shvarts’s score for The Childhood of Maxim Gorki, M. Jaubert’s score
for Un carnet du bal.
F97 . “On the Hollywood Front.” Modern Music 16, no. 4 (June 1939): 278–80.
Discusses the ascendancy of European films and their scores, which Antheil judges as surpassing American
films. Mentions Honneger’s Pygmalion, Prokofiev’s score to Alexander Nevsky, and Stokowski’s collaborations
with Disney.
F98 Bellano, Marco. “Music of Attraction. The Neo-Baroque and Film Music: George Antheil’s Score for Le Ballet
Mécanique.” Journal of Film Preservation 82 (2010): 69–78.
People 9

F99 Cochrane, Keith Allan. “George Antheil’s Music to a World’s Fair Film.” DA diss., University of Northern Col-
orado, 1993.
F100 Heinsheimer, Hans Walter. “George Antheil.” Musik und Bildung: Zeitschrift Für Musikerziehung 8, no. 2
(1976): 67–69.
A personal recollection of Antheil.
F101 Statham, Sabra Isadore. “ ‘Back to Baltimore’: George Antheil’s Symphonic Excursion from European Modern-
ism to American Postmodernism.” The Musical Times 153, no. 1921 (2012): 3–16.
F102 Wehmeyer, Grete. “Der Pianist ist bewaffnet: George Antheil, das enfant terrible der Neuen Musik [The Pianist is
Armed: George Antheil, the Enfant Terrible of New Music].” NZ: Neue Zeitschrift Für Musik 146, no. 6 (1985): 14–18.
F103 Whitesitt, Linda. “The Life and Music of George Antheil (1900–1959).” Ph.D. diss., University of Maryland,
College Park, 1981.
Analyzes most of George Antheil’s compositions (with a cursory review of his film scores).

Arapov, Boris

F104 Krohmal’-Orâbinskaâ, Marfa Pavlovna. “Насреддин в Бухаре [Nasreddin v Buhare].” In Con anima: К 100-
летию Б.А. Арапова—Воспоминания, статьи, материалы, edited by Larisa Georgievna Dan’ko and Sofiâ
Sergeevna Levkovskaâ, 62–63. St. Petersburg: Russian Federation: Gosudarstvennaâ Konservatoriâ imeni N.
Rimskogo-Korsakova, 2006.

Arlen, Harold

See also B233, D1165, D1213, D1308, D1571, E773.

F105 Arlen, Sam. “Foreword: ‘The Gentle Gentleman’.” The Cue Sheet 20, no. 2 (2005).
F106 Bradford, Marilee. “Introduction: ‘Arlen at 100’.” The Cue Sheet 20, no. 2 (2005).
F107 Burlingame, Jon, and Marilee Bradford, eds. “Harold Arlen in Hollywood.” The Cue Sheet 20, no. 2 (2005).
F108 , eds. The Cue Sheet 20, no. 2, Special Issue: Harold Arlen Centennial (2005).
F109 Jablonski, Edward. “American Songwriter Harold Arlen.” Stereo Review 31, no. 5 (1973): 54–65.
F110 Lahr, John, and Richard Avedon (Photography). “Come Rain or Come Shine: The Bittersweet Life of Harold
Arlen.” The New Yorker 81, no. 28 (2005): 88–94.
F111 Marotta, Sharon Zak. “Harold Arlen: A Lifetime of Music.” The Cue Sheet 20, no. 2 (2005).

Armiger, Martin

See G186, H228.

Arnell, Richard

F112 Matthew-Walker, Robert. “Richard Arnell.” Musical Opinion 130, no. 1454 (2006): 29.

Arriagada, Jorge

F113 Jouffé, André. “Jorge Arriagada: ‘Los artistas son héroes de la patria’/‘Les Artistes sont des heros de la patrie’
[Jorge Arriagada: ‘Artists Are the Heroes of the Country’].” Translated by S. Baca, H. Geniez, M. Prentout, and
C. Roche. Cinémas d’Amérique Latine 8 (2000): 124–32.
10 People

F114 Rojas, Waldo. “Jorge Arriagada, Testimonio y reflexiones profanas/Jorge Arriagada, témoignage et réflexions
profanes [Jorge Arriagada: Testimony and Profane Reflexions].” Translated by Jean-Marie Saint-lu. Cinémas
d’Amérique Latine 8 (2000): 116–23.

Artemiev, Eduard

See also B22, B74, D2156, D2371, E1053, E1054, E1055, E1056, G674, G678, G695.
F115 Barrow, Daniel. “Psychic Weather.” Sight and Sound 23, no. 11 (2013): 56–57.
Discusses the collaboration of Eduard Artemiev and Andrei Tarkovsky during the 1970s.
F116 Egorova, Tatiana Konstantinovna. Вселенная Эдуарда Артемьевa [The Universe of Eduard Artemiev].
Moskva: Vagrius, 2006.
F117 . “Ja sčital, čto v kino prošel vse [I Thought That in Cinema I Would Find Everything].” Muzykal’naâ
žizn’ 1 (1998): 36–39.
Interview with Eduard Artemiev.
F118 Gelberg-Wilson, Eliot. “Eduard Artemiev and the Sonics of National Identity.” Slovo 28, no. 2 (2016): 2–25.

Aufderhaar, Christine

F119 Aufderhaar, Christine. “Fuga improvvisata.” In Filmmusik-Bekenntnisse, edited by Béatrice Ottersbach and
Thomas Schadt, 10–25. Konstanz: UVK Verlagsgesellschaft mbH, 2009.

Auric, Georges

See also A133, B5, C50, E113 F1594.

F120 Auric, George. Quand j’étais là [When I was There]. Paris: Grasset, 1979.
F121 Bacqua, Tiffany. “La vocation de Georges Auric: La musique de cinéma [Georges Auric’s Job: Film Music].” In
Musicologie et cinéma, 55–64. Observatoire Musical Français: Conférences et séminaires. Paris: Université de
Paris IV (Paris-Sorbonne, Observatoire Musical Français), 2006.
F122 Deaville, James A., and Simon Wood. “Synchronization by the Grace of God? The Film/Music Collaboration
of Jean Cocteau and Georges Auric.” Canadian University Music Review/Revue de musique des universités can-
adiennes: 22, no. 1. Special issue: Jean Cocteau: Evangelist of the Avant-Garde/Jean Cocteau: Évangeliste de
l’avant-Garde (2001): 105–26.
F123 Keller, Hans. “Georges Auric at Film Music’s Best.” In Music and Psychology: From Vienna to London, 1939–52,
160–63. Hans Keller Archive. London: Plumbago, 2003.
Originally published in the column “Film Music and Beyond” in Music Review 15, no. 4 (1954): 311–13.
F124 La Bretèque, François de. “Auric, Poulenc et les ‘films du patrimoine’.” In Centenaire Georges Auric—Francis
Poulenc, edited by Josiane Mas, 39–56. Montpellier: University of Montpellier, 2001.
Discusses Auric’s score for L’éternel retour (1943).
F125 Mas, Josiane, and Pierre Chanel (Collab.). “Répertoire des oeuvres musicales de Georges Auric [List of the
Musical Works of Georges Auric].” In Centenaire Georges Auric—Francis Poulenc, 287–336. Montpellier: Uni-
versité de Montpellier III, 2001.
F126 Preußner, Eberhard. “George Auric als Tonfilmkomponist [George Auric as Film Composer].” Melos 11, no. 2
(1932): 52–53.
Discusses Auric’s score to René Clair’s À nous la liberté.
People 11

F127 Roust, Colin. “Reaching a ‘plus grand public’: Georges Auric as Populist.” The Musical Quarterly 95, no. 2/3
(2012): 343–67.
Considers the music of Auric’s “populist” period, including his film scores to Le sang d’un poète, A nous, la
liberté, and Lac aux dames.
F128 . “ ‘Say It with Georges Auric’: Film Music and the esprit nouveau.” Twentieth-Century Music 6, no. 2
(2009): 133–53.
F129 . “Sounding French: The Film Music and Criticism of Georges Auric, 1919–1945.” Ph.D. diss., University
of Michigan, 2007.
F130 Wulff, Hans J. “Georges Auric (1899–1983).” Kieler Beiträge zur Filmmusikforschung 3 (2009): 155–62.

Axt, William

F131 Branscombe, Gena. “The Creative Power of the Sound Film.” National Board of Review Magazine 4 (May 1929):
3–4.
Discusses Axt’s work as exemplary for synchronized film.

Bacalov, Luis

See also F36.

F132 Kezich, Tullio. “Il cineasta e il suo doppio (musicale): Giraldi and Bacalov [The Filmmaker and His (Musical) Dou-
ble: Giraldi and Bacalov].” In Lungo il Novecento: La musica a Trieste e le interconnessioni con le arti—Festschrift
in onore del centenario della fondazione del Conservatorio Giuseppe Tartini di Trieste 1903–2003, edited by Maria
Girardi, Alfredo Antonini, Massimo Parovel, and Fulvio Salimbeni, 233–34. Venice: Marsilio Editori, 2003.
Discusses the work of Bacalov with Franco Giraldi.

Badalamenti, Angelo

See also B269, E686, E687, E1183, F1789.

F133 Berhomieu, Pierre, and Christian Lauliac. “Music in a World of Sounds: David Lynch par Angelo Badala-
menti.” Positif 490 (2001): 89–91.
F134 Gabel, J.C., and Jessica Hundley, eds. “Interview with Angelo Badalamenti.” In Beyond the Beyond: Music from
the Films of David Lynch, 31–38. Los Angeles: Hat and Beard Press/David Lynch Foundation, 2016.
F135 Norelli, Clare Nina. “Suburban Dread: The Music of Angelo Badalamenti in the Films of David Lynch.” In
Sound Scripts 2, edited by Cat Hope and Jonathan W. Marshall, 38–43. Grosvenor Place: Australian Music
Centre, 2009.

Bak, Frans

See F44.

Baker, Buddy

In addition to the items detailed below, see also A340.

F136 Baker, Norman (Buddy). “Buddy Baker: Credits.” The Cue Sheet 13, no. 1 (1997).
12 People

F137 Burlingame, Jon. “An Interview with Buddy Baker.” The Cue Sheet 18, no. 3–4 (2002).
F138 Danly, Linda. “Buddy Baker: An Appreciation.” The Cue Sheet 13, no. 1 (1997): 4–8.

Balboa, Manuel

F139 Cabañas Alamán, Fernando J., and Alberto González Lapuente. Manuel Balboa. Catálogos de compositores
españoles. Madrid: Sociedad General de Autores de España (SGAE), 1993.
A catalogue of the works of Francisco Manuel Balboa Rodríguez (b.1958), covering his output until 1992.
F140 Cueto, Roberto, and Manuel Balboa. “Manuel Balboa.” In El lenguaje invisible: entrevistas con compositores
del cine español [The Invisible Language: Interviews with Spanish Film Composers], 43–65. Alcalá de Henares:
Festival de Cine de Alcalá de Henares, 2003.
Interview and biographical profile.

Banks, Brian

F141 Burger, Jeff. “Synthesizer Upstarts Conquer Hollywood (1987).” In The Routledge Film Music Sourcebook, edited
by James Wierzbicki, Nathan Platte, and Colin Roust, 232–42. New York: Routledge, 2012.
Originally published in Keyboard on September 13, 1987, this article discusses the film music of Brian Banks
and Anthony Marinelli.

Baños, Roque

F142 Cueto, Roberto. “Roque Baños.” In El lenguaje invisible: entrevistas con compositores del cine español, 69–89.
Alcalá de Henares: Festival de Cine de Alcalá de Henares, 2003.
Interview and biographical profile.

Barbaud, Pierre

F143 Viel, Nicolas. “Pierre Barbaud: De la musique de film à la ‘musique par ordinateur’—Vers un refus de toute
théâtralité musicale [Pierre Barbaud: From Film Music to Computer Music—Towards a Complete Rejection of
Musical Theatricality].” In Dramaturgie et musique, edited by Mauduit Bérengère, 93–104. Observatoire Musi-
cal Français: Conférences et séminaires 39. Paris: Université de Paris IV (Paris-Sorbonne, Observatoire Musical
Français), 2009.

Barber, Lesley

See G217.

Barkauskas, Vytautas

F144 Dailydaite, Birute. “Vytautas Barkauskas muzika dramai, spektakliams ir kinofilmans [Vytautas Barkauskas’s
Music for Theater and Film].” Menotyra: Lietuvos TSR aukštųjų mokyklų mokslo darbai/Ученые записки
высших учебных заведений Литовской ССР—Искусствоведени 14 (1986): 60–74.

Barr, Nathan

See also D1676.

People 13

F145 Hoover, Tom. “Keeping Score with Nathan Barr.” In Keeping Score: Interviews with Today’s Top Film, Television,
and Game Music Composers, 133–36. Boston: Course Technology, 2010.

Barry, John

See also B7, B329, E581, E582, E583, E584, E585, E586, E587, E588, E589, E590, E591, F18, F35, F41, F42, F43.
F146 Arnold, David. “The Man with the Midas Touch.” Mojo 48 (1997): 20–21.
F147 Burlingame, Jon. “An Interview with John Barry.” The Cue Sheet 12, no. 4 (1996): 3–15.
F148 Caps, John. “The John Barry Tryptych.” Film Music Notebook 2, no. 4 (1976): 6–8.
Discusses the following scores: The Lion in Winter, The Last Valley, and Mary Queen of Scots.
F149 Fiegel, Eddi. John Barry: A Sixties Theme—From James Bond to Midnight Cowboy. London: Constable, 1998;
reprinted in London: Faber, 2012.
F150 Frith, Simon. “Pretty Vacant: John Barry.” In Music for Pleasure: Essays in the Sociology of Pop, 146–47. Oxford:
Basil Blackwell, 1988.
F151 Lababedi, Iman. “John Barry: The Man with the Golden Baton.” Creem 19, no. 2 (1987).
F152 Leonard, Geoff Bramley, Pete Walker, and Gareth Bramley. John Barry: The Man with the Midas Touch. Bristol:
Redcliffe, 2008.
F153 Lombardo Ortega, Manuel Jorge. “John Barry: The Shock of Each Moment of Still Being Alive.” In Miklós
Rózsa, Wojciech Kilar, El acorazado Potemkin, John Barry, 45–78. Sevilla: Diputación de Sevilla, 1995.
F154 Smith, Jeff. “Creating a Bond Market: Selling John Barry’s Soundtracks and Theme Songs.” In The James Bond
Phenomenon: A Critical Reader, edited by Christoph Lindner, 118–34. Manchester: Manchester University
Press, 2003.

Baskin, Richard

F155 Macklin, F. Anthony. “Richard Baskin (1948–).” In Voices from the Set: The Film Heritage Interviews. Filmmak-
ers 74. Lanham: Scarecrow Press, 2000.

Bates, Tyler

F156 Hoover, Tom. “Keeping Score with Tyler Bates.” In Keeping Score: Interviews with Today’s Top Film, Television,
and Game Music Composers, 57–61. Boston: Course Technology, 2010.

Battaglia, Stefano

F157 Sandner, Wolfgang. “Wenn Bilder Melodien finden: Zum Verhältnis der Künste und zur Beziehung von
Musik und Film bei Eleni Karaindrou, François Couturier und Stefano Battaglia [When Pictures Find
Melodies: The Relationship among the Arts and the Relationship of Music and Film in the Works of
Eleni Karaindrou, François Couturier, and Stefano Battaglia].” In Der blaue Klang: Musik, Literatur, Film,
Tonspuren—der Wirkungskreis von ECM und der europäisch-amerikanische Musikdialog, 83–90. Hofheim:
Wolke, 2010.

Baumann, Gerd

F158 Baumann, Gerd. “Settembrini und Naphta.” In Filmmusik-Bekenntnisse, edited by Béatrice Ottersbach and
Thomas Schadt, 26–31. Konstanz: UVK Verlagsgesellschaft mbH, 2009.
14 People

Bautista, Julián

See also G170.

F159 Persia, Jorge de. “Fondo Julián Bautista de la Biblioteca Nacional de Madrid [The Julián Bautista Collection at
the Biblioteca Nacional in Madrid].” In El patrimonio musical: Los archivos familiares (1898–1936), edited by
María García Alonso, 123–47. Cuaderno de trabajo 4. Trujillo: Fundación Xavier de Salas, 1997.
A catalogue of Bautista’s works at the Biblioteca Nacional in Madrid.

Becerra-Schmidt, Gustavo

F160 Rojas, Cristián Guerra, ed. “Catálogo cronológico clasificado de las obras del compositor Gustavo Becerra-
Schmidt [Classified Chronological Catalog of the Works of the Composer Gustavo Becerra-Schmidt].” Revista
musical chilena 26, no. 119–120 (1972): 82–91.
A chronological catalogue up to 1972.

Beltrami, Marco

See also F45.

F161 Hoover, Tom. “Keeping Score with Marco Beltrami.” In Collected Work: Keeping Score: Interviews with Today’s
Top Film, Television, and Game Music Composers, 45–48. Boston: Course Technology, 2010.

Benito, Mario de

F162 Cueto, Roberto. “Mario de Benito.” In El lenguaje invisible: entrevistas con compositores del cine español, 161–
79. Alcalá de Henares: Festival de Cine de Alcalá de Henares, 2003.

Benjamin, Arthur

See also E723.

F163 Youdell, Andrew. “Storm Clouds: A Survey of the Film Music of Arthur Benjamin.” British Music 18 (1996):
19–27.

Bennett, Richard Rodney

F164 Bernstein, Elmer. “A Conversation with Richard Rodney Bennett.” Film Music Notebook 2, no. 1 (1976): 16–25;
reprinted in Film Music Notebook: A Complete Collection of the Quarterly Journal, 1974–1978, edited by Jon
Burlingame and Elmer Bernstein, 186–95. Sherman Oaks: The Film Music Society, 2004.
F165 Zigante, Frédéric. “Richard Rodney Bennett (1936–2012).” Il Fronimo 41, no. 162 (2013): 49–50.
An obituary.

Bent Fabric [Fabricius-Bjerre, Bent]

See B88.
People 15

Berlin, Irving

See also D1098, D1213, E520, E773, E942, F46, H353, J79, J134.
F166 Sears, Benjamin, ed. The Irving Berlin Reader. New York: Oxford University Press, 2012.

Bernaola, Carmelo

See also F36.

F167 García del Busto Arregui, José Luis. Carmelo Bernaola: la obra de un maestro [Carmelo Bernaola: The Work of
a Maestro]. Madrid: Sociedad General de Autores y Editores (SGAE), 2004.
F168 Padrol, Joan. “Carmelo Bernaola, músico de cine [Carmelo Bernaola, Film Musician].” In Carmelo A. Bernaola:
Estudio de un músico. Mínima 3. Bilbo, Bilbao: Ikeder, 2003.

Bernard, James

See also D1747.

F169 Huckvale, David. James Bernard, Composer to Count Dracula: A Critical Biography. Jefferson, NC: McFarland,
2006.

Bernstein, Charles

See also D1676.

F170 Bernstein, Charles H. Film Music and Everything Else. Beverly Hills, CA: Turnstyle Music, 2000.

Bernstein, Elmer

See also A241, A376, B63, B85, B189, C88, D1594, E472, E1118, F36, F41, F43, F51, F1101, J106.
F171 Anderson, Gillian B., and Peter Bernstein. “Interview of Peter Bernstein.” Music and the Moving Image 6, no. 3,
Special Issue: Elmer Bernstein’s Orchestrators (2013): 31–43.
F172 Bernstein, Elmer. “The Aesthetics of Film Scoring: A Highly Personal View.” Film Music Notebook 4, no. 1
(1978): 22–27.
F173 . “Elmer Bernstein: ‘Film Composers vs. the Studios’ (1976).” In The Hollywood Film Music Reader,
edited by Mervyn Cooke, 341–47. New York: Oxford University Press, 2010.
F174 . “On Film Music.” Journal of the University Film Association 28, no. 4 (1976): 7–11.
F175 Burlingame, Jon. “Elmer Bernstein Dead at 82.” The Cue Sheet 19, no. 4 (2004).
An obituary.
F176 . “Elmer Bernstein Remembered.” The Cue Sheet 19, no. 4 (2004).
F177 “Elmer Bernstein.” The New Music Connoisseur 12, no. 4 (2004): 20.
An obituary.
F178 “Elmer Bernstein: The Official Site.” http://elmerbernstein.com/.
Contains the following sections: Concert review; a link to purchase The Elmer Bernstein Collection; section to
buy or rent scores and recordings; a link to the USC Bernstein collection (see A379); information about inter-
views and other information on the internet; and a listing of concerts of Bernstein’s music.
16 People

F179 Meyer, Donald C. “Music Cue Archetypes in the Film Scores of Elmer Bernstein.” Journal of Film Music 5, no.
1/2 (2012): 153–63.
F180 Morgan, David. “Immersion: Beginning the Process.” In Knowing the Score: Film Composers Talk About the Art,
Craft, Blood, Sweat, and Tears of Writing Music for Cinema, 72–95. New York: Harper Entertainment, 2000.
The following composers discuss the creative process of composing: Carter Burwell, Jerry Goldsmith, Elmer
Bernstein, David Shire, Mark Isham, Basil Poledouris, Elliot Goldenthal, Michael Kamen, Phillip Glass, and
Alan Menken.
F181 . “The Shape of the Sound: Orchestration.” In Knowing the Score: Film Composers Talk About the
Art, Craft, Blood, Sweat, and Tears of Writing Music for Cinema, 176–84. New York: Harper Entertainment,
2000.
The following composers discuss orchestration and electronic vs. traditional instruments: Jerry Goldsmith,
Elmer Bernstein, Carter Burwell, and Elia Cmiral.
F182 Morgan, David, and Elmer Bernstein. “Everything Old is New Again: Elmer Bernstein on Reinventing Cape
Fear.” In Knowing the Score: Film Composers Talk About the Art, Craft, Blood, Sweat, and Tears of Writing Music
for Cinema, 204–11. New York: Harper Entertainment, 2000.
F183 Pool, Jeannie Gayle, Elmer Bernstein, and Marilee Bradford (transcriber). “Elmer Bernstein: Opening Address.”
The Cue Sheet 14, no. 4 (1998): 10–23.
Argues that film music in general is currently being damaged by the mechanization of the industry. Given at
the Film Music Society’s Sixth Annual International Film Music Conference on May 7, 1998, in Ivey Substa-
tion, Culver City, California.
F184 Sadoff, Ronald H. “Introduction [to Elmer Bernstein and His Orchestrators].” Music and the Moving Image 6,
no. 3 (2013): 23–25.
See F185.
F185 , ed. Special Section: “Elmer Bernstein’s Orchestrators,” Music and the Moving Image 6, no. 3 (2013):
23–46.
Includes interviews with and articles about Peter Bernstein, Patrick Russ, and David Spear.
F186 Sadoff, Ronald H., and David Spear. “Interview of David Spear [About Elmer Bernstein].” Music and the Mov-
ing Image 6, no. 3 (2013): 43–46.
F187 Scheff, Michael. “Elmer Bernstein.” Film Music Notebook 1, no. 2 (1974).
F188 . “Elmer Bernstein.” In Film Music Notebook: A Complete Collection of the Quarterly Journal, 1974–1978,
edited by Jon Burlingame and Elmer Bernstein, 47–51. Sherman Oaks: The Film Music Society, 2004.
F189 Thomas, Tony, ed. “Elmer Bernstein.” In Film Score: The View from the Podium, 154–63. South Brunswick: A.S.
Barnes, 1979.

Bernstein, Emilie

F190 Anderson, Gillian, and Emilie Bernstein. “Emilie Bernstein: An Interview with Gillian Anderson.” Music and
the Moving Image 11, no. 1 (2018): 35–39.

Bernstein, Leonard

See also A331, B240, D1375, D1436, D1549, D1575, E838, E839, E840, E841, E842, E843, E844, E1221, E1222, E1276.
F191 Keller, Hans. “Leonard Bernstein.” The Score 12 (June 1955): 81–84.
Discusses On the Waterfront and Bernstein’s borrowings from other contemporary composers.
People 17

Black, Don

F192 Inverne, James, and John Barry. Wrestling with Elephants: The Authorized Biography of Don Black. London:
Sanctuary, 2003.

Blakley, Ronnie

F193 Morgan, Frances. “Better Than the Real Thing.” Sight and Sound 24, no. 6 (2014): 54–55.

Blanchard, Terence

See F43.

Bliss, Arthur

See also D2436.

F194 Lloyd, Stephen. “The Film Music.” In Arthur Bliss: Music and Literature, 191–226. Burlington: Ashgate, 2002.
F195 Wells, Herbert George. “The Music.” In Things to Come, x–xi. London: Macmillan, 1935.

Blitzstein, Marc

See also A386, B220, C1348, and F26.

F196 Brant, Henry. “American Composers 25: Marc Blitzstein.” Modern Music 23, no. 3 (1946): 170–76.
Discusses the following scores: Hands, Triple Sec, Parabola and Circula, and orchestration for The Cradle Will
Rock and No for an Answer.
F197 Pollack, Howard J. Marc Blitzstein: His Life, His Work, His World. New York: Oxford University Press, 2012.

Bochman, Werner

F198 Ringelnatz, Joachim. “Werner Bochmann zum 100. Geburtstag.” GEMA Nachrichten, no. 161 (2000): 56–57.

Boehmer, Konrad

F199 Boehmer, Konrad. “ ‘Non, je ne regrette rien’ [No, I Don’t Regret Anything].” In Red Strains: Music and Commu-
nism Outside the Communist Bloc, 37–42. Proceedings of the British Academy 185. Oxford: Oxford University
Press, 2013.

Bokanowski, Michèle

F200 Brunel, Claude, and Michèle Bokanowski. “Entretien avec Michèle Bokanowski.” Communications 8 (1984).

Bonezzi, Bernardo

F201 Cueto, Roberto. “Bernardo Bonezzi.” In El lenguaje invisible: entrevistas con compositores del cine español,
113–35. Alcalá de Henares: Festival de Cine de Alcalá de Henares, 2003.
18 People

Boswell, Simon

F202 Boswell, Simon. “Neither Mozart nor Hendrix.” Sight and Sound 5 (April 1995): 37.
The composer discusses his music for films by Dario Argento and Alejandro Jodorowsky.
F203 Kermode, Mark. “Simon Boswell: Filmography.” Sight and Sound 5 (April 1995): 62.
A filmography documenting the work of film score composer Simon Boswell from 1984 to 1995. Boswell has
received critical prominence in the 1990s, particularly for his work on Danny Boyle’s Shallow Grave and on
Richard Stanley’s controversial Dust Devil. He has long been a mainstay of the Italian horror genre, composing
music for the films of, among others, Dario Argento, Lamberto Bava, and Michele Soavi.

Botjarov, Evgenij

F204 Arutûnov, Dèvil’ Amaâkovič. “Evgenij Botjarov.” In Kompozitory Moskvy, 65–90. Moscow: Kompozitor, 1994.
General discussion of Botjarov’s output, including his film music.

Böttcher, Martin

F205 Wahren, Karl Heinz. “Der Grandseigneur der deutschen Filmmusik: Martin Böttcher zum 80. Geburtstag
[The Grandseigneur of German Film Music: Martin Böttcher on His Eightieth Birthday].” GEMA Nachrichten
176 (2007): 72–75.

Bowles, Paul

F206 Bowles, Paul. Paul Bowles on Music. Edited by Timothy Mangan and Irene Herrmann. Berkeley: University of
California Press, 2003.
Contains reprints of Bowles’s column “On the Film Front” from Modern Music.
F207 Carr, Virginia Spencer. Paul Bowles: A Life. New York: Scribner’s Sons, 2004.
F208 Dagel, Gena Emily. “Paul Bowles: Manufactured Savage.” Ph.D. diss., University of Texas at Austin, 1984.

Bradley, Scott

See also C120, D46, D71, D72, D73, D112, D201, D224, D529.
F209 Boscolo, Ettore. “L’intona-(r)umori: Per un’estetica della percezione musicale nel cartoon seriale: l’affaire Tex
Avery-Scott Bradley [Noise Machine/Sound Humor: On the Esthetics of the Musical Precision of the Car-
toon Serial: Tex Avery-Scott Bradley.” In Coloriture: voci, rumori, musiche nel cinema d’animazione, edited by
Giannalberto Michelone Bendazzi, Manuele Cecconello, and Guido Michelone, 153–62. Le sfere 4. Bologna:
Pendragon, 1995.

Brand, Neil

See F19.

Bredemeyer, Rainer

F210 Schneider, Frank. “Kontrapunkte zwischen Bildröhre und Sinfonieorchester: zur Musik von Rainer Brede-
meyer [Counterpoint between Picture-Tube and Symphony Orchestra: On the Music of Rainer Bredemeyer].”
Musik und Gesellschaft 27, no. 1 (1977): 8–13.
People 19

F211 Thiel, Wolfgang. “Reiner Bredemeyers Film- und Fernsehmusiken [Reiner Bredemeyer’s Music for Film and
Television].” Musik und Gesellschaft 23, no. 11 (1973): 648–53.

Březina, Aleš

F212 Kuznik, Frank, and Aleš Březina. “Aleš Březina: Capturing the Zeitgeist.” Czech Music Quarterly 4 (2014).

Britten, Benjamin

See also A177, C1375, D690, D798, E792.

F213 Cacqueray, Elizabeth de. “Music, Poetry, Realism: Benjamin Britten and His Film Scores.” Anglophonia 11
(2002): 227–36.
F214 Crilly, David. “Britten and Film.” In A Musical Eye: The Visual World of Britten and Pears, edited by Judith
LeGrove, 97–106. Woodbridge: Boydell Press, 2013.
F215 . “Britten and the Cinematic Frame.” In Benjamin Britten: New Perspectives on His Life and Work, edited
by Lucy Walker, 56–72. Aldeburgh Studies in Music 8. Woodbridge: Boydell and Brewer, 2009.
Discusses the following films: The King’s Stamp, The Way to the Sea, Coal Face, and Night Mail, comparing his
techniques in these scores with those in the opera The Turn of the Screw.
F216 Dammann, Guy. “ ‘Almost Miraculous’: Britten’s Music for Orchestra.” In Britten’s Century: Celebrating
100 Years of Benjamin Britten, 144–56. London: Bloomsbury, 2013.
F217 Heldt, Guido. “The New Operator: Benjamin Britten als Komponist für Film, Radio und Theater [Britten as
Composer for Film, Radio, and Theater].” Musik-Konzepte 170 (2015): 120–34.
F218 Parker, Peter. “Britten and the Gang.” In Britten’s Century: Celebrating 100 Years of Benjamin Britten, edited by
Mark Bostridge and Nicholas Kenyon, 48–62. London: Bloomsbury, 2013.
In a general discussion of Britten’s life and works of the 1930s, considers his film music for the filmmaker Basil
Wright.
F219 Reed, Philip. “The Incidental Music of Benjamin Britten: A Study and Catalogue of His Music for Film, Theatre
and Radio.” Ph.D. diss., University of East Anglia, 1988.
F220 Rodríguez Cerdán, David. “La música audiovisual [The Audio-Visual Music [of Benjamin Britten]].” Scherzo
28, no. 290 (2013): 84–87.

Brkanović, Ivana

F221 Paulus, Irena. “Filmska glazba Ivana Brkanović [Film Music by Ivana Brkanović].” Hrvatski filmski ljetopis 4, no.
16 (1998): 109–12.

Brophy, Philip

F222 Samartzis, Philip. “Avant-Garde Meets Mainstream: The Film Scores of Philip Brophy.” In Screen Scores: Studies
in Contemporary Australian Film Music, edited by Rebecca Coyle, 49–64. North Ryde: Australian Film, Televi-
sion, and Radio School, 1998.

Broughton, Bruce

See also B85, F18, F43, I50.

F223 Hoover, Tom. “Keeping Score with Bruce Broughton.” In Keeping Score: Interviews with Today’s Top Film, Tele-
vision, and Game Music Composers, 97–103. Boston: Course Technology, 2010.
20 People

Bruns, George

F224 Care, Ross. “George Bruns.” The Cue Sheet 18, no. 3–4 (2002).

Bruzdowicz, Joanna

See also F1894.

F225 Calvano, Ornella. “Vogelfrei: komponieren für Agnès [Outlawed: Composing for Agnès].” VivaVoce:
Archivnachrichten des Internationalen Arbeitskreises Frau und Musik, no. 92 (2012): 2–3.
Discusses women composers who contribute music for films, focusing on the collaboration of Joanna Bruzdo-
wicz with director Agnès Varda.

Buchanan, Dorothy

F226 Dart, William J. “Dorothy Buchanan.” Contemporary Music Review 11, no. 1–2 (1994): 47–54.

Burićem, Thomasom

F227 Paulus, Irena. “Filmska glazba—tema s varijacijom: Razgovor s Thomasom Burićem [Film Music—Theme and
Variations: Conversation with Thomasom Burićem].” Hrvatski filmski ljetopis 8, no. 30 (2002): 79–84.

Burke, Joseph A

F228 Lunde, Nanette G. “Tiptoe Through the Tulips with Me: The Life and Songs of Joseph A. Burke.” Popular Music
and Society 19, no. 1 (1995): 133–55.

Burwell, Carter

See also C1005, C1095, D1721, D2545, E744, E797, E974, F180, F483.
F229 Brophy, Philip, and Carter Burwell. “Carter Burwell in Conversation: Music for the Films of Joel and Ethan
Coen.” In Cinesonic: The World of Sound in Film, edited by Philip Brophy, 15–39. North Ryde: Australian Film,
Television, and Radio School, 1999.
Discusses the following films: Fargo, The Big Lebowski, Blood Simple, Barton Fink, Raising Arizona, and Miller’s
Crossing.
F230 Burwell, Carter. “Composing for the Coen Brothers.” In The School of Sound Lectures, 1998–2001, edited by
Larry Sider, Jerry Sider, and Diane Freeman, 195–208. London: Wallflower, 2003.
F231 Chion, Michel. “L’homme qui était bien là: Carter Burwell dans les films des frères Coen [The Man Who Was
Indeed There: Carter Buwell in the Coen Brothers’ Films].” Positif 563 (2008): 104–6.
F232 Cochrane, Tom. “Composing the Expressive Qualities of Music: Interviews with Jean-Claude Risset, Brian
Ferneyhough, and Carter Burwell.” In The Emotional Power of Music: Multidisciplinary Perspectives on Musical
Arousal, Expression, and Social Control, edited by Tom Cochrane, Bernardino Fantini, and Klaus R. Scherer,
23–40. New York: Oxford University Press, 2013.
F233 Hershon, Bob. “Off the Beaten Track: Harmonious Composer/Director Teams.” Cinéaste 23, no. 4 (1998): 38–41.
Discusses the collaborations of Robert Altman and Alan Rudolph with Mark Isham, Clint Eastwood with
Lennie Niehaus, and The Coen brothers with Carter Burwell.
People 21

F234 Jarvis, Brian. “Analyzing Film Music Across the Complete Filmic Structure: Three Coen and Burwell Collabo-
rations.” Ph.D. diss., The Florida State University, 2015.
Discusses Barton Fink, Miller’s Crossing, and Fargo.
F235 Lippy, Tod. “Carter Burwell.” In New York Film-Makers on New York Film-Making, edited by Tod Lippy and
John Boorman, 36–52. London: Faber and Faber, 2000.
F236 Morgan, David. “Coda.” In Knowing the Score: Film Composers Talk About the Art, Craft, Blood, Sweat, and Tears
of Writing Music for Cinema, 232–35. New York: Harper Entertainment, 2000.
Carter Burwell and Phillip Glass discuss the former’s score to Psycho III and the latter’s new soundtrack for
Tod Browning’s Dracula (1931).
F237 Morgan, David, and Carter Burwell. “Backward Prison Gangs, Scandinavian Hymns, ‘Danny Boy,’ and Yodel-
ing: Carter Burwell on the Coen Brothers.” In Knowing the Score: Film Composers Talk About the Art, Craft,
Blood, Sweat, and Tears of Writing Music for Cinema, 57–71. New York: Harper Entertainment, 2000.
F238 Morgan, David. “Recording.” In Knowing the Score: Film Composers Talk About the Art, Craft, Blood, Sweat, and
Tears of Writing Music for Cinema, 226–31. New York: Harper Entertainment, 2000.
Carter Burwell, Basil Poledouris, Mark Isham, Mychael Danna, and Elliot Goldenthal discuss the film music
recording process.
F239 . “Steeping Yourself in the Culture: Carter Burwell on Rob Roy.” In Knowing the Score: Film Composers
Talk About the Art, Craft, Blood, Sweat, and Tears of Writing Music for Cinema, 164–66. New York: Harper
Entertainment, 2000.
F240 Waggoner, Andrew. “Burwell and Space: Inner, Outer, Environmental, and Acoustical.” In Contemporary Film
Music: Investigating Cinema Narratives and Composition, edited by Lindsay Coleman and Joakim Tillman,
97–118. London: Palgrave Macmillan, 2017.

Buttolph, David

F241 Steiner, Fred, and David Buttolph. “A Conversation with David Buttolph.” The Cue Sheet 18, no. 1–2 (2002).

Cage, John

See also C153, C154, D667.

F242 Hein, Birgit. “Die Idee von Musik und die Idee von Film: Cage—Fluxus—Film [The Idea of Music and the Idea
of Film: Cage—Fluxus—Film].” In “John Cage und . . .”: Bildender Künstler—Einflüsse, Anregungen, 154–62.
DuMont Dokumente. Köln: DuMont Schauberg, 2012.
F243 Lohner, Henning. “ ‘All for One and One for All’: John Cages Film One.” In “John Cage und . . .”: Bildender
Künstler—Einflüsse, Anregungen, 216–27. DuMont Dokumente. Köln: DuMont Schauberg, 2012.
F244 Sanio, Sabine. “Cage als Filmkomponist [Cage as Film Composer].” Positionen: Beiträge zur Neuen Musik 18
(1994): 31–33.

Calker, Darrell

See A388.

Carlos, Wendy

See G89.
22 People

Carpenter, John

See D1669, D1676, E407, E1272, F44, F626

Carter, Benny

See H159.

Cases, Carles

F245 Cueto, Roberto, and Carles Cases. “Carles Cases.” In El lenguaje invisible: entrevistas con compositores del cine
español [The Invisible Language: Interviews with Spanish Film Composers], 139–57. Alcalá de Henares: Festival
de Cine de Alcalá de Henares, 2003.

Castelnuovo-Tedesco, Mario

F246 Westby, James John. “Castelnuovo-Tedesco in America: The Film Music.” Ph.D. diss., University of California,
Los Angeles, 1994.

Castillo, Manuel

F247 Arcos, María de. “Manuel Castillo y la intervención del compositor clásico en el cine [Manuel Castillo and
the Intervention of the Classic Composer in the Cinema].” Papeles del Festival de Música Española de Cádiz 2
(2006): 127–31.

Chang, Gary

See F44.

Chaplin, Charles (see also below under directors)

See below, under directors.

Chattaway, Jay

See D1676.

Chatzidákis, Mános

F248 Chrissochoidis, Ilias. “Πώς ο Χατζιδάκις πανικόβαλε το Χόλιγουντ [How Hadjidakis Panicked Hollywood].”
To Vīma tīs Kyriakīs (The Sunday Vima) (2014) 4–5.
Discusses It Happened in Athens by Andrew Marton (1962) and The 300 Spartans by Rudoplh Maté (1962).
F249 . “ ‘Είμ’ ένα όμορφο αγόρι’ [‘EIM’ a Nice Boy’].” Kathimerini (June 22, 2014), https://www.kathimerini.
gr/772430/article/proswpa/proskhnio/eim-ena-omorfo-agori.
Discusses It Happened in Athens.
People 23

F250 Douglas, Andrew. “Theodorakis and Hadjidakis.” In Film Music Around the World, edited by Randall D. Larson.
San Bernardino: Borgo, 1987.
Profiles Mikīs Theodorákīs and Mános Chatzidákis.

Chihara, Paul

See E625, F43, F1182.

Churchill, Frank

F251 Danly, Linda. “Frank Churchill.” The Cue Sheet 18, no. 3–4 (2002).

Ciani, Suzanne

See F2 and G89.

Cicognini, Alessandro

See also F36.

F252 Douglas, Andrew. “Alessandro Cicognini.” In Film Music Around the World, edited by Randall D. Larson, 25–27.
San Bernardino: Borgo, 1987.

Cipra, Milo

F253 Paulus, Irena. “Milo Cipra.” Hrvatski filmski ljetopis 2, no. 8 (1996): 99–108.

Cipriani, Stelvio

F254 Werba, Marco. “Stelvio Cipriani.” In Film Music Around the World, edited by Randall D. Larson. San Ber-
nardino: Borgo, 1987.

Clausen, Alf

F255 Goldmark, Daniel, and Alf Clausen. “An Interview with Alf Clausen.” In The Cartoon Music Book, edited by
Daniel Goldmark and Yuval Taylor, 239–52. Chicago: A Cappella, 2002.

Cmiral, Elia

F256 Morgan, David, and Elia Cmiral. “The Driving Force: Elia Cmiral on Ronin.” In Knowing the Score: Film Com-
posers Talk About the Art, Craft, Blood, Sweat, and Tears of Writing Music for Cinema, 153–61. New York:
Harper Entertainment, 2000.

Coleman, Trevor

F257 Johnson, Henry, and Trevor Coleman. “Documenting Sound: An Interview with Screen Composer Trevor
Coleman.” Screen Sound Journal 1 (2010): 67–77.
24 People

Conti, Bill

F258 Koeser, D. “Working Abroad: Two Composers: 1. Bill Conti.” Cinema Papers 50 (1985): 44–46.
F259 Simak, Steven. “Bill Conti.” In Film Music Around the World, edited by Randall D. Larson, 37–70. San Ber-
nardino: Borgo, 1987.

Cooper, Lindsay

F260 Merck, Mandy. “Composing for the Films.” Screen 25, no. 3 (1984): 40–54.
An interview with Lindsay Cooper about The Song of the Shirt.

Copland, Aaron

See also B189, B220, B283, C101, C230, C231, C232, C233, C234, C235, C236, C237, C404, C636, D762, D763, D764,
D1260, D2544, E124, E269, E501, E508, E949, E950, E951, E952, E1060, E1061, E1062, F26, F907 I3, I4.
F261 Bick, Sally. “Of Mice and Men: Copland, Hollywood, and American Musical Modernism.” American Music 23,
no. 4 (2005): 426–72.
F262 Bushard, Anthony. “The Very Essence of Tragic Reality: Aaron Copland and Thomas Newman’s Suburban Scor-
ing.” In Anxiety Muted: American Film Music in a Suburban Age, 260–85. New York: Oxford University Press, 2015.
Analyzes the influence of Copland’s music on the film scores of Thomas Newman.
F263 Carroll, Donald R. “Copland’s Something Wild and Music for a Great City: From Cinematic to Symphonic Nar-
rative.” Ph.D. diss., University of Southern California, 2000.
F264 Carter, Elliott. “Theatre and Films (1943).” In Elliott Carter: Collected Essays and Lectures, 1937–1995, edited by
Jonathan W. Bernard, 304–5. Eastman Studies in Music. Rochester: University of Rochester, 1997.
Originally published in Modern Music 21, no. 1 (November—December 1943).
F265 Cochran, Alfred W. “Cinema Music of Distinction: Virgil Thomson, Aaron Copland, and Gail Kubik.” In Per-
spectives on American Music 1900–1950, edited by Michael Saffle, 323–48. Essays in American Music 2107.
New York: General Music Publishing, 2000.
F266 Copland, Aaron. “Aaron Copland: Our New Music (1941).” In The Hollywood Film Music Reader, edited by
Mervyn Cooke, 83–91. New York: Oxford University Press, 2010.
Excerpt from the item cited as F269.
F267 . “From a Composer’s Journal.” In Aaron Copland: A Reader—Selected Writings 1923–1972, edited by
Richard Kostelanetz, 290–94. New York: Routledge, 2004.
Originally published in Copland on Music (Garden City: Doubleday, 1960), the composer discusses his music,
including his film scores.
F268 . “Music in the Films (1941).” In Celluloid Symphonies: Texts and Contexts in Film Music History, edited
by Julie Hubbert, 238–44. Berkeley: University of California Press, 2011.
Excerpt from the item cited as F269.
F269 . Our New Music. New York: Whittlesey House, 1941.
Contains a chapter titled “Music in the Films.”
F270 . “Second Thoughts on Hollywood.” Modern Music 17, no. 3 (1940): 141–47; reprinted in Aaron
Copland: A Reader—Selected Writings 1923–1972, edited by Richard Kostelanetz, 111–17. New York: Rout-
ledge, 2004.
Originally published in Modern Music 17 (March–April 1940).
People 25

F271 . “The Aims of Music for Films.” The New York Times, March 10, 1940, sec. 11, p. 7.
F272 . The New Music: 1900–1960. New York: Norton, 1968.
Revision of F269.
F273 . “The Red Pony.” In Aaron Copland: A Reader—Selected Writings 1923–1972, edited by Richard Koste-
lantz, 260–61. New York: Routledge, 2004.
A reprint of liner notes on the film score from a Columbia LP.
F274 Dickinson, Peter. “Composer in Interview: Aaron Copland.” Tempo 57, no. 224 (2003): 11–15.
F275 Farnsworth, Rodney. “Copland, Aaron.” In The Macmillan Dictionary of Films and Filmmakers Vol. 4: Writers
and Production Artists, edited by Christopher Lyon and Susan Doll, 93–94. London: Macmillan, 1984.
F276 Glanz, Christian. “Aaron Coplands Werke im Detail [Aaron Copland’s Works in Detail].” In Zeit für . . . Aaron
Copland, edited by, 49–80. Salzburg: Residenz Verlag, 2001.
General consideration of Copland’s output, including some discussion of his film scores.
F277 Guernsey, Otis L., and Aaron Copland. “Aaron Copland in the Film Studio (1949).” In The Hollywood Film
Music Reader, edited by Mervyn Cooke, 317–26. New York: Oxford University Press, 2010.
Reprint of two newspaper articles: “Function of the Movie Musical Score: Try Deleting It and See What Hap-
pens to Film’s Emotional Impact, Says Aaron Copland, Noted Composer” (New York Herald Tribune, Septem-
ber 4, 1949), and “Tip to Moviegoers: Take off those Ear-Muffs” (cited elsewhere as I3).
F278 Helguera, Luis Ignacio. “Cien años de Copland.” Pauta 20, no. 77–78 (2001): 53–60.
Discusses the score to Something Wild in the context of Copland’s other works of the 1950s and ’60s.
F279 Lerner, Neil. “Aaron Copland, Norman Rockwell, and the ‘Four Freedoms’: The Office of War Information’s
Vision and Sound in The Cummington Story (1945).” Edited by Carol J. Oja and Judith Tick. Aaron Copland
and His World (2005): 351–77.
F280 . “Copland’s Music of Wide Open Spaces: Surveying the Pastoral Trope in Hollywood.” The Musical
Quarterly 85, no. 3 (2001): 477–515.
Discusses Copland’s pastoral cinema style and the effects that it has had on film music.
F281 Musegades, Paula Jo. “Speaking the Unspoken Through Silence and Sound: Aaron Copland and Hollywood
Film Music.” Ph.D. diss., Brandeis University, 2014.
Discusses Copland’s five Hollywood film scores: Of Mice and Men (1939), Our Town (1940), The North Star
(1943), The Red Pony (1949), and The Heiress (1949).
F282 Parker, Robert L. “Copland and Chávez: Brothers-in-Arms.” American Music 5, no. 4 (1987): 433–44.
F283 Sternfeld, Frederick W. “Copland as a Film Composer.” The Musical Quarterly 37, no. 2 (1951): 161–75.
Discusses Copland’s film scores to Washington Square, The Heiress, and Of Mice and Men.
F284 Thomas, Tony, ed. “Aaron Copland.” In Film Score: The View from the Podium, 15–25. South Brunswick: A.S.
Barnes, 1979.

Copland, Neville

F285 Johnson, Henry, and Neville Copland. “From Rock to Reel: An Interview with Screen Composer Neville Cop-
land.” Screen Sound Journal 3 (2012): 107–20.

Coppola, Carmine

See also F36.

F286 Karman, Mal. “Carmine Coppola: Scoring with Sound.” The Moving Image (Australia) 5 (1982): 30–33.
26 People

Corigliano, John

See also C268, C1292, E43, E44, E45, E955, F43.

F287 Distler, Jed. “When is Film Music Classical?” In The Routledge Film Music Sourcebook, edited by James Wier-
zbicki, Nathan Platte, and Colin Roust, 296–99. New York: Routledge, 2012.
Presents a discussion with John Corigliano and Philip Glass about the blurring of lines between classical and
film music.
F288 Kutnowski, Martín. “John Corigliano: ‘Música es la arquitectura del tiempo’ [Music is the Architecture of
Time].” Radio clásica 11, no. 127 (1999): 19–22.
The composer discusses his work on The Red Violin and his concert music.
F289 Morgan, David. “Scissors Cut Paper Wraps Stone: Collaboration.” In Knowing the Score: Film Composers Talk About
the Art, Craft, Blood, Sweat, and Tears of Writing Music for Cinema, 47–56. New York: Harper Entertainment, 2000.
A conversation with John Corigliano, Jerry Goldsmith, David Shire, and Basil Poledouris.
F290 Morgan, David, and John Corigliano. “Provenance: John Corigliano on The Red Violin.” In Knowing the Score:
Film Composers Talk About the Art, Craft, Blood, Sweat, and Tears of Writing Music for Cinema, 258–66. New
York: Harper Entertainment, 2000.

Cornish, Jane

See also J295.

Coulais, Bruno

F291 Eisenreich, Pierre, and Bruno Coulais. “Entretien avec Bruno Coulais: Faire correspondre la densité de la
musique avec celle de l’image [Interview with Bruno Coulais: Make the Density of the Music Correspond with
That of the Image].” Positif 675 (2017): 108–13.
F292 Hoover, Tom. Soundtrack Nation: Interviews with Today’s Top Professionals in Film, Videogame, and Television
Scoring. Boston, MA: Course Technology, 2011.

Couturier, François

See F157.

Crilly, Chris

F293 Crilly, Chris. “The Fast Runner.” The Soundtrack 5, no. 1 (2012): 81–83.
Brief memories of the author’s career as a film composer and on his score for Zacharias Kunuk’s The Fast Runner.

Crivelli, Carlo

F294 Calabretto, Roberto. “Nicola Piovani—Franco Piersanti—Carlo Crivelli [Nicola Piovani—Franco Piersanti—
Carlo Crivelli].” In La musica nel cinema e nella televisione, edited by Roberto Giuliani, 125–41. Musica nel
novecento italiano 3. Milano: Guerini, 2011.
Discusses the film music of composers Nicola Piovani, Franco Piersanti, and Carlo Crivelli, including the sim-
ilarities of their poetics, their approaches to composition, and dramatic details of their soundtracks.
People 27

Curtain, Hoyt

See D200.

Curtis, Leah

F295 McCrae-Moore, Lia. “Screen Composer Leah Curtis: ‘Be Open and Take Risks’.” Resonate Magazine (Octo-
ber 11, 2012), https://www.australianmusiccentre.com.au/article/screen-composer-leah-curtis-be-open-
and-take-risks.

Cvitanović, Živan

F296 Paulus, Irena. “Živan Cvitanović: Volim posao, volim se igrati—Biofilmografski razgovor [I Love to Work,
I Love to Play—Biofilmographic Conversation].” Hrvatski filmski ljetopis 2, no. 5 (1996): 40–53.

Culter, Miriam

See G60.

Dahl, Ingolf

See C1048, D112.

Dallapiccola, Luigi

See E218.

Daniel-Lesure, Jean-Yves

F297 Rossi, Jérôme. “Daniel-Lesur et la musique de films: Un savant divertissement [Daniel-Lesur and Film Music:
A Clever Entertainment].” In Regards sur Daniel-Lesur: Compositeur et humaniste, 1908–2002, edited by Cécile
Auzolle, 195–227. Musiques/Écritures: Série études. Paris: Sorbonne, 2009.

Dankworth, John

See H90 and H91.

Danna, Mychael

See also E1106, F45, F238.

F298 Coleman, Lindsay. “Mychael Danna Interview.” In Contemporary Film Music: Investigating Cinema Narratives
and Composition, edited by Lindsay Coleman and Joakim Tillman, 187–94. London: Palgrave Macmillan,
2017.
F299 Golub, Peter, and Katy Jarzebowski. “Mychael Danna: Music as Metaphor.” In Contemporary Film Music: Inves-
tigating Cinema Narratives and Composition, edited by Lindsay Coleman and Joakim Tillman, 195–220. Lon-
don: Palgrave Macmillan, 2017.
Other documents randomly have
different content
 TALE XVIII.

THE WAGER.
’Tis thought your deer doth hold you at a bay.
Taming [of] the Shrew, Act V. Scene 2.

I choose her for myself:

If she and I are pleased, what’s that to you?
———, Act II. Scene 1.

Let’s send each one to his wife,

And he whose wife is most obedient
[......]
Shall win the wager.
———, Act V. Scene 2.

Now by the world it is a lusty wench,

I love her ten times more than e’er I did.
———, Act II. Scene 1.

TALE XVIII.
THE WAGER.
Counter and Clubb were men in trade, whose pains,
Credit, and prudence, brought them constant gains;
Partners and punctual, every friend agreed
Counter and Clubb were men who must succeed.
When they had fix’d some little time in life,
Each thought of taking to himself a wife;
As men in trade alike, as men in love
They seem’d with no according views to move;
As certain ores in outward view the same,
They show’d their difference when the magnet came.
10
Counter was vain; with spirit strong and high,
’Twas not in him like suppliant swain to sigh:
“His wife might o’er his men and maids preside,
And in her province be a judge and guide;
But what he thought, or did, or wish’d to do,
She must not know, or censure if she knew;
At home, abroad, by day, by night, if he
On aught determined, so it was to be.
How is a man,” he ask’d, “for business fit,
Who to a female can his will submit? 20
Absent awhile, let no inquiring eye
Or plainer speech presume to question why,
But all be silent; and, when seen again,
Let all be cheerful—shall a wife complain?
Friends I invite, and who shall dare t’ object,
Or look on them with coolness or neglect?
No! I must ever of my house be head,
And, thus obey’d, I condescend to wed.”
Clubb heard the speech—“My friend is nice,” said he;
“A wife with less respect will do for me. 30
How is he certain such a prize to gain? }
What he approves, a lass may learn to feign, }
And so affect t’ obey till she begins to reign; }
Awhile complying, she may vary then,
And be as wives of more unwary men;
Beside, to him who plays such lordly part,
How shall a tender creature yield her heart?
Should he the promised confidence refuse,
She may another more confiding choose;
May show her anger, yet her purpose hide, 40
And wake his jealousy, and wound his pride.
In one so humbled, who can trace the friend?
I on an equal, not a slave, depend;
If true, my confidence is wisely placed,
And, being false, she only is disgraced.”
Clubb, with these notions, cast his eye around,
And one so easy soon a partner found.
The lady chosen was of good repute;
Meekness she had not, and was seldom mute;
Though quick to anger, still she loved to smile; 50
And would be calm if men would wait awhile:
She knew her duty, and she loved her way,
More pleased in truth to govern than obey;
She heard her priest with reverence, and her spouse
As one who felt the pressure of her vows.
Useful and civil, all her friends confess’d—
Give her her way, and she would choose the best;
Though some indeed a sly remark would make—
Give it her not, and she would choose to take.
All this, when Clubb some cheerful months had
spent, 60
He saw, confess’d, and said he was content.
Counter meantime selected, doubted, weigh’d,
And then brought home a young complying maid—
A tender creature, full of fears as charms,
A beauteous nursling from its mother’s arms;
A soft, sweet blossom, such as men must love,
But to preserve must keep it in the stove.
She had a mild, subdued, expiring look—
Raise but the voice, and this fair creature shook;
Leave her alone, she felt a thousand fears— 70
Chide, and she melted into floods of tears;
Fondly she pleaded and would gently sigh,
For very pity, or she knew not why;
One whom to govern none could be afraid—
Hold up the finger, this meek thing obey’d;
Her happy husband had the easiest task—
Say but his will, no question would she ask;
She sought no reasons, no affairs she knew,
Of business spoke not, and had nought to do.
Oft he exclaim’d, “How meek! how mild! how kind!
80
With her ’twere cruel but to seem unkind;
Though ever silent when I take my leave,
It pains my heart to think how hers will grieve;
’Tis heaven on earth with such a wife to dwell,
I am in raptures to have sped so well;
But let me not, my friend, your envy raise,
No! on my life, your patience has my praise.”
His friend, though silent, felt the scorn implied—
“What need of patience?” to himself he cried:
“Better a woman o’er her house to rule, 90
Than a poor child just hurried from her school:
Who has no care, yet never lives at ease;
Unfit to rule, and indisposed to please;
What if he govern, there his boast should end,
No husband’s power can make a slave his friend.”
It was the custom of these friends to meet
With a few neighbours in a neighbouring street;
Where Counter oft-times would occasion seize,
To move his silent friend by words like these:
“A man,” said he, “if govern’d by his wife, 100
Gives up his rank and dignity in life;
Now better fate befalls my friend and me.”—
He spoke, and look’d th’ approving smile to see.
The quiet partner, when he chose to speak,
Desired his friend, “another theme to seek;
When thus they met, he judged that state-affairs
And such important subjects should be theirs.”
But still the partner, in his lighter vein,
Would cause in Clubb affliction or disdain;
It made him anxious to detect the cause 110
Of all that boasting—“Wants my friend applause?
This plainly proves him not at perfect ease,
For, felt he pleasure, he would wish to please.—
These triumphs here for some regrets atone—
Men who are blest let other men alone.”
Thus made suspicious, he observed and saw
His friend each night at early hour withdraw;
He sometimes mention’d Juliet’s tender nerves,
And what attention such a wife deserves.
“In this,” thought Clubb, “full sure some mystery lies
— }
He laughs at me, yet he with much
complies, }121
And all his vaunts of bliss are proud apologies.”
}
With such ideas treasured in his breast,
He grew composed, and let his anger rest;
Till Counter once (when wine so long went round
That friendship and discretion both were drown’d)
Began in teasing and triumphant mood
His evening banter—“Of all earthly good,
The best,” he said, “was an obedient spouse,
Such as my friend’s—that every one allows: 130
What if she wishes his designs to know?
It is because she would her praise bestow;
What if she wills that he remains at home?
She knows that mischief may from travel come.
I, who am free to venture where I please,
Have no such kind preventing checks as these;
But mine is double duty, first to guide
Myself aright, then rule a house beside;
While this our friend, more happy than the free,
Resigns all power, and laughs at liberty.” 140
“By Heaven,” said Clubb, “excuse me if I swear,
I’ll bet a hundred guineas, if he dare,
That uncontroll’d I will such freedoms take,
That he will fear to equal—there’s my stake.”
“A match!” said Counter, much by wine inflamed;
“But we are friends—let smaller stake be named:
Wine for our future meeting, that will I
Take and no more—what peril shall we try?”
“Let’s to Newmarket,” Clubb replied; “or choose
Yourself the place, and what you like to lose; 150
And he who first returns, or fears to go,
Forfeits his cash.”—Said Counter, “Be it so.”
The friends around them saw with much delight
The social war, and hail’d the pleasant night;
Nor would they further hear the cause discuss’d,
Afraid the recreant heart of Clubb to trust.
Now sober thoughts return’d as each withdrew,
And of the subject took a serious view.
“’Twas wrong,” thought Counter, “and will grieve my
love;”
“’Twas wrong,” thought Clubb, “my wife will not
approve;
But friends were present; I must try the thing, 161
Or with my folly half the town will ring.”
He sought his lady—“Madam, I’m to blame,
But was reproach’d, and could not bear the shame;
Here in my folly—for ’tis best to say
The very truth—I’ve sworn to have my way:
To that Newmarket—(though I hate the place,
And have no taste or talents for a race,
Yet so it is—well, now prepare to chide—)
I laid a wager that I dared to ride; 170
And I must go: by Heaven, if you resist
I shall be scorn’d, and ridiculed, and hiss’d;
Let me with grace before my friends appear,
You know the truth, and must not be severe;
He too must go, but that he will of course;
Do you consent?—I never think of force.”
“You never need,” the worthy dame replied;
“The husband’s honour is the woman’s pride;
If I in trifles be the wilful wife,
Still for your credit I would lose my life; 180
Go! and when fix’d the day of your return,
Stay longer yet, and let the blockheads learn,
That, though a wife may sometimes wish to rule,
She would not make th’ indulgent man a fool;
I would at times advise—but idle they
Who think th’ assenting husband must obey.”
The happy man, who thought his lady right
In other cases, was assured to-night;
Then for the day with proud delight prepared,
To show his doubting friends how much he dared. 190
Counter—who grieving sought his bed, his rest
Broken by pictures of his love distress’d—
With soft and winning speech the fair prepared:
“She all his councils, comforts, pleasures shared;
She was assured he loved her from his soul;
She never knew and need not fear control;
But so it happen’d—he was grieved at heart,
It happen’d so, that they awhile must part—
A little time—the distance was but short,
And business call’d him—he despised the sport; 200
But to Newmarket he engaged to ride,
With his friend Clubb;” and there he stopp’d and
sigh’d.
Awhile the tender creature look’d dismay’d,
Then floods of tears the call of grief obey’d:—
“She an objection! No!” she sobb’d, “not one;
Her work was finish’d, and her race was run;
For die she must, indeed she would not live
A week alone, for all the world could give;
He too must die in that same wicked place;
It always happen’d—was a common case; 210
Among those horrid horses, jockeys, crowds,
’Twas certain death—they might bespeak their
shrouds;
He would attempt a race, be sure to fall—
And she expire with terror—that was all;
With love like hers she was indeed unfit
To bear such horrors, but she must submit.”—
“But for three days, my love! three days at most—”
“Enough for me; I then shall be a ghost.—”
“My honour’s pledged!”—“Oh! yes, my dearest life,
I know your honour must outweigh your wife; 220
But ere this absence, have you sought a friend—
I shall be dead—on whom can you depend?—
Let me one favour of your kindness crave:
Grant me the stone I mention’d for my grave.—”
“Nay, love, attend—why, bless my soul—I say
I will return—there—weep no longer—nay!”—
“Well! I obey, and to the last am true,
But spirits fail me; I must die; adieu!”
“What, madam! must?—’tis wrong—I’m angry—
zounds!
Can I remain and lose a thousand pounds?” 230
“Go then, my love! it is a monstrous sum,
Worth twenty wives—go, love! and I am dumb—
Nor be displeased—[had] I the power to live,
You might be angry, now you must forgive;
Alas! I faint—ah! cruel—there’s no need
Of wounds or fevers—this had done the deed.”
The lady fainted, and the husband sent
For every aid, for every comfort went;
Strong terror seized him; “Oh! she loved so well,
And who th’ effect of tenderness could tell?” 240
She now recover’d, and again began
With accent querulous—“Ah! cruel man—”
Till the sad husband, conscience-struck, confess’d,
’Twas very wicked with his friend to jest;
For now he saw that those who were obey’d,
Could like the most subservient feel afraid;
And, though a wife might not dispute the will
Of her liege lord, she could prevent it still.
The morning came, and Clubb prepared to ride
With a smart boy, his servant and his guide; 250
When, ere he mounted on the ready steed,
Arrived a letter, and he stopp’d to read.
“My friend,” he read—“our journey I decline:
A heart too tender for such strife is mine;
Yours is the triumph, be you so inclined;
But you are too considerate and kind,
In tender pity to my Juliet’s fears
I thus relent, o’ercome by love and tears;
She knows your kindness; I have heard her say,
A man like you ’tis pleasure to obey. 260
Each faithful wife, like ours, must disapprove
Such dangerous trifling with connubial love;
What has the idle world, my friend, to do
With our affairs? they envy me and you.
What if I could my gentle spouse command—
Is that a cause I should her tears withstand?
And what if you, a friend of peace, submit
To one you love—is that a theme for wit?
’Twas wrong; and I shall henceforth judge it weak
Both of submission and control to speak. 270
Be it agreed that all contention cease,
And no such follies vex our future peace;
Let each keep guard against domestic strife,
And find nor slave nor tyrant in his wife.”
“Agreed,” said Clubb, “with all my soul agreed”—
And to the boy, delighted, gave his steed;
“I think my friend has well his mind express’d,
And I assent; such things are not a jest.”
“True,” said the wife, “no longer he can hide
The truth that pains him by his wounded pride. 280
Your friend has found it not an easy thing,
Beneath his yoke this yielding soul to bring;
These weeping willows, though they seem
inclined }
By every breeze, yet not the strongest
wind }
Can from their bent divert this weak but stubborn kind;
}
Drooping they seek your pity to excite,
But ’tis at once their nature and delight.
Such women feel not; while they sigh and weep,
’Tis but their habit—their affections sleep;
They are like ice that in the hand we hold, 290
So very melting, yet so very cold;
On such affection let not man rely:
The husbands suffer, and the ladies sigh.
But your friend’s offer let us kindly take,
And spare his pride for his vexation’s sake;
For he has found, and through his life will find,
}
’Tis easiest dealing with the firmest mind
— }
More just when it resists, and, when it yields, more
kind.” }
 TALE XIX.

THE CONVERT.
A tapster is a good trade, an old cloak makes a new jerkin; a
wither’d
serving-man a fresh tapster.
Merry Wives of Windsor, Act I. Scene 3.

A fellow, sir, that I have known go about with [troll-my-dames].

Winter’s Tale, Act IV. Scene 3.

I myself, sometimes leaving the fear of Heaven on the left hand,

and [hiding] mine honour in my necessity, am forced to shuffle,
to hedge, and to lurch.
Merry Wives of Windsor, Act II. Scene 3.

Yea, and at that very moment,

Consideration like an angel came,
And whipp’d th’ offending Adam out of him.
Henry V. Act I. Scene 1.

I have lived long enough: my May of life

Is fall’n into the sear, the yellow leaf;
And that which should accompany old age,
As honour, love, obedience, troops of friends,
I must not look to have.
Macbeth, Act V. Scene 3.

TALE XIX.
THE CONVERT.
Some to our hero have a hero’s name
Denied, because no father’s he could claim;
Nor could his mother with precision state
A full fair claim to her certificate;
On her own word the marriage must depend—
A point she was not eager to defend.
But who, without a father’s name, can raise
His own so high, deserves the greater praise:
The less advantage to the strife he brought,
The greater wonders has his prowess wrought; 10
He who depends upon his wind and limbs,
Needs neither cork or bladder when he swims;
Nor will by empty breath be puff’d along,
As not himself—but in his helpers—strong.
Suffice it then, our hero’s name was clear,
For, call John Dighton, and he answer’d, “Here!”
But who that name in early life assign’d
He never found, he never tried to find;
Whether his kindred were to John disgrace,
Or John to them, is a disputed case; 20
His infant-state owed nothing to their care—
His mind neglected, and his body bare;
All his success must on himself depend,
He had no money, counsel, guide, or friend;
But, in a market-town, an active boy
Appear’d, and sought in various ways employ;
Who soon, thus cast upon the world, began
To show the talents of a thriving man.
With spirit high John learn’d the world to brave,
And in both senses was a ready knave; 30
Knave [as of] old, obedient, keen, and quick,
Knave as at present, skill’d to shift and trick.
Some humble part of many trades he caught:
He for the builder and the painter wrought;
For serving-maids on secret errands ran,
The waiter’s helper, and the hostler’s man;
And, when he chanced (oft chanced he) place to lose,
His varying genius shone in blacking shoes.
A midnight fisher by the pond he stood;
Assistant poacher, he o’erlook’d the wood; 40
At an election John’s impartial mind
Was to no cause nor candidate confined;
To all in turn he full allegiance swore,
And in his hat the various badges bore;
His liberal soul with every sect agreed;
Unheard their reasons, he received their creed.
At church he deign’d the organ-pipes to fill,
And at the meeting sang both loud and shrill;
But the full purse these different merits gain’d,
By strong demands his lively passions drain’d; 50
Liquors he loved of each inflaming kind,
To midnight revels flew with ardent mind;
Too warm at cards, a losing game he play’d;
To fleecing beauty his attention paid;
His boiling passions were by oaths express’d,
And lies he made his profit and his jest.
Such was the boy, and such the man had been,
But fate or happier fortune changed the scene;
A fever seized him; “he should surely die—”
He fear’d, and lo! a friend was praying by. 60
With terror moved, this teacher he address’d,
And all the errors of his youth confess’d:
The good man kindly clear’d the sinner’s way
To lively hope, and counsell’d him to pray:
Who then resolved, should he from sickness rise,
To quit cards, liquors, poaching, oaths, and lies.
His health restored, he yet resolved, and grew
True to his masters, to their meeting true;
His old companions at his sober face }
Laugh’d loud, while he, attesting it was
grace, }70
With tears besought them all his calling to embrace.
}
To his new friends such convert gave applause,
Life to their zeal, and glory to their cause;
Though terror wrought the mighty change, yet strong
Was the impression, and it lasted long;
John at the lectures due attendance paid,
A convert meek, obedient, and afraid.
His manners strict, though form’d on fear alone,
}
Pleased the grave friends, nor less his solemn tone,
}
The lengthen’d face of care, the low and inward
groan. }80
The stern good men exulted, when they saw
Those timid looks of penitence and awe;
Nor thought that one so passive, humble, meek,
Had yet a creed and principles to seek.
The faith that reason finds, confirms, avows,
The hopes, the views, the comforts she allows—
These were not his, who by his feelings found,
And by them only, that his faith was sound:
Feelings of terror these, for evil past,
Feelings of hope, to be received at last; 90
Now weak, now lively, changing with the day,
These were his feelings, and he felt his way.
Sprung from such sources, will this faith remain
While these supporters can their strength retain?
As heaviest weights the deepest rivers pass,
While icy chains fast bind the solid mass:
So, born of feelings, faith remains secure,
Long as their firmness and their strength endure;
But, when the waters in their channel glide,
A bridge must bear us o’er the threat’ning tide; 100
Such bridge is reason, and there faith relies,
Whether the varying spirits fall or rise.
 His patrons, still disposed their aid to lend,
Behind a counter placed their humble friend;
Where pens and paper were on shelves display’d,
And pious pamphlets on the windows laid.
By nature active, and from vice restrain’d,
Increasing trade his bolder views sustain’d;
His friends and teachers, finding so much zeal
In that young convert whom they taught to feel, 110
His trade encouraged, and were pleased to find
A hand so ready, with such humble mind.
And now, his health restored, his spirits eased,
He wish’d to marry, if the teachers pleased.
They, not unwilling, from the virgin-class
Took him a comely and a courteous lass;
Simple and civil, loving and beloved,
She long a fond and faithful partner proved;
In every year the elders and the priest
Were duly summon’d to a christening feast; 120
Nor came a babe, but by his growing trade,
John had provision for the coming made;
For friends and strangers all were pleased to deal
With one whose care was equal to his zeal.
In human friendships, it compels a sigh,
To think what trifles will dissolve the tie.
John, now become a master of his trade,
Perceived how much improvement might be made;
And, as this prospect open’d to his view,
A certain portion of his zeal withdrew; 130
His fear abated—“What had he to fear—
His profits certain, and his conscience clear?”
Above his door a board was placed by John,
And “Dighton, stationer,” was gilt thereon;
His window next, enlarged to twice the size,
Shone with such trinkets as the simple prize;
While in the shop with pious works were seen
The last new play, review, or magazine.
In orders punctual, he observed—“The books
He never read, and could he judge their looks? 140
Readers and critics should their merits try,
He had no office but to sell and buy;
Like other traders, profit was his care;
Of what they print, the authors must beware.”
He held his patrons and his teachers dear,
But with his trade—they must not interfere.
’Twas certain now that John had lost the dread
And pious thoughts that once such terrors bred;
His habits varied, and he more inclined
To the vain world, which he had half resign’d: 150
He had moreover in his brethren seen,
Or he imagined, craft, conceit, and spleen;
“They are but men,” said John, “and shall I then
Fear man’s control, or stand in awe of men?
’Tis their advice (their convert’s rule and law),
And good it is—I will not stand in awe.”
Moreover Dighton, though he thought of books
As one who chiefly on the title looks,
Yet sometimes ponder’d o’er a page to find,
When vex’d with cares, amusement for his mind; 160
And by degrees that mind had treasured much
From works his teachers were afraid to touch.
Satiric novels, poets bold and free,
And what their writers term philosophy,
All these were read; and he began to feel
Some self-approval on his bosom steal.
Wisdom creates humility, but he
Who thus collects it, will not humble be.
No longer John was fill’d with pure delight
And humble reverence in a pastor’s sight, 170
Who, like a grateful zealot, listening stood,
To hear a man so friendly and so good;
But felt the dignity of one who made
Himself important by a thriving trade;
And growing pride in Dighton’s mind was bred
By the strange food on which it coarsely fed.
Their brother’s fall the grieving brethren heard,
The pride indeed to all around appear’d;
The world, his friends agreed, had won the soul
From its best hopes, the man from their control. 180
To make him humble, and confine his views
Within their bounds, and books which they peruse,
A deputation from these friends select,
Might reason with him to some good effect;
Arm’d with authority, and led by love,
They might those follies from his mind remove;
Deciding thus, and with this kind intent,
A chosen body with its speaker went.
“John,” said the teacher, “John, with great concern
We see thy frailty, and thy fate discern— 190
Satan with toils thy simple soul beset,
And thou art careless, slumbering in the net;
Unmindful art thou of thy early vow;
Who at the morning-meeting sees thee now?
Who at the evening? where is brother John?
We ask—are answer’d, ‘To the tavern gone.’
Thee on the sabbath seldom we behold;
Thou canst not sing, thou’rt nursing for a cold:
This from the churchmen thou hast learn’d, for they
Have colds and fevers on the sabbath-day; 200
When in some snug warm room they sit, and pen
Bills from their ledgers, world-entangled men!
“See with what pride thou hast enlarged thy shop;
To view thy tempting stores the heedless stop;
By what strange names dost thou these baubles know,
Which wantons wear, to make a sinful show?
Hast thou in view these idle volumes placed
To be the pander of a vicious taste?
What’s here? a book of dances!—you advance
In goodly knowledge—John, wilt learn to dance? 210
How! ‘Go—’ it says, and ‘to the devil go!
And shake thyself!’ I tremble—but ’tis so——
Wretch as thou art, what answer canst thou make?
Oh! without question, thou wilt go and shake.
What’s here? ‘The School for Scandal’—pretty schools!
Well, and art thou proficient in the rules?
Art thou a pupil, is it thy design
To make our names contemptible as thine?
‘Old Nick, a Novel!’ oh! ’tis mighty well—
A fool has courage when he laughs at hell; 220
‘Frolic and Fun,’ ‘The humours of Tim Grin’;
Why, John, thou grow’st facetious in thy sin;
And what? ‘The Archdeacon’s Charge’—‘tis mighty well
—
If Satan publish’d, thou wouldst doubtless sell;
Jests, novels, dances, and this precious stuff—
To crown thy folly we have seen enough;
We find thee fitted for each evil work—
Do print the Koran, and become a Turk!
“John, thou art lost; success and worldly pride }
O’er all thy thoughts and purposes preside,
}230
Have bound thee fast, and drawn thee far aside; }
Yet turn, these sin-traps from thy shop expel,
Repent and pray, and all may yet be well.
“And here thy wife, thy Dorothy, behold,
How fashion’s wanton robes her form infold!
Can grace, can goodness with such trappings dwell?
John, thou hast made thy wife a Jezebel.
See! on her bosom rests the sign of sin,
The glaring proof of naughty thoughts within;
What? ’tis a cross; come hither—as a friend, 240
Thus from thy neck the shameful badge I rend.”
“Rend, if you dare,” said Dighton; “you shall find
A man of spirit, though to peace inclined;
Call me ungrateful! have I not my pay
At all times ready for the expected day?—
To share my plenteous board you deign to come,
Myself your pupil, and my house your home;
And shall the persons who my meat enjoy
Talk of my faults, and treat me as a boy?
Have you not told how Rome’s insulting priests 250
Led their meek laymen like a herd of beasts;
And by their fleecing and their forgery made
Their holy calling an accursed trade?
Can you such acts and insolence condemn,
Who to your utmost power resemble them?
“Concerns it you what books I set for sale?
The tale perchance may be a virtuous tale;
And, for the rest, ’tis neither wise nor just
In you, who read not, to condemn on trust;
Why should th’ Archdeacon’s Charge your spleen
excite?
He, or perchance th’ archbishop, may be right. 261
“That from your meetings I refrain, is true;
I meet with nothing pleasant—nothing new,
But the same proofs, that not one text explain,
And the same lights, where all things dark remain;
I thought you saints on earth—but I have found
Some sins among you, and the best unsound;
You have your failings, like the crowds below,
And at your pleasure hot and cold can blow.
When I at first your grave deportment saw, 270
(I own my folly,) I was fill’d with awe;
You spoke so warmly, and it [seemed] so well,
I should have thought it treason to rebel.
Is it a wonder that a man like me
Should such perfection in such teachers see;
Nay, should conceive you sent from Heav’n to brave
The host of sin, and sinful souls to save?
But, as our reason wakes, our prospects clear,
And failings, flaws, and blemishes appear.
 “When you were mounted in your rostrum high, 280
We shrank beneath your tone, your frown, your eye;
Then you beheld us abject, fallen, low,
And felt your glory from our baseness grow;
Touch’d by your words, I trembled like the rest,
And my own vileness and your power confess’d:
These, I exclaim’d, are men divine, and gazed
On him who taught, delighted and amazed;
Glad, when he finish’d, if by chance he cast
One look on such a sinner, as he pass’d.
“But, when I view’d you in a clearer light, 290
And saw the frail and carnal appetite;
When, at his humble pray’r, you deign’d to eat,
Saints as you are, a civil sinner’s meat;
When, as you sat contented and at ease,
Nibbling at leisure on the ducks and peas,
And, pleased some comforts in such place to find,
You could descend to be a little kind;
And gave us hope, in Heaven there might be room
For a few souls beside your own to come;
While this world’s good engaged your carnal view, 300
And like a sinner you enjoy’d it too:
All this perceiving, can you think it strange
That change in you should work an equal change?”
“Wretch that thou art,” an elder cried, “and gone
For everlasting”——“Go thyself,” said John;
“Depart this instant, let me hear no more;
My house my castle is, and that my door.”
The hint they took, and from the door withdrew,
And John to meeting bade a long adieu;
Attach’d to business; he in time became 310
A wealthy man of no inferior name.
It seem’d, alas! in John’s deluded sight,
That all was wrong because not all was right;
And, when he found his teachers had their stains,
Resentment and not reason broke his chains.
Thus on his feelings he again relied,
And never look’d to reason for his guide.
Could he have wisely view’d the frailty shown,
And rightly weigh’d their wanderings and his own,
He might have known that men may be sincere, 320
Though gay and feasting on the savoury cheer;
That doctrines sound and sober they may teach,
Who love to eat with all the glee they preach;
Nay, who believe the duck, the grape, the pine,
Were not intended for the dog and swine.
But Dighton’s hasty mind on every theme
Ran from the truth, and rested in th’ extreme;
Flaws in his friends he found, and then withdrew
(Vain of his knowledge) from their virtues too;
Best of his books he loved the liberal kind, 330
That, if they improve not, still enlarge the mind;
And found himself, with such advisers, free
From a fix’d creed, as mind enlarged could be.
His humble wife at these opinions sigh’d,
But her he never heeded till she died;
He then assented to a last request,
And by the meeting-window let her rest;
And on her stone the sacred text was seen,
Which had her comfort in departing been.
Dighton with joy beheld his trade advance, 340
Yet seldom published, loth to trust to chance;
Then wed a doctor’s sister—poor indeed,
But skill’d in works her husband could not read;
Who, if he wish’d new ways of wealth to seek,
Could make her half-crown pamphlet in a week:
This he rejected, though without disdain,
And chose the old and certain way to gain.
Thus he proceeded; trade increased the while,
And fortune woo’d him with perpetual smile.
On early scenes he sometimes cast a thought, 350
When on his heart the mighty change was wrought;
And all the ease and comfort converts find
Was magnified in his reflecting mind;
Then on the teacher’s priestly pride he dwelt,
That caused his freedom, but with this he felt
The danger of the free—for since that day,
No guide had shown, no brethren join’d his way;
Forsaking one, he found no second creed,
But reading doubted, doubting what to read.
Still, though reproof had brought some present pain,
360
The gain he made was fair and honest gain;
He laid his wares indeed in public view,
But that all traders claim a right to do.
By means like these, he saw his wealth increase,
And felt his consequence, and dwelt in peace.
Our hero’s age was threescore years and five,
When he exclaim’d, “Why longer should I strive?
Why more amass, who never must behold
A young John Dighton to make glad the old?”
(The sons he had to early graves were gone, 370
And girls were burdens to the mind of John.)
“Had I [a] boy, he would our name sustain,
That now to nothing must return again;
But what are all my profits, credit, trade,
And parish-honours?—folly and parade.”
Thus Dighton thought, and in his looks appear’d
Sadness, increased by much he saw and heard.
The brethren often at the shop would stay,
And make their comments ere they walk’d away;
They mark’d the window, fill’d in every pane 380
With lawless prints of reputations slain;
Distorted forms of men with honours graced,
And our chief rulers in derision placed:
Amazed they stood, remembering well the days,
When to be humble was their brother’s praise;
When at the dwelling of their friend they stopp’d
To drop a word, or to receive it dropp’d;
Where they beheld the prints of men renown’d,
And far-famed preachers pasted all around;
(Such mouths! eyes! hair! so prim! so fierce! so sleek!
390
They look’d as speaking what is wo to speak):
On these the passing brethren loved to dwell—
How long they spake! how strongly! warmly! well!
What power had each to dive in mysteries deep,
To warm the cold, to make the harden’d weep;
To lure, to fright, to soothe, to awe the soul,
And list’ning flocks to lead and to control!
But now discoursing, as they linger’d near,
They tempted John (whom they accused) to hear
Their weighty charge—“And can the lost-one feel, 400
As in the time of duty, love, and zeal:
When all were summon’d at the rising sun,
And he was ready with his friends to run;
When he, partaking with a chosen few,
Felt the great change, sensation rich and new?
No! all is lost, her favours Fortune shower’d
Upon the man, and he is overpower’d;
The world has won him with its tempting store
Of needless wealth, and that has made him poor.
Success undoes him; he has risen to fall, 410
Has gain’d a fortune, and has lost his all;
Gone back from Sion, he will find his age
Loth to commence a second pilgrimage;
He has retreated from the chosen track;
And now must ever bear the burden on his back.”
Hurt by such censure, John began to find
Fresh revolutions working in his mind;
He sought for comfort in his books, but read
Without a plan or method in his head;
What once amused, now rather made him sad, 420
What should inform, increased the doubts he had;
Shame would not let him seek at church a guide,
And from his meeting he was held by pride;
His wife derided fears she never felt,
And passing brethren daily censures dealt;
Hope for a son was now for ever past,
He was the first John Dighton, and the last;
His stomach fail’d, his case the doctor knew,
But said, “he still might hold a year or two.”
“No more?” he said, “but why should I complain? 430
A life of doubt must be a life of pain.
Could I be sure—but why should I despair?
I’m sure my conduct has been just and fair;
In youth indeed I had a wicked will,
But I repented, and have sorrow still;
I had my comforts, and a growing trade
Gave greater pleasure than a fortune made;
And, as I more possess’d and reason’d more,
I lost those comforts I enjoy’d before,
When reverend guides I saw my table round, 440
And in my guardian guest my safety found.
Now sick and sad, no appetite, no ease,
Nor pleasure have I, nor a wish to please;
Nor views, nor hopes, nor plans, nor taste have I,
Yet sick of life, have no desire to die.”
He said, and died; his trade, his name is gone,
And all that once gave consequence to John.
Unhappy Dighton! had he found a friend,
When conscience told him it was time to mend!
A friend discreet, considerate, kind, sincere, 450
Who would have shown the grounds of hope and fear;
And proved that spirits, whether high or low,
No certain tokens of man’s safety show;
Had reason ruled him in her proper place,
And virtue led him while he lean’d on grace;
Had he while zealous been discreet and pure,
His knowledge humble, and his hope secure—
These guides had placed him on the solid rock,
Where faith had rested, nor received a shock;
But his, alas! was placed upon the sand, 460
Where long it stood not, and where none can stand.
 TALE XX.

THE BROTHERS.
A brother noble,
Whose nature is so far from doing harms
That he suspects none; on whose foolish honesty
My [practices] ride easy.
King Lear, Act I. Scene 2.

He lets me feed with [his] hinds; bars me the place of brother.

As You Like It, Act I. Scene 1.

’Twas I, but ’tis not I: I do not shame

To tell you what I was, [...
...] being [the thing] I am.
As You Like It, Act IV. Scene 3.

TALE XX.
THE BROTHERS.
Than old George Fletcher on the British coast
Dwelt not a seaman who had more to boast:
Kind, simple, and sincere—he seldom spoke,
But sometimes sang and chorus’d “Hearts of Oak;”
In dangers steady, with his lot content,
His days in labour and in love were spent.
He left a son so like him, that the old
With joy exclaim’d, “’Tis Fletcher we behold;”
But to his brother when the kinsmen came,
And view’d his form, they grudged the father’s name.
10
 George was a bold, intrepid, careless lad,
With just the failings that his father had;
Isaac was weak, attentive, slow, exact,
With just the virtues that his father lack’d.
George lived at sea: upon the land a guest—
He sought for recreation, not for rest—
While, far unlike, his brother’s feebler form
Shrank from the cold, and shudder’d at the storm;
Still with the seaman’s to connect his trade,
The boy was bound where blocks and ropes were
made. 20
George, strong and sturdy, had a tender mind,
And was to Isaac pitiful and kind;
A very father, till his art was gain’d,
And then a friend unwearied he remain’d.
He saw his brother was of spirit low,
His temper peevish, and his motions slow;
Not fit to bustle in a world, or make
Friends to his fortune for his merit’s sake:
But the kind sailor could not boast the art
Of looking deeply in the human heart; 30
Else had he seen that this weak brother knew
What men to court—what objects to pursue;
That he to distant gain the way discern’d,
And none so crooked but his genius learn’d.
Isaac was poor, and this the brother felt;
He hired a house, and there the landman dwelt;
Wrought at his trade, and had an easy home,
For there would George with cash and comforts come;
And, when they parted, Isaac look’d around,
Where other friends and helpers might be found. 40
He wish’d for some port-place, and one might fall,
He wisely thought, if he should try for all;
He had a vote—and, were it well applied,
Might have its worth—and he had views beside;
Old Burgess Steel was able to promote
An humble man who served him with a vote;
For Isaac felt not what some tempers feel,
But bow’d and bent the neck to Burgess Steel;
And great attention to a lady gave,
His ancient friend, a maiden spare and grave: 50
One whom the visage long and look demure
Of Isaac pleased—he seem’d sedate and pure;
And his soft heart conceived a gentle flame
For her who waited on this virtuous dame:
Not an outrageous love, a scorching fire,
But friendly liking and chastised desire;
And thus he waited, patient in delay,
In present favour and in fortune’s way.
George then was coasting—war was yet delay’d,
And what he gain’d was to his brother paid; 60
Nor ask’d the seaman what he saved or spent:
But took his grog, wrought hard, and was content;
Till war awaked the land, and George began
To think what part became a useful man:
“Press’d, I must go; why, then, ’tis better far
At once to enter like a British tar,
Than a brave captain and the foe to shun,
As if I fear’d the music of a gun.”
“Go not!” said Isaac—“You shall wear disguise.”
“What!” said the seaman, “clothe myself with lies?”—
70
“Oh! but there’s danger.”—“Danger in the fleet?
You cannot mean, good brother, of defeat;
And other dangers I at land must share—
So now adieu! and trust a brother’s care.”
Isaac awhile demurr’d—but, in his heart,
So might he share, he was disposed to part:
The better mind will sometimes feel the pain
}
Of benefactions—favour is a
chain; }
But they the feeling scorn, and what they wish,
disdain;— }
While beings form’d in coarser mould will hate 80
The helping hand they ought to venerate.
No wonder George should in this cause prevail,
With one contending who was glad to fail:
“Isaac, farewell! do wipe that doleful eye; }
Crying we came, and groaning we may die. }
Let us do something ’twixt the groan and cry: }
And hear me, brother, whether pay or prize,
One half to thee I give and I devise;
For thou hast oft occasion for the aid
Of learn’d physicians, and they will be paid: 90
Their wives and children men support, at sea,
And thou, my lad, art wife and child to me:
Farewell!—I go where hope and honour call,
Nor does it follow that who fights must fall.”
Isaac here made a poor attempt to speak,
And a huge tear moved slowly down his cheek;
Like Pluto’s iron drop, hard sign of grace, }
It slowly roll’d upon the rueful face, }
Forced by the striving will alone its way to trace. }
Years fled—war lasted—George at sea remain’d, 100
While the slow landman still his profits gain’d.
A humble place was vacant—he besought
His patron’s interest, and the office caught;
For still the virgin was his faithful friend,
And one so sober could with truth commend,
Who of his own defects most humbly thought,
And their advice with zeal and reverence sought.
Whom thus the mistress praised, the maid approved,
And her he wedded whom he wisely loved.
No more he needs assistance—but, alas! 110
He fears the money will for liquor pass;
Or that the seaman might to flatterers lend,
Or give support to some pretended friend.