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Contrapuntal techniques— ostinatos, imitation, contrary motion—also play an important part in many of the songs. Although the songs occupy a central position in his output, Rorem also wrote operas, choral music, orchestral pieces including three symphonies , chamber music, piano music, ballets, and incidental music for plays. Like his songs, his early instrumental works were also influenced by 20th-century French composers.


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In his later instrumental compositions he explored coloristic possibilities and the expansion of tonality through altered chords, modality, polymodality, and tone clusters. In works of the s he used modified serial techniques. After he put aside sonata form in orchestral works and wrote instead semi-programmatic tone poems, variation forms, or multi-movement pieces. In the premiere of Rorem's Piano Concerto for Left Hand and Orchestra received international attention and praise. In the New York Philharmonic debuted Rorem's Concerto for English Horn and Orchestra, a commission form for the orchestra in honor of its th anniversary.

In in several venues around the country there were celebrations of Rorem's 70th birthday.

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Thomas Church in Manhattan presented his choral works weekly through the spring of ; and Robert Shaw described as the "dean of American choral specialists offered an overview of Rorem's choral music in Atlanta. Shaw stated that Rorem was "the most significant American song writer of the last half-century. Rorem also enjoyed a distinguished literary career. He has authored thirteen books. In these personal journals he recorded with great candor, wit, and elegance his observations of the world, people, friends, and culture and also offered a vivid and engaging portrait of himself.

In a New York Times interview, Rorem age 70 described himself as "mellowing. He also contributed numerous articles to periodicals and newspapers.

Settling the Score: Essays on Music

In spite of his abundant literary works, Rorem stated that he wanted to be remembered for his music. Rorem wrote on autobiographical memoir titled, Knowing When to Stop in He also wrote a series of essays, Settling the Score: Essays on Music in The following articles discuss Rorem and his music: J. Ned Rorem. By continuing, you agree to our Terms of Use and Privacy Policy.

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Please set a username for yourself. People will see it as Author Name with your public flash cards. Awards and Recognition After first winning recognition in for The Lordly Hudson as "the best published song of the year," he won numerous awards and prizes: the Gershwin Prize for an orchestral work from his student days , the Lili Boulanger Award, Fulbright and Guggenheim fellowships, the Prix de Biarritz, and Ford Foundation grants.

Rorem's Other Compositions Although the songs occupy a central position in his output, Rorem also wrote operas, choral music, orchestral pieces including three symphonies , chamber music, piano music, ballets, and incidental music for plays. Encyclopedia of World Biography.


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    London: Routledge, ISBN One of the most frustrating aspects of film music scholarship is the surprising difficulty one faces in finding literature on the subject. Although there are useful and worthwhile writings out there, everything seems either out of print, outrageously expensive, or scattered among tiny journals.

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    Part of the problem is the interdisciplinary nature of film music studies; a mainstream musicology journal is loath to print an article using jargon from another field, especially if the music is widely thought to be prima facie of a subservient nature, and therefore second rate.

    Within film studies, the same situation applies; the majority of their readership is unfamiliar with the vocabulary of musicology, or even especially the ability to read music. This has led to a situation in which scholars, like savvy antiquers, have been reduced to scouring used bookshops or circulating tenth-generation illegal photocopies amongst themselves like black-market scavengers. Dickinson is well qualified to edit this collection; she is a lecturer in Film Studies at Middlesex University, London, but is equally acquainted with the methods and language of musicology, having also written and published a great deal on popular music, especially as it has related to technological innovation.

    ISBN 13: 9780151808953

    The third section engages with the political implications of music on film, and the final section collects three essays concerned with the visual representation of musicians in film. All of the essays are worthy of reprinting, and each contributes something new and important to the subject of film music.

    In her introduction, Dickinson outlines more specifically the theoretical and methodological orientation of her selections. She attempts not only to make available hard-to-get important articles, but also to redress what she sees as an imbalance in the emphasis within the field on orchestral scores to the exclusion of popular music in film. Her introduction contains an excellent brief history of film music combined with an account of how scholars have tended to discuss that history. This is a thin book, coming in at just around pages, and part of the limitations Dickinson must have faced is evident in the editing of many of the essays; she has been forced to cut most of them down from their original size.

    The first section is undoubtedly the most problematic, another indication of space limitations. In just four essays she attempts to cover both the theoretical writings on film as well as the range of work on orchestral scoring. All her choices were essential but each complicates rather than explicates the goal to map out a method for analysis of the orchestral score.