Table of Contents
Dada films were conceived as multimedia events, intended
to shock and awaken audiences. In this article Samuel N. Dorf takes an engaging
look at the aesthetics of Dada film music as a component in multimedia events.
A close study of Erik Satie’s music for René Clair’s Entr’acte demonstrates
the way in which Satie’s music compliments and engages
Dadaist aesthetic aims.
This article traces the artistic and commercial endeavors
of two influential early filmmakers recognized for their innovative integration
of music and image: Oskar Fischinger and Mary Ellen Bute. Film clips, still
images and audio excerpts provide a vivid demonstration of the musical and
filmic landscapes explored by these two pioneers.
Composer Thomas Osborne's work has been performed by the
New York Youth Symphony, Pittsburgh New Music Ensemble and the T'ang Quartet,
among others. Recognized by the New York Times for his "handsome study
in musical contrasts", and by the Pittsburgh Post-Gazette for his "
Lisztian...scope and pyrotechnics", Tom synthesizes disparate
styles into an unmistakable personal voice that's both tempestuous and refreshing. Here he talks with Andrea Moore about inspiration, influence and the role of the composer in the