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Tunes for 'ToonsMusic and the Hollywood Cartoon$
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Daniel Goldmark

Print publication date: 2005

Print ISBN-13: 9780520236172

Published to California Scholarship Online: May 2012

DOI: 10.1525/california/9780520236172.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 19 October 2021

Introduction

Introduction

Chapter:
(p.1) Introduction
Source:
Tunes for 'Toons
Author(s):

Daniel Goldmark

Publisher:
University of California Press
DOI:10.1525/california/9780520236172.003.0001

Cartoons are typically lumped together as a self-contained genre because they happen to have been created through the same process: animation. The medium of animation requires that music for cartoons be conceived and constructed differently than traditional feature film music. We can best see these differences by examining two issues: who helped to establish the paradigmatic sound of Hollywood cartoons, and how music was used to enhance and intensify cartoons as a whole. This book presents a set of case studies rather than an all-encompassing history of cartoon music, focusing on two broad ideas: genre and compositional style. It discusses the methods of Carl Stalling and Scott Bradley, who it considers to be the two most influential composers of music for theatrical cartoons, at the one studio where each had the most historical significance. For Bradley, that studio is necessarily MGM; for Stalling, a choice is possible. The book concentrates on Warner Bros., where Stalling came into his own as a composer and employed popular music in his scores.

Keywords:   Hollywood, cartoons, cartoon music, animation, genre, Carl Stalling, Scott Bradley, MGM, Warner Bros, popular music

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