Thomas Pynchon on joy in music

[Dave Monroe]

“It shows vulgarity, when a director uses music previously composed! I
think that 2001: A Space Odyssey is the height of vulgarity in our
time. To have outer space accompanied by The Blue Danube, and the
piece not even recorded anew!” --Bernard Herrmann

http://www.smh.com.au/entertainment/movies/kubrick-knew-the-score-and-he-used-it-20130114-2cpnb.html#ixzz3KrqtFH1d

The Classical Music in Stanley Kubrick’s Films: Listen to a Free, 4
Hour Playlist

http://www.openculture.com/2014/12/the-classical-music-in-stanley-kubricks-films-listen-to-a-free-4-hour-playlist.html

Classical Music Used In Stanley Kubrick Films

http://www.spotifyclassical.com/2010/08/classical-music-used-in-stanley-kubrick.html

The Kubrick Series Uncut: CHRISTINE GENGARO
Published on Feb 6, 2013

In this interview from Movie Geeks Unite'sd Kubrick Series Uncut,
author and musicologist Christine Gengaro discusses the acclaimed
director's unique use of music as detailed in her book 'Listening to
Stanley Kubrick'.

https://www.youtube.com/watch?v=1yWIgx7W6_0

Listening to Stanley Kubrick:
The Music in His Films
CHRISTINE LEE GENGARO

The musical scores of Stanley Kubrick’s films are often praised as
being innovative and forward-looking. Despite playing such an
important part in his productions, however, the ways in which Kubrick
used music to great effect is still somewhat mysterious to many
viewers. Although some viewers may know a little about the music in
2001 or A Clockwork Orange, few are aware of the particulars behind
the music in Kubrick's other films.

In Listening to Stanley Kubrick: The Music in His Films, Christine Lee
Gengaro provides an in-depth exploration of the music that was
composed for Kubrick’s films and places the pre-existent music he
utilized into historical context. Gengaro discusses the music in every
single work, from Kubrick’s first films, including the documentary
shorts The Flying Padre and Day of the Fight, through all of his
feature films, from Fear and Desire to Eyes Wide Shut. No film is left
out; no cue is ignored.

Besides closely examining the scores composed by Gerald Fried for
Kubrick’s early works, Gengaro pays particular attention to five of
the director’s most provocative and acclaimed films—2001: A Space
Odyssey, A Clockwork Orange, Barry Lyndon, The Shining, and Eyes Wide
Shut. For each film, she engages the reader by explaining how the
music was excerpted (and changed, in some cases), and how the
historical facts about a musical piece add layers of meaning—sometimes
unintended—to the films.

[..]

https://rowman.com/ISBN/9781442244405/Listening-to-Stanley-Kubrick-The-Music-in-His-Films

https://books.google.com/books?id=_S2AyYfGiaQC

On Sun, Aug 16, 2015 at 3:39 AM, Mark Thibodeau <jerkyleboeuf at gmail.com> wrote:
> I have often wondered about Stanley Kubrick using Beethoven and Rossini to
> such great contrapuntal affect in his film version of Clockwork Orange.
> Gravity's Rainbow and Clockwork Orange came out literally within months of
> each other, so I sincerely doubt whether one could have influenced the
> other. And yet, both extremely important works of late modernist art feature
> this intriguing musical counterpoint, rather explicitly at that.
> Interesting, no?
>
> On Aug 16, 2015 3:57 AM, "Dave Monroe" <against.the.dave at gmail.com> wrote:
>>
>> “‘The point is,’ cutting off Gustav’s usually indignant scream, ‘a
>> person feels good listening to Rossini. All you feel like listening to
>> Beethoven is going out and invading Poland. Ode to Joy indeed. The man
>> didn’t even have a sense of humor. I tell you,’ shaking his skinny old
>> fist, ‘there is more of the Sublime in the snare-drum part of La Gazza
>> Ladra than in the whole Ninth Symphony. With Rossini, the whole point
>> is that lovers always get together, isolation is overcome, and like it
>> or not that is the one great centripetal movement of the World.
>> Through the machineries of greed, pettiness, and the abuse of power,
>> love occurs. All the shit is transmuted to gold. The walls are
>> breached, the balconies are scaled—listen!’”
>>
>> Thomas Pynchon, Gravity’s Rainbow
>>
>>
>> http://www.artsjournal.com/aboutlastnight/2015/03/almanac-thomas-pynchon-on-joy-in-music.html
>>
>> Beethoven & Rossini
>>
>>
>> http://gravitys-rainbow.pynchonwiki.com/wiki/index.php?title=Beethoven_%26_Rossini
>>
>> The Invention of Beethoven and Rossini:
>> Historiography, Analysis, Criticism
>>
>>
>> http://www.cambridge.org/us/academic/subjects/music/nineteenth-century-music/invention-beethoven-and-rossini-historiography-analysis-criticism
>> -
>> Pynchon-l / http://www.waste.org/mail/?listpynchon-l
-
Pynchon-l / http://www.waste.org/mail/?list=pynchon-l