From Concert to Film: The Transformation of George Gershwin's Music in the Film "An American in Paris"

Persistent Link:
http://hdl.handle.net/10150/297397
Title:
From Concert to Film: The Transformation of George Gershwin's Music in the Film "An American in Paris"
Author:
Padilla, Rachel
Issue Date:
2010
Publisher:
The University of Arizona.
Rights:
Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
Abstract:
In 1951, Saul Chaplin, John Green, and Conrad Salinger adapted the music of composer George Gershwin (1898-1937) for a film musical titled An American in Paris, the finale of which was a 17-minute ballet scene set to a modified version of the composer’s tone poem from 1928. The plot bears broad similarities to isolated aspects of George Gershwin’s life. Such narrative elements offered a scaffold for an attractive subtext explored through the film score: a review of the trajectory and breadth of George Gershwin's compositional career from 1922-1937. My own analysis of the film and its score, using the techniques of Lars Franke, further illustrates how the creators of An American in Paris used the cinematic frame to comment on George Gershwin's life and to respond to contemporary critics as well as fans of his music.
Type:
text; Electronic Thesis
Keywords:
Gershwin; Musicals; Music; Film; Motion picture music
Degree Name:
M.M.
Degree Level:
masters
Degree Program:
Graduate College; Music
Degree Grantor:
University of Arizona
Advisor:
Sturman, Janet

Full metadata record

DC FieldValue Language
dc.language.isoenen_US
dc.titleFrom Concert to Film: The Transformation of George Gershwin's Music in the Film "An American in Paris"en_US
dc.creatorPadilla, Rachelen_US
dc.contributor.authorPadilla, Rachelen_US
dc.date.issued2010-
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en_US
dc.description.abstractIn 1951, Saul Chaplin, John Green, and Conrad Salinger adapted the music of composer George Gershwin (1898-1937) for a film musical titled An American in Paris, the finale of which was a 17-minute ballet scene set to a modified version of the composer’s tone poem from 1928. The plot bears broad similarities to isolated aspects of George Gershwin’s life. Such narrative elements offered a scaffold for an attractive subtext explored through the film score: a review of the trajectory and breadth of George Gershwin's compositional career from 1922-1937. My own analysis of the film and its score, using the techniques of Lars Franke, further illustrates how the creators of An American in Paris used the cinematic frame to comment on George Gershwin's life and to respond to contemporary critics as well as fans of his music.en_US
dc.typetexten_US
dc.typeElectronic Thesisen_US
dc.subjectGershwinen_US
dc.subjectMusicalsen_US
dc.subjectMusicen_US
dc.subjectFilmen_US
dc.subjectMotion picture musicen_US
thesis.degree.nameM.M.en_US
thesis.degree.levelmastersen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.disciplineMusicen_US
thesis.degree.grantorUniversity of Arizonaen_US
dc.contributor.advisorSturman, Janeten_US
dc.identifier.oclc659754989-
dc.identifier.bibrecord.b64395819-
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