The next generation of composers needs to know where film music has been, and where it’s going, in order to create the film music of tomorrow. Burlingame—a veteran journalist and author who has covered the film-music scene for Variety, The New York Times, the Los Angeles Times, and many other publications—brings a historical perspective to the program.
Over two semesters, he showcases (via lectures and the extensive use of clips) the entire history of movie music: the classic scores of Steiner, Newman, Korngold, Waxman and Rozsa; the development of the art through the music of Herrmann, Bernstein, North and Goldsmith; the modern-day work of Williams, Horner, Barry, Zimmer, Howard and others. Additional classes on concert-hall composers working in film (Copland, Walton, Shostakovich and others), foreign composers (Morricone, Rota, Jarre, etc.), the use of songs and classical music as score, music for television, and other topics, help to illuminate the subject.