Disney

Dissertation--MA; Florida Atlantic University, 2017.
This thesis makes three claims new to the critical literature onWalt Disney’s 1940 film Fantasia. Setting the scene by placing a spotlight on the long-serving Philadelphia Orchestra conductor Leopold Stokowski, it contextualizes his pervasive influence, as well as contributions by others that shaped Fantasia and defined the film’s stylistic elements. Inspired by recent critical debates on post-silent era filmmaking and theories of authorship, it makes a case for Fantasia being the culmination of a “sound film” and notes that its displays of individual artistic talent makes it a noteworthy example of distributed authorship.

Dissertation--PhD; University of California, Riverside, 2020.
Taking inspiration from the example of these groundbreaking composers, the author composed Nexus: Music for a Shadow Animation (2019), in an attempt to realize the potential applications of some of their predecessors’ compositional techniques for twenty-first century concert music. Employing analytical and semiotic research methodologies, this paper investigates revelatory passages within the works of the above-mentioned composers, discussed alongside analogous use of similar techniques by modernist concert music composers, such as, Igor Stravinsky, Frank Martin, Arnold Schoenberg, and Karel Husa.

Thesis--MM; Boston University, 2012.
This thesis examines the depictions of non-Western musical cultures in the following Disney films: Aladdin (1992), The Lion King (1994), and Mulan (1998). Since these films are targeted at children, they need to be investigated in terms of what messages they communicate and how these messages are perceived by young audiences. This research includes close examination of the films in question, as well as literature on Orientalism, Exoticism, Disney history, and child aesthetics and cognition. Additionally, interviews were conducted with children aged four through eleven. This research highlights the importance of cross-cultural collaborations and further investigation into children's music.

Film music analyses routinely focus on unique aspects of individual films rather than the scoring strategies common to many. Consequently, film music has been described as 'antiformalistic' with 'no formal expectations' suggesting that each score is formally unique. However, it is widely accepted that Hollywood films are generally structured around a small number of common narrative frameworks. This thesis proposes an original method for graphically realising the temporal placement of film music's component parts as they relate to an underlying narrative structure, allowing the music to be discussed at the level of the entire film without abstracting it from its narrative context. Using a selection of short and feature-length films by Pixar Animation Studios, with a focus on the music of Michael Giacchino, the author demonstrate how through occurrence, variation, absence and reoccurrence at several levels, film music can be organized by a common narrative strategy.

American music (Champaign, Ill.), 2004, Vol.22 (1), p.91-109
Building on 19th-century conceptions of art music as a moral force for community uplift, Walt Disney's "Fantasia" uses color, image, pattern, and narrative to articulate musical experience for its audience. In studying the film, critics can learn much about the chemistry of sound and image, especially with regard to how audiovisual alignment can articulate form, how gestures of melody and motion reinforce one another, and how musical rhetoric and image fuse to create meaning. The movie is an early example of Disney's "imagineering," where images and stories introduce layers of signification to sound that add meaning to and comment on music.

The Journal of aesthetics and art criticism. , 1942, Vol.2(7), p.27-31

Ethnomusicology forum, 2004, Vol.13 (2), p.228-235
In this paper, the author explores some of the ways in which music operates in the Disney theme park experience. In the context of Walt Disney World, my belief is that music functions in at least three specific capacities: 1) music links current Disney experiences to (often romanticized) experiences of the past through nostalgia; 2) music defines the boundaries which separate "same" from "other" in terms of both geography and, ultimately, identity; 3) and music serves as an index for the "Disney Experience" in general; an experience which itself is built upon a commixture of the aforementioned modes of identity and nostalgia.

American music (Champaign, Ill.), 2021, Vol.39 (2), p.154-168
Kaufman examines the impact of Walt Disney films on popular music in the US from 1940 to 1955. Throughout the golden age of the Walt Disney studio--and afterward, to the end of Walt's life--the company was in a constant state of flux, never standing still for very long. Like Walt himself, the studio was forever seeking new goals, new opportunities, fresh modes of expression. Its films reflected this restless turn of mind: between the 1930s and the 1950s, the world of the Disney animated film was an enormously varied universe, encompassing a range of stories, ideas, and pictorial exploration. The musical component of the films was likewise varied, keeping pace with the visuals with a wide array of melodic styles and influences--from "Minnie's Yoo Hoo" to "When You Wish upon a Star," from "Turkey in the Straw" to Beethoven

The New Soundtrack, 2018, Vol.8 (1), p.61-72
hen we think of early American animation and animated fairytales, we often think of Walt Disney. He established a visual trademark in his animations and left a legacy of inspiring movies addressed to both child and adult, but also recognised the importance and power of music, and created scenes, characters and entire movies based upon music. His technological and aesthetical advancements in the field of sound contributed not only to the popularity of his own films but also to the establishment of a new audio style for animation. The first perfectly synchronised short animation, the first narrative feature animation, groundbreaking methods of synching sound and image, the first feature in surround sound and a new approach to integrating narration and songs – these are all due to Disney's preoccupation with sound. Today's impressive 3D animated films with remarkable soundtracks, creative sound design and surround sound are a result of the early cinema's visionary artists and their ideas.

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SRLF Non-Circ Request at UCLA Perf Arts Spec Coll ; Collection PASC-M 40 [Barcode:F0001049469]
Collection consists of musical plays scored by Albert Hay Malotte during the 1940s and 1950s. Copies of musical scores and written scripts for the comedic plays Fanfare, Limbo (also known as Once upon a Dream), The Big Tree (later renamed California Story), and Lo'loma make up the bulk of the materials. Noted collaborators on these works include Rowland V. Lee and Irving Phillips, who authored the lyrics and dialogue of most of these musicals, with the exception of Lo'loma, which was written and scored by Malotte. An autographed photograph of Albert Hay Malotte and sheet music for the song I am Proud to be an American (1960) are also included in the collection.

Overture -- Perfect Nanny -- Sister Sufragette -- The life I lead -- A spoonful of sugar -- Pavement artist (Chim Chim Cher-ee) -- Jolly Holiday -- Super-cali-fragil-istic-expi-ali-docious -- Stay awake -- I love to laugh -- A British bank (The life I lead) -- Feed the birds (Tuppence a bag) -- Fidelity Fiduciary Bank -- Chim-chim-che-ee -- Step in time -- A man has dreams (The life I lead ; Spoonful of sugar) -- Let's go fly a kite.

SRLF ; [Barcode:E0000875344]
Inner sanctum/The nesting grounds -- The egg travels -- Aladar et Neera -- The courtship -- The end of our island -- They're all gone -- Raptors/Stand together -- Across the desert -- Finding water -- The cave -- The carnotaur attack -- Neera rescues the orphans -- Breakout -- It comes with a pool -- Kron et Aladar fight -- Epilogue.