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List of contents
Part One: Jones’s Early Career (1978–1987) 1. Musical Education and the National Film School 2. Breaking into the Industry Part Two: The ‘Toolkit’ Years (1987–1993) 3. Alan Parker and the Development of the Toolkit 4. Towards a Mainstream Sound Part Three: Mainstream Scoring (1993–2004) 5. Hollywood Blockbusters Part One 6. Hollywood Blockbusters Part Two 7. Music for Television Part Four: Recent Projects (2004–) 8. A Brief Foray into Video Games 9. Work in Diverse Areas of Screen Programming
About the author
David Cooper is Emeritus Professor of Music at the University of Leeds. He has published extensively on film music (especially that of Bernard Herrmann, Trevor Jones and Michael Nyman), the music of Béla Bartók and the traditional music of Ireland. His outputs include volumes on Herrmann’s scores for the films Vertigo and The Ghost and Mrs Muir; a major biography of Bartók and a study of the latter’s Concerto for Orchestra; and the monograph The Musical Traditions of Northern Ireland and Its Diaspora. He was principal investigator of the AHRC-funded project ‘The Professional Career and Output of Trevor Jones’.
Ian Sapiro is Associate Professor of Music at the University of Leeds. His monograph, Scoring the Score, is the first academic study of screen-music orchestration and orchestrators, and he has published on a range of screen-music and musical-theatre subjects. Outputs include a volume on Eshkeri’s score for Stardust and publications on John Williams’s orchestration, the film adaptations of Les Misérables and Annie, British ‘rock operas’ and Michael Nyman’s Greenaway scores, and he is currently working on a critical edition of the Gershwin musical Girl Crazy. He was co-investigator on the AHRC-funded project ‘The Professional Career and Output of Trevor Jones’.
Laura Anderson is an Irish Research Council Post-Doctoral Fellow at Maynooth University, where her project ‘Disruptive Soundscapes’ offers a new view of avant-garde post-war French film sound design by examining its relationship with wider cultural developments. Between 2013 and 2016, Laura was the Post-Doctoral Research Fellow on the AHRC-funded project, ‘The Professional Career and Output of Trevor Jones’ at the University of Leeds. Other projects include publications on Jean Cocteau’s engagement with music and sound in film; pre-existing music in Jean-Pierre Melville’s Les Enfants terribles; John Williams’s score for Angela’s Ashes; and Brian Boydell’s music for documentary film.
Summary
Trevor Jones is one of the most successful contemporary British-based composers of film and television music and is seen by his peers as an influential figure in the industry. Cooper, Sapiro and Anderson undertake a critical investigation of Jones’s career and output from his time at the National Film School to the present.
