Publisher's Synopsis
This classic account of the nature of film music aesthetics
was first published in 1947. Its value comes from a unique combination of
talents and experience enjoyed by the book's authors. Eisler's time in
Hollywood gave him a particular insight on the technical questions that arise
for composers when music is used in the production of films, while Adorno was
able to contribute on wide aesthetic and sociological matters, as well as music
specific questions.
Above all, Eisler and Adorno envisaged Composing for
Films as a contribution to the study of modern, industrialized culture, and
so it was. So much so that sixty years later it remains a relevant, useful
text, with an important place in the cannon of cultural studies.
