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With nearly 400 scores to his credit, Ennio Morricone is one of the most prolific and influential film composers working today. He has collaborated with many significant directors, and his scores for such films as The Good, the Bad, and the Ugly; Once Upon a Time in America; Days of Heaven; The Mission; The Untouchables; Malena; and Cinema Paradiso leave moviegoers with the conviction that something special was achieved-a conviction shared by composers, scholars, and fans alike. In Composing for the Cinema: The Theory and Praxis of Music in Film, Morricone and musicologist Sergio Miceli present a series of lectures on the composition and analysis of film music. Adapted from several lectures and seminars, these lessons show how sound design can be analyzed and offer a variety of musical solutions to many different kinds of film. Though aimed at composers, Morricone's expositions are easy to understand and fascinating even to those without any musical training. Drawing upon scores by himself and others, the composer also provides insight into his relationships with many of the directors with whom he has collaborated, including Sergio Leone, Giuseppe Tornatore, Franco Zeffirelli, Warren Beatty, Ridley Scott, Roland Joffe, the Taviani Brothers, and others. Translated and edited by Gillian B. Anderson, an orchestral conductor and musicologist, these lessons reveal Morricone's passion about musical expression. Delivered in a conversational mode that is both comprehensible and interesting, this groundbreaking work intertwines analysis with practical details of film music composition. Aimed at a wide audience of composers, musicians, film historians, and fans, Composing for the Cinema contains a treasure trove of practical information and observations from a distinguished musicologist and one of the most accomplished composers on the international film scene.

Motion picture music --- Composition (Music) --- Film, Musique de --- Composition (Musique) --- Instruction and study --- Etude et enseignement --- Music --- Film

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The most comprehensive exhibition catalog dedicated to the work of Brazilian artist Tarsila do Amaral (1886-1973), a pioneering figure in Latin American modernism. The focus of the exhibition is the popular, or the vernacular, a notion as complex in Brazil as it is contested, and which Tarsila explored in different ways throughout her career. The popular is associated with debates on national art or identity and the invention or construction of brasilidade, Brazilianness. In Tarsila, the popular is manifested in landscapes of the countryside or the suburbs, the farm or the favela, populated by people of indigenous or African descent, characters from Brazilian folklore, full of animals and plants, both real and fantastic. But Tarsila's palette (which served as inspiration for the colors of the exhibition design) is also popular: "pure blue, violaceous rose, bright yellow, singing green." Much of the art criticism on Tarsila to this day in Brazil has emphasized her French affiliations and genealogies, possibly in search of the artist's international legitimization, but thus marginalizing the themes, characters, and popular narratives that she constructed. Today, after successful shows in the United States and Europe, we can look at Tarsila in other ways. In this sense, the essays and commentaries on her works included in the exhibition and in the catalog are central elements of this project. It is not by chance that the controversial painting A Negra [The Negress] has received special attention from the authors and is a central work in the exhibition. Tarsila do Amaral: Cannibalizing Modernism does not seek to exhaust all these discussions, which take into account questions of race, class and colonialism. But the project does point to the need to study this artist, so fundamental in our art history, from new perspectives and approaches. This exhibition is part of a series that MASP has organized reassessing the notion of the popular in Brazil: from A mão do povo brasileiro, 1969/2016 [The Hand of the Brazilian People, 1969/2016] and Portinari popular [Popular Portinari] in 2016 to Agostinho Batista de Freitas in 2017 and Maria Auxiliadora in 2018. Tarsila do Amaral: Cannibalizing Modernism is contextualized in a full year dedicated to women artists at the museum in 2019 under the heading Women's Histories, Feminist Histories. The exhibition dialogues with two others dedicated to artists who explored the notion of the popular through different approaches: Djanira: Picturing Brazil, on view through May 19th, and Lina Bo Bardi: Habitat, on view through July 28th.

Modernism (Art) --- Painting, Brazilian --- Women artists --- Cultural fusion and the arts --- History --- Tarsila, --- Tarsila, --- Tarsila, --- Criticism and interpretation. --- Themes, motives.