Abstract
This concluding chapter draws together the strands of the argument contained in the preceding chapters. In it, Mazey reiterates the interrelated areas of British musical traditions, documentary influences, and notions of restraint that mark the scores, and the films themselves, with a British inflection. The parallels, Mazey finds, between the mission of the English Musical Renaissance and the later movement to elevate the standard of British film music reveal a shared impulse and allow us to view the desire to raise the quality of music in the British film industry as a late-flowering branch of the musical renaissance that had earlier revitalised British art music.
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References
Lane, Philip. 2011. Booklet Notes to ‘The Film Music of Brian Easdale’, Chandos CD CHAN 10636.
Swynnoe, Jan G. 2002. The Best Years of British Film Music, 1936–1958. Woodbridge: Boydell Press.
Vaughan Williams, Ralph. 1945. Composing for the Films. In National Music and Other Essays 1963, ed. Vaughan Williams, Ralph, 160–165. London: Oxford University Press.
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Mazey, P. (2020). Conclusion. In: British Film Music. Palgrave Studies in Audio-Visual Culture. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-33550-2_7
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DOI: https://doi.org/10.1007/978-3-030-33550-2_7
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