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Download How the West Was Sung: Music in the Westerns of John Ford by Kathryn Kalinak PDF

By Kathryn Kalinak

James Stewart as soon as acknowledged, "For John Ford, there has been little need for discussion. The song acknowledged it all." This full of life, available research is the 1st finished research of Ford's use of song in his iconic westerns. Encompassing various serious techniques and incorporating unique archival learn, Kathryn Kalinak explores the director's oft-noted predilection for American people track, hymnody, and interval track. What she unearths is that Ford used tune as greater than a stylistic gesture. In attention-grabbing discussions of Ford's westerns--from silent-era good points similar to instantly capturing and The Iron Horse to classics of the sound period corresponding to My Darling Clementine and The Searchers --Kalinak describes how the director exploited track, and particularly music, in defining the geographical and ideological house of the yank West.

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Extra info for How the West Was Sung: Music in the Westerns of John Ford

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Maybe tobacco will help? ) Davy looks on paternalistically, then returns to swinging his axe with assured power. ” Apparently, God is on the side of the railroad; the Chinese “haythens” never truly had a chance of becoming part of the new Eden the train transverses. Long-term discrimination against Asian immigrants had made them more insulated than other immigrant groups, and many Asians lived quite separate lives from the dominant culture of their adopted homeland. Something of this historical reality is reflected in the situation of the Chinese extras both on and off-screen.

1925 Belwin Music Publishing. All rights reserved. International copyright secured. Used by permission of Alfred Publishing Co, Inc. Courtesy Library of Congress. 32 Hearing the Music in John Ford’s Silents Horse,” was published as sheet music, an indication of its popularity, in 1925. The central melody was probably used as a leitmotif for the train, and I suspect the piece in its entirety to be a piano reduction of the main title sequence. Two disks entitled “Echoes from The Iron Horse,” totaling about six and a half minutes, are part of John Ford’s phonograph disk collection at Brigham Young University.

War, which provided a clubhouse for veterans of the Field Photographic branch that Ford had commanded. Holiday and other get-togethers there were always accompanied by music. Sometimes Harry Carey Jr. would sing (he remembers “The Streets of Laredo” and “Come, Come Ye Saints,” as well as unnamed songs with John Wayne) or Sons of the Pioneers would perform. At Christmastime, Jimmy Stewart played “Jingle Bells” on the accordion. Ford’s grandson Dan remembers the music as distinctly multicultural, decades before the term began to be used, with country-and-western music interspersed with Hawaiian music (not generally known outside of Hawaii at that time), gospel music, and conventional popular songs.

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