Book Description
This book tells you how to prepare all kinds of budgets, gives actual samples with detailed explanations and has extra sections on Setting Up a Company, Pre-Production and Money-Saving Ideas.
Customer Reviews:
"The Bible".......2007-01-09
Being a start-up production company, saying that this book is like the Bible (no offense) to me would be an understatement... SWEET.
David W. Keon
Sasquatch Entertainment, LLC
Worth its weight in Gold!.......2006-11-06
This is an outstanding source of information for preparing a detailed budget for film or video (commercials, music videos, and so on). The heart of the book consists of explaining each and every single line item you'll find on any production budget. But the book goes even deeper and covers setting up your production company, what to plan for during pre-production and what I consider to be and invaluable analysis on the subject of tape-to-film blow up which is a must for filmmakers on a tight budget but who dream of releasing their film on the big screen.
I decided to purchase this publication over "Film Budgeting". Even though Singleton's companion book "Film Scheduling" is essential to learn how to breakdown a script and "Film Budgeting" might have seamlessly taken me step by step from schedule to budget. "Film and Video Budget 4th edition" contains the most up-to-date information (it was published in 2006), presents five different types of sample budgets that range from a 5 million dollar feature, to music video to a no-budget digital feature and they can be downloaded as Excel sheets, which you can use for the projects that more closely resemble each scenario.
As if all this wasn't enough it provides useful resources for all steps of the production process and money saving tips for shoestring budgets. This is a must for independent producers starting out in the industry or producing different type or more complex shows than before.
The Authors have 'Been There, Done That'.......2006-05-16
The Devil, as they say, is in the details. This is a detailed look at how to do a budget for producing a film or video. And the level of detail covered is amazing. For instance there is a short paragraph on feeding your cast and crew. It says, 'On low-budget shows, if you don't have enough people to warrant hiring a caterer, pass around the menu from a good local restaurant. Or, if it's tighter than that, say for a student film, order in a pizza.'
Then there are the budgets. It starts with a budget for a $5 Million Feature Film project. It lists seventeen pages of budget items that include just about everything you can think of to include in a budget. From there it goes down to a $12,000 sample budget for a student film.
These budgets are discussed here with explanations of what goes into each line item. Then the budgets themselves are available for down loading in Excel format. You can take in the budget and then modify it as needed to fit your own needs. Just the sample budgets are enough to make this book worthwhile, if they keep you from forgetting some critical item it could make the difference in getting the production done or not. The explanations of the line items in the budget clearly describe what each of these mean and how they might fit into your project.
The book clearly shows that these people have been working on budgeting for such productions for a long time. They simply have the ring of 'been there, done that.'
Film & Video Budgets 4 reviewed at Microfilmmaker.com.......2006-03-18
"...The book is well-organized and easy to follow. It provides many helpful tips, suggestions, examples, and contacts to help you make the best budget for your needs. (They also have free Excel budget templates you can download.) They take a lot of things into account and recognize the diverse requirements of different projects you may encounter. And most importantly, this is one of the few budgeting books that actually looks at the financial and budgeting needs of micro-filmmakers and addresses them specifically..." -Kari Ann Morgan, Microfilmmaker.com
An Essential for Producers: new indie or experienced pro.......2006-01-24
Financial aspects of film/video projects are not always fun, but are vitally essential. In this book, Simon and Wiese give an overview of what goes into starting a production company and the basics of pre-production planning and budgeting. Next, they cover a detailed "line item" list of possible expenses you could encounter. Finally, the second half of the book goes through sample budgets for various projects ($5 million feature film, music video, documentary, student film, etc).
Although the book is long, you don't have to read the entire thing (you just choose which budget best fits your needs, and adjust it accordingly). Also, because it is organized so well, it is much less intimidating. Thus, the authors have taken a potentially boring, complicated topic and made it much more engaging and understandable.
As I said, this is not a pretty topic to deal with, but it is one that is necessary and vital to filmmaking. The only people I would recommend getting this book are those that find themselves in the role of Producer. (And for them, I strongly recommend getting this!) I produced a $6,000 movie with no model budget and that was difficult enough; the more money you're responsible for, the more guidance you need to achieve your budget. And while some may think this book is a bit more money than they want to spend. All I will say this: the cost of purchasing this book is far less than the cost of going over-budget or screwing something up due to poor financial planning ahead of time.
Average customer rating:
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The Voices That are Gone: Themes in Nineteenth-Century American Popular Song
Jon W. Finson
Manufacturer: Oxford University Press, USA
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Binding: Hardcover
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ASIN: 0195057503 |
Book Description
In this unique and readable study, Jon Finson views the mores and values of nineteenth-century Americans as they appear in their popular songs. The author sets forth lyricists' and composers' notions of courtship, technology, death, African Americans, Native Americans, and European ethnicity
by grouping songs topically. He goes on to explore the interaction between musical style and lyrics within each topic. The lyrics and changing musical styles present a vivid portrait of nineteenth-century America. The composers discussed in the book range from Henry Russell ("Woodman, Spare That
Tree"), Stephen Foster ("Oh! Susanna"), and Dan Emmett ("I Wish I Was in Dixie's Land"), to George M. Cohan and Maude Nugent ("Sweet Rosie O'Grady"), and Gussie Lord Davis ("In the Baggage Coach Ahead"). Readers will recognize songs like "Pop Goes the Weasel," "The Yellow Rose of Texas," "The
Fountain in the Park," "After the Ball," "A Bicycle Built for Two," and many others which gain significance by being placed in the larger context of American history.
Customer Reviews:
Required for class.......2006-02-21
I had to get this for my Graduate course. It is very informative and specific.
An excellent textbook.......2005-07-25
This was the book chosen by my professor for an undergraduate music history course, and I can safely say that it is an excellent textbook. Plantinga's writing style is wonderfully clear and to the point, and well... respected musicologists become respected for a reason. Plantinga is one of the foremost authorities on 19th century music, and his knowledge and scholarship are extremely evident throughout the book. I would advise all music professors teaching 19th century music history courses to consider this textbook before all others.
Book Description
Historically, music was long classified as both art and science. Aspects of music--from the mathematics of tuning to the music of the celestial spheres--were primarily studied as science until the seventeenth century. In the nineteenth century, although scientists were less interested in the music of the spheres than the natural philosophers of earlier centuries, they remained committed to understanding the world of performing musicians and their instruments. In Harmonious Triads, Myles Jackson analyzes the relationship of physicists, musicians, and instrument makers in nineteenth-century Germany. Musical instruments provided physicists with experimental systems, and physicists' research led directly to improvements in musical-instrument manufacture and assisted musicians in their performances. Music also provided scientists with a cultural resource, which forged acquaintances and future collaborations.
Jackson discusses experiments in acoustical vibrations that led to the invention of musical instruments and describes work with adiabatic phenomena that resulted in the improvement of the reed pipe, used by organ builders. He examines the collaborations of physicists and mechanicians aimed at standardizing beat and pitch and considers debates stirred by the standardization of aesthetic qualities. He describes the importance for scientists of choral societies as a vehicle for social life and cultural unity. Finally, he discusses a subject that occupied both physicists and musicians of the era: Could physicists, using the universal principles of mechanics, explain musical skill? Was the virtuosity of a Paganini or a Liszt somehow quantifiable? Jackson's historical consideration of questions at the intersection of music and physics shows us how each discipline helped shape the other.
Book Description
Handsome performance/study edition features 12 four-hand compositions by 8 great composers: Dvorák, Mendelssohn, Schumann, Debussy, Beethoven, Bizet, Fauré, and Schubert — not found together in any other volume. Glossary, notes, bibliography.
Book Description
The definitive collection of great writings on music of the nineteenth century. Forty-five years after the appearance of the first edition, Oliver Strunk's monumental anthology of writings about music has been thoroughly revised and extended by a team of scholars working under the direction of musicologist Leo Treitler. For this new edition, seven specialists in music history have replaced some selections, added others, contributed new translations, and provided additional notes and introductions. With this series, readers can now acquire a comprehensive picture of Western musical thought and ideas through the ages.
Customer Reviews:
New Strunkettes.......2007-09-18
Like all of the source readings, this is an excellent collection of source materials from the given time. The second edition includes new translations and a few new sources as well as editorial commentary. This volume includes some of the most influential and controversial writings related to music of the nineteenth century.
Book Description
This pathbreaking work reveals the pivotal role of music--musical works and musical culture--in debates about society, self, and culture that forged European modernity through the "long nineteenth century." Michael Steinberg argues that, from the late 1700s to the early 1900s, music not only reflected but also embodied modern subjectivity as it increasingly engaged and criticized old regimes of power, belief, and representation. His purview ranges from Mozart to Mahler, and from the sacred to the secular, including opera as well as symphonic and solo instrumental music.
Defining subjectivity as the experience rather than the position of the "I," Steinberg argues that music's embodiment of subjectivity involved its apparent capacity to "listen" to itself, its past, its desires. Nineteenth-century music, in particular music from a north German Protestant sphere, inspired introspection in a way that the music and art of previous periods, notably the Catholic baroque with its emphasis on the visual, did not.
The book analyzes musical subjectivity initially from Mozart through Mendelssohn, then seeks it, in its central chapter, in those aspects of Wagner that contradict his own ideological imperialism, before finally uncovering its survival in the post-Wagnerian recovery from musical and other ideologies.
Engagingly written yet theoretically sophisticated, Listening to Reason represents a startlingly original corrective to cultural history's long-standing inhibition to engage with music while presenting a powerful alternative vision of the modern.
Customer Reviews:
mild.......2007-03-21
The book consists of a lot of empty verbiage at times mixed with a few insights.
Book Description
This magnificent survey of the most popular period in music history is an extended essay embracing music, aesthetics, social history, and politics, by one of the keenest minds writing on music in the world today.
Dahlhaus organizes his book around "watershed" years--for example, 1830, the year of the July Revolution in France, and around which coalesce the "demise of the age of art" proclaimed by Heine, the musical consequences of the deaths of Beethoven and Schubert, the simultaneous and dramatic appearance of Chopin and Liszt, Berlioz and Meyerbeer, and Schumann and Mendelssohn. But he keeps us constantly on guard against generalization and cliché. Cherished concepts like Romanticism, tradition, nationalism vs. universality, the musical culture of the bourgeoisie, are put to pointed reevaluation. Always demonstrating the interest in socio-historical influences that is the hallmark of his work, Dahlhaus reminds us of the contradictions, interrelationships, psychological nuances, and riches of musical character and musical life.
Nineteenth-Century Music contains 90 illustrations, the collected captions of which come close to providing a summary of the work and the author's methods. Technical language is kept to a minimum, but while remaining accessible, Dahlhaus challenges, braces, and excites. This is a landmark study that no one seriously interested in music and nineteenth-century European culture will be able to ignore.
Average customer rating:
- Art and Business, together forever
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Quarter Notes and Bank Notes: The Economics of Music Composition in the Eighteenth and Nineteenth Centuries (Princeton Economic History of the Western World)
F. M. Scherer
Manufacturer: Princeton University Press
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The Elegant Viola: Yizhak Schotten, Viola
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In Praise of Commercial Culture
ASIN: 0691116210 |
Book Description
In 1700, most composers were employees of noble courts or the church. But by the nineteenth century, Chopin, Schumann, Brahms, Verdi, and many others functioned as freelance artists teaching, performing, and selling their compositions in the private marketplace. While some believe that Mozart's career marks a clean break between these two periods, this new book tells the story of a more complex and interesting transition.
F. M. Scherer first examines the political, intellectual, and economic roots of the shift from patronage to a freelance market. He describes the eighteenth-century cultural "arms race" among noble courts, the spread of private concert halls and opera houses, the increasing attendance of middle-class music lovers, and the founding of conservatories. He analyzes changing trends in how composers acquired their skills and earned their living, examining such impacts as demographic developments and new modes of transportation. The book offers insight into the diversity of composers' economic aspirations, the strategies through which they pursued success, the burgeoning music publishing industry, and the emergence of copyright protection. Scherer concludes by drawing some parallels to the economic state of music composition in our own times.
Written by a leading economist with an unusually broad knowledge of music, this fascinating account is directed toward individuals intrigued by the world of classical composers as well as those interested in economic history or the role of money in art.
Customer Reviews:
Art and Business, together forever.......2007-01-18
Since I am in the music business, this book has been a good resource for historical information about the never-ending tension between the need to create the greatest art possible while keeping the arts organization in business. I would guess that it's primarily of interest to people in arts management or who do program annotations or who are interested in "behind the scenes" glimpses at how people behave when they're not before the public. I found it good reading, interesting, absorbing, and it has given me a better understanding of how hard it is to keep art and business in harmony.
Average customer rating:
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Music and the Middle Class: The Social Structure of Concert Life in London, Paris and Vienna Between 1830 and 1848 (Music in Nineteenth-Century Britain) ... (Music in Nineteenth-Century Britain)
William Weber
Manufacturer: Ashgate Publishing
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ASIN: 0754635635 |
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Musical Instrument Makers of New York: A Directory of the Eighteenth-And Nineteenth-Century Urban Craftsmen (Annotated Reference Tools in Music)
Nancy Groce
Manufacturer: Pendragon Press
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Binding: Hardcover
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ASIN: 0918728975 |
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