Scherzo in A flat (Borodin)

Musical composition can refer to an original piece of music, the structure of a musical piece, or the process of creating a new piece of music. People who practice composition are called composers.

Musical compositions[link]

A piece of music exists in the form of a composition in musical notation or as a single acoustic event (a live performance or recorded track). If composed before being performed, music can be performed from memory, through written musical notation, or through a combination of both. Compositions comprise musical elements, which vary widely from person to person and between cultures. Improvisation is the act of composing during the performance, assembling musical elements spontaneously.

Piece is a, "general, non-technical term [that began to be] applied mainly to instrumental compositions from the 17th century onwards....other than when they are taken individually 'piece' and its equivalents are rarely used of movements in sonatas or symphonies....composers have used all these terms [in their different languages] frequently in compound forms [e.g. Klavierstück]....In vocal music...the term is most frequently used for operatic ensembles..."^[1]

Composition as musical form[link]

In discussing the structure or organization of a musical work, the composition of that work is generally called its musical form. These techniques draw a parallel to art's formal elements. Sometimes, the entire form of a piece is through-composed, meaning that each part is different, with no repetition of sections; other forms include strophic, rondo, verse-chorus, or other parts. Some pieces are composed around a set scale, where the compositional technique might be considered the usage of a particular scale. Others are composed during performance (see improvisation), where a variety of techniques are also sometimes used. Some are used from particular songs which are familiar.

Important in tonal musical composition is the scale for the notes used, including the mode and tonic note. In music using twelve tone techniques, the tone row is even more comprehensive a factor than a scale. Similarly, music of the Middle East employs compositions that are rigidly based on a specific mode (maqam) often within improvisational contexts, as does Indian classical music in both the Hindustani and the Carnatic systems, gamelans of Java and Bali, and much music in Africa.

Composing music[link]

People who practice composition are called composers. Compositional techniques are the methods used to create music. Useful skills in composition include writing musical notation, music theory, instrumentation, and handling musical ensembles (orchestration). Other skills include extended techniques such as improvisation, musical montage, preparing instruments, using non-traditional instruments, and other methods of sound production.

Methods

One method to compose music is starting with a base series of chords. These chords could be selected arbitrarily or with specific purpose to reflect the tone of the emotion being conveyed. For example, selecting a minor key, but with mostly major chords (i.e. III, VI, VII) might convey a hopeful feeling. Once the series of chords is selected, additional lines are added to embellish, adding depth to the music. Usually this includes at least a lead melody line and often one or more harmony lines. Popular music is often written this way (see: Song structure (popular music)) where a selected series of chords forms the structure of each of a particular section of the song (ex. Verse, Chorus). The melody line is often dependent on the writer's chosen lyrics and can vary in detail from verse to verse.

Another method involves free playing of your desired instrument. For example, a pianist might simply sit and start playing chords, melodies, or random notes that come to mind in order to find some inspiration, then build on the discovered lines to add depth.

As technology progresses, new and inventive methods of music composition come about. One such method involves using computer algorithms to directly translate the phonetics of speech into digital sound.

Structure

Composers may decide to divide their music into sections. In classical music, one common form of songwriting is Sonata form. This form involves an Exposition, Development, and Recapitulation. The end speaks to the beginning, concluding things, while the development allows for deviations from the norm of the exposition. Many contemporary songs are organized into sections as well. These sections are usually alternating verse and chorus, often with a bridge before the last chorus. The differing verses will share chord progressions while the chorus is often exactly the same throughout.

Compositional instrumentation[link]

The task of adapting a composition for musical instruments/ensembles, called arranging or orchestrating, may be undertaken by the composer or separately by an arranger based on the composer's core composition. A composition may have multiple arrangements based on such factors as intended audience type and breadth, musical genre or stylistic treatment, recorded or live performance considerations, available musicians and instruments, commercial goals and economic constraints.

Based on such factors, composers or arrangers must decide upon the instrumentation of the original work. Today, the contemporary composer can virtually write for almost any combination of instruments. Some common group settings include music for Full Orchestra (consisting of just about every instrument group), Wind Ensemble (or Concert Band, which consists of larger sections and greater diversity of wind, brass and percussion instruments than are usually found in the orchestra), or a chamber group (a small number of instruments, but at least two). The composer may also choose to write for only one instrument, in which case this is called a solo.

Composers are not limited to writing only for instruments, they may also decide to write for voice (including choral works, operas, and musicals) or percussion instruments or electronic instruments. Alternatively, as is the case with musique concrète, the composer can work with many sounds often not associated with the creation of music, such as typewriters, sirens, and so forth.

In Elizabeth Swados' Listening Out Loud, she explains how a composer must know the full capabilities of each instrument and how they must complement each other, not compete. She gives an example of how in an earlier composition of hers, she had the tuba above the piccolo. This would clearly drown the piccolo out, thus giving it no purpose in the composition. Each instrument chosen to be in a piece must have a reason for being there that adds to what the composer is trying to convey within the work

Arranging[link]

Arranging is composition which employs prior material so as to comment upon it such as in mash-ups and various contemporary classical works.^[2] The process first requires analysis of existing music, and then rewriting (and often transcription) for an instrumentation other than that for which it was originally intended. It often (but not always) involves new supporting material injected by the arranger.

Copyright and legal status[link]

The examples and perspective in this section may not represent a worldwide view of the subject. Please improve this article and discuss the issue on the talk page. (December 2010)

In the U.S.[link]

Copyrights afford the owner of a work control over and exclusive rights to the work. Even though the first US copyright laws did not include musical compositions, they were added as part of the Copyright Act of 1831.

In the U.S., the copyright symbol is ©, or the letter c inside a circle. The first year the work was published follows the copyright symbol, and the name of the copyright holder thereafter. A music copyright is often notated as ℗, or a letter P (instead of the letter C) inside a circle. This is because this type of copyright also covers phonorecords, which are physical objects, such as CDs, where the works are contained.

In the UK[link]

Copyright, Designs and Patents Act 1988 defines a musical work to mean a work consisting of music exclusive of any words or action intended to be sung, spoken or performed with the music.^[3]

See also[link]

• BCM Classification
• Developing variation
• Dickinson classification
• MIDI composition
• Music manuscript
• Music publisher (popular music)
• Répertoire International des Sources Musicales (RISM)
• Songwriting

References[link]

External links[link]

Wikimedia Commons has media related to: Compositions

• How to Compose Music www.artofcomposing.com
• Composition Today News, competitions, interviews and other resources for composers.
• Internet Concert Project: Album for the Young Student New Music, an online performance and documentary feature from Bloomingdale School of Music (January 2010)
• A Beginner's Guide to Composing, an online feature from Bloomingdale School of Music (February 2008)
• Gems of compositional wisdom
• A Practical Guide to Musical Composition
• ComposersNewPencil - Information, articles and music composition resources.
• How to compose music
• How to compose Music (Wikihow)
• Répertoire International des Sources Musicales, online database to locations of musical manuscripts from around the world
• How to Compose for New Age Piano

The Five
Mily Balakirev César Cui Modest Mussorgsky Nikolai Rimsky-Korsakov Alexander Borodin
v t e

The Five, also known as The Mighty Handful, The Mighty Five, or The Mighty Coterie (Russian: Могучая кучка, Moguchaya kuchka), refers to a circle of composers who met in Saint Petersburg, Russia, in the years 1856–1870: Mily Balakirev (the leader), César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin. The group had the aim of producing a specifically Russian kind of art music, rather than one that imitated older European music or relied on European-style conservatory training. In a sense, they were a branch of the Romantic Nationalist movement in Russia, sharing similar artistic goals with the Abramtsevo Colony and Russian Revival.

History[link]

Name[link]

Vladimir Stasov
(1824–1906)

In May 1867 the critic Vladimir Stasov wrote an article, Mr. Balakirev's Slavic Concert, on a concert given for visiting Slav delegations to the "All-Russian Ethnographical Exhibition" in Moscow. The four Russian composers whose works were played at the concert were Mikhail Glinka, Alexander Dargomyzhsky, Mily Balakirev, and Nikolai Rimsky-Korsakov.^[1] The article ended with the following statement:

God grant that our Slav guests may never forget today's concert; God grant that they may forever preserve the memory of how much poetry, feeling, talent, and intelligence are possessed by the small but already mighty handful of Russian musicians.^[2]

—Vladimir Stasov, Sankt-Peterburgskie Vedomosti, 1867

The expression "mighty handful" (Russian: Могучая кучка, Moguchaya kuchka, "Mighty Bunch" or "Group"), was mocked by enemies of Balakirev and Stasov: Aleksandr Serov, academic circles of the conservatory, the Russian Musical Society, and their press supporters. The group responded by defiantly adopting the name.^[2] This loose collection of composers gathered around Balakirev now included Cui, Mussorgsky, Rimsky-Korsakov, and Borodin — the five who have come to be associated with the name "Mighty Handful", or sometimes "The Five". Gerald Abraham stated flatly in the Grove Dictionary of Music and Musicians that "they never called themselves, nor were they ever called in Russia, 'The Five'"^[3] (although today the Russian equivalent "Пятерка" ("Pyatyorka") is occasionally used to refer to this group).^[4] In his memoirs, Rimsky-Korsakov routinely refers to the group as "Balakirev's circle", and occasionally uses "The Mighty Handful", usually with an ironic tone. He also makes the following reference to "The Five":

If we leave out of account Lodyzhensky, who accomplished nothing, and Lyadov, who appeared later, Balakirev's circle consisted of Balakirev, Cui, Mussorgsky, Borodin, and me (the French have retained the denomination of "Les Cinq" for us to this day).^[5]

—Nikolay Rimsky-Korsakov, Chronicle of My Musical Life, 1909

The Russian word kuchka also spawned the terms "kuchkism" and "kuchkist", which may be applied to artistic aims or works in tune with the sensibilities of The Mighty Handful.

The name of Les Six, an even looser collection of French-speaking composers, emulates that of "The Five".

Formation[link]

The formation of the group began in 1856, with the first meeting of Balakirev and César Cui. Modest Mussorgsky joined them in 1857, Nikolai Rimsky-Korsakov in 1861, and Alexander Borodin in 1862. All the composers in The Five were young men in 1862. Balakirev was 25, Cui 27, Mussorgsky 23, Borodin the eldest at 28, and Rimsky-Korsakov just 18. They were all self-trained amateurs. Borodin combined composing with a career in chemistry. Rimsky-Korsakov was a naval officer (he wrote his First Symphony on a three-year naval voyage circumnavigating the globe). Mussorgsky had been in the Guards, then in the civil service before taking up music; even at the height of his career in the 1870s he was forced by the expense of his drinking habit to hold down a full-time job in the State Forestry Department.^[6]

In contrast to the élite status and court connections of Conservatory composers such as Pyotr Ilyich Tchaikovsky, The Five were mainly from the minor gentry of the provinces. To some degree their esprit de corps depended on the myth, which they themselves created, of a movement that was more "authentically Russian," in the sense that it was closer to the native soil, than the classic academy.^[7]

Before them, Mikhail Glinka and Alexander Dargomyzhsky had gone some way towards producing a distinctly Russian kind of music, writing operas on Russian subjects, but The Mighty Handful represented the first concentrated attempt to develop such a music, with Stasov as their artistic adviser and Dargomyzhsky as an elder statesman to the group, so to speak. The circle began to fall apart during the 1870s, no doubt partially due to the fact that Balakirev withdrew from musical life early in the decade for a period of time. All of "The Five" are buried in Tikhvin Cemetery in Saint Petersburg.

Musical language[link]

Stylization[link]

The musical language The Five developed set them far apart from the Conservatoire. This self-conscious Russian styling was based on two elements:

• They tried to incorporate in their music what they heard in village songs, in Cossack and Caucasian dances, in church chants and the tolling of church bells (to the point where the bell tolling became a cliché). The Five's music became filled with imitative sounds of Russian life. They also tried to reproduce the long-drawn, lyrical and melismatic peasant song, what Glinka had once called "the soul of Russian music." Balakirev made this possible by his study of songs from the Volga in the 1860s. More than any previous anthology, his transcriptions artfully preserved the distinctive aspects of Russian folk music:
  • Tonal mutability

  A tune seems to shift naturally from one tonal center to another, often ending up in a different key than the one in which the song began. This can produce a feeling of elusiveness, a lack of definition or of logical progression in the harmony. Even when stylized by The Five, this quality can make Russian music sound very different from the tonal structures of the West.

  • Heterophony

  A melody is simultaneously rendered by two or more performers in different variations. This is improvised by the singers until the end, when the song reverts to a single melodic line.

  • Parallel fifths, fourths and thirds

  The effect lends Russian music a raw sonority missing entirely from the comparatively polished harmonies of Western music.

• The Five also adopted a series of harmonic devices to create a distinct "Russian" style and color different from Western music. This "exotic" styling of "Russia" was not just self-conscious but entirely invented. None of these devices was actually used in Russian folk or church music:
  • Whole tone scale

  Although Glinka did not invent this scale, his application of it in the opera Ruslan and Lyudmila (1842) — most recognizable at the end of the festive overture — provided a characteristic harmonic and melodic device. This scale in "Russian" works often suggests evil or ominous personages or situations. It was used by all the major composers from Tchaikovsky (the appearance of the Countess's ghost in The Queen of Spades) to Rimsky-Korsakov (in all his magic-story operas—Sadko, Kashchey the Deathless and The Invisible City of Kitezh). Claude Debussy also uses this scale in his music, taking this, among many things, from the Russians. Later it became a standard device in horror-movie scores.

  • The Russian submediant^[8]

  Also linked to Glinka's Ruslan, this is a harmonic pattern (in major mode) in which one upper part proceeds from the dominant pitch chromatically to the submediant while the other harmony parts remain constant. The most basic form of this pattern can be shown as follows (beginning with typical tonic): root-position tonic triad --> root-position augmented tonic triad -> 1st inversion submediant minor triad. A famous example of the Russian submediant occurs in the very opening bars of the third movement of Rimsky-Korsakov's Scheherezade.

  • Diminished or octatonic scale

  Rimsky-Korsakov first used this in his symphonic poem Sadko in 1867. This scale became a sort of Russian calling-card — a leitmotif of magic and menace used not just by Rimsky-Korsakov but all of his followers, above all Alexander Scriabin, Maurice Ravel, Igor Stravinsky and Olivier Messiaen (mode 2).

  • Modular rotation in sequences of thirds

  The Five made this device of Franz Liszt their own to base a loose symphonic-poem type of structure. This way, they could avoid the rigid Western laws of modulation in sonata form, allowing the form of a musical composition to be shaped entirely by the "content" of the music (its programmatic statements and visual descriptions) rather than by formal laws of symmetry. This loose structure became especially important for Mussorgsky's Pictures at an Exhibition, a work that may have done more than any other to define the Russian style.^[9]

  • Pentatonic scale

  This stylistic aspect became used by every Russian nationalist composer.^[10] Its distinctive feature is to have only five notes in the octave, rather than the seven of the heptatonic scales (e.g., major and minor). The pentatonic scale is one of the ways of suggesting a "primitive" folk-melodic style as well as the "Eastern" element (Middle East, Asia). A melodic example of the "major-mode" pentatonic scale (C-D-E-G-A) can be heard at the entrance of the chorus at the beginning of Borodin's Prince Igor.

Orientalism[link]

One hallmark of "The Five" was its reliance on orientalism.^[10] Many quintessentially "Russian" works were composed in orientalist style, such as Balakirev's Islamey, Borodin's Prince Igor and Rimsky-Korsakov's Scheherazade.^[10] Orientalism, in fact, became widely considered in the West both one of the best-known aspects of Russian music and a trait of Russian national character.^[11] As leader of "The Five," Balakirev encouraged the use of eastern themes and harmonies to set their "Russian" music apart from the German symphonism of Anton Rubinstein and other Western-oriented composers.^[10] Because Rimsky-Korsakov used Russian folk and oriental melodies in his First Symphony, Stasov and the other nationalists dubbed it the "First Russian Symphony," even though Rubinstein had written his Ocean Symphony a dozen years before it.^[10] These were themes Balakirev had transcribed in the Caucasus.^[10] "The symphony is good," Cui wrote to Rimsky-Korsakov in 1863, while the latter was out on naval deployment. "We played it a few days ago at Balakirev's—to the great pleasure of Stassov. It is really Russian. Only a Russian could have composed it, because it lacks the slightest trace of any stagnant Germanness."^[12]

Orientalism was not confined to using authentic Eastern melodies.^[13] What became more important than the melodies themselves were the musical conventions added to them.^[13] These conventions allowed orientalism to become an avenue for writing music on subjects considered unmentionable otherwise, such as political themes and erotic fantasies.^[11] It also became a means of expressing Russian supremacy as the empire expanded under Alexander II.^[11] This was often reinforced through misogynist symbolism—the rational, active and moral Western man versus the irrational, passive and immoral Eastern woman.^[11]

Two major works entirely dominated by orientalism are Rimsky-Korsakov's symphonic suite Antar and Balakirev's symphonic poem Tamara.^[13] Antar, set in Arabia, uses two different styles of music, Western (Russian) and Eastern (Arabian).^[13] The first theme, Antar's, is masculine and Russian in character.^[13] The second theme, feminine and oriental in melodic contour, belongs to the queen, Gul Nazar.^[13] Rimsky-Korsakov was able to soften the implicit misogyny to some extent.^[13] However, female sensuality does exert a paralyzing, ultimately destructive influence.^[13] With Gul Nazar extinguishing Antar's life in a final embrace, the woman overcomes the man.^[13]

Balakirev gives a more overtly misogynistic view of oriental women in Tamara.^[13] He had originally planned to write a Caucasan dance called a lezginka, modeled on Glinka, for this work.^[14] However, he discovered a poem by Mikhail Lermontov about the beautiful Tamara, who lived in a tower alongside the gorge of Daryal.^[14] She lured travelers and allowed them to enjoy a night of sensual delights, only to kill them and throw their bodies into the River Terek.^[14] Balakirev uses two specific codes endemic to orientalism in writing Tamara. The first code, based on obsessive rhythms, note repetitions, climactic effects and accelerated tempi, represents Dionysian intoxication.^[13] The second code, consisting of unpredictable rhythms, irregular phrasing and based on long passages with many repeat notes, augmented and diminished intervals and extended melismas, depict sensual longing.^[13] Not only did Balakirev use these codes extensively, but he also attempted to supercharge them further when he revised the orchestration of Tamara in 1898.^[14]

A direct result of such orientalism was the big influence that this circle left on the formation of classical traditions in other nations of the east and south of Russia. For instance, one of Rimsky-Korsakov's famous students, Alexander Spendiaryan went on to become the founder of Armenian classical music, carrying on the traditions and aesthetics of the Mighty Handful to the Caucasus.

Quotations[link]

Rimsky-Korsakov provides the following picture of "The Mighty Handful" in his memoirs, Chronicle of My Musical Life (translated by J. A. Joffe):

Tastes[link]

"The tastes of the circle leaned towards Glinka, Schumann, and Beethoven's last quartets ... they had little respect for Mendelssohn ... Mozart and Haydn were considered out of date and naive ... J. S. Bach was held to be petrified ... Chopin was likened by Balakirev to a nervous society lady ... Berlioz was highly esteemed ...Liszt was comparatively unknown ... Little was said of Wagner ... They respected Dargomyzhsky for the recitative portions of Rusalka ... [but] he was not credited with any considerable talent and was treated with a shade of derision. ...Rubinstein had a reputation as a pianist, but was thought to have neither talent nor taste as a composer."

Balakirev[link]

"Balakirev, who had never had any systematic course in harmony and counterpoint and had not even superficially applied himself to them, evidently thought such studies quite unnecessary ... An excellent pianist, a superior sight reader of music, a splendid improviser, endowed by nature with the sense of correct harmony and part-writing, he possessed a technique partly native and partly acquired through a vast musical erudition, with the help of an extraordinary memory, keen and retentive, which means so much in steering a critical course in musical literature ... He instantly felt every technical imperfection or error, he grasped a defect in form at once. Whenever I or other young men, later on, played him our essays at composition, he instantly caught all the defects of form, modulation, and so on, and forthwith seating himself at the piano, he would improvise and show how the composition in question should be changed exactly as he indicated, and frequently entire passages in other people's compositions became his and not their putative authors' at all. He was obeyed absolutely, for the spell of his personality was tremendous. ... His influence over those around him was boundless, and resembled some magnetic or mesmeric force. ... he despotically demanded that the tastes of his pupils should exactly coincide with his own. The slightest deviation from his taste was severely censured by him. By means of raillery, a parody or caricature played by him, whatever did not suit him at the moment was belittled — and the pupil blushed with shame for his expressed opinion and recanted...."

Abilities[link]

"Balakirev considered me a symphony specialist ... in the sixties, Balakirev and Cui, though very intimate with Mussorgsky and sincerely fond of him, treated him like a lesser light, and of little promise at that, in spite of his undoubted talent. It seemed to them that there was something missing in him and, in their eyes, he was in need of advice and criticism. Balakirev often said that Mussorgsky had "no head" or that his "brains were weak." ... Balakirev thought that Cui understood little in symphony and musical forms and nothing in orchestration, but was a past master in vocal and operatic music; Cui, in turn, thought Balakirev a master in symphony, form, and orchestration, but with little liking for operatic composition and vocal music in general. Thus they complemented each other, but each, in his own way, felt mature and grown up. Borodin, Mussorgsky, and I, however — we were immature and juvenile. Obviously, towards Balakirev and Cui we were in somewhat subordinate relations; their opinions were listened to unconditionally...."

Influence[link]

Except perhaps for Cui, the members of this group influenced or taught many of the great Russian composers who were to follow, including Alexander Glazunov, Mikhail Ippolitov-Ivanov, Sergei Prokofiev, Igor Stravinsky, and Dmitri Shostakovich. They also influenced the two french symbolist composers Maurice Ravel and Claude Debussy through their radical tonal language.

Timeline[link]

<timeline> ImageSize = width:800 height:155 PlotArea = width:620 height:135 left:100 bottom:20 AlignBars = justify

Colors =

 id:Borodin            value:tan1
 id:Cui                value:rgb(1,0.6,0.5)
 id:Balakirev          value:lightorange
 id:Mussorgsky         value:gray(0.8)
 id:Rimsky-Korsakov    value:coral
 id:Tsar               value:white
   

Period = from:1830 till:1920 TimeAxis = orientation:horizontal ScaleMajor = unit:year increment:10 start:1830 ScaleMinor = unit:year increment:10 start:1830

Define $markred = text:"*" textcolor:red shift:(0,3) fontsize:10

PlotData=

 align:center textcolor:black fontsize:8 mark:(line,black) width:18 shift:(0,-5)

 bar:Tsar color:white text:""
 from: 1830 till: 1855 color: orange text: Nicholas I       
 from: 1855 till: 1881 color: yellow text: Alexander II
 from: 1881 till: 1894 color: orange text: Alexander III
 from: 1894 till: 1917 color: yellow text: Nicholas II
 bar:Borodin color:Borodin
 from: 1833 till: 1887  
 bar:Cui color:Cui
 from: 1835 till: 1918 
 bar:Balakirev color:Balakirev
 from: 1837 till: 1910  
 bar:Mussorgsky color:Mussorgsky
 from: 1839 till: 1881  
 bar:Rimsky-Korsakov color:Rimsky-Korsakov
 from: 1844 till: 1908  

LineData=

  at:1855 color:black width:0.5 layer:back
  at:1881 color:black width:0.5 layer:back
  at:1894 color:black width:0.5 layer:back
  at:1917 color:black width:0.5 layer:back

</timeline>

See also[link]

• List of Russian composers
• Tchaikovsky and the Five
• Les Six, French composers
• Armenian Mighty Handful
• Group of Eight (music), Spanish composers

References[link]

External links[link]

• Encyclopædia Britannica article about "The Five" [1]
• The Article about The Five in "1000 years of Russian Music" [2]
• Turgenev and Russian Music: The Mighty Handful (with music samples)
• Russian musical influences of The Five on works of Claude Debussy [3]

Mark Applebaum (born 1967 in Chicago, Illinois) is an American composer and professor teaching at Stanford University.^[1] He received his Ph.D. in composition from the University of California at San Diego where he studied with Brian Ferneyhough, Joji Yuasa, Rand Steiger, and Roger Reynolds. He received his bachelors degree from Carleton College where he studied composition with Phillip Rhodes and completed a senior thesis where he interviewed Conlon Nancarrow in Mexico City.^[2]

Discography[link]

• 1996 "Mousetrap Music" [Innova]
• 1999 The Janus ReMixes [Innova]
• 1999 "Sonic Circuits VII" [Innova]
• 2002 "The Apple Doesn't Fall Far from the Tree" [Innova]
• 2003 "Cornucopia" [Capstone]
• 2003 "Mark Applebaum: Intellectual Property" [Innova]
• 2003 "Catfish" [Tzadik]
• 2004 "Oni Buchanan: Solo Piano" [Velvet Ear Records]
• 2004 "Martian Anthropology" [Innova]
• 2004 "Disciplines" [Innova]
• 2005 "56 1/2 ft." [Innova]
• 2005 "The Bible Without God" [Innova]
• 2006 "Asylum" [Innova]
• 2006 "[re]" [Everglade]
• 2008 "Sock Monkey" [Innova]
• 2008 "Escapement" [Everglade]
• 2010 "The Metaphysics of Notation" [Innova]

Notes[link]

1. ^ http://music.stanford.edu/People/faculty.html#comptheory Stanford University Website: ccrma: center for computer research in music and acoustics - faculty listing
2. ^ http://www.markapplebaum.com/bio.html Mark Applebaum's Website biography

External links[link]

• Mark Applebaum's Website
• Stanford Magazine "Heard This One?"
• Atlantic Center for the Arts Residency #134
• Progress Report: The State of the Art after Sixteen Years of Designing and Playing Electroacoustic Sound-Sculptures

David Fincher
Born	David Andrew Leo Fincher[1][2] (1962-08-28) August 28, 1962 (age 49) Denver, Colorado, U.S.
Other names	Finch, Dave Fincher
Occupation	Film director, film producer, music video director
Years active	1984–present
Notable work(s)	Seven, Fight Club, Zodiac, The Social Network, The Girl with the Dragon Tattoo
Influenced by	Martin Scorsese, Alfred Hitchcock, George Roy Hill, Stanley Kubrick, Steven Spielberg, Alan J. Pakula, Bob Fosse, Roman Polanski
Spouse	Donya Fiorentino (1990–1995)
Children	Phelix Imogen (b. April 25, 1994)

David Andrew Leo Fincher (born August 28, 1962) is an American film and music video director who is known for his dark and stylish thrillers, such as Seven (1995), The Game (1997), Fight Club (1999), Panic Room (2002), and Zodiac (2007). Fincher received Academy Award nominations for Best Director for his 2008 film The Curious Case of Benjamin Button and his 2010 film The Social Network, which also won him the Golden Globe and the BAFTA for Best Director. His most recent film is 2011's The Girl with the Dragon Tattoo, an English-language adaptation of Stieg Larsson's novel of the same name.

Early life and career[link]

Fincher was born on August 28, 1962 in Denver, Colorado, the son of Claire Mae (née Boettcher), a mental health nurse who worked in drug addiction programs, and Howard Kelly Fincher, who worked as a bureau chief for Life under the name Jack Fincher.^[1][3] When Fincher was two years old, the family moved to San Anselmo in Marin County, California. Fincher moved to Ashland, Oregon in his teens, where he graduated from Ashland High School. Inspired by Butch Cassidy and the Sundance Kid, Fincher began making movies at age eight with an 8 mm camera. Fincher eschewed the film school route, getting a job loading cameras and doing other hands-on work for John Korty’s Korty Films. He was later hired by Industrial Light & Magic in 1983, where he worked on productions for Twice Upon a Time, Star Wars: Episode VI – Return of the Jedi, and Indiana Jones and the Temple of Doom. In 1984, he left ILM to direct a commercial for the American Cancer Society, that would show a fetus smoking a cigarette. This quickly brought Fincher to the attention of producers in Los Angeles and he was given the chance to direct the documentary The Beat of the Live Drum featuring Rick Springfield in 1985. Though he would continue to direct spots for companies like Revlon, Converse, Nike, Pepsi, Sony, and Levi's, Fincher soon discovered music videos and went on to direct many promos.

Propaganda Films[link]

Set on a directing career, Fincher joined video-production company Propaganda Films and started off directing music videos and commercials. Like Fincher, other directors such as Michael Bay, Samuel Bayer, Meiert Avis, David Kellogg, Antoine Fuqua, Neil LaBute, Spike Jonze, Mark Romanek, Michel Gondry, Paul Rachman, Zack Snyder, Gore Verbinski, and Alex Proyas honed their talents at Propaganda Films before moving on to feature films.

Music videos[link]

Fincher directed big budget music videos for artists such as Madonna (including "Express Yourself", "Vogue", "Oh Father" and "Bad Girl"), Billy Idol ("Cradle of Love"), Paula Abdul (including "(It's Just) The Way That You Love Me", "Straight Up", "Forever Your Girl" and "Cold Hearted"), Aerosmith ("Janie's Got a Gun"), The Rolling Stones (including "Love Is Strong"), Roy Orbison ("She's a Mystery to Me"), Nine Inch Nails ("Only"), A Perfect Circle ("Judith"), Jody Watley (including "Real Love" and "Most of All"), Rick Springfield ("State Of The Heart"), Jermaine Stewart (We Don't Have to Take Our Clothes Off), Steve Winwood, Neneh Cherry ("Heart"), George Michael ("Freedom '90"), The Motels "Shame", Michael Jackson ("Who Is It"), The Wallflowers, Wire Train and The Outfield, including "All the Love (in the World)", "Every Time You Cry" and "No Surrender". His video for Don Henley's "The End of the Innocence" won Henley the MTV Video Music Award for Best Male Video in 1990.

Features[link]

[edit] Alien 3

After directing several music videos, Fincher's feature debut was Alien 3 (1992). While it received an Oscar nomination for special effects, the film was not well received by critics or moviegoers. Fincher became involved with several disputes with 20th Century Fox over script and budget issues. In "The Director’s Cut",^[4] he blames the producers for not putting the necessary trust in him. After this, Fincher retreated back into the world of commercial and music video directing, including the video for the Grammy Award winning track "Love Is Strong" (1994) by The Rolling Stones.

[edit] Seven

In 1995, Fincher directed Seven. The film, based on a screenplay by Andrew Kevin Walker, told the story of two detectives (played in the movie by Brad Pitt and Morgan Freeman) tracking down a serial killer who bases his killings on the seven deadly sins. The film grossed more than $100 million domestically (over $300 million internationally).^[5] The chairman of New Line Cinema, Arnold Kopelson, originally refused to allow filming of the shocking climactic scene. With the aid of Brad Pitt, who stated that he would not be involved with the picture if its ending were changed, Fincher was allowed to film the original scene and use it in the final cut.

[edit] The Game

After the success of Seven, Fincher went on to film The Game (1997). The story focused on a closed-off San Francisco businessman (played by Michael Douglas) who receives an unusual gift from his younger brother (Sean Penn), in which he becomes the main player of a role-playing game that takes over his life. The film had middling box-office returns despite being well received by critics.

[edit] Fight Club

Fight Club was a screen adaptation of Chuck Palahniuk’s novel of the same name about an insomniac office worker who opens up a club devoted exclusively to bare knuckle fighting for men. Featuring Edward Norton, Helena Bonham Carter, and Seven collaborator Brad Pitt, the 1999 film was an early disappointment at the box-office and received mixed reviews. Fight Club was panned by several critics and alienated audiences leading to its box office failure in the United States.

However, many critics and audiences later changed their opinions and the film appeared on many 'best of the year' lists and soon developed a cult following. Entertainment Weekly, which had originally given the film a D-,^[6] later ranked the DVD #1 on its list of 50 Essential DVDs.^[7] Exceptional sales have since established it as a cult film.

In 2006 the British magazine Total Film voted Fight Club number four in the 100 Greatest Movies of All Time, beaten only by Jaws, Vertigo and Goodfellas at 3, 2 and 1 respectively.^[8]

[edit] Panic Room

In 2002, Fincher followed up with the thriller Panic Room. The film earned over $92 million at the U.S. box office. The story follows a single mother (Jodie Foster) and her daughter (Kristen Stewart) as they hide in a safe room of their new house, away from criminals (Forest Whitaker, Dwight Yoakam and Fight Club collaborator Jared Leto) bent on finding a missing fortune. Fincher acknowledged Panic Room as a more mainstream thriller, describing the film, on the DVD's audio commentary, as "[basically] a date movie" and a "really good B movie" about "two people trapped in a closet".

[edit] Zodiac

The symbol of the Zodiac Killer.

Five years after Panic Room, Fincher returned on March 2, 2007 with Zodiac, an adaptation of Robert Graysmith’s books about the hunt for the Zodiac Killer that starred Jake Gyllenhaal, Mark Ruffalo, Robert Downey, Jr., Anthony Edwards, and Brian Cox. The first of Fincher’s films to be shot digitally, the majority of the film was recorded on a Thompson Viper Film Stream Camera. However, high-speed film cameras were used for the Blue Rock Springs and Presidio Heights murder scenes for the slow-motion shots.^[9] It was originally to be released in the fall of 2006 but was pushed back after Fincher refused to cut 20 minutes off the film.

Zodiac was one of the best-reviewed films of that year, with only two other 2007 films appearing on more top-10 lists (No Country for Old Men and There Will Be Blood).^[10] However, the film struggled at the box office in the U.S., earning only $33 million, but did well overseas with a foreign gross of $51.7 million. Worldwide, Zodiac was a decent success.^[11] Despite an aggressive campaign by the studio, expectations surrounding Robert Downey, Jr.’s supporting performance, Fincher’s direction and Vanderbilt’s adapted script, the film did not earn a single Academy Award nomination.^[12]

[edit] The Curious Case of Benjamin Button

A story about life and death, The Curious Case of Benjamin Button is an adaptation of F. Scott Fitzgerald’s short story of the same name. The film was Fincher’s third with Brad Pitt. The film started shooting in November 2006 in New Orleans, before moving on to the Virgin Islands, Montreal, and L.A.. Both Zodiac and this film are co-productions of Paramount Pictures and Warner Bros. The budget for the film was estimated at $150 million, partly due to the CGI effects used to reverse the aging in Brad Pitt’s character. The film is the first PG-13 film directed by Fincher. It received 13 nominations at the 81st Academy Awards, including Fincher's first nomination for Best Director. It won three Academy Awards for Best Art Direction, Best Makeup, and Best Visual Effects.

[edit] The Social Network

Fincher directed the 2010 film The Social Network, about the legal battles of Mark Zuckerberg and the founding of Facebook. The film features an Oscar-winning screenplay by Aaron Sorkin, adapted from the book The Accidental Billionaires. Featuring a young cast ensemble, the film was produced by Scott Rudin, Kevin Spacey and Michael DeLuca. Filming started in October 2009^[13] and was released a year later, to critical acclaim. Trent Reznor and Atticus Ross created the Oscar-winning soundtrack for the film, Fincher had long been a fan of Reznor's work in Nine Inch Nails, even putting a remix of "Closer" in the beginning of Seven and directing the music video for "Only". The film went on to win many awards, including four Golden Globes (including Best Motion Picture – Drama, Best Director, Best Screenplay and Best Original Score), three BAFTAs (including Best Direction), and three Academy Awards for Best Adapted Screenplay, Best Original Score, and Best Film Editing.^[14]

[edit] The Girl with the Dragon Tattoo

Fincher directed the American version of The Girl with the Dragon Tattoo, which was based on the book by Stieg Larsson, with a script written by Steven Zaillian. The film was shot in Sweden, with Rooney Mara as Lisbeth Salander, Daniel Craig as Mikael Blomkvist, Robin Wright as Erika Berger, Stellan Skarsgård as Martin Vanger and Christopher Plummer as Henrik Vanger. The film was released on December 20, 2011. Along with Dragon Tattoo, Fincher and Zaillian have signed a two picture deal to also adapt The Girl Who Played with Fire, and The Girl Who Kicked the Hornets' Nest, which will be shot back to back. In January 2012, it was announced that Sony Pictures was "moving forward" with the adaptation of The Girl Who Played with Fire, with Zaillian in the early stage of scripting it for a planned release in late 2013.^[15][16] Trent Reznor and Atticus Ross composed the soundtrack for the film (their second collaboration with Fincher).^[17] It received Five Academy Award nominations at the 84th Academy Awards including: Best Actress for Rooney Mara, Best Cinematography, Best Sound, Best Sound Mixing and won one award for Best Film Editing.

Future projects[link]

[edit] House of Cards

Fincher has agreed to direct the first Netflix original television series, starring Kevin Spacey.^[18] The show will be called House of Cards and will air in late 2012.^[19]

[edit] 20,000 Leagues Under the Sea

For his next film project after The Girl with the Dragon Tattoo, Fincher (as of July 2010) is attached to 20,000 Leagues Under the Sea for Walt Disney Pictures, based on the Jules Verne's eponymous novel. Scott Z. Burns (The Bourne Ultimatum, The Informant!, Contagion) is set to write the screenplay.^[20] Originally, 20,000 Leagues Under the Sea had been set to be directed by McG from a screenplay by Randall Wallace (draft by Bill Marsilli, with rewrites by Justin Marks), but the $150-million project was terminated in early pre-production stage in November 2009.^[21][22] Fincher's vision is to direct a 'gigantic steampunk science fiction movie from 1873' and '[his] Empire Strikes Back.'^[23]

[edit] The Girl Who Played with Fire and The Girl Who Kicked the Hornets' Nest

It has been announced that the other two parts in the Millennium series, The Girl Who Played with Fire and The Girl Who Kicked the Hornets' Nest, will be adapted. However, it is unclear whether David Fincher will return to direct the sequels.^{[citation needed]}

[edit] The Killer

On November 1, 2007, Variety reported that Fincher was attached to do an adaptation of a French graphic novel called The Killer by Alexis Nolent, which was optioned by Paramount Pictures and Brad Pitt’s Plan B Entertainment, with Pitt attached to star in the film. Scripted by Allesandro Camon, the film is about a top assassin, with his conscience getting the better of him, and a cop on his tail.^[24]

[edit] The Reincarnation of Peter Proud

An announcement was made on November 9, 2009 that Andrew Kevin Walker and David Fincher will re-team for the remake of the 1975 film The Reincarnation of Peter Proud.^[25][26] This marks the fifth time Andrew Kevin Walker and Fincher will work together. Walker wrote Fincher's 1995 thriller Seven, did uncredited rewrites for Fight Club and The Game and made a cameo appearance in Panic Room.

[edit] Ness

On September 5, 2008, Firstshowing.net reported that Matt Damon is in talks to play Eliot Ness in Ness with Fincher lined up to direct an adaptation of the graphic novel Torso by Brian Michael Bendis and Marc Andreyko, and that the producers were looking for locations in Cleveland, Ohio.^[27] During a Social Network Q&A Fincher confirmed that production on "Ness" is dead.

[edit] Heavy Metal

Variety reported that Paramount Pictures will make another animated film with David Fincher, based on the Heavy Metal comics. Fincher is set to direct one of the film’s eight or nine segments, which will also feature other directors such as animator Tim Miller and magazine owner and publisher Kevin Eastman directing another. The film is envisioned as being an animated, adult-themed R-rated film.^[28] On July 14, 2008 Paramount Pictures announced the movie is put on hold.^[29] On September 4, 2008, it was announced the film was to be made by Columbia Pictures, and a few of the directors attached to make a segment each includes Zack Snyder, Gore Verbinski and Guillermo del Toro, as well as James Cameron.^[30]

[edit] Rendezvous with Rama

Fincher has been attempting to make a film based on the science fiction novel of the same name written by Arthur C. Clarke with Morgan Freeman cast in the lead. In 2008, Fincher announced he was no longer making the film due to Freeman's health,^[31] but Freeman said in late 2010 that Fincher is "still part of the conversation."^[32]

Collaborators[link]

Acting[link]

Fincher often casts certain actors more than once in his films. Fincher has consistently worked with Richmond Arquette, Bob Stephenson, Christopher John Fields, Brad Pitt and Joel Bissonnette.^{[citation needed]}

Actor	Alien 3 (1992)	Seven (1995)	The Game (1997)	Fight Club (1999)	Panic Room (2002)	Zodiac (2007)	The Curious Case of Benjamin Button (2008)	The Social Network (2010)	The Girl with the Dragon Tattoo (2011)
Richmond Arquette		Y		Y		Y	Y
Joel Bissonnette				Y		Y	Y
John Cassini		Y	Y
Christopher John Fields	Y		Y	Y		Y
Rachel Flanagan		Y	Y
Duffy Gaver		Y	Y
John Getz						Y		Y
Zach Grenier				Y		Y
Mark Boone Junior		Y	Y
Elias Koteas						Y	Y
Jared Leto				Y	Y
Barry Livingston						Y		Y
George Maguire			Y	Y		Y
Rooney Mara								Y	Y
Michael Massee		Y	Y
Owen Masterson			Y	Y
Angelina McCoy							Y	Y
Holt McCallany	Y			Y
Evan Mirand		Y		Y
Brad Pitt		Y		Y			Y
Paul Schulze					Y	Y
David Lee Smith				Y		Y
Bob Stephenson		Y	Y	Y		Y
Matt Winston				Y		Y

Other[link]

Fincher also frequently works with the same crew across many films, notably Jeff Cronenweth, cinematographer, Angus Wall and Kirk Baxter, editing, Ren Klyce, sound designer, and more recently Trent Reznor and Atticus Ross, composers. Alien 3 is unlisted, as there are no collaborations on that film.

Collaborator, Role	Seven (1995)	The Game (1997)	Fight Club (1999)	Panic Room (2002)	Zodiac (2007)	The Curious Case of Benjamin Button (2008)	The Social Network (2010)	The Girl with the Dragon Tattoo (2011)
Kirk Baxter, Editor						Y	Y	Y
Donald Graham Burt, Production Designer					Y	Y	Y	Y
Jeff Cronenweth, Cinematographer			Y				Y	Y
James Haygood, Editor		Y	Y	Y
Darius Khondji, Cinematographer	Y			Y
Ren Klyce, Sound Designer	Y	Y	Y	Y	Y	Y	Y	Y
Laray Mayfield, Casting Director			Y	Y	Y	Y	Y	Y
Trent Reznor, Composer							Y	Y
Atticus Ross, Composer							Y	Y
Scott Rudin, Producer							Y	Y
Harris Savides, Cinematographer		Y			Y
Howard Shore, Composer	Y	Y		Y
Andrew Kevin Walker, Screenwriter	Y			Y
Angus Wall, Editor				Y	Y	Y	Y	Y

Filmography[link]

Feature films[link]

• Alien 3 (1992)
• Seven (1995)
• The Game (1997)
• Fight Club (1999)
• Panic Room (2002)
• Zodiac (2007)
• The Curious Case of Benjamin Button (2008)
• The Social Network (2010)
• The Girl with the Dragon Tattoo (2011)

Television[link]

• House of Cards (2013)

Music videos[link]

This biographical section of an article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (September 2010)

Reception[link]

Critical reception[link]

Box office[link]

Awards[link]

Further reading[link]

• Swallow, James (July 2003). "Dark and Light". Dark Eye: The Films of David Fincher. Reynolds & Hearn. pp. 11–33. ISBN 1-903111-52-8. 
• Waxman, Sharon, ed. (2005), Rebels on the Backlot: Six Maverick Directors and How They Conquered the Hollywood Studio System, HarperEntertainment .

References[link]