This book took me a while to absorb. It is the first book length treatment that this writer has seen on the subject of Philip Glass’ film music. Some have suggested that his film music may wind up constituting his most enduring legacy and one need only listen casually to any number of film scores to hear his influence.
This is basically an academic treatise which is what one can reasonably expect from the Routledge imprint. However the author seems to have taken care to transcend the adequate but sometimes dull prose which suffices for publication reasons but whose weight challenges the attention of all but the most stalwart of academic readers. This book is quite readable and deserves to be read.
Admittedly it is risky to tread on the “meaning” of music but Evans here makes a case that places him in the company of Leonard B. Meyer’s book, Emotion and Meaning in Music. Though it is clearly not an attempt to extend Meyer’s work, Evans is in good company as he seeks to examine the emotional content of Glass’ work that underlies his success as a film composer. Film music, after all, tends to underscore the emotional content of cinematic images to some degree and those mechanisms can and should be examined. The alternative would be to simply dismiss it as “magic” I suppose.
The cover which depicts one of those wonderful live performances of Koyaanisqatsi triggers memories of this writer’s first viewing of this intimate and effective scoring of Godfrey Reggio’s non-narrative, no dialogue sequence of images. Never had I seen/heard a more mesmerizing collaboration since the (stylistically very different) Carl Stallings cartoon scores which exist forever in the near subconscious recall of anyone who was exposed to his work in their childhood.
For many film music means the classic Erich Korngold, Alex North, Alfred Newman, etc. and their more recent successors like Elmer Bernstein, John Williams, etc. But film music continues to evolve and, though this evolution will not likely supplant these classic styles, there is room for innovation and change.
Glass’ work in Koyaanisqatsi relied on the hypnotic minimalist patterns which amplified the character of the images. Who knew then that his style could translate to more mainstream films? But that is exactly what he has done and it is exactly why such a book needed to be written and Evans has accomplished a great deal here.
This is an intriguing and insightful book which opens potential for research in Glass’ music as well as film music in general. While not the easiest of reads this book covers a lot of territory and is generously referenced. Clearly there is much work to be done here and Evans has given a wonderful and pretty comprehensive start. Highly recommended.