The Professional Career and Output of Trevor Jones

特雷弗·琼斯的职业生涯和产出

• 批准号: AH/K003828/1
• 负责人: David Cooper
• 金额: $ 59.49万
• 依托单位: University of Leeds
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2013
• 资助国家: 英国
• 起止时间: 2013 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FK003828%2F1
• 关键词: Professional; Career; Output; Trevor; Jones

With a career spanning nearly 40 years, Trevor Jones is one of the most successful contemporary British-based composers of film music and is seen by peers as an influential figure in the industry. He is distinguished by the range of projects he has worked on, the directors he has collaborated with, and his development of novel approaches to the creation of film music. His output includes scores for the groundbreaking animatronic films of Jim Henson ('The Dark Crystal', 1982; 'Labyrinth', 1986), films with significant cultural impact such as 'Brassed Off!' (1996) and 'Notting Hill' (1999), and those dealing with political issues both in the UK and abroad. The latter include 'In the Name of the Father' (1993) which investigates the wrongful arrest and treatment of the Guildford Four, and 'Mississippi Burning' (1988), which deals with the struggles of black civil-rights activists and the Ku Klux Klan in the southern US in the 1960s. Many of the films he has scored retain currency and continue to appear regularly on British television schedules many years after their theatrical releases.Jones has been active in an industry that has experienced a prolonged period of major technological change, including the switchover from analogue to digital production and post-production techniques, and developments in computer software for score production and sound recording/editing. In the audio sphere, this period saw the development of the digital audio workstation, the digital synthesizer and other electronic instruments that significantly impacted on the collaborative process of film-score production. Jones has been in the vanguard in his use of such technology and continues to operate at the forefront of the profession.In 2005 Jones donated a very large collection of materials relating to his film scores to the University of Leeds, which already had an established reputation for film-music study, with an agreement that they may be used exclusively for research and teaching. The donation consisted of more than 400 multi-track analogue tapes, including session recordings and demonstration mock-ups of cues, as well as an array of paperwork such as spotting notes, mixer settings and other records of communication between members of the music and production teams, and Jones has continued to add to the holdings through the provision of digital files for recent film projects, and notated scores (which often include drafts and sketches). In 2010 he made a second donation of archival materials, around 300 items, including rough and fine cuts for several pictures (on video), additional multi-track and demo recordings, and some final mixes.The approach to scholarly investigation of film music and its composers has developed over time as researchers have gained access to resources that permit more detailed study, progressing from the aural analysis of the music as heard in the theatrical release of a film to the use of additional materials to supplement the soundtrack, notably the composers' manuscript scores. Continuing this development, the value of archival resources relating to the film-score production process has recently begun to be recognised by researchers, since these materials can often establish the context of the notated score, enabling scholars to evaluate previous incarnations of musical ideas and structures, and to chart the ways in which musical and filmic decisions have impacted on the composer's music. The proposed project will utilise the Jones Archive to create public events, educational materials, a monograph on Jones (the first significant publication devoted to the composer) that investigates and evaluates key phases in his career within the context of developments in both the British and global film-music industries, conference papers and proceedings, a PhD dissertation, and a digital archive of materials relating to Jones's film work for use in research and teaching (as per the University's agreement with Jones).

特雷弗·琼斯拥有近40年的职业生涯，是当代英国最成功的电影音乐作曲家之一，被同行视为业内有影响力的人物。他的杰出之处在于他参与的项目范围，与他合作的导演，以及他对电影音乐创作的新颖方法的发展。他的作品包括吉姆·亨森（Jim Henson）开创性的电子动画电影（《黑暗水晶》，1982年;《实验室》，1986年），具有重大文化影响的电影，如《黄铜起飞！（1996年）和“诺丁山”（1999年），以及那些处理英国和国外政治问题的人。后者包括《以父之名》（1993年），调查吉尔福德四人组的错误逮捕和待遇，以及《密西西比燃烧》（1988年），涉及20世纪60年代美国南部黑人民权活动家和三K党的斗争。他为许多电影配乐，这些电影在上映多年后仍在英国电视节目表上定期出现。琼斯一直活跃在一个经历了长期重大技术变革的行业，包括从模拟到数字制作和后期制作技术的转变，以及用于配乐制作和录音/编辑的计算机软件的发展。在音频领域，这一时期见证了数字音频工作站、数字合成器和其他电子仪器的发展，这些电子仪器对电影配乐制作的协作过程产生了重大影响。2005年，琼斯将大量与他的电影配乐相关的资料捐赠给了利兹大学，该大学在电影音乐研究方面已经享有盛誉，并同意这些资料将专门用于研究和教学。捐赠包括400多个多轨模拟磁带，包括会议录音和演示模型的线索，以及一系列的文书工作，如发现笔记，混音器设置和其他记录的成员之间的沟通音乐和制作团队，琼斯继续增加持有通过提供数字文件，为最近的电影项目，和注释乐谱（通常包括草稿和草图）。2010年，他第二次捐赠了大约300件档案材料，包括几张照片的粗剪和精剪（在视频上），额外的多轨和演示录音，以及一些最终的混音。随着研究人员获得了允许更详细研究的资源，对电影音乐及其作曲家进行学术调查的方法随着时间的推移而发展，从对电影在影院上映时所听到的音乐进行听觉分析，到使用额外的材料来补充配乐，特别是作曲家的手稿乐谱。继续这种发展，与电影配乐制作过程有关的档案资源的价值最近开始被研究人员所认识，因为这些材料通常可以建立乐谱的背景，使学者能够评估音乐思想和结构的先前体现，并绘制音乐和电影决策对作曲家音乐的影响。拟议的项目将利用琼斯档案馆创建公共活动，教育材料，（第一个重要的出版物致力于作曲家），调查和评估在英国和全球电影音乐产业的发展背景下，他的职业生涯的关键阶段，会议论文和程序，博士论文，以及与琼斯的电影作品有关的材料的数字档案，用于研究和教学（根据大学与琼斯的协议）。

项目成果

Hidden Gems in the Archive: Trevor Jones's Score for The Dark Crystal (1981)

档案中隐藏的宝石：特雷弗·琼斯为《黑水晶》(1981) 创作的配乐

• 发表时间: 2016
• 作者: Cooper D

Scoring Merlin: Music in a Hybrid Television Production

梅林配乐：混合电视制作中的音乐

• 发表时间: 2014
• 作者: Cooper D

The Oxford Handbook of the Creative Process in Music

牛津音乐创作过程手册

• 作者: Cooper D

The Screen Music of Trevor Jones: Technology, Process, Production

特雷弗·琼斯的银幕音乐：技术、流程、制作

• 作者: Cooper, D

Spotting the Differences: The Role of the Music Editor in Thirteen Days (2001) and Crossroads (2002).

找出差异：《十三天》（2001 年）和《十字路口》（2002 年）中音乐编辑的角色。

• 发表时间: 2016
• 作者: Cooper D