The Professional Career and Output of Trevor Jones

特雷弗·琼斯的职业生涯跨越了近40年，他是当代英国电影音乐最成功的作曲家之一，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了一系列的项目，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)开创性的动画电影(1982年的《黑暗水晶》(The Dark Crystal)；1986年的《迷宫》)，具有重大文化影响的电影，如1996年的《黄昏！》(Brassoff！)和1999年的《诺丁山》(Noting Hill)，以及那些涉及英国和海外政治问题的电影。后者包括《以父之名》(In the Parent，1993)和《密西西比焚烧》(Missisippi Burning，1988)，前者调查吉尔福德四人被不当逮捕和对待的事件，后者则讲述了20世纪60年代美国南部黑人民权活动人士和三K党的斗争。他为许多电影配乐，并在影院上映多年后继续定期出现在英国的电视节目中。琼斯一直活跃在这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换，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，这一时期数字音频工作站、数字合成器和其他电子乐器的发展对电影配乐制作的合作进程产生了重大影响。琼斯一直是使用这种技术的先锋，并继续走在专业的前沿。2005年，琼斯向利兹大学捐赠了大量与他的电影配乐有关的材料，利兹大学已经在电影音乐研究方面享有盛誉，并达成协议，这些材料可能只用于研究和教学。这笔捐赠包括400多盘多轨模拟磁带，包括会议录音和线索的演示模型，以及一系列文书工作，如现场笔记、混音器设置和音乐团队成员和制作团队成员之间的其他交流记录，琼斯通过为最近的电影项目提供数字文件和标记乐谱(通常包括草稿和素描)继续增加持有量。2010年，他第二次捐赠了档案材料，大约300件，包括几张图片的粗剪和精剪(在视频上)，额外的多声道和演示录音，以及一些最终的混音。随着研究人员获得可以进行更详细研究的资源，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，从电影在影院发行时对音乐的听觉分析，到使用额外的材料来补充配乐，特别是作曲家的手稿配乐。随着这一发展，与电影乐谱制作过程相关的档案资源的价值最近开始被研究人员认识到，因为这些材料通常可以建立注释乐谱的背景，使学者能够评估音乐思想和结构的先前化身，并绘制出音乐和电影决定对作曲家音乐产生影响的方式。拟议的项目将利用琼斯档案馆创建公共事件、教育材料、关于琼斯的专著(第一本致力于这位作曲家的重要出版物)，在英国和全球电影音乐产业发展的背景下调查和评估他职业生涯的关键阶段，会议论文和会议记录，一篇博士论文，以及用于研究和教学的与琼斯电影作品有关的材料的数字档案馆(根据大学与琼斯的协议)。

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).