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{{Infobox musical artist
{{Infobox musical artist
| name = Danny Elfman
| name = Dr Drank Mastsa
| birth_name = Daniel Robert Elfman
| birth_name = Daniel Robert Elfman
| alias =
| alias =
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==Early life and career==
==Early life and career==
MUS 304, EXAM #4 DO NOT WRITE ON THIS DOCUMENT !!! USE A SEPARATE ANSWER SHEET PROVIDED TO YOU BY THE INSTRUCTOR TO ENTER YOUR ANSWERS
Danny Elfman was born in Los Angeles, California, the son of [[Blossom Elfman]] ([[married and maiden names|née]] Bernstein), a writer and teacher, and Milton Elfman, a teacher who was in the [[United States Air Force|Air Force]].<ref>{{cite web|url=http://www.filmreference.com/film/34/Danny-Elfman.html|title=Danny Elfman profile at FilmReference.com|publisher=Filmreference.com|accessdate=2011-01-02}}</ref> Elfman grew up in a racially mixed community in the [[Baldwin Hills, Los Angeles, California|Baldwin Hills]] area of [[Los Angeles, California|Los Angeles]].<ref>{{cite web|url=http://elfman.filmmusic.com/elfman_la_times.html|title=Elfman in L.A.|publisher=Elfman.filmmusic.com|accessdate=2011-01-02}}</ref> He spent much of his time in the local movie theatre, adoring the music of such film composers as [[Bernard Herrmann]] and [[Franz Waxman]]. Stating that he hung out with the "band nerds" in high school, he started a [[ska]] band. After dropping out of high school, he followed his brother [[Richard Elfman|Richard]] to [[France]],<ref>{{cite web|url=http://www.buzzine.com/2008/05/oingo-boingo|title=Buzzine|publisher=Buzzine|date=2009-05-07|accessdate=2011-01-02}}</ref> where he performed with Le Grand Magic Circus, an [[avant-garde]] musical theater group. Violin in tow, Elfman next journeyed to [[Africa]] where he traveled through [[Ghana]], [[Mali]], and [[Republic of Upper Volta|Upper Volta]], absorbing new musical styles, including the Ghanaian [[highlife]] genre which would eventually influence his own music. {{Citation needed|date=May 2009}}
Chapter 10 Multiple Choice

1. What trumpet player was instrumental in more than one style of jazz? A) Roy Eldridge B) Chet Baker C) Miles Davis
He contracted [[malaria]] during his one-year stay and was often sick. Eventually he returned home to the United States, where he began to take Balinese music lessons at the [[CalArts]]. During this time, he was romantically involved with [[Kim Gordon]], who would later go on to form [[Sonic Youth]]. He was never officially a student at the institute, nonetheless, the instructor encouraged him to continue learning. Elfman stated, "He just laughed, and said, 'Sit. Play.' I continued to sit and play for a couple years."<ref>{{cite web|url=http://www.boingo.org/articles/VideoEntertainment.html|title=Video Entertainment Magazine interview, April 4, 1996|publisher=Boingo.org|date=1996-04-04|accessdate=2011-01-02}}</ref> At this time, his brother was forming a new musical theater group, [[The Mystic Knights of the Oingo Boingo]].
D) Shorty Rogers E) Wynton Marsalis
2. What particular mute is associated with Miles Davis? A) Solotone B) Cup C) Bucket
D) Straight E) None of the above
3. What album by Miles Davis was considered his first true venture into the world of rock? A) Birth of the Cool B) Bitches Brew C) In a Silent way
D) Someday My Prince Will Come E) E. Jack Johnson
4. “Kind of Blue” was a landmark recording in what style of jazz? A) Swing B) Be-Bop C) Fusion
D) Modal E) None of the above.
5. “So What,” “Freddie the Freeloader,” and “Blue and Green” are all compositions on what album (CD)?
A) Bitches Brew B) Birth of the Cool C) Kind of Blue D) Porgy and Bess E) None of the above
6. What term is given to the jazz style of playing that is based on scales (modes) rather than chords?
MUS 304 exam # 4 | 1
A) Modal B) Be-bop C) Cool D) Third Stream E) Fusion
7. Early in his career Miles replaced “Dizzy” Gillespie in the be-bop quintet of A) Sonny Stitt B) Charlie Parker C) Don Byas
D) None of the above
8. Guitarist John McLaughlin, tenor saxophonist with Wayne Shorter, keyboardist, Joe Zawinul and Chick Corea were all an integral part of what recording?
A) Bitches Brew B) Milestones C) Relaxin' D) Workin'
E) None of the above
9. Identify which style of jazz that Miles Davis did not influence. A) Swing B) Fusion C) Avant Garde
D) Cool E) None of the above
10. Select the two most descriptive adjectives that can be applied to Miles Davis's trumpet playing.
A) Loud, frenzied B) Intimate, introspective C) Strident, unorganized D) Fast, brassy E) None of the above
11. “Bitches Brew” is generally categorized as what style of jazz? A) Avant-Garde B) Be-Bop C) Cool
D) Third Stream E) None of the above
12. What alto saxophonist was a member with the Miles Davis sextet? A) Charlie Parker B) Lee Konitz C) “Cannonball” Adderley
MUS 304 exam # 4 | 2
D) None of the above
True/False
13. “Kind of Blue” was recorded by trumpeter “Dizzy” Gillespie.
14. Miles Davis was resistant to musical change and played in only one style.
15. Gil Evans is best known as a composer/arranger.
16. A mode is another name for a musical scale.
17. The album that emphasized the use of modes rather than chords for improvisation was “Birth of the Cool.”
18. Miles Davis was considered to be a very technically-oriented trumpet player.
19. The modal style of jazz incorporated a fast harmonic rhythm characterized by many different chords in the space of one or two measures.
20. Miles Ahead, Porgy and Bess, and Sketches of Spain were all arranged and orchestrated by Gil Evans.
21. “So What” from the album “Kind of Blue” features tenor saxophonist Lester Young.
22. Miles Davis recorded three albums considered to be pivotal in the history of jazz: “Birth of the Cool,” “Kind of Blue ,” and “Nefertiti.”
23. “Footprints” is a Miles Davis composition.
Short Answer
24. What tenor saxophonist was a member of the classic Miles Davis quintet?
Chapter 11 Multiple Choice
1. What term best describes the musical style based on a rollicking, rhythmic feeling? A) Be-Bop B) Boogie Woogie C) Swing
D) Hard Bop E) Funky
2. What kind of group best displayed the artistry of pianist Bill Evans? A) Trio B) Quartet
MUS 304 exam # 4 | 3
C) Quintet D) Sextet E) None of the above
3. What jazz group led by drummer Art Blakey was influential in the Funky style? A) Jazz Messengers B) Return to Forever C) Weather Report
D) None of the above
4. Who composed “The Preacher,” “Song For My Father,” and “Sister Sadie”? A) Art Blakey B) Dave Brubeck C) Horace Silver
D) Charles Mingus E) None of the above
5. The use of triadic harmonies, emotional intensity, and a return to the roots of jazz are identifying features of what jazz style?
A) Soul jazz B) Gospel jazz C) Funky jazz D) Free jazz E) None of the above
6. Sonny Rollins is known as what type of improviser? A) Harmonic B) Melodic C) Motivic
D) None of the above
7. “Blues 7” and “St. Thomas” are compositions by what tenor saxophonist? A) Lester Young B) John Coltrane C) Coleman Hawkins
D) Sonny Rollins E) None of the above
8. “Pithecanthropus Erectus” was composed by what well-known bassist? A) Jimmy Blanton B) Oscar Pettiford C) Percy Heath
D) Charles Mingus
9. What pianist took the piano in a new direction of improvisation by reshaping traditional chords into his own “ trademark” voicings?
MUS 304 exam # 4 | 4
A) “Duke” Ellington B) Bill Evans C) Dave Brubeck D) Horace Silver
10. Mainstream jazz emerged from what two jazz styles? A) Bop and Hard Bop B) Cool and Bop C) Funky and Hard Bop
D) None of the above
11. Freddie Hubbard, Lee Morgan, Wayne Shorter and Wynton Marsalis were all members, at one time, of the group led by whom?
A) Horace Silver B) Charles Mingus C) Miles Davis D) Art Blakey E) None of the above
12. Who composed “Haitian Fight Song”? A) Horace Silver B) Art Blakey C) Bill Evans
D) Gerry Mulligan E) None of the above
True/False
13. The hard bop style was a return to be basics of jazz. 14. Charles Mingus was primarily known as a guitarist. 15. Funky music borrowed musical elements from African American church music. 16. Gospel jazz is an extension of be-bop. 17. Art Blakey's groups were known as the “Jazz Masters.” 18. Horace Silver was instrumental in the development with “Third Stream” music. 19. Bill Evans' primary instrument was the piano. 20. “St. Thomas” and “Blue 7” are compositions by Charles Mingus. 21. A return to “mainstream” jazz is a trademark of Wynton Marsalis.
MUS 304 exam # 4 | 5
22. “Amen” chords (plagal candence) were used in the hard bop style of jazz.
23. Art Blakey played the drums.
24. Jimmy Smith was responsible for proving that the electric organ was a viable jazz instrument.
Chapter 12 True/False
1. Songs classified as “Free Jazz” can be recognized by their steady rhythmic meters.
2. Name two musicians whose “freer expression” contributed to the establishment of free jazz:
3. The seeds of free-form jazz existed from the beginnings of jazz itself.
4. The strengths of the players in the group define the effect of free jazz compositions.
5. Ornette Coleman received widespread recognition for distinguishing Free Jazz from Traditional Jazz?
6. Free jazz does not use defined chord progressions.
7. Cecil Taylor's “harmolodic theory” struck a balance between melody and harmony.
8. The jazz and classical avant-garde streams are easily distinguished.
9. Sun Ra is best known of his performances with the group called Arkestra.
10. John Coltrane’s fast melodic runs are sometimes referred to as “sheets of sound”.
11. Cecil Taylor's style of playing the piano incorporates a percussive approach meant to imitate drummers.
12. John Coltrane played on the Miles Davis' landmark recording Kind of Blue.
Multiple Choice
13. Which statement best describes how critics reacted to this musician? A) They thought the music simply “didn't sound good.” B) They suggested that this style of jazz masked the players' lack of skill in other structured
areas of jazz. C) They fell into two groups – those who admired it and those who deemed it unworthy of
consideration. D) They compared it to Western scales and harmony.
MUS 304 exam # 4 | 6
14. Which of the following statements in the text is true of Free Jazz? A) It emphasizes the strengths of the rhythm section. B) Harmonic movement is consistent to support intricate harmonies. C) The finished product is less important than the process.
D) Free Jazz composers focus on structured chromaticism. E) All of the above
15. Free jazz has been compared to the musical devices used by what composer traditionally associated with classical music?
A) Debussy B) Liszt C) Schoenberg D) Tchaikovsky E) None of the above
16. Which of the following would NOT generally be used to describe Free Jazz? A) atonal B) harmonic freedom C) melodic
D) structured
17. Which of the following statements best describes Cecil Taylor? A) Appreciating his lengthy, intense compositions requires stamina. B) Much emphasis is placed on the contributions of individuals. C) Absence of the piano is a clear way to distinguish his music.
D) He is skilled at blending Free Jazz with Eastern music. E) All of the above
18. Further, what other strength separated John Coltrane from other saxophonists? A) His use of baritone and alto saxophones. B) His proficiency and control in all registers of the instrument. C) His use of different breathing patterns to create distinct sounds.
D) His frequent use of vibrato on alto saxophone. E) All of the above
19. In much of his music, John Coltrane played rhythms that countered what the rhythm section was doing. This technique in turn, allowed the rhythm section to:
A) play louder in response to Coltranes's intensity B) play whatever occurred to them according to the melodic ideas they heard C) play more defined and consistent rhythms to support Coltrane's ideas D) play sheets of sound to support Coltrane's sheets of sound E) None of the above
20. John Coltrane established a mature, consistent relationship between chords and his melodic thoughts as a result of his association with:
A) Cecil Taylor
MUS 304 exam # 4 | 7
B) Thelonious Monk C) Bill Evans D) Sun Ra
21. One of John Coltrane's most celebrated demonstrations of his approach to modality is his recording of the song:
A) The Sound of Music B) My Favorite Things C) Chim Chim Cheree D) On the Sunny Side of the Street E) None of the Above
22. Among his many credits is that fact that Sun Ra was the first Chicago composer to: A) write music suited to both big band and folk musicians B) perform on many instruments at one time C) settle controversy surrounding free jazz musicians
D) use collective improvisation in big band music E) All of the above
Short Answer (2 points)
23. Name two groups that emerged from the free jazz movements of Chicago.
MUS 304 exam # 4 | 8


==Oingo Boingo==
==Oingo Boingo==

Revision as of 22:32, 15 November 2012

Dr Drank Mastsa
Elfman at the San Diego Comic-Con in 2010
Elfman at the San Diego Comic-Con in 2010
Background information
Birth nameDaniel Robert Elfman
Born (1953-05-29) May 29, 1953 (age 71)
Los Angeles, California, U.S.
GenresNew Wave, alternative rock, film music
Occupation(s)Composer, singer, record producer, actor, voice actor
Instrument(s)trombone, violin, guitar, percussion, vocals, piano, keyboard[1]
Years active1972–present
Spouse(s)Bridget Fonda (2003–present; 1 child)

Daniel Robert "Danny" Elfman (born May 29, 1953) is an American composer, best known as the lead singer and songwriter for the rock band Oingo Boingo, from 1976 to 1995 and later for scoring music for television and film and creating The Simpsons main title theme as well as the 1989 Batman movie theme. He has scored the majority of the films for his long-time friend Tim Burton.

Born in Los Angeles, he entered the film industry in 1976, initially as an actor. He made his film scoring debut in 1980 for the film Forbidden Zone directed by his older brother Richard Elfman. He has since been nominated for four Academy Awards and won a Grammy Award for Best Instrumental Composition Written for a Motion Picture, Television or Other Visual Media for Tim Burton's Batman[2] and an Emmy Award for his Desperate Housewives[3] theme.

Elfman was honored with the prestigious Richard Kirk award at the 2002 BMI Film and TV Awards. The award is given annually to a composer who has made significant contributions to film and television music.[4]

Early life and career

MUS 304, EXAM #4 DO NOT WRITE ON THIS DOCUMENT !!! USE A SEPARATE ANSWER SHEET PROVIDED TO YOU BY THE INSTRUCTOR TO ENTER YOUR ANSWERS Chapter 10 Multiple Choice 1. What trumpet player was instrumental in more than one style of jazz? A) Roy Eldridge B) Chet Baker C) Miles Davis D) Shorty Rogers E) Wynton Marsalis 2. What particular mute is associated with Miles Davis? A) Solotone B) Cup C) Bucket D) Straight E) None of the above 3. What album by Miles Davis was considered his first true venture into the world of rock? A) Birth of the Cool B) Bitches Brew C) In a Silent way D) Someday My Prince Will Come E) E. Jack Johnson 4. “Kind of Blue” was a landmark recording in what style of jazz? A) Swing B) Be-Bop C) Fusion D) Modal E) None of the above. 5. “So What,” “Freddie the Freeloader,” and “Blue and Green” are all compositions on what album (CD)? A) Bitches Brew B) Birth of the Cool C) Kind of Blue D) Porgy and Bess E) None of the above 6. What term is given to the jazz style of playing that is based on scales (modes) rather than chords? MUS 304 exam # 4 | 1 A) Modal B) Be-bop C) Cool D) Third Stream E) Fusion 7. Early in his career Miles replaced “Dizzy” Gillespie in the be-bop quintet of A) Sonny Stitt B) Charlie Parker C) Don Byas D) None of the above 8. Guitarist John McLaughlin, tenor saxophonist with Wayne Shorter, keyboardist, Joe Zawinul and Chick Corea were all an integral part of what recording? A) Bitches Brew B) Milestones C) Relaxin' D) Workin' E) None of the above 9. Identify which style of jazz that Miles Davis did not influence. A) Swing B) Fusion C) Avant Garde D) Cool E) None of the above 10. Select the two most descriptive adjectives that can be applied to Miles Davis's trumpet playing. A) Loud, frenzied B) Intimate, introspective C) Strident, unorganized D) Fast, brassy E) None of the above 11. “Bitches Brew” is generally categorized as what style of jazz? A) Avant-Garde B) Be-Bop C) Cool D) Third Stream E) None of the above 12. What alto saxophonist was a member with the Miles Davis sextet? A) Charlie Parker B) Lee Konitz C) “Cannonball” Adderley MUS 304 exam # 4 | 2 D) None of the above True/False 13. “Kind of Blue” was recorded by trumpeter “Dizzy” Gillespie. 14. Miles Davis was resistant to musical change and played in only one style. 15. Gil Evans is best known as a composer/arranger. 16. A mode is another name for a musical scale. 17. The album that emphasized the use of modes rather than chords for improvisation was “Birth of the Cool.” 18. Miles Davis was considered to be a very technically-oriented trumpet player. 19. The modal style of jazz incorporated a fast harmonic rhythm characterized by many different chords in the space of one or two measures. 20. Miles Ahead, Porgy and Bess, and Sketches of Spain were all arranged and orchestrated by Gil Evans. 21. “So What” from the album “Kind of Blue” features tenor saxophonist Lester Young. 22. Miles Davis recorded three albums considered to be pivotal in the history of jazz: “Birth of the Cool,” “Kind of Blue ,” and “Nefertiti.” 23. “Footprints” is a Miles Davis composition. Short Answer 24. What tenor saxophonist was a member of the classic Miles Davis quintet? Chapter 11 Multiple Choice 1. What term best describes the musical style based on a rollicking, rhythmic feeling? A) Be-Bop B) Boogie Woogie C) Swing D) Hard Bop E) Funky 2. What kind of group best displayed the artistry of pianist Bill Evans? A) Trio B) Quartet MUS 304 exam # 4 | 3 C) Quintet D) Sextet E) None of the above 3. What jazz group led by drummer Art Blakey was influential in the Funky style? A) Jazz Messengers B) Return to Forever C) Weather Report D) None of the above 4. Who composed “The Preacher,” “Song For My Father,” and “Sister Sadie”? A) Art Blakey B) Dave Brubeck C) Horace Silver D) Charles Mingus E) None of the above 5. The use of triadic harmonies, emotional intensity, and a return to the roots of jazz are identifying features of what jazz style? A) Soul jazz B) Gospel jazz C) Funky jazz D) Free jazz E) None of the above 6. Sonny Rollins is known as what type of improviser? A) Harmonic B) Melodic C) Motivic D) None of the above 7. “Blues 7” and “St. Thomas” are compositions by what tenor saxophonist? A) Lester Young B) John Coltrane C) Coleman Hawkins D) Sonny Rollins E) None of the above 8. “Pithecanthropus Erectus” was composed by what well-known bassist? A) Jimmy Blanton B) Oscar Pettiford C) Percy Heath D) Charles Mingus 9. What pianist took the piano in a new direction of improvisation by reshaping traditional chords into his own “ trademark” voicings? MUS 304 exam # 4 | 4 A) “Duke” Ellington B) Bill Evans C) Dave Brubeck D) Horace Silver 10. Mainstream jazz emerged from what two jazz styles? A) Bop and Hard Bop B) Cool and Bop C) Funky and Hard Bop D) None of the above 11. Freddie Hubbard, Lee Morgan, Wayne Shorter and Wynton Marsalis were all members, at one time, of the group led by whom? A) Horace Silver B) Charles Mingus C) Miles Davis D) Art Blakey E) None of the above 12. Who composed “Haitian Fight Song”? A) Horace Silver B) Art Blakey C) Bill Evans D) Gerry Mulligan E) None of the above True/False 13. The hard bop style was a return to be basics of jazz. 14. Charles Mingus was primarily known as a guitarist. 15. Funky music borrowed musical elements from African American church music. 16. Gospel jazz is an extension of be-bop. 17. Art Blakey's groups were known as the “Jazz Masters.” 18. Horace Silver was instrumental in the development with “Third Stream” music. 19. Bill Evans' primary instrument was the piano. 20. “St. Thomas” and “Blue 7” are compositions by Charles Mingus. 21. A return to “mainstream” jazz is a trademark of Wynton Marsalis. MUS 304 exam # 4 | 5 22. “Amen” chords (plagal candence) were used in the hard bop style of jazz. 23. Art Blakey played the drums. 24. Jimmy Smith was responsible for proving that the electric organ was a viable jazz instrument. Chapter 12 True/False 1. Songs classified as “Free Jazz” can be recognized by their steady rhythmic meters. 2. Name two musicians whose “freer expression” contributed to the establishment of free jazz: 3. The seeds of free-form jazz existed from the beginnings of jazz itself. 4. The strengths of the players in the group define the effect of free jazz compositions. 5. Ornette Coleman received widespread recognition for distinguishing Free Jazz from Traditional Jazz? 6. Free jazz does not use defined chord progressions. 7. Cecil Taylor's “harmolodic theory” struck a balance between melody and harmony. 8. The jazz and classical avant-garde streams are easily distinguished. 9. Sun Ra is best known of his performances with the group called Arkestra. 10. John Coltrane’s fast melodic runs are sometimes referred to as “sheets of sound”. 11. Cecil Taylor's style of playing the piano incorporates a percussive approach meant to imitate drummers. 12. John Coltrane played on the Miles Davis' landmark recording Kind of Blue. Multiple Choice 13. Which statement best describes how critics reacted to this musician? A) They thought the music simply “didn't sound good.” B) They suggested that this style of jazz masked the players' lack of skill in other structured areas of jazz. C) They fell into two groups – those who admired it and those who deemed it unworthy of consideration. D) They compared it to Western scales and harmony. MUS 304 exam # 4 | 6 14. Which of the following statements in the text is true of Free Jazz? A) It emphasizes the strengths of the rhythm section. B) Harmonic movement is consistent to support intricate harmonies. C) The finished product is less important than the process. D) Free Jazz composers focus on structured chromaticism. E) All of the above 15. Free jazz has been compared to the musical devices used by what composer traditionally associated with classical music? A) Debussy B) Liszt C) Schoenberg D) Tchaikovsky E) None of the above 16. Which of the following would NOT generally be used to describe Free Jazz? A) atonal B) harmonic freedom C) melodic D) structured 17. Which of the following statements best describes Cecil Taylor? A) Appreciating his lengthy, intense compositions requires stamina. B) Much emphasis is placed on the contributions of individuals. C) Absence of the piano is a clear way to distinguish his music. D) He is skilled at blending Free Jazz with Eastern music. E) All of the above 18. Further, what other strength separated John Coltrane from other saxophonists? A) His use of baritone and alto saxophones. B) His proficiency and control in all registers of the instrument. C) His use of different breathing patterns to create distinct sounds. D) His frequent use of vibrato on alto saxophone. E) All of the above 19. In much of his music, John Coltrane played rhythms that countered what the rhythm section was doing. This technique in turn, allowed the rhythm section to: A) play louder in response to Coltranes's intensity B) play whatever occurred to them according to the melodic ideas they heard C) play more defined and consistent rhythms to support Coltrane's ideas D) play sheets of sound to support Coltrane's sheets of sound E) None of the above 20. John Coltrane established a mature, consistent relationship between chords and his melodic thoughts as a result of his association with: A) Cecil Taylor MUS 304 exam # 4 | 7 B) Thelonious Monk C) Bill Evans D) Sun Ra 21. One of John Coltrane's most celebrated demonstrations of his approach to modality is his recording of the song: A) The Sound of Music B) My Favorite Things C) Chim Chim Cheree D) On the Sunny Side of the Street E) None of the Above 22. Among his many credits is that fact that Sun Ra was the first Chicago composer to: A) write music suited to both big band and folk musicians B) perform on many instruments at one time C) settle controversy surrounding free jazz musicians D) use collective improvisation in big band music E) All of the above Short Answer (2 points) 23. Name two groups that emerged from the free jazz movements of Chicago. MUS 304 exam # 4 | 8

Oingo Boingo

Main article: Oingo Boingo

In 1972 Richard Elfman founded the American New Wave band/performance art group, originally called The Mystic Knights of the Oingo Boingo. The group performed the music for Richard's debut feature film, Forbidden Zone. Danny Elfman composed his first score for the film and played the role of Satan. By the time the movie was completed, they had taken the name Oingo Boingo and begun recording and touring as a rock group. From 1976 and on it was led by Danny Elfman, until 1995 when they suddenly retired. The semi-theatrical music and comedy troupe transformed into a ska-influenced new wave band in 1979, and then changed again towards a more guitar-oriented rock sound, in the late 1980s. [citation needed]

Elfman and Tim Burton

In 1985, Tim Burton and Paul Reubens invited Elfman to write the score for their first feature film, Pee-wee's Big Adventure. Elfman was apprehensive at first because of his lack of formal training, but with orchestration assistance from Oingo Boingo guitarist and arranger Steve Bartek, he achieved his goal of emulating the mood of such composers as Nino Rota and Bernard Herrmann.[5] In the booklet for the first volume of Music for a Darkened Theatre, Elfman described the first time he heard his music played by a full orchestra as one of the most thrilling experiences of his life.[citation needed] Elfman immediately developed a rapport with Burton[5] and has gone on to score all but two of Burton's major studio releases: Ed Wood which was under production while Elfman and Burton were having a fight,[6] and Sweeney Todd. Elfman also provided the singing voice for Jack Skellington in Tim Burton's The Nightmare Before Christmas and the voices of both Barrel and the "Clown with the Tear-Away Face". Years later he provided the voice for Bonejangels the skeleton in Corpse Bride.

Burton has said of his relationship with Elfman: "We don't even have to talk about the music. We don't even have to intellectualize – which is good for both of us, we're both similar that way. We're very lucky to connect" (Breskin, 1997).

Musical influences

Elfman cited his first time noticing film music being when he heard Bernard Hermann's score to The Day the Earth Stood Still as an eleven-year-old and being a fan of film music since then. Nino Rota also served as a significant influence and was the main inspiration for Elfman's score to Pee-Wee's Big Adventure.[7] Other notable influences based in film music include Erich Wolfgang Korngold, Max Steiner, David Tamkin and Franz Waxman.[7][8] Elfman's classical influences include Béla Bartók, Philip Glass, Lou Harrison, Carl Orff, Harry Partch, Sergei Prokofiev, Maurice Ravel, Erik Satie, Igor Stravinsky and Pyotr Ilyich Tchaikovsky.[8]

Hearing damage

When asked during a 2007 phone-in interview on XETRA-FM if he ever had any notions of performing in an Oingo Boingo reunion, Elfman immediately rejected the idea and stated that in the last few years with the band he had begun to develop significant and irreversible hearing damage as a result of his continuous exposure to the high noise levels involved in performing in a rock band. He went on to say that he believes his hearing damage is partially due to a genetic predisposition to hearing loss, and that he will never return to the stage for fear of worsening not only his condition but also that of his band mates.

Recent works

Elfman recently composed the music for the Cirque du Soleil Show, IRIS, which is being performed at the Dolby Theatre in Hollywood. The production began its year-long run on July 21, 2011, but it is predicted that it may run for the coming decade. This is Elfman's most notable non-film work (although IRIS is based upon the history of the film industry) since he composed Serenada Schizophrana for the American Composers Orchestra. It was conducted by John Mauceri on its recording and by Steven Sloane at its premiere at Carnegie Hall in New York City on February 23, 2005. After its premiere, it was recorded in studio and released onto SACD on October 3, 2006. The meeting with Mauceri proved fruitful as the composer was encouraged then to write a new concert piece for Mauceri and the Hollywood Bowl Orchestra. Elfman composed an "overture to a nonexistent musical" and called the piece "The Overeager Overture." He also continues to compose his film scores in addition to these other projects. In November 2010, it was reported that Danny Elfman is writing the music for a planned musical based on the life of Houdini.[9] But, as of January 2012, he was no longer attached to the project.[10]

Personal life

Elfman has three children: Lola, born in 1979; Mali, born in 1984; and Oliver, born in 2005. On November 29, 2003, Elfman married film actress Bridget Fonda. In 1997 he scored A Simple Plan – his only score for one of her films to date (although he did compose a cue for the film Army of Darkness, in which Fonda has a cameo). He is the uncle of actor Bodhi Elfman who is married to actress Jenna Elfman, known most notably in her role as Dharma in the TV series Dharma and Greg.

Political views

Describing his politics during the 1980s, Elfman said, "I'm not a doomist. My attitude is always to be critical of what's around you, but not ever to forget how lucky we are. I've traveled around the world. I left thinking I was a revolutionary. I came back real right-wing patriotic. Since then, I've kind of mellowed in between."[11] In 2008, he expressed support for Barack Obama and said that "Sarah Palin was my worst nightmare."[12]

Filmography

Appearances by Elfman as a composer, or as a member of Oingo Boingo:

Year Film Role/Directed by Notes
1977 I Never Promised You a Rose Garden Yri drummer Also featured Richard Elfman
Hot Tomorrows Singer Directed by Martin Brest
1980 Forbidden Zone Satan Directed by Richard Elfman
1981 Urgh! A Music War Himself Part of Oingo Boingo
1984 Good Morning, Mr. Orwell Himself Part of Oingo Boingo
1985 Pee-wee's Big Adventure Tim Burton Original soundtrack released as part of the Elfman/Burton box set
1986 Back to School Himself Part of Oingo Boingo Original soundtrack released as part of the Elfman/Burton box set
1987 Summer School Carl Reiner Soundtrack (includes one Elfman song; no score)
Wisdom Emilio Estevez, Robert Wise Soundtrack released by Varèse Sarabande
1988 Beetlejuice Tim Burton Soundtrack
Midnight Run Martin Brest Soundtrack released by MCA
Big Top Pee-wee Randal Kleiser Soundtrack (including dialogue) released by Arista, reissued by PEG
Hot to Trot Michael Dinner Suite included on Music for a Darkened Theatre, Vol. 1
Scrooged Richard Donner Suite included on Music for a Darkened Theatre, Vol. 1; complete score released by La-La Land Records
1989 Batman Tim Burton Soundtrack (re-released with complete score from La-La Land Records); Nominated for 32nd Grammy Award for Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media
Nightbreed Clive Barker Soundtrack released by MCA
1990 Dick Tracy Warren Beatty Soundtrack; Nominated for 33rd Grammy Award for Best Instrumental Composition Written for a Motion Picture or for Television
Darkman Sam Raimi Soundtrack
Edward Scissorhands Tim Burton Soundtrack; Nominated for 34th Grammy Award for Best Instrumental Composition Written for a Motion Picture or for Television
1992 Article 99 Howard Deutch Soundtrack released by Varèse Sarabande
Batman Returns Tim Burton Soundtrack released by Warner Bros. Records; re-released with complete score from La-La Land Records
1993 Sommersby Jon Amiel Soundtrack released by Elektra
Army of Darkness Sam Raimi "March of the Dead" theme by Danny Elfman, rest of the score by Joseph LoDuca
The Nightmare Before Christmas Henry Selick Soundtrack released by Walt Disney Records
1994 Black Beauty Caroline Thompson Soundtrack
1995 Dolores Claiborne Taylor Hackford Soundtrack released by Varèse Sarabande
Dead Presidents Albert Hughes, Allen Hughes Soundtrack (one Elfman track; suite also included on Music for a Darkened Theatre Vol. 2)
To Die For Gus Van Sant Soundtrack released by Varèse Sarabande (score + songs)
1996 Mission: Impossible Brian De Palma Soundtrack (songs + three brief Elfman suites); Score album
The Frighteners Peter Jackson Soundtrack
Freeway Matthew Bright Suite included on Music for a Darkened Theatre Vol. 2
Extreme Measures Michael Apted Soundtrack released by Varèse Sarabande
Mars Attacks! Tim Burton Soundtrack released by Atlantic; expanded edition released by La-La Land Records
1997 Men in Black Barry Sonnenfeld Soundtrack (two Elfman cues); Score album; Nominated for 70th Academy Award for Best Original Musical or Comedy Score & for 40th Grammy Award for Best Instrumental Composition Written for a Motion Picture or for Television
Flubber Les Mayfield Soundtrack released by Walt Disney Records
Good Will Hunting Gus Van Sant Soundtrack (two Elfman cues); Nominated for 70th Academy Award for Best Original Dramatic Score
1998 A Simple Plan Sam Raimi Soundtrack released by Compass III
A Civil Action Steven Zaillian Soundtrack
1999 Instinct Jon Turteltaub Soundtrack
Anywhere But Here Wayne Wang Soundtrack released by Atlantic (includes one score suite)
Sleepy Hollow Tim Burton Soundtrack released by Hollywood Records
2000 Proof of Life Taylor Hackford Soundtrack released by Varèse Sarabande
The Gift Tommy Lee Ballard Direction by Sam Raimi
The Family Man Brett Ratner Soundtrack released by Sire Records (two Elfman cues)
2001 Planet of the Apes Tim Burton Soundtrack released by SME; complete score released by La-La Land
2002 Spider-Man Sam Raimi Score album; Song album; Nominated for 45th Grammy Award for Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media
Men in Black II Barry Sonnenfeld Soundtrack released by Columbia Records
Red Dragon Brett Ratner Soundtrack released by Decca Records
Chicago Rob Marshall Soundtrack (two Elfman tracks)
2003 Hulk Ang Lee Soundtrack released by Columbia Records
Big Fish Tim Burton Soundtrack; Nominated for 76th Academy Award for Best Original Score, for 61st Golden Globe Award for Best Original Score & for 47th Grammy Award for Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media
2004 Spider-Man 2 Sam Raimi Soundtrack; Score album
2005 Charlie and the Chocolate Factory Tim Burton Soundtrack; Nominated for 48th Grammy Award for Best Song Written for a Motion Picture, Television or Other Visual Media (Wonka's Welcome Song)
Corpse Bride Tim Burton Soundtrack
2006 Deep Sea 3D Howard Hall Serenada Schizophrana
Nacho Libre Jared Hess Soundtrack (score suite)
Charlotte's Web Gary Winick Soundtrack
2007 Meet the Robinsons Stephen Anderson Soundtrack
The Kingdom Peter Berg Soundtrack released by Varèse Sarabande
2008 Standard Operating Procedure Errol Morris Soundtrack
Wanted Timur Bekmambetov Soundtrack
Hellboy II: The Golden Army Guillermo del Toro Soundtrack released by Varèse Sarabande
Milk Gus Van Sant Soundtrack released by Decca Records; Nominated for 81st Academy Award for Best Original Score & for 52nd Grammy Award for Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media
2009 Notorious George Tillman, Jr. Soundtrack (one Elfman track)
Terminator Salvation McG Soundtrack released by Warner Bros. Records
9 Shane Acker Soundtrack with Deborah Lurie and produced by Tim Burton released by Focus Features
Taking Woodstock Ang Lee Song soundtrack on Rhino Records with four Elfman cues; score album on La-La Land Records
2010 The Wolfman Joe Johnston Soundtrack released by Varèse Sarabande
Alice in Wonderland Tim Burton Soundtrack released by Walt Disney Records; Nominated for 68th Golden Globe Award for Best Original Score & for 53rd Grammy Award for Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media
The Next Three Days Paul Haggis Soundtrack released by Lionsgate
2011 Restless Gus Van Sant
Real Steel Shawn Levy Song album on Interscope with one Elfman cut; score album released by Varèse Sarabande
2012 Dark Shadows Tim Burton Song album with two Elfman cuts and score album released by WaterTower Music
Men in Black 3 Barry Sonnenfeld Soundtrack released by Sony Classical
Frankenweenie Tim Burton Soundtrack released by Walt Disney Records
Silver Linings Playbook David O. Russell Soundtrack
Hitchcock Sacha Gervasi
Promised Land Gus Van Sant
2013 Oz, The Great and Powerful Sam Raimi Soundtrack
Epic Chris Wedge Soundtrack
2014 Deep Shane Acker Soundtrack and produced by Tim Burton released by Focus Features

In addition, he has supplied thematic material - except where noted - for movies scored by others (names in brackets):

Elfman also composed the music for the Hollywood Pictures logo (an excerpt from his main title for Sommersby was subsequently used as the logo music for Regency, the company that made it).

He has also written the theme music and occasional episodic scores for several television series, including:

His other work includes:

Awards and nominations

Main article: List of awards and nominations received by Danny Elfman
BMI Film & Television Awards 24 24
British Academy Film Awards 0 1
Emmy Awards 1 2
Golden Globe Awards 0 3
Grammy Awards 1 13
Phoenix Film Critics Society Awards 0 1
Satellite Awards 1 6
Saturn Awards 5 12
Sierra Awards 1 2
World Soundtrack Awards 0 4
Total 33 79

American Film Institute

Elfman's scores for Batman and Edward Scissorhands were nominated for AFI's 100 Years of Film Scores:

References

  1. ^ http://www.bluntinstrument.org.uk/elfman/archive/JohnBraheny1990.htm
  2. ^ "Batman (1989) Awards, IMDB.com". Retrieved 27 September 2012.
  3. ^ "Composer Danny Elfman Scores First Emmy Award".
  4. ^ "Top Film, TV, Cable Composers Honored at BMI's Annual Film/TV Awards". bmi.com. Retrieved 2010-10-28.
  5. ^ a b "Fanfare Article". Boingo.org. Retrieved 2011-01-02.
  6. ^ Salisbury, Burton, pp.137-144
  7. ^ a b Florino, Rick (December 14, 2010). "Danny Elfman Talks Tim Burton Scores, Bernard Hermann's Influence and More". ARTIST direct. Retrieved May 7, 2012.
  8. ^ a b Lustig, Jessica. "An interview with composer Danny Elfman". American Composers. Retrieved May 7, 2012.
  9. ^ Vozick-Levinson, Simon (November 2, 2010). "Aaron Sorkin writing Hugh Jackman's Houdini musical: Composer Danny Elfman has 'high hopes'". Popwatch.EW.com. Retrieved December 4, 2010.
  10. ^ Potts, Kimberly (January 4, 2012). "Hugh Jackman, Aaron Sorkin Teaming for 'Houdini' musical". thewrap.com.
  11. ^ http://www.boingo.org/articles/Encyclopedia.html
  12. ^ "Battling Our Greatest Fear". Huffington Post. 2008-10-30.
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