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（Trevor Jones）的职业生涯跨越了近40年，是当代英国最成功的电影音乐作曲家之一，被同龄人视为行业中有影响力的人物。他以他从事的一系列项目，与之合作的董事以及他为创作电影音乐创作的新方法的发展而着称。他的输出包括吉姆·亨森（Jim Henson）开创性的动画电影（“黑暗水晶”，1982;“迷宫”，1986年），具有重大文化影响，例如“黄铜化！”。 （1996年）和“诺丁山”（1999年），以及在英国和国外处理政治问题的人。后者包括“以父亲的名义”（1993年），调查了对吉尔福德四号的不法逮捕和待遇，以及“密西西比燃烧”（1988年），该（1988年）涉及1960年代美国南部美国南部的黑人民权活动家和美国南部的库克·克鲁克斯·克兰（Ku Klux Klan）的斗争。他的许多电影在戏剧发行后的许多年中都定期在英国电视节目中出现。在音频领域，这一时期看到了数字音频工作站，数字合成器和其他电子仪器的发展，这些仪器对电影评分制作的协作过程产生了重大影响。琼斯（Jones）一直在使用此类技术方面，并继续在该行业的最前沿运作。2005年，琼斯（Jones）向利兹大学（University of Leeds）捐赠了一系列与他的电影分数有关的材料，该材料已经在电影音乐研究中既有既定声誉，又有协议，他们可以独立地用于研究和教学。该捐赠包括400多个多轨模拟磁带，包括会议记录和提示的演示模型，以及一系列文书工作，例如发现笔记，混音器设置和音乐和制作团队成员之间的交流记录，以及琼斯之间的交流记录，琼斯一直通过为最新的电影项目和未绘制的数字项目提供了数字文件，并将其包括在内，并包括了不包括在内的数字文件（这些文件）（这些都不包括在内，并包括了绘图）。 2010年，他第二次捐赠了档案材料，大约有300件项目，包括几张图片的粗略和精细削减（在视频中），其他多轨和演示录音以及一些最终混合。对电影音乐及其作曲家进行学术研究的方法，随着时间的流逝，研究人员已经获得了研究人员的访问，从而获得了更多详细的研究，从而使音乐的替代品逐渐发展出来。配乐，特别是作曲家的手稿得分。继续这一发展，研究人员最近开始认可与电影评分生产过程有关的档案资源的价值，因为这些材料通常可以建立注释分数的背景，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策对组合音乐的影响的方式。 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琼斯）。

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

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

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