Acknowledgments

For the first edition of The Invisible Art of Film Music, which was completed in 1998, I thanked many people who had steered me in the creation of the book. I would like to acknowledge them again because of their belief in my project. They include Forrest Alter (1915–2004), former head of the Art, Music, and Drama Department of the Flint Public Library, who became an early advocate of my film-music research. The writings and interviews of Tony Thomas (1927–1997) were an inspiration because they formed a model for me in the area of biographical research on film composers. The late Genesee County District Judge Kenneth M. Siegel (1945–1997) was a believer in my project whose brave fight against the ravages of cancer while I was finishing the first edition continues to inspire me to this day.

Many people who assisted me on the first edition continued to do so for the revision of the book. John Waxman helped me contact many people regarding the use of composer photos. I am in his debt for aiding me in contacting Nicholas Rozsa, Nina Rota, Olivia Tiomkin Douglas, Les Korngold, and Alex Raksin. I need to again thank Gay Goodwin Wallin, who has shared with me many photographs from her private collection for both editions of this book. Dace Taube and Rachelle Smith, of the Special Collections at the Doheny Memorial Library, University of Southern California, also deserve my thanks for arranging the use of photos from their collection. Cynthia Korolov, from the Detroit Symphony, helped with the photo of Aaron Copland, while M’Lynn Waldron allowed me to use the photos of Elmer Bernstein and Patrick Doyle. Thomas Jaehnig again allowed me to use his photos of John Williams and Jerry Goldsmith, while Etan Rosenbloom of ASCAP located a photo of Laurence Rosenthal. Jim Di Giovanni allowed me to use a shot of Michel Legrand, while Rick Kunis furnished a photo of Alan Menken and David Unger provided one of Danny Elfman. Jeff Sanderson and Dan Barry were helpful in finding photos of Hans Zimmer and Elliot Goldenthal. Lisa Edmondson helped with the selection of a photo of Bruce Broughton by Madeleine Coffaro, while Christopher Barr allowed the use of his photo of Thomas Newman; Jim Hair allowed the use of his photo of John Corigliano, and Jim Seer gave permission to use his photo of James Newton Howard. Many composer photos came from Photofest; I wish to thank Ron Mandelbaum for his work in managing this vast and diverse source of visual materials. Finally, I wish to thank Katharine Ryall of the Lebrecht Photo Library for the photograph of Ralph Vaughan Williams. This was a last-minute search to complete the collection of photos that appears in the new edition.

A few other people were instrumental in making the second edition a reality. Brian Speer proved to be invaluable as a combination researcher and typist. His determined effort to transcribe my revision notes was a huge help in correcting the updated version of the early parts of the book. I owe thanks to Stephen Tesler, who served as a computer consultant for helping me with technical problems concerning the reception, scanning, and transmission of materials relating to the book. I also need to thank Stephen Ryan and Christen Karniski of Scarecrow Press, who put up with my barrage of phone calls, emails, and text corrections over a long period of time. I want to also thank production editor Jessica McCleary, who made many insightful suggestions that helped to shape the book into its final form. These dedicated staff members of Scarecrow all patiently worked with me to shape, correct, clarify, and tighten the material that appears in this updated edition of The Invisible Art of Film Music. I need to thank the staff and students of Mott Community College, where I have taught a course in film music for many years. Many faculty members have helped me in various ways over the years in which I have worked to develop this book. Countless students have shared with me both their knowledge of and curiosity about films and film music. I especially wish to acknowledge the student, whose name regrettably remains unknown to me, who gave me the inspiration for the title of this book when he defined film music in one of our classroom reports as “the invisible part of the film.” Last but not least, I wish to recognize my family, including my wife and six adult offspring, for putting up with me during the revision process. Although my wife was in failing health for several years prior to her death in August 2012, she still had the spiritual strength that inspired me to complete this project.