Hostname: page-component-cd9895bd7-dzt6s Total loading time: 0 Render date: 2024-12-26T07:04:17.220Z Has data issue: false hasContentIssue false
  • English
  • Français

The Music of James Bond. By Jon Burlingame. New York: Oxford University Press, 2012.

Review products

The Music of James Bond. By Jon Burlingame. New York: Oxford University Press, 2012.

Published online by Cambridge University Press:  30 September 2014

Anthony Bushard
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Book Review
Information
Journal of the Society for American Music , Volume 8 , Special Issue 3: Music and Sound in American Cinema, 1927–56 , August 2014 , pp. 412 - 415
Copyright
Copyright © The Society for American Music 2014 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Compare, for instance, the ensemble work in “When Flamingos Fly” or “Sunken Treasure” from Out of the Cool (1960) with Barry's underscoring on Goldfinger. Further, there is a noticeable similarity between the harmonies that support Miles Davis's solo on “It Ain't Necessarily So” from the Davis/Evans Porgy and Bess (1959) and the opening harmonic ostinato of Barry's Bond theme.

2 See especially Ford, Phil, “Jazz Exotica and the Naked City,” Journal of Musicological Research 27 (2008), 113–33CrossRefGoogle Scholar.