Calliope Chipmunk’s Merriest Christmas: A Harmony Tails Story
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Hischak Mark A. Hischak and Mark A. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publisher. Hischak ; Mark A.
Includes bibliographical references and index. ISBN hardback : alk.hukusyuu-mobile.com/wp-content/code/2630-smartphone-snapchat.php
calliope chipmunks merriest christmas a harmony tails story Manual
Motion picture music—Encyclopedias. Robinson, Mark A. M68H58 Manufactured in the United States of America. For the Bleemer family, devoted Disney fans —T. When Walt Disney at head of the table drew this sketch circa , his company had already introduced several unforgettable characters, many still familiar icons today. Since most Americans first discovered these songs in their youth, they hold a special place in our collective consciousness. Yet there have been few serious studies of these beloved songs.
The purpose of this book is to describe and discuss hundreds of famous and not-so-famous songs from Disney films, television shows, Broadway productions, records, and theme parks, from the s to the present day. The goal is not only to inform readers about these many songs but also to rekindle memories readers have associated with them. What is a Disney song? For the purposes of this book, it is any new song written for a Disney product, be it a feature or short film, a Broadway musical, a television show or special, a made-for-video production, a record, or a theme park.
But a Disney song is also a state of mind, a lyrical and musical expression of an idea that harkens back to the simple but potent premise that first distinguished Walt Disney more than nine decades ago. Whether it is an animated fairy tale, a live-action adventure, a silly sitcom, or a Disneyland attraction, a Disney production is distinguished by its fine vii viii PREFACE craftsmanship, ambitious goals, and generally optimistic view of life.
The same can be said for most of the songs created for these productions. Yet there is something positive in the outlook of all these songs. The Disney experience is basically a hopeful one. The productions affirm life and avoid cynicism and despair. Even when the Disney artists tackle disturbing issues, such as racial inequality or the destruction of the environment, the tone is one of hope.
A Disney song, regardless of the many and diverse forms it may take, is a small musical affirmation of what makes life worth living. We have selected songs and given them individual entries presented in alphabetical order. The songwriters and original singers are identified, as well as the source film, television, theatre, theme park, or record of the song and other venues in which it might have been used over the years.
Notable recordings of the song are also listed. But most important, an effort has been made to describe each song and explain what makes it memorable. The goal is to provide not a reference list but a true encyclopedia of Disney songs. Both short and feature films are covered, as well as movies made for television.
While the Disney Company also releases films and television programs under the banners of Touchstone, Hollywood, and Caravan Pictures, these are only included here if it is felt they are truly in the Disney tone. Full-length and short video productions are covered, as are all the Broadway musicals produced by Disney. The company has long been active in recordings, starting with Disney Records, and introduced many new songs in that venue; a sampling of these are included.
Walt Disney was among the first Hollywood producers to branch out into television. We have attempted to provide a wide and representative selection of these, from the s to the present day. Following the entries is a listing of alternate song titles to help the reader locate songs that are known by different titles.
There is also a directory of all the songwriters mentioned in the book, along with lists of the Disney productions that utilize their work.
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Because song terminology varies in meaning, a glossary of popular music terms is included to define these terms as they are used in this book. Finally, it should be pointed out again that a Disney song in this book is one written for a Disney production and not one that is just interpolated into the presentation. Disney has used classical music, Tin Pan Alley standards, traditional folk songs, and pop songs in its productions.
Unless they were translated or largely reconfigured for the Disney presentation, they are not included here. We hope they enjoy the results of their efforts, just as we hope this encyclopedia will interest and please all lovers of Disney magic. Richard Rodgers and Oscar Hammerstein were pioneers in the field of the stage musical. But when did this change happen in Hollywood movie musicals, and who was instrumental in finding a way to use music to tell the story and deepen our understanding of the characters?
It seems that one of the greatest proponents of this evolution of the film musical is Walt Disney. Disney had a deep respect for the power of music in storytelling and it is not surprising that some of his initial animated efforts are told predominantly through song. Such Silly Symphonies as The Pied Piper and The Golden Touch took their cue from the popular operetta form by singing through most of the story.
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When Disney began preparing for his first feature-length animated film, he was chided by many in Hollywood who thought audiences would never sit and watch a cartoon that was any longer than ten or twelve minutes. Snow White and the Seven Dwarfs proved the skeptics wrong, becoming the top grossing film to date. The film audience was to be privy to the internalized monologues of characters, allowing us to feel with them instead of merely observing their story.
Snow White changed the way Hollywood viewed the feature-length animated film, but the road ahead was a rough one. The cost of making animated features was high, and in the coming years the studio would not turn a profit on many films until their subsequent re-release. However, during this time, Disney Studios produced superb and beguiling work.
Pinocchio , Dumbo , and Bambi offer some of the lushest songs in the Disney canon. Toad These, as well as two traditional films, Song of the South and So Dear to My Heart , employed a clever mixture of live action and animation. As the financially fraught s ended, the studio needed a hit and it found one in Cinderella by returning to the formula that was successful in Snow White and the Seven Dwarfs: a maiden in distress, a handsome prince, a wicked stepmother as a villain, and help from enthusiastic animal friends.
The movie hit pay dirt.
More importantly, it marked a return to the style of storytelling that used a musical score, in this case by Mack David, Jerry Livingston, and Al Hoffman. Disney hired these Tin Pan Alley composers to create his first musical score that was more in step with those of the modern musical theatre. The s saw the rise of television as a new venue for Disney Studios, and music was a regular requirement of this emerging art form. Disney began hosting his own program, entitled Disneyland, which debuted in The following year, The Mickey Mouse Club made its debut. Television proved to be a potent place for Disney to exercise his ideas for family entertainment.
The studio has upheld this tradition over the years, and in the s it spawned its own network in the form of the Disney Channel. More TV shows meant more theme songs, so there are literally hundreds of Disney songs ingrained in our collective psyche through the availability and affordability of television entertainment. In the Disneyland theme park opened in Anaheim, California, and with it came dozens of Disney attractions, shows, and parades full of original songs. The production values, special effects, and casting are near perfection, and the score by Richard and Robert Sherman is quite possibly the most evocative, colorful and at times haunting one to be written for a Disney film.
The Jungle Book was the last animated film directly supervised by Disney, and the music has a succinctly new flavor for a Disney film.
A Harmony Tails Story
The score has a jazz and blues sound, quite unlike any of the previous scores written for animated features. Disney never got to hear or see the final product before he passed away in , but his vision for both art and music would live long beyond his lifetime. It is not until the studio regrouped in the late s that the magic seemed to return through the music of the composing team of Alan Menken and Howard Ashman.
The Little Mermaid was so well received that Disney Studios emerged once again as the top producer of family entertainment and, for our purposes, songs.