The actual sounds of their films, but in their fealty to UPA’s approach toĪnimation. In part due to theĭisparities of backgrounds, the scores for these UPA films seem to have noĬonnection to each other. Were better known for their contributions to popular music. Some, such as Gail Kubik (composer on Gerald McBoing Boing)įocused more on their classical compositions. George Bruns wrote music forĭisney, for example, and Hoyt Curtin is perhaps best known for his work with Some of theseĬomposers worked on animation from other studios. George Bruns, Boris Kremenliev, Benjamin Lees, Dennis Farnon, Billy May, and For example, upon a cursory study of the films in theĭVD set UPA Jolly Frolics Collection, it emerges that no fewer than 16composers were used over the course of 38shorts, including DelĬastillo, Gail Kubik, David Raskin, Hoyt Curtin, Ernest Gold, Phil Moore,

UPA cartoons stands out from these and many other of its competitors preciselyīecause it did not have a distinctive style. Had a particular style based in middle-America nostalgia. Even Disney, with its variety of composers, MGM had the classically trained Scott Bradley pumping out Warner Brothers had the postmodern, action-driven sound developed byĬarl Stalling. Early, Silent and Pre-cinematic AnimationĬommercial American animation studios as having their own distinctive sonic.CFP dedicated to accepted SAS 2020 presenters.The Persistence of Walt Disney’s Snow White and the Seven Dwarfs.The Interdisciplinary Opportunity of Animation.Technological developments in animation II (the post digital).Technological developments in animation I (pre-digital).Past and Present of Independent Animation.Norman McLaren Centenary: McLaren and Movement.New Theoretical Approaches in Animation.Animation Franchises and the Studio System.

The Music of Animaniacs by Lisa Scoggin