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The Writings of Michael Isaacson

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Synagogue Music

The Magen David
Music on the Balanced Bimah


Film Music

A First Class Stamp of Approval
Bit by Bit -- Remembering the Details
Employing Dramatic Opposites in Film Scoring
Everything Old Is New Again
Film Music as Half of a Two Part Invention
Giving a Dramatic Score "Size"
Less is More
Making It Last
Musical Development in Film Scores
Remembering Elmer
Remembering Lehman Engel and the BMI Musical Theatre Workshop
Respecting Our Profession
The "Falconetti Motto" - Underscoring Personality
The Best Orchestral Writing: Revealing An Obvious Secret
The Idea of Counterpoint in Film Music
The Loneliness of Collaboration
The Relationship of PAST, PRESENT, and FUTURE upon Music and Film's Emotional Impact
The Scharf Approach: Last Things First
The Theatrical Sensibilites of Sound
Understanding "Imposed" Music
What Else Do You Write?
What is this Film About?
When No Music is Better!
Why is Happy Film Music Harder to Compose Than Sad Music?