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	Carl W. Stalling (Site not responding. Last check: 2007-11-06)
		Stooge for a Mouse (1950) (as Carl Stalling)
		Mutiny on the Bunny (1950) (as Carl Stalling)
		The Grey Hounded Hare (1949) (as Carl Stalling)
	www.imdb.com /name/nm0006298 (984 words)

	Carl Stalling MP3 Downloads - Carl Stalling Music Downloads - Carl Stalling Music Videos
		Composer and arranger Carl Stalling was the visionary behind the kaleidoscopic music beating at the heart of the classic cartoons produced under the aegis of Warner Bros. Studios during the middle of the 20th century.
		A maverick whose reach extended from pop to jazz to classical and beyond, Stalling's revolutionary cut-and-paste compositions remain a clear forerunner of the experimental music created in his wake -- in fact, it could easily be argued that he succeeded in introducing entire generations of young cartoon fanatics to the music of the avant-garde.
		Stalling was born in Lexington, Missouri in 1888; his musical education began in his infancy, as he spent hours upon end playing made-up songs on a broken toy piano.
	www.mp3.com /artist/carl-stalling/summary (592 words)

	The Birth of the Silly Symphonies
		Stalling had pitched an idea for a film he called "The Skeleton Dance," set in a graveyard, that would not only be a pilot, but also a template for a series built on comic dance routines and classical music.
		As Disney wrote, "Carl's idea of the 'Skeleton Dance' for a Musical Novelty has been growing on me. I think it has dandy possibilities." And by the time of the historic opening of Steamboat Willie at the Colony Theatre in mid-November, both Disney and Iwerks were busy working with Stalling to create their pilot.
		Carl Stalling's place as house composer was initially taken by Bert Lewis and, in 1931, Lewis was joined by Frank Churchill.
	disney.go.com /disneyatoz/familymuseum/exhibits/articles/sillysymphonies (1533 words)

	The Dispatch - Serving the Lexington, NC - News (Site not responding. Last check: 2007-11-06)
		Carl W. Stalling (November 10, 1891–November 29, 1972) was a noted composer and arranger of music for animated cartoons.
		While there, Stalling pioneered the use of "bar sheets" which allowed the musical rhythms to be sketched out simultaneously with the storyboards for the animation.
		Carl Stalling died on November 29, 1972, at the age of 81.
	www.the-dispatch.com /apps/pbcs.dll/section?category=NEWS&template=wiki&text=Carl_Stalling (797 words)

	Carl Stalling and Humor in Cartoons
		Stalling's job was more of a pastiche artist than a composer, as he had to create a musical narrative with a wide array of genres, including folk, classical, Tin Pan Alley, and big band, among others.
		By the time Stalling got to the studio, the demand for song-based cartoons seemed to be slowing, yet Stalling immediately saw the advantage of having such an extensive catalog of music at his disposal.
		Stalling once again has the last laugh, and I cannot help but wonder if he knew he would be one of the only people actually getting his jokes.
	www.awn.com /mag/issue2.1/articles/goldmark2.1.html (1433 words)

	Soundtracks & More - Free Music Downloads - MP3 Downloads - Download.com Music
		A William Friedkin film, with its complex psychology and taut narrative, places real demands on a score composer, and Tyler meets them in his tracks for "Bug." Tyler's work is at once deep and sleek, balancing eerie ambient washes with high-modern beats and angular bits of melody.
		Thanks to the symphonic genius of composers like Nino Rota and Carl Stalling, film soundtracks are no longer considered strictly background music.
		In the 1960s, the evocative scores of Henry Mancini and Ennio Morricone gave soundtracks a cool moodiness, while the triumphant themes of John Williams have become engrained in the national psyche.
	music.download.com /2001-10547_32-0.html? (458 words)

	The Partial Observer - Carl Stalling Was A Genius
		Thanks to the genius of staff composers like Carl Stalling I had a steady diet of music from all four periods of classical music as well as a smattering of medieval music (remember the one where Daffy Duck was “Robin Hood”?), not to mention regular doses of standard tunes, jazz favorites, and experimental music.
		Carl himself surmised that about 80 to 90 percent of each cartoon was original compositions, but he admitted to using his favorite popular tunes on a regular basis.
		Carl expanded the technical range of nearly every instrument in the orchestra and often had to explain to the individual players what he was after.
	www.partialobserver.com /article.cfm?id=1298 (1466 words)

	Carl W Stalling Biography at Hollywood.com (Site not responding. Last check: 2007-11-06)
		Stalling got his start in film, close to the industry's own beginnings, when he began playing the piano between one-reel film shorts in 1904.
		Stalling stayed with Iwerks until the entire team was absorbed by producer Leon Schlesinger's animation unit at Warner Brothers in 1936.
		Stalling was one of the older members of the team that produced one of the sustained highs in the history of animated cinema, but he stayed with the unit through its peak years of the late 1950s.
	www.hollywood.com /celebritydetail/Carl_W_Stalling/188841 (1096 words)

	Carl Stalling - Definition, explanation
		Stalling stayed with Disney until 1930 and, after a spell with Ub Iwerks, Stalling moved to Warner Brothers in 1936, where he would stay for 22 years.
		Stalling was the musical director for Looney Tunes from 1936 until 1958.
		After Carl Stalling retired, he was replaced by Milt Franklyn who had since 1950 shared the musical composition work with Stalling, sometimes orchestrating Stalling's musical sequences.
	www.calsky.com /lexikon/en/txt/c/ca/carl_stalling.php (473 words)

	The Brilliant Composer Behind Looney Tunes - BeatKing Music Forums
		Stalling invented cartoon scoring, which included a "tick" system, whereby individual members of the orchestra were provided with earphones through which they heard a steady beat and, on one occasion, the voice of Mickey, and which allowed them to synchronize the music more precisely to the action.
		Stalling had a 60-piece orchestra to work with at Warner Bros., and by all accounts the musicians looked forward to the sessions, especially between Bette Davis and Bogart melodramas.
		Stalling would write the piano parts of the score—the skeleton—and include the cues he wanted and special notations with regard to instrumentation.
	www.beatking.com /forums/index.php?showtopic=461 (945 words)

	MUSICMATCH Guide: Carl Stalling
		Composer and arranger Carl Stalling was the visionary behind the kaleidoscopic music beating at the heart of the classic cartoons produced under the aegis of Warner Bros. Studios during the middle of the 20th century.
		A maverick whose reach extended from pop to jazz to classical and beyond, Stalling's revolutionary cut-and-paste compositions remain a clear forerunner of the experimental music created in his wake -- in fact, it could easily be argued that he succeeded in introducing entire generations of young cartoon fanatics to the music of the avant-garde.
		Stalling was born in Lexington, Missouri in 1888; his musical education began in his infancy, as he spent hours upon end playing made-up songs on a broken toy piano.
	www.mmguide.musicmatch.com /artist/artist.cgi?ARTISTID=365851&TMPL=LONG (365 words)

	classical music - andante - what's opera, doc?
		We have also come to realize that even as Stalling's cartoon scores look back toward a long tradition of cinema and parody, they also take their place in the audacious mixture of idioms and styles that appealed to the avant-garde over the course of the last century.
		Viewed today, it is not hard to see the analogies between Stalling's approach and the techniques of collage and citation heard in music by European composers such as Satie, Stockhausen, Kagel, Berio, Zimmermann, as well as Americans from Ives to Rochberg.
		In terms of the technical demands they place on orchestral musicians, Stalling's scores (in Franklyn's arrangements) are often as tricky as any new music written for the concert stage during the last 50 years.
	www.andante.com /article/article.cfm?id=16374 (1098 words)

	Opaque Melodies That Would Bug Most People - A Short History of Dislocation in Six Tracks (Site not responding. Last check: 2007-11-06)
		Zorn described Stalling's music as a “constantly changing kaleidoscope of styles, forms, melodies, quotations”, adding that his music, when listened to in isolation from the image, constantly throws you off balance, “yet there is something strangely familiar about it all” (Zorn, 1988) (dislocation, once again, as both dis-inter and integration).
		For Zorn, Stalling's significance was in his shift from traditional rules of composition, such as the development of theme and variations on a theme, etc, to following the visual logic of the action on screen, which included rapid shifts in tempo and style, as well as the sonic description of often frenetic visual events.
		Like Zorn and Stalling, Beefheart was a genre transgressor, drawing on and bringing into dense, frenzied collision a dizzying array of musical styles and influences, from free-form jazz, Delta blues, African chant rhythms, to squealing noise for its own sake.
	www.sensesofcinema.com /contents/01/18/dislocation.html (5150 words)

	Carl Stalling - Films as musical director:
		Musical director Carl Stalling was one of the unsung "back-room boys" of the Golden Age of the Hollywood cartoon from around 1930–60, working in a medium where even the directors and animators (and Stalling, especially at Warner Bros., worked with the best) have only recently begun to receive the acclaim their brilliant creations deserve.
		The importance of Carl Stalling's musical contribution to the success of the Mickey Mouse cartoons and other early Disney work should not be underestimated.
		If Stalling's musical eclecticism (ragtime, swing, the classics and just about any kind of popular ditty) let him down, it was only with faster jazz of the late 1940s and 1950s, when occasionally directors would bring in an outsider for a soundtrack (e.g.
	www.filmreference.com /Writers-and-Production-Artists-Sh-Sy/Stalling-Carl.html (1228 words)

	Big George Carl Stalling
		Stalling was born in the last year of the 19th century and was a child protégé, playing piano and organ in silent movie houses all across Kansas and the outer states.
		Stalling's music has made everybody who's ever been near a TV set happy for most of their lives.
		Carl Stalling was a quiet, modest man whose mastery of orchestral music is quite simply untouchable in the 20th century.
	www.biggeorge.co.uk /CarlStalling.htm (824 words)

	The man behind the Looney Tunes. - By August Kleinzahler - Slate Magazine (Site not responding. Last check: 2007-11-06)
		Stalling's detractors sometimes call what he invented "musical mickey-mousing"—that is, merely a description of visual events.
		In a sense, then, Carl Stalling was, among the first of the postmodernists—if not the first.
		When Stalling died in 1974, at the age of 86, the fizz had long gone out of American animation with the televised cartoon.
	slate.msn.com /id/2092021 (924 words)

	Spinitron Playlists
		Carl Stalling “mickey's follies” from early disney cartoons
		Carl Stalling “the opry house” from early disney cartoons
		Carl Stalling “with milt franklyn in session (1951)” from carl stalling project : vol 1
	spinitron.com /public/index.php?station=wzbc&plid=5641 (155 words)

	Roger Colton : Ruminations: Tunes from the Warner Brothers toons
		Thanks to the genius of Carl Stalling, Milt Franklyn and others, the music that was such an integral part of the Merrie Melodies and Looney Tunes has become a part of popular culture.
		Carl Stalling got his start in music and animation at Disney, being one of those whose affiliation went back to the days of Kansas City.
		Volume One of the "Carl Stalling Project" is also available on iTunes as is "Reckless Nights and Turkish Twilights" (alas as a partial album only).
	jimhillmedia.com /blogs/roger_colton/archive/2006/02/09/991.aspx (1373 words)

	Carl Stalling (Site not responding. Last check: 2007-11-06)
		In 1936 Carl Stalling Joined the rest of Termite Terace.
		Stalling was the single most talented, and inventive cartoon musical director of his time.
		If you were to close your eyes during a Warner Brothers cartoon what you would be left with would be a symphony with occasional interruptions from one of our cartoon heros or villians.
	www.nonstick.com /wdocs/stalling.html (81 words)

	Carl Stalling (Site not responding. Last check: 2007-11-06)
		Carl Stalling gave me the best musical education I ever had.
		I'm spending the rest of my life learning the titles and composers of all the hundreds of tunes I first heard in his cartoon scores.
		I've had this CD ever since it came out, and it still is one of my favorites.
	www.childcove.com /kids/artistsearch_Carl+Stalling/mode_music/index.html (191 words)

	Carl Stalling : The Carl Stalling Project: Music from Warner Bros. Cartoons 1936-1958 - Listen, Review and Buy at ...
		Carl Stalling : The Carl Stalling Project: Music from Warner Bros. Cartoons 1936-1958
		The first volume in The Carl Stalling Project series is a revelation; more than just an essential part of a Warner Bros. staff that generated some of the finest and most inspired productions in the history of animation, Stalling was a visionary whose work deserves consideration among the finest American avant-garde music ever recorded.
		That in the process he created music beloved by succeeding generations of children is more impressive still -- perhaps even unwittingly, Stalling introduced the avant-garde into the mainstream, and as popular music continues to diversify and hybridize, his stature as a pioneer rightfully continues to grow.
	www.artistdirect.com /nad/store/artist/album/0,,61361,00.html (269 words)

	The Carl Stalling Project: Music From Warner Bros. Cartoons, 1936-1958
		That's what makes this CD such a great listening experience: It was pieced together by musicologists who chose the music based on its auditory qualities, and not on the relative fame of the cartoon associated with it.
		Despite the vast amount of Stalling music that exists, this CD provides as ambitious and exhaustive an overview as can be given, and its 1995 follow-up, while also worth having, is but a pale afterthought.
		Carl Stalling was a master at writing music for cartoons, but something is lost when you just hear the music without seeing the cartoon.
	www.tutorgig.com /store/showp.jsp?keywords=B000002LJE (642 words)

	Amazon Shop - The Carl Stalling Project, Volume 2: More Music From Warner Bros. Cartoons 1939-1957 - Music (Site not responding. Last check: 2007-11-06)
		They aren't from the studio's best-known cartoons but from some of Stalling's most impressive tempo-warping, all-systems-go pieces, augmented by a few mini-pieces that illustrate the way he could transform barely familiar show tunes and classical themes into wild, rubbery jokes.
		As well as Stalling Project Part I, These recordings are more modern fidelity, less classic and more musical techniques.
		Carl Stalling was one of the foremost composers of music for cartoons and wrote virtually all of the scores for Warner Brothers cartoons from 1936 to 1958.
	www.achuka.co.uk /amstore/info.php?asin=B000002MN3&lang=us (555 words)

	Amazon.com: The Carl Stalling Project: Music From Warner Bros. Cartoons, 1936-1958: Music: Carl Stalling (Site not responding. Last check: 2007-11-06)
		Although I was familiar with most or all of the music on this CD, I'd never heard of Carl Stalling.
		This CD is not only a tribute to Stalling, it is also the most entertaining, endearing, smile-engendering, memory-invoking, guffaw-getting album you'll hear in quite a while.
		Carl Stalling was a master at writing music for cartoons, but something is lost when you just hear the music without seeing the cartoon.
	www.amazon.com /Carl-Stalling-Project-Cartoons-1936-1958/dp/B000002LJE (808 words)

	Golden Age Cartoons Store - Classic Animation Music
		Recreated scores by The Warner Bros. Symphony are combined with original scores by Carl Stalling and Milt Frankyln.
		A collection of original cartoon scores, many without voices or sound effects, by Carl Stalling.
		His name may not ring a bell, but Carl Stalling used his music several times in the classic cartoons.
	store.goldenagecartoons.com /cds (430 words)

	Golf Resources,Equipment Warehouse,Accessories (Site not responding. Last check: 2007-11-06)
		They aren't from the studio's best-known cartoons but from some of Stalling's most impressive tempo-warping, all-systems-go pieces, augmented by a few mini-pieces that illustrate the way he could transform barely familiar show tunes and classical themes into wild, rubbery jokes.
		Even without images, Stalling could make an orchestra suggest a "Flea-Ridden Sheep Dog" in 24 seconds flat and run enough changes on Stephen Foster's "Camptown Races" to match every mood in a Foghorn Leghorn cartoon.
		Carl Stalling was one of the foremost composers of music for cartoons and wrote virtually all of the scores for Warner Brothers cartoons from 1936 to 1958.
	www.thirdagegolf.com /1942-301668-B000002MN3-The_Carl_Stalling_Project_Volume_2_More_Music_From_Warner_Bros_Cartoons_1939_1957.html (860 words)

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