The Oxford Handbook of Film Music Studies gathers two dozen original essays that chart the history and current state of interdisciplinary scholarship on music in audiovisual media, focusing on four areas: history, genre and medium, analysis and criticism, and interpretation.
The Oxford Handbook of Film Music Studies gathers two dozen original essays that chart the history and current state of interdisciplinary scholarship on music in audiovisual media, focusing on four areas: history, genre and medium, analysis and criticism, and interpretation.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
David Neumeyer is Marlene and Morton Meyerson Professor in Music and Professor of Music Theory in the School of Music, The University of Texas at Austin. He is the author of several books including, most recently, a textbook with James Buhler and Rob Deemer entitled Hearing the Movies (2010).
Inhaltsangabe
* 1. Overview * David Neumeyer * PART 1: Film Music : Central Questions * 2. Music and the Ontology of the Sound Film: The Classical Hollywood System * James Buhler and David Neumeyer * 3. Opera and Film * Marcia Citron * 4. Visual Representation of Film Sound as Analytical Tool * Rick Altman * 5. Film Music from the Perspective of Cognitive Science * Annabel Cohen * 6. Composing for Film: Hanns Eisler's Lifelong Film-Music Project * Peter Schweinhardt and Johannes C. Gall, translated by Oliver Dahin * 7. Ontological, Formal, and Critical Theories of Film Music and Sound * James Buhler * PART 2: Genre and Platform * 8. Drawing a New Narrative for Cartoon Music * Daniel Goldmark * 9. Genre Theory and the Film Musical * Cari McDonnell * 10. "The Tunes They are a-Changing": Moments of Historical Rupture and Reconfiguration in the Production and Commerce of Music in Film * Jeff Smith * 11. The Compilation Soundtrack from the 1960s to the Present * Julie Hubbert * 12. The Origins of Musical Style in Video Games, 1977-1983 * Neil Lerner * PART 3: Interpretative Theory and Practice * 13. Classical Music, Virtual Bodies, Narrative Film * Lawrence Kramer * 14. Gender, Sexuality, and the Soundtrack * James Buhler * 15. Psychoanalysis, Apparatus Theory, and Subjectivity * James Buhler * 16. Case Studies: Introduction * Robynn Stilwell * 17. (Case Study 1) The Order of Sanctity: Sound, Sight, and Suasion in * DeMille's The Ten Commandments * Mitchell Morris * 18. (Case Study 2) Strange Recognitions and Endless Loops: Music, Media, and Memory in Terry Gilliam's 12 Monkeys * Julie McQuinn * PART 4: Contemporary Approaches to Analysis * 19. Transformational Theory and the Analysis of Film Music * Scott Murphy * 20. Listening in Film: Music/Film Temporality, Materiality and Memory * Marianne Kielian-Gilbert * 21. Auteurship and Agency in Television Music * Ronald Rodman * PART 5: Historical Issues * 22. When the Music Surges: Melodrama and the Nineteenth-Century * Theatrical Precedents for Film Music Style and Placement * Michael Pisani * 23. Audio-Visual Palimpsests: Resynchronizing Silent Films with "Special" Music * Julie Brown * 24. Performance Practices and Music in Early Cinema outside Hollywood * Kathryn Kalinak * 25. Performing Prestige: American Cinema Orchestras, 1910-1958 * Nathan Platte
* 1. Overview * David Neumeyer * PART 1: Film Music : Central Questions * 2. Music and the Ontology of the Sound Film: The Classical Hollywood System * James Buhler and David Neumeyer * 3. Opera and Film * Marcia Citron * 4. Visual Representation of Film Sound as Analytical Tool * Rick Altman * 5. Film Music from the Perspective of Cognitive Science * Annabel Cohen * 6. Composing for Film: Hanns Eisler's Lifelong Film-Music Project * Peter Schweinhardt and Johannes C. Gall, translated by Oliver Dahin * 7. Ontological, Formal, and Critical Theories of Film Music and Sound * James Buhler * PART 2: Genre and Platform * 8. Drawing a New Narrative for Cartoon Music * Daniel Goldmark * 9. Genre Theory and the Film Musical * Cari McDonnell * 10. "The Tunes They are a-Changing": Moments of Historical Rupture and Reconfiguration in the Production and Commerce of Music in Film * Jeff Smith * 11. The Compilation Soundtrack from the 1960s to the Present * Julie Hubbert * 12. The Origins of Musical Style in Video Games, 1977-1983 * Neil Lerner * PART 3: Interpretative Theory and Practice * 13. Classical Music, Virtual Bodies, Narrative Film * Lawrence Kramer * 14. Gender, Sexuality, and the Soundtrack * James Buhler * 15. Psychoanalysis, Apparatus Theory, and Subjectivity * James Buhler * 16. Case Studies: Introduction * Robynn Stilwell * 17. (Case Study 1) The Order of Sanctity: Sound, Sight, and Suasion in * DeMille's The Ten Commandments * Mitchell Morris * 18. (Case Study 2) Strange Recognitions and Endless Loops: Music, Media, and Memory in Terry Gilliam's 12 Monkeys * Julie McQuinn * PART 4: Contemporary Approaches to Analysis * 19. Transformational Theory and the Analysis of Film Music * Scott Murphy * 20. Listening in Film: Music/Film Temporality, Materiality and Memory * Marianne Kielian-Gilbert * 21. Auteurship and Agency in Television Music * Ronald Rodman * PART 5: Historical Issues * 22. When the Music Surges: Melodrama and the Nineteenth-Century * Theatrical Precedents for Film Music Style and Placement * Michael Pisani * 23. Audio-Visual Palimpsests: Resynchronizing Silent Films with "Special" Music * Julie Brown * 24. Performance Practices and Music in Early Cinema outside Hollywood * Kathryn Kalinak * 25. Performing Prestige: American Cinema Orchestras, 1910-1958 * Nathan Platte
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