Music has been an integral part of film exhibition from its beginnings in the late nineteenth century. With the arrival of sound film in the late 1920s, music became part of a complex multimedia text. Although industry, fan-oriented, and scholarly literatures on film music have existed from early on, and music was frequently among the topics discussed and disputed, only in the past thirty years has sustained scholarly attention gone to music in visual media, beginning with the feature film. The Oxford Handbook of Film Music Studies charts that interdisciplinary activity in its primary areas of inquiry: history, genre and medium, analysis and criticism, and interpretation.
The handbook provides an overview to the field on a large scale. Chapters in Part I range from the relations of music and the soundtrack to opera and film, textual representation of film sound, and film music as studied by cognitive scientists. Part II addresses genre and medium with chapters focusing on cartoons and animated films, the film musical, music in arcade and early video games, and the interplay of film, music, and recording over the past half century. The chapters in Part III offer case studies in interpretation along with extended critical surveys of theoretical models of gender, sexuality, and subjectivity as they impinge on music and sound. The three chapters on analysis in Part IV are diverse: one systematically models harmonies used in recent films, a second looks at issues of music and film temporality, and a third focuses on television. Chapters on history (Part V) cover topics including musical antecedents in nineteenth-century theater, the complex issues in sychronization of music in performance of early (silent) films, international practices in early film exhibition, and the symphony orchestra in film.
Rezensionen / Stimmen
For those studying film, music, or film music, The Oxford Handbook of Film Music Studies is essential and, if you are an aspiring film composer, this is a book you absolutely cannot miss. * Ty Johnson, Film Matters * [O]ffers stimulating questions and music analyses. * CHOICE *
Reihe
Sprache
Verlagsort
Zielgruppe
Für höhere Schule und Studium
Illustrationen
58 h/t; 93 b&w film stills
Maße
Höhe: 244 mm
Breite: 170 mm
Dicke: 38 mm
Gewicht
ISBN-13
978-0-19-025059-1 (9780190250591)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
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).
Herausgeber*in
Professor of Music Theory and Leslie Waggener Professor in Fine ArtsProfessor of Music Theory and Leslie Waggener Professor in Fine Arts, University of Texas at Austin, Austin, TX
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 & 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
