The Oxford handbook of film music studies / edited by David Neumeyer.
- ISBN: 9780199338474 (electronic bk.)
- ISBN: 0199338477 (electronic bk.)
- ISBN: 9780199983667 (electronic bk.)
- ISBN: 0199983666 (electronic bk.)
- Physical Description: 1 online resource (x, 683 pages) : illustrations.
- Publisher: Oxford ; Oxford University Press, 
Available through EBSCO
|Bibliography, etc. Note:||
Includes bibliographical references and index.
|Formatted Contents Note:||
Overview / David Neumeyer -- Music and the ontology of the sound film / James Buhler and David Neumeyer -- Opera and film / Marcia Citron -- Visual representation of film sound as analytical tool / Rick Altman -- Film music from the perspective of cognitive science / Annabel Cohen -- Composing for film / Peter Schweinhardt and Johannes C. Gall ; translated by Oliver Dahin -- Ontological, formal, and critical theories of film music and sound / James Buhler -- Drawing a new narrative for cartoon music / Daniel Goldmark -- Genre theory and the film musical / Cari McDonnell -- The tunes they are a-changing / Jeff Smith -- The compilation soundtrack from the 1960s to the present / Julie Hubbert -- The origins of musical style in video games, 1977-1983 / Neil Lerner -- Classical music, virtual bodies, narrative film / Lawrence Kramer -- Gender, sexuality, and the soundtrack / James Buhler -- Psychoanalysis, apparatus theory, and subjectivity / James Buhler -- Case studies -- introduction / Robynn Stilwell -- Case study 1, The order of sanctity / Mitchell Morris -- Case study 2, Strange recognitions and endless loops / Julie McQuinn -- Transformational theory and the analysis of film music / Scott Murphy -- Listening in film / Marianne Kielian-Gilbert -- Auteurship and agency in television music / Ronald Rodman -- When the music surges / Michael Pisani -- Audio-visual palimpsests / Julie Brown -- Performance practices and music in early cinema outside hollywood / Kathryn Kalinak -- Performing prestige / Nathan Platte.
This book charts the interdisciplinary activity around music in visual media, addressing the primary areas of inquiry: history, genre and medium, analysis and criticism, and interpretation. Part I cover the range most broadly, from the relations of music and the soundtrack to opera and film, textual representation of film sound, film music as studied by cognitive scientists, and Hanns Eisler's work as film composer and co-author of the foundational text Composing for the Films. 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. 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. Part IV is on analysis of systematically models harmonies used in recent films, issues of music and film temporality, and an analysis focuses on television. Part V covers 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.
|Source of Description Note:||
Description based on print version record.
Search for related items by subject
|Subject:||Motion picture music > History and criticism.
Motion picture music.
Musique de film > Histoire et critique.
MUSIC / Instruction & Study / Theory
|Genre:||Criticism, interpretation, etc.
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