Beyond the Soundtrack: Representing Music in Cinema (Ahmanson Foundation Book in the Humanities)

This Groundbreaking Collection By The Most Distinguished Musicologists And Film Scholars In Their Fields Gives Long Overdue Recognition To Music As Equal To The Image In Shaping The Experience Of Film. Refuting The Familiar Idea That Music Serves As An Unnoticed Prop For Narrative, These Essays Demonstrate That Music Is A Fully Imagined And Active Power In The Worlds Of Film. Even Where Films Do Give It A Supporting Role--and Many Do Much More--music Makes An Independent Contribution. Drawing On Recent Advances In Musicology And Cinema Studies, Beyond The Soundtrack Interprets The Cinematic Representation Of Music With Unprecedented Richness. The Authors Cover A Broad Range Of Narrative Films, From The Silent Era (not So Silent) To The Present. Once We Think Beyond The Soundtrack, This Volume Shows, There Is No Unheard Music In Cinema. [publisher Description]. Introduction. Phonoplay : Film Music Studies Today -- Musical Meaning. The Boy On The Train, Or Bad Symphonies And Good Movies : The Revealing Error Of The Symphonic Score / Peter Franklin ; Representing Beethoven : Romance And Sonata Form In Simon Cellan Jones's Eroica / Nicholas Cook ; Minima Romantica / Susan Mcclary ; Melodic Trains : Music In Polanksi's The Pianist / Lawrence Kramer ; Mute Music In Three Films By Jane Campion (the Piano), Krzystof Kieslowski (trois Couleurs Bleu), And Roman Polanski (the Pianist) / Michel Chion -- Musical Agency. Opera, Aesthetic Violence, And The Imposition Of Modernity : Fitzcarraldo / Richard Leppert ; Sight, Sound, And The Temporality Of Myth-making In Koyaanisqatsi / Mitchell Morris ; How Sound Floats On Land : The Suppression And Release Of Folk And Indigenous Musics In The Cinematic Terrain / Philip Brophy -- Auteur Music / Claudia Gorbman -- Transport And Transportation In Audiovisual Memory / Berthold Hoeckner -- The Fantastical Gap Between Diegetic And Non-diegetic / Robynn J. Stilwell -- Musical Identity. Early Film Themes : Roxy, Adorno, And The Problem Of Cultural Capital / Rick Altman ; Before Willie : Reconsidering Music And The Animated Cartoon Of The 1920s / Daniel Goldmark ; Side By Side : Nino Rota, Music, And Film / Richard Dyer ; White Face, Black Noise : Miles Davis And The Soundtrack / Krin Gabbard ; Men At The Keyboard : Liminal Spaces And The Heterotopian Function Of Music / Gary Thomas. Edited By Daniel Goldmark, Lawrence Kramer, Richard Leppert. Includes Bibliographical References (p. ), Filmography (p. ), And Index. Frontmatter List of Illustrations (page vii) Introduction. Phonoplay: Recasting Film Music (page 1) PART I. MUSICAL MEANING 1. The Boy on the Train, or Bad Symphonies and Good Movies: The Revealing Error of the "Symphonic Score" (Peter Franklin, page 13) 2. Representing Beethoven: Romance and Sonata Form in Simon Cellan Jones's Eroica (Nicholas Cook, page 27) 3. Minima Romantica (Susan McClary, page 48) 4. Melodic Trains: Music in Polanski's The Pianist (Lawrence Kramer, page 66) 5. Mute Music: Polanski's The Pianist and Campion's The Piano (Michel Chion, page 86) PART II. MUSICAL AGENCY 6. Opera, Aesthetic Violence, and the Imposition of Modernity: Fitzcarraldo (Richard Leppert, page 99) 7. Sight, Sound, and the Temporality of Myth Making in Koyaanisqatsi (Mitchell Morris, page 120) 8. How Sound Floats on Land: The Suppression and Release of Folk and Indigenous Musics in the Cinematic Terrain (Philip Brophy, page 136) 9. Auteur Music (Claudia Gorbman, page 149) 10. Transport and Transportation in Audiovisual Memory (Berthold Hoeckner, page 163) 11. The Fantastical Gap between Diegetic and Nondiegetic (Robynn J. Stilwell, page 184) PART III. MUSICAL IDENTITY 12. Early Film Themes: Roxy, Adorno, and the Problem of Cultural Capital (Rick Altman, page 205) 13. Before Willie: Reconsidering Music and the Animated Cartoon of the 1920s (Daniel Goldmark, page 225) 14. Side by Side: Nino Rota, Music, and Film (Richard Dyer, page 246) 15. White Face, Black Noise: Miles Davis and the Soundtrack (Krin Gabbard, page 260) 16. Men at the Keyboard: Liminal Spaces and the Heterotopian Function of Music (Gary C. Thomas, page 277) Notes on Contributors (page 293) Works Cited (page 297) Index of Films Cited (page 311) Index of Names (page 317) This groundbreaking collection by the most distinguished musicologists and film scholars in their fields gives long overdue recognition to music as equal to the image in shaping the experience of film. Refuting the familiar idea that music serves as an unnoticed prop for narrative, these essays demonstrate that music is a fully imagined and active power in the worlds of film. Even where films do give it a supporting role—and many do much more—music makes an independent contribution. Drawing on recent advances in musicology and cinema studies, Beyond the Soundtrack interprets the cinematic representation of music with unprecedented richness. The authors cover a broad range of narrative films, from the "silent" era (not so silent) to the present. Once we think beyond the soundtrack, this volume shows, there is no unheard music in cinema.