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. 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. List of Illustrations Introduction. Phonoplay: Recasting Film Music PART I: MUSICAL MEANING 1. The Boy on the Train, or Bad Symphonies and Good Movies: The Revealing Error of the "Symphonic Score" 2. Representing Beethoven: Romance and Sonata Form in Simon Cellan Jones's Eroica 3. Minima Romantica 4. Melodic Trains: Music in Polanski's The Pianist 5. Mute Music: Polanski's The Pianist and Campion's The Piano PART II: MUSICAL AGENCY 6. Opera, Aesthetic Violence, and the Imposition of Modernity: Fitzcarraldo. 7. Sight, Sound, and the Temporality of Myth Making in Koyaanisqatsi8. How Sound Floats on Land: The Suppression and Release of Folk and Indigenous Musics in the Cinematic Terrain 9. Auteur Music 10. Transport and Transportation in Audiovisual Memory 11. The Fantastical Gap between Diegetic and Nondiegetic PART III: MUSICAL IDENTITY 12. Early Film Themes: Roxy, Adorno, and the Problem of Cultural Capital 13. Before Willie: Reconsidering Music and the Animated Cartoon of the 1920s 14. Side by Side: Nino Rota, Music, and Film 15. White Face, Black Noise: Miles Davis and the Soundtrack. 16. Men at the Keyboard: Liminal Spaces and the Heterotopian Function of MusicNotes on Contributors Works Cited Index of Films Cited Index of Names A B C D E F G H I J K L M N O P R S T U V W Y Z. 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.