Hearing the movies : music and sound in film history

Films Achieve Their Effects With Sound As Well As Images. An Ideal Text For Introductory Film Music Courses, Hearing The Movies: Music And Sound In Film History Brings Music Into The Context Of Sound, And Sound Into The Context Of The Whole Film. The Text Explores Film Sound In Three Parts. Through Engaging, Accessible Sample Analyses And Exercises, Part I Illustrates Ways To Analyze A Soundtrack In Relation To The Image Track. Part Ii Focuses On The Contributions Of Music To Film Form And Style While Offering A Number Of Detailed Analyses Of Different Types Of Scenes; And Part Iii Lays Out A Concise History Of Film Music And Sound, Paying Particular Attention To The Role Of Technological Innovations In Film Production And Exhibition. Features: * Detailed Sample Analyses With Timings Describe The Function Of Sound And Music In Individual Scenes * Extended Exercises Suggest Tools For Basic Analysis Of The Soundtrack * Interludes At The Ends Of Parts I And Ii Offer Guidelines For Writing About Films In Terms Of Their Sound And Music * Historical Coverage Extends From The Silent Film Era To The Advent Of Digital Technology And Beyond * Provides A Broad Range Of Examples From Hollywood, Independent, And Foreign Films, As Well As Focused Analysis * Features Sidebar Commentary From Industry Professionals And More Than 300 Illustrations, Including Screen Stills, Photos, Tables, Diagrams, And Musical Excerpts * Incorporates The Broadest Range Of Scholarship On Film Music Currently Available, Spanning The Disciplines Of Music And Film/media Studies * Includes Glossary Of Terms For Easy Reference. The Sound Track And Film Narrative : Basic Terms And Concepts. The Sound Track And Narrative ; The Musicality Of The Sound Track : Concepts And Terminology ; Music, Sound And The Space Of Narrative : Concepts And Terminology ; Music, Sound And Time ; Writing About Film Sound : Analysis And Description -- Music, Film Form, And Film Style. Music In Film Form ; Music In Main-title And End-credit Sequences ; Music In Performance And Montage Scenes ; Film Style And The Sound Track ; Music In Character And Action Scenes ; Writing About Film Music : Interpretation -- The Sound Track : A Technological History. Music And Sound In The Silent Era (1895-1929) ; The Transition To Sound Film (1926-1932) ; Music And The Sound Track In The Classical Studio Era ; The Stereo Sound Track And The Post-classical Era (1950-1975) ; The New Hollywood, Dolby Stereo, And The Emergence Of Sound Design (1975-2000) ; Music And Film Sound Today. James Buhler, David Neumeyer, Rob Deemer. Includes Bibliographical References (p. 437-445) And Index. CONTENTS PREFACE INTRODUCTION PART I: The Sound Track and Film Narrative: Basic Terms and Concepts Chapter 1: The Sound Track and Narrative Introduction Basics: Image Track, Sound Track, Narrative Sound Track Components and Narrative Example for Sound Track Components and Narrative (1): Sleepless in Seattle, Second Botched Meeting Example for Sound Track Components and Narrative (2): Good Will Hunting, Boston Common Scene Summary Chapter 2: The Musicality of the Sound Track: Concepts and Terminology Introduction Music and Sound Timbre Texture Example for Sound Track Analysis Using Musical Terms (1): Trzy Kolory: Bialy (Three Colors: White), The Shooting Example for Sound Track Analysis Using Musical Terms (2): Atonement, Main-Title Sequence and First Scene Summary Chapter 3: Music, Sound, and the Space of Narrative: Concepts and Terminology Introduction Diegetic/Nondiegetic Music and Narrative Onscreen/Offscreen Sound and Music Offscreen Sound and Music in Relation to the Diegesis Summary Chapter 4: Music, Sound, and Time Introduction Transitions: The Sound Bridge and Hard Cuts Synchronization (“Playing with the Film”) Counterpoint (“Playing against the Film”) Summary Example for Synchronization and Counterpoint: Casablanca, After-Hours Scene Summary Interlude: Writing About Film Sound: Analysis and Description Introduction Analysis Report: Catch Me If You Can Response Paper That Describes Music’s Narrative Functions Compare and Contrast Paper Focusing on Music Concluding Comments PART II: Music, Film Form, and Film Style Chapter 5: Music in Film Form Introduction Runtime Segmentation Examples for Music in Film Form Summary Chapter 6: Music in Main-Title and End-Credit Sequences Introduction Establishing Sequence End-Credit Music Summary Chapter 7: Music in Performance and Montage Scenes Introduction Performance Scene Additional Examples Montage or Fantasy Scene Summary Chapter 8: Film Style and the Sound Track Introduction Style Topics and the Leitmotif Style Topics A Note on Sound Topics Summary Chapter 9: Music in Character and Action Scenes Introduction Dialogue Scene Action Scene Love Scene Summary Interlude: Writing About Film Music: Interpretation Introduction Developing a Reading (1): Finding a Thesis Developing a Reading (2): Reading against the Grain Summary PART III: The Sound Track: A Technological History Chapter 10: Music and Sound in the Silent Era (1895–1929) Introduction The Early Years The Nickelodeon The Picture Palace Summary A Note on the Music for Silent Film Releases to VHS and DVD Chapter 11: The Transition to Sound Film (1926–1932) Introduction Issues of Technology and Economics Mastering the Sound Track and Elements of Style Production Summary Chapter 12: Music and the Sound Track in the Classical Studio Era Introduction Issues of Technology and Economics The Sound Track in the Studio Era and Elements of Style Production Summary Chapter 13: The Stereo Sound Track and the Post-Classical Era (1950–1975) Introduction Issues of High Fidelity and Stereo Sound Stereo Sound, Magnetic Tape, and Elements of Style Production Summary Chapter 14: The New Hollywood, Dolby Stereo, and the Emergence of Sound Design (1975–2000) Introduction Issues of Technology and Economics Sound Design and Elements of Style Production Summary Chapter 15: Music and Film Sound Today Introduction: The Digital Era Issues of Technology and Economics Digital Sound and Elements of Style Production Sound Department Summary AFTERWORD GLOSSARY A B C D E F G H I K L M N O P R S T U V CREDITS NOTES INDEX A B C D E F G H I J K L M N O P Q R S T U V W Y Z Films achieve their effects with sound as well as images. An ideal text for introductory film music courses, Hearing the Music and Sound in Film History brings music into the context of sound, and sound into the context of the whole film. The text explores film sound in three parts. Through engaging, accessible sample analyses and exercises, Part I illustrates ways to analyze a soundtrack in relation to the image track. Part II focuses on the contributions of music to film form and style while offering a number of detailed analyses of different types of scenes; and Part III lays out a concise history of film music and sound, paying particular attention to the role of technological innovations in film production and exhibition. * Detailed sample analyses with timings describe the function of sound and music in individual scenes * Extended exercises suggest tools for basic analysis of the soundtrack * Interludes at the ends of Parts I and II offer guidelines for writing about films in terms of their sound and music * Historical coverage extends from the silent film era to the advent of digital technology and beyond * Provides a broad range of examples from Hollywood, independent, and foreign films, as well as focused analysis * Features sidebar commentary from industry professionals and more than 300 illustrations, including screen stills, photos, tables, diagrams, and musical excerpts * Incorporates the broadest range of scholarship on film music currently available, spanning the disciplines of music and film/media studies * Includes glossary of terms for easy reference * Companion website at offers additional resources for instructors and students