The Oxford Handbook of Film Music Studies (Oxford Handbooks)

The Oxford Handbook of Film Music Studies gathers two dozen original essays that chart the history and current state of interdisciplinary scholarship on music in audiovisual media, focusing on four areas: history, genre and medium, analysis and criticism, and interpretation. 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. 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. Edited By David Neumeyer. Includes Bibliographical References And Index. Cover Contents Contributors 1. Overview PART I: FILM MUSIC: CENTRAL QUESTIONS 2. Music and the Ontology of the Sound Film: The Classical Hollywood System 3. Opera and Film 4. Visual Representation of Film Sound as an Analytical Tool 5. Film Music from the Perspective of Cognitive Science 6. Composing for Film: Hanns Eisler’s Lifelong Film Music Project 7. Ontological, Formal, and Critical Theories of Film Music and Sound PART II: GENRE AND PLATFORM 8. Drawing a New Narrative for Cartoon Music 9. Genre Theory and the Film Musical 10. “The Tunes They Are A-changing”: Moments of Historical Rupture and Reconfiguration in the Production and Commerce of Music in Film 11. The Compilation Soundtrack from the 1960s to the Present 12. The Origins of Musical Style in Video Games, 1977–1983 PART III: INTERPRETATIVE THEORY AND PRACTICE 13. Classical Music, Virtual Bodies, Narrative Film 14. Gender, Sexuality, and the Soundtrack 15. Psychoanalysis, Apparatus Theory, and Subjectivity 16. Case Studies: Introduction 17. The Order of Sanctity: Sound, Sight, and Suasion in The Ten Commandments 18. Strange Recognitions and Endless Loops: Music, Media, and Memory in Terry Gilliam’s 12 Monkeys PART IV: CONTEMPORARY APPROACHES TO ANALYSIS 19. Transformational Theory and the Analysis of Film Music 20. Listening in Film: Music/Film Temporality, Materiality, and Memory 21. Auteurship and Agency in Television Music PART V: HISTORICAL ISSUES 22. When the Music Surges: Melodrama and the Nineteenth-century Theatrical Precedents for Film Music Style and Placement 23. Audio-visual Palimpsests: Resynchronizing Silent Films with “Special” Music 24. Performance Practices and Music in Early Cinema outside Hollywood 25. Performing Prestige: American Cinema Orchestras, 1910–1958 Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z 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. This title gathers two dozen original essays that chart the history and current state of interdisciplinary scholarship on music in audiovisual media, focusing on four areas: history genre and medium, analysis and criticism, and interpretation.