Ron Rodman
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195340242
- eISBN:
- 9780199863778
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195340242.003.0005
- Subject:
- Music, Popular, History, American
This chapter traces how television music imparts meaning from its borrowing of cinematic musical techniques, in particular, cinematic leitmotif. The televisual leitmotif, which often is derived from ...
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This chapter traces how television music imparts meaning from its borrowing of cinematic musical techniques, in particular, cinematic leitmotif. The televisual leitmotif, which often is derived from a program's theme music, is a special kind of musical topic that references aspects of the televisual narrative by denoting a specific character or situation in a program while also connoting traits of characters or moods of the narrative. This dual signification of a single musical idea draws from Charles Morris's conception of “ascription.” Because television programs are so ephemeral, musical meaning relies on the ability of the leitmotif to signify in several modes of signification and through extensive repetition of the leitmotif within a single episode as well as through weekly programming. To illustrate the ascriptive power of the leitmotif, the chapter provides an analysis of Gerald Fried's music to the episode “Shore Leave” from the original Star Trek series.Less
This chapter traces how television music imparts meaning from its borrowing of cinematic musical techniques, in particular, cinematic leitmotif. The televisual leitmotif, which often is derived from a program's theme music, is a special kind of musical topic that references aspects of the televisual narrative by denoting a specific character or situation in a program while also connoting traits of characters or moods of the narrative. This dual signification of a single musical idea draws from Charles Morris's conception of “ascription.” Because television programs are so ephemeral, musical meaning relies on the ability of the leitmotif to signify in several modes of signification and through extensive repetition of the leitmotif within a single episode as well as through weekly programming. To illustrate the ascriptive power of the leitmotif, the chapter provides an analysis of Gerald Fried's music to the episode “Shore Leave” from the original Star Trek series.
Peter Kivy
- Published in print:
- 1997
- Published Online:
- October 2011
- ISBN:
- 9780198159216
- eISBN:
- 9780191673566
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198159216.003.0014
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter aims to show the roots of movie music in the tradition of Western art music for the stage and the consideration of the specific musical practice music in the movies in this chapter. The ...
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This chapter aims to show the roots of movie music in the tradition of Western art music for the stage and the consideration of the specific musical practice music in the movies in this chapter. The chapter's stand makes another contribution to this domain of study as it poses a question on the convergence of the debate in film studies concerning the functions of sound and music in film with the consideration of the history of musical forms. The chapter's question is of particular interest to film scholars for two reasons: it demonstrates how conceptual questions may arise out of and are interrelated with empirical ones and it sheds new light on the debates around melodrama in film studies. It also tackles the chapter's conjecture on the addition of synchronous sound, filmic representation which lacks the expressive fullness of live theatrical performance. According to this chapter, music is the essence of modern cinema.Less
This chapter aims to show the roots of movie music in the tradition of Western art music for the stage and the consideration of the specific musical practice music in the movies in this chapter. The chapter's stand makes another contribution to this domain of study as it poses a question on the convergence of the debate in film studies concerning the functions of sound and music in film with the consideration of the history of musical forms. The chapter's question is of particular interest to film scholars for two reasons: it demonstrates how conceptual questions may arise out of and are interrelated with empirical ones and it sheds new light on the debates around melodrama in film studies. It also tackles the chapter's conjecture on the addition of synchronous sound, filmic representation which lacks the expressive fullness of live theatrical performance. According to this chapter, music is the essence of modern cinema.
Gregory D. Booth
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195327632
- eISBN:
- 9780199852055
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327632.001.0001
- Subject:
- Music, Ethnomusicology, World Music
Beginning in the 1930s, men, and a handful of women, came from India's many communities — Marathi, Parsi, Goan, North Indian, and many others — to Mumbai to work in an industry that constituted in ...
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Beginning in the 1930s, men, and a handful of women, came from India's many communities — Marathi, Parsi, Goan, North Indian, and many others — to Mumbai to work in an industry that constituted in the words of some, “the original fusion music”. They worked as composers, arrangers, assistants, and studio performers in one of the most distinctive popular music and popular film cultures on the planet. Today, the songs played by Mumbai's studio musicians are known throughout India and the Indian diaspora under the popular name “Bollywood,” but the musicians themselves remain, in their own words, “behind the curtain” — the anonymous and unseen performers of one of the world's most celebrated popular music genres. This book offers an account of the Bollywood film-music industry from the perspective of the musicians who both experienced and shaped its history. In an insider's look at the process of musical production from the late 1940s to the mid 1990s, before the advent of digital recording technologies, the author explains who these unknown musicians were and how they came to join the film-music industry. On the basis of a set of first-hand accounts from the musicians themselves, he reveals how the day-to-day circumstances of technology and finance shaped both the songs and the careers of their creators and performers. The author also unfolds the technological, cultural, and industrial developments that led to the enormous studio orchestras of the 1960s–90s, as well as the factors which ultimately led to their demise in contemporary India.Less
Beginning in the 1930s, men, and a handful of women, came from India's many communities — Marathi, Parsi, Goan, North Indian, and many others — to Mumbai to work in an industry that constituted in the words of some, “the original fusion music”. They worked as composers, arrangers, assistants, and studio performers in one of the most distinctive popular music and popular film cultures on the planet. Today, the songs played by Mumbai's studio musicians are known throughout India and the Indian diaspora under the popular name “Bollywood,” but the musicians themselves remain, in their own words, “behind the curtain” — the anonymous and unseen performers of one of the world's most celebrated popular music genres. This book offers an account of the Bollywood film-music industry from the perspective of the musicians who both experienced and shaped its history. In an insider's look at the process of musical production from the late 1940s to the mid 1990s, before the advent of digital recording technologies, the author explains who these unknown musicians were and how they came to join the film-music industry. On the basis of a set of first-hand accounts from the musicians themselves, he reveals how the day-to-day circumstances of technology and finance shaped both the songs and the careers of their creators and performers. The author also unfolds the technological, cultural, and industrial developments that led to the enormous studio orchestras of the 1960s–90s, as well as the factors which ultimately led to their demise in contemporary India.
Gregory D. Booth
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195327632
- eISBN:
- 9780199852055
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327632.003.0001
- Subject:
- Music, Ethnomusicology, World Music
This chapter presents a profile of Anthony Gonsalves, an Indian composer and music teacher. Gonsalves was born in 1927 in the Goan village of Majorda and he was the son of a choirmaster attached to ...
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This chapter presents a profile of Anthony Gonsalves, an Indian composer and music teacher. Gonsalves was born in 1927 in the Goan village of Majorda and he was the son of a choirmaster attached to the local Roman Catholic church, Mäe de Deus. His father trained him in European classical music and he worked in the film-music industry from 1943 to 1965. He has arranged and composed for a long and distinguished list of music directors including Shyam Sunder, S. D. Burman and Madan Mohan.Less
This chapter presents a profile of Anthony Gonsalves, an Indian composer and music teacher. Gonsalves was born in 1927 in the Goan village of Majorda and he was the son of a choirmaster attached to the local Roman Catholic church, Mäe de Deus. His father trained him in European classical music and he worked in the film-music industry from 1943 to 1965. He has arranged and composed for a long and distinguished list of music directors including Shyam Sunder, S. D. Burman and Madan Mohan.
Gregory D. Booth
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195327632
- eISBN:
- 9780199852055
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327632.003.0005
- Subject:
- Music, Ethnomusicology, World Music
This chapter examines the social identities of the musicians in the film industry in Mumbai, India and the pathways by which they came to be part of this musical-professional group. It analyzes the ...
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This chapter examines the social identities of the musicians in the film industry in Mumbai, India and the pathways by which they came to be part of this musical-professional group. It analyzes the sources, natures, and processes of musical training of those who joined the film-music industry. It suggests that the backgrounds of musicians who joined the film sector reflect the film industry's place within the broader national context and the different representations of cultural identity in the industry reflect the variability of representation in the two different levels of music production in Mumbai.Less
This chapter examines the social identities of the musicians in the film industry in Mumbai, India and the pathways by which they came to be part of this musical-professional group. It analyzes the sources, natures, and processes of musical training of those who joined the film-music industry. It suggests that the backgrounds of musicians who joined the film sector reflect the film industry's place within the broader national context and the different representations of cultural identity in the industry reflect the variability of representation in the two different levels of music production in Mumbai.
Gregory D. Booth
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195327632
- eISBN:
- 9780199852055
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327632.003.0009
- Subject:
- Music, Ethnomusicology, World Music
This chapter examines the issues on value, genre and style in the film-music industry in Mumbai, India. It considers the distinctive notions and patterns of style and genre construction in film music ...
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This chapter examines the issues on value, genre and style in the film-music industry in Mumbai, India. It considers the distinctive notions and patterns of style and genre construction in film music and explores film musicians' representations of and relationships with musical style. It suggests that the cultural dominance of film music in India may have produced a similar form of conceptual myopia among its listeners and practitioners.Less
This chapter examines the issues on value, genre and style in the film-music industry in Mumbai, India. It considers the distinctive notions and patterns of style and genre construction in film music and explores film musicians' representations of and relationships with musical style. It suggests that the cultural dominance of film music in India may have produced a similar form of conceptual myopia among its listeners and practitioners.
Julie Hubbert
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199827336
- eISBN:
- 9780199369560
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199827336.003.0002
- Subject:
- Music, Popular, History, Western
The centrality of music in the methodology of Martin Scorsese is most famously apparent in his extensive oeuvre of music-related documentaries. However, his characteristic synthesis of carefully ...
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The centrality of music in the methodology of Martin Scorsese is most famously apparent in his extensive oeuvre of music-related documentaries. However, his characteristic synthesis of carefully chosen soundtracks, jarring variations in both visual and auditory pacing, and definitive subtext communicated throughcarefully chosen musical selections features perhaps most prominently inhis narrative films. Informedby the time-honored concepts of Direct Cinema and cinémavéritéas well as the music videos that dominated popular culture throughout his career, Scorsese worked to develop a style that was at once classic and novel. He used unique juxtapositions of moving images and both diegetic and non-diegetic music to create multilayered narratives that drew onaesthetic conventions from earlier decades butwere progressive in concept. This chapter explores how Scorsese’s simultaneous rejection of growing commercial influences in cinema and espousal of narrative devices beyond dialogue and the physical scene gave rise to a distinctive aesthetic that amounted to his acceptance of cinematicmodernity on his own terms.Less
The centrality of music in the methodology of Martin Scorsese is most famously apparent in his extensive oeuvre of music-related documentaries. However, his characteristic synthesis of carefully chosen soundtracks, jarring variations in both visual and auditory pacing, and definitive subtext communicated throughcarefully chosen musical selections features perhaps most prominently inhis narrative films. Informedby the time-honored concepts of Direct Cinema and cinémavéritéas well as the music videos that dominated popular culture throughout his career, Scorsese worked to develop a style that was at once classic and novel. He used unique juxtapositions of moving images and both diegetic and non-diegetic music to create multilayered narratives that drew onaesthetic conventions from earlier decades butwere progressive in concept. This chapter explores how Scorsese’s simultaneous rejection of growing commercial influences in cinema and espousal of narrative devices beyond dialogue and the physical scene gave rise to a distinctive aesthetic that amounted to his acceptance of cinematicmodernity on his own terms.
Gregory D. Booth
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195327632
- eISBN:
- 9780199852055
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327632.003.0004
- Subject:
- Music, Ethnomusicology, World Music
This chapter examines the changing structures of the film industry in Mumbai, India. It proposes a historical model in which overlapping cultural and industrial systems resulted in changes in ...
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This chapter examines the changing structures of the film industry in Mumbai, India. It proposes a historical model in which overlapping cultural and industrial systems resulted in changes in film-music production and the exploitation of music for maximum profit. It suggests that the gradual and seamless process of change in the Mumbai film industry consists of three rough historical periods. These include Studio Period from 1935 to 1950, Old Bollywood from 1950 to 1998 and New Bollywood from 1998 to the present.Less
This chapter examines the changing structures of the film industry in Mumbai, India. It proposes a historical model in which overlapping cultural and industrial systems resulted in changes in film-music production and the exploitation of music for maximum profit. It suggests that the gradual and seamless process of change in the Mumbai film industry consists of three rough historical periods. These include Studio Period from 1935 to 1950, Old Bollywood from 1950 to 1998 and New Bollywood from 1998 to the present.
Berthold Hoeckner and Howard C. Nusbaum
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199608157
- eISBN:
- 9780191761225
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199608157.003.0011
- Subject:
- Psychology, Music Psychology, Social Psychology
This chapter explores the artistic representation and empirical study of audiovisual memory in cinema, with a specific focus on memory induced by music. The first section reviews how flashbacks have ...
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This chapter explores the artistic representation and empirical study of audiovisual memory in cinema, with a specific focus on memory induced by music. The first section reviews how flashbacks have been used by directors to structure filmic narration and to visualize the recollection of characters. The second section examines how different types of visual memory are cued by music in movies. In cinematic representations of episodic memory, for example, characters may associate music with past events (as in the film Casablanca). Based on musical schemas formed by cultural conventions, musical underscoring relies on semantic and implicit memory to help audiences in the perception and understanding of screen content. The third section surveys empirical studies of musical memory effects in film and multimedia, showing how affective priming through musical underscoring affects the remembrance of film events, product recall in advertisement, the comprehension of the narrative, or character perception.Less
This chapter explores the artistic representation and empirical study of audiovisual memory in cinema, with a specific focus on memory induced by music. The first section reviews how flashbacks have been used by directors to structure filmic narration and to visualize the recollection of characters. The second section examines how different types of visual memory are cued by music in movies. In cinematic representations of episodic memory, for example, characters may associate music with past events (as in the film Casablanca). Based on musical schemas formed by cultural conventions, musical underscoring relies on semantic and implicit memory to help audiences in the perception and understanding of screen content. The third section surveys empirical studies of musical memory effects in film and multimedia, showing how affective priming through musical underscoring affects the remembrance of film events, product recall in advertisement, the comprehension of the narrative, or character perception.
Gregory D. Booth
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195327632
- eISBN:
- 9780199852055
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327632.003.0003
- Subject:
- Music, Ethnomusicology, World Music
This chapter examines the technologies and the changing “limits of the possible” under which film musicians, recording engineers, music directors and film producers in Mumbai, India operated. It ...
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This chapter examines the technologies and the changing “limits of the possible” under which film musicians, recording engineers, music directors and film producers in Mumbai, India operated. It suggests that despite the limitations of technology there were instances when Mumbai musicians and engineers exceeded the technological limitations of their environment. In this way, technology has been the ground on which the professional and social structures of daily life were constructed and the primary determinant in a determinist history of this music culture.Less
This chapter examines the technologies and the changing “limits of the possible” under which film musicians, recording engineers, music directors and film producers in Mumbai, India operated. It suggests that despite the limitations of technology there were instances when Mumbai musicians and engineers exceeded the technological limitations of their environment. In this way, technology has been the ground on which the professional and social structures of daily life were constructed and the primary determinant in a determinist history of this music culture.
Gregory D. Booth
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195327632
- eISBN:
- 9780199852055
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327632.003.0006
- Subject:
- Music, Ethnomusicology, World Music
This chapter examines the musical, economic, and social relationships of the creative process that took place in the world of music rooms, music directors, arrangers, assistants and sitting musicians ...
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This chapter examines the musical, economic, and social relationships of the creative process that took place in the world of music rooms, music directors, arrangers, assistants and sitting musicians in the film-music industry in Mumbai, India. It explores the workshops, professional roles and the organization of the processes involved in the local musicians' composition of about nineteen songs a week during the last years of the British rule through the early years of the 21st century. It suggests that sitting musicians were the main source of the songs for the Hindi cinema.Less
This chapter examines the musical, economic, and social relationships of the creative process that took place in the world of music rooms, music directors, arrangers, assistants and sitting musicians in the film-music industry in Mumbai, India. It explores the workshops, professional roles and the organization of the processes involved in the local musicians' composition of about nineteen songs a week during the last years of the British rule through the early years of the 21st century. It suggests that sitting musicians were the main source of the songs for the Hindi cinema.
Scott D. Lipscomb and David E. Tolchinsky
- Published in print:
- 2005
- Published Online:
- March 2012
- ISBN:
- 9780198529361
- eISBN:
- 9780191689628
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198529361.003.0018
- Subject:
- Psychology, Music Psychology
This chapter explores musical communication in a cinematic context. It presents empirical and theoretical models of film music perception and the role of music in film. It illustrates some of the ...
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This chapter explores musical communication in a cinematic context. It presents empirical and theoretical models of film music perception and the role of music in film. It illustrates some of the ways in which a film's soundtrack can not only contribute towards but also expand upon the meaning of a film's narrative, and on what it communicates to the audience.Less
This chapter explores musical communication in a cinematic context. It presents empirical and theoretical models of film music perception and the role of music in film. It illustrates some of the ways in which a film's soundtrack can not only contribute towards but also expand upon the meaning of a film's narrative, and on what it communicates to the audience.
Gregory D. Booth
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195327632
- eISBN:
- 9780199852055
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327632.003.0007
- Subject:
- Music, Ethnomusicology, World Music
This chapter examines the conversion of a composed song into a recorded song, the second stage of the song production process in the film-music industry in Mumbai, India. It explores the public side ...
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This chapter examines the conversion of a composed song into a recorded song, the second stage of the song production process in the film-music industry in Mumbai, India. It explores the public side of song production from rehearsal to recording and analyzes the issues of economics and musicians' livelihoods. It evaluates the roles of a number other professionals in this stage of song production, including messengers and song violin.Less
This chapter examines the conversion of a composed song into a recorded song, the second stage of the song production process in the film-music industry in Mumbai, India. It explores the public side of song production from rehearsal to recording and analyzes the issues of economics and musicians' livelihoods. It evaluates the roles of a number other professionals in this stage of song production, including messengers and song violin.
Gregory D. Booth
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195327632
- eISBN:
- 9780199852055
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327632.003.0008
- Subject:
- Music, Ethnomusicology, World Music
This chapter examines the orchestras, orchestral procedures, instrumental change and programming involved in song production for the film-music industry in Mumbai, India. It states that the changes ...
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This chapter examines the orchestras, orchestral procedures, instrumental change and programming involved in song production for the film-music industry in Mumbai, India. It states that the changes in the size of orchestra, the orchestral procedures, surrounding arrangements and background music, and the introduction of new instruments occurred independent of stylistic considerations. It evaluates the notion the Mumbai studio orchestra as an instrumental ensemble through analysis of the cultural and industrial conditions of orchestral musicianship.Less
This chapter examines the orchestras, orchestral procedures, instrumental change and programming involved in song production for the film-music industry in Mumbai, India. It states that the changes in the size of orchestra, the orchestral procedures, surrounding arrangements and background music, and the introduction of new instruments occurred independent of stylistic considerations. It evaluates the notion the Mumbai studio orchestra as an instrumental ensemble through analysis of the cultural and industrial conditions of orchestral musicianship.
Jamie Sexton (ed.)
- Published in print:
- 2007
- Published Online:
- September 2012
- ISBN:
- 9780748625338
- eISBN:
- 9780748671038
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748625338.001.0001
- Subject:
- Society and Culture, Media Studies
This book is part of a series which aims to explore the area of ‘screen music’. Volume topics include multimedia music, music and television, Hollywood film music, and the music of Bollywood cinema. ...
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This book is part of a series which aims to explore the area of ‘screen music’. Volume topics include multimedia music, music and television, Hollywood film music, and the music of Bollywood cinema. Music and other sound effects were central to a whole host of media forms throughout the twentieth century, either as background, accompaniment, or main driving force. Such interactions will continue to mutate in new directions with the widespread growth of digital technologies. Despite the expansion of research into the use of music and sound in film, the investigation of sonic interactions with other media forms has been a largely under-researched area. This book provides a study of how music and other sounds play a central part in our understandings and uses of a variety of communications media. It focuses on four areas of sound and music within broader multimedia forms — music videos, video game music, performance and presentation, and production and consumption — and addresses the centrality of such aural concerns within our everyday experiences.Less
This book is part of a series which aims to explore the area of ‘screen music’. Volume topics include multimedia music, music and television, Hollywood film music, and the music of Bollywood cinema. Music and other sound effects were central to a whole host of media forms throughout the twentieth century, either as background, accompaniment, or main driving force. Such interactions will continue to mutate in new directions with the widespread growth of digital technologies. Despite the expansion of research into the use of music and sound in film, the investigation of sonic interactions with other media forms has been a largely under-researched area. This book provides a study of how music and other sounds play a central part in our understandings and uses of a variety of communications media. It focuses on four areas of sound and music within broader multimedia forms — music videos, video game music, performance and presentation, and production and consumption — and addresses the centrality of such aural concerns within our everyday experiences.
Todd Decker
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780520282322
- eISBN:
- 9780520966543
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520282322.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter describes the large-scale narrative and musical patterns of serious Hollywood combat films made after Vietnam. Two larger narrative shapes are identified: two-part forms (such as ...
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This chapter describes the large-scale narrative and musical patterns of serious Hollywood combat films made after Vietnam. Two larger narrative shapes are identified: two-part forms (such as training camp followed by battlefield) and alternating action-reflection forms. Then, the overall shape and content of combat film musical scores are described in a comparative context. Four strategies for the use of music in war films are described: films with very little music of any sort, films which alternate between scored and unscored scenes (Saving Private Ryan), music-laden films with music noticeably present much of the time (Born on the Fourth of July), and films with almost continuous music. The frequently blurry distinctions between sound effects and music, the role of popular music (Full Metal Jacket), the importance of diegetic silence, the ambiguous authorship of some film scores (Apocalypse Now, The Hurt Locker), and the shifting nature of the soundtrack mix are also considered.Less
This chapter describes the large-scale narrative and musical patterns of serious Hollywood combat films made after Vietnam. Two larger narrative shapes are identified: two-part forms (such as training camp followed by battlefield) and alternating action-reflection forms. Then, the overall shape and content of combat film musical scores are described in a comparative context. Four strategies for the use of music in war films are described: films with very little music of any sort, films which alternate between scored and unscored scenes (Saving Private Ryan), music-laden films with music noticeably present much of the time (Born on the Fourth of July), and films with almost continuous music. The frequently blurry distinctions between sound effects and music, the role of popular music (Full Metal Jacket), the importance of diegetic silence, the ambiguous authorship of some film scores (Apocalypse Now, The Hurt Locker), and the shifting nature of the soundtrack mix are also considered.
Peter Franklin
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780195383454
- eISBN:
- 9780199897032
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195383454.001.0001
- Subject:
- Music, Popular, History, Western
Critical theorists have noted a regressive discourse of gender running through much modernist cultural commentary; they have highlighted ways in which its value-laden language is often attached to ...
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Critical theorists have noted a regressive discourse of gender running through much modernist cultural commentary; they have highlighted ways in which its value-laden language is often attached to discussion of entertainment film, as a powerful branch of mass culture. It has similarly attached itself to film music, as a supposedly overemotional and manipulative remnant of European late romanticism. The purpose of this book is to interrogate some of the implications of the opposition between film music and serious “classical music,” drawing the former into closer historical alignment with the latter. It therefore reflects as much upon ideas about music and musical values as about film, analyzing the implications of gender-related ideas about music alongside those about film. It consequently proposes a history of twentieth-century music that would include the scores of a number of the major Hollywood movies discussed here, like The Bride of Frankenstein, King Kong, Rebecca, Gone With The Wind, Citizen Kane, or Psycho.Less
Critical theorists have noted a regressive discourse of gender running through much modernist cultural commentary; they have highlighted ways in which its value-laden language is often attached to discussion of entertainment film, as a powerful branch of mass culture. It has similarly attached itself to film music, as a supposedly overemotional and manipulative remnant of European late romanticism. The purpose of this book is to interrogate some of the implications of the opposition between film music and serious “classical music,” drawing the former into closer historical alignment with the latter. It therefore reflects as much upon ideas about music and musical values as about film, analyzing the implications of gender-related ideas about music alongside those about film. It consequently proposes a history of twentieth-century music that would include the scores of a number of the major Hollywood movies discussed here, like The Bride of Frankenstein, King Kong, Rebecca, Gone With The Wind, Citizen Kane, or Psycho.
Gregory D. Booth and Bradley Shope (eds)
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199928835
- eISBN:
- 9780199369751
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199928835.001.0001
- Subject:
- Music, Ethnomusicology, World Music, Popular
More than Bollywood: Studies in Indian Popular Music includes many of the leading scholars currently working on Indian popular music and culture. The volume offers a wide perspective on contemporary ...
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More than Bollywood: Studies in Indian Popular Music includes many of the leading scholars currently working on Indian popular music and culture. The volume offers a wide perspective on contemporary and historical popular musics in India, and confronts the inescapable importance of Indian film song; but it also offers the largest collection to date of research on “non-film” popular music in India. It is the most comprehensive single volume on a subject that is of growing interest to scholars and students in music, ethnomusicology, film studies, popular music studies, and South Asian studies. It is intended to stand on its own as a work of scholarship, but it is also simultaneously intended as a fundamental resource for courses on popular music and music in India.Less
More than Bollywood: Studies in Indian Popular Music includes many of the leading scholars currently working on Indian popular music and culture. The volume offers a wide perspective on contemporary and historical popular musics in India, and confronts the inescapable importance of Indian film song; but it also offers the largest collection to date of research on “non-film” popular music in India. It is the most comprehensive single volume on a subject that is of growing interest to scholars and students in music, ethnomusicology, film studies, popular music studies, and South Asian studies. It is intended to stand on its own as a work of scholarship, but it is also simultaneously intended as a fundamental resource for courses on popular music and music in India.
Annabel J. Cohen
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199797813
- eISBN:
- 9780199369522
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199797813.003.0003
- Subject:
- Psychology, Social Psychology
Music plays an integral part of most movies. Its presence however is often paradoxical particularly when music contributes to the compelling nature of a scene, while being one of the most unrealistic ...
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Music plays an integral part of most movies. Its presence however is often paradoxical particularly when music contributes to the compelling nature of a scene, while being one of the most unrealistic components. The explanation of this phenomenon requires an account of perception and cognition of the film as a whole. Such an account must acknowledge the multiple roles that music plays in a film from that of structuring information and focusing attention on cross-modal congruencies to providing associations as a basis for interpretation of narrative actions and scenes. The Congruence-Association Model including the Working Narrative (Narrative (CAM-WN) is described as a way of explaining the perceptual and cognitive processes activated by film. The paradox of film music is exemplified by early scenes from the film Babel, and the ability of CAM-WN to resolve the paradox provides support for the model in general as a means of explaining the role of music in film.Less
Music plays an integral part of most movies. Its presence however is often paradoxical particularly when music contributes to the compelling nature of a scene, while being one of the most unrealistic components. The explanation of this phenomenon requires an account of perception and cognition of the film as a whole. Such an account must acknowledge the multiple roles that music plays in a film from that of structuring information and focusing attention on cross-modal congruencies to providing associations as a basis for interpretation of narrative actions and scenes. The Congruence-Association Model including the Working Narrative (Narrative (CAM-WN) is described as a way of explaining the perceptual and cognitive processes activated by film. The paradox of film music is exemplified by early scenes from the film Babel, and the ability of CAM-WN to resolve the paradox provides support for the model in general as a means of explaining the role of music in film.
Lars Kuchinke, Hermann Kappelhoff, and Stefan Koelsch
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199608157
- eISBN:
- 9780191761225
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199608157.003.0006
- Subject:
- Psychology, Music Psychology, Social Psychology
There are many different ways in which emotions can be elicited by narrative films. This chapter explores neuroscientific perspectives on music as an important factor involved in the evocation of ...
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There are many different ways in which emotions can be elicited by narrative films. This chapter explores neuroscientific perspectives on music as an important factor involved in the evocation of emotion in narrative films. Is there evidence for a visual dominance in viewing a film, so that emotional effects of music only follow the visual experiences? Or can we also find circumstances where musical information dominates the interpretation of film scenes? This chapter reviews evidence from media sciences and experimental psychology that music modulates the emotional experiences induced by a film, often increasing the intensity of such experiences. In addition, recent neuroscientific research is presented that provides the most probable neural bases of these effects, extended by a short review of recent findings in the neuroimaging literature on film and music.Less
There are many different ways in which emotions can be elicited by narrative films. This chapter explores neuroscientific perspectives on music as an important factor involved in the evocation of emotion in narrative films. Is there evidence for a visual dominance in viewing a film, so that emotional effects of music only follow the visual experiences? Or can we also find circumstances where musical information dominates the interpretation of film scenes? This chapter reviews evidence from media sciences and experimental psychology that music modulates the emotional experiences induced by a film, often increasing the intensity of such experiences. In addition, recent neuroscientific research is presented that provides the most probable neural bases of these effects, extended by a short review of recent findings in the neuroimaging literature on film and music.
