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.
Sally Bick
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780252042812
- eISBN:
- 9780252051678
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252042812.003.0004
- Subject:
- Music, History, Western
Eisler’s writings on Hollywood film music are interpreted from three different vantages: initially from afar as a committed Marxist in Europe; later as an émigré in New York at the New School for ...
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Eisler’s writings on Hollywood film music are interpreted from three different vantages: initially from afar as a committed Marxist in Europe; later as an émigré in New York at the New School for Social Research supported by the Rockefeller Foundation on a study about film music; and finally as a film composer working in Hollywood. The discussion traces this intellectual progression, which eventually culminates in Composing for the Films, a politically controversial and infamous book written in collaboration with Theodor Adorno. The discussion interprets the book and its political ideology and treats the thorny question of authorship, the various editions, and the book’s publication history, as well as Adorno’s problematic role in the creation of the work.Less
Eisler’s writings on Hollywood film music are interpreted from three different vantages: initially from afar as a committed Marxist in Europe; later as an émigré in New York at the New School for Social Research supported by the Rockefeller Foundation on a study about film music; and finally as a film composer working in Hollywood. The discussion traces this intellectual progression, which eventually culminates in Composing for the Films, a politically controversial and infamous book written in collaboration with Theodor Adorno. The discussion interprets the book and its political ideology and treats the thorny question of authorship, the various editions, and the book’s publication history, as well as Adorno’s problematic role in the creation of the work.
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.
Kendra Preston Leonard
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780252042706
- eISBN:
- 9780252051562
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252042706.003.0009
- Subject:
- Music, History, Western
Women played many musical roles in the film industry. They accompanied silent films at the organ with existing repertoire, made new compositions of incidental music and songs, and improvised ...
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Women played many musical roles in the film industry. They accompanied silent films at the organ with existing repertoire, made new compositions of incidental music and songs, and improvised accompaniments at the keyboard; they constructed and disseminated cue sheets and educated their fellow musicians and the public in trade journals and newspapers; and they were inventors: Alice Smythe Jay created a mechanism to synchronize piano rolls with films, while Carrie Hetherington invented and promoted the Fotoplayer. In World War I, with men serving abroad, women were increasingly vital to the industry, advancing the cause of professional women throughout the music industry.Less
Women played many musical roles in the film industry. They accompanied silent films at the organ with existing repertoire, made new compositions of incidental music and songs, and improvised accompaniments at the keyboard; they constructed and disseminated cue sheets and educated their fellow musicians and the public in trade journals and newspapers; and they were inventors: Alice Smythe Jay created a mechanism to synchronize piano rolls with films, while Carrie Hetherington invented and promoted the Fotoplayer. In World War I, with men serving abroad, women were increasingly vital to the industry, advancing the cause of professional women throughout the music industry.
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.
Ben Winters
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780691198293
- eISBN:
- 9780691198736
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691198293.003.0005
- Subject:
- Music, Opera
This chapter sketches an overview of Erich Korngold's film output that draws attention to the variety of scenarios for which he provided music. It also discusses the kinds of musical gestures and ...
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This chapter sketches an overview of Erich Korngold's film output that draws attention to the variety of scenarios for which he provided music. It also discusses the kinds of musical gestures and techniques he used to help him meet their dramatic demands. In many ways these techniques represent a significant expansion from the range demonstrated by his operatic output; in that sense Korngold's Hollywood career was not a regression from the culturally engaged world of opera but represented an opportunity to develop his gifts as a musical dramatist. After a brief summary of Korngold's working practices, the chapter explores the sound of his scores—including his use of particular orchestral colors—and his ability to score a variety of narrative scenarios. It then outlines some aspects of his approach to scoring, including his thematic technique.Less
This chapter sketches an overview of Erich Korngold's film output that draws attention to the variety of scenarios for which he provided music. It also discusses the kinds of musical gestures and techniques he used to help him meet their dramatic demands. In many ways these techniques represent a significant expansion from the range demonstrated by his operatic output; in that sense Korngold's Hollywood career was not a regression from the culturally engaged world of opera but represented an opportunity to develop his gifts as a musical dramatist. After a brief summary of Korngold's working practices, the chapter explores the sound of his scores—including his use of particular orchestral colors—and his ability to score a variety of narrative scenarios. It then outlines some aspects of his approach to scoring, including his thematic technique.
Sally Bick
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780252042812
- eISBN:
- 9780252051678
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252042812.003.0001
- Subject:
- Music, History, Western
This chapter introduces the political landscape caused by World War I, the crisis in capitalism, the Great Depression, and the Popular Front, crises that would shape Copland’s and Eisler’s individual ...
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This chapter introduces the political landscape caused by World War I, the crisis in capitalism, the Great Depression, and the Popular Front, crises that would shape Copland’s and Eisler’s individual musical and political perspectives. Their political commitment led them to embrace film music and to seek employment in Hollywood. Their decisions took place within the debates regarding the aesthetic and political values of high and low culture as exemplified by culture critic Gilbert Seldes (The Seven Lively Arts), George Antheil, and others. The chapter also discusses Hollywood as an industrial enterprise and the conditions that composers like Copland and Eisler faced working in the movie capital.Less
This chapter introduces the political landscape caused by World War I, the crisis in capitalism, the Great Depression, and the Popular Front, crises that would shape Copland’s and Eisler’s individual musical and political perspectives. Their political commitment led them to embrace film music and to seek employment in Hollywood. Their decisions took place within the debates regarding the aesthetic and political values of high and low culture as exemplified by culture critic Gilbert Seldes (The Seven Lively Arts), George Antheil, and others. The chapter also discusses Hollywood as an industrial enterprise and the conditions that composers like Copland and Eisler faced working in the movie capital.
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.
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.
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.
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.