Journal of Film Music最新文献_第9页

Modular Structures in Film Music: The Answer to Synchronization Problems? 电影音乐中的模块结构:同步问题的答案?

Journal of Film Music Pub Date : 2014-06-17 DOI: 10.1558/JFM.V4I2.125

Bartlomiej P. Walus

引用次数: 3

Motion in Music—Motion in Painting: The Use of Music in the Films of Oskar Fischinger* 音乐中的运动-绘画中的运动:奥斯卡·费辛格电影中音乐的运用*

Journal of Film Music Pub Date : 2014-06-17 DOI: 10.1558/JFM.V4I2.155

Jörg Jewanski

引用次数: 1

Knowledge Organization in Film Music and its Theatrical Origins: Recapitulation and Coda 电影音乐中的知识组织及其戏剧起源:再现与尾声

Journal of Film Music Pub Date : 2013-10-25 DOI: 10.1558/JFM.V5I1-2.207

William H. Rosar

引用次数: 1

Theory and Practice in Erdmann/Becce/Brav’s Allgemeines Handbuch der Film-Musik (1927)

Journal of Film Music Pub Date : 2013-10-25 DOI: 10.1558/JFM.V5I1-2.93

Irene Comisso

引用次数: 25

Introduction: From Nineteenth-Century Stage Melodrama to Twenty-First-Century Film Scoring 导言:从19世纪的舞台情节剧到21世纪的电影配乐

Journal of Film Music Pub Date : 2013-10-06 DOI: 10.1558/JFM.V5I1-2.7

Katherine K. Preston

{"title":"Introduction: From Nineteenth-Century Stage Melodrama to Twenty-First-Century Film Scoring","authors":"Katherine K. Preston","doi":"10.1558/JFM.V5I1-2.7","DOIUrl":"https://doi.org/10.1558/JFM.V5I1-2.7","url":null,"abstract":"© Copyright the International Film Music Society, published by Equinox Publishing Ltd 2013, Unit S3, Kelham House, 3 Lancaster Street, Sheffield, S3 8AF. I n the early 1990s I met a number of theatre historians at a Gilbert & Sullivan conference in New York. I was a newly minted Ph.D., and was hungry to meet established scholars inside or outside of my field. My new acquaintances that spring included David Mayer, Professor of Drama at the University of Manchester in England, who with Matthew Scott edited Four Bars of ‘Agit’: Incidental Music for Victorian and Edwardian Melodrama for Samuel French in 1983.1 I remember sitting with David in a coffee shop after the conference was over and sharing with him—in what must have been the earnest true-believer style of an enthusiastic young scholar—my ideas about the importance of music in the theatre of late nineteenth-century America, and the ubiquity of the theatre in the lives of everyday Americans during that period. I had recently completed my first book (an examination of the work of journeymen musicians in Washington, D. C. during the last quarter of the nineteenth century), and in the process had learned a great deal about both of those issues.2 The conversation that I had with David was a fortuitous one, for it resulted in an invitation to write a short introductory essay called “The Music of Toga Drama” for an anthology he was assembling for publication. This work (eventually called Playing out the Empire) is a collection of scripts of a particular type of late-century drama that came to be known (somewhat derisively) as “toga plays”; it includes scripts of five","PeriodicalId":201559,"journal":{"name":"Journal of Film Music","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125909026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

The Continuity of Melos: Beginnings to the Present Day 米洛斯的连续性:从开始到现在

Journal of Film Music Pub Date : 2013-09-05 DOI: 10.1558/JFM.V5I1-2.15

Anne Dhu McLucas

引用次数: 1

Mysteriosos Demystified: Topical Strategies Within and Beyond the Silent Cinema 揭开神秘面纱:无声电影内外的主题策略

Journal of Film Music Pub Date : 2013-09-05 DOI: 10.1558/JFM.V5I1-2.77

Tobias Plebuch

引用次数: 5

Composing with Types and Flexible Modules: John Williams’ Two-Note Ostinato for Jaws and its Use in Film-Music History 用类型和灵活模块作曲:约翰·威廉姆斯的《大白鲨》二音固定音及其在电影音乐史上的应用

Journal of Film Music Pub Date : 2013-04-29 DOI: 10.1558/JFM.V5I1-2.165

P. Moormann

引用次数: 3

Music Theory Through the Lens of Film 电影镜头下的音乐理论

Journal of Film Music Pub Date : 2013-04-29 DOI: 10.1558/JFM.V5I1-2.179

Frank Lehman

{"title":"Music Theory Through the Lens of Film","authors":"Frank Lehman","doi":"10.1558/JFM.V5I1-2.179","DOIUrl":"https://doi.org/10.1558/JFM.V5I1-2.179","url":null,"abstract":"The encounter of a musical repertoire with a theoretical system benefits the latter even as it serves the former. A robustly applied theoretic apparatus hones our appreciation of a given corpus, especially one such as film music, for which comparatively little analytical attention has been devoted. Just as true, if less frequently offered as an motivator for analysis, is the way in which the chosen music theoretical system stands to see its underlying assumptions clarified and its practical resources enhanced by such contact. The innate programmaticism and aesthetic immediacy of film music makes it especially suited to enrich a number of theoretical practices. A habit particularly ripe for this exposure is tonal hermeneutics: the process of interpreting music through its harmonic relationships. Interpreting cinema through harmony not only sharpens our understanding of various film music idioms, but considerably refines the critical machinery behind its analysis. \u0000 The theoretical approach focused on here is transformation theory, a system devised for analysis of art music (particularly from the 19th Century) but nevertheless eminently suited for film music. By attending to the perceptually salient changes, rather than static objects, of musical discourse, transformation theory avoids some of the bugbears of conventional tonal hermeneutics for film (such as the tyranny of the “15 second rule”) while remaining exceptionally well-calibrated towards musical structure and detail. By examining a handful of passages from films with chromatically convoluted scores—Raiders of the Lost Ark, King Kong, and A Beautiful Mind—I reveal some of the conceptual assumptions of transformational theory while simultaneously interpreting the scenes and films that these cues occupy. Ultimately, it is the notion of “transformation” itself—as a theoretical keystone, an analytical stance, and an immanent quality of music—that is most elucidated through this approach.","PeriodicalId":201559,"journal":{"name":"Journal of Film Music","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115869749","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 6

"'Leitmotif': On the Application of a Word to Film Music" “主题”:论一个词在电影音乐中的应用

Journal of Film Music Pub Date : 2013-04-29 DOI: 10.1558/JFM.V5I1-2.101

S. Meyer

{"title":"\"'Leitmotif': On the Application of a Word to Film Music\"","authors":"S. Meyer","doi":"10.1558/JFM.V5I1-2.101","DOIUrl":"https://doi.org/10.1558/JFM.V5I1-2.101","url":null,"abstract":"The idea that the film scoring procedures of classic Hollywood composers descends from the leitmotif technique of Wagner (and other composers such as Richard Strauss) is so firmly embedded in narrative histories of film music that it hardly needs to be rearticulated. It stretches back beyond Max Steiner’s frequently-quoted comments about his own indebtedness to Wagner into the very earliest years of sound film. The first section of this paper offers a critique of this interpretative tradition, by placing it in the context of Wagner's own discussion of the term \"leitmotif\" (in his essay \"On the Application of Music to Drama\") and its use in subsequent analytical works. Classical Hollywood film music scoring, I will maintain, fits very uncomfortably with this analytical tradition. In many ways, the invocation of the leitmotif in film music discourse during the 1930s and 40s was driven by a desire to establish the cultural legitimacy of sound film: to establish (we might say) Hollywood as the logical successor to Bayreuth. \u0000 \u0000In the second part of this essay, I use Miklos Rozsa's score to Ben-Hur as a kind of limiting case for the application of the leitmotif principle to film music. The highly transformative network of motives that Rozsa uses in this score is similar—in terms of its structure if not its specific melodic/harmonic content—to those through which Wagner organized his music dramas. The drafts and revisions to the \"Aftermath\" cue, however, suggest that Rozsa's early intentions in this regard were far more thoroughgoing than the final cut of the film would suggest. In this final cut, Rozsa's original concepts were simplified: the network of motives through which the scene was organized was—so to speak—partially unraveled. In this sense, the evolution of Rozsa's \"Aftermath\" cue illustrates the tension between cultural pretensions and cinematic practice: between film music as \"high art\" and film music as functional entertainment.","PeriodicalId":201559,"journal":{"name":"Journal of Film Music","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126912658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 6