Music Sound and the Moving Image最新文献

{"title":"The Architecture of Film Sound","authors":"P. Newland","doi":"10.3828/msmi.2023.2","DOIUrl":"https://doi.org/10.3828/msmi.2023.2","url":null,"abstract":"The architecture of film sound: the construction of sonic space in Michelangelo Antonioni’s The Passenger In this article I examine the spatial relationship that develops between sound, architecture and character identity in the films of Michelangelo Antonioni. Looking at specific examples drawn from The Passenger (1975), I argue that while Antonioni developed an interest in the dramatic possibilities of architectural structures (in particular, striking examples of modernist architecture), his films often also develop highly complex sonic evocations of architectural space which take on an architectural form. I show how the sonic architecture of these films (the sonic spaces linked to represented individuals and architectural structures) functions to create space between characters and structures, spaces between fixed points, and between surfaces and reflections. I want to focus specifically here on the ways in which film sound and music can also display architectural qualities which can facilitate the construction of spatiality The architecture of film sound 2 and, by doing this, can facilitate narrative and characterisation. The key structural elements of architecture are those that constitute the skeleton of a building (beams, columns, slabs, domes, arches, for example), and the elements that constitute the skin of a building (walls, windows, shells and membranes). Architectural structures can also contain a range of other identifiable aspects, including lines, curves, angles and spirals, and have other distinguishable decorative characteristics such as colour, textures, patterns, and contrasts. I will show that carefully designed and constructed film sound worlds can share such key architectural characteristics. Looking at examples drawn primarily from The Passenger (1975), I will show that while Antonioni developed an interest in the dramatic visual possibilities of architectural structures especially striking examples of modernist architecture his films also feature complex sonic evocations of architectural space which serve to evoke the existential experience of his characters.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47818198","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}

{"title":"Book Reviews","authors":"Alexander. Binns, James Millea","doi":"10.3828/msmi.2023.5","DOIUrl":"https://doi.org/10.3828/msmi.2023.5","url":null,"abstract":"","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42958114","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}

{"title":"Video Essay: Insincere Inclusion? Ignorant Appropriation? A Symphony Orchestra Plays South Indian Film Music","authors":"Sureshkumar P. Sekar","doi":"10.3828/msmi.2023.4","DOIUrl":"https://doi.org/10.3828/msmi.2023.4","url":null,"abstract":"","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"17 1","pages":"65 - 70"},"PeriodicalIF":0.1,"publicationDate":"2023-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48500770","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}

{"title":"About the Authors","authors":"","doi":"10.5406/19407610.16.2.05","DOIUrl":"https://doi.org/10.5406/19407610.16.2.05","url":null,"abstract":"Other| July 01 2023 About the Authors Music and the Moving Image (2023) 16 (2): 55. https://doi.org/10.5406/19407610.16.2.05 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation About the Authors. Music and the Moving Image 1 July 2023; 16 (2): 55. doi: https://doi.org/10.5406/19407610.16.2.05 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressMusic and the Moving Image Search Advanced Search gillian b. anderson is a musicologist and orchestral conductor who has restored, reconstructed, or commissioned scores for over fifty mute films for performances with orchestras throughout Europe and North and South America. A number of her scores are available from Criterion Films and from the Museum of Modern Art. Her books include Music for Silent Films 1898–1929: A Guide and the translation of Ennio Morricone and Sergio Micelli's Composing for the Cinema. Her edition of the score for Way Down East (D. W. Griffith, 1920) is forthcoming from the AMS in its series Music of the United States of America. www.gilliananderson.itchristy thomas adams is an assistant professor of musicology at the University of Alabama School of Music. Her research focuses on the intersection between Italian opera and emerging media technologies at the turn of the twentieth century, with broad interests in the history of media technologies and the... You do not currently have access to this content.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"141 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135154868","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}

{"title":"The Representation of East Asian Music in Silent Film Accompaniment Scores","authors":"Yukiko Yoden","doi":"10.5406/19407610.16.2.04","DOIUrl":"https://doi.org/10.5406/19407610.16.2.04","url":null,"abstract":"which created a dual structure: Japanese films were accompanied by music such as shamisen and taiko drums, which were used to accompany Kabuki plays, and foreign films were accompanied by Western music played by a small orchestra of violins, pianos, trumpets, and other instruments.1 Furthermore, in the 1910s, when Western culture had not yet become familiar to the general Japanese public, this dual structure divided the audience as well: the intellectuals watched Western films and the masses watched Japanese films. This structure changed in the late 1920s when Japanese films rapidly evolved by adopting film techniques from developed countries, and the intellectual class began to watch Japanese films; concurrently, the masses, now more familiar with Western culture, began to watch foreign films. This mixing of foreign and Japanese film audiences led to a form of Japanese-Western ensemble music, which was used mainly for accompaniment music during screenings of Japanese films. During the silent era, American accompaniment score anthologies, such as those of Erno Rapée, were imported to Japan, and the same method of selecting ready-made music Introduction","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"10 1","pages":"45 - 54"},"PeriodicalIF":0.1,"publicationDate":"2023-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90770741","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}

{"title":"Introduction to Mute Film Issue","authors":"R. Sadoff, Robynn J. Stilwell","doi":"10.5406/19407610.16.2.01","DOIUrl":"https://doi.org/10.5406/19407610.16.2.01","url":null,"abstract":"©2023 by the board of trustees of the university of illinois We received so many positive reviews of the 2022 Music and Moving Image Conference panel on silent or mute film music that we decided to publish Gillian B. Anderson’s, Yukiko Yuden’s, and Christy Thomas Adams’s papers as is. Most 35 mm films produced in the first three decades of the twentieth century had no soundtrack printed on the moving picture media itself (hence the industry label “silent” to contrast with films with a soundtrack printed with the images). However, their projection or screenings were accompanied by live or recorded sound effects and music, making their presentation a performing art (anything but silent, but still not generally with any talking).1 It was, in fact, this absence of speech that led to the appellation “talkies” to early recorded-sound pictures. Together these three articles present an international picture of early film music practices. Anderson focuses on the synchronized relationship between accompaniments and pictures that connected the pathos formulae in the moving pictures with those in the music, establishing the foundation upon which all subsequent moving picture accompaniments were based. She documents the use of live synchronized accompaniments in large and small cities in the United States among the top directors, deluxe cinemas, and even regular solo keyboard accompanists. Yoden shows how the classification of “East Asian” (the pathos formulae for it) related to the actual characteristics of some East Asian music used in Japanese cinemas. She used “humdrum tools, a set of resources for computational music analysis, to analyze multiple pieces from a macro perspective.” Adams focuses on the amount of new information about Mascagni’s score for Rapsodia Satanica that she discovered in music publisher Ricordi’s archive. She documents how many copies were printed, how much they cost, how much Mascagni was paid, the process of score preparation, and the relationship between Ricordi and Cines, the producer and the Italian film industry in general.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"7 1","pages":"3 - 3"},"PeriodicalIF":0.1,"publicationDate":"2023-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78324494","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}

{"title":"Music Publishers and Synchronized Scores: Mascagni, Ricordi, and Rapsodia satanica","authors":"Chris Adams","doi":"10.5406/19407610.16.2.03","DOIUrl":"https://doi.org/10.5406/19407610.16.2.03","url":null,"abstract":"©2023 by the board of trustees of the university of illinois In 1914, Pietro Mascagni, a composer best known for his opera Cavalleria rusticana, turned his attention to cinema. In so doing, he garnered the distinction of being the first Italian opera composer to write a specially composed film score: Rapsodia satanica. The film was produced by Cines, one of Italy’s most important film companies during the early silent era. Starring the renowned diva Lyda Borelli and directed by Nino Oxilia, the film features a Faustian plot in which an elderly Alba d’Oltrevita makes a pact with the devil Mefisto to reacquire her youth, provided she never falls in love. Long heralded in film studies scholarship, Rapsodia satanica has recently begun to attract musicological attention, in part because of the survival of its synchronized score and most of its film footage.1 Prior to Mascagni’s being contracted to compose the original score for Rapsodia, sixteen scored films are known to have been produced in Italy.2 Rapsodia, however, was the first Italian film to be accompanied throughout by newly composed music written by an internationally renowned composer and was one of the first films to strive for precise synchronization between music and image. Despite Rapsodia’s significance within both film and music history, its creation history remains murky. Although the film itself was completed and screened for a small private audience in 1915, it was only released in 1917, with Mascagni conducting the accompaniment for the July 2 premiere in Rome.3 The history of the film’s production for the intervening years is generally considered lost.4 Yet answers can be found in records from the company that facilitated the film score’s publication—Casa Ricordi, Italy’s leading music publisher in the nineteenth and twentieth centuries. Despite Ricordi’s necessarily crucial role, they are rarely mentioned in studies of Rapsodia satanica (perhaps because publishers are often sidelined in aesthetically minded histories). Prior to Rapsodia, Ricordi had been involved with several film projects, but this was their first newly composed film score and their first cinematic collaboration to involve a well-known opera composer. As one of the earliest collaborations between composer, music publisher, and film company, Rapsodia satanica represented something fundamentally new in the history of Italian cinema. I begin with a brief overview of Rapsodia’s production history, then fill in the gaps with new information from Ricordi’s archives, demonstrating the complexities of this inherently collaborative process. I then Music Publishers and Synchronized Scores: Mascagni, Ricordi, and Rapsodia satanica","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"118 1","pages":"36 - 44"},"PeriodicalIF":0.1,"publicationDate":"2023-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77396956","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}

{"title":"The Synchrony Era","authors":"G. Anderson","doi":"10.5406/19407610.16.2.02","DOIUrl":"https://doi.org/10.5406/19407610.16.2.02","url":null,"abstract":"","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"32 1","pages":"35 - 4"},"PeriodicalIF":0.1,"publicationDate":"2023-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82705256","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}

{"title":"About the Authors","authors":"","doi":"10.5406/19407610.16.1.05","DOIUrl":"https://doi.org/10.5406/19407610.16.1.05","url":null,"abstract":"Other| April 01 2023 About the Authors Music and the Moving Image (2023) 16 (1): 73–80. https://doi.org/10.5406/19407610.16.1.05 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn Email Permissions Search Site Citation About the Authors. Music and the Moving Image 1 April 2023; 16 (1): 73–80. doi: https://doi.org/10.5406/19407610.16.1.05 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressMusic and the Moving Image Search Advanced Search gillian b. anderson is an orchestral conductor and musicologist who has reconstructed over fifty mute film scores, some of which are found on Criterion films and the MoMA streaming website. Currently she is preparing a performing edition of D. W. Griffith's Way Down East (1920) for the AMS's Music of the United States of America series.maria behrendt studied musicology, media studies and French in Berlin, Münster, and Bangor (Wales), funded by the German Academic Scholarship Foundation and the German Academic Exchange Service. From 2014 to 2018, she worked as research fellow at the University of Music FRANZ LISZT Weimar. She completed her doctoral dissertation on “Romantic aspects in the German Lied of the 1830s” in 2018. Since 2021, she is a research fellow at the University of Marburg. Her postdoctoral project focuses on the reception of irish folk music in Hollywood films and its effect on the German perception... Issue Section: About the Authors You do not currently have access to this content.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136382798","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}

{"title":"“Where All Dreams Are Good Dreams”? The Dramatic Function of the Lullaby in Disney’s Animated Feature Films and the Trope of the Romantic Mother","authors":"M. Behrendt","doi":"10.5406/19407610.16.1.03","DOIUrl":"https://doi.org/10.5406/19407610.16.1.03","url":null,"abstract":"Abstract:This article demonstrates (1) how Disney’s animated films follow a long tradition of connecting lullabies to loss and death; (2) how an analytical approach toward lullabies can correct established opinions on the representation of mothers in these films; and (3) how both phenomena draw on a specific perception of childhood and motherhood modeled by Romanticism.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"67 1","pages":"37 - 50"},"PeriodicalIF":0.1,"publicationDate":"2023-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76156460","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}