{"title":"电影音乐中的知识组织及其戏剧起源:再现与尾声","authors":"William H. Rosar","doi":"10.1558/JFM.V5I1-2.207","DOIUrl":null,"url":null,"abstract":"The knowledge organization of film scores composed today reflects the history of repertoire practice systematized by the Kinothek (Cinema Library) of the silent era, which was based upon the melos of theatrical stage melodrama in the nineteenth century. Musicology can only benefit from understanding that system of knowledge organization and applying it to studying the practice of film scoring, past and present.","PeriodicalId":201559,"journal":{"name":"Journal of Film Music","volume":"4 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2013-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Knowledge Organization in Film Music and its Theatrical Origins: Recapitulation and Coda\",\"authors\":\"William H. Rosar\",\"doi\":\"10.1558/JFM.V5I1-2.207\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The knowledge organization of film scores composed today reflects the history of repertoire practice systematized by the Kinothek (Cinema Library) of the silent era, which was based upon the melos of theatrical stage melodrama in the nineteenth century. Musicology can only benefit from understanding that system of knowledge organization and applying it to studying the practice of film scoring, past and present.\",\"PeriodicalId\":201559,\"journal\":{\"name\":\"Journal of Film Music\",\"volume\":\"4 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2013-10-25\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Film Music\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1558/JFM.V5I1-2.207\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Film Music","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1558/JFM.V5I1-2.207","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Knowledge Organization in Film Music and its Theatrical Origins: Recapitulation and Coda
The knowledge organization of film scores composed today reflects the history of repertoire practice systematized by the Kinothek (Cinema Library) of the silent era, which was based upon the melos of theatrical stage melodrama in the nineteenth century. Musicology can only benefit from understanding that system of knowledge organization and applying it to studying the practice of film scoring, past and present.
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