Film Music Bibliography 2020

2021

Music, the Moving Image and Ireland, 1897-2017 constitutes the first comprehensive study of music for screen productions from or relating to the island. It identifies and interprets tendencies over the first 120 years of a field comprising the relatively distinct yet often overlapping areas of Irish-themed and Irish-produced film. Dividing into three parts, the book first explores accompaniments and scores for 20th-century Irish-themed narrative features that resulted in significant contributions by many Hollywood, British, continental European and, to a lesser extent, Irish composers, along with the input of many orchestras and other musicians. Its second part is framed by a consideration of various cultural, political and economic developments in both the Republic of Ireland and Northern Ireland from the 1920s (including the Troubles of 1968-1998). Focusing on scoring and other aspects of soundtrack production for domestic newsreel, documentary film and TV programming, it interprets the substantial output of many Irish composers within this milieu, particularly from the 1960s to the 1990s. Also referring to broader cultural and historical themes, the book's third and final part charts approaches to and developments in music and sound design over various waves of Irish cinema, from its relatively late emergence in the 1970s to an exponential growth and increasingly transnational orientation in the early decades of the 21st century.

2019

, setzen wir das Verzeichnis der immer noch rasant ansteigenden Publikationen der Filmmusikforschung vor. Unseren Lesern sind wir dankbar für Hinweise auf Übersehenes und Neuerscheinungen

2020

Scoring the Hollywood Actor in the 1950s theorises the connections between film acting and film music using the films of the 1950s as case studies. Closely examining performances of such actors as James Dean, Montgomery Clift, and Marilyn Monroe, and films of directors like Elia Kazan, Douglas Sirk, and Alfred Hitchcock, this volume provides a comprehensive view of how screen performance has been musicalised, including examination of the role of music in relation to the creation of cinematic performances and the perception of an actor's performance. The book also explores the idea of music as a temporal vector which mirrors the temporal vector of actors' voices and movements, ultimately demonstrating how acting and music go together to create a forward axis of time in the films of the 1950s. This is a valuable resource for scholars and researchers of musicology, film music and film studies more generally.

Made in Nusantara: Studies in Popular Music, 2021

Made in Nusantara serves as a comprehensive introduction to the history, sociology, ethnography, and musicology of historical and contemporary popular music in maritime Southeast Asia. Each essay covers major fgures, styles, and social contexts of genres of a popular nature in the Nusantara region including Malaysia, Indonesia, Brunei, Singapore, and the Philippines. Trough a critical investigation of specifc genres and their spaces of performance, production, and consumption, the volume is organised into four thematic areas: 1) issues in Nusantara popular music; 2) history; 3) artists and genres; and 4) national vs. local industries. Written by scholars working in the region, Made in Nusantara brings local perspectives to the history and analysis of popular music and critically considers conceptualisations developed in the West, rendering it an intriguing read for students and scholars of popular and global music.

New Theories, 2021

scores take forms of soundscapes. In the study "Melody in Contemporary Holly wood Film Scores" he searched for reasons why film scoring today takes form of sound designing. He found explanation in a temp-track usage, in a development of popular and film music devices such as MIDI mockup, in a music made and programmed for video games, as well as in a development of different popular music genres like hip-hop and EDM. Stoppe, on the other hand, analyzed the field of film music albums, which is, one can say, quite known among film music lovers and soundtrack collectors but is also quite neglected when scholarly insights are concerned. In the study "Original Soundtrack. On the Meaning and Significance of Film Music Albums" he posed the basic question, often asked in the history of film music: can music composed for the film stand independently outside the film? Whatever the reasons for this question and answers to it in the past were, the question is important to Stoppe who claims that "film music albums, and thus ultimately film music itself, should be regarded as works in their own right". With asserting this, Stoppe leads us in the world of film music albums, their history, their types, and differences among them, showing us how little we know about this apparently obvious form of film music preservation. Article written by Kovač added to Stoppe's and Milićević's research field, since she decided to analyze Gustavo Santaolalla's music for Ang Lee's 2005 film Brokeback Mountain. When writing the case study named "The Power of Silence and Sound in Brokeback Mountain", she explained some contemporary film music procedures which, in its general use, didn't sit well with Milićević who opted for more melodic and otherwise more musically developed solutions. Kovač brought forth arguments which explained why music composed for Brokeback Mountain was full of ambiental sounds, of neutrality, and of long periods of silence. They are, clarifies author, in a concordance with film's beautiful cinematography, and represent repressed emotions two main characters experience during development of their homosexual love affair. Kristi Brown also wrote a case study, but not on a specific film score, but on the music in popular television series House M.D. which she broadened with intertextual comparison to Arthur Conan Doyle's novels about the famous detective Sherlock Holmes. In her study "Outperforming Sherlock: Musical Imagination and Representation of Genius in House M.D." dr. Brown explained that, among other things, Doctor Gregory House from 21 st century Princeton-Plainsboro Teaching Hospital and

Intersections: Canadian Journal of Music

Si la musique de cinéma a longtemps été délaissée sur le plan scientifique, en particulier dans la francophonie, la floraison d’analyses musicologiques spécialisées dans ce domaine depuis quelques décennies commence toutefois à combler cette lacune. Par un regard réflexif porté sur ce jeune champ disciplinaire qu’est la « musicologie du cinéma », il s’agira d’interroger la place de l’étude de la musique de film au sein des travaux en musicologie, afin de comprendre le désaveu dont elle a pu faire l’objet. Bien que des disparités perdurent entre les musicologies nord-américaine et française, nous montrerons que l’institutionnalisation progressive de l’étude de la musique de film et son rattachement assumé à la musicologie semblent en bon chemin. L’exposé des problématiques propres à l’étude de la musique de cinéma permettra de dégager non seulement les défis méthodologiques posé par un tel objet de recherche, mais aussi d’éclairer la manière dont elles rejoignent et réengagent nombre...

Voicing the Cinema, 2020

2015

This bibliography indexes music scholarship that features material on gender diversity, queer identity, culture, knowledge, or practice, or that approaches its topic from a queer, transgender, or anti-oppressive perspective. It does not index reviews or the popular queer press. Because it follows different guidelines for inclusion, it does not duplicate all listings in archived newsletters. I did a substantial expansion of the bibliography in the summer of 2011 (bringing it from 31 to 43 pages). It has been updated by other individuals two times since then (in 2013 and 2015). This is the most recent version of the bibliography.

2011

in: Dissertation Abstracts International A 75,7(E), Jan. 2015. This research focuses on singable translating in the Cantonese dubbed version of Disney animated musicals, one of the most complicated – but at the same time one of the most neglected – translational activities. The present research is a pioneer attempt at an in-depth study of the relationship between the target text and four major components of the multimedial presentation respectively, namely, the source music (one-melody relationship, the time-related elements, and rhyming), the source text (semantic fidelity, semantic deviation and semantic anomaly), the source images (word-image relationship), and the target viewer (immediate comprehensibility), hoping to shed new light on this complicated yet neglected translational activity. A viewer-oriented approach for translating dubbed songs into Cantonese is identified. Cheng, Xingwang: Zǎoqí zhōngguó dònghuà diànyǐng yīnyuè jíqí lìshǐ dìwèi. In: Zhōngyāng Yīnyuè Xuéyuàn xué...

Amanda Howell offers a new perspective on the contemporary pop score, as the means by which masculinities not seen—or heard—before became a part of American cinema after World War II. Popular Film Music and Masculinity in Action considers an eclectic mix of film, from Elvis and Travolta star vehicles to Bruckheimer-produced blockbuster action, with a special focus on the work of musically innovative directors Melvin Van Peebles, Martin Scorsese, Quentin Tarantino, and Gregg Araki. Of particular interest is the way these films and their representations of masculinity are shaped by generic exchanges among contemporary music, music cultures, and film, combining American cinema's longstanding investment in violence-as-spectacle with similarly body-focused pleasures of contemporary youth music. Drawing on the scholarship of popular music and the pop score, as well as feminist film and media studies, Howell addresses an often neglected area of gender representation by considering cinematic masculinity as an audiovisual construction. Through her analyses of music's role in action and other film genres that share its investment in violence, she reveals the mechanisms by which the pop score has helped to reinvent gender—and gendered fictions of male empowerment—in contemporary screen entertainment.