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The Oxford Handbook of Film Music Studies gathers two dozen original essays that chart the history and current state of interdisciplinary scholarship on music in audiovisual media, focusing on four areas: history, genre and medium, analysis and criticism, and interpretation.
FORMATPaperback LANGUAGEEnglish CONDITIONBrand New Publisher Description
Music has been an integral part of film exhibition from its beginnings in the late nineteenth century. With the arrival of sound film in the late 1920s, music became part of a complex multimedia text. Although industry, fan-oriented, and scholarly literatures on film music have existed from early on, and music was frequently among the topics discussed and disputed, only in the past thirty years has sustained scholarly attention gone to music in visual media,beginning with the feature film. The Oxford Handbook of Film Music Studies charts that interdisciplinary activity in its primary areas of inquiry: history, genre and medium, analysis and criticism, andinterpretation.The handbook provides an overview to the field on a large scale. Chapters in Part I range from the relations of music and the soundtrack to opera and film, textual representation of film sound, and film music as studied by cognitive scientists. Part II addresses genre and medium with chapters focusing on cartoons and animated films, the film musical, music in arcade and early video games, and the interplay of film, music, and recording over the past halfcentury. The chapters in Part III offer case studies in interpretation along with extended critical surveys of theoretical models of gender, sexuality, and subjectivity as they impinge on music and sound.The three chapters on analysis in Part IV are diverse: one systematically models harmonies used in recent films, a second looks at issues of music and film temporality, and a third focuses on television. Chapters on history (Part V) cover topics including musical antecedents in nineteenth-century theater, the complex issues in sychronization of music in performance of early (silent) films, international practices in early film exhibition, and the symphony orchestra in film.
Author Biography
David Neumeyer is Marlene and Morton Meyerson Professor in Music and Professor of Music Theory in the School of Music, The University of Texas at Austin. He is the author of several books including, most recently, a textbook with James Buhler and Rob Deemer entitled Hearing the Movies (2010).
Table of Contents
1. Overview David NeumeyerPART 1: Film Music : Central Questions2. Music and the Ontology of the Sound Film: The Classical Hollywood System James Buhler and David Neumeyer3. Opera and Film Marcia Citron4. Visual Representation of Film Sound as Analytical Tool Rick Altman 5. Film Music from the Perspective of Cognitive Science Annabel Cohen 6. Composing for Film: Hanns Eisler's Lifelong Film-Music Project Peter Schweinhardt and Johannes C. Gall, translated by Oliver Dahin 7. Ontological, Formal, and Critical Theories of Film Music and Sound James BuhlerPART 2: Genre and Platform8. Drawing a New Narrative for Cartoon Music Daniel Goldmark9. Genre Theory and the Film Musical Cari McDonnell10. "The Tunes They are a-Changing": Moments of Historical Rupture and Reconfiguration in the Production and Commerce of Music in Film Jeff Smith11. The Compilation Soundtrack from the 1960s to the Present Julie Hubbert12. The Origins of Musical Style in Video Games, 1977-1983 Neil Lerner PART 3: Interpretative Theory & Practice 13. Classical Music, Virtual Bodies, Narrative Film Lawrence Kramer 14. Gender, Sexuality, and the Soundtrack James Buhler 15. Psychoanalysis, Apparatus Theory, and Subjectivity James Buhler16. Case Studies: Introduction Robynn Stilwell17. (Case Study 1) The Order of Sanctity: Sound, Sight, and Suasion in DeMille's The Ten Commandments Mitchell Morris18. (Case Study 2) Strange Recognitions and Endless Loops: Music, Media, and Memory in Terry Gilliam's 12 Monkeys Julie McQuinn PART 4: Contemporary Approaches to Analysis19. Transformational Theory and the Analysis of Film MusicScott Murphy20. Listening in Film: Music/Film Temporality, Materiality and Memory Marianne Kielian-Gilbert21. Auteurship and Agency in Television MusicRonald RodmanPART 5: Historical Issues22. When the Music Surges: Melodrama and the Nineteenth-Century Theatrical Precedents for Film Music Style and Placement Michael Pisani23. Audio-Visual Palimpsests: Resynchronizing Silent Films with "Special" Music Julie Brown24. Performance Practices and Music in Early Cinema outside Hollywood Kathryn Kalinak25. Performing Prestige: American Cinema Orchestras, 1910-1958 Nathan Platte
Review
"[O]ffers stimulating questions and music analyses." --CHOICE"Taken as a whole, the book lives up to the expectations of the Oxford Handbook Series-it takes a very broad and interdisciplinary approach to evaluating the current state of the field...This volume is a must read for any scholar pursuing the serious study of music in film and other audiovisual media, and it will be of particular value to graduate students interested in film music studies."--Journal of the Society for American Music"It is written to be easily understood by film and music students alike, as well as those who are not using this book in a classroom setting but are simply interested in the subject...The book does well in covering all sides of the arguments it presents, thoroughly explaining causes and effects of problems and important historical happenings, and organizes the author's ideas in a way that helps the reader feel more connected to the material...For those studyingfilm, music, or film music, The Oxford Handbook of Film Music Studies is essential and, if you are an aspiring film composer, this is a book you absolutely cannot miss"--Film Matters
Long Description
Music has been an integral part of film exhibition from its beginnings in the late nineteenth century. With the arrival of sound film in the late 1920s, music became part of a complex multimedia text. Although industry, fan-oriented, and scholarly literatures on film music have existed from early on, and music was frequently among the topics discussed and disputed, only in the past thirty years has sustained scholarly attention gone to music in visual media,beginning with the feature film. The Oxford Handbook of Film Music Studies charts that interdisciplinary activity in its primary areas of inquiry: history, genre and medium, analysis and criticism, and interpretation.The handbook provides an overview to the field on a large scale. Chapters in Part I range from the relations of music and the soundtrack to opera and film, textual representation of film sound, and film music as studied by cognitive scientists. Part II addresses genre and medium with chapters focusing on cartoons and animated films, the film musical, music in arcade and early video games, and the interplay of film, music, and recording over the past half century. The chapters in Part III offercase studies in interpretation along with extended critical surveys of theoretical models of gender, sexuality, and subjectivity as they impinge on music and sound. The three chapters on analysis in Part IV are diverse: one systematically models harmonies used in recent films, a second looks atissues of music and film temporality, and a third focuses on television. Chapters on history (Part V) cover topics including musical antecedents in nineteenth-century theater, the complex issues in sychronization of music in performance of early (silent) films, international practices in early film exhibition, and the symphony orchestra in film.
Review Text
"[O]ffers stimulating questions and music analyses." --CHOICE"Taken as a whole, the book lives up to the expectations of the Oxford Handbook Series-it takes a very broad and interdisciplinary approach to evaluating the current state of the field...This volume is a must read for any scholar pursuing the serious study of music in film and other audiovisual media, and it will be of particular value to graduate students interested in film music studies."--Journal of the Society for American Music"It is written to be easily understood by film and music students alike, as well as those who are not using this book in a classroom setting but are simply interested in the subject...The book does well in covering all sides of the arguments it presents, thoroughly explaining causes and effects of problems and important historical happenings, and organizes the author's ideas in a way that helps the reader feel more connected to the material...For those studyingfilm, music, or film music, The Oxford Handbook of Film Music Studies is essential and, if you are an aspiring film composer, this is a book you absolutely cannot miss"--Film Matters
Review Quote
"[O]ffers stimulating questions and music analyses." --CHOICE "Taken as a whole, the book lives up to the expectations of the Oxford Handbook Series-it takes a very broad and interdisciplinary approach to evaluating the current state of the field...This volume is a must read for any scholar pursuing the serious study of music in film and other audiovisual media, and it will be of particular value to graduate students interested in film music studies."--Journal of the Society for American Music "It is written to be easily understood by film and music students alike, as well as those who are not using this book in a classroom setting but are simply interested in the subject...The book does well in covering all sides of the arguments it presents, thoroughly explaining causes and effects of problems and important historical happenings, and organizes the author's ideas in a way that helps the reader feel more connected to the material...For those studying film, music, or film music, The Oxford Handbook of Film Music Studies is essential and, if you are an aspiring film composer, this is a book you absolutely cannot miss"--Film Matters
Feature
Selling point: Gathers new essays from leading scholars in film studies, musicology, music theory, and cognitive scienceSelling point: Offers a combination of historical studies, topic surveys, theoretical models, and case studiesSelling point: Provides one hundred illustrations, including musical examples and screen stills
Details ISBN0190250593 Language English ISBN-10 0190250593 ISBN-13 9780190250591 Format Paperback Pages 698 Year 2015 Short Title OXFORD HANDBK OF FILM MUSIC ST Media Book DEWEY 781.542 Author David Neumeyer Imprint Oxford University Press USA Audience Professional and Scholarly Edited by David Neumeyer Illustrations 58 h/t; 93 b&w film stills Series Oxford Handbooks Affiliation University of Texas at Austin Position Professor of Music Theory and Leslie Waggener Professor in Fine Arts Publisher Oxford University Press Inc Place of Publication New York Country of Publication United States Publication Date 2015-03-12 UK Release Date 2015-03-12 AU Release Date 2015-03-12 NZ Release Date 2015-03-12 US Release Date 2015-03-12 We've got this
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