Hearing the movies: music and sound in film history
Gespeichert in:
| Hauptverfasser: | , , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York [u.a.]
Oxford Univ. Press
2010
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | XXIII, 470 S. Ill., graph. Darst., Notenbeisp. |
| ISBN: | 9780195327793 |
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| 245 | 1 | 0 | |a Hearing the movies |b music and sound in film history |c James Buhler ; David Neumeyer ; Rob Deemer |
| 264 | 1 | |a New York [u.a.] |b Oxford Univ. Press |c 2010 | |
| 300 | |a XXIII, 470 S. |b Ill., graph. Darst., Notenbeisp. | ||
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| 648 | 7 | |a Geschichte |2 gnd |9 rswk-swf | |
| 650 | 4 | |a Geschichte | |
| 650 | 4 | |a Motion picture music |x History and criticism | |
| 650 | 4 | |a Motion picture music |x Analysis, appreciation | |
| 650 | 4 | |a Motion Picture soundtracks |x Production and direction |x History | |
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Datensatz im Suchindex
| _version_ | 1804138640726556672 |
|---|---|
| adam_text | Contents
PREFACE
xv
INTRODUCTION
xxi
PART
I The
Sound
Track and
Film Narrative:
Basic Terms and Concepts
ι
Chapter I
:
The Sound Track and Narrative
7
Introduction
7
Basics: Image Track, Sound Track, Narrative
7
Sound Track Components and Narrative 11
Speech
11
Sound Effects
13
Music
16
Example for Sound Track Components and Narrative
(
I
):
Sleepless in Seattle, Second Botched Meeting
20
Example for Sound Track Components and Narrative
(2):
Qood Will Hunting, Boston Common Scene
25
Summary
31
Exercise I
:
Masking
ЗІ
Exercise
2:
Using an Analysis Checklist
33
Chapter
2:
The Musicality of the Sound Track:
Concepts and Terminology
34
Introduction
34
Music and Sound
34
Vi
CONTENTS
Tempo
36
Rhythm and Meter
37
Volume
38
Timbre
41
Filters and Distortion
41
Pitch
42
Orchestration
43
Timbre and Sound
46
Texture
47
Density and Liveliness
47
Monophony
48
Homophony
49
Melody and Accompaniment
49
Polyphony
49
А
-melodic (Accompaniment without Melody)
50
Texture and Foreground/Background Functions
53
Example for Sound Track Analysis Using Musical Terms
(
I
):
Trzy Kolory: Biały
(Three Colors: White), The
Shooting
55
Example for Sound Track Analysis Using Musical Terms
(2):
Atonement, Main-Title Sequence and First Scene
58
Summary
60
Exercise I
:
Analysis of Sound Track Elements (After
Altman,
Jones, and Tatroe)
60
Exercise
2:
Using Graphic Displays for Sound (After
Wierzbicki)
61
Chapter
3:
Music, Sound, and the Space of Narrative:
Concepts and Terminology
65
Introduction
65
Diegetic/Nondiegetic Music and Narrative
66
Example for Diegetic and Nondiegetic Music: Qlory,
Boston Party Scene
67
Onscreen/Offscreen Sound and Music
72
Offscreen Sound
72
Onscreen/Offscreen Sound Interaction: Examples
75
Ambiguity of Offscreen Sound: Underdetermination
of Sound
77
Point of View Sound
78
Offscreen Sound and Music in Relation to the Diegesis
80
Voice-over
80
Audio Dissolve
82
Contents
vii
Mickey-Mousing: Music as Effects Sweetener
85
The
Acousmêtre
(Acoustical Being)
88
Summary
90
Exercise I
:
Using an Events Table
90
Exercise
2:
Using an (Updated) Analysis Checklist
91
Chapter
4:
Music, Sound, and Time
92
Introduction
92
Transitions: The Sound Bridge and Hard Cuts
92
Sound Advance
93
Sound Lag
94
Sound Link
96
Sound Match
97
Hard Cut
97
Synchronization ( Playing with the Film )
98
Example for Synchronization: Casablanca, Rick and lisa
Meet
102
Counterpoint ( Playing against the Film )
106
Summary Example for Synchronization and Counterpoint:
Casablanca, After-Hours Scene
108
Summary 1
10
Exercise: The Commutation Test
110
Interlude: Writing About Film Sound:
Analysis and Description
ι
И
Introduction 1
14
Analysis Report: Catch Me If You Can 11
6
Overview
11 б
1. Background 1
17
2.
Synopsis 1
17
3.
Music Cues
118
4.
General Description of the Sound Track Elements
and Their Balance
121
5.
General Evaluation of the Sound Track
122
6.
Description of Music s Narrative Functions
122
Response Paper That Describes Music s Narrative
Functions
123
Compare and Contrast Paper Focusing on Music
125
Concluding Comments
126
Viii CONTENTS
PART II Music, Film Form, and Film Style
129
Chapter
5:
Music in Film Form
із і
Introduction
131
Runtime Segmentation 1
3
1
Sync Points and Audiovisual Phrasing
137
Examples for Music in Film Form 1
40
Lady Windermere s Fan 1
40
Mildred Pierce
146
Rashômon
151
Psycho
154
The Birdcage
157
The Hours
160
Summary
163
Chapter
6:
Music in Main-Title and End-Credit
Sequences
165
Introduction
165
Establishing Sequence
165
Meet Me in St. Louis, Titles and Opening Scene 1
66
Rashômon,
Titles and Opening Scene 1
68
The Sound of Music, Overture and Title Sequence
168
Out of Africa, Prologue and Title Sequence
170
To Kill a Mockingbird, Music in the Main-Title
Sequence
172
Additional Examples
176
End-Credit Music
177
Films From
1939,
End Credits
177
Out of/Africa, Final Scene and End Credits 1
79
Bridget Jones s Diary, End-Credits Sequence 1
79
Additional Examples
179
Summary
180
Chapter
7:
Music in Performance and Montage
Scenes
181
Introduction
181
Performance Scene 1
8
1
To
Haue
and
Haue
Not, Am I Blue? 1
82
The Sound of Music, The Laendler (as Dance Scene) 1
83
The Sound of Music and Qrease, Two Larger Performance
Numbers
185
Additional Examples
186
Contents
¡χ
Montage
or Fantasy Scene
187
Qone with the Wind, Montage Sequence in the Prologue
to Part
2 188
Pride
&
Prejudice, Three Montage Sequences 1
88
Bridget Jones s Diary, Out of Reach and I m Every
Woman
190
Additional Examples 1
92
Summary
194
Chapter
8:
Film Style and the Sound Track
1
95
Introduction
195
Style Topics and the Leitmotif 1
96
Introduction: Theme, Motif, and Motive
196
Love Themes
197
The Leitmotif
200
Style Topics
202
Musical Styles
204
Location and Stereotype
205
Style Topics in Rebecca
2
1
0
A Note on Sound Topics
2
1
3
Summary
214
Chapter
9:
Music in Character and Action Scenes
216
Introduction
216
Dialogue Scene
216
Rebecca, Terrace Scene
2
1
8
Additional Examples
221
Action Scene
222
Wo Hu Cang
Long (Crouching Tiger, Hidden Dragon),
Theft of the Sword
222
The Matrix, Trinity in a Jam
223
Additional Examples
224
Love Scene
225
Out
ofñfriea,
On Safari: The Second Dinner
227
Sound of Music, The Laendler (as Love Scene)
228
Shadowlands, Four Scenes
229
Summary
232
Interjúdé:
Writing About Film Music:
Interpretation
234
Introduction
234
Developing a Reading
(
I
):
Finding a Thesis
235
Thesis Options for Catch Me If You Can
235
CONTENTS
Examples from the Published Literature
236
Developing a Reading
(2):
Reading against the Grain
238
Example: Casablanca against the Grain
239
Summary
243
PART III The Sound Track:
A Technological History
245
Chapter
10:
Music and Sound in the Silent Era
(1
895-
1
929) 247
Introduction
247
The Early Years
248
The Nickelodeon
249
Playing the Picture
253
Special Scores
26
1
The Picture Palace
263
Stratification of Exhibition
263
The Show
264
Music and Sound Production in the Picture Palace
267
Fitting the Picture
268
Special Scores in the
1920s 273
Roadshows
275
Music on the Set
275
Summary
276
A Note on the Music for Silent Film Releases to
VHS
and DVD
277
Chapter 11
:
The Transition to Sound Film
(I
926-
í
932) 278
Introduction
278
Issues of Technology and Economics
278
Sound Research in the 1920s
282
Sound Film and the Standardization of Exhibition
288
Sound and the Feature Film,
1927:
The Jazz Singer
289
The Transition from Silent to Sound Film
293
Types of Early Sound Film
295
Musicals in Early Sound Film
299
Mastering the Sound Track and Elements of Style
301
Production
304
Production Phases
304
Music Department
305
Sound Department
306
Summary
307
Contents xi
Chapter
12:
Music and the Sound Track in the
Classical Studio Era
308
Introduction
308
Issues of Technology and Economics
308
Improvements in Recording Technology
308
Rerecording
310
Sound in the Theaters of the 1930s and 1940s
311
The Great Depression and the Consolidation
of Genres
314
The Sound Track in the Studio Era and Elements
of Style
314
The Classical System
314
Foreground and Background
3
1
5
Backgrounded) Music and the Sound Track
32
1
Scoring Practices
322
Production
325
Production Phases
325
Music Department
326
Sound Department
335
Summary
335
Chapter
13:
The Stereo Sound Track and the Post-
Classical Era
(
1
950-
1
975) 336
Introduction
336
Issues of High Fidelity and Stereo Sound
336
Legal and Economic Challenges to the Industry
336
Widescreen and Stereo Formats
340
Magnetic Tape in Production and
Postproduction
345
Issues of Stereo
347
Analysis: The Robe
348
Stereo and Space
350
Stereo Sound, Magnetic Tape, and Elements
of Style
350
Issues of Aesthetics
350
Scoring Practices
35
1
Main Theme from High Noon
353
Popular Song and the Underscore
354
Soundtrack Albums
357
Importance of Recordings
358
Relation to the Musical
359
Scoring with Recordings
36
1
Production
363
Production Phases
363
Xii CONTENTS
Music
Department 363
Sound Department 365
Summary
365
Chapter
14: The New Hollywood, Dolby Stereo,
and the Emergence of Sound
Design
(1975-2000)
Збб
introduction
366
Issues of Technology and Economics
367
The New Hollywood and Saturation Booking
367
Sound in the Multiplex
369
Dolby Stereo in the Theaters
372
Home Video and Limitations of Television
374
Sound Design and Elements of Style
377
Issues of Aesthetics: Sound Design
377
Aesthetics and the Stereo Field
378
Scoring Practices
382
Aesthetic Issues of Cross-Marketing
and Promotion
383
Music Video Style
386
Production
388
Production Phases
388
Music Department
389
Sound Department
391
Summary
391
Chapter
15:
Music and Film Sound Today
392
Introduction: The Digital Era
392
Issues of Technology and Economics
392
Digital Sound
392
Digital Sound Formats
393
Video, DVD, and Television Technologies
395
The Multiplex Palace
397
Digital Sound and Elements of Style
398
Issues of Aesthetics
398
Scoring Practices
401
The Rise of Rap
402
Production
403
Production Phases
403
Music Department
404
Music Production
404
Music
Postproduction
410
Contents xiii
Sound Department 412
Sound
Production
4
1
2
Postproduction
413
Dialogue
414
Foley
Effects
416
Sound
Effects
417
Summary
418
AFTERWORD
419
GLOSSARY
425
CREDITS
435
NOTES
437
INDEX
447
Hearing
the Movies: Music and Sound in Film History asks students to consider music in the con¬
text of the whole sound track; that is. in conjunction with sound effects and dialogue. This is a
novel and wonderful approach, as the authors incorporate aspects of
fílm
sound theory
—
critical
terminology in particular
—
into the study of film music.
—
Julie
Hubbert,
University oj South Carolina
Films achieve their effects with sound as well
as images. An ideal text for introductory film
music courses. Hearing the Movies: Music and
Sound in Film History brings music into the context
of sound, and sound into the context of the whole
film. The text explores film sound in three parts.
Through engaging, accessible sample analyses and
exercises. Part I illustrates ways to analyze a sound
track in relation to the image track. Part II focuses
on the contributions of music to film form and style
while offering a number of detailed analyses of dif¬
ferent types of scenes: and Part III lays out a concise
history of film music and sound, paying particular
attention to the role of technological innovations in
Rim production and exhibition.
About the Authors
James Buhler is Associate Professor of Music Theory at
the University of Texas at Austin. He is
coeditor
of Music
and Cinema
(2000).
David Neumcytr is Professor of Musk Theory in the
School of Music and Leslie Waggener Professor in the
College of Rne Arts at the University of Texas at Austin.
He is coedrtor of Music and Cinema
(2000).
Features
■
is Assistant Professor of Musk Composi¬
te at the
Söte
Unrversity of New York at
Fredonia.
Detailed sample analyses with timings describe
the function of sound and music in individual
scenes
Extended exercises suggest tools for basic
analysis of the sound track
Interludes at the ends of Parts I and II offer
guidelines for writing about films in terms of
their sound and music
Historical coverage extends from the silent film
era to the advent of digital technology and
beyond
Provides a broad range of examples from
Hollywood, independent, and foreign films, as
well as focused analysis
Features sidebar commentary from industry
professionals and more than
300
illustrations,
including screen stills, photos, tables, diagrams,
and musical excerpts
Incorporates the broadest range of scholarship
on film music currently available, spanning the
disciplines of music and film/media studies
Includes glossary of terms for easy reference
Companion website at
http^/www.
twiriniHuinflWíii
,
net offers additional
resources for instructors and students
OXFORD
импгвжвггт шм
|
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| dewey-full | 781.5/42 |
| dewey-hundreds | 700 - The arts |
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| era | Geschichte gnd |
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| id | DE-604.BV035329157 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T21:31:24Z |
| institution | BVB |
| isbn | 9780195327793 |
| language | English |
| lccn | 2008051021 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-017133614 |
| oclc_num | 712532172 |
| open_access_boolean | |
| owner | DE-12 DE-1102 DE-11 DE-703 DE-29 |
| owner_facet | DE-12 DE-1102 DE-11 DE-703 DE-29 |
| physical | XXIII, 470 S. Ill., graph. Darst., Notenbeisp. |
| publishDate | 2010 |
| publishDateSearch | 2010 |
| publishDateSort | 2010 |
| publisher | Oxford Univ. Press |
| record_format | marc |
| spelling | Buhler, James 1964- Verfasser (DE-588)1024738043 aut Hearing the movies music and sound in film history James Buhler ; David Neumeyer ; Rob Deemer New York [u.a.] Oxford Univ. Press 2010 XXIII, 470 S. Ill., graph. Darst., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Geschichte gnd rswk-swf Geschichte Motion picture music History and criticism Motion picture music Analysis, appreciation Motion Picture soundtracks Production and direction History Filmmusik (DE-588)4017129-2 gnd rswk-swf Klang (DE-588)4030933-2 gnd rswk-swf Film (DE-588)4017102-4 gnd rswk-swf Filmmusik (DE-588)4017129-2 s Klang (DE-588)4030933-2 s Film (DE-588)4017102-4 s Geschichte z DE-604 Neumeyer, David 1950- Verfasser (DE-588)141167440 aut Deemer, Rob Verfasser (DE-588)1011716739 aut Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017133614&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Bayreuth application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017133614&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
| spellingShingle | Buhler, James 1964- Neumeyer, David 1950- Deemer, Rob Hearing the movies music and sound in film history Geschichte Motion picture music History and criticism Motion picture music Analysis, appreciation Motion Picture soundtracks Production and direction History Filmmusik (DE-588)4017129-2 gnd Klang (DE-588)4030933-2 gnd Film (DE-588)4017102-4 gnd |
| subject_GND | (DE-588)4017129-2 (DE-588)4030933-2 (DE-588)4017102-4 |
| title | Hearing the movies music and sound in film history |
| title_auth | Hearing the movies music and sound in film history |
| title_exact_search | Hearing the movies music and sound in film history |
| title_full | Hearing the movies music and sound in film history James Buhler ; David Neumeyer ; Rob Deemer |
| title_fullStr | Hearing the movies music and sound in film history James Buhler ; David Neumeyer ; Rob Deemer |
| title_full_unstemmed | Hearing the movies music and sound in film history James Buhler ; David Neumeyer ; Rob Deemer |
| title_short | Hearing the movies |
| title_sort | hearing the movies music and sound in film history |
| title_sub | music and sound in film history |
| topic | Geschichte Motion picture music History and criticism Motion picture music Analysis, appreciation Motion Picture soundtracks Production and direction History Filmmusik (DE-588)4017129-2 gnd Klang (DE-588)4030933-2 gnd Film (DE-588)4017102-4 gnd |
| topic_facet | Geschichte Motion picture music History and criticism Motion picture music Analysis, appreciation Motion Picture soundtracks Production and direction History Filmmusik Klang Film |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017133614&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017133614&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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