Hearing the movies: Music and sound in film history
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York ; Oxford
Oxford University Press
[2016]
|
| Ausgabe: | Second Edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | xxiii, 567 Seiten Diagramme, Illustrationen, Notenbeispiele |
| ISBN: | 9780199987719 |
Internformat
MARC
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| 100 | 1 | |a Buhler, James |d 1964- |e Verfasser |0 (DE-588)1024738043 |4 aut | |
| 245 | 1 | 0 | |a Hearing the movies |b Music and sound in film history |c James Buhler, David Neumeyer |
| 250 | |a Second Edition | ||
| 264 | 1 | |a New York ; Oxford |b Oxford University Press |c [2016] | |
| 264 | 4 | |c © 2016 | |
| 300 | |a xxiii, 567 Seiten |b Diagramme, Illustrationen, Notenbeispiele | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 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 | |
| 650 | 0 | 7 | |a Filmmusik |0 (DE-588)4017129-2 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Film |0 (DE-588)4017102-4 |2 gnd |9 rswk-swf |
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| 689 | 0 | 3 | |a Geschichte |A z |
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| 700 | 1 | |a Neumeyer, David |d 1950- |e Verfasser |0 (DE-588)141167440 |4 aut | |
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Datensatz im Suchindex
| _version_ | 1804174800873062400 |
|---|---|
| adam_text | Contents
PREFACE
xv
INTRODUCTION
xxi
PART
I The
Sound
Track and
Film Narrative:
Basic
Terms and
Concepts
з
Introduction to Part
і З
Chapter
1:
The Sound
Track and Narrative
9
Introduction
9
Basics: Image Track, Sound Track, Narrative
9
Sound Track Components and Narrative
12
Speech
12
Sound Effects
U
Music
16
Example for Sound Track Components and
Narrative
(1):
Sleepless in Seattle,
Second Botched Meeting
19
Example for Sound Track Components
and Narrative
(2):
Good Will Hunting,
Boston Common Scene
24
Hearing the Sound Track as Music: Masking
29
Experimenting with Music and Image:
The Commutation Test
30
Summary
33
Vi
CONTENTS
Chapter
2:
The Musicality of the Sound Track:
Concepts and Terminology
34
Introduction
34
Music and Sound
34
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
48
Melody and Accompaniment
49
Polyphony
49
А
-Melodic (Accompaniment without Melody)
50
Texture and Foreground/Background
Functions
52
Example for Sound Track Analysis Using Musical
Terms: Atonement, Main-Title Sequence
and First Scene
54
Summary
55
Chapter
3:
Music, Sound, Space, and Time:
Concepts and Terminology
56
Introduction
56
Space
(1):
Diegetic/Nondiegetic Sound
and Narrative
57
Example for Diegetic and Nondiegetic Music:
Glory, Boston Party Scene
58
Space
(2):
Onscreen/Offscreen Sound and Music
61
Offscreen Sound
62
Onscreen/Offscreen Sound Interaction:
The Apartment
64
Ambiguity of Offscreen Sound:
Underdetermination of Sound
65
Point-of-View Sound
65
Space
(3):
Offscreen Sound and Music in Relation
to the Diegesis
67
Voice-over
67
Audio Dissolve
69
Contents
Mickey-Mousing: Music as Effects Sweetener
72
The
Acousmêtre
(Acoustical Being)
74
Time
(1):
Transitions between Scenes
75
Sound Advance
76
Sound Lag
77
I Sound Link and Sound Match
78
1
Time
(2):
Synchronization ( Playing with the Film )
79
Time
(3):
Counterpoint ( Playing against the Film )
81
Writing Task
#1:
How to Write a Synopsis
83
A Note on Writing about the Sound Track
85
Summary
87
PART II Music and the Sound Track:
From the Beginning to
1975 89
Introduction to Part II
89
Chapter U From
1895
to
1929:
Music and Sound
in Early Film
93
Introduction
93
The Early Years
94
The Nickelodeon
95
Playing the Picture
98
.
Special Scores
106
The Picture Palace
109
і
Stratification of Exhibition
109
The Show
109
Music and Sound Production in the Picture
Palace
112
Fitting the Picture 1U
Special Scores in the
1920s 120
Roadshows
120
Music on the Set
121
Characteristic Music Practices in the Later
Silent Era
121
Theme, Motif, and Motive
122
The Leitmotif
122
Musical Topics
123
]
Location and Stereotype
125
| Analysis: Silent Film with Historically Appropriate
Music: Lady Windermere s Fan
127
Summary
135
A Note on the Music for Silent-Film Releases
to
VHS
and DVD
138
VÜi CONTENTS
Chapter
5:
From
1926
to
1932:
The Transition
to Sound Film
139
Introduction
139
Issues of Technology and Economics
139
Sound Research in the
1920s
U3
Sound Film and the Standardization
of Exhibition
148
Sound and the Feature Film,
1927:
The Jazz
Singer
151
The Transition from Silent to Sound Film
Types of Early Sound Film
157
Musicals in Early Sound Film
160
Production
162
Production Phases
162
Music Department
163
Sound Department
164
Mastering the Sound Track and Elements
of Style
165
Sound Track Components and the Principle
of Clarity
165
Foreground and Background
169
Scoring Practices
172
Characteristic Music Placements
174
Establishing Sequence
174
End Credits
177
Performance Scene
177
Montage or Fantasy Scene
178
Dialogue Scene
180
Action Scene
181
Love Scene
182
Summary
184
Chapter
6:
ľne
Broadway Melody, Gold Diggers
of
1933,
and
Le
Million: Runtime
Segmentation and Scene Analysis
186
Introduction
186
Music in Film Form
187
Runtime Segmentation
188
Formal Screening Notes
194
Dialogue
195
Music
196
Effects
196
Contents
General
Comments
197
Transitions
197
Scene Analysis
199
Sync Points and Audiovisual Phrasing
199
Dress Rehearsal Scene from The Broadway
Melody
200
My Forgotten Man, from Gold Diggers of
1933 208
Writing a Scene Analysis Paper
217
Scene Analysis Sample: Leaving the Opera
House,
Le
Million
218
Summary
223
Chapter
7:
From
1932
to
1950:
Music and the Sound
Track in the Classical Studio Era
224
Introduction
224
Issues of Technology and Economics
224
Improvements in Recording Technology
224
Rerecording
226
Sound in the Theaters of the
1930s
and
1940s 227
The Great Depression and the Consolidation
of Genres
229
Production
230
Production Phases
230
Music Department
231
Sound Department
239
The Sound Track in the Studio Era and
Elements
of Style
240
The Classical
System
240
Backgroundled)
Music and
the Sound Track
242
Scoring Practices
244
Musical Topics
in the Underscore: The
Opening
ofRebecca
244
Critiques of
Hollywood
Underscoring
Practices
247
The Sound Track in the Studio Era and Elements
of Film Form
250
Establishing Sequence
252
Three Films from
1933
Starring Katharine
Hepburn
252
Street Scene and a Theme as Series or Genre
Marker
254
Meet Me in St. Louis, Titles and Opening
Scene
254
CONTENTS
End Credit Music
256
ГЛгее
Films from
1933
Starring Katharine
Hepburn
257
Films from
1939,
End Credits
257
Performance Scene
259
To Have and Have Not, Am I Blue?
259
Casablanca, Music during the First Act
260
Laura, Performances and Underscore
263
Montage or Fantasy Scene
265
Gone with the Wind, Montage Sequence in the
Prologue to Part
2 265
Dialogue Scene
265
Rebecca, Terrace Scene
266
Action Scene
269
Love Scene
270
Summary
276
Chapter
8:
Mildred Pierce: Writing about Film
Sound and Music
277
Introduction
277
Screening Report: Overview and Procedure
278
Other Approaches to Mildred Pierce
287
Concluding Comments
291
Chapter
9:
From
1950
to
1975:
The Stereo Sound
Track and the Post-Classical Era
292
Introduction
292
Issues of High-Fidelity and Stereo Sound
292
Legal and Economic Challenges to the Industry
292
Widescreen and Stereo Formats
296
Magnetic Tape in Production and
Postproduction
301
Issues of Stereo
303
Analysis: The Robe
304
Stereo and Space
305
Silence
306
Production
306
Production Phases
306
Music Department
307
Sound Department
307
Stereo Sound, Magnetic Tape, and Elements
of Style
309
Issues of Aesthetics
309
Contents
Scoring Practices
310
Main Theme from High Noon
312
Popular Song and the Underscore
314
Soundtrack Albums
315
Importance of Recordings
317
Relation to the Musical
318
Scoring with Recordings
319
Summary
322
Chapter
10:
Music and Film Form in the
Post-Classical Era
323
Introduction
323
Hollywood Studio Films
1:
ľne
Sound of Music
323
Overture and Title Sequence
324
The Laendler
(1):
as Dance
326
The Laendler
(2):
as Love Scene
328
The Sound of Music and Grease, Two Larger
Performance Numbers
329
The Sound of Music, End Credits
330
Hollywood Studio Films
2:
The Graduate
331
Battle Scenes from Four War Films
336
War Films in the Transition and Studio Era
336
D-Day the Sixth of June
337
The Longest Day
338
Patton
339
A Bridge Too Far
340
Conclusions
342
Nonconventional Hollywood Film: Psycho
342
Japanese Film, Hollywood Style:
Rashômon
348
Reciprocal Influence: Yojimbo and Per
un Pugno
di Dollari (A
Fistful of Dollars)
352
Writing a Compare-Contrast Paper
354
PARTIM
Music and the Sound Track:
1975
to the Present
357
Introduction to Part III
357
Chapter
11:
From
1975
to
2000:
The New
Hollywood, Dolby Stereo, and the
Emergence of Sound Design
359
Introduction
359
Issues of Technology and Economics
360
The New Hollywood and Saturation Booking
360
CONTENTS
Sound in the Multiplex
362
Dolby Stereo in the Theaters
365
Home Video and the Limitations of Television
366
Cross-Marketing and Promotion
368
Production
372
Production Phases
372
Music Department
373
Sound Department
375
Sound Design and Elements of Style
377
Issues of Aesthetics: Sound Design
377
Aesthetics and the Stereo Field
378
Scoring Practices
382
The Minimalist Underscore
383
Music Video Style
385
The Rise of Rap
387
Summary
389
Chapter
12:
Music and Film Form
in the New Hollywood
390
Introduction
390
Mainstream Dramatic Film-. Out of Africa
391
Prologue and Title Sequence
391
On Safari : The Second Dinner
393
Final Scene and End Credits
395
Mainstream Romantic Comedy: When Harry
Met Sally
395
Battle Scenes from Five War Films: Apocalypse
Now, Platoon, Gallipoli, Glory, and Saving
Private Ryan
399
Apocalypse Now
399
Platoon
400
GatlipoU
401
Two Combat Scenes from Glory
403
Two Combat Scenes from Saving Private Ryan
405
Conclusions
407
Action Films and Opening Prologues: Bond Films,
Raiders of the Lost Ark. Terminator
2:
Judgment Day, and The Matrix
408
Bond Films
409
Raiders of the Lost Ark
409
Terminator
2:
Judgment Day
415
The Matrix
416
Conclusions
425
Contents
A French Film, La Cage
aux Folles,
Remade in
America as The Birdcage
425
Using Scene Comparison to Construct a Historical
Argument
430
Chapter
13:
Music and Film Sound Since
2000 ¿33
Introduction: The Digital Era
433
Issues of Technology and Economics
434
Digital Sound
434
Digital Sound Formats
434
The Multiplex Palace
437
Video, DVD, and Television Technologies
438
Franchises, Branding, and Convergent Media
441
Production
444
Production Phases
444
Music Department
445
Music Production
445
Music
Postproduction
454
Sound Department
455
Sound Production
455
Sound
Postproduction
456
Dialogue
457
Foley Effects
459
Sound Effects
460
Digital Sound and Elements of Style
461
Issues of Aesthetics
461
Scoring Practices
464
Instrumentation
464
New Trends in Action Films
464
Compilation Scores and Popular Music
468
Summary
474
Chapter U: Music and Film Form Since
2000 ¿75
Introduction
475
Mainstream Dramatic Film: The Hours
475
Action Films Today
479
Wo
Hu Cang
Long (Crouching Tiger, Hidden
Dragon], Theft of the Sword
480
Batman, Shootout at the Axis Chemical Plant,
and Batman Begins, Initiation to the League
of Shadows
¿82
Casino
Royale,
Prologue
486
The Bourne Ultimatum, Waterloo Station
¿89
CONTENTS
Joheunnom Nabbeunnom Isanghannom
(The Good, the Bad, the Weird), Three Action
Sequences
500
Gravity
501
Conclusions
503
Two Versions of a Jane Austen Novel: Bridget
Jones s Diary and Pride
&
Prejudice
50Д
Chapter
15:
Writing about Film Music:
Interpretation
509
Introduction
509
Review of Previous Steps Using Catch Me
If You Can
510
I.Synopsis 510
1a. Runtime Segmentation
510
2.
General Description and Evaluation of the
Sound Track Elements and Their Balance
513
3.
Conclusion 5U
Note on the Compare/Contrast Paper
515
Developing a Reading
(1):
Finding a Thesis
516
Thesis Options for Catch Me If You Can
516
Examples from the Published Literature
517
Developing a Reading
(2):
Reading against
the Grain
518
Example: Casablanca against the Grain
520
Conclusion
523
GLOSSARY
525
CREDITS
533
NOTES
535
INDEX
543
|
| any_adam_object | 1 |
| author | Buhler, James 1964- Neumeyer, David 1950- |
| author_GND | (DE-588)1024738043 (DE-588)141167440 |
| author_facet | Buhler, James 1964- Neumeyer, David 1950- |
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| author_sort | Buhler, James 1964- |
| author_variant | j b jb d n dn |
| building | Verbundindex |
| bvnumber | BV042624169 |
| callnumber-first | M - Music |
| callnumber-label | ML2075 |
| callnumber-raw | ML2075 |
| callnumber-search | ML2075 |
| callnumber-sort | ML 42075 |
| callnumber-subject | ML - Literature on Music |
| classification_rvk | AP 51450 LR 53509 |
| ctrlnum | (OCoLC)911208703 (DE-599)BVBBV042624169 |
| dewey-full | 781.5/42 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 781 - General principles and musical forms |
| dewey-raw | 781.5/42 |
| dewey-search | 781.5/42 |
| dewey-sort | 3781.5 242 |
| dewey-tens | 780 - Music |
| discipline | Allgemeines Musikwissenschaft |
| edition | Second Edition |
| era | Geschichte gnd |
| era_facet | Geschichte |
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| id | DE-604.BV042624169 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T07:06:09Z |
| institution | BVB |
| isbn | 9780199987719 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-028056834 |
| oclc_num | 911208703 |
| open_access_boolean | |
| owner | DE-355 DE-BY-UBR DE-19 DE-BY-UBM DE-739 DE-824 DE-11 DE-W89 DE-M29 |
| owner_facet | DE-355 DE-BY-UBR DE-19 DE-BY-UBM DE-739 DE-824 DE-11 DE-W89 DE-M29 |
| physical | xxiii, 567 Seiten Diagramme, Illustrationen, Notenbeispiele |
| publishDate | 2016 |
| publishDateSearch | 2016 |
| publishDateSort | 2016 |
| publisher | Oxford University 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 Second Edition New York ; Oxford Oxford University Press [2016] © 2016 xxiii, 567 Seiten Diagramme, Illustrationen, Notenbeispiele 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 Film (DE-588)4017102-4 gnd rswk-swf Klang (DE-588)4030933-2 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 Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028056834&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Buhler, James 1964- Neumeyer, David 1950- 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 Film (DE-588)4017102-4 gnd Klang (DE-588)4030933-2 gnd |
| subject_GND | (DE-588)4017129-2 (DE-588)4017102-4 (DE-588)4030933-2 |
| 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 |
| title_fullStr | Hearing the movies Music and sound in film history James Buhler, David Neumeyer |
| title_full_unstemmed | Hearing the movies Music and sound in film history James Buhler, David Neumeyer |
| 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 Film (DE-588)4017102-4 gnd Klang (DE-588)4030933-2 gnd |
| topic_facet | Geschichte Motion picture music History and criticism Motion picture music Analysis, appreciation Motion Picture soundtracks Production and direction History Filmmusik Film Klang |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028056834&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT buhlerjames hearingthemoviesmusicandsoundinfilmhistory AT neumeyerdavid hearingthemoviesmusicandsoundinfilmhistory |