Studies of pre-existing music in narrative cinema often focus on a single film, composer or director. The approach here adopts a wider perspective, placing a specific musical repertoire - baroque music - in the context of its reception to explore its mobilisation in post-war cinema. It shows how var...

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Bibliographische Detailangaben

1. Verfasser:	Greig, Donald (VerfasserIn)
Format:	Buch
Sprache:	English
Veröffentlicht:	Cambridge ; New York ; Port Melbourne ; New Delhi ; Sydney Cambridge University Press 2021
Schriftenreihe:	Cambridge elements: Elements in music since 1945
Schlagworte:	Geschichte 1950-1980 Filmmusik Musik Barock Rezeption Motion picture music / History and criticism Music / 17th century / Analysis, appreciation Music / 18th century / Analysis, appreciation Motion picture music 1600-1799 Criticism, interpretation, etc
Online-Zugang:	https://doi.org/10.1017/9781108900614
Zusammenfassung:	Studies of pre-existing music in narrative cinema often focus on a single film, composer or director. The approach here adopts a wider perspective, placing a specific musical repertoire - baroque music - in the context of its reception to explore its mobilisation in post-war cinema. It shows how various revivals have shaped musical fashion, and how cinema has drawn on resultant popularity and in turn contributed to it. Close analyses of various films raise issues of baroque musical style and form to question why eighteenth-century music remains an exception to dominant film-music discourses. Account is taken of changing modern performance practice and its manifestation in cinema, particularly in the biopic. This question of the reimagining of baroque repertoire leads to consideration of pastiches and parodies to which cinema has been particularly drawn, and subsequently to the role that neobaroque music has played in more recent films
Beschreibung:	80 Seiten Illustrationen und Notenbespiele
ISBN:	9781108827867
DOI:	10.1017/9781108900614