Meaning and interpretation of music in cinema / David Neumeyer ; with contributions by James Buhler.
Series: Musical meaning and interpretation: Publisher: Bloomington : Indiana University Press, [2015]Copyright date: ©2015Description: 1 online resource (336 pages) : illustrationsContent type: text Media type: computer Carrier type: online resource001: 45014ISBN: 9780253016515 (e-book)Subject(s): Motion picture music -- Analysis, appreciation | Motion picture music -- History and criticismGenre/Form: Electronic books.Additional physical formats: Print version:: Meaning and interpretation of music in cinema.DDC classification: 781.5/42 LOC classification: ML2075 | .N48 2015Online resources: Click to View| Item type | Current library | Collection | Call number | Copy number | Status | Date due | Barcode | |
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| eBooks | MAIN LIBRARY Electronic Books | ONLINE | 781.542 23 (Browse shelf(Opens below)) | 1 | Available | 45014-1001 |
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Enhanced descriptions from Syndetics:
By exploring the relationship between music and the moving image in film narrative, David Neumeyer shows that film music is not conceptually separate from sound or dialogue, but that all three are manipulated and continually interact in the larger acoustical world of the sound track. In a medium in which the image has traditionally trumped sound, Neumeyer turns our attention to the voice as the mechanism through which narrative (dialog, speech) and sound (sound effects, music) come together. Complemented by music examples, illustrations, and contributions by James Buhler, Meaning and Interpretation of Music in Cinema is the capstone of Neumeyer's 25-year project in the analysis and interpretation of music in film.
Includes bibliographical references and index.
Meaning and interpretation. Music in the vococentric cinema; Tools for analysis and interpretation -- Music in the mix : Casablanca . Acoustic stylization : the film's sound world ; Music and utopia : a reading of the reunion scene -- The reunion scene's contexts -- Topics and tropes : two preludes by Bach. Performers onscreen ; Underscore : four studies of the C major prelude.
Description based on print version record.
Electronic reproduction. Ann Arbor, MI : ProQuest, 2016. Available via World Wide Web. Access may be limited to ProQuest affiliated libraries.
Reviews provided by Syndetics
CHOICE Review
Neumeyer (Univ. of Texas, Austin) expands his significant contribution to film music studies with this magisterial volume. He first demonstrates that the sound track as a whole--dialogue, music, and sound effects--is the proper object of study. This commitment is grounded in "vococentrism": human voices dominate the sound track, just as human faces do the image track. Music supports film narrative, but editing and mixing, synchronization of sound and image, acoustical fidelity, and excessive expressiveness shape how one hears (and interprets) film music. Neumeyer and Buhler together analyze Casablanca in light of this key concept; their discussion of Casablanca's final minutes is an outstanding example of the nuances revealed by attending to the whole sound track. Neumeyer devotes the last two chapters to sound tracks that include J. S. Bach's preludes (the C major prelude from The Well-Tempered Clavier, Book I, and the prelude from his Cello Suite in G major). He considers ideas about the domestic, nostalgic, and the pastoral embodied in these excerpts. Throughout, the book offers ways to understand a vast body of critical work in film and film music studies as a cohesive collection of theories. Numerous photographic stills and notated musical examples reinforce the arguments. Summing Up: Essential. Lower-division undergraduates through faculty; general readers. --Stanley Clyde Pelkey, Florida State UniversityThere are no comments on this title.