The Oxford Handbook of Film Music Studies

The Oxford Handbook of Film Music Studies

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The Oxford Handbook of Film Music Studies charts the interdisciplinary activity around music in visual media, addressing the primary areas of inquiry: history, genre and medium, analysis and criticism, and interpretation. Chapters in Part I cover the range most broadly, from the relations of music and the soundtrack to opera and film, textual representation of film sound, film music as studied by cognitive scientists, and Hanns Eisler's work as film composer and co-author of the foundational text Composing for the Films (1947). 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 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.
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Product details

  • Hardback | 704 pages
  • 178 x 250 x 54mm | 1,559.98g
  • Oxford, United Kingdom
  • English
  • 58 h/t; 93 b&w film stills
  • 0195328493
  • 9780195328493
  • 1,392,823

Review quote

Offers stimulating questions and music analyses. * CHOICE * 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. * Ty Johnson, Film Matters *
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About David Neumeyer

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 (Oxford 2010).
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Table of contents

1. Overview ; David Neumeyer ; PART 1: Film Music : Central Questions ; 2. Music and the Ontology of the Sound Film: The Classical Hollywood System ; James Buhler and David Neumeyer ; 3. Opera and Film ; Marcia Citron ; 4. 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 Buhler ; PART 2: Genre and Platform ; 8. Drawing a New Narrative for Cartoon Music ; Daniel Goldmark ; 9. Genre Theory and the Film Musical ; Cari McDonnell ; 10. "The Tunes They are a-Changing": Moments of Historical Rupture and Reconfiguration in the Production and Commerce of Music in Film ; Jeff Smith ; 11. The Compilation Soundtrack from the 1960s to the Present ; Julie Hubbert ; 12. 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 Buhler ; 16. Case Studies: Introduction ; Robynn Stilwell ; 17. (Case Study 1) The Order of Sanctity: Sound, Sight, and Suasion in ; DeMille's The Ten Commandments ; Mitchell Morris ; 18. (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 Analysis ; 19. Transformational Theory and the Analysis of Film Music ; Scott Murphy ; 20. Listening in Film: Music/Film Temporality, Materiality and Memory ; Marianne Kielian-Gilbert ; 21. Auteurship and Agency in Television Music ; Ronald Rodman ; PART 5: Historical Issues ; 22. When the Music Surges: Melodrama and the Nineteenth-Century ; Theatrical Precedents for Film Music Style and Placement ; Michael Pisani ; 23. Audio-Visual Palimpsests: Resynchronizing Silent Films with "Special" Music ; Julie Brown ; 24. Performance Practices and Music in Early Cinema outside Hollywood ; Kathryn Kalinak ; 25. Performing Prestige: American Cinema Orchestras, 1910-1958 ; Nathan Platte
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