By James Buhler, David Neumeyer, and Rob Deemer
Published by Oxford University Press, ©2010
PREFACE
INTRODUCTION
PART I: The Sound Track and Film Narrative: Basic Terms and Concepts
Introduction to Part I
Chapter 1: The Sound Track and Narrative
Introduction
Basics: Image Track, Sound Track, Narrative
Sound Track Components and Narrative
Speech
Sound Effects
Music
Example for Sound Track Components and Narrative (1): Sleepless in Seattle, Second Botched Meeting
Example for Sound Track Components and Narrative (2): Good Will Hunting, Boston Common Scene
Summary
Exercise 1: Masking
Exercise 2: Using an Analysis Checklist
Chapter 2: The Musicality of the Sound Track: Concepts and Terminology
Introduction
Music and Sound
Tempo
Rhythm and Meter
Volume
Timbre
Filters and ”Distortion”
Pitch
Orchestration
Timbre and Sound
Texture
Density and Liveliness
Monophony
Homophony
Melody and Accompaniment
Polyphony
A-Melodic (Accompaniment without Melody)
Texture and Foreground–Background Functions
Example for Sound Track Analysis Using Musical Terms (1): Trzy Kolory: Bialy (Three Colors: White), The Shooting
Example for Sound Track Analysis Using Musical Terms (2): Atonement, Main Title Sequence and First Scene
Summary
Exercise 1: Analysis of Sound Track Elements (After Altman, Jones, and Tatroe)
Exercise 2: Using Graphic Displays for Sound (After Wierzbicki)
Chapter 3: Music, Sound, and the Space of Narrative: Concepts and Terminology
Introduction
Diegetic/Nondiegetic Music and Narrative
Example for Diegetic and Nondiegetic Music: Glory, Boston Party Scene
Onscreen/Offscreen Sound and Music
Offscreen Sound
Onscreen/Offscreen Sound Interaction: Examples
Ambiguity of Offscreen Sound: Underdetermination of Sound
Point of View Sound
Offscreen Sound and Music in Relation to the Diegesis
Voice-over
Audio Dissolve
Mickey-Mousing: Music as Effects ”Sweetener"
The Acousmêtre (Acoustical Being)
Summary
Exercise 1: Using an Events Table
Exercise 2: Using an (Updated) Analysis Checklist
Chapter 4: Music, Sound, and Time
Introduction
Transitions: The Sound Bridge and Hard Cuts
Sound Advance
Sound Lag
Sound Link
Sound Match
Hard Cut
Synchronization ("Playing with the Film”)
Example for Synchronization: Casablanca, Rick and Ilsa Meet
Counterpoint ("Playing against the Film”)
Summary Example for Synchronization and Counterpoint: Casablanca, After-Hours Scene
Summary
Exercise: The Commutation Test
Interlude: Writing About Film Sound: Analysis and Description
Introduction
Analysis Report: Catch Me If You Can
Overview
1. Background
2. Synopsis
3. Music Cues
4. General Description of the Sound Track Elements and Their Balance
5. General Evaluation of the Sound Track
6. Description of Music’s Narrative Functions
Response Paper That Describes Music’s Narrative Functions
Compare–Contrast Paper Focusing on Music
Concluding Comments
PART II: Music, Film Form, and Film Style
Introduction to Part II
Chapter 5: Music in Film Form
Introduction
Runtime Segmentation
Sync Points and Audiovisual Phrasing
Music and Narrative Pacing
Examples for Music in Film Form
Lady Windermere’s Fan
Mildred Pierce
Rashômon
Psycho
The Birdcage
The Hours
Summary
Chapter 6: Music in Main Title and End-Credit Sequences
Introduction
Establishing Sequence
Meet Me in St. Louis, Titles and Opening Scene
Rashômon, Titles and Opening Scene
The Sound of Music, Overture and Title Sequence
Out of Africa, Prologue and Title Sequence
To Kill a Mockingbird, Music in the Main Title Sequence
Additional Examples
End-Credit Music
Films From 1939, End Credits
Out of Africa, Final Scene and End Credits
Bridget Jones’s Diary, End Credits Sequence
Additional Examples
Summary
Chapter 7: Music in Performance and Montage Scenes
Introduction
Performance Scene
To Have and Have Not, ”Am I Blue?"
The Sound of Music, ”The Laendler” (as Dance Scene)
The Sound of Music and Grease, Two Larger Performance Numbers
Additional Examples
Montage or Fantasy Scene
Gone with the Wind, Montage Sequence in the Prologue to Part 2
Pride & Prejudice, Three Montage Sequences
Bridget Jones’s Diary, ”Out of Reach” and ”I’m Every Woman"
Additional Examples
Summary
Chapter 8: Film Style and the Sound Track
Introduction
Style Topics and the Leitmotif
Introduction: Theme, Motif, and Motive
"Love" Themes
The Leitmotif
Style Topics
Location and Stereotype
Style Topics in Rebecca
A Note on Sound Topics
Summary
Chapter 9: Music in Character and Action Scenes
Introduction
Dialogue Scene
Rebecca, Terrace Scene
Additional Examples
Action Scene
Wo Hu Cang Lang (Crouching Tiger, Hidden Dragon), ”Theft of the Sword"
The Matrix, ”Trinity in a Jam"
Additional Examples
Love Scene
Out of Africa, ”On Safari: The Second Dinner"
Sound of Music, ”The Laendler” (as Love Scene)
Shadowlands, Four Scenes
Summary
Interlude: Writing About Film Music: Interpretation
Introduction
Developing a Reading (1): Finding a Thesis
Thesis Options for Catch Me If You Can
Examples From the Published Literature
Developing a Reading (2): Reading against the Grain
Example: Casablanca against the Grain
Summary
PART III: The Sound Track: A Technological History
Introduction to Part III
Chapter 10: Music and Sound in the Silent Era (1895–1929)
Introduction
The Early Years
The Nickelodeon
"Playing the Picture"
Special Scores
The Picture Palace
Stratification of Exhibition
The Show
Music and Sound Production in the Picture Palace
Fitting the Picture
Special Scores in the 1920s
Road Shows
Music on the Set
Summary
A Note on the Music for Silent Film Releases to VHS and DVD
Chapter 11: The Transition to Sound Film (1926–1932)
Introduction
Issues of Technology and Economics
Sound Research in the 1920s
Sound Film and the Standardization of Exhibition
Sound and the Feature Film, 1927: The Jazz Singer
The Transition From Silent to Sound Film
Types of Early Sound Film
Musicals in Early Sound Film
Mastering the Sound Track and Elements of Style
Production
Production Phases
Music Department
Sound Department
Summary
Chapter 12: Music and the Sound Track in the Classical Studio Era
Introduction
Issues of Technology and Economics
Improvements in Recording Technology
Rerecording
Sound in the Theaters of the 1930s and 1940s
The Great Depression and the Consolidation of Genres
The Sound Track in the Studio Era and Elements of Style
The Classical System
Foreground and Background
Background(ed) Music and the Sound Track
Scoring Practices
Production
Production Phases
Music Department
Sound Department
Summary
Chapter 13: The Stereo Sound Track and the Post-Classical Era (1950–1975)
Introduction
Issues of High Fidelity and Stereo Sound
Legal and Economic Challenges to the Industry
Widescreen and Stereo Formats
Magnetic Tape in Production and Postproduction
Issues of Stereo
Analysis: The Robe
Stereo and Space
Stereo Sound, Magnetic Tape, and Elements of Style
Issues of Aesthetics
Scoring Practices
Main Theme From High Noon
Popular Song and the Underscore
Soundtrack Albums
Importance of Recordings
Relation to the Musical
Scoring With Recordings
Production
Production Phases
Music Department
Sound Department
Summary
Chapter 14: The New Hollywood, Dolby Stereo, and the Emergence of Sound Design (1975–2000)
Introduction
Issues of Technology and Economics
The New Hollywood and Saturation Booking
Sound in the Multiplex
Dolby Stereo in the Theaters
Home Video and Limitations of Television
Sound Design and Elements of Style
Issues of Aesthetics: Sound Design
Aesthetics and the Stereo Field
Scoring Practices
Aesthetic Issues of Cross-Marketing and Promotion
Music Video Style
Production
Production Phases
Music Department
Sound Department
Summary
Chapter 15: Music and Film Sound Today
Introduction: The Digital Era
Issues of Technology and Economics
Digital Sound
Digital Sound Formats
Video, DVD, and Television Technologies
The Multiplex Palace
Digital Sound and Elements of Style
Issues of Aesthetics
Scoring Practices
The Rise of Rap
Production
Production Phases
Music Department
Music Production
Music Postproduction
Sound Department
Sound Production
Postproduction
Dialogue
Foley Effects
Sound Effects
Summary
Afterword
Glossary
Credits
Notes
Index
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