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be surprised by the extent to which film music shapes and affects meaning in film. Stam, Burgoyne, and Flitterman-Lewis define several types of music that can be used in scores: redundant music, which reinforces the emotional tone; contrapuntal music, which runs counter to the dominant emotion; em-
The Theory and Praxis of Music in Film Ennio Morricone and Sergio Miceli Translated by Gillian B. Anderson Lessons transcribed by Rita Pagani and edited by Laura Gallenga THE SCARECROW PRESS, INC. Lanham • Boulder • New York • Toronto • Plymouth, UK 2013
Feb 14, 2004 · Bernard Herrmann’s musical score creates the jarring tension felt by the audience, a tension not present when the scene is viewed sans music (Smilow and Waletzky 1992; Waletzky 1995). We will argue for a more inclusive definition of the term “film music” than that proposed in previous publications.
Mar 26, 2019 · With its schema-activating potential to influence an audience’s perception and interpretation of film plot and protagonists, film music goes far beyond the role of an emotionalizing accessory in film contexts.
- Ann-Kristin Herget
- 2021
Morton (along with Eisenstein, Arnheim, Pudovkin, and so forth) have become important texts for film music's criticism and theory. These are some examples of how, owing to the growth of scholarly interest in film music, yesterday's research can become today's primary resources.
A History of Film Music provides a comprehensive and lively introduction to the major trends in film scoring from the silent era to the present day, focusing not only on dominant Hollywood practices
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4A music cue is the basic formal division in a film score; it indicates an entry (or "cue") and a continuous passage of music. The first cue is usually called the "main title"; others are assigned numbers for recording purposes, names for production records and copyright purposes.
