Music has been an integral part of film exhibition from its
beginnings in the late nineteenth century. With the arrival of
sound film in the late 1920s, music became part of a complex
multimedia text. Although industry, fan-oriented, and scholarly
literatures on film music have existed from early on, and music was
frequently among the topics discussed and disputed, only in the
past thirty years has sustained scholarly attention gone to music
in visual media, beginning with the feature film. The Oxford
Handbook of Film Music Studies charts that interdisciplinary
activity in its primary areas of inquiry: history, genre and
medium, analysis and criticism, and interpretation. The handbook
provides an overview to the field on a large scale. Chapters in
Part I range from the relations of music and the soundtrack to
opera and film, textual representation of film sound, and film
music as studied by cognitive scientists. 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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