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Ubiquitous Musics offers a multidisciplinary approach to the
pervasive presence of music in everyday life. The essays address a
variety of situations in which music is present alongside other
activities and does not demand focused attention from (sometimes
involuntary) listeners. The contributors present different
theoretical perspectives on the increasing ubiquity of music and
its implications for the experience of listening. The collection
consists of nine essays divided into three sections: Histories,
Technologies, and Spaces. The first section addresses the
historical origins of functional music and the debates on how
reproduced music, including a wide range of styles and genres,
spread so quickly across so many environments. The second section
focuses on more contemporary sound technologies, including mobile
phones in India, the role of visible playback technology in film,
and listening to portable digital players. The final section
reflects on settings such as malls, stores, gyms, offices and cars
in which ubiquitous musics are often present, but rarely thought
about. This last section - and ultimately the whole collection -
seeks to foster a wider understanding of listening practices by
lending a fresh, critical ear.
Ubiquitous Musics offers a multidisciplinary approach to the
pervasive presence of music in everyday life. The essays address a
variety of situations in which music is present alongside other
activities and does not demand focused attention from (sometimes
involuntary) listeners. The contributors present different
theoretical perspectives on the increasing ubiquity of music and
its implications for the experience of listening. The collection
consists of nine essays divided into three sections: Histories,
Technologies, and Spaces. The first section addresses the
historical origins of functional music and the debates on how
reproduced music, including a wide range of styles and genres,
spread so quickly across so many environments. The second section
focuses on more contemporary sound technologies, including mobile
phones in India, the role of visible playback technology in film,
and listening to portable digital players. The final section
reflects on settings such as malls, stores, gyms, offices and cars
in which ubiquitous musics are often present, but rarely thought
about. This last section - and ultimately the whole collection -
seeks to foster a wider understanding of listening practices by
lending a fresh, critical ear.
Music is central to any film, creating a tone for the movie that is
just as vital as the visual and narrative components. In recent
years, racial and gender diversity in film has exploded, and the
making of musical scores has changed drastically.
"Hearing Film" offers the first critical examination of music in
the films of the 1980s and 1990s and looks at the burgeoning role
of compiled scores in the shaping of a film . In the first section,
"A Woman Scored," Kassabian analyzes desire and agency in the music
of such films as "Dangerous" "Liaisons, Desert Hearts, Bagdad Cafe,
Dirty Dancing" and "Thelma and Louise." In "At the Twilight's Last
Scoring," she looks at gender, race, sexuality and assimilation in
the music of "The Hunt for Red October, Lethal Weapon 2" and
"Indiana Jones and the Temple of Doom." And finally, in "Opening
Scores," she considers how films such as "Dangerous Minds, The
Substitute, Mississippi Masala" and "Corrina, Corrina" bring
together several different entry points of identification through
their scores.
Kassabian ensures that modern film criticism has a new chapter
written through this book. Her important and long-overdue analysis
is not to be ignored. Also includes 11 musical examples.
Hearing Film offers the first criticla examination of musci in the films of the 1980s (including Dirty Dancing and Indiana Jones and the Temple of Doom) and 1990s (including Thelma and Louise and The Hunt for Red October) and looks at the burgeoning role of compiled scores in the shaping of a film.
How does the constant presence of music in modern life - on iPods,
in shops and elevators, on television - affect the way we listen?
With so much of this sound, whether imposed or chosen, only
partially present to us, is the act of listening degraded by such
passive listening? In "Ubiquitous Listening", Anahid Kassabian
investigates the many sounds that surround us and argues that this
ubiquity has led to different kinds of listening. Kassabian argues
for a new examination of the music we do not normally hear (and by
implication, that we do), one that examines the way it is used as a
marketing tool and a mood modulator, and exploring the ways we
engage with this music.
How does the constant presence of music in modern life - on iPods,
in shops and elevators, on television - affect the way we listen?
With so much of this sound, whether imposed or chosen, only
partially present to us, is the act of listening degraded by such
passive listening? In "Ubiquitous Listening", Anahid Kassabian
investigates the many sounds that surround us and argues that this
ubiquity has led to different kinds of listening. Kassabian argues
for a new examination of the music we do not normally hear (and by
implication, that we do), one that examines the way it is used as a
marketing tool and a mood modulator, and exploring the ways we
engage with this music.
As the first collection of new work on sound and cinema in over a
decade, Lowering the Boom addresses the expanding field of film
sound theory and its significance in rethinking historical models
of film analysis. The contributors consider the ways in which
musical expression, scoring, voice-over narration, and ambient
noise affect identity formation and subjectivity. Lowering the Boom
also analyzes how shifting modulation of the spoken word in cinema
results in variations in audience interpretation. Introducing new
methods of thinking about the interaction of sound and music in
films, this volume also details avant-garde film sound, which is
characterized by a distinct break from the narratively based sound
practices of mainstream cinema. This interdisciplinary, global
approach to the theory and history of film sound opens the eyes and
ears of film scholars, practitioners, and students to film's true
audio-visual nature.
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