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The intense and continuing popularity of the long-running
television show Buffy the Vampire Slayer (1997-2003) has long been
matched by the range and depth of the academic critical response.
This volume, the first devoted to the show's imaginative and widely
varied use of music, sound, and silence, helps to develop an
increasingly important and inadequately covered area of research -
the many roles of music in contemporary television. In addressing
this significant gap, this book provides an exemplary overview of
the functions of music and sound in the interpretation of a
television show. This is done through analyses that focus on
scoring and source music, the title theme, the music production
process, the critically acclaimed musical episode (voted number 13
in Channel Four's One Hundred Greatest Musicals), the symbolic and
dramatic use of silence, and the popular reception of the show by
its international fan base. In keeping with contemporary trends in
the study of popular musics, a variety of critical approaches are
taken from musicology, cultural studies, and media and
communication studies, specifically employing critique, musical
analysis, industry studies, and hermeneutics.
The intense and continuing popularity of the long-running
television show Buffy the Vampire Slayer (1997-2003) has long been
matched by the range and depth of the academic critical response.
This volume, the first devoted to the show's imaginative and widely
varied use of music, sound, and silence, helps to develop an
increasingly important and inadequately covered area of research -
the many roles of music in contemporary television. In addressing
this significant gap, this book provides an exemplary overview of
the functions of music and sound in the interpretation of a
television show. This is done through analyses that focus on
scoring and source music, the title theme, the music production
process, the critically acclaimed musical episode (voted number 13
in Channel Four's One Hundred Greatest Musicals), the symbolic and
dramatic use of silence, and the popular reception of the show by
its international fan base. In keeping with contemporary trends in
the study of popular musics, a variety of critical approaches are
taken from musicology, cultural studies, and media and
communication studies, specifically employing critique, musical
analysis, industry studies, and hermeneutics.
Between 1958 and 2002, Luciano Berio wrote fourteen pieces entitled
Sequenza, along with several versions of the same work for
different instruments, revisions of the original pieces and also
the parallel Chemins series, where one of the Sequenzas is used as
the basis for a new composition on a larger scale. The Sequenza
series is one of the most remarkable achievements of the late
twentieth century. It is a collection of virtuoso pieces that
explores the capabilities of a solo instrument and its player,
making extreme technical demands of the performer whilst developing
the musical vocabulary of the instrument in compositions so assured
and so distinctive that each piece both initiates and potentially
exhausts the repertoire of a new genre.The Sequenzas have
significantly influenced the development of composition for solo
instruments and voice, and there is no comparable series of works
in the output of any other composer. Series of pieces tend to be
linked by the instruments for which the composer writes, but this
is a series in which the pieces are linked instead by the variety
of instruments for which Berio composed. The varied approaches
taken by the contributors in discussing the pieces demonstrate the
richness of this repertoire and the many levels on which Berio and
these landmark compositions can be considered. Contributions are
arranged under three main headings: Performance Issues; Berio's
Compositional Process and Aesthetics; Analytical Approaches.
Between 1958 and 2002, Luciano Berio wrote fourteen pieces entitled
Sequenza, along with several versions of the same work for
different instruments, revisions of the original pieces and also
the parallel Chemins series, where one of the Sequenzas is used as
the basis for a new composition on a larger scale. The Sequenza
series is one of the most remarkable achievements of the late
twentieth century - a collection of virtuoso pieces that explores
the capabilities of a solo instrument and its player, making
extreme technical demands of the performer whilst developing the
musical vocabulary of the instrument in compositions so assured and
so distinctive that each piece both initiates and potentially
exhausts the repertoire of a new genre. The Sequenzas have
significantly influenced the development of composition for solo
instruments and voice, and there is no comparable series of works
in the output of any other composer. Series of pieces tend to be
linked by the instruments for which the composer writes, but this
is a series in which the pieces are linked instead by the variety
of instruments for which Berio composed. The varied approaches
taken by the contributors in discussing the pieces demonstrate the
richness of this repertoire and the many levels on which Berio and
these landmark compositions can be considered. Contributions are
arranged under three main headings: Performance Issues; Berio's
Compositional Process and Aesthetics; and Analytical Approaches.
Characters and plot developments, similarly, are enhanced by their
musical accompaniment. The different scoring strategies employed in
supernatural and horror-based genres, comprising for example True
Blood and Supernatural, are considered alongside cult shows set in
our reality, such as Dexter, The Sopranos and 24. These discussions
are complimented by in-depth case studies of musical approaches in
two high-profile series: Buffy the Vampire Slayer and Hannibal.
Written from a musicological standpoint but fully accessible to
non-musicologists, the book significantly advances television and
music studies.
Characters and plot developments, similarly, are enhanced by their
musical accompaniment. The different scoring strategies employed in
supernatural and horror-based genres, comprising for example True
Blood and Supernatural, are considered alongside cult shows set in
our reality, such as Dexter, The Sopranos and 24. These discussions
are complimented by in-depth case studies of musical approaches in
two high-profile series: Buffy the Vampire Slayer and Hannibal.
Written from a musicological standpoint but fully accessible to
non-musicologists, the book significantly advances television and
music studies.
Danny Elfman is recognized as one of the most successful,
interesting, and innovative figures in recent film music
composition. He came to the fore in the late 1980s in connection
with his collaboration with Tim Burton on his films including
Pee-Wee's Big Adventure (1985), Beetlejuice (1988), Batman (1989),
Edward Scissorhands (1990), The Nightmare before Christmas (1993),
and Sleepy Hollow (1999). In addition to this, Elfman has composed
music for more than 40 other films, including Somersby (1993),
Dolores Claibourne (1995), Good Will Hunting (1997), Men in Black
(1997), and Spiderman (2002). Beetlejuice was the first mainstream
commercial success of the collaboration, but Batman was the film
which marked Tim Burton's arrival as a major figure in Hollywood
film direction, and equally established Danny Elfman as a film
score composer, particularly in relation to action and fantasy
genres. The score for Batman won a Grammy in 1989 and is an
outstanding example of his collaboration with Burton as well as
admirably demonstrating his particular talents and distinctive
compositional voice. In particular, it displays the characteristic
"darkness" of his orchestration in this genre and the means he uses
to create a full length film score from what is often a relatively
small amount of musical material, in this case the famous Batman
theme. This book examines Elfman's scoring technique and provides a
detailed analysis and commentary on the Batman score. The film is
discussed in the context of its comic-book origins and the
fantasy-action genre, setting it and its score against the late
1970s and early 1980s equivalents such as Star Wars and Superman,
and revealing how Burton and Elfman between them changed the
cinematic idea of what a superhero is. The book also explores
Elfman's musical background, his place within the film music
industry and the controversy that sprang up following the release
of B
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