The music for science fiction television programs, like music for science fiction films, is often highly distinctive, introducing cutting-edge electronic music and soundscapes. There is a highly particular role for sound and music in science fiction, because it regularly has to expand the vistas and imagination of the shows and plays a crucial role in setting up the time and place. Notable for its adoption of electronic instruments and integration of music and effects, science fiction programs explore sonic capabilities offered through the evolution of sound technology and design, which has allowed for the precise control and creation of unique and otherworldly sounds.
This collection of essays analyzes the style and context of music and sound design in Science Fiction television. It provides a wide range of in-depth analyses of seminal live-action series such as Doctor Who, The Twilight Zone, and Lost, as well as animated series, such as The Jetsons. With thirteen essays from prominent contributors in the field of music and screen media, this anthology will appeal to students of Music and Media, as well as fans of science fiction television.
Table of Contents
Introduction - K.J.Donnelly and Philip Hayward
1. Music in The Twilight Zone - James Wierzbicki
2. The Jetsons and Astro-Boy - Rebecca Coyle and Alex Mesker
3. Doctor Who Music: Old and New - David Butler
4. Whimsical Complexity: Music and Sound Design in The Clangers - Philip Hayward
5. Russian SF: Guest from the Future - Angela Karpovich
6. Space 1999: Imagining the Near Future - Kevin Donnelly
7. Radio to TV: The Hitch Hikers Guide to the Galaxy - Rebecca Coyle and Philip Hayward
8. The Sound of Civilization: Music in Terry Nation’s Survivors - Derek Johnson
9. Sanctuary: How Monsters and Aliens get "Real" - Lisa Schmidt
10. Dark Angel - Claire Butkus
11. Lost and The X-Files - Isabella van Elferen
12. Raumpatrouille - Guido Heldt
K.J. Donnelly is reader and convenor of the Film Studies MA at the University of Southampton. He has written a number of books on screen music and has been a fan of Gerry Anderson’s productions since childhood.
Philip Hayward is a researcher at Southern Cross University who has a substantial body of publications on science fiction cinema soundtracks, including the edited anthology Off The Planet (2004).