1st Edition

The Routledge Companion to Screen Music and Sound

Edited By Miguel Mera, Ronald Sadoff, Ben Winters Copyright 2017
    658 Pages 42 B/W Illustrations
    by Routledge

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    The Routledge Companion to Screen Music and Sound provides a detailed and comprehensive overview of screen music and sound studies, addressing the ways in which music and sound interact with forms of narrative media such as television, videogames, and film. The inclusive framework of "screen music and sound" allows readers to explore the intersections and connections between various types of media and music and sound, reflecting the current state of scholarship and the future of the field.

    A diverse range of international scholars have contributed an impressive set of forty-six chapters that move from foundational knowledge to cutting edge topics that highlight new key areas. The companion is thematically organized into five cohesive areas of study:

    • Issues in the Study of Screen Music and Sound—discusses the essential topics of the discipline
    • Historical Approaches—examines periods of historical change or transition
    • Production and Process—focuses on issues of collaboration, institutional politics, and the impact of technology and industrial practices
    • Cultural and Aesthetic Perspectives—contextualizes an aesthetic approach within a wider framework of cultural knowledge
    • Analyses and Methodologies—explores potential methodologies for interrogating screen music and sound

    Covering a wide range of topic areas drawn from musicology, sound studies, and media studies, The Routledge Companion to Screen Music and Sound provides researchers and students with an effective overview of music’s role in narrative media, as well as new methodological and aesthetic insights.

    Introduction: Framing Screen Music and Sound (MIGUEL MERA, RONALD SADOFF, AND BEN WINTERS)

    Part 1: Issues in the Study of Screen Music and Sound

    1. The Ghostly Effect Revisited (K.J. DONNELLY) 2. Mystical Intimations, the Scenic Sublime, and the Opening of the Vault: De-classicizing the Late-romantic Revival in the Scoring of ‘New Hollywood’ Blockbusters c. 1977–1993 (PETER FRANKLIN) 3. Screen Music and the Question of Originality (MIGUEL MERA) 4. Affect, Intensities, and Empathy: Sound and Contemporary Screen Violence (LISA COULTHARD) 5. Balinese Music, an Italian Film, and an Ethnomusicological Approach to Screen Music and Sound (MICHAEL B. BAKAN) 6. Emphatic and Ecological Sounds in Gameworld Interfaces (KRISTINE JøRGENSEN) 7. "You Have to Feel a Sound for It to Be Effective": Sonic Surfaces in Film and Television (LUCY  FIFE DONALDSON) 8. Screen Music, Narrative, and/or Affect: Kieślowski’s Musical Bodies (NICHOLAS REYLAND) 9. Roundtable: Current Perspectives on Music, Sound, and Narrative in Screen Media (ANAHID KASSABIAN - convenor) with ELENA BOSCHI, JAMES BUHLER, CLAUDIA GORBMAN, MIGUEL MERA, ROGER MOSELEY, RONALD SADOFF, and BEN WINTERS

    Part 2: Historical Approaches

    10. Sound Design and Its Interactions with Music: Changing Historical Perspectives (DANIJELA KULEZIC-WILSON) 11. Dimensions of Game Music History (TIM SUMMERS) 12. The Changing Audio, Visual, and Narrative Parameters of Hindi Film Songs (ANNA MORCOM) 13. From Radio to Television: Sound Style and Audio Technique in Early TV Anthology Dramas (SHAWN VANCOUR) 14. Manifest Destiny, The Space Race, and 1960s Television (ROBYNN J. STILWELL) 15. The Early Cinema Soundscape (RICK ALTMAN) 16. The Shock of the Old: The Restoration, Reconstruction, or Creation of ‘Mute’-Film Accompaniments (GILLIAN B. ANDERSON) 17. Music That Works: Listening to Prestige British Industrial Films (ANNETTE DAVISON) 18. The Fine Art of Repurposing: A Look at Scores for Hollywood ‘B’ Films in the 1930s (JEFF SMITH) 19. Trailer or Leader? The Role of Music and Sound in Cinematic Previews (JAMES DEAVILLE)

    Part 3: Production and Process

    20 A Star is Born: Max Steiner in the Studios, 1929–1939 (NATHAN PLATTE) 21. Sound Standings: A Brief History of the Impact of Labor and Professional Representation on the Place of Early Sound Workers in the Industry (1927–1937) (GIANLUCA SERGI) 22. In Sync? Music Supervisors, Music Placement Practices, and Industrial Change (BETHANY KLEIN AND LESLIE M. MEIER) 23. Shaping the Soundtrack? Hollywood Preview Audiences (RONALD SADOFF AND MIGUEL MERA) 24. Craft, Art, or Process: The Question of Creativity in Orchestration for Screen (IAN SAPIRO) 25. Post-Apartheid Cinema (CHRISTOPHER LETCHER) 26. Simulation: Squaring the Immersion, Realism, and Gameplay Circle (STEPHEN BAYSTED) 27. The Voice Delivers the Threats, Foley Delivers the Punch: Embodied Knowledge in Foley Artistry (SANDRA PAULETTO) 28. Direct Sounds, Language Swaps, and Directors’ Cuts: The Quest for Fidelity in the Film Soundtrack (EMILE WENNEKES)

    Part 4: Cultural and Aesthetic Perspectives

    29. From Disney to Dystopia: Transforming "Brazil" for a US Audience (KARIANN GOLDSCHMITT) 30. Birth and Death of the Cool: The Glorious Afflictions of Jazz on Screen (JEREMY BARHAM) 31. Home Theater(s): Technology, Culture, and Style (MARK KERINS) 32. Drive, Speed, and Narrative in the Soundscapes of Racing Games (KAREN COLLINS AND RUTH DOCKWRAY) 33. Music, Genre, and Nationality in the Postmillenial Fantasy Role-Playing Game (WILLIAM GIBBONS) 34. ‘Sounding’ Japanese: Traditions of Music in Japanese Cinema (ALEXANDER BINNS) 35. Sounding Transculturation: Western Opera in Korea during the Japanese Occupation (1910–1945) (JEONGWON JOE) 36. Christopher Plummer Learns to Sing: The Torn Masculinities of Mid-Century US Musicals (CARYL FLINN) 37. Music, Whiteness, and Masculinity in Michael Mann’s The Last of the Mohicans (REBECCA FüLöP) 38. Some Assembly Required: Hybrid Scores in Moonrise Kingdom and The Grand Budapest Hotel (KATE MCQUISTON)

    Part 5: Analyses and Methodologies

    39. Methods and Challenges of Analyzing Screen Media (FRANK LEHMAN) 40. From Intuition to Evidence: The Experimental Psychology of Film Music (SIU-LAN TAN) 41. Idolizing the Synchronized Score: Studying Indiana Jones Hypertexts (BEN WINTERS) 42. Fearful Symmetries: Music as Metaphor in Doppelgänger Films (TOM SCHNELLER) 43. Musical Dreams and Nightmares: An Analysis of Flower (ELIZABETH MEDINA-GRAY) 44. Reverb, Acousmata, and the Backstage Musical (PETER DOYLE) 45. Unsettling the Soundtrack: Acoustic Profiling and the Documentation of Community and Place (RANDOLPH JORDAN) 46. The Sound of Slime-ness: Telling Children’s Stories on the Nickelodeon Network (JENNIFER FLEEGER)


    Miguel Mera is Reader in the Department of Music and Associate Dean (Research and Enterprise) at City, University of London.

    Ronald Sadoff is Associate Professor and Director of the Department of Music and Performing Arts Professions in the Steinhardt School at New York University.

    Ben Winters is Lecturer in Music at The Open University, UK.