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.
Table of Contents
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
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.