Introduction: Past, present and future in Spanish film music studies
Laura Miranda
PART 1: First steps in sound in the 1930s
1 Synchronising voices and shadows: Music and the transition to sound cinema in Spain
Julio Arce
2 National music for the silent screen: Sound and national identity in 1920s Spanish cinema
Marta García Carrión
3 The cinematic zarzuela: Cross-media connections between theatre and film in Spain (1900–1963)
Peter W. Schulze
4 Soundtracks for the Republic: Musical propaganda in documentary films during the Spanish Civil War
Lidia López Gómez
5 A missing link between the cinema of the Second Spanish Republic and the first Franco period: Edgar Neville’s Verbena (Madrid Carnival, 1941)
Christian Franco Torre
PART 2: Music, ideology and power in the cinema of the early years of Francoism
6 It sings inside a sea on a map: Three periods of Latin American music in Spanish cinema (1930–1960)
Marina Díaz López
7 Music, power and violence in NO-DO: Folkloric cultures in 1940s Francoist cinema
Beatriz Busto Miramontes
8 "Todos somos uno cuando del cante se trata": The empathizing power of the copla
Bohumira Smidakova
9 Fashion victims?: Women, costume design, and music in 1940s Spanish cinema
Laura Miranda
10 Music for a plasterboard empire: Juan Quintero’s scores for Spanish historical films of the 1950s
Joaquín López González
11 Copla, melodrama and star persona in 1950s Spanish cinema: Antonio Molina and Daniel Montorio
Celsa Alonso
12 The arrival of the new Spanish cinema: The film collaborations of Isidro Maiztegui and Juan Antonio Bardem
María Fouz Moreno
13 Text and context: Rodrigo’s Concierto de Aranjuez as film score
Walter Aaron Clark
PART 3: New (and old) rhythms from the aperturismo of the 1960s
14 El último cuplé?: Sara Montiel: A diva between two eras
Enrique Encabo
15 Augusto Algueró and the cinema of "child prodigy" singers: A perfect symbiosis
Sofía López Hernández
16 Buñuel is Back: Viridiana, music and religion in Spain in 1960
Laura Miranda
17 Music in non-fiction films: New practices in Spanish documentary soundtracks in the late Francoist era
Diana Díaz González
18 The use of music in Carlos Saura’s fictional work (1960–1980): Narration and esthetics
Marianne Bloch-Robin
19 The zarzuela in Spanish film of the 1960s and 1970s: From adaptation to reinterpretation
Vicente Galbis López
20 Songs for a new day: Music as an aesthetic program in the cinema of Gonzalo García-Pelayo during the Spanish Transition
Pablo Piedras and Dana Zylberman
PART 4: Musical glocalisms in democratic Spain from the late twentieth century
21 This isn’t Hollywood... it’s not even close: Film composers in Spain: evolution of a profession
Josep Lluís i Falcó
22 The generation of ’89: Moving toward a new concept of the film composer in Spain and looking back at harmony
Sergio Lasuén
23 The soundtrack of the barrio in contemporary Spanish cinema: From Rumba to Latin and flamenco-trap
Eduardo Viñuela
24 Rumbas and the acoustic experience of marginality in cine quinqui
Tom Whittaker
25 The music of Alberto Iglesias in the films of Pedro Almodóvar: Intertextual dialogue and negotiating identities in The Skin I Live In (2011)
Alberto Jiménez Arévalo
26 The acoustic imaginary in recent Spanish cinematic music
Marvin D’Lugo
27 Spanish musical cinema in the 21st century: New models for new times
Teresa Fraile
28 Transmedia storytelling and musical films: A case study of the Holy Camp! phenomenon
Cande Sánchez-Olmos
29 Music winners and losers
Núria Triana Toribio
Biography
Laura Miranda is a Lecturer at the Department of Art History and Musicology, University of Oviedo, Spain.
