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Home , Anatomy of a Murder, Atonement (soundtrack), Elmer Bernstein, Frederick Loewe, Gillian Anderson, Tan Dun

Music and the Moving Image XI

DEPT. of MUSIC and PERFORMING ARTS PROFESSIONS Program in Scoring for Film and Multimedia

MAY 27 – MAY 29, 2016 Conference Committee Ronald H. Sadoff, Gillian B. Anderson, Lea Jacobs, Emilio Sala, Liz Greene REGISTRATION Friday, May 27, 8:30am-1pm, Saturday, May 28, 8:30am-1pm, Sunday, May 29, 9am-1pm Lobby Theater, 35 West 4th Street - City *** Coffee available all-day Fri, Sat and Sun - 8th floor, Room 879

FRIDAY, May 27, 9:30AM - 11:00AM

Frederick Loewe Theatre

Welcome: Ron Sadoff and Gillian Anderson

1. MUSIC EDITING: PROCESS TO PRACTICE — BRIDGING THE VARIED PERSPECTIVES IN FILM-MAKING AND STORY-TELLING

Nancy Allen

FRIDAY, May 27, 11:30AM - 1:00PM 35 West 4th Street LOEWE 303 6th FLOOR 779 2. Chair: Ron Sadoff 3. Chair: Liz Greene 4. Chair: Gillian Anderson 5. Chair: Royal Brown Dave Ireland Lucas Bonetti Vivien Villani Lindsey Macchiarella ? The Changing Orchestrators and Relationships between Musical Forms Koyaanisqatsi in Photographic Role of Audiovisual Incongruence in Ghostwriters of the 1960s and 1970s: and Film Narrative Discourse: Lacunae in Music and Image Contemporary Multimedia The Case of Moacir Santos James Wierzbicki Rebecca Eaton Melinda Russell Matthew McDonald The ‘Code Song’ in Hitchcock’s The Musical Meta-Morphosis: Breaking Sing A Song!: Charity Bailey and Vicious Cycles: Sonic Structure in the Lady Vanishes the Fourth Wall Through Diegetic- Interracial Music Education on 1950s ’ Simple Izing and Meta-Caesura NYC Television Olivier Bélanger Paula Musegades Aaron Manela Bach and Straub. Montage and Fugue Doing His Bit: ’s Film Lillie McDonough Articulating the “American-Latin” on Texture in the Movie Not Reconciled Score for Lewis Milestone’s The North Redefining Perspective in : Sesame Street: The Romance of Luis Star (1943) How Music Set the Stage for Modern and Maria Media Consumption

FRIDAY, May 27, 2:00PM – 3:30PM 35 West 4th Street LOEWE 303 6th FLOOR 779 6. Chair: Gillian Anderson 7. Chair: Lea Jacobs 8. Chair: Miguel Mera 9. Chair: Robynn Stilwell Jan Philip Müller Lisa Scoggin Enoch Jacobus Kariann Goldschmitt Follow the Bouncing Ball! How the Grief, Myth, and Music in Tomm Choose your own Adventure—Sort of: Samba for Survival: Soundtracking Song Car-Tunes Assembled an Moore’s Song Of The Sea Choices in Beat Hazard Urban Violence in City Of God and Elite Audiovisual Rube-Goldberg-Machine Ultra Squad

Maria Fuchs Daniel Batchelder Beth Carroll Veronika Bochynek Hans Erdmann, Ludwig Brav & the Mickey Mousing, Performance, and Courting and Creating Sonic Disgust Tap Dance on Screen: From Stylistic Cataloguing Practice of Germany’s Dramatic Integration in Disney’s Early in Alien: Isolation (Ps4, 2014) Variability to Cinematic Uniformity Silent Cinema Music: Two Animation Misremebered Followers of Hermann Danielle Wulf Lane Kretzschmar Colleen Montgomery Celestial Transformations: Dancing with the Broadcast: Energetic Selling Singing Princesses: Female Signification in Remixes of the Star Interpretants on the Radio Leslie Sprout Vocal Performance in Frozen and Theme in Super Mario Realism in Theory and Practice in Brave Early Sound Film: The Case of Rapt (1934)

FRIDAY, May 27, 4:00PM – 5:30PM 35 West 4th Street LOEWE 303 6th FLOOR 779 10. Chair: Marty Marks 11. Chair: Ron Sadoff 12. Chair: Kevin Donnelly 13. Chair: Liz Greene Gillian B. Anderson Kent Kercher Michiel Kamp Sarah Hall Silence Both Casual and Formal: The Wall·E-, Hipsters, and Me: Yearning Playing To What? Enabling Similarity Bumpers and the “Guzintos” and Influence of the Stereopticon, for Former Years (?) in Interactive Audiovisual Contexts “Guzoutos” of Television Advertising Travelling Film and Nickelodeon Breaks Shows on Musical Practices for the Michael Harris William Gibbons Motion Picture Borrowing Beyond The Stars: James The Sounds in the Machine: Hirokazu Annette Davison Horner’s Music for Star Trek Ii and Iii Tanaka’s Cybernetic Soundscape for Listening to Shell’s [Films] Jim Buhler Metroid Cinematic Listening and the Early Nicholas Kmet Robynn Stilwell Talkie The Danger Theme: The Question of Jonathan Waxman Trope-Snatching: Musical Metaphor, Self-Plagiarism and Recycling Musical Playing Games / Playing Music: Genre, and Narrative in Invasion (2005- Daniel Goldmark Material in Film Music Amateur Musical Arrangements from 2006) Musical Stereotyping American Video Games Jewry in Early Film

FRIDAY, May 27, 6:00PM – 7:30PM 35 West 4th Street LOEWE 303 6th FLOOR 779 14. Chair: Kevin Donnelly 15. Chair: Robynn Stilwell 16. Chair: Marty Marks 17. Chair: Elisabeth Weis Marko Rojnić Jessica Getman Hubert Bolduc-Cloutier and Dominique Hannah Bayley The Paradox of Film Music Creative Vision and Industry Practice: Nasta A Frightful Era: Early Developments of “Inaudibility”: Inattentional Making the Music of Star Trek Coming to Terms with Music as the Japanese Supernatural Horror Film Deafness, Subliminal Perception and Narrative Architecture: Jean Score Subsidiary Awareness Elizabeth Fairweather Grémillon’s Le Petite Lise and Daïnah Music, The Star Trek Brand, and How La Métisse (1930;1932) Caleb Freund Sonya Hofer ‘Made It So’ In Between the Lines of Dialogue: Viewing the Wrong Side of the Screen Laura Anderson Reading Ozu’s I Was Born, But… in Experimental Electronica Paul Sommerfeld Collaboration on an Adaptation: Remake, Good Morning, as a Japanese Performances Scoring Star Trek’s Utopia: Musical Jean-Pierre Melville’s Les Enfants Response to Sound Film Icons in Star Trek: The Motion Picture Terribles (1950) (1979) and Star Trek Ii: The Wrath Of Felicity Wilcox Erin Tomkins Khan (1982) From Film Song to Underscore and Brian Mann Modern Renaissance: The Music of Back: The Evolution of Song in A. R. Surviving a Director’s Whims: Jean Henry VIII for the 21st Century in Wolf Rahman’s Scores Wiener’s Score for Jacques Becker’s Hall Touchez Pas Au Grisbi (1954)

7:30PM - 9:00PM RECEPTION ROOM 303

SATURDAY, May 28, 9:00AM – 10:30AM 35 West 4th Street LOEWE 303 6th FLOOR 779 18. Chair: Gillian Anderson 19. Chair: Danijela Kulezic-Wilson 20. Chair: Ron Sadoff 21. Chair: Liz Greene Bob Gauldin James Gabrillo Liz Giuffre and Mark Thorley James Deaville Wagner in Mayberry: Leitmotific The Rapper is Present: Sound Art, Evoking Unease, Discomfort and Recut and “Re-Tuned”: Music in Fan- Transforms in Earle Hagen’s Music Liveness, and Identity in Jay Z’s Violence through the Singing Voice Produced Parody Trailers for the Andy Griffith Show Picasso Baby Music Video Troy Armstrong William Cheng (presented by Frank Kristi Brown-Montesano Paula Harper Terror-Filled: The Sound and Lehman) Wagner’s Ring and Lars Von Trier’s Waking in a Post-Beyoncé World: Narrative Architecture of the Monster Taking Back the Laugh “Depression Trilogy” How Social Media ‘Techniques of the Movie Now’ Exploded a 2013 Concept Album David Clem Naomi Graber Paula Bishop “O Fortuna” and the “Epic” in Emily Caston Horrific Identification: 's ‘Sincerely Faking It': Re-Embodying Contemporary Media The First Cut is the Deepest: Editing "Three Movements For " in the Voice in Lip Sync Battle Practices in British Music Video Before The Hunger Games and Since MTV

SATURDAY, May 28, 11:00AM – 12:30PM 35 West 4th Street LOEWE 303 6th FLOOR 779 22. Chair: Gillian Anderson 23. Chair: Krin Gabbard 24. Chair: Kevin Donnelly 25. Chair: Ron Sadoff Michael Baumgartner Visnja Krzic Guan Wang Steven Rahn Luchino Visconti’s “Senso” (1954) Music Video Influence on Audiovisual Be Cautious of that Lust: Music, Fate Elemental and Corruptible: The Sound and Anton Bruckner’s Seventh Relationships in Darren Aronofsky’s and Sadomasochism in ’s of Empowerment and Moral Conflict in Symphony as a Symbol for Austrian Early Films Lust, Caution The Dark Knight Trilogy Domination over Italy Charissa Noble Stefan Greenfield-Casas Frank Lehman Maurizio Corbella ‘The Migration of Consciousness’: Art or Action? Oneness and Dualityi Maximalism, Masculinity, and Which People’s Music? Witnessing Understanding Robert Ashley’s Perfect In ’s Martial Arts Trilogy Militainment: Pinpointing the Zimmer the Popular in the Soundscape of Riso Lives through Music Video Aesthetic Amaro Reba Wissner Georgia Luikens Japanese, Chinese, Or Mongolian? Sergi Casanelles Transposing Opera: Yiddish and Emilio Sala Musical Codes, Pan-Asianness, and The Organ in Interstellar’s Soundtrack: Romani Arias in Sally Potter’s The Palimpsest, Plagiarism, and Music Supervision in Stock Music of A Case Study for Scoring Mediation: The “Acoustical Man Who Cried the 1960’s Transcendence in a Postmodern Society Unconscious” of Fellini and Rota’s Cinematic Rome

12:30 - 2:00 LUNCH ***see the bottom of abstracts for a presentation on Leroux’s Le Fantôme de l’Opéra (1909-10) SATURDAY, May 28, 2:00PM – 3:30PM 35 West 4th Street LOEWE 303 6th FLOOR 779 26. Chair: Liz Greene 27. Chair: Ron Sadoff 28. Chair: Gillian Anderson 29. Chair: Elisabeth Weis Lea Jacobs Jennifer Roberts Brooke McCorkle Brian Jarvis Rethinking the Sync: Adorno, Eisler Murdock’s Guide to Hell’s Kitchen: Defining Japan’s Musical Other: Binding Ensemble Casts with Static and Eisenstein Narrative Sound Design in Daredevil Ifukube Akira’s Score for Mosura Tai Cues: ’s (2015) Gojira (1964) Magnolia (1999) and Boogie Nights Bradley Spiers (1997) Camera Musica: ’s Her David Heinsen Alexander Binns and the Ontology of a Musical Re-Signifying Goldberg: Hannibal Mixing Tradition and Modernity: Meghan Tozer Photograph Lecter’s Leitmotif as an Affiliating Musical Style and Editing in Ichikawa Filmmaking “From the Gut”: How Paul Identification Kon’s An Actor’s Revenge Thomas Anderson Created Magnolia from Aimee Mann’s Songwriting Voice Bruce MacIntyre Sierriana Terry Melodies That Haunt in Val Lewton’s The Role of Cultural Appropriation in Kristy Swift Horror Films Shiro Sagisu’s Music for Bleach Dissonant Dissidents: George Frideric Handel’s Music in Three Cinematic Mad Scenes

SATURDAY, May 28, 4:00PM – 5:30PM 35 West 4th Street LOEWE 303 6th FLOOR 779 30. Chair: Royal Brown 31. Chair: Robynn Stilwell 32. Chair: Emilio Sala 33. Chair: Kevin Donnelly Philip Johnston Alexander Davis Andi Eng Tim Cochran : Pioneer of The Synesthetic Dylan: ’ Wagnerian Atonement: Retelling of Playing with Music in Teen Films of the Minimalism and Looping I’m Not There, ‘60s Music(Als) and the Unfulfilled Love 1980s Ideasthetic Film Ben Winters Carlo Cenciarelli Jamie Sexton Characters Between Two Worlds: Marida Rizzuti The Sense of an Ending: Music, Time Scoring Commercial Difference: Indie Korngold and the Anti-Metaphysical , Arranger, and Musical and Romance in Before Sunrise Film and Indie Music Cultures Topoi: and Hollywood (1940-1948) Dan Wang Kate McQuiston Jeff Smith Thinking Past the "Interpretive" Hearing and Healing Brian Wilson: Scoring the Stuff of Which Dreams Nina Penner Soundtrack: Love as Structural Effect ’s Score for Love and Mercy are made: Music in Three Versions of What Kind of World is ?: in You've Got Mail The Maltese Falcon Rethinking the Diegetic-Nondiegetic Distinction in Film Musicals

SATURDAY, May 28, 6:00PM – 7:30PM 35 West 4th Street LOEWE 303 6th FLOOR 779 34. Chair: Marty Marks 35. Chair: Emilio Sala 36. Chair: Liz Greene 37. Chair: Robynn Stilwell Jordan Stokes Ian Sapiro Giorgio Biancorosso Nancy Newman Garbo Laughs! Garbo...Emotes!— Do You Hear the People Sing: “Love at First Sight”: Music as Letter to an Unknowable Woman: Music, Humor, and the Golden Age (Ab)Using Music and Technology in Heterological Silence Listening to Mahler Auf Der Couch Comedy Soundtrack Les Misérables (2012) Elsie Walker and Jacob T. Swinney Estela Ibáñez-García Guido Heldt Elsa Marshall The Accented Rests and “Nothings” of “Only a Play... with Music?" Screaming with Laughter: Music in Degrees of Fantasy: Sonic Transitions ’s Cineme: On Performances of Spectatorship in Peter Horror Comedies Between Relatively Realistic and Creating a Video Essay about his Greenaway's The Baby of Mâcon Unrealistic Spaces in MGM’s An Sonic Style Berthold Hoeckner American In Paris Jenna Oldrid Panoramic Flashbacks and Sven Raeymaekers The Past Days of : Music and of Life Paul Newland The Creation of Meaning Through an Nostalgia in the Films of Whit Stillman The Architecture of Sound in the Work "Empty" Signifier: History and of Michelangelo Antonioni Analysis of Silence in the Hollywood Sound Film

SUNDAY, May 29, 9:30AM – 11:00AM 35 West 4th Street LOEWE 303 6th FLOOR 779 38. Chair: Ron Sadoff 39. Chair: Gillian Anderson 40. Chair: Kevin Donnelly 41. Chair: Robynn Stilwell Chloé Huvet Benjamin Oyler Aimee Mollaghan Ron Rodman Music Editing in the Digital Age: Murdered Voices: Sound and Acoustic Ghosts and Haunted “Cool” as Musical Existential Sign in Kenneth Wannberg and the Transformation in Lamberto Bava’s Landscapes: The Sonic Invention of the Television Crime Drama Republican Trilogy (1999-2005) Place in British Landscape Cinema Tahirih Motazedian Hua Xin Liz Greene Randolph Jordan Sound Bridge as Narrative Agent: A The Hidden Force In The Jedi Order: Breath and the Body: Sound Design in Acoustic Profiling: Mapping Tale of Two Killers ’ Star Wars the Cinema Intersectional Soundways in the Lost Vancouver Neighborhood of Stan Alyssa Mehnert Stefan Swanson Narrative Roles of Music and Silence in Caitríona Walsh Douglas’ Ios App Circa 1948 Happily Never After: Williams’ ’s Horror Heartbeats: The Dark Musical Exploration of the Corporeality of Contemporary Cinema Timmy Chen Chih-Ting ‘Controversial’ Ending to A.I.: Sonic Spices, Silence, and Structure: Artificial Intelligence Unsubtitled Cantonese Operatic Excerpts in In The Mood For Love

SUNDAY, May 29, 11:30AM – 1:00PM 35 West 4th Street LOEWE 303 6th FLOOR 779 42. Chair: Ron Sadoff 43. Chair: Gillian Anderson 44. Chair: Emilio Sala 45. Chair: Liz Greene Miguel Mera Jordan Keegan Janet Bourne Morgan Woolsey Screen Music and the Question of Changing the Sound of Superman Beethoven's Middle Earth: Hearing Music, Camp, and the Queer Creations Originality Film Music Style Topics in and of Phantom of the Paradise and The Outside the Movie Theater Rocky Horror Picture Show Ariane Lebot Catrin Watts Tintin’s Aural Incarnations: John Paul N Reinsch Matt McAllister Bourne, Bond and Rogers: The Sound Williams and The Adventures Of Tintin Flash Gordon as Rock Opera in Your Bad Man or Bad Art? The Intrusion of of Underwater Transformation in (Steven Spielberg, 2011) , Car, Headphones or Office Liberace into Stephen King’s Misery. 21st Century Action Films Matt Malsky Matt Buchan Stephan Pennington Danijela Kulezic-Wilson Perspecta Sound: Stereo after Jonny’ Greenwood’s There Will Be “Details Baby, Details”: Listening for The Aesthetics of Engagement in Cinemascope Blood: Sonic Collage, Parable of Gender in The Crying Game Contemporary Film Scoring Environmental Crisis

SUNDAY, May 29, 2:30PM – 4:00PM 35 West 4th Street LOEWE 303 6th FLOOR 779 46. Chair: Liz Greene 47. Chair: Robynn Stilwell 48. Chair: Miguel Mera 49. Chair: Elisabeth Weis Eric Dienstfrey Katherine Reed Yiannis Christidis Maria Cizmic Miss Sadie Thompson’s Multitrack ‘Hooked to the Silver Screen’: David Everyday Sound as Documentary The Empathy Trope Musical Experiment Bowie’s Hunger City Score: The Case of the Film Sajppress Tatiana Koike Katherine Quanz Landon Palmer Mark Richards Musical Exoticism in 's The Cue Sheet Hear(Ing) after Pro The Elvis Western and the Problem of Quartal/Quintal Harmony and its : Interpreting the Tools: Digital Audio and the Soundtrack Expressive Flexibility in Film Music Dialogue Between the Virtual and the Hereafter of the Post-Studio Era Real David Cooper Katherine Spring Spotting the Differences: Caitlan Truelove Early Digital Synthesizers in Film Documentation, Discussion and the Scoring for Gender in The Lord of the Scoring: The Case Of Tron (1982) Development of the Scores for Thirteen Rings Days (2000) and Crossroads (2002)

SUNDAY, May 29, 4:30PM – 6:00PM 35 West 4th Street LOEWE 303 6th FLOOR 779 50. Chair: Ron Sadoff and Gillian Anderson

Wrap Up Session

6:00 PM DINNER – ROOM 303

http://www.filmmusicfoundation.org

We appreciate the generous support of scholarships provided by the FILM MUSIC FOUNDATION (FMF), a nonprofit California Public Benefit Corporation, that promotes appreciation of the art and craft of film music through education, filmed interviews, scholarly research and writing, and film scoring workshops for students.

DEPARTMENT OF MUSIC PERFORMING ARTS PROFESSIONS NYU Steinhardt’s Department of Music and Performing Arts Professions was established in 1925. Since that time, Steinhardt Music and Performing Arts Professions has functioned as NYU's "school" of music and developed into a major research and practice center in music technology, music business, music composition, film scoring, music performance practices, performing arts therapies, and the performing arts-in- education (music, dance, and drama). Today, 1,600 students majoring in renowned programs- baccalaureate through Ph.D.- are guided by more than 400 faculty who share The Steinhardt School’s spirit of openness and innovation. Faculty include international performing and recording artists, music business and technology leaders while others sit on leading journal editorial boards and publish some of the most significant music technology and performing arts research on the scene today. This depth and breadth of resources offers unparalleled opportunities for artistic, professional, and scholarly growth.

We recognize that in addition to substantial training in individual specializations, our graduates require multiple skills. To that end we encourage students to benefit from rich and varied courses throughout The Steinhardt School and the University. In addition, our campus is surrounded by and blends into the world’s capital and epicenter of the performing arts, . Alumni have major performing careers and coveted professional positions in the music industry and in universities throughout the world. Prominent alumni include: great Wayne Shorter, multiple Tony and Grammy Award winning music theatre composer and songwriter , multiple Tony and Grammy Award winning lyricist , multiple Oscar winning film composer , and Tony Award, Oscar and Pulitzer Prize-winning playwright and film writer John Patrick Shanley.

- Dr. Ronald H. Sadoff, Director