View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by WestminsterResearch WestminsterResearch http://www.westminster.ac.uk/research/westminsterresearch Gothic Music Emma McEvoy This is a preliminary version of a book chapter published in the Encyclopedia of the Gothic. Edited by William Hughes, David Punter and Andrew Smith. It is the accepted version of the text, prior to publishers typesetting. © 2012 John Wiley & Sons Ltd. Reproduced with permission of the publisher. Details of the final published book are available from Wiley Online Library: http://www.wiley.com/WileyCDA/WileyTitle/productCd-1405182903.html The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: http://westminsterresearch.wmin.ac.uk/ In case of abuse or copyright appearing without permission e-mail
[email protected] Gothic Music Emma McEvoy University of Westminster
[email protected] The term “Gothic Music” may cover a range of phenomena - from the music of the Goth bands of the late 70s/eighties, to the scores composed for horror films and thrillers, to music, not originally composed for, but used in, a Gothic film which, by this process, becomes Gothicized (the most famous example, perhaps, being Mike Oldfield’s Tubular Bells (1973) as used in The Exorcist (1973)). Significantly, what all these Gothic musics have in common is a trans-media connection between film and music.