Bibliographie Der Filmmusik: Ergänzungen II (2014–2020) Zusammengestellt Von Hans J

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Medienwissenschaft: Berichte und Papiere 197, 2020: Filmmusik: Ergänzungen II (2014–2020).

Redaktion und Copyright dieser Ausgabe: Hans J. Wulff u. Ludger Kaczmarek. ISSN 2366-6404. URL: http://berichte.derwulff.de/0197_20.pdf. CC BY-NC-ND 4.0. Letzte Änderung: 19.10.2020.

Bibliographie der Filmmusik: Ergänzungen II (2014–2020) Zusammengestellt von Hans J. Wulff und Ludger Kaczmarek

Mit der folgenden Bibliographie stellen wir unseren Leser_innen die zweite Fortschrei- bung der „Bibliographie der Filmmusik“ vor, die wir 2008 in Medienwissenschaft: Berichte und Papiere (87, 2008; Ergänzung I: 157, 2014) begründet haben. Sowohl dieser synoptische Überblick wie auch diverse Bibliographien und Filmographien zu Spezialproblemen der Filmmusikforschung zeigen, wie zentral das Feld inzwischen als Teildisziplin der Musik- wissenschaft, am Rande der Medienwissenschaft, mit Übergängen in ein eigenes Feld der Sound Studies geworden ist. Eine ganze Reihe themenbezogener wissenschaftlicher Zeit- schriften erscheint inzwischen weltweit, Tagungen und Themenbände zur Film- und wei- ter zur „Medienmusik“ haben geradezu exponentiell zugenommen. Es deutet sich an, dass die in der Praxis von Kunst, Unterhaltung und Spiel längst zusammengewachsenen Sin- nesmodalitäten auch in der akademischen Reflexion endlich die Beachtung als multimoda- le und synthetische Kunstform finden, die sie verdienen – in der Aufnahme eines Diszipli- nengrenzen übergreifenden Projekts.

Die Menge der Untersuchungen nachzuhalten, ist aufwendig und erfordert enormen Re- cherche-Aufwand. Wir bitten darum alle Nutzer_innen, uns auf Übersehenes hinzuweisen, uns auf je eigene Beiträge aufmerksam zu machen und uns spezielle bibliographische Sammlungen zur Verfügung zu stellen. Es ist geplant, das bibliographische Projekt der „Bi- bliographie der Filmmusik“ fortzuschreiben, weil es – auch aufgrund der multidiszipli- nären Beiträge – zunehmend schwieriger wird, das Feld in seiner ganzer Breite zu doku- mentieren.

In das Verzeichnis sind Hinweise von Franz Obermeier, Jürg Stenzl, Wolfgang Thiel und Peter Wegele eingegangen.

Medienwissenschaft: Berichte und Papiere wird herausgegeben von Hans J. Wulff und Ludger Kaczmarek in Verbindung mit Anna Drum (Dresden), Sophie G. Einwächter (Marburg), Dietmar Kammerer (Marburg), Franz Obermeier (Kiel) und Sebastian Stoppe (Leipzig). Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 2

Filmrezeption mittels Leitfadeninterviews zu ihrer filmmusikalischen Wahrnehmung be- fragt. Ihre Aussagen wurden sodann mittels qualitativer Inhaltsanalyse untersucht und – A – verglichen. Betrachtet man die Erkenntnisse, welche sich aus den Vergleichen der Rezep- tionsanalysen ergeben, so wird deutlich, dass Abend, Janine: Rezeption von Filmmusik: Eine bei der Rezeption dieser beiden Filme die ex- empirische Untersuchung anhand der Filme tradiegetische Musik im Allgemeinen von „Der Pianist“ und „Vitus“ unter besonderer Be- Personen ohne ausgeprägte filmische oder rücksichtigung der musikalischen Symbolik. musikalische Vorbildung recht unbewusst Diss. Hamburg: Universität Hamburg 2015, wahrgenommen wird. Je mehr die musikalis- VIII, 426, (1) S.; [URL]. che Ebene aber ihre Entsprechung auch in der Handlung selbst wiederfindet, desto eher ist Zusammenfassung: Innerhalb der bisherigen auch bei ihnen ein Bewusstsein über die mit- Filmmusikforschung liegt der Fokus allzu oft tels Musik transportierten Bedeutungsgehalte allein auf der Filmmusik selbst. Das Erfassen gegeben. Grundsätzlich sind alle Befragten einer filmischen Aussage sowie von Bedeu- dazu in der Lage, sich weitergehende Gedan- tungsgehalten und Wirkungen der eingesetz- ken darüber zu machen, welche wesentlichen ten Musik erfolgt dabei aber immer durch den Botschaften durch die diegetisch eingesetzte Rezipienten, der das Wahrgenommene in Be- Musik zum Ausdruck kommen oder auch, wie ziehung zu eigenen Erfahrungen und Erwar- diese Musik im Film eingesetzt ist. Für ein tungen setzt. Ziel der vorliegenden Untersu- tiefgreifenderes Verständnis ist es allerdings chung war es deshalb, tatsächliche Wahrneh- von entscheidender Bedeutung, ob ein Zu- mungsweisen der Zuschauer in einem mög- schauer nachhaltige filmische oder musikalis- lichst natürlichen Rezeptionskontext zu erfor- che Prägungen in den Rezeptionsprozess ein- schen. Anhand der Filmbeispiele Der Pianist bringt, um somit über eine Charakterisierung (2002) von Roman Polański und Vitus (2006) der Musik hinaus auch in der Musik liegende von Fredi M. Murer wurde in einer qualitati- Symbolik und Bedeutungszusammenhänge ven Studie ermittelt, inwiefern der Zuschauer aufzugreifen. Die mit steigendem Lebensalter insbesondere für den Handlungsverlauf be- gesammelten Kenntnisse und Erfahrungen sonders bedeutsame Filmmusik wahrnimmt führen dabei nicht durchgängig zu Unter- sowie die darin zu verortenden Bedeutungs- schieden im Erkennen musikalischer Bedeu- zusammenhänge erkennt und mit dem Ge- tungen, dürften aber einen nicht zu unter- schehen im Bild verknüpft. Dazu wurden zwei schätzenden Einfluss besitzen. Weiterhin zeigt Stichproben von Zuschauern in verschiede- sich unabhängig von den durch die Rezipien- nen Altersgruppen (jüngere und ältere Er- ten eingebrachten Erfahrungen, dass auch die wachsene) sowie eine kleine Expertengruppe Struktur und Verwendung der musikalischen herangezogen, um zudem zu untersuchen, in Ebene im Film selbst dafür verantwortlich ist, welchem Maße sich durch unterschiedliche in welcher Weise die Bedeutungen wahrge- spezifische Eigenschaften, Erfahrungen und nommen werden: Transportiert der Film seine Vorwissen Auswirkungen auf das Erkennen Botschaften, wie es bei Vitus der Fall ist, eher musikalischer Bedeutungen ergeben. Die Ex- im gesamtfilmischen Kontext und setzt die pertenbefragungen dienten dabei einerseits verwendete Musik in Beziehung zu einer über dazu, die Ergebnisse einer filmischen und mu- den gesamten Film verlaufenden Entwick- sikalischen Filmanalyse hinsichtlich der Frage lung, so haben die überaus Film- oder Musik- zu validieren, was bzw. wie rezipiert werden erfahrenen nicht unbedingt einen Vorsprung, könnte. Andererseits lieferten sie einen er- wenn es um die angemessene Interpretation gänzenden Vergleich mit den zwei Zuschauer- der filmmusikalischen Bedeutung eines einge- gruppen bei der Beantwortung der Frage, was setzten Musikstücks geht. Der Pianist stellt bzw. wie tatsächlich rezipiert wird. Alle Pro- hingegen ein Beispiel für einen Film dar, in banden wurden direkt nach der jeweiligen Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 3

dem sich die Bedeutung der Filmmusik oft- Achmetšin, Ilmir Azatovič: Muzykal’nyj mini- mals aus ihrer Verwendung in der jeweiligen malizm v sovremennom amerikanskom nezavi- Szene ergibt; gerade bei solcher filmmusikali- simom kinematografe [Ахметшин, Ильмир scher Verwendung sind bestehende filmische Азатович: Музыкальный минимализм в сов- oder musikalische Erfahrungen überaus nütz- ременном американском независимом кине- lich, um tiefergehende Einsichten zu erlan- матографе]. [M.A.-Arbeit], Sankt-Peterburg: gen. Je eher die Bedeutsamkeit eines einge- Sankt-Peterburgskij Gosudarstvennyj Univer- setzten Musikstücks durch ihre Verbindung sitet, Magisterskaja programma «Muzykal'naja zum gesamten Handlungsverlauf geprägt ist, kritika» 2018, 97 S. (Master’s Studies.); [URL]. desto eher ist auch die entsprechende Inter- pretation ohne direktes Erkennen des Werks, „Musikalischer Minimalismus in der zeitge- d. h. rein über dessen Charakter und somit im nössischen amerikanischen Independent- Sinne eines Anklangs, möglich. Kinematographie.“ In kyrill. Schrift. – The dissertation explores the manifestations of minimalism in music in Abhervé, Séverine / Binh, N[guyen] T[rong] / several examples of independent American Moure, José (sous la dir. de): Musiques de films: films (A Serious Man [USA 2009, Directors: nouveaux enjeux. Rencontre sensible entre deux Ethan Coen, Joel Coen] and The Ward [USA arts. Bruxelles: Les Impressions Nouvelles 2010, John Carpenter]). The dissertation 2014, 203 S. (Caméras subjectives.) shows the ways of usage of the music in the La musique au cinéma semble en pleine phase film and the problem of correspondence of de mutation, et les questions qu’elle soulève minimalist aesthetics to the basic concepts of passionnent autant les cinéphiles que les the films in question. mélomanes: doit-on préférer les partitions Inhaltsübersicht: Einführung / 3. – 1. Musikali- originales ou les musiques préexistantes ? des scher Minimalismus im Kino / 18. – 2. Ameri- chansons pour commenter l’action ou des can Independent Cinematography / 40. – 3. scores pour se fondre dans les images ? com- Musikalischer Minimalismus in Filmen. – Fa- ment a évolué la musique filmée, qu’en est-il zit / 67 – Referenzliste / 70 – Anhänge / 71. de ses succès et de ses impasses, de ses conventions et de ses audaces ? Pour y répondre, cet ouvrage a convoqué des spécialistes inter- Ackermann, Zeno: Rocking the culture indus- nationaux. Chercheurs infatigables, mais aus- try/performing breakdown. Pink Floyd’s The si amateurs passionnés, ils ouvrent de nou- Wall and the termination of the postwar era. velles perspectives en interrogeant les œuvres In: Popular Music and Society 35,1, 2012, S. 1– elles-mêmes, anciennes ou récentes, pour 23. qu’elles révèlent leurs secrets et leurs trésors. The article offers a contextual interpretation Du cinéma populaire américain et de l’indus- of Pink Floyd’s The Wall. It proceeds from the trie bollywoodienne, jusqu’aux exemples plus hypothesis that, as a multi-media artifice con- cinéphiliques de Leos Carax ou de Pedro Al- sisting of album, live shows, and music film, modóvar, du rock à la musique dite minimal- The Wall constitutes a significant monument iste, en passant par les œuvres fondatrices de situated at the historical turning-point when Nino Rota ou d’Elvis Presley, ce panorama se the postwar era dissolved into a new ideologi- veut à la fois éclectique et subjectif, tout en cal alignment. Blending the two themes of faisant profondément avancer la réflexion sur rock history and remembrance of the Second le sujet. Ces recherches sont complétées par World War, The Wall proposes an interpreta- une fructueuse discussion où interviennent tion of mass/popular culture which is surpris- des professionnels français, sur l’évolution ac- ingly close to Adorno’s and Horkheimer’s tuelle de la musique pour l’écran. theses on the “culture industry.” The article Inhaltsverzeichnis: [URL]. explores this remarkable – and (deter- minedly?) self-defeating – conceptual concur- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 4

rence of a mass-cultural product with the exige unos conocimientos mínimos de música tenets of critical theory. y de cine, que permitan relacionar con acierto imagen y sonido.

Aguilera, Christian: John Williams: sinfonías de un nuevo mundo. Madrid: T&B Editores, 2018, Albright, Daniel: Panaesthetics: On the Unity 325 S. and Diversity of the Arts. New Haven/London: Yale University Press 2014, xi, 321 S. (Anthony Considerado de manera unánime uno de los Hecht Lectures in the Humanities.). más importantes compositores de la Historia del cine, John Towner Williams se mantiene U.a. auch zu Musik im Film. en activo cuando cumple en 2018 su 60 ani- Rev. (Stuart-Smith, Mark): From “Mousike” to versario en el mundo del Séptimo Arte. Aso- Synaesthesia: New Interdisciplinary Agendas ciado a algunas de las películas más populares in Music and Visual Culture. In: Art History del cine contemporáneo (la saga de Star Wars, 39,1, Febr. 2016, S. 173–181. las tres primeras producciones de la saga Ha- rry Potter, El coloso en llamas, Tiburón, Super- man, Encuentros en la Tercera Fase y un largo Alfieri, Gabe C.: From “Trivial Little Comedy” etcétera), Williams representa con 51 nomina- to “legitimate Magic”: Music and the Making ciones al Oscar (5 de los cuales ha resultado of The Glass Menagerie. In: American Music: A vencedor) la persona viva que ostenta seme- Quarterly Journal Devoted to All Aspects of jante récord y el segundo de toda la Historia American Music and Music in America 35,2, de los premios otorgados por la Academia de 2017, S. 143–171. las Artes y de las Ciencias Cinematográficas de los Estados Unidos. Christian Aguilera, au- The Glass Menagerie was Tennessee tor de monografías sobre las obras de Jerry Williams’s first success, both commercial and Goldsmith y Bernard Herrmann completa su critical, and remains one of the most fre- particular trilogía sobre los Grandes Compo- quently revived of all American plays. For its sitores de Música de Cine con la escritura de original production, Williams himself re- un libro, el más completo en lengua castella- cruited master theater composer Paul Bowles na, llamado a ser de referencia para todos to write an original score that helped turn “a aquellos entusiastas del músico neoyorquino trivial little comedy of domestic tribulation” adscrito, de manera especial, al cine de Steven into the “legitimate magic” that earned it a Spielberg en casi una treintena de largometra- Drama Critics’ Circle Award and established jes. it firmly among the great plays of the postwar period. An examination of Bowles’s Menage- rie score adds new depth to our understand- Álamo [Caballero], Lamberto del: El cine y su ing of one of the most storied premieres in música: secretos y claves. Madrid: Ediciones Ri- American theater history, of the play itself, alp 2020, 234 S. and of the extent to which music aided Williams’s progressive vision for “a new, plas- Cualquier escena romántica parece incomple- tic theater” influenced by techniques and aes- ta sin una tierna melodía de violín. La amena- thetics of the cinema. zadora presencia de unos indios no resulta tan peligrosa sin la percusión de unos inquietan- tes tambores. Los metales hablarán de senti- Alhuter, Barbara: Narration durch Filmmusik mientos heroicos, y el saxofón, tal vez, de sen- im Mainstream-Film. Diss. Wien: Universität sualidad. Crear un ambiente a partir de la mú- Wien 2012, 193 S.. sica no siempre resulta fácil. Pero quien lo lo- gre será capaz de acompañar a la imagen de Die vorliegende Arbeit widmet sich der The- una manera sublime y estremecer al especta- matik der Narration durch Musik im Main- dor en su butaca, hasta hacerle temblar, reír o stream-Film, wobei die Fähigkeiten von Mu- llorar. Valorar una partitura cinematográfica sik im Zusammenhang mit der Dramaturgie Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 5

anhand von acht Analysen exemplarisch dar- the existing literature about film music in gelegt werden. Ziel ist es zu zeigen, wie man- Colombia as a starting point for future stud- nigfach nicht nur die Kompositionsstile und - ies. (Vorlage) mittel der Scores sein können – und wie groß parallel dazu der Pluralismus an Möglichkei- ten der Filmkomponisten ist –, sondern auch Alvim, Luíza Beatriz Amorim Melo: Análise die Funktionen der Musik im Film sind. Ihrer schenkeriana de ornamentações de trechos de gern als passiv oder auch als rein illustrierend Beethoven em dois filmes de Jean-Luc Godard. bezeichneten Manier wird eine aktive, das Ge- In: Anais do SIMPOM 3,3, 2015, S. 682–694. schehen beeinflussende Rolle gegenüberge- Neste trabalho, fazemos uma análise stellt. Filmmusik ist keine homogene Gattung schenkeriana de trechos de música de Ludwig und hängt von vielerlei Faktoren ab, die weit van Beethoven presentes em dois filmes de über die filmwirtschaftlichen Entwicklungen Jean-Luc Godard: Made in USA (1966) e Uma hinausgehen. Da sie auch an soziokulturelle mulher casada (1964). Godard se vale da und politische Veränderungen gekoppelt ist, repetição de trechos da Sonata op.14 n.1 e do werden zum einen die historischen Wurzeln Quarteto de cordas op.59 n.3 do compositor von Filmkompositionen erörtert und die Wer- em cada um dos filmes respectivamente e essa ke zum anderen in ihrem Kontext präsentiert. característica pode ser observada também nos Durch diese Einbettung und durch die Chro- níveis mais superficiais da redução nologie der Filmbeispiele – jeder Film steht schenkeriana desses trechos. Pankhurst (2008) als die erfolgreichste oder eine der erfolg- e Salzer (1952), em suas análises a partir de reichsten Mainstream-Literaturverfilmungen Schenker, já ressaltavam o papel da „repetição exemplarisch für ein Jahrzehnt des Tonfilms – escondida” para a unidade de uma determi- wird ersichtlich, weshalb sich die Komponis- nada obra. Observamos que, em ambos os fil- ten für die jeweilige Kompositions-techniken mes, a música transmite significações que não entschieden haben, inwiefern sie beispiels- estão explícitas e que podem ser reveladas pe- weise hinsichtlich der Narration auf die filmi- la análise schenkeriana. Em Made in USA, ob- sche Dramaturgie einwirken mussten und serva-se a presença fundamental da repetição, welche Lösungen sie für etwaige fehlerhafte não tão evidente num filme com tantas revi- Stellen fanden, um die filmische Logik auf- ravoltas, enquanto, em Uma mulher casada, é recht zu erhalten. a música que mais imprime a fatalidade e o caráter trágico no filme. Alunno, Marco: The discourse about film music in Colombia: A bibliographical approach. In: Alvim, Luíza Beatriz Amorim Melo: A Música Revista Musical Chilena 70,225, 2016, S. 73–95. de Villa-Lobos nos filmes de Glauber Rocha The motivation to explore the hidden heritage dos anos 60: Alegoria da pátria e retalho de of literature on film music in Colombia, origi- colcha tropicalista. In: Significação: Rivista de nated from the absence of literature on Latin cultura audiovisual 42,44, 2015, S. 100–119. American film music written by scholars from Europe and the United States, who have tradi- Über die Filme Deus e o diabo na terra do sol tionally dealt with film music. Since an early und Terra em transe von Rocha (1964 und period attempts to speak discursively about 1967) mit der Musik von Heitor Villa-Lobos. film music in Colombia appear in articles published in magazines and journals dedicated to cinema, music, art and cultural topics Alvim, Luíza Beatriz: Revolucionários, ditadu- in general. These writings are often addressed ra e ruínas ao som de Villa-Lobos. In: Significa- to general audiences. Nevertheless there are ção: Rivista de cultura audiovisual 45,50, 2018,S. also a few writings intended for specialized 123–142. readers. The present article is based on Über Musik von Heitor Villa-Lobos als Film- archival research and presents a snapshot of musik in 4 brasil. Filmen von 1964 bis 1970: Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 6

Deus e o diabo na terra do sol (Glauber Rocha, músicas españolas de tradición popular en la 1964), O desafio (Paulo César Saraceni, 1965), serie documental Esta es mi tierra, de José Terra em transe (Glauber Rocha, 1967) und Os Nieto / 137 – INTERMEDIO 195: – Ignacio herdeiros (Carlos Diegues, 1970). Brasa Gutiérrez: Un tango para piano en los arrabales de New Bedford, Massachusetts. Empleo de música popular en el acompaña- Anderson, Lauren: Beyond Figures of the Audi- miento de una película muda para la modifi- ence: Towards a Cultural Understanding of the cación e importación de significado / 197 – Film Music Audience. In: Music, Sound, and the SEGUNDA PARTE: CANCIÓN POPULAR Y Moving Image 10,1, 2016, S. 25–51. MÚSICA INCIDENTAL EN EL ÁMBITO IN- TERNACIONAL / 211: – Sergio de Andrés Jeff Smith’s and Anahid Kassabian’s models of Bailón: Kurt Schindler presenta a Claude De- film music perception and comprehension are bussy. Elementos de música oriental y otras the two most detailed accounts (1998 and afinidades culturales de la Belle Epoque en Le 2001, respectively). Since publication well Martyre de Saint Sebastien / 213 – Matilde over a decade ago, their frameworks have Olarte Martínez: La música aplicada (o inci- been widely cited but rarely interrogated. dental) escrita por Kurt Schindler para teatros Both models hinge on the idea that ‘knowing’ de Manhattan en las primeras décadas del si- music can determine an audience member’s glo xx / 237 – Sergio de Andrés Bailón: La cita response (to both music and film). This article musical en las comedias políticas de Gershwin critiques Smith’s and Kassabian’s theories: / 281 – Juan Carlos Montoya Rubio: Clásicos my exploratory audience research suggests populares gracias al cine. La banda sonora that audiences’ modes of relating to film como agente generador de significados musi- soundtracks are much more complex than cales / 321 – Marco Bellano: I fratelli dinamite simply ‘knowing’ or ‘not knowing’ the music di Nino Pagot (1949) e l’idea di «bello» in mú- (Anderson, 2011; 2012). A fuller understand- sica / 335. ing of the role of popular music in film for audiences needs to take into account tastes, ver- nacular categorisations, senses of identity, Antheil, George: On the Hollywood Front. In: and memory (both related to the self, and to Modern Music 15, 1937, S. 48–51. the text at hand).

Ashby, Arved: Popular Music and the New Au- teur: Visionary Filmmakers After MTV. New Andrés Bailón, Sergio de (ed.): Estudios sobre la York: Oxford University Press 2013, 217 S. influencia de la canción popular en el proceso de MTV utterly changed the movies. Since music creación de música incidental. Salamanca: Edi- television arrived some 30 years ago, music ciones Universidad Salamanca 2016, 365 S. videos have introduced filmmakers to a new (Música viva. 1.). creative vocabulary: speeds of events Inhaltsverzeichnis: Introducción / 9. – PRIME- changed, and performance and mood came to RA PARTE: CINE, TELEVISIÓN Y CANCIÓN dominate over traditional narrative story- POPULAR EN ESPAÑA / 11: – Virginia Sán- telling. Popular Music and the New Auteur chez Rodríguez: Aperturismo musical espa- charts the impact of music videos on seven vi- ñol: músicas urbanas y músicas tradicionales sionary directors: Martin Scorsese, Sofia Cop- en el cine del franquismo / 13 – Sofía López pola, David Lynch, Wong Kar-Wai, the Coen Hernández: La obra cinematográfica de Au- brothers, Quentin Tarantino, and Wes Ander- gusto Algueró Dasca. Catalogación de su obra son. These filmmakers demonstrate a fresh / 53 – Judith Helvia García Martín: La música kind of cinematic musicality by writing tradicional en las producciones televisivas es- against pop songs rather than against script, pañolas y su recepción a través del streaming and allowing popular music a determining / 123 – Vicente J. Ruiz Antón: Presencia de las role in narrative, imagery, and style. Featur- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 7

ing important new theoretical work by some Atkinson, Simon: Interpretation and musical of the most provocative writers in the area to- signification in acousmatic listening. In: Or- day, Popular Music and the New Auteur will ganised Sound 12,2, 2007, S. 113–122. be required reading for all who study film music and sound. It will be particularly relevant for readers in popular music studies, and Audissino, Emilio: John Williams, Star Wars its intervention in the ongoing debate on au- and the Canonization of Hollywood Film Mu- teurism will make it necessary reading in film sic. In: Pietro Bianchi, Giulio Bursi, & Simone studies. Venturini (a cura di): Il Canone Cine- matografico. / The Film Canon. Udine: Forum 2011, S. 273–278. Askerfjord, Christer: The American Film Musi- cal Genre Today: A New Breed or Just More of the Same? The Development of the American Audissino, Emilio: Williams, The Boston Pops Film Musical 2000–2013. BA Thesis, Kalmar/ Orchestra and Film Music in Concert. In: Clau- Växjö: Linnéuniversitetet, Institutionen för dia D’Alonzo, Ken Slock, and Philippe Dubois film och litteratur (IFL) 2014, 31 S.; [URL]. (éds.): Cinéma, critique des images. Udine: Campanotto 2012, S. 230–235. Abstract: Since the introduction of synchronized sound at the end of the 1920s the film musical has had a special place in American Audissino, Emilio: The Aesthetic Cost of Mar- film. But even with that special place the in- keting. The Economical Motivation of Pop terest in the film musical has varied a lot dur- Songs in Films. In: Catherine Naugrette (éd.): ing the 20th century. From the high interest Pratiques et esthétiques: Le coût et la gratuité. 3. during the “Golden Age” in the 1930s, 1940s, Paris: L’Harmattan 2013, S. 41–46. and 1950s, through low interest in the following decades and then renewed interest in musicals with the animated film musicals from Audissino, Emilio: Hollywood Film Music and Disney in the 1990s. But what has happened Ethnic Diversity. In: Carlos E. Cortés (ed.): after the millennium? Has there been any de- Multicultural America: A Multimedia Encyclo- velopment in the American film musical pedia. Thousand Oaks, Cal.: Sage 2013, S. 1101– genre or is it just more of the same? This the- 1103. sis tries to answer the question by analyzing three successful film musicals from the period Audissino, Emilio: Film music and multimedia: 2001–2013, Moulin Rouge! (Baz Luhrmann, An immersive experience and a throwback to 2001), (Joel Schu- The Phantom of the Opera the past. In: Institut für Immersive Medien macher, 2004), and Les Misérables (Tom (Hrsg.): Marburg: Hooper, 2012) and comparing them to classi- Klänge, Musik, Soundscapes. cal traditional musicals. According to this the- Schüren 2014, S. 46–56 (Jahrbuch Immersiver sis there is a split answer, some areas of the Medien 2014). classical American film musical have devel- Multimedia events are part of contemporary oped while other areas still remains the same. society. Music, theatre, and visual arts have been increasingly collaborating with each other to offer aesthetic experiences that are as Asper, Helmut G.: Wenn die Musik der Filme immersive and multisensorial as possible. Nahrung ist. Klassische Musik im Exilfilm. In: Film music has also entered the multimedia Kulturelle Räume und ästhetische Universalität. arena. Indeed, a very successful type of con- München: Edition Text + Kritik 2008, S. 149– cert presentation of the film-music repertoire 166 (Musik und Musiker im Exil. 26.). is the multimedia form: a live orchestra plays to projected film clips. This multimedia presentations of film music should be of interest not only to music scholars – film music has Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 8

undeniably become a favourite repertoire to Audissino, Emilio: Film Music and Multimedia. fuel concert programmes, and multimedia An Immersive Experience and a Throwback to presentations are the most fitting form to the Past. In: Jahrbuch immersiver Medien [4], present film music. Multimedia presentations 2014, S. 46–56. should also be of interest to film scholars, as multimedia presentations are a revival of past film-viewing experiences that can be traced Audissino, Emilio: Overruling a Romantic Prej- back to the silent era. The case study here is udice. Forms and Formats of Film Music in John Williams’s conductorship of the Boston Concert Programs. In: Sebastian Stoppe (ed.): Pops Orchestra, which has been seminal not Film in Concert, Film Scores and their Relation only because it brought more film music into to Classical Concert Music. Glücksstadt: VWH concert programmes, but also highly influen- Verlag 2014, S. 25–44. tial for its experiments with the multimedia presentations. Audissino, Emilio: Gottfried Huppertz’s Me- tropolis: The Acme of ‘Cinema Music.’ In: To- Audissino, Emilio: Golden Age 2.0: John day’s Sounds for Yesterday’s Films: Making Mu- Williams and the Revival of the Symphonic sic for Silent Cinema. Ed. by K. J. Donnelly & Film Score. In: Sebastian Stoppe (ed.): Film in Ann-Kristin Wallengren. Basingstoke/New Concert, Film Scores and their Relation to Classi- York: Palgrave Macmillan 2016, S. 45–63. cal Concert Music. Glücksstadt: VWH Verlag 2014, S. 109–124. Audissino, Emilio: A Gestalt Approach to the Analysis of Music in Films. In: Musicology Re- Audissino, Emilio: John Williams’s Film Music: search 2, Spring 2017, S. 69–88. “Jaws,“ “Star Wars,“ “Raiders of the Lost Ark,“ and the Return of the Classical Hollywood Music Audissino, Emilio: Film/Music Analysis: A Film Style. Madison, Wisc.: University of Wisconsin Studies Approach. Basingstoke/New York: Pal- Press 2014, xxvi, 317 S. (Wisconsin Film Stud- grave Macmillan 2017, xiii, 245 S. (Palgrave ies.). Studies in Audio-Visual Culture.). Beginning with an overview of music from This book offers an approach to film music in Hollywood’s Golden Age (1933–58), Emilio which music and visuals are seen as equal Audissino traces the turning points of players in the game. The field of Film-Music Williams’s career and articulates how he re- Studies has been increasingly dominated by vived the classical Hollywood musical style. musicologists and this book brings the disci- This book charts each landmark of this musi- pline back squarely into the domain of Film cal restoration, with special attention to the Studies. Blending Neoformalism with Gestalt scores for Jaws and Star Wars, Williams’s Psychology and Leonard B. Meyer’s musicol- work as conductor of the Boston Pops Or- ogy, this study treats music as a cinematic ele- chestra, and a full film/music analysis of ment and offers scholars and students of both Raiders of the Lost Ark. The result is a precise, music and film a set of tools to help them an- enlightening definition of Williams’s “neo- alyse the wide ranging impact that music has classicism” and a grounded demonstration of in films. his lasting importance, for both his compositions and his historical role in restoring part Darin: The Not-so-fantastical Gap Between of the Hollywood tradition. (Verlag) Music Studies and Film Studies (17–43). Rev. (Halfyard, Janet K) in: Music, Sound, and the Moving Image 9,2, 2015 (Special Issue: Audissino, Emilio (ed.): John Williams: Music “Musical Screens: Musical Inventions, Digital for Films, Television, and the Concert Stage. Transitions, Cultural Critique”. Guest ed.: Turnhout: Brepols 2018, xxiv, 440 S. (Contem- James Tobias), S. 231–236. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 9 porary Composers. 1.). childhood: John Williams’s score for Angela’s Ashes / Laura Anderson; John Williams and This volume is a large exploration of the sound design: shaping the audiovisual world many sides of Williams’s output. Once mostly of E.T.: The Extra-terrestrial / Chloe Huvet; To- considered a commercial composer and a day I’m hearing with new ears: John Wil- mere rewriter of previous composers’ styles, liams’s use of audiovisual incongruence to only recently Williams’ music has begun to convey character perspective in Munich and be taken seriously, and scholars from the mu- Spielberg’s historical films / David Ireland; sic and the film departments have begun to John Williams and the musical avant-garde: produce research. The present volume seeks the score for War of the Worlds / Irena Paulus; to build upon, complement and review what Out of darkness: John Williams’s Violin con- has been written so far on Williams. It is a certo / Tom Schneller; Happily never after: large exploration of the many sides of Williams’s muisical exploration of the ‘con- Williams’s output, aimed at showing the troversial’ ending to A.I.: Artificial Intelligence range of his production (not merely focussing / Stefan Swanson – The performer’s view- on film music) and at analysing the depth of point. John Williams seen from the podium: his dramaturgic and compositional skills with an interview with maestro Keith Lockhart / selected case studies. To accomplish this ex- Emilio Audissino, Frank Lehman; John Wil- ploration, a large team of international schol- liams seen from the piano: an interview with ars has been assembled from all around the maestro Simone Pedroni / Maurizio Caschet- world. The contributors come from film, me- to. dia and music departments – to provide a variety of disciplinary perspectives on Willi- Rev. (Sebastian Reinhard Richter) in: Medien- ams’s work. wissenschaft: Rezensionen, 4, 2019, S. 384–385. Darin: Introduction: John Williams, composer / Emilio Audissino – John Williams and Avila, Jacqueline: Cinesonidos: Film Music and the musical landscapes: film, television, jazz, National Identity during Mexico’s Época de Oro. and concert halls. A new symphonism for a New York: Oxford University Press 2019, xii, new Hollywood: the musical language of John 274 S. (Oxford Music/Media Series.). Williams’s film scores / Mervyn Cooke; John Williams: television composer / Paula Muse- Avila looks at the ways that Mexican cinema gades; “Catch as catch can”: jazz, John Wil- and its music during the silent and early liams, & popular music allusion / Ryan Pat- sound periods continuously reshaped the con- rick Jones; No sharks, no stars, just idiomatic tested, fluctuating space of Mexican identity, scoring and sounding engagement: John Wil- functioning both as a sign and symptom of liams as a ‘classical’ composer / Emile Wenne- social and political change. kes; John Williams’s film music in the concert Inhalt: Introduction: Listening to the Época de halls / Sebastian Stoppe – The Williams touch: oro – The prostitute and the cinematic style and musical dramaturgy. The use of cabaret: Musicalizing the “fallen woman” and variation in John Williams’s film music Mexico City’s nightlife – The salon, the stage, themes / Mark Richards; The themes of Star and Porfirian nostalgia – The sounds of indi- wars: catalogue and commentary / Frank Leh- genismo: Cultural integration and musical ex- man; Star scores: orchestration and the sound oticism in Janitzio (1935) and Mariá Cande- of John Williams’s film music / Ian Sapiro; laria (1944) – The singing charro in the come- Orchestration transformation: examining dif- dia ranchera: Music, machismo, and the inferences in the instrumental and thematic vention of a tradition – The strains of the rev- colour palettes of the Star wars trilogies / Ni- olution: Musicalizing the soldadera in the rev- cholas Kmet; The villain’s march topic in John olutionary melodrama – Epilogue: After the Williams’s film music / Joakim Tillman; Musi- Época de oro. cal dramaturgy and stylistic changes in John Williams’s Harry Potter trilogy / Jamie Lynn Webster – Case studies. Sounding an Irish Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 10

Bandur, Markus: Mit Weber im Kino. 1: Be- gleitmusik zum Stummfilm. In: Weberiana: Mitteilungen der Internationalen Carl-Maria- von-Weber-Gesellschaft 25, 2015, S. 33–48. Die Opern Webers und insbesondere die Ou- – B – vertüren gehörten mit zum Kernbestand der Musikbegleitung beim Stummfilm, sei es in Europa, sei es in den USA. Zwar lässt sich Bakels, Jan-Hendrik: Audiovisuelle Rhythmen: über die usuelle Praxis der Stummfilmbe- Filmmusik, Bewegungskomposition und die dy- gleitung kaum eine Aussage hinsichtlich der namische Affizierung des Zuschauers. Berlin/ Verwendung von Kompositionen Webers tre- Boston: de Gruyter 2016 [2017], viii, 291 S. (Ci- ffen; die Handbücher und Arbeitsmaterialien nepoetics, 3.). der Kinomusiker belegen allerdings die feste The book explores the relationship of move- Verankerung insbesondere der dramatischen ment and music in film to study the aesthetic Werke im Rahmen der Musikbegleitung, so principles of audience affect. It begins by a re- dass Gleiches auch für die alltäglichen und constructive analysis and theoretical reflec- weniger durchorganisierten Verfahren der tion on the rhythmicity of films – and goes on spontanen Begleitung von Stummfilmen to show the extent to which the rhythmic di- anzunehmen ist. Inwieweit nun wiederum mension of audiovisual images offers access diese Neukontextualisierung der Werke We- to intersubjective strategies to induce affect in bers auf die Rezeption der Musik in Konzert the movie theater. und Oper im Verlauf des 20. Jahrhunderts zurückwirkt(e), kann nur vermutet werden, es steht jedoch außer Frage, dass in der Frühzeit Bañagale, Ryan Raul: Selling Success: Visual des Kinos breite Schichten der Gesellschaft Media and Rhapsody in Blue. In seinem: Ar- das Opern- und Konzertrepertoire (und damit ranging Gershwin: “Rhapsody in Blue” and the auch Webers Musik) erstmals in Verbindung Creation of American Icon. New York: Oxford mit dem Stummfilm kennenlernten. (Autor) University Press 2014, S. 148–173. Bandur, Markus: Mit Weber im Kino. 2: Der Bandur, Markus: De El burlador de Sevilla a Soundtrack des Tonfilms. In: Weberiana: Don Giovanni: Presentación de la mentira, el Mitteilungen der Internationalen Carl-Maria- engaño y la seducción en el teatro, la ópera y von-Weber-Gesellschaft 26, 2016, S. 51–56. la ópera filmada. In: Studi Ispanici 2006 (Pisa/ Die Verwendung präexistenter Musik findet Rom 2006), S. 89–102. mehrheitlich in der filmischen Realität An- wendung, während die umfangreichere Musik [Von El burlador de Sevilla zu Don Giovanni: zum Film überwiegend neu komponiert ist. Zur Darstellung von Lüge, Betrug und Ver- Auch Werke Webers sind in dieser Art in führung in Drama, Oper und Film]. Soundtracks von Spielfilmen seit Beginn der Tonfilmära bis in die Gegenwart verwendet Bandur, Markus: Frühe Kinomusik im städtis- worden. Zieht man von den etwa 50 chen Raum. In: Populäre Musik in der urbanen nachgewiesenen Tonfilmen, in denen Kompo- sitionen von Weber verwendet werden, die Klanglandschaft: Kulturgeschichtliche Perspek- Opernverfilmungen und sogenannte Biopics, tiven. Hrsg. v. Tobias Widmaier u. Nils Grosch. d.h. Filme zum Leben des Komponisten, sowie Münster/New York: Waxmann 2014, S. 155– die Musikdokumentarfilme und TV-Serien ab, 168 (Populäre Kultur und Musik. 13.). so bleiben ca. 20 Filme übrig, in denen Werke Webers entweder als On screen musik oder Off screen music fungieren. Ein kursorischer Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 11

und chronologischer Durchgang durch diese 1970. Filme aus der Zeit von 1931 bis 2015 zeigt, dass sich diese „Zweckentfremdung“ zugleich als Rezeptionsgeschichte lesen lässt, als eine Banter, H[arald] / Brandhorst, J[ürgen] / Spiegelung des Stellenwerts, den bestimmte Braun, M[ichael] [u.a.]: Franz Grothe. Mün- Werke Webers in der breiten Öffentlichkeit chen: Allitera Verlag 2019, 163 S. (Komponis- hatten und haben. Dies gilt insbesondere für ten in Bayern: Dokumente musikalischen ihren Einsatz als On screen music, da hier die Schaffens im 20. und 21. Jahrhundert. 64.). Erkennbarkeit der jeweiligen Werke voraus- Michael Braun: Franz Grothe als gesetzt werden muss, damit ihre Verwendung Darin u.a.: Filmkomponist in der Zeit des Nationalsozia- den intendierten Zweck der Personen- und lismus (73–92). – Roland Mörchen: »Das gro- Situationscharakterisierung erfüllen kann. ße Ganze«: Franz Grothes Filmschaffen nach (Autor) 1945 (93–102). – Kay Westermann: Das Wirts- haus im Spessart (103–116). Bang, Derrick: Crime and Spy Jazz on Screen since 1971: A History and Discography. Fore- Barden, Steve: Writing Production Music for word by Pat Irwin. Jefferson, NC: McFarland TV: The Road to Success. Anaheim Hills: Cen- 2020, ix, 263 S. terstream 2018, 294 S. Abstract: Henry Mancini’s Peter Gunn theme. Lalo Schifrin’s Mission: Impossible theme. Barham, Jeremy: Cultural Archives and Trans- Isaac Hayes’ theme from Shaft. These iconic melodies have remained a part of the pop cul- cending Diegetics: Mahler’s Music as ‘Over- ture landscape since their debuts during an score’. In: Music and the Moving Image 3,1, era when movie studios and TV production 2010, S. 22–47. companies employed full orchestral ensembles to provide a jazz backdrop for the sus- Barnett, Daniel: Movement as Meaning in Ex- penseful adventures of secret agents, private perimental Cinema: The Musical Poetry of Mo- detectives, cops, spies and heist-minded crim- tion Pictures Revisited. London: Bloomsbury inals. Hundreds of additional films and televi- Publishing 2019, 324 S. sion shows made from the mid-1950s and beyond have been propelled by similarly swing- Inhalt: Foreword: Where does this Book Be- ing title themes and underscores, many of long?; – Preface: Arriving at the Scene; – In- which have (undeservedly) faded into obscu- troduction: Two Pictures of a Rose in the rity. This meticulously researched book be- Dark. – Part I: Modes of Perception and Modes gins with Hayes’ game-changing music for of Expression: – 1. First ideas in a new Shaft, and honors the careers of traditional medium: the cinematic suspension of disbe- jazz composers who-as the 1970s gave way to lief; – 2. One description of how the mind the ’80s and beyond-resolutely battled against may move toward understandings; – 3. New the pernicious influx of synth, jukebox scores paradigms and new expressions; – 4. Theories and a growing corporate disinterest in lavish of meaning-media, messages, and how the ensembles. Fans frustrated by the lack of at- mind moves; – 5. The relevance of the mecha- tention paid to jazz soundtrack composers-in- nism-lessons to carry forward from an al- cluding Mort Stevens, Laurie Johnson, Mike ready obsolete medium; – 6. Frames versus Post, Earle Hagen, David Shire, Elmer Bern- shots, surface versus window; – 7. What the stein and many, many others-will find solace surface of the screen can tell us about lan- in these pages (along with all the information guage; – 8. Language integrates our percep- needed to enhance one’s music library). But tions as surely as the nervous system inte- this is only half the story; the saga’s origins grates our sense data–hallucination or meta- are discussed in this book’s companion vol- data?; – 9. Letting the mind surround an idea: ume, Crime and Action Jazz on Screen: 1950– an introduction to Wittgenstein; – 10. Ascer- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 12

taining understanding: what one language ban; contributions by Dario Argento [et al.]. must evoke, another may stipulate (and vice English translation: Sylvia Adrian Notini. versa); 11. – Dynamic and static theories of Hamburg/Berkely, CA: Gingko Press 2019, 361 meaning; 12. Color, types of reference, and S. the inveterate narrative; – 13. The polyvalence of the picture; – 14. Meaning and mu- Ital. Orig. u.d.T.: Baroni, Maurizio (a cura di): tual experience-kinds of reference re- Morricone. Testi di Germano Barban; inter- described; – 15. What has art got to do with venti di Dario Argento [et al.]. Milano: Lazy it?; – 16. A whole new way of reading-the Dog 2019, 361 S. surface of the screen and the modulation of Inhalt: Maurizio Baroni: You Never Forget self-consciousness; – 17. The anteroom of Your First Love / 6 – Germano Barban: The meaning and our conception of space; – 18. Soundtrack of a Lifetime / 7 – Dario Argento: Meaning and mental habits; – 19. Assumed I Started with Morricone / 8 – John Carpen- and earned meaning; – 20. The spectrum of ter: Love of a Fan / 8 – John Boorman: “What shared reference; – 21. The story sequence you like, John?” / 9 – Liliana Cavani: The Mu- and the montage-prologue; – 22. When the sic that Completes the Movie / 10 – Roberto editor learns about meaning; – 23. Montage Faenza: When It’s the Music that Makes the and metaphor; – 24. The imitation of percep- Movie / 10 – Giuseppe Tornatore: The Histori- tion. – Part II: Dynamic and Syntactic Univer- cal Role of Album Covers / 11 – Giuliano sals: – 25. Nonverbal universals; – 26. The Montaldo: Ennio Taught Me to Give Space to polyvalence of the picture and the omniva- Music / 12 – Quentin Tarantino: In conversa- lence of the movie; – 27. The description of tion with Maurizio Baroni: The Best Ending / omnivalence as a floating target; – 28. Dy- 14 – Carlo Verdone: “What About the Musi- namic universals: beginning, middle, and end- cian?” / 16 – Guido Lombardo; Ennio and Ti- a prologue; – 29. Language and the momen- tanus: An Extraordinary Relationship! / 17 – tum of the body; – 30. Syntactic universals: Daniele Furlati: The Sound of Strings / 17 – interval, context, and repetition; Interval; Picola Piovani: Maestros Aren’t Born, They’re Context; Repetition; – 31. The synergy of Made / 18 – Mauro Maur: An Inhabitant of symmetry; – 32. Sidebar-another parallel Other Marvelous and Diverse Universes / 19 – model and another speculative future; – 33. Edda Dell’Orso: The Lady Sings the West / 20 Formal references in music and cinema; – 34. – Gino Paoli: The Talent of the Person Who The developmental leap-keeping the referent Sings Off-Key / 20 – Giancarlo Giannini: Mu- a mystery; – 35. Resemblance and resonance; sic: Universal Language / 21 – Lisa Gastoni: – 36. The subliminal pull of the flicker; – 37. Just Get It Done! / 22 – Franco Nero: “Vamos Aural and visual cadence; – 38. The frame of a matar Franco Nero”: Ennio and I / 22 – the experience; – 39. Resonance among Christopher Frayling: The Morricone Affair / frames; – 40. Ancient history– the medium as 23 – Germano Barban, Maurizio Baroni: the model; – 41. Illustration, induction, and About This Book / 30. – Key / 31: 1961–1969 / repetition; – 42. The material and the 44 – 1970–1979 / 136 – 1980–1989 / 238 – medium; – 43. Sonics and seamlessness; – 44. 1990–1999 / 290 – 2000–2016 / 332 – List of il- The private language machine and the evolu- lustrations for EP/45rpm/LP records and tion of a medium; – 45. Illusions and ontologi- CDs / 363. – Mit Notenbeispielen. cal linchpins; – 46. Delimiting an audience; – 47. Summarizing the singular window en route to the panoramic view. – Part III: Con- Barron, Lee: What if Zarathustra had not spo- sidering Description: Tropes, Tunes, and Mov- ken? Alex North’s counterfactual soundtrack ing Pictures: – 48. The world of description; – to ›2001: A Space Odyssey‹. In: New Review of 49. Recapitulation and prospectus. Film and Television Studies 9 (2011) 1, S. 84–94. Über die nicht verwendete Filmmusik von Baroni, Maurizio [ed.]: Ennio Morricone: Mas- North zum Film von Stanley Kubrick (1968). ter of the Soundtrack. Texts by Germano Bar- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 13

Bartel, Frank / Kock, Ingo (Hrsg.): Tonkunst: it?: using rock to capture counterculture gen- Filmkunst und Sound Design. Der Studiengang erational identity – 7. Setting the escapist Ton der Hochschule für Film und Fernsehen scene with music: sex and comedy in an ex- „Konrad Wolf“ Potsdam-Babelsberg auf dem otic world – 8. Generational genocide: selling Weg vom Fachschulstudiengang zum Kunst- youth rebellion in Roger Corman’s Gas-s-s – hochschulstudiengang. Berlin: Vistas 2006, 308 9. African American artists in Hollywood: Isa- S. (Edition Kunst und Medien. 1.). ac Hayes’ contribution to Shaft – 10. I’m watching it for its music: Deep throat and its Inhalt: Frank Bartel: Filmton – Die Bedeutung soundtrack – 11. Challenging normativity and des Tones beim Film / 7. – Peter Sebastian: pushing boundaries: Midnight Cowboy and Geräusche als Musik – Musik aus Ge- cultural resistance – 12. Ambiguous meaning räuschen: Die klangliche Emanzipation des of music: combining technology and music in Geräusches im Spielfilm / 13. – Noemi Ham- the dystopian world of A Clockwork Orange – pel: Die Möglichkeiten des Einsatzes von Stil- 13. Understanding country ways: a talk with le im Film / 57. – Eike Hosenfeld: Übertra- Country Joe McDonald about counterculture gung von Erkenntnissen der Musik- und Sin- film – 14. Bringing the 1960s to life: an inter- nespsychologie auf die Wirkungsweise von view with director Robert Greenwald. Filmmusik / 87. – Klaus Barm: Medialität und Momentform / 157. – Sandra Bittner: Elektro- akustische Musik – Die Nachhaltigkeit von Barton, Ruth / Trezise, Simon (eds.): Music and Entwicklungstendenzen elektroakustischer Sound in Silent Film: From the Nickelodeon to Instrumente und Realisationsverfahren der The Artist. London/New York: Routledge 2019, Neuen Musik seit 1950 / 201. – Katrin Moll: xi, 214 S. (Routledge Music and Screen Media Die Entwicklung der Toningenieursausbil- Series.). dung an der HFF im Spannungsfeld von Tech- nik & Kunst und Theorie & Praxis / 245. – Inhalt: Allison Wente, James Buhler: ‘Better Schlusswort / 307. Music at Smaller Cost’: Selling Mechanical In- struments to American Motion Picture Hous- es in the 1910s / 25. – Kendra Preston Leon- Bartkowiak, Mathew J. / Kiuchi, Yuya: The Mu- ard: Cue Sheets, Musical Suggestions, and sic of Counterculture Cinema: A Critical Study Performance Practices for Hollywood Films, of 1960s and 1970s Soundtracks. Jefferson, NC: 1908–1927 / 45. – Malcolm Cook: Sing Them McFarland 2015, viii, 207 S. Again: Audience Singing in Silent Film / 61. – Denis London: ‘Players Must Be of a Good Films produced in late 1960s and early 1970s Class’: Women and Concert Musicians in Irish America continue to frame our understanding Picture Houses, 1910–1920 / 79. – Laraine of the counterculture era. A study of contem- Porter: Music, Gender, and the Feminisation porary film soundtracks reveals a great deal of British Silent Cinema, 1909–1929 / 93. – of complexity. The coinciding struggles to de- Gillian B. Anderson: Music’s Role in the De- fine collective and individual identities based velopment of the ‘Mute’ Feature Film: Ben on race, class, gender and generation is well Hur and Wings / 111. – Fiona Ford: Edmund documented in the music of counterculture Meisel’s Score to Der heilige Berg (1926): Pre- cinema. figuring Hollywood’s ‘Golden Age’ Narrative- Inhalt: 1. Framing Utopia: Monterey Pop and Scoring Practices in Live Performance / 124. – the heart of the counterculture – 2. Creating Simon Triziose: Synchronisation and Scoring: the downfall: Gimme Shelter and the “end” of Contemporary Reworkings. Carl Davis Inter- the counterculture – 3. Searching fort the real view / 149. – Ed Hughes: Scenes from Ozu / times, baby: Head and the unmaking of the 160. – Emilio Audissino: Rediscovering a Film, Monkees – 4. Love in counterculture films: Revisiting a Film, Damaging a Film: A Musi- music’s diplomatic role in Harold and Maude cal Comparison of Three DVD Editions of – 5. Space is the place: Barbarella and hearing Nosferatu / 174. – Nicholas Brown: Electro- the future – 6. Did the soundtrack also blow acoustic Composition and Silent Film / 187. – Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 14

James Wierzbicki: The ‘Silent’ Film in Modern Battenberg, Hermann: Dramaturgische und Times / 198. ideologische Funktionen der Musik in der Fernsehserie Bonanza. In: Rudolf Stephan (Hrsg.): Schulfach Musik. Mainz: Schott 1976, S. Basirico, Benoît: La musique de film: Composi- 106–116 (Veröffentlichungen des Instituts für teurs et réalisateurs au travail. Préface de Neue Musik und Musikerziehung Darmstadt. Thierry Jousse; propos recueillis par Benoit 16.). Basirico. Paris: Hémisphères éditions 2018, 256 S. (Ciné cinéma. 4.). Baumgartner, Michael: J.S. Bach, Jean-Luc Go- Inhalt: Introduction; 1. Le choix du composi- dard, and the reimagining of the immaculate teur; 2. La nécessité d'une musique dans un conception in “Hail Mary“. In: Bach 50,2, 2019, film; 3. Intervenir sur le scénario ou les S. 175–219. images; 4. Un compositeur au service du réalisateur; 5. Indications musicales du réa- In his 1985 film Je vous salue, Marie (Hail lisateur (définir un langage commun); 6. Ré- Mary), Jean-Luc Godard integrated preexist- férences et musiques temporaires; 7. Impli- ing music by J. S. Bach. The choice is a sur- cation du réalisateur; 8. Œuvre personnelle prise, as Godard hardly ever used the music of ou simple commande; 9. Thèmes et mélo- the German baroque master in his sixty-year dies; 10 Être un «caméléon»; 11. Soutien ou film career. Since this use of Bach marks a singular instance in Godard’s oeuvre, the ob- contraste; 12. Correspondances avec le récit; jective of this essay is to explore the process 13. Musiques préexistante et originale; 14. of Godard’s cinematic reappropriation of L'Emplacement des musiques; 15. Le Son et Bach’s music and how the music infuses the le Mixage; 16. Composition et Instrumenta- filmic narrative with a Lutheran message. Je tion; 17. Orchestration et Interprétation; vous salue, Marie is an intimate, modern-day Conclusion. – Bibliographie; Présentation adaptation of the story of Mary, from the An- des compositeurs interviewés. – Index des nunciation to Christ’s birth. Mary is a basket- compositeurs; Index des réalisateurs; Index ball-playing high school student and Joseph a des films. taxi driver in contemporary Geneva. In Je vous salue, Marie, Godard examines the inex- plicable idea of conception without corporeal Bastié, Daniel: Georges Delerue: la musique au contact in a contemporary world that has lost service de l’image. Mariembourg: Éd. Grand its unchallenged acceptance of incomprehen- Angle 2014, 134 S. sible occurrences. The mystical and intangible Inhalt: Premiers films – Alors que la radio- aura of the film is evoked through numerous phonie entrait dans tous les foyers – Philippe short musical fragments, excerpted from the de Broca, une collaboration naissante – Phi- best-known highlights of Bach’s oeuvre. Go- lippe de Broca: deux triomphes au Box-office dard exploits the nineteenth- and twentieth- – de Broca: années 70 et 80 – de Broca: autres century notion of Bach as both the quintes- films sans Delerue – de Broca et ses films sential composer of sacred music and the un- après le décès de Delerue – François Truffaut, rivaled master of the most sublime of all late le frère d’armes – Henri Colpi – Russell, Clay- baroque music. The use of Bach’s music al- ton et Zinnemann – La télévision, vivier créa- lows us to interpret, on the one hand, Mary in tif – La musique de concert – Les années 60 – a Catholic theological understanding as an Les années 70 – Les années 80 – Les années enigmatic, mysterious, and transcendental 90 – Sources bibliographiques. figure and, on the other hand, Christ through Luther’s concept of the theologia crucis. Go- dard integrates Bach’s music into Je vous Batchelor, Jennifer: From ‘Aida’ to ‘Zauberflö- salue, Marie in a thoughtful and profound te:’ Jennifer Batchelor considers the opera film. manner. He seeks to reinterpret Mary’s im- In: Screen 25,3, 1984, S. 26–39. maculate conception, her biblical role, and her Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 15

relationship to her son within a critical con- 2015, xx, 240 S. templation of the historical, religious, and so- Bollywood sounds – Film songs at the cial foundations of Western society. (Vorlage) Inhalt: end of the colonial era and the emergence of filmi style – “But my heart is still Indian”: film Baumgartner, Michael / Boczkowska, Ewelina songs of the early post-colonial era – The lan- (eds.): Music, Collective Memory, Trauma, and guage and lyrics of Hindi films – Songs in the Nostalgia in European Cinema after the Second key of the angry young man and the cabaret woman – Liberalization, family films, and the World War. New York/ London: Routledge rise of Bollywood – Film songs in the era of 2020, 314 S. the multiplex and YouTube – Concluding Part I: Collective Memory and (Trans-)Nation – thoughts on the art and commerce of Hindi 1. A Fanfare Floating Beneath Sea Level: Mu- film songs. sic as a Sonic Lieu de Memoire of Dutch Cul- tural Identity on Film / Emile Wennekes / 2. Which People’s Music? Witnessing the Popu- Beaster-Jones, Jayson / Sarrazin, Natalie: Mu- lar in the Musicscape of Giuseppe De Santis’s sic in Contemporary Indian Film: Memory, Riso amaro (1949, Bitter Rice / Maurizio Cor- Voice, Identity. London: Routledge 2017, xi, 212 bella / 3. Phantoms of Italian Opera-Cultural S. Memory in Italian and (West) German Films / Provides a rich and detailed look into the Roger Hillman / 4. A Bridge Too Far? Music in unique dimensions of music in Indian film. the British War Film, 1945–80 / Mervyn Music is at the center of Indian cinema, and Cooke. – Part II: Trauma and Survival – 5. India’s film music industry has a far-reaching Hidden in Plain View: The Music of Holocaust impact on popular, folk, and classical music Survival in Poland’s First Post-war Feature across the subcontinent and the South Asian Film / Barbara Milewski / 6. Empathy, Ethics, diaspora. In twelve essays written by an inter- and Film Music: Alfred Schnittke and Larisa national array of scholars, this book explores Shepit’ko’s Voskhozhdenie (1977, The Ascent) / the social, cultural, and musical aspects of the Maria Cizmic / 7. Fugue States: Music, Mem- industry, including both the traditional center ory, and Trauma in Alain Resnais’s Early of “Bollywood” and regional film-making. 1960s Films / Michael Baumgartner and Or- Concentrating on films and songs created in lene Denice McMahon / 8. Re-Sounding Trau- contemporary, post-liberalization India, this ma: Sonic Flashbacks in the Films of Jan Tro- book will appeal to classes in film studies, ell / Alexis Luko – Part III: Nostalgia, and the media studies, and world music, as well as all Impossible Returns Home – 9. Decomposing fans of Indian films. Heroism: Rolf Wilhelm’s Music for Radetzky- marsch (1965) / Janina Muller, Tobias Inhalt: Part I: Hindi Hegemony: 1. 1942 -A Plebuch / 10. The Music of Sacrificial Acts: Love Story: R.D. Burman’s Posthumous Displacement, Redemption, Beethoven and “Comeback” at the End of Old Bollywood Verdi in Andrei Tarkovsky’s Nostalghia (1983) (Gregory D. Booth). – 2. Antakshari in Maine / Tobias Pontara / 11. “Chopin Meant Every- Pyar Kiya: Intertextual Pleasures and Musical thing to Us Then”: Chopin Nostalgia in Polish Medleys at the Dawn of a New Era in Hindi Cinema, 1944–91 / Ewelina Boczkowska / 12. Cinema (Peter Kvetko). – 3. From Vamp to Returning Home: Critical Nostalgia and Queen: The Remixed Sound of the Bollywood French Cinematic Illusion in the Post-war Scene (Ajay Gehlawat). – 4. Authorizing Ges- Musical Films of Rene Clair and Jean Renoir / ture: Mirchi Music Awards and the Re-cali- Hannah Lewis. bration of Songs and Stardom (Monika Mehta). – 5. Tensions of Musical Re-animation from Bollywood to Indian Idol (Anaar Beaster-Jones, Jayson: Bollywood Sounds: The Desai-Stephens). – 6. Magic, Destruction, and Cosmopolitan Mediations of Hindi Film Song. Redemption in the Soundtracks of Aashiqui 2, Oxford/New York: Oxford University Press RockStar, Rock On!! (Natalie Sarrazin). – Part Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 16

II: Regions and Identities: 7. Violence, Recon- tion, or, film sound as a discursive construct ciliation, and Memory: A.R. Rahman’s “Bom- in Czech culture of the transitional period / bay Theme” (Jayson Beaster-Jones). – 8. Petr Szczepanik – Sounds of the city: Alfred Iconic Voices in Post-Millennium Tamil Cin- Newman’s “street scene” and urban moder- ema (Amanda Weidman). – 9. Folk Drums and nity / Matthew Malsky – Film and the Wag- Tribal Girls: Sounding the Himalayas in In- nerian aspiration: thoughts on sound design dian Film (Stefan Fiol). – 10. Film Frontiers: and the history of the senses / James Lastra – Imagining Rajasthan in Contemporary Bolly- Asynchronous documentary: Bunuel’s Land wood Film (Shalini Ayyagari). – 11. Evolution without Bread / Barry Mauer – “We’ll make a of a Ritual Musical Genre: The Adaptation of Paderewski of you yet!” Acoustic reflections Qawwali in Contemporary Hindi Film (Irfan in The 5,000 Fingers of Dr. T / Nancy Newman Zuberi and Natalie Sarrazin). – 12. Music, – Paul Sharit’s cinematics of sound / Melissa Sound, Noise: Interposition of the Local and Ragona – “Every beautiful sound also creates the Global in Anurag Kashyap’s Gangs of an equally beautiful picture”: color music and Wasseypur (Madhuja Mukherjee). Walt Disney’s Fantasia / Clark Farmer – “A question of the ear”: listening to Touch of Evil / Tony Grajeda – “Sound sacrifices”: the post Beck, Jay: Designing Sound: Audiovisual Aes- modern melodramas of World War II / Debra thetics in 1970s American Cinema. New Bruns- White-Stanley – Real fantasies: Connie Ste- wick, N.J.: Rutgers University Press 2016, x, vens, Silencio, and other sonic phenomena in 263 S. (Techniques of the Moving Image.). Mulholland Drive / Robert Miklitsch – Selling spectacular sound: dolby and the unheard his- Inhalt: 1. Introduction: The State of the Art – tory of technical trademarks / Paul Grainge – 2. The British Invasion – 3. TV and Documen- (S)lip-sync: punk rock narrative film and tary’s Influence on Sound Aesthetics – 4. New postmodern musical performance / David La- Voices and Personal Sound Aesthetics, 1970– derman – Critical hearing and the lessons of 1971 – 5. Francis Ford Coppola: American Abbas Kiarostami’s Close-up / David T. John- Zoetrope and Collective Filmmaking – 6. son – Rethinking point of audition in TheC ell Robert Altman’s Collaborative Sound Work – / Anahid Kassabian. 7. Martin Scorsese’s Dialectical Sound – 8. The Sound of Music: Dolby Stereo and Music in the New American Cinema – 9. The Sound Becker, Rüdiger: Circusmusik in Deutschland: of Spectacle: Dolby Stereo and the New Clas- Von den Anfängen bis zur Gegenwart. Mün- sicism – 10. The Sound of Storytelling: Dolby chen: Allitera Verlag 2014, 437 S. (Musik, Kon- Stereo and the Art of Sound Design. texte, Perspektiven. 5.). Zuerst: Diss. Köln: Universität zu Köln 2008. Beck, Jay / Grajeda, Tony (eds.): Lowering the Darin: 3.5.1.2. Filmmusik (S. 371–381). Boom: Critical Studies in Film Sound. Urbana/ Chicago, Ill.: University of Illinois Press 2008, x, 342 S. Beer-Gabel, J. C. / Hundley, Jessica (eds.): Be- yond the Beyond: Music from the Films of David Introduction: The future of film sound Inhalt: Lynch. Original photography by David Black. studies / Jay Beck and Tony Grajeda – The Los Angeles: Hat & Beard Press 2016, 186 S. + phenomenology of film sound: Robert Bres- 1 CD. son’s A Man Escaped / John Belton – The proxemics of the mediated voice / Arnt Maasø Inhalt: Interview with David Lynch / 15. – In- – Almost silent: the interplay of sound and si- terview with Angelo Badalamenti / 31. – In- lence in contemporary cinema and televi- terview with Bob Roth / 39. – The Music of sion / Paul Theberge – The sounds of“si- David Lynch: The Theatre at The Ace Hotel, lence”: dolby stereo, sound design, and TheS i- April 1, 2015 (Photography by David Black) / lence of the Lambs / Jay Beck – Sonic imagina- 48. – Jessica Hundley: Pop Reinterpreted / 65. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 17

– Noel Murray: Subverting the Classic Score / schaft und Musikkulturen der Gegenwart. 6.). 75. – Keith Phipps: Industrial Soundscapes / Filmfachzeitschriften wie der 85. – Kim Morgan: The Extended Refrain / 97. Kinematograph und die stellten bereits ab – Interview with Dean Hurley / 161. LichtBildBühne 1907 – und somit deutlich vor der Musikfach- presse – ein wichtiges Medium für den Aus- Beiche, Michael: Musik und Film im deutschen tausch von Ideen, Gedanken und Erfahrungen Musikjournalismus der 1920er Jahre. In: Ar- für Kinomusiker dar. Neben Erläuterungen zu chiv für Musikwissenschaft 63,2, 2006, S. 94– den verschiedenen musikalischen Be- 119. gleitungsmethoden, von Improvisation bis hin zur Originalkomposition, wurden hier auch In 1928, when silent movies were undergoing die alltäglichen Belange der Kapellmeister the final throws of replacement by the talkies, und Musiker diskutiert. Zu einer Zeit, in der questions relating to film music were “still die Filmindustrie noch wenig Interesse an der initially being formulated.” This sceptical musikalischen Untermalung des bewegten point of view, voiced by Hans Mersmann, Bildes zeigte, unterstützte die Filmfachpresse paradigmatically represents the views of ihre Leser bereits durch praktische Ratschläge many other contemporary music journalists, und Illustrationsvorschläge in beispielsweise musicologists, and composers. In this study, speziellen Filmmusikführern, Werbung für In- Paul Hindemith’s contribution to the Cham- strumente und Notensammlungen sowie Stel- ber Music Festival in Baden-Baden in 1928 lenanzeigen und bietet damit zugleich Ein- (“Zu unserer Vorführung ‘Film und Musik’“) blicke in die zeitgenössischen musikalischen forms the backdrop for the systematic exami- Aufführungspraktiken und deren Rezeption in nation of other texts that appeared in Die den ersten Jahren des Mediums Film. Zudem Musik, Melos, and Musikblätter des Anbruch wird der Einfluss der Filmfachzeitschriften auf up until ca. 1930. Misgivings about silent mo- eine Standardisierung von Filmmusik deut- vies’ inadequacies with respect to music as lich. mere illustration or with respect to the lack of Rez. (Eunice Martins) in: Filmblatt 24, 2019/20, synchronization between sound and picture S. 137–239. proved no longer relevant with the establish- ment of talking movies. Decisive, however, is the continuing demand for original film mu- Beirens, Maarten: Quotation as a Structural El- sic, which in its components and structure ement in Music by Michael Nyman. In: Tempo was expected to adequately fulfil the needs of 61, Oct. 2007, S. 25–38. the newly developed medium.

Belge, Boris: Klingende Sowjetmoderne: Eine Beimdieke, Sara: „Der große Reiz des Kamera- Musik- und Gesellschaftsgeschichte des Spätso- Mediums“: Ernst Kreneks Fernsehoper „Ausge- zialismus. Köln/Weimar/Wien: Böhlau 2018, rechnet und verspielt“. Siegen: universi – Uni- 312 S. (Beiträge zur Geschichte Osteuropas. versitätsverlag Siegen 2017, 399 S. (Si! Kollekti- 50.). on Musikwissenschaft. 2.). Zuerst: Diss. Tübingen: Universität Tübingen Zuerst: Diss. Siegen: Universität Siegen 2014. 2016. Inhaltsverzeichnis: [URL]. Darin u.a.: 5. Vergleiche und Verflechtungen: Die Musik und ihre Nachbarkünste / 215; – 5.1 Vergleiche: Literatur, Kunst, Film und Beinroth, Carolin: Musik im frühen deutschen Musik; – 5.2 Verflechtungen: Musik in Litera- Stummfilmkino: Eine Untersuchung der zeitge- tur, Kunst und Film; – 5.3 Fazit: Distanzierte nössischen Rezeption in ausgewählten Fachzeit- Nähe. Die Künste, Kulturpolitik und die Mos- schriften der Jahre 1907–1925. Marburg: Tec- kauer Trojka. tum 2019, 203 S. (Systematische Musikwissen- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 18

Bell, David A.: Getting the Best Score for Your the first volume of the Allgemeines Handbuch: Film: A Filmmakers’ Guide to Music Scoring. «The best film music is the one that cannot be Los Angeles: Silman-James 1994, xi, 112 S. listened to alone.» Becce, Erdmann and Brav were already aware of one of the main princi- Ratgeber. ples that modern film composers use in their work: the music has to depend on the moving images, and these images have to be com- Bellano, Marco: The Silent Maestro: Giacomo pleted by music. If Puccini’s music would Puccini and the Allgemeines Handbuch der have been catalogued in strict respect to its Film-Musik. In: Kieler Beiträge zur Filmmusik- original finalities, it would have resulted in forschung 11, 2014, S. 106–127; [URL]. being inappropriate for cinema performances: Abstract: The article studies the use of Giaco- it would have recalled memories and sensa- mo Puccini’s creations in one of the most tions that would likely have given a wrong complete and complex catalogues of music for sense to a film sequence. That kind of logic is silent films: the Allgemeines Handbuch der perhaps the same that made Becce avoid to Filmmusik (1927), by Giuseppe Becce, Hans use excerpts from operas such as La Bohème, Erdmann and Ludwig Brav. The presence of Tosca and Madame Butterfly: their melodies Puccini in this compilation consists of 86 may have been too well-known to be effec- fragments from 6 operas: Gianni Schicchi, La tively “disguised” through a clever work of Fanciulla del West, Manon Lescaut, Suor Angel- classification. Puccini’s music, in the Allge- ica, Il Tabarro and Le Villi. The fragments are meines Handbuch der Filmmusik, contributed extracted from instrumental “fantasies” by to the consolidation and to the explication of Emile Tavan, Gaetano Luporini and Adolphe an important aesthetic tendency in early film Gauwin. The excerpts are classified byan music. However, it managed to do such a elaborated system based on a series of verbal thing by losing its dramatic sense and its “labels” referring to emotions or situations, verses. In the cinema hall Puccini became a which are ordered in a hierarchical scale. silent maestro, who gave a life and a future to However, the hierarchy seems to present flickering shadows on a luminous screen. some intrinsic contradictions, as the “labels” with the higher rank appear to be slightly different between the main index and the ac- Bellano, Marco: Václav Trojan: Music Composi- tual catalogue. It’s nonetheless possible to in- tion in Czech Animated Films. Boca Raton: fer a tripartite hierarchy, based on the con- CRC Press 2019, xxvii, 180 S. (Focus Anima- cepts of “Dramatic”, “Lyric” and generic “Situ- tion Series./A Focal Press Book.). ation” (Dramatische, Lyrische and Incidenz). Belton, John: Awkward Transitions: Hitch- A throughout analysis of the puccinian selec- cock’s Blackmail and the Dynamics of Early tion reveals that most of the fragments appear Film Sound. In: Musical Quarterly 83,2, 1999, S. in the “Lyric” section. Moreover, the greatest 227–246. part of them are joined with labels referring to positive emotions (“Love”, “Luck”, “Joy and Peace”, “Hymn” etc.). Puccini’s music tends to Beltrame, Giancarlo / Pavesi, Fausto (a cura be completely separated from its original condi): Musica in cinema in 201 film: Filmare il text and meaning. Becce seems to have been ritmo, la melodia e l’armonia. Colognola ai Col- guided by the mere “acoustic” feeling of the li: Demetra 1999, 141 S. (Atlanti di cinema.). fragments to assign them their respective Cantare, ballare e sognare al ritmo di film e places. In this selection, Puccini’s operas like melodie indimenticabili, sulle note di opere, Il Tabarro or Suor Angelica are depicted as operette, balletti, film-rivista, musical e con- overall bright works, incline to fantasy, certi. Storie e sentimenti narrati da pasi di melancholy and occasional gaiety. It’s possi- danza e musiche classiche, leggere, jazz, blues ble to explain this apparently unacceptable e rock. Raccontare con le sette note in 201 interpretation of Becce with a quotation from film, ritmati da schede tecniche, trame, valu- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 19

tazioni, curiosità e armoniosamente accompa- and Documentary Moving Images / Saskia gnati da oltres 130 locandine originali. Jaszoltowski – Traditional and Non-traditional Uses of Film Music, and Musical Met- alepsis in The Truman Show / Werner Wolf – Bennett, Alexis: Music with a British Accent: Homer and the Springfield Orchestra Bus: Underscoring in British Films of the 1930s. In: Four Test Cases for Any Future challenge to Dandelion 4,1, 2013, [URL]. the Diegetic/Non-diegetic model / Jordan Car- malt Stokes – Film Music: Significant Inter- A number of notions prevail about the music medial Cases. Operatic Plurimediality in Ital- composed for British films in the 1930s. One ian Silent Cinema: Nino Oxilia and Pietro is that underscoring (a term that has now de- Mascagni’s (1915) / Bern- veloped a specific meaning: the non-diegetic1 Rapsodia satanica hard Kuhn – Humanized Documentary, musical accompaniment of dialogue) was kept “Light” Verse, and Music Made to Fit: g.p.o. to an absolute minimum; further, within this film Unit/Auden/Britten’s (1936) / apparent restriction, the closely synchronized Night Mail Walter Bernhart – An Incarnation of Mem- recitative-style of underscoring so prevalent ory: Song as Absence in Claude Lanzmann’s in Hollywood was very unusual in films pro- / Ruth Jacobs – Accumulating Schu- duced in the United Kingdom. In this article I Shoah bert: Music and Narrative in Nuri Bilge Cey- will be examining such received perceptions lan’s / Heidi Hart – Mise en of film music culture in Britain, with particu- Winter Sleep scene, Mozart, and a Borrowed Chorale: lar reference to the music composed for Lon- Learned Style and Identity in Pawlikowski’s don Films Productions, the company founded / Christopher Booth – Intermedial Vari- by Alexander Korda in 1932. Ida eties. Shadow Images Moving to Music: La tentation de Saint Antoine in Montmartre / Pe- Berchmans, Tony: A música do filme: Tudo o ter Dayan – ‘The Big Turnaround in the Mid- que você gostaria de saber sobre a música de dle’: On the Silent Movie and the Film Music cinema. [4. Aufl., rev. u. erw.] Prefácio de Interlude in Alban Berg’s Opera Lulu / Mar- Rubens Ewald Filho. São Paulo: Escrituras Edi- ion Recknagel – All the pieces matter: On complex TV music / Frieder von Ammon – tora 2012, 205 S. The Music Videos of Alternative Rock Band Behandelt werden u.a. die Flmmusikkompo- They Might Be Giants: Prolegomena for a nisten Max Steiner, Bernard Herrmann, Elmer Theory of Nonsense across Media / Emily Pe- Bernstein, Ennio Morricone, Jerry Goldsmith, termann – Remediations. Thrilling Opera: John Williams, John Barry, Thomas Newman Conflicts of the Mind and the Media in Kasper und Hans Zimmer. Holten’s Juan / Axel Englund – Novel, Wood- cuts, Film, Music: Pondering over the Title of Gara Garayev’s Symphony Engravings “Don Berg, Charles M.: The Human Voice and the Quixote” / Alla Bayramova – Film as Opera: Silent Cinema. In: Journal of Popular Film 4,2, Three Perspectives on Still Life and Brief En- 1975, S. 165–177. counter / Michael Halliwell – On the Intertex- tual Docks, or, Whatever Happened to Shang- hai Lil? / David Francis Urrows. Bernhart, Walter / Urrows, David Francis (eds.): Music, Narrative and the Moving Image: Varieties of Plurimedial Interrelations. Leiden/ Betzwieser, Thomas: Filmmusik vs. Kunstlied: Boston: Brill Rodopi 2019, xii, 254 S. (Word and Ravel, Ibert, Schaljapin und G. W. Pabsts ›Don Music Studies. 17.). Quichotte‹ (1933). In: Archiv für Musikwis- Inhalt: Film music: reflections on functions. senschaft 64 (2007) 2, S. 156–177. Music’s body and the moving image / Über die Musik im Film von Georg Wilhelm Lawrence Kramer – Disturbing Silences and Pabst (1885–1967). Open Narratives: Musical Gaps in Fictional Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 20

Biancorosso, Giorgio: Film, Music, and the Re- Epiphanies – Love at first sight. demption of the Mundane. In: Chris Wash- burne / Maiken Derno (eds.): Bad Music: The Music We Love to Hate. New York/London: Bick, Sally: Of Mice and Men: Copland, Holly- Routledge 2004, S. 190–211. wood, and American Musical Modernism. In: American Music: A Quarterly Journal Devoted to All Aspects of American Music and Music in Biancorosso, Giorgio: Situated Listening: The America 23,4, 2005, S. 426–472. Sound of Absorption in Classical Cinema. New York/Oxford: Oxford University Press 2016, xi, 246 S. Bick, Sally: Unsettled Scores: Politics, Holly- wood, and the Film Music of Aaron Copland Screenwriters and film directors have long and Hanns Eisler. Urbana/Chicago/Springfield: been fascinated by the challenges of repre- University of Illinois Press 2019, xiii, 232 S. senting the listening experience on screen. (Music in American life.). While music has played a central role in film narrative since the conception of moving pic- Sally Bick’s dual study of Copland and Eisler tures, the representation of music listening pairs interpretations of their writings on film has remained a special occurrence. In Situated composing with a close examination of their Listening: The Sound of Absorption in Classical first Hollywood projects: Copland’s music for Cinema, author Giorgio Biancorosso argues Of Mice and Men and Eisler’s score for Hang- for a redefinition of the music listener as rep- men Also Die! Bick illuminates the different resented in film. Rather than construct the lis- ways the composers treated a film score as tener as a reverential concertgoer, music ana- means of expressing their political ideas on lyst, or gallery dweller, this book instead society, capitalism, and the human condition. shows how films offer a new way of thinking She also delves into Copland’s and Eisler’s about listening as distributed experience, an often conflicted attempts to adapt their music activity made public and shareable across vast to fit Hollywood’s commercial demands, an cultural spaces rather than an insular motion. enterprise that took place even as they wrote It shows how cinema functions as not only a hostile critiques of the film industry. reservoir of established modes of listening, but also an agent in the development of new listening practices. As Biancorosso argues, Biddle, Ian D.: Music, sound, and affect in Yid- many films have perpetuated a long-existing dish-language Holocaust cinema: The post- paradox of music as a means of silencing. traumatic community in Natan Gross’s Unzere Consider an aggressive score overlaying bat- Kinder (1948). In: Music and the Moving Image tle scenes or a romantic scene conveying un- 11,3, 2018, S. 40–59. spoken intimacy. In the place of conversa- This article explores some of the makeshift tional exchange exists a veil of sound in the musical strategies used in Natan Gross’s Yid- form of music, and Situated Listening ex- dish-language feature film Unzere kinder (Po- plains why this function influences both the land, 1948) to tell the stories of a group of course of interpretation and empathy experi- Jewish children orphaned during the Holo- enced by film spectators. By focusing on cine- caust. The article explores the notion of “post- matic, physical, and emotional scenery sur- traumatic” cinema through an analysis of the rounding a character, viewers can recognize film’s soundtrack. (Vorlage) aspects of their own lives, developing a deeper empathy for each fictional character through real and shared listening practices. Biella, Federico / Privitera, Massimo: Quando Inhalt: The character-as-vector. Music, off cantavano le colt: Enciclopedia cine-musicale stage – The listener in the picture – The radio del western all’italiana. Monza: Casa musicale broadcast as anamorphic spot – The spectator Eco 2017, 499 S. as situated listener – Heterological silence. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 21

Bespricht u.a. die Arbeiten der ital. Filmmu- expression art total – 3. Carter Burwell: Dire sikkomponisten Alessandro Alessandroni, Lu- quelque chose que vous ne savez pas encore – is Enriquez Bacalov, Franco Bixio, Stelvio Ci- 4. Alberto Iglesias: Un langage musical diffé- priani, Maurizio De Angelis, Franco De Gem- rent pour chaque film. – II. Réalisateurs et ini, Edda e Giacomo Dell'Orso, Francesco De compositeurs en duo: 5. Jean-Paul Rappeneau Masi, Pino Donaggio, Nico Fidenco, Fabio – Jean-Claude Petit: On confie les clefs de la Frizzi, Stefano Mainetti, Franco Micalizzi, En- maison à un autre artiste – 6. Benoit Jacquot nio Morricone, Nora Orlandi, Vince Tempera et Bruno Coulais: On n’écrit jamais que la und Piero Umiliani. musique du metteur en scène – 7. Atom Egoyan et Mychael Danna: La musique raconte une histoire. – III. Cinéastes en solistes: Biesen, Sheri Chinen: Music in the Shadows: 8. Claire Denis: La musique ne peut être que Noir Musical Films. Baltimore, Mad.: Johns d’accord avec le film – 9. Stephen Frears: À Hopkins University Press 2014, xii, 210 S. bas le réalisateur ! Inhalt: Preludes to the noir musical – Blues in the night: the noir musical on the brink of Binns, Alexander: Desiring the diegesis: music World War II – Smoky melodies: jazz noir and self-seduction in the films of Wong Kar musical drama – Le rouge et le noir: from The Wai. In: CineMusic? Constructing the Film Red Shoes to A Star Is Born – Dark musical Score. Ed. by David Cooper. Newcastle: Cam- melodrama: from Young at Heart to West Side bridge Scholars Publishing 2008, S. 127–140. Story – The legacy of the noir musical. Examines Hong Kong art cinema, especially the work of film director Wong Kar-Wai, as a Binh, N[guyen] T[rong] / Moure, José / Soj- means of illustrating a use of music in film cher, Frédéric: Cinéma et musique accords par- that puts a strain on the distinctions between faits: dialogues avec des compositeurs et des ci- diegetic music and its authoritative other, the néastes. Bruxelles: Les Impressions Nouvelles non-diegetic, which have played a crucial role 2014, 202 S. (Caméras subjectives.) in developing a critical approach to film music. The discussion focuses on two films from Il y a des scènes de films que nous connais- the mid-1990s: and sons par cour, et des musiques de cinéma que Chungking Express Fallen . nous pouvons fredonner instantanément. Angels Cette conjonction paraît évidente au spectateur. Mais ce que l’on ignore, et qui sera révé- Birkett, Danielle: Adapting “The Wizard of Oz“: lé dans cet ouvrage à travers une série d’en- Musical Versions from Baum to MGM and Be- tretiens passionnants avec des cinéastes et des yond. New York: Oxford University Press 2019, compositeurs, ce sont les hasards miraculeux 258 S. ou les conflits intenses, le travail acharné ou les élans d’inspiration qui ont présidé à d’in- oubliables morceaux d’anthologie. – L’idée de Bloch-Robin, Marianne: Carlos Saura: paroles ce livre, c’est aussi de montrer que la même et musique au cinéma. Villeneuve-d’Ascq: complicité peut s’instaurer entre les cinéastes Presses universitaires du Septentrion 2018, 336 et les compositeurs de tous les types de ciné- S. (Arts du spectacle: Images et sons.). ma, des Aventures de Rabbi Jacob mises en musique par Vladimir Cosma aux ouvres exi- À partir de l’œuvre cinématographique du geantes d’Atom Egoyan et Claire Denis en réalisateur espagnol Carlos Saura, cet ouvrage passant par les succès planétaires des mu- s’intéresse aux rôles narratifs et esthétiques siques d’Ennio Morricone. de la musique vocale dans les films de fictions. Les fonctions de la musique vocale (pa- Inhalt: I. Musiciens de cinéma à l’œuvre: 1. roles et musique) au sein du film sont analy- Ennio Morricone: Dépasser les conditionne- sées sous différents aspects: ordre, temps et ments du cinéma – 2. Vladimir Cosma: Une espace du récit, caractérisation des person- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 22

nages, révélation de leurs points de vue et de Bohlman, Philip V. / Bohlmann, Andrea F.: celui de l’énonciateur filmique. La notion de (Un)Covering Hanns Eisler’s Hollywood Song- resémantisation est au cœur des analyses pro- book. In: Danish Yearbook of Musicology 35, posées car l’interrelation constante entre pa- 2007, S. 13–29. roles, musiques et les autres matières sonores et visuelles produit toujours un glissement sé- mantique de la chanson qui influence elle- Bohn, James Matthew: Music in Disney’s Ani- même la compréhension des autres éléments mated Features: “Snow White and the Seven filmiques. L’œuvre polysémique du cinéaste Dwarfs” to “The Jungle Book”. Foreword by Jeff espagnol, très grand mélomane et maître de Kurtti. Jackson: University Press of Mississippi l’« œuvre ouverte », permet de mettre en évi- 2017, xviii, 294 S. dence ces rôles de la chanson, car la musique Inhalt: Introduction / 3 – 1. Mickeys / 9 – 2. vocale se prête parfaitement à une révélation The Silly Symphonies / 29 – 3. Snow White détournée du sens, caractéristique chez l’au- and the Seven Dwarfs / 56 – 4. Pinocchio / 79 – teur de Cria Cuervos. 5. Dumbo and Bambi / 94 – 6. Cinderella / 117 – 7. Alice in Wonderland and Peter Pan / 138 – Boczkowska, Ewelina: “Chopin meant every- 8. Disney Animated Features, 1955–1961 / 157 thing to us then”: Chopin nostalgia in Polish – 9. The Sword in the Stone and The Jungle / 175 – Appendix / 203 – Notes / 241 – cinema, 1944–91. In: Music, Collective Memory, Book Bibliography / 267 – Index / 281. – Mit Noten- Trauma, and Nostalgia in European Cinema beispielen. After the Second World War. New York: Rout- ledge 2020, S. 253–275. This chapter traces the shifting meanings of Bolivar, Valerie J. / Cohen, Annabel J. / Fen- Chopin’s music in Polish biopics, documen- tress, John C.: Semantic and Formal Congru- taries, and experimental films. Chopin’s his- ency in Music Motion Pictures: Effects on the torical status was reinvented repeatedly by Interpretation of Visual Action. In: Psychomu- Polish filmmakers during periods of political sicology [= Special vol. on film music] 13,1–2, instability in Poland: by the end of Second 1994, S. 28–59. World War (1944–1945), at the height of the Stalinist period (1949–1952), and after the transition to democracy (1990–1991). Chopin Bombola, Gina: From There’s Magic in Music to served different cultural ends in these films: The Hard-Boiled Canary: Promoting “Good as an emblem of societal trauma, as an epit- Music” in Prewar Musical Films. In: Journal of ome of social progress, and later, as a symp- the Society for American Music 12,2, 2018, S. tom of collective melancholia. Each reconfig- 151–178. uration, this chapter argues, was rooted in In 1941, Paramount released There’s Magic in nostalgia of a nation struggling to rebuild it- Music, a film about a soprano who sings self after the war and communism. With these opera in burlesque and wins a scholarship to evolutionary threads, a largely unexplored attend Interlochen. The movie’s utopian view cultural history of Chopin’s music during the of art music, however, caused difficulties for German occupation, the Stalinist period, and the studio in regard to marketing, leading to a the early 1990s, Poland can be traced. (Vor- studio-wide debate over the film’s title. lage) Archival documents position There’s Magic in Music as a valuable case study for investigating the transitional period of musical film Bogdahn, Gerrit: Neue Welten, neue Klänge. production between the Great Depression and Zum Konzept einer „Neuen Filmmusik“ am the onset of World War II, particularly with Beispiel von Jerry Goldsmiths Musik zu Lo- respect to operatic musicals. Just prior to the gan’s Run (1976). In: Seiltanz: Zeitschrift für ak- United States’ entry into the war, Hollywood tuelle Musik 17, 2018, S. 4–13 . moved away from the escapist fantasy of Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 23

1930s cinema toward the realism that would flect a turn away from the Americana of mark the 1940s. To reboot fading interest in “Rodeo” (1942) and “Appalachian Spring” musicals, studios toyed with the formula of (1944) and the Russian-themed score of “The the backstage musical to focus more on dra- North Star” (1943), as he sought to refashion matic narratives and star power. There’s his identity as a composer in the post-war Magic in Music thus serves as a lens through years. which we might examine changes both in musical film production and in notions of “good music” at the eve of World War II. Booth, Gregory D./ Shope, Bradley (eds.): More than Bollywood: Studies in Indian Popular Mu- sic. New York/Oxford: Oxford University Press Bombola, Gina: Searching for a fresh point of 2014, xvi, 358 S. view: Aaron Copland, identity, and The Heiress Gregory D. Booth and Bradley (1949). In: The Journal of Musicology 35,3 2018, Darin u.a.: Shope: Introduction—Popular Music in India / S. 368–396. 2. – PART ONE: Perspectives on Film Song: – 1. In the early 1940s Aaron Copland cultivated Gregory D. Booth: A Moment of Historical an identity as an authority on film composi- Conjuncture in Mumbai: Playback Singers, tion through public lectures, interviews, and Music Directors, and Arrangers and the Cre- his own film scores. Championing film mu- ation of Hindi Song (1948–1952) / 21. – 2. Na- sic’s potential as a serious art form, Copland talie Sarrazin: Global Masala: Digital Identi- sought to show Hollywood that film com- ties and Aesthetic Trajectories in Post-Liber- posers could branch out from the romantic alized Indian Film Music / 38. – 3. Joseph and post-romantic aesthetics that infused Getter: Kollywood Goes Global: New Sounds contemporary soundtracks and write in a and Contexts for Tamil Film Music in the 21st more modern, even American, style. During Century / 60. – 4. Kaley Mason: On Nightin- the 1940s the film industry was already em- gales and Moonlight: Songcrafting Femininity bracing an abundance of new production in Malluwood / 75. – PART TWO: Audio Cul- styles, techniques, and genres that fostered tures, Music Videos, and Film Music: – 5. innovation in the development of cinematic Jayson Beaster-Jones: Film Song and Its musical codes. When Copland returned to Other: Stylistic Mediation and the Hindi Film Hollywood in 1948 to score William Wyler’s Song Genre / 97. – 7. Anjali Gera Roy: Filming psychological melodrama “The Heiress” the Bhangra Music Video / 142. – 8. Peter (1949), he chose to take on a set of new chal- Kvetko: Mimesis and Authenticity: The Case lenges. Copland attempted to discover a new of Thanda Thanda Pani and Questions of Ver- idiom for love music, on the one hand, and sioning in North Indian Popular Music / 260. began to use leitmotifs as a structural device, – PART THREE: Live Music, Performance Cul- on the other. Copland’s experience with “The tures, and Re-mediation: – 10. Bradley Shope: Heiress” opens a space in which to reassess Latin American Music in Moving Pictures and his opinions about appropriate film-scoring Jazzy Cabarets in Mumbai, 1930s to 1950s / techniques as well as his public endorsement 201. – 15. Paul D. Greene: Bollywood in the of film composition. His perspectives on film Era of Film song Avatars: DJing, Remixing, composition – as demonstrated in his writ- and Change in the Film Music Industry of ings, correspondence, and film scores as well North India / 300. – References / 321 – Films, as in interviews and reviews of his film music Videos, and Music Cited / 335 – Index / 343. – reveal a tension between the composer’s artistic sensibilities and his attitude toward the commercialism of film music. Indeed he Borelli, Melissa Blanco (ed.): The Oxford Hand- maintained a more ambivalent attitude to- book of Dance and the Popular Screen. ward cinematic composition than he publi- Oxford/New York: Oxford University Press cally professed. Understood in this context, 2014, x, 476 S. (Oxford Handbooks in Music.). Copland’s scoring decisions in The Heiress re- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 24

... sets the agenda for the study of dance in The Dance Factor: Hip-Hop, Spectacle, and popular moving images – films, television Reality Television / 304. – Alexus A. Weis- shows, commercials, music videos, and You- brod: Defining Dance, Creating Commodity: Tube – and offers new ways to understand The Rhetoric of So You Think You Can the multi-layered meanings of the dancing Dance / 320. – Kathaleen Boche: Hatchets and body by engaging with methodologies from Hairbrushes: Dance, Gender, and Improvisa- critical dance studies, performance studies, tional Ingenuity in Cold War Western Musi- and film/media analysis. cals / 337. – Victor Fowler / Tom Phillips: Inhalt: Melissa Blanco Borelli: Introduction: Some Dance Scenes from Cuban Cinema, Dance on Screen / 1. – Clare Parfitt-Brown: 1959–2012 / 351. – Rosemary Candelario: An Australian in Paris: Techno-Choreo- “Shine Your Light on the World”: The Utopian graphic Bohemianism in Moulin Rouge! / 21. Bodies of Dave Chappelle’s Block Party / 365. – Mary Simonson: A Different Kind of Ballet: – Amita Nijhawan: Of Snake Dances, Over- Rereading Dorothy Arzner’s Dance, Girl, seas Brides, and Miss World Pageants: Frol- Dance / 41. – Harlig, Alexandra: Dance on the icking through Gurinder Chadha’s Bride and Popular Screen / 57. – Ariel Osterweis: Disci- Prejudice / 378. – Harmony Bench: Monstrous plining Black Swan, Animalizing Ambition / Belonging: Performing “Thriller” after 9/11 / 68. – Mary Fogarty: Gene Kelly: The Original, 393. – Karyn T.D. Recollet: Dancing “between Updated / 83. – Susie Trenka: Appreciation, the Break Beats”: Contemporary Indigenous Appropriation, Assimilation: Stormy Weather Thought and Cultural Expression through and the Hollywood History of Black Dance / Hip-Hop / 412. – Melissa Blanco Borelli, 98. – Thomas F. DeFrantz: Hip-Hop in Holly- Derek A. Burrell: Dancing with Myself: Dance wood: Encounter, Community, Resistance / Central, Choreography, and Embodiment / 113. – Colleen Dunagan / Roxane Fenton: 429. – Sherrill Dodds: Values in Motion: Re- Dirty Dancing: Dance, Class, and Race in the flections on Popular Screen Dance / 445. Pursuit of Womanhood / 135. – Cindy Garcia: Displace and Be Queen: Gender and Intercul- turalism in Dirty Dancing: Havana Nights Borgelt, Hans: Der ideale Musikfilm und seine (2004) / 155. – Inna Arzumanova: It’s Sort of bisherigen Erscheinungsformen. In: Theater “‘Members Only’”: Transgression and Body der Zeit, 7, 1951, S. 36–40. Politics in Save the Last Dance / 166. – Raquel L. Munroe: “The White Girl in the Middle”: Borodin, Boris B[orisovič]: «Zatravlennoe for- The Performativity of Race, Class, and Gender tepiano» i «velikij nemoj» [Бородину, Борис in Step Up 2: The Streets / 182. – Batiste, Б[орисович]: «Затравленное фортепиано» Stephanie L.: Affect-ive Moves: Space, Vio- и «великий немой»]. In: Nauka televidenija / lence, and the Body in Rize’s Krump Dancing / The Art and Science of Television 16,2, 2020, S. 199. – Melissa Blanco Borelli: A Taste of 161–187; [URL]. Honey: Choreographing Mulatta in the Holly- wood Dance Film / 225. – Derek A. Burrill: “The Racked Pianoforte” and “The Great Silent “He’s Doing His Superman Thing Again”: Cinema.” Moving Bodies in The Matrix / 240. – Takiyah In kyrill. Schrift. – Abstract: The article con- Nur Amin: Girl Power, Real Politics: Dis/Re- siders the activities of pianists accompanying spectability, Post-Raciality, and the Politics of silent cinema. They can be equally related to Inclusion / 255. – Chih-Chieh Liu: Denatural- the history of cinema, the history of music, izing Coco’s “Sexy” Hips: Contradictions and and piano performance. Musical accompani- Reversals of the Dancing Body of a Chinese ment was an important additional means of American Superstar in Mandarin Pop / 268. – influencing the viewers and a variable compo- Philippa Thomas: Single Ladies, Plural: nent of the historical film show. This practice Racism, Scandal, and “Authenticity” within is a thing of the past now, along with silent the Multiplication and Circulation of Online cinema, and attempts to revive it in modern Dance Discourses / 289. – Laura Robinson: conditions are a mere reconstruction. The au- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 25 thor suggests that it was not the invention of thetic boundary beyond which the cinema technical capabilities for synchronizing sound will enter its digital age. and images that determined the aesthetic boundary between the silent and sound era; it was the renunciation of pianists as direct mu- Borum, Jeremy: Guerrilla Film Scoring: Practi- sical accompaniment of the films, the removal cal Advice from Hollywood Composers. Lanham, of the “human factor”. The most authentic Mad.: Rowman & Littlefield Publishers 2015, materials for studying the activities of illus- xx, 250 S. trator pianists are interviews and archival In this book, Jeremy Borum provides valuable filming of musicians who had actual experi- guidance on how to make a good film score ence in silent film scoring. Of the printed both quickly and inexpensively. Featuring in- sources, photoplay music-sheet music collec- sights from 20 professional composers, this tions for tappers are very informative. There handbook encompasses the entire film scor- could be one or many authors to such collec- ing process including education, preparation, tions. The article analyzes the photoplay mu- writing and recording a score, editing, mixing sic by John Stepan Zamecnik and Ernö Rapée. and mastering, finding work, career develop- The conclusion is that the plays included in ment, and sample contracts. one-author collections are distinguished by the simplicity of form, genre definiteness, and Bottomore, Stephen: An International Survey recurrence of musical language. By contrast, of Sound Effects in Early Cinema. In: Film His- compiled collections including works from tory 11,4, 1999, S. 485–498. different eras composed by different authors, systematized by themes, are stylistically diverse. Using pieces from photoplay music col- Bovi, Michele: Cinebox vs. Scopitone: Songs to lections, as well as from popular classical See. / Canzoni da guardare. Edizione italiana e melodies and contemporary dance music, il- inglese. Milano: Arcana 2013, 197 S. lustrators compiled their “soundtracks”, link- Ausstellungskatalog. Zuerst 2011. – The first ing them by composed or improvised parts. music videos in color, the true ancestors of As time passed by, “taper culture” revealed its modern day video clips. They were imple- patterns, which later became the basis of cin- mented in Italy during the late fifties and ema music in the sound era and was clearly marketed from 1961 onwards, exactly fifty manifested in the work of Shostakovich. The years ago, in symbioses with the inspired author draws several parallels between the birth of the revolutionary Cinebox which in- recommendations of the photoplay music troduced the new concept of push button key- compilers and the artistic practices of film- board selection of one music video at a time. makers of the second half of the twentieth The Cinebox provoked fierce international century. Speaking about the revival of silent competition between Italy and France. Artis- film illustrators as a profession in the modern tic creative commercial battles were fought in cultural space, the author emphasizes that pi- Europe and later in the United States. The ano helps to preserve the artistic integrity of competitive commercial war, spanned a silent pictures for modern viewers. This activ- decade in which many internationally famous ity of pianists is interpreted as one of the artists, producers and film directors of the branches of historically informed perfor- nineteen sixties were at loggerheads. Among mance. The article offers examples of similar these, were Claude Lelouch, Francis Ford specific art projects. In conclusion, it is em- Coppola, Robert Altman, the italian film di- phasized that modern cinema, by the way it rector Vito Molinari, the italian tv director preserves and reproduces reality, has become Enzo Trapani, and many large influential ital- a totally technical art. In mass cinema, record- ian industries such as Ottico Meccanica Ital- ings of live symphony orchestras are being iana, Innocenti, Lepetit-Ledoga, the Beretta replaced by less expensive computer phono- Group, the Microstampa and Cinestabili- grams. The author sees this as the next aes- mento Donato. In conclusion, all the excite- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 26

ment aroused the interest of the mafia and Lesley Barber and Mark Korven, respectively consequently that of Robert Kennedy, who as – with whom they have collaborated since chairman of the Federal Grand Jury, spear- their emergence in the 1980s. Their works headed the fight against the mafia. serve as case studies for an understanding of Michele Bovi, a journalist and author, has dili- the ways film music can engage visual narra- gently gathered all the historical facts per- tive and how the convergence of music and taining to these events and the birth of the story can inform broader and Canadian con- Cinebox. He has extensively interviewed the siderations. In the first chapter, I discuss film protagonists, participants and witnesses of as social text and as personal and cultural ex- this fascinating history and of the artistic and pression within a context of national cultural commercial rivalry between the italian policies. I consider how music, in its ability to Cinebox and its french counterpart, the Scopi- mediate and interpret film, and as the product tone. In this book, besides the story and testi- of creative interactivity, becomes a site monials, it lists all the short films and music through which individual and national identi- videos filmed throughout the world and cap- ties can be negotiated. In a national and social tures the reader’s interest with documenta- sense, I investigate some of the ways music tion and original photos taken on the film can be "heard" differently when we acknowl- sets, that binds together in this book, a snap- edge its particular social, cultural and ideo- shot of many famous artists of that era with logical contexts – within and outside the film. its unrepeatable artistic creativity with the In the spirit of the multidisciplinary approach legendary and innovative italian invention, necessitated by the subject matter, this project the Cinebox. brings together interpretive strategies informed by cultural and anthropological studies, film music theory, postmodernism and Bowman, Durrell: Dark Mirrors and Dead gender theory, among others. Using cultural Ringers: Music for Suspense Films about studies and ethnographic methods as the Twins. Intersections: Canadian Journal of Music backbone for examination of the music’s “ex- 27,1, 2006, S. 54–74. trafilmic” contexts, while applying detailed musical analyses in consideration of music’s “extrafilmic” roles, the second and third chap- Bozynski, Michelle Carole: Music in Canadian ters provide layered and multi-variable dis- Visual Narrative: Musical Collaborations in Five cussions of the music and music makers of Films of Atom Egoyan and Patricia Rozema. five Canadian films. Egoyan’s films, Family Ph.D. thesis, University of Toronto, Musicol- Viewing (1987) and Exotica (1994), and ogy, 2004, 401 S. Rozema’s films, I’ve Heard the Mermaids The goal of this project is to promote an Singing (1987), White Room (1991), and When awareness of some important recent contribu- Night is Falling (1995) fuel the discussion. tors to Canadian film music, and draw attention to the collaborative process between Brackett, David: Banjos, Biopics, and Compila- composers and filmmakers in Canada. My investigation of film music through a multi- tion Scores: The Movies Go Country. In: Amer- contextual framework engages the larger ican Music: A Quarterly Journal Devoted to All question of how music adds layers of mean- Aspects of American Music and Music in Amer- ing to film. Music is an agent of narrativity in ica 19,3, 2001, S. 247–290. film, and the case studies benefit our understanding of Canadian film music’s potential to Braun, Angelika / Christa M. Heilmann: Iden- inform the multiple narratives through which tität und Imitation. Konstruktion von Emotio- it passes. This project examines the work of nen im synchronisierten Film. In: Das Phäno- two Canadian independent feature filmmak- men Stimme: Imitation und Identität. Hrsg. v. ers, Atom Egoyan and Patricia Rozema, and Thomas Kopfermann. [5. Internationale Stutt- the film composers – Mychael Danna, and garter Stimmtage. / Hellmut K. Geissner zum Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 27

80. Geburtstag.] St. Ingbert: Röhrig 2004, S. 2017, 134 S. 111–122. Zur Musik in der TV-Animationsserie Cow- boy Bebop (Japan 1998–99). Braun, Michael: Franz Grothe als Filmkompo- nist in der Zeit des Nationalsozialismus. In: Banter, H[arald] / Brandhorst, J[ürgen] / Brooks, Rosetta: Seeing with Our Ears: Music Braun, M[ichael] [u.a.]: Franz Grothe. Mün- for TV. In: The Arts for Television. [Katalog zur chen: Allitera Verlag 2019, S. 73–92 (Kompo- gleichnamigen Ausstellung.] Ed. by Kathy Rae nisten in Bayern: Dokumente musikalischen Huffman & Dorine Mignot. Amsterdam: Schaffens im 20. und 21. Jahrhundert. 64.). Stedelijk Museum 1987, S. 66–82.

Bregman, Albert S.: Scene Analysis: Hearing in Brosius, Hans-Bernd / Kepplinger, Hans Math- Complex Environments. In: Thinking in Sound: ias: Der Einfluss von Musik auf die The Cognitive Psychology of Human Audition. Wahrnehmung und Interpretation einer sym- Ed. by S. McAdams & E. Bigand. Oxford: Ox- bolisierten Filmhandlung. In: Rundfunk und ford University Press 1993, S. 10–36. Fernsehen 39,4, 1991, S. 487–505.

Bribitzer-Stull, Matthew: Understanding the Brown, Julie: Listening to Ravel, Watching Un Leitmotif: From Wagner to Hollywood Film Mu- Cœur en Hiver: Cinematic Subjectivity and the sic. Cambridge/New York: Cambridge Univer- Music-Film. In: Twentieth Century Music 1,2, sity Press 2015, xxiv, 331 S. 2004, S. 253–275. The musical leitmotif, having reached a point of particular forcefulness in the music of Brown, Julie, / Davidson, Annette (eds.): The Richard Wagner, has remained a popular Sounds of the Silents in Britain. New York: Ox- compositional device up to the present day. In ford University Press 2013, xiv, 334 S. this book, Matthew Bribitzer-Stull explores Inhalt: Overture / Julie Brown, Annette Davi- the background and development of the leit- son – Professional lecturing in Early British motif, from Wagner to the Hollywood adapta- Film shows / Joe Kember – “Now, where were tions of The Lord of the Rings and the Harry we?” ideal and actual early cinema lecturing Potter series. Analyzing both concert music practices in Britain, Germany and the United and film music, Bribitzer-Stull explains what States / Judith Buchanan – Eric Williams: the leitmotif is and establishes it as the union speaking to pictures / Stephen Bottomore – of two aspects: the thematic and the associa- Sounding Scottish: sound practices and silent tive. He goes on to show that Wagner’s Ring cinema in Scotland / Trevor Griffiths – “Suit- cycle provides a leitmotivic paradigm, a able music”: accompaniment practice in early model from which we can learn to better un- London screen exhibition from R.W. Paul to derstand the leitmotif across style periods. the Picture Palaces / Ian Christie – The art of Arguing for a renewed interest in the artistic not “playing to pictures” in British cinemas, merit of the leitmotif, Bribitzer-Stull reveals 1906–1914 / Jon Burrows – “The efforts of the how uniting meaning, memory, and emotion wretched pianist”: learning to play to the pic- in music can lead to a richer listening experi- tures in Britain, 1911–1913 / Andrew Higson ence and a better understanding of dramatic – The reception of British exhibition practices music’s enduring appeal. in moving picture world, 1907–1914 / James Buhler – Selsior dancing films, 1912–1917 / Stephen Bottomore – Song of performance in Bridges, Rose: Yoko Kanno’s “Cowboy Bebop” the early sound shorts British pathé / Derek Soundtrack. New York, NY/London/Oxford/ B. Scott – Framing the atmospheric film pro- New Delhi/Sydney: Bloomsbury Academic logue in Britain, 1919–1926 / Julie Brown – Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 28

Animating the audience: singalong films in ‘intermedia’ connections between auditory Britain in the 1920s / Malcolm Cook – Work- and visual approaches to a work of art. ers’ rights and performing rights: cinema music and musicians prior to synchronized sound / Annette Davison – Sound at the film Brown, Richard H.: Through the Looking Glass: society / John Riley – Edmund Meisel’s “vis- John Cage and Avant-garde Film. New York: ual sound” in The crimson circle (1929): the Oxford University Press 2019, x, 240 S. case of the vanishing part-talkie / Fiona Ford. Inhalt: Introduction: Audiovisu(ality)(ology) / 1. – The Spirit Inside Each Object: Oskar Brown, Kristi A.: The Troll Among Us. In: Fischinger, Sound Phonography, and the “In- ner Eye” / 15. – : Changing Tunes: The Use of Pre-existing Music Dreams That Money Can Buy Trance, Myth, and Expression, 1941–1948 / in Film. Ed. by Phil Powrie & Robynn Stilwell. 49. – Losing the Ground: Chance, Trans- Aldershot: Ashgate 2006, 74–87. parency, and Cinematic Space, 1948–1958 / 91. Nachdr. London: Routledge 2017. – “Cinema Delimina”: Post-Cagean Aesthet- ics, Medium Specificity, and Expanded Cin- emap / 139. – Conclusion: “Through the Look- Brown, Nicholas G.: Electroacoustic composi- ing Glass”: Poetics and Chance in John Cage’s tion and silent film. In: Music and Sound in One” / 173. Silent Film: From the Nickelodeon to “The Artist“. Ed. by Simon Trezise & Ruth Barton. Brown, Royal S.: Film Music: London: Routledge 2019, S. 187–197. The Good, the Bad, and the Ugly. In: Cineaste 21,1–2, 1995, S. 62–67. Brown, Richard H.: Breaking the Sound Bar- Brown, Royal S.: Eine neue musikalische Form rier: Transparency and Cinematic Space in schaffen. Bernard Herrmann und der Holly- Works of Calder (1950) and Jackson Pollock 51’. wood-Filmscore. In: Regina Schlagnitweit / In: Contemporary Music Review 33,5–6, 2014, Gottfried Schlemmer [Hrsg.]: Film und Musik. S. 512–538. Wien: Synema 2001, S. 85–98. In the early 1950s John Cage and Morton Feldman were commissioned to score docu- Brown-Montesano, Kristi: Pathétique noir. mentary films on two significant American Beethoven and the man who wasn’t there. In: artists: Cage for the Herbert Matter documen- Beethoven Forum 10,2, 2003, S. 139–161. tary on sculptor Alexander Calder, and Feld- man for the Hans Namuth and Paul Falken- Brown-Montesano, Kristi: Terminal Bach. berg documentary on Abstract Expressionist Technology, media, and the “Goldberg varia- painter Jackson Pollock. Both artists saw tions” in postwar American culture. In: Bach. these commissions as opportunities to formal- The Journal of the Riemenschneider Bach Insti- ize connections between their compositional tute, Baldwin-Wallace College 50,1, 2019, S. 81– approaches to sound and the visual approach 117. to space, kinetic movement, and ground re- The curious link between Bach’s music and vealed in the time-based poetics of the mov- psychopaths in English-language film can be ing image. Examination of archival docu- traced back to at least ments from these film commissions, including Dr. Jekyll and Mr. Hyde (1931) and (1934), but this cine- original scores and correspondence, reveals The Black Cat matic trope regained horror credibility in the numerous parallels between the New York late twentieth century with Dr. Hannibal schools of music and visual arts. Both films Lecter in (1991). predate the radical shift in Cagean esthetics The Silence of the Lambs Lecter’s creator, author Thomas Harris, gave by only a year, and the commissions provided his cannibalistic serial killer preternatural in- a self-conscious examination of the artistic telligence and a taste for fine culture, includ- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 29

ing the keyboard works of Bach, most notably Struktur von Singin’ in the Rain / 11. – Olaf the Goldberg Variations. Scholars and fans Jubin: Singin’ in the Rain als Klassiker des alike have investigated almost every aspect of amerikanischen Filmmusicals / 27. – Frederic Lecter’s persona, including his musical prefer- Döhl: »From Arthur Freed Down«: Über den ences, yet a broader question arises: how ex- Produzenten als Teil kooperativer Autorschaft actly did we get to Lecter’s Bach? What cul- im amerikanischen Musical am Beispiel der tural factors – musical and otherwise – might »Arthur Freed Unit« / 57. – Ivana Dragila: have influenced Harris to fix on Bach, Gould, Das Hollywood-Musical. Umriss seiner and the Goldberg Variations specifically for Geschichte 1900–1950 / 77. – Wolfgang his supervillain? This investigation considers Jansen: Singin’ in the Rain auf der Bühne. Zur significant events of the postwar period that internationalen Rezeption des Musicals / 91. – likely played a role in the evolution of the Renaud Lagabrielle: Ein Pariser in Hollywood. Lecterian Bach: (1) the modernist turn in Intermediale Bezüge und reflexive Praxis in Bach reception, performance practice, and Etoile sans lumiere und Singin’ in the Rain / recording in the United States between 1945 103. – Claudia Jeschke: Gene Kelly – Chore- and 1968, especially as evidenced in the sen- ographing Ballet(s). Eine (eurozentrische) sational albums of Glenn Gould and Wendy Spurensuche in An American in Paris (1951), Carlos; (2) the twentieth-century cinematic Singin’ in the Rain (1952), Imitation to the association between Bach’s music and de- Dance (1952/56) / 119. – Ralph J. Poole: »I structive drives, particularly as redefined cayn’t make love to a bush!« Lina Lamont from the early 1970s via the use of Variation und die Austreibung weiblicher Komik in Sin- 25 in Slaughterhouse-Five (1972) and The Ter- gin’ in the Rain / 133. – Joachim Brügge: Dra- minal Man (1974); and (3) the postwar boom maturgische und formale Aspekte zu ausge- in computer science and the significance of suchten Songs zu Singin’ in the Rain / 157. Bach’s music to related discourses such as the development of artificial intelligence. All of these threads intersect with a phenomenon of Bryngelsson, Peter: Filmmusik: det komponer- modern, industrialized American culture that ade miraklet. Under medverkan av Joakim Mark Seltzer describes in his Serial Killers: Tillman. [Möklinta:] Gidlunds förlag 2015, 244 Death and Life in America’s Wound Culture S. (1998) as “techno-primitive.” The life process Zur Geschichte der Filmmusik. Mit einem Re- and machine process are integrated “such that gister der erwähnten Filme und TV-Serien. – the call of the wild represents not the antidote Inhaltsverzeichnis: [URL]. to machine culture but its realization.” As a superhuman genius who kills like a machine, Lecter undeniably represents the techno- Buhler, James: Star Wars, Music and Myth. In: primitive. Yet, his cultured intellectualism (in- Music and Cinema. Ed. by James Buhler, Caryl cluding his love of Bach’s music) taps into Flinn & David Neumeyer. Hanover, NH: Wes- postwar popular understanding of the com- leyan University Press 2000, S. 33–57. poser’s work as the highest expression of musical logic, ideally suited to the technological Buhler, James: Analytical and Interpretive Ap- age. (Vorlage) proaches to Film Music (II): Interpreting Inter- actions of Music and Film. In: Film Music: An Anthology of Critical Essays. Ed. by Kevin J. Brügge, Joachim / Grosch, Nils (Hrsg.): Singin’ Donnelly. Edinburgh: Edinburgh University in the Rain: Kulturgeschichte eines Hollywood- Press 2001, S, 39–61. Musical-Klassikers. Münster/New York: Wax- mann 2014, 173 S. (Populäre Kultur und Mu- sik. 12.). Buhler, James: Enchantments of The Lord of the Rings: Soundtrack, Myth, Language, and Inhalt: Nils Grosch, Jonas Menze: Anmerkun- Modernity. In: From Hobbits to Hollywood: Es- gen zur musikalischen Dramaturgie und says on Peter Jackson’s Lord of the Rings. Ed. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 30 by Murray Pomerance & Ernest Mathijs. Am- Soundtrack. Urbana, Ill.: University of Illinois sterdam: Editions Rodopi 2006, S. 231–248 Press 2020 x, 309 S. The collection is divided into four sections. Buhler, James: Music and the Adult Ideal in A The first explores historical approaches to Nightmare on Elm Street. In: Music in the Hor- technology in the silent film, French cinema ror Film: Listening to Fear. Ed. by Neil Lerner during the transition era, the films of the so- New York: Routledge, 2009, S. 168–186. called New Hollywood, and the post-production sound business. The second investigates the practice of the singing voice in diverse Buhler, James: Wagnerian Motives. Narrative repertories such as Bergman’s films, Eighties Integration and the Development of Silent teen films, and girls’ voices in Brave and Film Accompaniment, 1908–1913. In: Wagner Frozen. The third considers the auteuristic and Cinema. Ed. by Sander L. Gilman & voice of the soundtrack in works by Kuro- Jeongwon Joe. Bloomington: Indiana Univer- sawa, Weir, and others. A last section on nar- sity Press 2010, S. 27–45. rative and vococentrism moves from The Martian and horror film to the importance of background music and the state of the sound- Buhler, James: ‘Everybody Sing’: Family and track at the end of vococentrism. Social Harmony in the Hollywood Musical. Inhalt: James Buhler & Hannah Lewis: Intro- In: . Ed. A Family Affair: Cinema Calls Home duction. Voices in, of, and on the Cinema (1). by Murray Pomerance. London: Wallflower – 1. Apprehending Human Voice in the Press 2008, S. 29–44. “Silent Cinema” / Julie Brown (17). – 2. Silenc- ing and Sounding the Voice in Transition-Era Buhler, James: Theories of the Soundtrack. New French Cinema / Hannah Lewis (34). – 3. FM York: Oxford University Press 2019, xlv, 318 S. Radio and the New Hollywood Soundtrack / (The Oxford Music/Media Series.). Julie Hubbert (54). – 4. Pinewood’s Fiddler Fans Goldwyn’s Folly: London’s Battle for This book summarizes and critiques major Postproduction Sound Business / Katherine theories of the soundtrack from roughly 1929 Quanz (73). – 5. Vococentrism and Sound in until today. Rather than providing an exhaus- Ingmar Bergman’s The Magic Flute / Marcia J. tive historical survey, it sketches out the Citron (91). 6. Breaking into Soundtrack in range of theoretical approaches that have 1980s Teen Films / Cari McDonnell (108). – 7. been applied to the soundtrack since the com- Girls’ Voices, Boys’ Stories, and Self-Determi- mercial introduction of the sound film. The nation in Animated Films since 2012 / Robynn basic theoretical framework of each approach J. Stilwell (127). – 8. The Trouble with On- is presented, taking into account the explicit screen Orchestrators: Progeny and Composi- and implicit claims about the soundtrack and tional Crisis in the Four Daughters Film / its relation to other theories. The organization Nathan Platte (151). – 9. Some Thoughts on is both chronological and topical, the former Genre, the Vococentric Cinema, and “Stella by in that the chapters move steadily from early Starlight” / David Neumeyer (171). – 10. Lis- film theory through models of the classical tening to Soundscapes in Kurosawa’s Dersu system to more recent critical theories; the Uzala (1975) / Brooke McCorkle (190). – 11. latter in that the chapters highlight central is- Peter Weir and the Piano Concerto / Erik sues for each generation: the problem of film Heine (207). – 12. Monocentrism, or Sound- itself, then of image and sound, of adequate tracks in Space: Rediscovering Forbidden analytical-descriptive models, and finally of Planet’s Multi-Speaker Release / Eric Dienst- critical-interpretative models. frey (229). – 13. Sound and the Comic/Horror Romance Film: Formula, Affect, and Inflection / Janet Staiger (245). – 14. Once More into the Buhler, James / Lewis, Hannah (eds.): Voicing Breach: Interrogating Ben Winters’s the Cinema: Film Music and the Integrated Nondiegetic Fallacy / Jeff Smith (260). – 15. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 31

The End(s) of Vococentrism / James Buhler Filmmaking. Ed. by Wieland Schwanebeck. (278). Cham, Switzerland: Palgrave Macmillan 2018, S. 21–40. Buhler, James / Neumeyer, David: Analytical and Interpretive Approaches to Film Music (I): Bullerjahn, Claudia: Grundlagen der Wirkung Analyzing the Music. In: Film Music: An An- von Filmmusik. 4., unv. Aufl. Augsburg: Wiß- thology of Critical Essays. Ed. by Kevin J. Don- ner-Verlag 2019, 362 S. (Forum Musikpädago- nelly. Edinburgh: Edinburgh University Press gik. 43./Wißner-Lehrbuch. 5.). 2001, S. 16–38. Inhaltsüberblick: 1. Einleitung / 11. – 2. Kate- gorisierung von akustischen Ereignissen im Buhler, James / Neumeyer, David: Music – Film / 19. – 3. Beziehungen zwischen Filmmu- Sound – Narrative: Analyzing Casablanca. In: sik und Bildinhalten / 31. – 4. Beschreibung Interdisciplinary Studies in Musicology 5. Ed. und Kategorisierung der Funktionen von by Maciej Jablonski & Michael Klein. Poznan: Filmmusik / 53. – 5. Filmmusiktechniken / 75. – 6. Physiologische Grundlagen der audiovi- Rhytmos 2005, S. 277–291. suellen Wahrnehmung / 101. – 7. Entwurf eines übergreifenden Modells zur Wirkung von Buhler, James / Neumeyer, David: Composing Filmmusik / 123. – 8. Wirkungen von Filmmu- for the Films, Modern Soundtrack Theory, and sik / 157. – 9. Zusammenfassung und Schluß- the Difficult Case of A Scandal in Paris. In: betrachtung / 297. – 10. Summary and conclu- Eisler-Studien 3, 2008, S. 123–141. sion / 303. – 11. Literaturverzeichnis / 309. – 12.3 Filmverzeichnis / 335. – 13. Register / 337. – 13.1 Sachregister / 337. – 13.2 Perso- Buhler, James / Neumeyer, David: Music and nenregister / 356. the ontology of the sound film: the classical Hollywood system. In: The Oxford Handbook of Film Music Studies. Oxford/New York: Ox- Bullerjahn, Claudia / Güldenring, Markus: An ford University Press 2014, S. 17–43. empirical investigation of effects of film music using qualitative content analysis. In: Psy- chomusicology: A Journal of Research in Music Bullerjahn, Claudia: Carmen – eine Projekti- Cognition 13,1–2, 1994, S. 99–118. onsfläche. Vergleichende Untersuchung von ausgewählten Verfilmungen. In: Bullerjahn, This study investigated the effects of film mu- Claudia / Löffler, Wolfgang (Hrsg.): Musiker- sic by using both standardized methods (rat- mythen – Alltagstheorien, Legenden und Medi- ing scales) and qualitative research methods. eninszenierungen. Hildesheim / Zürich / New An experimental film of about10 min duration York: Olms 2004, S. 313–351 (Musik – Kultur was created to resemble part of a real feature – Wissenschaft. 2.). film with various interpretations. Three professional film music composers produced music soundtracks for the film in the style of a Bullerjahn, Claudia: Ein begriffliches Babylon. thriller, a melodrama and one other version. Von den Schwierigkeiten einer einheitlichen For the study, five versions were selected dif- Filmmusiknomenklatur. In: Academia.edu fering in style, orchestration, use of motifs, [2016], [URL]. and the place and length of the music in relation to the film. Using both rating scales and open-ended questions, over 400 subjects pro- Bullerjahn, Claudia: Facing the Past as Well as vided information about the relationships be- the Future: Music and Sound in Hitchcock’s tween the characters and about the history Early British Sound Films. In: Reassessing the and outcome of the events depicted by the Hitchcock Touch: Industry, Collaboration, and film excerpt. Results indicated that filmmusic Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 32

polarizes the emotional atmosphere and influences the understanding of the plot.

Burke, Patrick Lawrence: Rock, race, and radi- calism in the 1960s: the Rolling Stones, black power, and Godard’s One plus One. In: The – C – Journal of Musicological Research 29,4, 2010, S. 275–294. Calabretto, Roberto: La musica per film al Jean-Luc Godard’s 1968 film One Plus One is Convegno Internazionale dei Centri Speri- of musicological significance because, unlike mentali di Musica Elettronica di Firenze del most music scholars, Godard directly con- 1968: alcuni segnali provenienti dall’Est. In: fronts racial issues in 1960s rock. By juxtapos- Musica/Tecnologia 9, 2015, S. 157-180. ing studio footage of the Rolling Stones with staged tableaux of black militants, Godard The International Conference of the Experi- both highlights white appropriation of black mental Centres of Electronic Music was held music and suggests that any cultural expres- in Florence from 9 to 14 July 1968, during the sion that seems transparently authentic is ac- XXXI Maggio Musicale Fiorentino, thanks to tually constructed rhetorically. “One Plus Pietro Grossi’s effort. Many musicians and re- One” undermines the romantic notion of the searchers attended, coming from different Eu- ‘rock revolution’ that continues to inform ropean nations. Among them were Ivan popular accounts of 1960s rock, suggesting Stadtrucker (Bratislava Television Experimen- instead that rock was part of a complex and tal Studio), who illustrated the use of elec- often contradictory political culture. (Vorlage) tronic musical devices in film practice, and Evgenij A. Murzin (Moscow Studio), who presented the ANS synthesizer – a device made Bushard, Anthony: Leonard Bernstein’s “On by 720 oscillators that covered a range of the Waterfront”: A Film Score Guide. Lanham, seven octaves and that was used also by An- Md.: Scarecrow 2013, xviii, 214 S. (Scarecrow drej Tarkovskij in Solaris. The essay deals Film Score Guides. 14.). with these two presentations relating them to the universe of European film music in the Inhaltsübersicht: Leonard Bernstein’s musi- second half of the 20th century. cal and dramatic background to 1954 – Leonard Bernstein’s compositional method in On the waterfront – The film and its con- Calabretto, Roberto (a cura di): Musica per text I – The film and its context II – Analy- film: riflessioni storico-teoriche. Numero mono- sis of the score. grafico dal Seminario della Fondazione Ugo e Olga Levi “La storia musicale e la musica per film” (Venezia, Palazzo Giustinian Lolin, 15-16 Butler, David: The days do not end: Film mu- marzo 2013). Venezia: Fondazione Ugo e Olga sic, time and Bernard Herrmann. In: Film Levi / Bologna: Il Mulino 2016, S. 509–755 [= Studies 9,1, 2006, S. 51–63. 247 S.] (Musica e storia. XVII/3, 2009 [Nov 2016].). Inhalt: A Sergio Miceli (509–510). – Roberto Calabretto: Appunti per una possibile teoria della musica per film (511–566). – Gianni Rondolino: La musica cinematografica: teoria e storia (567–578). – Irene Comisso: L’“Allge- meines Handbuch der Film-Musik” di Erd- mann-Becce-Brav e il dibattito teorico-esteti- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 33

co nella pubblicistica del primo Novecento ground of the censorship of North’s score in (579–598). – Peter Moormann: Music and 1951. sound as counterpoint? Aesthetic discussions about film music in Germany triggered by the advent of sound film in the late 1920s (599– Callaghan, Andrew: Realism and the “inaudi- 606). – Umberto Fasolato: Balázs e la proble- ble” score for Spotlight. In: Context: A Journal matica attesa del film sonoro del futuro (607– of Music Research 42, 2017, S. 53–66. 622). – Sergio Miceli: Da Kurt London (1936) a Reality poses a problem for film composers. Theodor W. Adorno (1947): due miti da ridi- For decades, filmmakers in Hollywood have mensionare (623–636). – Giovanni De Mezzo: leaned towards an avoidance of non-diegetic Teoria e prassi negli scritti cinematografici di music in films that seek a realistic aesthetic. Vittorio Gelmetti (637–678). – Marco Targa: The post-millennial examples of this phenom- La prassi della compilazione musicale nel ci- enon are perhaps most recognisable in the nema muto italiano (679–700). – Günter found footage genre, which includes such Krenn: ”From the silver rose to the silver films as Quarantine and Cloverfield. However, screen.” Richard Strauss’ Filmmusik für den there have been a number of film productions österreichischen Stummfilm “Der Rosenkava- in the last ten years that bear many hallmarks lier” (1926) (701–720). – Marco Cosci: Alle ori- of illusory realism yet include the use of mu- gini del modernismo. Questioni e dibattiti in- sical scores. It appears that this contradiction torno alla “nuova musica” di Hollywood (721– of realist aims with practices that include 738). – Anna Katharina Windisch: Pressing non-diegetic music results in film scores that the Trade Press. Sources for Silent Film Music feature distinctive designs and occasionally Research in the American Trade Magazine compromise the scope of their functions. One Moving Picture World (739–755). of the most recent of these films is Spotlight, a docudrama directed by Tom McCarthy and Calella, Michele: Jazz, Sex und Filmmusik. co-written with Josh Singer. This film’s rela- Musik und Gender in Hollywoods Filmdra- tionship with truth and realism can be described in terms of its subject, social position men der 1950er Jahre. In: Musiktheorie: Zeit- and craft. The score was written by Howard 27,3, 2012, S. schrift für Musikwissenschaft Shore. Having previously worked on produc- 247–265. tions by David Cronenberg and the The Lord The famous sequence depicting the sexually of the Rings franchise, Shore is not widely allusive reconciliation of Stanley and Stella in known for creating scores that go unnoticed. Elia Kazan’s A Streetcar Named Desire (1951) Nevertheless, the score for Spotlight contains was heavily censored before the film was re- many features that make it a textbook case of leased. The motion picture production code unobtrusiveness, drawing on old traditions of forced the producers to remove also Alex Hollywood while adding a number of new North’s jazz-inflected cue, which was re- features. These features can also be observed placed by a “symphonic” one. This article tries in other recently produced film scores, repre- to reconstruct the musical and social dis- senting a style that is frequently employed by course of jazz music which lies behind this significant composers working on serious singular case of musical censorship. A cul- dramatic settings. tural and musical analysis of film scores until the early 1960s shows the importance of jazz- inflected music as a powerful instrument for Callaway, Kutter:Scoring Transcendence: Con- the construction of sexual female behaviour temporary Film Music as Religious Experience. in Hollywood films. The frequent use of jazz- Waco, Texas: Baylor University Press 2013, x, inflected musical topoi as a sign of promiscu- 253 S. ity and prostitution in these movies shows By engaging scores from the last decade of only apparently a change of mentality and re- popular cinema, Callaway reveals how a mu- veals actually the same discoursive back- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 34

sically aware approach to film can yield novel de compréhension d’une époque – Du Fantas- insights into the presence and activity of God tique dans la musique contemporaine: retour in contemporary culture. And, through con- vers le futur et au-delà – Musique du cinéma versations with these films and their filmmak- fantastique: requiem pour une humanité en ers, viewers can gain a new understanding of décomposition – Musiques actuelles et fantas- how God may be speaking to modern society tique,... est-ce bien sérieux ? – Les fleurs du through film and its transcendent melodies. fantastique dans les musiques des XXe et XXIe siècles. – Résumés des articles et biographies des auteurs / 26. – Emmanuelle Bobee: Campanella, Andrea (a cura di): Piero Umilia- Expressions sonores et musicales du fantas- ni: in parole e musica. Milano: Haze / Audito- tique dans les films de David Lynch / 45. – rium 2014, 125 S. (Rumori. 33.). Hubert Bolduc-Cloutier: Suggérer le rêve en musique: la technique du « son à l’envers » Essays und Interviews zum italienischen dans (1934) [aka dt. Komponisten Piero Umiliani (1926–2001); Rapt The Kidnapping; Schweiz/Frankreich 1934, Dimitri [Filmographie: URL]. Frauenraub, Kirsanoff] / 62. – Nicolas Planchard: The Piero Umiliami era un grande musicista, tra i Phantom Carriage: les spectres cinématogra- padri del moderno jazz italiano. Era un com- phiques de KTL [Körkarlen; dt. Der Fuhrmann positore di musiche per il cinema: oltre a “I des Todes, Schweden 1921, Victor Sjöström] / soliti ignoti”, ne ha firmate altre 150 almeno. 109. – Cécile Carayol: La Figure du vampire: Piero Umiliani ha scritto “mah-nà mah-nà”, codes récurrents dans la musique sympho- sigla del Muppet Show, e “Il valzer della nique de film de la Hammer à Twilight (New toppa”, col testo di Pasolini. Ha scritto anche Moon) / 145. – Chloé Huvet: Ouvrir la neu- sigle televisive per 90° minuto, la Domenica vième porte: musique et sorcellerie dans le Sportiva, La Corrida... Piero Umiliani era un film de Roman Polanski (1999) [The Ninth artista di talento, ma anche un artigiano inter- Gate; dt. Die neun Pforten, Frankreich/Spanien essato all’elettronica e alle nuove tecnologie. 1999, Roman Polanski] / 204. – Gilles Mene- È stato il pioniere della cocktail generation e galdo: La musique au service de l’effet fantas- della lounge music. Di quelli come lui si dice tique dans le cinéma hollywoodien: de Fran- che “erano avanti”, “erano geniali”, “precorre- kenstein (James Whale, 1931) à The Shining vano i tempi”. Piero Umiliani era così... Le (Stanley Kubrick, 1980) / 222. – Pascal Piston: musiche di Piero Umiliani le conosciamo tutti. Les principes harmoniques du cinéma fantas- Questo libro racconta anche il resto. Con in- tique / 233. – Jérémy Michot: Aux frontières terventi e testimonianze di Franco D’Andrea, du fantastique et de l’illusion dans les films Paolo Fresu, Enrico Intra, Dino Piana, Enrico hollywoodiens contemporains: « ce dont on Pieranunzi... (Verlag) ne peut parler... », faut-il le taire ou l’écouter? / 304. – Jérôme Rossi: Le fantastique musical dans la série Real Humans: un dispositif élec- Carayol, Cécile / Castanet, Pierre Albert / Pis- troacoustique pour une « musique cassée » tone, Pascal (sous la dir. de): Le fantastique [Äkta människor, TV-Serie, Schweden 2012– dans les musiques des XXe et XXIe siècles: mu- 2014] / 315. siques actuelles, musique contemporaine et musique de film. Préface d’Hervé Lacombe; post- face de François Rahier. Sampzon: Éditions Carayol, Cécile / Rossi, Jérôme (sous la dir. Delatour France, 2017, 390 S. (Pensée musi- de): Musiques de séries télévisées. Préface de cale.). Jean-Pierre Esquenazi. Rennes: Presses universitaires de Rennes 2015, 275 S (Le specta- Darin u.a.: Cécile Carayol, Pierre Albert Cas- tanet, Pascal Pistone, Antoine Santamaria / 9: culaire.). Introduction: Fantastique, fantastique, fantas- Longtemps considérée comme un avatar es- tique... – Entre expérience mystique et tech- thétiquement dégradé et moralement sim- nique: du fantastique musical comme moyen pliste de la fiction cinématographique, la série Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 35 télévisée s’est pourtant peu à peu autonomi- – Philippe Gonin: Serge Gainsbourg et la télé- sée au sein des études culturelles jusqu’à de- vision dans les années 1960: l’expérience Ma- venir un objet digne des recherches universi- rie-Mathématique / 163. – Mathieu Pierre: Des taires, tant pour la manière dont elle met en liens étroits entre narration et musique dans scène les phénomènes sociaux que pour la di- Buffy the Vampire Slayer de Joss Whedon / versité des codes et des stratégies narratives 183. – Florent Fayard: It’s in the frakkin’ ship! qu’elle mobilise. Mors que la musique de film La réflexivité musicale au service du récit constitue dorénavant un important champ dans Battlestar Galactica / 201. – Jérôme Ros- d’investigation en France, on ne peut en dire si: Musique et temporalité dans la série Pi- autant en ce qui concerne son étude dans le galle la nuit / 219. – Jérémy Michot: Analyse cadre de la télévision. Mépris ? Condescen- comparative des représentations musicales de dance? Absence de spécialistes ? Les équipe- la mort dans les génériques de séries télévi- ments audiovisuels domestiques – télévision sées (Six Feet Under, Dexter, The Walking Dead et projecteur numériques, son 5.1, lecteur Blu- et Les Revenants) / 237. ray – ont pourtant largement contribué à re- donner aux musiques de séries une part im- portante dans l’expérience du spectateur. – En Cardinal, Serge: Profondeurs de l’écoute de la se fondant sur un corpus varié de séries amé- musicalité du cinéma. Strasbourg: Presses uni- ricaines et françaises – de Twilight Zone versitaires de Strasbourg 2018, 244 S. (Formes (1959) aux Revenants (2012) – le présent ou- Cinématographiques.). vrage s’attache à étudier ces musiques sous Que peut-on gagner à faire de John Wayne un les angles successifs de la spécificité de la mu- ornithologue ? Que peut-on découvrir dans le sique de série – singularités esthétiques et chant élégiaque des vaqueiros du Sertào qui mémoire spectatorielle –, des rapports des concernerait le cinéma ? Quelle peut être la partitions de séries avec celles proposées par motivation d’un chercheur faisant du cole cinéma, et de la possibilité de compositions mique phono-musico-visuel de Jerry Lewis hybrides mélangeant les genres. l’efficace reprise de la théorie critique prati- Inhalt: Jean-Pierre Esquenazi: Préface / 7. – quée par T. W. Adorno ? Et qui, à l’exception Jérôme Rossi et Cécile Carayol: Introduction / de Stanley Cavell peut-être, peut prendre au 9 – 1. Spécificités d’une musique de série: sin- sérieux la proposition suivante : par sa puis- gularités esthétiques et mémoire spectatorielle: sance propre d’articulation de la musique et – Julie Mansion-Vaquié: The X-Files: une série de l’espace filmique, Gene Kelly pose le et son tube / 21. – Anaïs Le Févre-Berthelot: double problème du scepticisme cognitif et Voix de chœur/voix du coeur: musique et pa- éthique ? Qui encore peut découvrir dans les roles dans Ally McBeal / 35. – Sarah Hatchuel: utopies musicales de l’art radiophonique les Lost ou la musique retrouvée / 53. – Ariane lieux d’une réflexion sur l’expérience esthé- Hudelet: La texture musicale de Treme / 71 – tique, éthique et politique au cinéma ? Que 2. Série vs cinéma: correspondances et réinven- tions des codes: – Cécile Carayol: Correspon- veut-il celui qui attend de l’analyse d’un film dances musicales série – cinéma: Bernard qu’elle tire des leçons de l’interprétation mu- Herrmann et les reflets fantastiques de Twi- sicale et devienne épellation mimétique ? – light Zone / 91. – Clara Brenier: Convergences En mobilisant tour à tour un film d’Howard et divergences de la démarche composition- Hawks, un documentaire de Marilia Rocha, le nelle d’Antoine Duhamel dans Belphégor et corps de Jerry Lewis, Brigadoon de Vincente Pierrot le Fou / 109. – Chloé Huvet: The Tudors Minelli, le paysage sonore de la radio, la mu- de Trevor Morris: l’importation du « style sique dans Mauvais sang de Leos Carax, enfin Media Ventures » dans une série télévisée? / La mort de Molière de Robert Wilson, Serge 119. – Cécile Carayol: True Blood de Nathan Cardinal élabore le concept de musicalité du Barr: réappropriation de la figure musicale du cinéma. vampire du cinéma à la série / 139 – 3. La musique de séries: vers une hybridation des genres: Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 36

Carroll, Brendan G.: Filmmusik als Kunstform. niska Högskola, Institutionen för teknik och Korngolds Musik zu ›A Midsummer Night’s estetik 2014, 32, (1) S.; [URL]. Dream‹. In: Österreichische Musikzeitschrift Abstract: When and why is music imple- (ÖMZ) 62 (2007) 7, S. 15–25. mented to a specific scene in a film? With in- Über den Film (1935) von William Dieterle formational resources and theories from es- (1893–1972) und Max Reinhardt (1873–1943) tablished media-abstractionists like Michel mit der Musik von Erich Wolfgang Korngold Chion, Oliver Sacks and Johnny Wingstedt, (1897–1957). we’re on a hunt for the ultimate answer. With well proven analytic methods we break down critically acclaimed movies in search of how Caston, Emily: Not Another Article on the music has characterized them. The outcome Author! God and Auteurs in Moving Image of the analyses has been put together to iden- Analysis: Last Call for a Long Overdue Para- tify their common dramatic core. In the dis- digm Shift. In: Music, Sound, and the Moving cussion we state that there are many tools Image 9,2, 2015 (Special Issue: “Musical available when one wishes to accentuate the Screens: Musical Inventions, Digital Transi- expressionistic and emotional effects of a tions, Cultural Critique”. Guest ed.: James To- piece, and why one would use these pieces for bias), S. 145–161. film. The reason being that of wishing to emphasize a message or feeling show in picture, Many scholars in popular music and film or induce a feeling of something not visible studies accept the limitations of current film on screen. The results were then used for the theories of authorship in relation to music framework which we work within when pro- video. This article moves the debate forward ducing sound and music material for Emil. through a case study of the work of acclaimed (2014), a modern, darker interpretation of music video director, Jamie Thraves. It focuses Emil i Lönneberga (1971). on three examples of his work: Jake Bugg’s ‘Two Fingers’ (2012), Coldplay’s ‘The Scien- tist’ (2002), and Radiohead’s ‘Just’ (1995). Evi- Chattopadhyay, Budhaditya: The Auditory Set- dence of Thraves’s close collaboration with ting: Environmental Sounds in Film and Media the musicians in the scripting, shooting, and Arts. Edinburgh: Edinburgh University Press editing of each of these videos is used to in- 2020, 208 S. vestigate authorship in both domains of music and film production. The central argument The Auditory Setting introduces and investi- of the analysis is about the conflicting expec- gates how narrative and a sense of place are tations of power and control participants hold constructed in film and media arts through in the production process. These are based on the reproduction and mediation of site-spe- a collision between historically distinct pro- cific environmental sounds, or ‘ambience.’ Al- duction cultures and intellectual property though this sonic backdrop acts as the acous- regimes. The article contributes to ongoing tically mediated space where a story or event debates in the UK about moral rights, value, can take place, there has been little academic labour, and intellectual property in moving study of sound’s undervalued role in cine- image production and argues that a paradigm matic setting and production. Drawing on shift for analysing creative production in mu- theories of narrative, diegesis, mimesis and sic video is long overdue. presence, and following a varied number of relevant audio-visual works, this book is a ground-breaking exploration of human agen- Čehovin, Martin Björkman / Ditlevsen, Chris- cy in mediating environmental sounds and toffer Moe: Den dramatiska kraften i filmmu- the nature of the sonic experience in the An- sik: Filmmusikens dramatiska vikt i modern thropocene. media. Kandidatarbete i Medieteknik [M.A.- Inhalt: Part I: Introduction. – 1. The first sound Arbeit], Karlshamn/Karlskrona: Blekinge Tek- and the curiosity – 2. The auditory context Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 37

and signification – 3. Key concepts and defini- ras, de Claude Debussy au Kasai Allstars du tions – 4. Approach and method – Part II: Congo, en passant par Ennio Morricone, Arvo Sonic trajectories. – 5. Monaural soundtracks Pärt et Hans Zimmer, de Bernard Herrmann à and recording (sonic) reality – 6. Stereo sound Michel Legrand, du Chanteur de jazz à Bird- and the expanded space – 7. Digital surround man, de Jean-Luc Godard à Jia Zhangke, et de sound and the mimetic site – Part III: On loca- Nino Rota à Federico Fellini. Compositeur de tion and other stories. – 8. Land, field, meadow musique concrète, réalisateur de films et – 9. Forest, jungle – 10. Village, rural environ- d’œuvres audiovisuelles, cofondateur de l’as- ment – 11. Indoors – 12. Riverback, beach, is- sociation Acoulogia qui se consacre à des for- land – 13. Street, public squares, urban neigh- mations, Michel Chion a publié une trentaine bourhood – 14. Public transport – 15. Airport d’essais, dont plusieurs sur le son et le lan- – 16. Underwater, outer space. – Part IV: Crit- gage au cinéma, et, chez Fayard, sur l’œuvre ical listening. – 17. Mapping the aesthetic de Pierre Henry, la symphonie romantique et choices in sound production – 18. Auditory la musique à programme. La première édition presence and better practice – 19. The God of de cet ouvrage a reçu en 1995 le Prix du Syn- small sounds – 20. Emerging trends and fu- dicat français de la Critique de cinéma. ture directions.

Chrysostomu [Chrysostomou], Panos: Sound- Chion, Michel: La musique au cinéma. 2e éd. track: Synenteuxeis me dēmiurgus tēs musikēs revue et augm., Paris: Fayard 2019, 535 S. (Les tōn eikonōn [Χρυσοστόμου, Πάνος: Sound- chemins de la musique.). track: Συνεντεύξεις με δημιουργούς της μουσι- Le titre de l’ouvrage le dit: une musique dans κής των εικόνων]. Papagu: Ekdoseis Philntisi un film ne s’y dissout pas, mais elle en est 2019, 301 S. (Musike.). modifiée tout en le modifiant. C’est dans le In griech. Schrift. – Inhalt: Trevor Jones / 21 – film même qu’il faut l’étudier. Ce retour aux Alan Menken / 33 – James Newton Howard / œuvres, à leur vision et à leur écoute – à leur 45 – Γιάννος Αιόλου [Giannos Aiolou = Gian- « audio-vision » – fait apparaître, loin des nis Aiolou = Jannos Eolou] / 55 – Hans Zim- professions de foi abstraites, la richesse des mer / 73 – Michael Kamen / 85 – Νίκος scènes, des effets, des situations. Le cinéma Κυπουργός [Nikos Kypourgos] / 99 – Nicola est, étymologiquement, ce mouvement que le Piovani / 117 – Alexandre Desplat / 127 – mouvement de la musique tantôt entraîne et Μίκης Θεοδωράκης [Mikis Theodorakis] / soutient, et tantôt immobilise et charme. De- 141 – Elliot Goldenthal / 155 – Νίκος puis la première édition de cette somme, le Μαμαγκάκης [Níkos Mamankákis] / 165 – quart de siècle écoulé a vu apparaître de nou- Philip Glass / 183 – Goran Bregovic / 195 – velles formules de présence de la musique au Παναγιώτης Καλαντζόπουλος [Panagiotis cinéma et de nouveaux auteurs ; l’intérêt pour Kalantzopoulos] / 205 – Yann Tiersen / 217 – le thème n’a cessé de croître, en même temps Δημήτρης Παπαδημητριού [Dimitris Pa- que l’accès aux œuvres musicales et cinéma- padimitriou] / 227 – Gabriel Yared / 243 – tographiques – par câble, tablettes, « bala- David Arnold / 257 – Mychael Danna / 265 – deurs » internet, vidéo à la demande – s’est Wim Mertens / 277 – Ευανθία Ρεμπούτσικα diversifié. Cette nouvelle édition de La Mu- [Evanthia Reboutsika] / 289. sique au cinéma, refondue et complétée, en tient compte et en montre l’impact dans les Chua, Daniel K. L.: Listening to the Self: The films eux-mêmes. Elle propose aussi une Shawshank Redemption and the Technology of chronologie réactualisée, se concentrant no- Music. In: 19th Century Music 34,3, 2010/11, S. tamment sur soixante films marquants parmi 341–355. des milliers. Une ronde internationale de noms et de films, de chansons et de danses, Cizmic, Maria: Empathy and Tintinnabuli Mu- d’images et de sons tourbillonne dans ces sic in Film. In: Dolp, Laura (ed.): Arvo Pärt’s pages, du cinéma expérimental aux films-opé- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 38

White Light: Media, Culture, Politics. Cam- deployment of jazz sounds to rhetorical ends bridge/New York: Cambridge University Press within Australian films bent on exploring 2017, S. 20–46. competing societal visions. In turn, its identification of a shift from the sound of jazz in ‚Tintinnabuli‛ ist die Bezeichnung für einen general as a marker of the modern to the Kompositionsstil des estnischen Komponisten sound of the bluesy solo horn as a nostalgic Arvo Pärt. trope reinforces the need to read the semiotics of jazz presence in Australian film against particular historical frames. Claydon, E. Anna: Film music, musicology and semiotics: Analysing The Draughtsman’s Contract. In: Journal of British Cinema and Cochran, Alfred W.: Leith Stevens and the Television 8,1, 2011, S. 62–80. Jazz Film Score: The Wild One and Private Hell 36. In: Jazz Research Papers 10, 1990, S. 24–31. Clifton, Kevin: “We all go a little mad sometimes. Haven’t you?” Musical empathy in Cockshott, Gerald: Incidental Music in the Hitchcock’s Psycho. In: Music Analysis 37,1, Sound Film. London: British Film Institute 2018, S. 47–67. 1946, 8 S. This essay explores a web of cognised and Rev. (Lawrence Morton): “Rule, Britannia!”. embodied empathies that emerge while In: Hollywood Quarterly 3,2, Winter 1947– watching Hitchcock’s Psycho, focusing on the 1948, S. 211–214. role of musical empathy as it relates to Mar- ion Crane’s story. Drawing on work on empathetic music in film music studies, I explore Code, David J.: Don Juan in Nadsat: Kubrick’s how the actors, the characters, the musical Music for A Clockwork Orange. In: Journal of score and the filmic audience are drawn to- the Royal Musical Association 139,2, 2014, S. gether by a ‘sigh’ figure, a symbolic gesture 339–386. that unifies the soundtrack.

Code, David J.: Real Feelings: Music as Path to Coady, Christopher: Shotgun Weddings and Philosophy in 2001: A Space Odyssey. In: Bohemian Dreams: Jazz, Family Values and Twentieth-Century Music 7,2, 2010, S. 195–217. Storytelling in Australian Film. In: Jazz Re- search Journal 8,1–2, 2015, S. 144–162. Recent research on jazz presence in Aus- Coleman, Lindsay / Tillman, Joakim (eds.): tralian film has demonstrated how the genre Contemporary Film Music: Investigating Cin- was once used to enhance narratives about ema Narratives and Composition. London: Pal- both the threats and the perceived benefits of grave Macmillan 2017, xvi, 272 S. impending modernisation during the 1920s and 1930s. This article charts out the way in The purpose of this book, through its very which the musical trope of the bluesy solo creation, is to strengthen the dialogue be- horn – established in American and Aus- tween practitioner and theorist. To that end, a tralian film noir productions of the 1970s and film academic, a composer, and a composer/ 1980s – was used in contrast to conjure a musicologist have collaborated as editors on sense of nostalgia in Australian films pro- this book, which is in turn comprised of inter- duced during the early 1990s. Despite pivot- views with composers alongside complemen- ing a period of 60 years, analysis undertaken tary chapters that focus on a particular fea- in this article of Gillian Armstrong’s The Last ture of the composer’s approach or style, Days of Chez Nous (1992) and Paul Harmon’s written by a musicologist or film academic Shotgun Wedding (1993) reveals the continued who specializes in that particular element of Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 39

the composer’s output. In the interview por- créations artistiques du monde contemporain. tions of this book, eight major film composers Souvent imitées, jamais égalées, les composi- discuss their work from the early 1980s to the tions du maestro se veulent surtout une for- present day. The focus is on the practical con- midable leçon d’art humaniste traversant les siderations of film composition, the relation- épreuves du temps avec brio. Cet ouvrage ship each composer has with the moving im- constitue un panorama clair et précis de l’œu- age, technical considerations, personal moti- vre du compositeur. vations in composing, the relationships com- Inhaltsübersicht: I. Le cinéma de genre / 17. – posers have with their directors, and their II. Le cinéma de l’esprit / 85. – III. Derrière le own creative processes. Contemporary Film cinéma / 141. – Conclusion / 203. – Bibliogra- Music also explores the contemporary influ- phie / 207. ence of electronic music, issues surrounding the mixing of soundtracks, music theory, and the evolution of composers’ musical voices. Combs, C. Scott: The Jazz Singer or the corpse. Inhalt: Introduction (1–15, Coleman, Lindsay / Al Jolson, diegetic music, and the moment of Joakim Tillman). – A.R. Rahman Interview death. In: Music and the Moving Image 5,3, (17–25, Coleman, Lindsay). – The ‘Alternate 2012, S. 46–55. Space’ of A.R. Rahman’s Film Music (27–55, Online. – This article looks at Alan Crosland’s Wilcox, Felicity). – Zbigniew Preisner Inter- The Jazz Singer (1929), the first talking film to view (57–62, Godsall, Jonathan). – Music by employ recorded sound for a death scene, in Zbigniew Preisner? Fictional Composers and order to determine how it compensates for Compositions in the Kieslowski Collabora- the absence of a visible depiction of death. tions (63–86). – Carter Burwell Interview (87– Diegetic music places the terminal sign of 96, Coleman, Lindsay). – Burwell and Space: death further outside the screen body and Inner, Outer, Environmental and Acoustical closer to the body of the spectator. (Vorlage) (97–118, Waggoner, Andrew). – Rachel Port- man Interview (119–124,Coleman, Lindsay). – Eero Tarasti and the Narratological Construc- Conway, Kelley: Popular Songs in Renoir’s tion of Rachel Portman’s Emma (125–138, Films of the 1930s. In: Phillips, Alastair / Vin- Coleman, Lindsay). – Dario Marianelli Inter- cendeau, Ginette (eds.): A Companion to Jean view (139–153, Coleman, Lindsay). – Solo In- Renoir. Oxford: Blackwell 2013, S. 199–218. struments and Internal Focalization in Dario Marianelli’s Pride & Prejudice and Atonement This chapter focuses on Jean Renoir’s La Chi- (155–186, Tillman, Joakim). – Mychael Danna enne (1931), Le Crime de Monsieur Lange Interview (187–193, Coleman, Lindsay). – (1936), and La Bête humaine (1938), films Michael Danna: Music as Metaphor (195–219, made within a seven-year period and during Golub, Peter / Katy Jarzebowski). – John Wil- an era of relative stability in terms of French liams and Contemporary Film Music (221– filmmaking norms – after the coming of 236, Audissino, Emilio). – Musical Syntax in sound, but well before the thematic, material, John Williams’s Film Music Themes (237–262, and ideological constraints imposed by the Zacharopoulos, Konstantinos). German occupation. Thematically, the films have much in common. Each film is a realist drama that tells a story about people of mod- Collombin, Jean-Blaise: Ennio Morricone: pers- est means and each film culminates in a mur- pective d’une œuvre. Paris: L’Harmattan 2016, der. Despite these similarities, the films em- 212 S. (Univers musical.). ploy music in diverse ways, reflecting Renoir’s ongoing interest in soundtrack ex- « Cinq cents films sinon rien », ainsi pourrait perimentation. Although Renoir’s use of ex- se résumer la riche carrière du maître italien ternal, or nondiegetic, music certainly de- de la musique de cinéma. Par-delà les cin- serves attention, I shall focus on his use of quante années de cet étonnant parcours s’est diegetic music in an effort to demonstrate profilée peu à peu l’une des plus fascinantes Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 40

Renoir’s multiple approaches to the use of Cooke, Mervyn / Ford, Fiona (eds.): The Cam- popular songs in his 1930s films. bridge Companion to Film Music. Cambridge: Cambridge University Press 2016, xxi, 411 S. (Cambridge Companions to Music.). Conway, Kelley: Demy et au-delà: Expérimen- tation esthétique dans les film musicaux This wide-ranging and thought-provoking français récents. In: La chanson dans le film collection of specially-commissioned essays français et francophone depuis la Nouvelle provides a uniquely comprehensive overview Vague. Ed. par Renaud Lagabrielle & Timo of the many and various ways in which music Obergöker. Würzburg: Königshausen & Neu- functions in film soundtracks. Citing exam- mann 2016, S. 23–36. ples from a variety of historical periods, genres and film industries – including those of the USA, UK, France, Italy, India and Japan – Cook, James / Kolassa, Alexander / Whittaker, the book’s contributors are all leading schol- Adam (eds.): Recomposing the Past: Represen- ars and practitioners in the field. They engage, tations of Early Music on Stage and Screen. sometimes provocatively, with numerous London/New York: Routledge 2018, xii, 259 S. stimulating aspects of the history, theory and (Ashgate Screen Music Series.). practice of film music in a series of lively discussions which will appeal as much to new- Inhalt: Representing Renaissance Rome: be- comers to this fascinating subject as to sea- yond anachronism in Showtime’s The Borgias soned film music aficionados. Innovative re- (2011) / James Cook. – Baroque áa la Hitch- search and fresh interpretative perspectives cock: the music of Dangerous Liaisons (1988) / are offered alongside practice-based accounts Mervyn Cooke. – “Frame not my lute”: the of the film composer’s distinctive art, with ex- musical Tudor Court on the big screen / amples cited from genres as contrasting as Daniela Fountain. – It ain’t over ’til King animation, the screen musical, film noir, Hol- Arthur sings: English dramatick opera on the lywood melodrama, the pop music and jazz modern stage / Katherina Lindekens. – Musi- film, documentary, period drama, horror, sci- cal divisions of the sacred and secular in The ence fiction and the Western. Hunchback of Notre Dame / Adam Whittaker. Inhalt: Part one: Making film music. Evolving – Celtic music and Hollywood cinema: repre- practices for film music and sound, 1925–1935 sentation, stereotype, and affect / Simon Nu- / James Buhler and Hannah Lewis – “Pictures gent. – David Munrow’s “Turkish nightclub that talk and sing”: sound history and tech- piece” / Edward Breen. – Little harmonic nology / David Cooper – The composer and labyrinths: baroque musical style on the Nin- the studio: Korngold and Warner Bros. / Ben tendo Entertainment System / William Gib- Winters – Can’t buy me love?: economic im- bons. – Presentness and the past in contem- peratives and artistic achievements in the porary British opera / Alexander Kolassa. – British pop-music film / Stephen Glynn – “A Angels in the archive: animating the past in film’s first audience”: the composer’s role in Written on Skin / Maria Ryan. – Werner Her- film and television / George Fenton in conver- zog and the filmic dark arts: myth, truth, mu- sation with Mervyn Cooke. – Part two: Ap- sic, and the life of Carlo Gesualdo (1566–1613) proaching film music. Film-music theory / / Philip Weller. – Medievalism, music, and Guido Heldt – Studying film scores: working agency in The Wicker Man (1973) / Lisa in archives and with living composers / Kate Colton. – Music in fantasy pasts: neome- Daubney – Returning to Casablanca / Peter dievalism and Game of Thrones / James Cook, Franklin – Parental guidance advised?: mash- Alexander Kolassa and Adam Whittaker. ups and mating penguins in Happy Feet / Rev. (Binns, Alexander) in: Music & Letters Fiona Ford – Materializing film music / 100,1, 2019, S. 165–168. Miguel Mera. – Part three: Genre and idiom. Film noir and music / David Butler – Another other history of jazz in the movies / Krin Gab- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 41

bard – Horror and science fiction / Stan Link tive identity while the erotically charged boo- – The Western / Robynn J. Stilwell – The mu- gie-woogie dance scenes convey the main sic of screen musicals / Caryl Flinn – “Britan- character’s embodied urge for self-determina- nia–The Musical”: scores, songs and sound- tion and her illusive and tragic attempt to es- tracks in British animation / Paul Wells. – cape her socioeconomic condition. Finally, Part four: Music in world cinemas. Leone, Mor- Goffredo Petrassi’s revisiting of folk and jazz ricone and the Italian way to Revisionist tunes in his symphonic score can be seen as Westerns / Sergio Miceli – Music, noise and an attempt to rehabilitate the popular music silence in the late cinema of Jean-Luc register within a modernist framework – a re- Godard / Danae Stefanou – Hans Werner sponse to the rhetorical overuse of folklore Henze and The Lost Honour of Katharina Blum and to the censorship of jazz during the fas- / Annette Davison – Tōru Takemitsu’s collab- cist era. This chapter examines the interac- orations with Masahiro Shinoda: the music tions and clashes of these musical layers by for Pale Flower, Samurai Spy and Ballad of highlighting Riso amaro’s multi-authorial and Orin / Timothy Koozin – Welcome to Kolly- even contradictory musical testimony. (Vor- wood: Tamil film music and popular culture lage) in South India / Mekala Padmanabhan. Rev. (Godsall, Jonathan) in: Popular Music: A Coulter, John: Electroacoustic Music with Yearbook 37,2, 2018, S. 323–326. Moving Images: The Art of Media Pairing. In: Organised Sound 15,1, 2010, S. 26–34. Cooper, David / Sapiro, Ian / Anderson Bar- Composers working with sounds and moving bata, Laura: TheS creen Music of Trevor Jones: images are immediately confronted with a Technology, Process, Production. London/New paradox. On one hand, audiovisual materials York: Routledge 2020, xvii, 246 S. (Ashgate appear to offer the possibility of complement- Screen Music Series.). ing one another – of forming a highly effective means of communicating artistic ideas – Corbella, Maurizio: Which people’s music? and on the other, they appear to carry the risk of detracting from one another – of deform- Witnessing the popular in the musicscape of ing the musical language that he or she has Giuseppe De Santis’s (1949, Riso amaro Bitter worked so hard to create. Durk Talsma and Rice). In: Music, Collective Memory, Trauma, Max Mathews succinctly state the opposing and Nostalgia in European Cinema after the principles. ‘Many behavioural studies have Second World War. Ed. by Michael Baumgart- provided evidence for the hypothesis that inner & Ewelina Boczkowska. New York: Rout- tegrating visual and auditory stimuli serves ledge 2020, S. 45–69. the purpose of enhancing perceptual clarity … Focusing on Giuseppe De Santis’s Riso amaro These results suggest that communication be- (1949), this chapter investigates Italian neore- tween the visual and auditory brain areas is a alism as an archive of mediatized musical highly effective and relatively automatic memory with special reference to the multi- process’. This article seeks to transcend this faceted subject of popular music during the paradox through the identification of audiovi- immediate post-war years in Italy. The musi- sual materials that function in different ways. cal texture of Riso amaro can thus be charac- Examples of creative work are offered to illus- terized by the neorealist duality between trate more general points of ‘language’, a diegetic musical numbers and a non-diegetic model for classifying media pairs is put for- film score. The diegetic music is dialectically ward, and practical methods of audiovisual layered by juxtaposing field-recorded folk composition are proposed. The narrow find- tunes of the female paddy workers – mondine ings of the study offer a vocabulary for dis- – with American-influenced boogie-woogie. cussing the functionality of audiovisual mate- From a narrative perspective, the folk chants rials, detailed methods of media pairing, and act as a manifestation of the mondine’s collec- techniques of parametric alignment, while the Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 42

wider findings extend to associated domains Who Shot Liberty Valance. In: Cinema Journal such as live electronic music, and hyper-in- 31,1, 1991, S. 22–36. strument design. Daub, Adrian / Kronengold, Charles: The Covach, John R.: The Rutles and the Use of James Bond Songs: Pop Anthems of Late Capi- Specific Models in Musical Satire. In: Indiana talism. New York/Oxford: Oxford University Theory Review 11, 1990, S. 119–144. Press 2015, viii, 242 S. Inhalt: Introduction: James Bond and the Creekmur, Corey K. / Mokdad, Linda Y. (eds.): End(s) of the Pop Song / 1; – 1. “At Skyfall”: The International Film Musical. Edinburgh: Ed- The Bond Song, Repression, and Repetition / inburgh University Press / Boston, MA: Credo 27; – 2. “A Golden Girl Knows”: The Ballads of Reference 2012, xiii, 274 S. James Bond / 47; – 3. “You Only Live Twice”: James Bond and (His) Age / 75; – 4. “When Inhalt: Pt. I: Europe. Britain / John Mundy – You’ve Got a Job to Do”: The 70s / 91; – 5. France / Kelley Conway – Germany / Antje “Were an All Time High”: James Bond, Pop, Ascheid – Portugal / Lisa Shaw – Spain / In- and the Endless 1970s / 115; – 6. Looking the maculada Sanchez Alarcon – Italy / Alex Mar- Part: James Bond’s New Wave Years / 139; – low-Mann – Greece / Lydia Papadimitriou – 7. “Your Life Is a Story I’ve Already Written”: Soviet Union / Richard Taylor – Pt. II: Latin The Gay Panic Years / 165; – 8. “Close My America. Mexico / Ana M. Lopez – Brazil / Body Now”: Bond’s Traumas and the Com- Joao Luis Vieira – Pt. III: Asia. Japan / Aaron pulsion to Repeat / 185; – Coda: James Bond Gerow – China / Emilie Yueh-yu Yeh – India / Will Return In ... / 213. Michael Lawrence – Pt. IV: The Middle East. Egypt / Linda Y. Mokdad – Turkey / Nezih Er- doǧan – Pt. V: Hollywood and the world. The Däwes, Birgit: Sound Tracks to the Frontier: post-modern transnational film musical / Gender, Difference and Music in the Ameri- Bjorn Norðfjorð – Coda: the musical as inter- can Road Movie. In: Dichotonies: Gender and national genre: reading notes / Rick Altman. Music. Ed. by Beate Neumeier. Heidelberg: Winter 2009, S. 321–340 (American Studies. 181.).

De Coninck, Marc: The Music of Laurel & Har- – D – dy: Music and Songs in the Films of the World’s Most Beloved Comedians. Foreword by MER- HO. [Blaricum:] EZbook.nl 2019, 177 S- Dagle, Joan / Kalinak, Kathryn: The Represen- tation of Race and Sexuality: Visual and Musi- Inhalt: Foreword 5 – Introduction 7 – Stan cal Construction in Gone With the Wind. In: Laurel 12 – Oliver Hardy 17 – Hal Roach 21 – PostScript 13,2, Winter/Spring 1994, S. 14–27. T. Marvin Hatley and Leroy Shield 27 – The Music of Laurel & Hardy 32 – Call Of The Cuckoo 37 – Should Married Men Go Home? Dapena, Gerard: Rumbas, tangos, boleros and 39 – Unaccustomed As We Are 42 – Night cuplés: Performing and crossing musical bor- Owls 44 – Blotto 46 – Brats 48 – Below Zero ders in ›Una cubana en España‹ (1951). In: 50 – The Laurel-Hardy Murder Case 52 – An- Studies in Hispanic cinemas 7 (2010) 1, S. 9– other Fine Mess 54 – Pardon Us 56 – Be Big 21. 60 – Chickens Come Home 62 – Laughing Gravy 65 – Our Wife 67 – Come Clean 69 – Über den Film von Luis Bayón Herrera. Beau Hunks 72 – The Music Box 74 – The Darby, William: Musical Links in Young Mr. Chimp 77 – Pack Up Your Troubles 80 – Lincoln, My Darling Clementine, and The Man Scram! 85 – Fra Diavolo 88 – Me And My Pal Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 43

91 – Busy Bodies 93 – Sons Of The Desert 95 l’inini. Comment «la corde musicale» d’Alfred – Oliver The Eighth 99 – Them Thar Hills 101 Hitchcock se manifeste-t-elle ? La musique – Babes In Toyland 103 – The Live Ghost 107 mise en scène scande la montée de la tension, – Tit For Tat 109 – Bonnie Scotland 111 – The dynamise les images, découpe les séquences; Bohemian Girl 114 – Our Relations 120 – Way elle inspire des processus de développement. Out West 124 – Pick A Star 129 – Swiss Miss La «mesure» placée à la clé... de l’énigme per- 131 – A Chump At Oxford 134 – The Flying met-elle de «déchifrer» un ilm comme on dé- Deuces 138 – Saps At Sea 141 – Great Guns chifre une partition ? Est-ce parce que la mu- 144 – Air Raid Wardens 147 – Jitterbugs 150 – sique imprègne les images qu’elle leur confère The Dancing Masters 154 – The Big Noise 158 une forme qui échappe à la représentation? – Nothing But Trouble 162 – The Bullfighters 165 – Atoll К 170 – Sons Of The Desert 174 – Sources. Demory, Pamela: Hedwig queers Hollywood romance. In: The Journal of Popular Culture 49,2, 2016, S. 271–288. Decker, Todd: Filmmaker as DJ: Martin Scors- Über das Musical ese’s Compiled Score for Casino (1995). In: The Hedwig and the Angry Inch (1999) und den gleichnamigen Film von John Journal of Musicology 34,2, 2017, S. 281–317. Cameron Mitchell mit der Musik von Stephen Trask (2001). Decker, Todd R.: Hymns for the Fallen: Combat Movie Music and Sound after Vietnam. Oak- land, Cal.: University of California Press D’Errico, Michael: Worlds of Sound: Indie [2017], 304 S. Games, Proceduralism, and the Aesthetics of Emergence. In: Music, Sound, and the Moving Rez. (Wedel, Michael): Medienwissenschaft: Re- Image 9,2, 2015 (Special Issue: “Musical zensionen, 1, 2018, S. 77–78. Screens: Musical Inventions, Digital Transi- tions, Cultural Critique”. Guest ed.: James To- bias), S. 191–206. Decobert, Lydie: La corde musicale d’Alfred Hitchcock. Paris: L’Harmattan 2015, 214 S. (Ci- In the first decades of the twenty-first cen- néma(s).). tury, ‘indie’ became a widespread descriptor for a gaming culture comprising developers, Musique et crime ne se dissocient pas dans le players, and distributors interested in creating cinéma hitchcockien. La musique joue un rôle an alternative to what was seen as a glutted, déterminant dans la narration: elle déclenche uninspired, and corporatised game market. le soupçon, trahit un meurtrier, place une hé- While the indie movement is often argued to roïne en danger de mort, révèle un repaire de have facilitated a new, ‘DIY’ mentality in the bandits ou attise la furie d’oiseaux ravageurs. design and practice of games and interactive Comment „la corde musicale“ d’Alfred Hitch- media, the aesthetics and technical practices cock se manifeste-t-elle ? La musique mise en behind the culture share strong affinities to scène scande la montée de la tension, dyna- computational forms of art and music mise les images, découpe les séquences. Les throughout the late twentieth century. This lèches décochées par l’archer musicien font essay aligns the aesthetics and creative prac- vibrer les images en traversant l’écran et le tices of indie game designers with traditions cœur du spectateur. Musique et crime ne se of ‘generative’ art and music from the late dissocient pas dans le cinéma hitchcockien. twentieth century. In doing so, I outline a La musique joue un rôle déterminant dans la broader musical turn that has occurred within narration: elle déclenche le soupçon, trahit un gaming culture–one in which sound becomes meurtrier, place une héroïne en danger de a primary mechanic in the shaping of ‘proce- mort, révèle un repaire de bandits ou attise la dural’ and generative aesthetics at the heart furie d’oiseaux ravageurs. Elle se fait aussi of various forms of digital art. Ultimately, I métaphore de l’innocence ou incarnation de Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 44

provide not only an account of the ways in lein” [Odna, Sowjetunion 1931, Grigorij Ko- which sound and musical design have helped zincev] / 97. – Friedbert Streller: Schostako- to characterise the ludic interests of the indie witsch und die Anfänge sowjetischer Film- game movement in the first decades of the kunst / 111. – Olga Dombrowskaja: Die vokale twenty-first century, but also a theoretical Filmmusik Schostakowitschs. Einige Aspekte / model adequate to understand the relation- 129. – Wladimir Gurewitsch: Mit Musik und ship between interactive systems, musical and ohne Musik – die Verhältnisse zwischen Ge- sonic meaning, and user experience both in samtzeit und Musik in Filmen mit der Musik games and digital platforms more broadly. Schostakowitschs / 139. – Olga Dombrowska- ja: Die Musik Schostakowitschs in den Filmen der Fabrik des exzentrischen Schauspielers d’Escriván, Julio: Electronic music and the (FES) und Kosinzews / 149. – Gottfried Eberle: moving image. In: The Cambridge Companion „Lauf der Zeit – Ruf des Todes“. Schostako- to Electronic Music. Ed. by Nick Collins & Julio witschs Musik zu Kosinzews Film „King Lear“ d’Escriván. Cambridge: Cambridge University [Korol Lir, Sowjetunion 1970] / 171. – Doro- Press 2007, S. 156–170. thea Redepenning: Die Musik Schostako- witschs zum Film Der Fall von Berlin – Pade- nie Berlina [Sowjetunion 1950, Micheil Tschi- d’Escriván, Julio: Sound Art (?) on/in Film. In: aureli] / 185. Organised Sound 14,1, 2009, S. 65–73. d’Escriván, Julio: Live Cinema? A composer’s Díaz Yerro, Gonzalo: El análisis de la música thoughts about a musical new media ap- cinematográfica como modelo para la propia proach to the performing of audiovisuals. In: creación musical en el entorno audiovisual. Te- sis doctoral, Las Palmas de Gran Canaria: Uni- Seminário Música Ciência Tecnologia, 4, 2012, S. 17–24. versidad de Las Palmas de Gran Canaria 2011, 479, XII S. + 2 discos compactos (1 CD-ROM, 1 DVD); [URL]. Desrichard, Yves: Mauricio Dupuis. Jerry Mit Analysen zu den US-Spielfilmen Goldsmith: music scoring for American Casa- blanca (USA 1942, Michael Curtiz), Psycho movies. In: , 7, 2015, [URL]. Mise au Point (USA 1960, Alfred Hitchcock) und Hatari Pour beaucoup de réalisateurs, pour beaucoup (USA 1962, Howard Hawks) sowie zu den d’autres compositeurs, Jerry Goldsmith et spanischen Kurzfilmen Peliculeros (2009, José John Williams furent à n’en pas douter les Lobillo), Vic (2011, Diana Saavedra y Clara) compositeurs de musiques de films les plus und Clara. El mar (2009, Dany Campos). originaux des années 70 et 80 dans le cinéma En esta investigación se profundiza en el pa- américain. Le second est mondialement connu pel del análisis de la música cinematográfica par sa collaboration avec Steven Spielberg, como modelo en el que basar la propia crea- dont il a signé la musique de tous les films de ción musical de bandas sonoras (este término cinéma, à l’exception du premier, Duel, et lo utilizaremos en adelante en su acepción d’un épisode de The Twilight Zone. más extendida, como sinónimo de música de una película). Para ello se ha llevado a cabo un estudio en el que se combinan diferentes Deutsche Schostakowitsch-Gesellschaft (Hg.): metodologías: analítico-descriptiva, herme- Schostakowitsch-Aspekte: Analysen und Studi- néutica y creativo-performativa. En este tra- en. Berlin: Kuhn 2014, IX, 389 S. (Studia slavi- bajo estudiaremos la importancia del análisis ca musicologica. 54. / Schostakowitsch-Studi- de la música de cine tanto a nivel teórico en. 10.). como por su potencial de herramienta para la Darin: b) Die Filmmusik: – Ekkehard Ochs: creación. Para ello comenzaremos con un Die Musik Schostakowitschs zum Film „Al- acercamiento previo al concepto de música de cine, sus clasificaciones tipológicas, las fun- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 45

ciones que puede desempeñar como elemento Floyd. – 5. ‘The Film Should Be Played Loud’: activo de un film, la historia de esta disciplina Rockumentary Films. – 6. Blaxploitation: artística y el complejo proceso de creación de Singing Across 110th Street. – 7. Falling To una banda sonora musical, con los diferentes Earth: Bowie’s Failed Film Soundtrack. – 8. factores humanos y técnicos que intervienen. Cohabitation? The Resurgent Classical Film Score and Songs in the Batman Films. – 9. New Careers in New Towns: Rock Musicians Dienstfrey, Eric: Synch Holes and Patchwork Become Film Composers. – 10. Golden Years: in Early Feature-Film Scores. In: Music and 80s and 90s Hip Song Compilation Films. – 11. the Moving Image 7,1, 2014, S. 40–53. Copyright and Musical Censorship: Gangsta Rap and Bad Lieutenant. Donnelly, Kevin J.: Occult Aesthetics: Synchro- Rev. (Justice, Andrew) in: Notes: Quarterly nization in Sound Film. New York/Oxford: Ox- Journal of the Music Library Association 73,4, ford University Press 2014, xii, 260 S. (The Ox- 2017, S. 735–737. – Rev. (Grochowski, ford Music / Media Series.). Thomas) in: Popular Music and Society 41,4, 2018, S. 464–465. This book offers the first sustained theoriza- tion of synchronization in sound film. The author addresses the manner in which the lock Donnelly, Kevin J.: British and Irish Film Mu- of audio and the visual exerts a synergetic ef- sic. In: A Companion to British and Irish Cin- fect, an aesthetic he dubs occult: a secret and ema. Ed. by John Hill. Hoboken, N.J./Chich- esoteric effect that can dissipate in the face of ester, West Sussex: Wiley-Blackwell 2019, S. an awareness of its existence. Drawing upon 217–233 (CNCZ – The Wiley-Blackwell Com- theories of sound from Sergei Eisenstein to panions to National Cinemas.). Pierre Schaeffer to Michel Chion, the book approaches and investigates points of synchronization as something like repose, pro- Donnelly, Kevin J. / Hayward, Philip (eds.): viding moments of comfort in a potentially Music in Science Fiction Television: Tuned to threatening environment that can be fraught the Future. New York/London: Routledge 2013, with sound and image stimuli. Correspond- xviii, 228 S. (Routledge Music and Screen Me- ingly, lack of synchrony between sound and dia Series.). images is characterized as potentially disturb- Inhalt: Music in The Twilight Zone / James ing for the audience, signaling moments of Wierzbicki. – Time warp: sonic retro-futurism danger. From this perspective, the interplay in The Jetsons / Rebecca Coyle and Alex between the two becomes the central dy- Mesker. – John Williams’ music to Lost in namic of audio-visual culture more generally Space: the monumental, the profound, and the which provides a starting point for a new un- hyperbolic / Ron Rodman. – Hearing the derstanding of audio/visual interactions. This boldly goings: tracking the title themes of the fresh approach to the topic will be discussed Star Trek television franchise, 1966–2005 / in theoretical and historical terms as well as Neil Lerner. – Whimsical complexity: music elaborated through analysis of and reference and sound design in The Clangers / Philip to a broad selection of films and their sound- Hayward. – Schizophrenic chords and warm tracks shivers in the stomach: the “new astronautic sound” of Raumpatrouille / Guido Heldt. – Donnelly, Kevin J. (ed.): Magical Musical Tour: Television’s musical imagination: Space: 1999 / K. J. Donnelly. The sound of civilization: mu- Rock and Pop in Film Soundtracks. London: sic in Terry / Derek John- Bloomsbury 2015, vii, 207 S. Nation’s Survivors ston. – Rematerialization: musical engage- Inhalt: 1. Introduction. – 2. Beat Boom Beat- ments with the British TV series Doctor Who / les: A Hard Day’s Night and Help! – 3. The Philip Hayward and Jon Fitzgerald. – Babylon Psychedelic Screen. – 4. Obscured by Pink 5: science fiction, melodrama and musical Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 46

style / Louis Niebur. – The work of music in Dorschel, Andreas / Brown, Julie (Hrsg.): Ton- TheA ge of Steel: themes, leitmotifs and stock spuren: Musik im Film: Fallstudien 1994–2001. music in the new Doctor Who / David Butler. Wien [...]: Universal-Ed. 2005, 204 S. (Studien – Lost in music: Heidegger, the glissando and zur Wertungsforschung. 46.). otherness / Isabella van Elferen. – Visual effects in Sanctuary: the reparative function of Inhalt: Hubbert, Julia Bess: Bach and the sound in low budget science fiction series / Rolling Stones. Scorsese and the post-modern Lisa Schmidt. soundtrack in Casino (43–69). – Brown, Julie: Haneke’s La pianiste (2001), parody, and the limits of film music satire (163–190). – Szabó- Donnelly, Kevin J. / Wallengren, Ann-Kristin: Knotik, Cornelia: Klangkulissen: Film als Mu- Today’s Sounds for Yesterday’s Films: Making seumsshop klassischer Musik (22–42). – Music for Silent Cinema. Basingstoke/New Pollerus, Christine: Konstruktion des Barock: York: Palgrave Macmillan 2016, xi, 225 (Pal- Ennio Morricone, Vatel (2000) und die grave Studies in Audio-Visual Culture.). musikalische Ästhetik des Historienfilms (106–124). – Riethmüller, Albrecht: Kubricks In recent years, there has been something of letztes Wunschkonzert: Beobachtungen an an explosion in the performance of live music der Musik zu Eyes Wide Shut (1999) (82–105). to silent films. There is a wide range of films – Haslmayr, Harald: Mythos, Musik und Erin- with live and new scores that run from the nerung in Die Ewigkeit und einen Tag (1998) historically accurate orchestral scores to con- von Theo Angelopoulos (70–81). – Heldt, temporary sounds by groups such as Pet Shop Guido: Das vorletzte Lied: Musik, narrative Boys or by experimental composers and Struktur und Genre in Lars von Triers Dancer gothic heavy metal bands. It is no exaggera- in the Dark (2000) (125–148). – Dorschel, An- tion to claim that music constitutes a bridge dreas: Was hat Musik im Film zu suchen? between the old silent film and the modern (12–21). – Rußegger, Arno: Zwischen Hom- audience; music is also a channel for non- mage und Persiflage: Alexander Zlamals scholarly audiences to gain an appreciation of Musik und Sounddesign für Virgil Widrichs silent films. Music has become a means both Copy shop (2001) (149–162). for musicians and audiences to understand this bygone film art anew. This book is the first of its kind in that it aims to bring to- Drees, Stefan: „...das, was hinter den Bildern gether writings and interviews to delineate gemeint ist“. Johannes Kalitzkes Musik zum the culture of providing music for silent films. StummfilmSchatten von Arthur Robison. In: It not only has the character of a scholarly Neue Zeitschrift für Musik 178,1, 2017, S. 36– work but is also something of a manual in 39. that it discusses how to make music for silent films. Drees, Stefan: Erschütterung des Urvertrauens und Einbruch des Unheimlichen. Zur Funk- D’Onofrio, Emanuele: Film Music, nazione e tion der Liedmelodien in der filmischen Nar- identità narrativa: Il cinema italiano contempo- ration von »Ich seh Ich seh« (AUT 2014, raneo rivisita gli anni Settanta. Reggio Cala- Veronika Franz und Severin Fiala) und in Olga bria: Città del Sole 2013, 313 S. (Lo specchio Neuwirths Filmmusik, in: Kieler Beiträge zur scuro. 9.). Filmmusikforschung (14.01.2019), S. 9–33. Analysen zu den italienischen Spielfilmen La- Als klanggewordene Signaturen eines noch vorare con lentezza (2004, Guido Chiesa), Paz! unerschütterten Vertrauensverhältnisses (2002, Renato De Maria), Radiofreccia (1998, zwischen Eltern und Kind gehören Schlaf- Luciano Ligabue), I cento passi (2000, Marco und Wiegenlieder zu den intimsten Gesängen Tullio Giordana) und Buongiorno, notte (2003, überhaupt. Im österreichischen Film ‘Ich seh Marco Bellocchio). Ich seh’ (2014) von Veronika Franz und Sev- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 47

erin Fiala spielen zwei dieser Lieder – das 9,2, 2013, S. 229–235. Brahms’sche Wiegenlied „Guten Abend, gut’ Inhalt: Peter Jammerthal: Genie und Monster. Nacht“ und das Schlaflied „Weißt du wie viel Richard Wagner als Filmfigur / 12. – Bildstre- Sternlein stehen?“ – eine zentrale Rolle. Der cke »Magic Fire« / 20. – Dialog 1: Gespräch Autor setzt sich einerseits mit der dramatur- mit Edgar Selge / 26. – Laurent Guido: »Was gischen Funktion der beiden Liedmelodien in- ist fotogener als seine Musik?«. Der Einfluss nerhalb der filmischen Narration auseinander. Richard Wagners auf die frühe französische Andererseits wird untersucht, auf welche Filmtheorie / 34. – Bildstrecke »Die Nibelun- Weise die Lieder in der Filmmusik von Olga gen« / 42. – Daniel Kothenschulte: Der nicht Neuwirth Verwendung finden. Anhand einer ganz absolute Film. Richard Wagner in der Produktionsversion des Films lässt sich klassischen Filmavantgarde / 48. – Dieter zeigen, wie die Komponistin die Melodien in Thomä: Der durchkreuzte Drang nach Ganz- ihre Filmmusik eingearbeitet hat und dadurch heit. Von Richard Wagners Gesamtkunstvverk eine enge Verknüpfung zwischen Diegese und zu Sergej Eisensteins Filmkunst / 56. – Reimar musikalischem Kommentar herstellt. Die Volker: Verfilmet mir den Meister nicht. Wag- endgültige Filmversion wiederum verdeut- ner im NS-Film / 62. – Dialog 2: Gespräch mit licht, wie die beiden Regisseure diese Frank Stiobel / 72. – Christian Müller: Wag- Verknüpfungen durch Neuabmischung und ner-Sound im >Golden Age<. Einflüsse auf partielle Eliminierung der Musik wieder die Filmmusik des klassischen Hollywoodki- aufgelöst haben. (Autor) nos / 82. – Steffen Vogt: Weltschmerzmann und Traumfrau. Filmische Variationen über den Fliegenden Holländer / 90. – Maria Rober- Drees, Stefan: What remains of the past ...: ta Novielli: Die Kunst des Übergangs. Japani- diegetic music in the Star Trek series as refer- sche Avantgarde und die Idee des Gesamt- ence to the cultural heritage of humanity. In: kunstwerks / 100. – Kristina Jaspers: Das Kino Lied und populäre Kultur: Jahrbuch des Zen- der Dekadenz. Nietzsches Kritik als filmische trums für Populäre Kultur und Musik 64, 2019, Analyse / 110. – Dialog 3: Gespräch mit Hans S. 141–154. Jürgen Syberberg / 120. – Bildstrecke »Parsi- The paper focuses on the use of diegetic or fal« / 130. – Dialog 4: Gespräch mit Werner source music in the Star Trek universe. Its Herzog / 136. –Thomas Macho: Wagner im main purpose is to investigate which refer- All. Bemerkungen zur Genealogie der space ences are used in Star Trek: The Original Series opera / 144. – Marcus Stiglegger: »Napalm am (1966–1969), Star Trek: The Next Generation Morgen«. Richard Wagners Walkürenritt im (1987–1994), Star Trek: Deep Space Nine Film / 152. – Stefanie Krust: Fallen und fallen (1993–1999), Star Trek: Voyager (1995–2001), und sterben und sterben. Richard Wagner bei Star Trek: Enterprise (2001–2005), and Star Lars von Trier / 158. – Jörg van der Horst: »In Trek: Discovery (2017ff.) to construct a partic- Sachen Wagner bin ich ein Suchender«. Ver- ular prospect of music as one of the most im- wandlungsszenen mit Christoph Schlingen- portant parts of our cultural heritage from the sief / 168. – Dialog 5: Gespräch mit Philipp future’s point of view. (Autor) Stölzl / 178. – Jesko Jockenhövel: Postmoder- nes Recycling. Wagners Spuren in der filmischen Popkultur / 188. Drehmel, Jan, Kristina Jaspers / Steffen Vogt (Hrsg.): Wagner Kino: Spuren und Wirkungen Dubowsky, Jack Curtis: Richard Wagners in der Filmkunst. [Film- und Intersecting Film, Mu- Veranstaltungsreihe „Wagner-Kino“ im Zeug- sic, and Queerness. Basingstoke/New York: hauskino am Deutschen Historischen Muse- Palgrave Macmillan 2016, viii, 266 S. (Palgrave um, Berlin, 25. April bis 31. Mai 2013.] Ham- Studies in Audio-visual Culture.). burg: Junius-Verlag 2013, 207 S. [U]ses musicology and queer theory to uncover meaning and message in canonical Rez. (Frank Piontek) in: Rez.: Wagnerspectrum American cinema. This study considers how Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 48

queer readings are reinforced or nuanced aussi culturelles, historiques et musicolo- through analysis of musical score. Taking a giques, qui offrent un éclairage inédit sur broad approach to queerness that questions cette production. L’ambition de ce volume est heteronormative and homonormative patriar- de participer au développement d’une analyse chal structures, binary relationships, gender esthétique et théorique du film à chansons dé- assumptions and anxieties, this book chal- gagée du modèle hollywoodien mais aussi, lenges existing interpretations of what is pro- plus largement, de tout modèle générique. gressive and what is retrogressive in cinema. Penser la place qu’occupe la chanson dans des Examined films include Bride of Frankenstein, cinématographies très variées géographique- Louisiana Story, Rudolph the Red-Nosed Rein- ment et historiquement, du cinéma français deer, Blazing Saddles, Edward Scissorhands, au cinéma brésilien en passant par les ciné- Brokeback Mountain, Boys Don’t Cry, Trans- matographies d’Europe de l’Est, permet de america, Thelma & Louise, Go Fish and The susciter de nombreux rapprochements inédits, Living End, with special attention given to susceptibles d’ouvrir la voie à de nouvelles films that subvert or complicate genre. Music approches. is analyzed with concern for composition, in- Inhalt: Marie Cadalanu, Sophie Dufays, Domi- tertextual references, absolute musical struc- nique Nasta: Introduction / 13. – I. Approches tures, song lyrics, recording, arrangement, théoriques: – Phil Powrie: La chanson-cristal and performance issues. This multidisciplin- et la répétition / 33. – Laurent Guido: Entre ary work, featuring groundbreaking research, appropriation et aliénation: usages ambiva- analysis, and theory, offers new close read- lents de la chanson au cinéma (à partir de ings and a model for future scholarship. Bande de filles, Céline Sciamma, 2014) / 49. – Dominique Nasta: Chanson et signification au cinéma: un demi-siècle de parcours croisés Dubowsky, Jack Curtis: “Submerged queer (1964-2014) / 63. – Maria Luisa Ortega: Les spaces”: Audio poiesis and documentary film. paysages affectifs de la chanson dans le ciné- In: Radical Musicology 7, 2019, 51 Par., Online. ma espagnol du XXIe siècle / 81. – II. Ap- proches culturelles / historiques: – Martin Bar- Dufays, Sophie / Nasta, Dominique / Cadala- nier: Le film avec chanson au début des an- nu, Marie (éds.): Connaît-on la chanson? nées 1960 et le cas de Cléo de 5 à 7 / 107. – Re- Usages de la chanson dans les cinémas d’Eu- naud Lagabrielle: Le film en chanté, un genre en devenir du cinéma français ? / 121. – Pablo rope et d’Amérique Latine depuis 1960. Bruxel- Piedras & Sophie Dufays: Chanson populaire, les / Bern / Berlin / New York / Oxford / War- mélodrame et cabaret dans Bellas de noche sawa / Wien: Peter Lang 2019, 340 S. (Repen- (1975) et El pez que fuma (1977) / 133. – Co- ser le Cinéma. / Rethinking Cinema. 9.). lette Lucidarme: Bossa nova, et cinéma novo / Les chansons, liées au cinéma depuis ses ori- 155. – Raluca Jacob: Mélodies de l’affect / 167. gines, ont acquis une force nouvelle et singu- – III. Approches textuelles: – Roberto Cala- lière tant dans les productions commerciales bretto: La chanson dans l’œuvre cinématogra- que dans les films d’auteur récents, notam- phique de Pier Paolo Pasolini / 185. – Marie ment en Europe et en Amérique latine. Mais Cadalanu: La chanson populaire dans le ciné- si les études consacrées aux rôles de la chan- ma de François Ozon / 203. – Alain Hertay: son et de la musique populaire dans le cinéma Sur Sébastien Erms, parolier d’Éric Rohmer / se sont multipliées, peu de travaux ont consi- 215. – Raphaël Szöllösy: Ode à la mélancolie déré leur place dans les cinémas européens et prolétaire: À propos des chansons du cinéma latino-américains au-delà de la période clas- d’Aki Kaurismäki / 231. – Stéphane Hirschi: sique. C’est sur un corpus de films à chansons Les chansons qui font groupe au cinéma: an- parus à partir des années 1960 que se concen- crage dans l’espace-temps populaire – entre tre le présent ouvrage. Les différentes contri- les Corons, la Commune et Le Havre, de Ta- butions proposent un panel d’approches no- vernier à Kaurismäki / 247. – Celia Martínez vatrices et complémentaires, esthétiques mais García: L’énonciation et la focalisation dans le Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 49

récit musical cinématographique: analyse des Inhalt: Fixing the Fifties: Reaganism, Nostal- chansons de Cría cuervos / 259. – Agnès Pelle- gia, and Back to the Future – Re-Reading rin: La chanson, charnière entre réel et fiction American Graffiti – “Old Time Rock and dans Ce cher mois d’août de Miguel Gomes Roll” on Re-Generation Soundtracks – (Portugal, 2008) / 273. – IV. Approches musico- Michael Jackson, MTV, and Crossover Nostal- logiques: – Jérôme Rossi: Un homme et une- gia – Star Legacies: James Dean and Sandra femme de Claude Lelouch: la chanson dans Dee in the Re-Generation Epilogue: The Fu- tous ses états / 289. – Catherine Rudent: tures of Nostalgia. Abrasion stylistique et transigeance musicale des chansons de « variété »: Le cas exem- plaire de La Famille Bélier / 305. – Hubert Bol- duc-Cloutier: La chanson médiévale dans Per- ceval le Gallois (Éric Rohmer, 1978): Corres- pondances et divergences entre réalité et au- – E – thenticité / 321. Eder, Barbara: Ein ver-rückter Ort des Films: Dupuis, Mauricio: Jerry Goldsmith e la musica ›Alice in Wonderland‹ und das queere Nach- nel cinema americano. [s.l.:] Il mio libro 2011, leben des Porno-Musicals. In: Frauen und Film 177 S. 66, 2011, S. 39–58. Neuaufl.: Roma: Robin Edizioni 2012, 278 S. (I Über Bud Townsends (1921–1997) Film von libri saggi. 56.). 1976. Engl. Übers. u.d.T.: Jerry Goldsmith: Music Scoring for American Movies. Transl. by Ce- Edgar, Robert / Halligan, Benjamin / Fair- cilia Martini. Roma: Robin Edizioni 2013, 265 clough-Isaacs (eds.): The Music Documentary S. (Robin essays.). in Film: Acid Rock to Electropop. New York: 2nd ed., [s.l. (Raleigh, NC)]: DMG / Lulu.com Routledge 2013, xvi, 244 S. 2014, 167 S. Inhalt: Music seen: the formats and functions This essay represents the first organic study of the music documentary – Tony Palmer’s about Jerry Goldsmith (1929–2004), an em- All You Need Is Love: television’s first pop his- blematic American film composer from the tory – Retrospective compilations: (re)defin- second half of the 20th century. His personal- ing the music documentary – “Sound and vi- ity is examined within the cinematic produc- sion”: radio documentary, fandom and new tion system in which he operated for about participatory cultures – The good, the bad fifty years, collaborating with directors like and the ugly ’60s: the opposing gazes of John Huston, John Frankenheimer, Franklin J. Woodstock and Gimme Shelter – “Let your bul- Schaffner, Roman Polanski, Joe Dante, lets fly, my friend”: Jimi Hendrix at Berkeley Richard Donner, Paul Verhoeven and many – “You can’t always get what you want”: rid- others. ing on The Medicine Ball Caravan – No wave film and the music documentary: from no Dwyer, Michael D.: Back to the Fifties: Nostal- wave cinema “documents” to retrospective gia, Hollywood Film, and Popular Music of the documentaries – The anxiety of authenticity: post-punk in the 2000s – “Every tongue RE-Generation. New York: Oxford University brings in a several tale”: Press 2015, xi, 216 S. (Oxford Music/Media Se- TheF ilth and the Fury’s counterhistorical transgressions – The ries.). Circus Is in Town: rock mockumentaries and Dass. auch u.d.T.: Back to the Fifties: Nostalgia, the carnivalesque – Visualizing live albums: Hollywood Film, and Popular Music of the Sev- progressive rock and the British concert film enties and Eighties. in the 1970s – Moogie Wonderland: technology, modernity and the music documentary – Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 50

An ethnographic video project for the music Spielfilm und die Musik. Seine Gattungen / 11. classroom – Mediating TheA gony and the Ec- – 9. Vom Atelier zum Theater / 15. – A. Ate- stasy of Phil Spector: documenting monstros- lier: Handlung, Inscenierung und Musik (15). ity? – Desperately seeking Kylie!: critical re- — Dichter, Musiker und Regisseur (17). — flections on William Baker’s White diamond. Musik im Film (17). — Bildhafter Musikrhyth- mus (19). — Drehbuch und Musikscenarium (20). – B. Verleih: Musikorganisation (23). — Eicke, Stephen: The Struggle Behind the Sound- Musikscenarium und Copie (23). — Mitliefe- track: Inside the Discordant New World of Film rung des Notenmaterials (23). — Musiktheater Scoring. Jefferson, N.C.: McFarland 2019, vii, (24). – C. Theater: Sozial – künstlerische Lage 219 S. der Film – Musiker (24). — Musik-Autoren – Autorenschutz (26). Orchester im Lichtspiel- From the Westerns of the 1960s to current theater – „Salonorchester“ (26). – Repertoire blockbusters, composers for both film and te- und Bearbeitung (27). – Kapellmeister und levision have faced new challenges – ever- Nachwuchs (29). — Uraufführung (31). — Re- more elaborate sound design, temp tracks, pertoirewechsel – Bibliothek (32). Theater- test audiences and working with companies haus und Technik (32). – Spielplan (34). – Pro- that invest in film score recordings all have paganda – Musikschrifttum (35). – 10. Zur led to creative sparks, as well as frustrations. Musikdramaturgie des Film: Filmdramaturgie Drawing on interviews with more than 40 no- – Musik und Form (39). — Expression und In- table composers, this book gives an in-depth cidenz (40). — Stil (42). Einheit und Gegensatz analysis of the industry and reveals the cre- (45). — Neutrale Musik – Intensitätsgrade ative process behind such artists as Klaus Ba- (47). — Scenischmusikalischer Aufbau – Die delt, Mychael Danna, Abel Korzeniowski, „Musiknummer“ (49). Das Leitmotiv (51). — Walter Murch, Rachel Portman, Alan Silvestri, Bewegung – Dynamik – Stimmung (52). — Randy Thom and others. Musikwechsel (53). — Das Nebeneinander zweier Handlungen (54). — Vorspiel – Finale – Engländer, Richard: Das musikalische Plagiat Zwischenspiel (54). — Geräuschbegleitung – als ästhetisches Problem. In: Archiv für Urhe- Geräuschmusik (55). — Komische Musik – Das Lustspiel (56). – Zur Methodik der kom- ber-, Film- und Theaterrecht 3, 1930, S. 33–44. pilatorischen Illustration (Das thematische Skalenregister) / 58: Inhalt und Umfang – Das Erdmann, Hans / Becce, Giuseppe: Allgemei- „Werkeverzeichnis“ (59). — Musik: mehrdeu- nes Handbuch der Film-Musik. Unter Mitarbeit tig –„Thematische Skalenregister“ (W). — „Die von Ludwig Brav. Mit einem Vorwort verse- Tabelle“ (64). — Dramatische Expression (66). hen von Hans Brandner. Erstveröffentlichung — Lyrische Expression (67). — Incidenz (68). – 1927 Schlesinger Verlag Berlin-Lichterfelde. I. Verzeichnis nicht allgemein gebräuchlicher Musik und Film, Verzeichnisse. II. Themati- Fremdwörter / 71. – Verzeichnis der Namen sches Skalenregister. Berlin: Ries & Erler 2020, und Schlagworte / 72. – Ständige Signaturen / XI, 155, VII, 226 S. 83. – Abkürzungen / 84. – Anzeigenteil / 85. – Verzeichnisse zum thematischen Skalenregister: Inhalt: Erster Teil. Musik und Film: – An- Verzeichnis der Werke / 108. – Verzeichnis statt der Vorrede. – Inhalt zu I / V. – Inhalt zu der Schlagworte / 142. – Druckfehler und II / VII. – Einleitung / IX. – 1. Der Film im Nachtrag / 155. – Zweiter Teil. Das thema- Rahmen der Zeitkünste / 1. – 2. Wie kam die tische Skalenregister: – Gruppenaufzäh- Musik zum Film? / 3. – 3. Kann der stumme lung nach der Tabelle / V. – Ständige Signatu- Film ohne Musik sein? / 4. – 4. Von der musi- ren / VI. – Abkürzungen / VII. – Dramatische kalischen Illustration / 5. – 5. Illustration, Au- Expression [...] – Dramatische Scenen [...] – torenillustration, Komposition? / 6. – 6. Ist Lyrische Expression [...] – Lyrische Incidenz eine künstlerische Bindung zwischen Film [...] – Incidenz [...]. und Musik möglich? / 8. – 7. Lehrfilm, Kultur- film, Tagesschau / 10. – 8. Der künstlerische Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 51

Etcharry, Stéphan / Rossi, Jérôme (sous la dir. et narration. Lionel Pons: La musique clas- de): Du concert à l’écran: La musique classique sique dans A Room With a View de James Ivo- au cinéma. Rennes: Presses universitaires de ry: l’interpolation comme construction d’un Rennes 2019, 459 S. (PUR-Cinéma.). personnage. – Chloé Huvet: « Live as a monster, or die as a good man ? » Musique clas- En s’associant a un film, toute musique pre- sique, hantise et distorsion du réel dans Shut- existante apporte non seulement son atmos- ter Island (Martin Scorsese, 2010). – Jérôme phere sonore particuliere mais egalement un Rossi: Poétique de la musique répétitive au reseau de significations liees a son histoire. cinéma: le recours aux œuvres de John Adams En se concentrant sur la « musique classique dans Io sono l’Amore (Luca Guadagnino, 2009). » expression designant ici une certaine mani- – 4. Musique et identité. Laurent Olivier Mar- ere « savante » d’elaborer une œuvre, cet ou- ty: Bach au cinéma: la Toccata de l’hubris. – vrage s’empare de morceaux riches d’une tra- Laurence Le Diagon-Jacquin: Le barbier/ dition interpretative et d’une reception qui Brahms vs Hynkel/Wagner vs le barbier/Wag- ont parfois plusieurs siecles. Outre une charge ner dans Le Dictateur (Charlie Chaplin, 1945). semantique nouvelle, le passage d’un media a – Amal Guermazi: L’intermusicalité dans les un autre induit une perte d’autonomie, de comédies musicales de Youssef Chahine: l’a- profonds changements dans les contextes daptation de Carmen dans Alexandrie … New d’execution et les conditions d’ecoute, le pas- York. – 5. Musique et structure. Stéphan Et- sage d’une temporalite de la moyenne ou de charry: Britten et le monde de l’enfance au la longue duree permettant le developpement prisme de la musique du film Moonrise King- de la forme musicale a des formats souvent dom (Wes Anderson, 2012). – Benjamin Las- tres reduits qui trahissent d’inevitables cou- sauzet: 2001: l’Odyssée du spectre. – Florian pures. Les cinq thematiques de ce livre « To- Guilloux: Once upon a music adaptation:un poï de la musique classique au cinema », « aperçu du travail de George Bruns dans Sleep- Musique et verite historique », « Musique et ing Beauty (La Belle au bois dormant, 1959) narration », « Musique et identite » et « Mu- des studios Disney. – Stéphan Etcharry et Jé- sique et structure » croisent d’autres ques- rôme Rossi: Conclusion. tionnements concernant les choix d’extraits operes, les interpretations retenues, la ma- niere dont la musique classique dialogue avec Ethnersson Pontara, Johanna: Musical narra- d’autres musiques preexistantes et la musique tion, performance and excess: the creation of originale, les arrangements et les reecritures horror in the Swedish opera Tintomara by pour s’adapter au propos filmique. Lars Johan Werle. In: Act: Zeitschrift für Musik Inhalt: Introduction. – 1. Topoï de la musique & Performance 7, 2017, 22 S.; [URL]. classique au cinéma. Delphine Vincent: A [E]xamines the different layers in the opera Night at the Opera: la visite à l’opéra dans le cinéma américain contemporain. – Gérard Tintomara by Lars Johan Werle and Leif Söderström (Stockholm 1973), based on the Dastugue: La Chevauchée des Walkyries au cinéma: une citation en palimpseste. – Gré- short story “The Queen’s Jewel” by Carl Johan goire Tosser: Vicissitudes cinématographiques Love Almqvist. Pontara’s thesis claims that the opera’s message is expanded by the com- du « Cold Song » de Purcell – 2. Musique et position technique. By assembling the differ- vérité historique. Thierry Grandemange: ent styles Werle brings the relationship be- Jeanne d’Arc selon Jacques Rivette et Philippe Ramos: la musique de film entre vérité et vrai- tween narration and performance to oscilla- semblance. – Isabelle Ragnard: Résonances tion. He uses his experience as a film music musicales de la Renaissance dans un film des composer to create shock effects, such as those caused by the music in horror films, in années 1930: The Private Life of Henry VIII (Alexander Korda, 1933). – Bertrand Porot: order to perform them on the listeners’ bod- Tous les matins du monde: la leçon de mu- ies. Ethnersson Pontara applies film theories to reveal how the orientation and disposition sique baroque d’Alain Corneau. – 3. Musique of the hermaphrodite Tintomaras is under- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 52

mined by the power disparities between male voice as protagonist, as narrator, as communi- subjects and female objects as they are tradi- cator, as entertainer, and as comedic inter- tionally represented in romances, porn and lude. Whether the singing voice in film is per- horror films. (Vorlage) sonally expressive, reflexive and distant, or synchronized for entertainment, there is typically interplay between the voice and visual Etscheit, Ulrich: „Ich habe die Oper mein elements. Extending beyond the body of liter- ganzes Leben gehaßt“: Zur Rezeption von ature on ‘the musical’, the volume is not Musik im literarischen und filmischen Schaf- about musicals per se. Rather, The Singing fen Pier Paolo Pasolinis. In: Musica 42, 1988, S. Voice in Contemporary Cinema discusses the 246–254. singing voice as a distinct genre that focuses on the conceptualization and synchronization of the singing voice in the post-War era. It ex- Evans, Mark: Sounding Funny: Sound and plores the relationship between screen, Comedy Cinema. Sheffield/Bristol: Equinox singing, singer and song; it celebrates the in- Publishing 2016, vi, 259 S. (Genre, Music and tersection of the singing voice and popular Sound.). culture. In doing so, the volume will cross Comedy has been a feature of cinema since its multiple disciplines including vocal studies, inception. From mickey-moused accompani- film studies, film sound studies, and music ments to slapstick scenes, ironic musical production (vocal processing). statements, clever musical allusions and Inhalt: 1. The Singing Voice in Contemporary jokes, well-worn sound effects, and even Cinema / Diane Hughes & Mark Evans. – 2. laugh tracks, sound has been integral to the Singing, Sonic Authenticity and Stardom in development of the comedy on screen. This Dancer in the Dark / Nessa Johnston. – 3. Find volume covers all aspects of sound (including Your Voice: Narratives of Women’s Voice Loss dialogue) and music as they have been in American Cinema / Katherine Meizel. – 4. utilised in comedy film. The volume looks at Singing a Life in Bondage: Black Vocality and various subsets of the ‘comedy film’ from the Subjectivity in 12 Years a Slave / Gianpaolo post-War period, including black comedy, ro- Chiriacò. – 5. Ghost Singers: The Singing mantic comedy, slapstick, dialogue comedy, Voice in Korean Pop Cinema / Sarah Keith & parody and spoofs. This volume aims to ex- Alex Mesker. – 6. Voices of Sheila: Re-signifi- plore the way in which music and sound ar- cation in Bollywood Filmic and Non-filmic ticulate humour, create comedic situations Contexts / Nina Menezes. – 7. Before #MeToo: and direct comedic identifications for viewer/ Hearing Vulnerability / Diane Hughes & listeners. Mark Evans. – 8. Trailer Trash or Inspired Vo- cality? Song as Promotion and Aesthetic Ob- ject in Cinematic Previews / James Deaville & Evans, Mark / Hughes, Diane (eds.): The Sing- Agnes Malkinson. – 9. ‘You’ve Got a Friend in ing Voice in Contemporary Cinema. Sheffield: Me’: Singing Voices in the Toy Story Films / Equinox 2017 [2019], 256 S. (Genre, Music and Natalie Lewandowski & Penny Spirou. – 10. Sound.). The Singing Voice and its Use to Evoke Un- ease, Discomfort and Violence / Mark Thorley This volume focuses on the singing voice in & Liz Giuffre. – 11. The Female Singing Voice: contemporary cinema from 1945 to the Gospel, Blues, Epic Stories and Animation / present day, and rather than being restricted Anne Power. – 12. From Despicable to Happy: to one particular genre, considers how the Animated Vocality in the Evolution of Felo- singing voice has helped define and/or con- nius Gru / Diane Hughes & Veronica Stewart. fuse genre classification. Typically heard in song, the singing voice is arguably the most expressive of all musical instruments. This Evans, Tristian: Shared Meanings in the Film volume celebrates the ways in which singing Music of Philip Glass: Music, Multimedia and features in film. This includes the singing Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 53

Postminimalism. Farnham, Surrey/Burlington: ways orchestration is approached to influence Ashgate 2015, xvii, 221 S. dramatic elements in film (Part II). It is important to examine the legacy of Herrmann and Inhalt: Glass, postminimalism and the media: Williams’ contrasting approaches in more re- initial questions and contexts – The satisfac- cent film music such as the representative tion of a drive: postminimal music and the ad- scores of Thomas Newman (Wall-E, Stanton, vertising media – Postmodern unfoldings: 2008)) and Stephen Price (Gravity, Cuarun, narrative, temporality and repetition in post- 2013)) to fully examine the role of orchestra- minimal music – Notes on a soundtrack: read- tion in film today (Part III). ing Glass’s recent film scores – Metamorphic meanings in Glass’s intertextual soundtracks – This is (not) a soundtrack: Dracula the movie or music drama? – Existential conflict in Naqoyqatsi, book of longing and watchmen. – F –

Everingham, Matthew: Orchestrating Film: Faltermeyer, Harold / Herre, Janneck: Grüß The contrasting orchestral-compositional ap- Gott, Hollywood: Mein Leben zwischen Heimat proaches of Bernard Herrmann and John und Rock ’n’ Roll. [Mitarb.: Birgitt Wolff; Übers Williams and their modern legacy. In: Pura- a. d. Engl. v. Bernhard Josef unter Mitarb. v. toke: Journal of Undergraduate Research in the Birgitt Wolff.] Köln: Bastei Lübbe 2016, 270 S., Creative Arts and Industries 1, 2017, S. 110– 16 ungez. S. 138; [URL]. Music is one of the most powerful forces in Fasshauer, Tobias: Hanns Eislers »Kammer- film, and composers’ varied use of orchestra- symphonie« als Filmmusik zu ›White Flood‹ tion and sound is fundamental to the impact (1940). In: Musik und Ästhetik 8 (2004) 31, S. of music in this medium. From the live ac- 30–48. companiments of the earliest silent film, to the lush orchestrations of the ‘golden age’, to Über die Musik von Eisler (1898–1962) zu the electronic and experimental scores of the einem Lehrfilm. twenty-first century, the role of orchestration, timbre and sound has been pivotal to the function of music in film and its ability to Faulkner, Robert R.: Hollywood Studio Musi- shape and inform narrative, character and cians: Their Work and Careers in the Recording theme (Gorbman, 1987). In an increasingly Industry. With a new preface by Howard S. vast and constantly evolving body of film mu- Becker. New Brunswick, NJ: Aldine Transac- sic, two figures stand out as proponents of tion 2013, xiv, 218 S. contrasting compositional approaches to or- Zuerst: Chicago, Ill.: Aldine-Atherton 1971, ix, chestration in film: Bernard Herrmann and 218 S. (Observations.). John Williams (Cooke, 2004). Their work reveals orchestration and compositional consid- When originally published in 1971, Holly- erations as powerful tools that contribute to wood Studio Musicians was the first detailed dramatic elements of narrative, character and analysis of the work and careers of produc- theme. To understand these approaches their tion personnel in an industry devoted to mass influences and contexts must be discussed culture. Previously, most researchers over- (Part I). Analysing the contrasting orchestral looked mass-culture industries as work set- approaches of Herrmann and Williams in tings, preferring to focus on content rather their respective films The Day the Earth Stood than the artists who created it. This lucid and Still (1951) and Close Encounters of the Third insightful book looks under the hood of the Kind (1977) sheds light on the contrasting Hollywood film scoring and recording industry, focusing upon the careers and work of Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 54

top-flight musicians. A new preface by ihnen recht komfortable Arbeitsbedingungen Howard S. Becker highlights the study’s his- bot – führte das nicht zu einem einheitlichen torical context and importance.Based upon DEFA-Sound. Die individuellen kompositori- in-depth interviews with freelance musicians, schen Handschriften spiegeln über den gesell- Faulkner provides original insights into how schaftlichen Entstehungskontext hinaus so- we conceptualize occupations as well as the wohl die musikästhetischen als auch die zeit- highly stratified system of professional pres- politischen Strömungen der zweiten Hälfte tige that results in what we now call the “A- des 20. Jahrhunderts wider. – Durch Gesprä- List.“ Faulkner develops a framework for dische mit Komponisten wie Peter Rabenalt, covering and exploring how rapidly changing Wolfgang Thiel, Bernd Wefelmeyer und and demanding freelance work induces status Christian Steyer und durch Analysen von hierarchies, sustains and updates collegial DEFA-Filmen wie u.a. EHE IM SCHATTEN reputations, tightens social networks between (Musik: Wolfgang Zeller), DER FALL GLEIWITZ contractors, and musicians, and restricts ac- (Musik: Kurt Schwaen), DIE LEIDEN DES JUN- cess to upward career paths. This volume is a GEN WERTHERS (Musik: Siegfried Matthus), gem, a masterpiece of field research combined TECUMSEH (Musik: Günther Fischer) nähert with probing, theoretically informed analysis. sich der vorliegende Band dem komplexen Aside from the value of its own findings, the kulturhistorischen Thema an. Dabei geht es volume offers students of sociology, film, and sowohl um zeitgeschichtliche Aspekte als other creative industries a prime example of auch um grundsätzliche Fragen einer Ästhetik how to do good social science research. In der Filmmusik. short, it is a model for investigators to turn to Inhalt: Klaus-Dieter Felsmann: So könnte es when their own research needs help, an ex- gewesen sein – Möglichkeiten und Grenzen emplar of how research is done when it is einer Annäherung / 11. – Wolfgang Thiel: done well. Klänge aus Babelsberg – eine kurze Geschich- te der Musik zu DEFA-Spielfilmen / 19. – Komponisten im Gespräch: – Peter Rabenalt: Feiten, Benedikt: Jim Jarmusch: Musik und Die jazzige Art gefiel den jungen Regisseu- Narration: Transnationalität und alternative ren / 49. – Bernd Wefelmeyer: Für mich ist filmische Erzählformen. Bielefeld: transcript Filmmusik mit großer Orchestermusik ver- 2017, 208 S. bunden / 71. – Peter Michael Gotthardt: Eine Feiten nutzt Filmwissenschaft, Musikwis- Filmmischung ist für mich immer eine heilige senschaft und transnational orientierte Handlung / 91. – Christian Steyer: Was keine Amerikanistik, um deren narrative Funktio- Sinnlichkeit hat, hat keinen Sinn / 115. – nen zu ergründen. Er zeigt, wie die Musik ein Wolfgang Thiel: »Schreiben Sie für den Film Erzählsystem stützt, das nicht auf Entwick- einfacher, junger Mann« / 136. – Andre Asri- lung, sondern auf Wiederholung und Varia- el: Die beste Filmmusik ist die, die überhaupt tionen aufbaut. nicht kommt / 160. – Reiner Bredemeyer: Oberstes Prinzip: Dramaturgie / 176. – Film- musikalische Analysen ausgewählter DEFA-Fil- Felsmann, Klaus-Dieter (Hrsg.): Klang der Zei- me: – Wolfgang Thiel: Ernst Roters. Die Mör- ten: Musik im DEFA-Spielfilm. Eine Annähe- der sind unter uns / 183. – Wolfgang Thiel: rung. Berlin: Bertz+Fischer 2013, 270 S. Wolfgang Zeller. Ehe im Schatten / 187. – Gui- do Heldt: Hanns Eisler. Der Rat der Götter / Rez. (Laura Böhm) in: Medienwissenschaft: 192. – Jean Martin: Paul Dessau. Du und man- Rezensionen, 2016, S. 27–28. cher Kamerad / 198. – Denis Newiak: Joachim Etwa 145 Komponisten waren zwischen 1946 Werzlau. Lissy / 202. – Jean Martin: Günter und 1990 im DEFA-Spielfilmstudio in Babels- Klück. Berlin – Ecke Schönhauser / 207. – berg an der Produktion der rund 950 dort ent- Wolfgang Thiel: Kurt Schwaen. Der Fall Glei- standenen Filme beteiligt. Auch wenn sie alle witz / 211. – Dieter Wiedemann: Andre Asriel. einem Auftraggeber verpflichtet waren – der Der verlorene Engel / 215. – Ruben Fischer: Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 55

Karl-Ernst Sasse. Signale – ein Weltraumaben- – Ron Schlesinger im Gespräch mit Peter M. teuer / 219. – Jean Martin: Reiner Bredemeyer. Gotthardt:„Solche Knoppaugen hatten die Bye-Bye Wheelus / 223. – Denis Newiak: Gün- Kinder!“ Über die Arbeit zu SCHNEEWEISS- ther Fischer. Tecumseh / 227. – Dieter Wie- CHEN UND ROSENROT (1979) / 111. – Klausjörg demann: Peter Michael Gotthardt. Die Legen- Herrmann: Denkwürdiges einer Freundschaft: de von Paul und Paula / 232. – Dieter Wie- Peter und Jörg / 115. – Jochen Meusel: „Wol- demann: Gerhard Rosenfeld. Leben mit Uwe / len wir uns wieder vertragen?“ / 140. – Klaus- 238. – Ruben Fischer: Friedrich Goldmann. Dieter Felsmann im Gespräch mit Konrad Till Eulenspiegel / 242. – Robert Rabenalt: Herrmann: „Es gab eine Zeit, da waren wir Siegfried Matthus. Die Leiden des jungen Wer- Brüder im Geiste.“ / 146. – Der Filmkomponist thers / 246. – Guido Heldt: Andreas Aigmüller. Peter M. Gotthardt – Bildimpressionen / 157. Junge Leute in der Stadt / 251. – Gedanken und Einwürfe – Texte von Peter M. Gotthardt: – Ich mag Filme – oder: Sagt mal, wie geht’s n euch? Über deutsche Filmmusik Felsmann, Klaus-Dieter (Hrsg.): Peter M. Got- 2008 / 174. – Über Filmmusik bei den 41. In- thardt – 50 Jahre Filmmusik: Aufsätze – Inter- ternationalen Filmfestspielen Berlin / 188. – views – Analysen. 2. Aufl. Berlin: Ries & Erler THE HIGH COMMAND (USA/D 1994) / 200. – 2016, 324 S. „Wenn es in Moskau regnet, spannen wir hier doch auch nicht gleich den Schirm auf ...“ / Inhalt: Vorwort des Herausgebers / 13. – Filme 202. – Helmut Schiemann – AUF DER SUCHE und Musiken: – Wolfgang Thiel: Jenseits von NACH GATT (1975) und DIE VERFÜHRBAREN Paul und Paula oder: Auf der Suche nach dem (1977) / 210. – Filmmusik für KÄTHE KOLL- filmgemäßen Klang. Anmerkungen zu Peter WITZ – BILDER EINES LEBENS (1987) / 221. – M. Gotthardts Kompositionen für Film und Der TV-Film GABRIEL, KOMM ZURÜCK (1988) / Fernsehen / 19. – Peter Rabenalt: Filmmusik 234. – Musik zum Film HITLERKANTATE (2005) ohne Klischees. Zur Arbeit des Komponisten / 237. – Musik im wissenschaftlichen Film / Peter M. Gotthardt für den DEFA-Film INSEL 248. – Filmmusik aus der Sicht eines DDR- DER SCHWÄNE (1983) / 29. – Peter M. Gott- Komponisten, Teil 1 / 255. – Filmmusik aus hardt: Dank für Deine Arbeit, Peter. Antwort- der Sicht eines DDR-Komponisten, Teil 2 – brief von Peter M. Gotthardt an Peter Raben- DIE LEGENDE VON PAUL UND PAULA (1973) / alt / 33. – Denis Newiak: „Wer sagt, er wäre 263. – Notate: – Wolfram Heicking: Das be- nie geflogen, lügt.“ Peter M. Gotthardts Musik sondere Konzert in der Berliner Hochschule zum DEFA-Film IKARUS (1975) / 37. – Peter M. für Musik „Hanns Eisler“ 1964 / 283. – Angel Gotthardt: Wie die Musiken für IKARUS (1975) Parra: Was bleibt, ist die Erinnerung. Brief entstanden / 46. – Wege und Partner: – Klaus- von Angel Parra an Peter M. Gotthardt / 284. Dieter Felsmann im Gespräch mit Peter M. – Philipp Stiasny: Der Stummfilmpianist Peter Gotthardt: Eine Filmmischung ist für mich M. Gotthardt / 285. – Jürgen Haase: Ein Kom- immer eine heilige Handlung / 53. – Winfried ponist und seine Filmmusik / 286. – Aus dem Junge: Der macht was draus. Für Peter M. Leben gegriffen: Miniaturen von Peter M. Gott- Gotthardt zum 70. Geburtstag / 78. – Horst hardt: – Ein junger Musikberater beim DEFA- Claus im Gespräch mit Peter M. Gotthardt: Fra- Synchronstudio / 290. – Blaue Fahnen / 291. – gen an den Stummfilmpianisten Peter M. Mein kurzer Kontakt zum Armeefilmstudio / Gotthardt / 80. – Rainer Rother: Als die schie- 293. – Gänsehaut / 294. – Ein ernstes Leben / fen Töne erfunden wurden. Für Peter M. 296. – Wie Filmmusik auch entstehen kann / Gotthardt / 92. – Dieter B. Herrmann im Ge- 298. – Das Regal / 299. – Gib mal n Kostenlo- spräch mit Peter M. Gotthardt: AVE – Mythos ses! / 301. – Für Karl / 302. – Ein genialer Dia- voller Aktualität. Peter M. Gotthardts Anima- log / 304. – Du schreibst eine Scheißmusik... / tionsfilm AVE (1991) / 98. – Ingo Langner: Pe- 304. – Leise Musik / 306. – THE LODGER / 307. ter Gotthardt und die Basilica San Pietro in – CONVERSATION WITH THE BEAST / 309. – Vaticano. Für Peter M. Gotthardt / 106. – Tango Carmen / 310. – Musik für den Perga- Gunter Friedrich: Lieber Peter! Brief von monaltar / 312. – Filmographie / 315. Gunter Friedrich an Peter M. Gotthardt / 109. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 56

Fenske, Uta: „Normalität, was für ein schreck- tedesco compresa fra il 1913 e il 1929 costitu- liches Wort“. Mine Vaganti (Männer al dente, isce un caso di studio esemplare, poiché rapp- 2010) als queerer Film. In: “Sounds like a real resenta, nella sua complessità, uno snodo di man to me“: Populäre Kultur, Musik und assoluta importanza nella storia dell’arte cine- Männlichkeit. Hrsg. v. Laura Patrizia Fleischer matografica e musicale. Tanto complesso e & Florian Heesch. Wiesbaden: Springer VS poliedrico è l’oggetto di studio, tanto sfac- 2019, S. 187–203 (Geschlecht und Gesellschaft. cettato e vario è l’approccio che i cinque saggi 69.). propongono ad altrettanti temi paradigmatici: dalle convergenze tra arte cinematografica e musicale nel cinema astratto di Hans Richter Feuchtner, Bernd: Not, List und Lust: Schosta- e Viking Eggeling, alla collaborazione fra kowitsch in seinem Jahrhundert. Hofheim am Hugo von Hofmannsthal, Richard Strauss e Taunus: Wolke 2017, 278 S. Robert Wiene per la versione cinematografica del Cavaliere della rosa, dalle presenze jazzis- Darin: Filmmusik von Dimitri Schostako- tiche nella musica di Gottfried Huppertz per witsch (143–149); – Fünf Tage – Fünf Nächte – Metropolis di Fritz Lang, alla recezione della Die Struktur von Schostakowitschs Filmmusik musica per film e del cinema come arte (225—230); – Der große Zampano – Dreh- nell’opera e nel pensiero di Arnold Schönberg buch-Expose für einen Puppen- oder Tanzfilm e Alban Berg. (1988) (234—244). Inhalt: Gaia Varon: Sinfonie visive. Musica e Fialko, Olesja Vladimirovna: Klavesinnaja mu- cinema astratto nella Germania degli anni zyka XX veka: istoričeskie ėtapy i osnovnye na- Venti. / 15. – Anna Ficarella: Der Rosenkava- pravlenija razvitija [Фиалко, Олеся Влади- lier dall’opera al film: un controverso adatta- мировна: Клавесинная музыка XX века: ис- mento / 33. – Francesco Finocchiaro: Arnold торические этапы и основные направления Schönberg e il cinema tedesco: dalla Glückli- развития]. Diss. Kazan’: FGBOU VO Kazan- che Hand alla Begleitungsmusik / 51. – Grazi- skaja gosudarstvennaja konservatorija imeni ella Seminara: II montaggio e il tempo nel tea- N. G. Žiganova 2017, 309 S. tro musicale di Berg / 75. – Leo Izzo: Metropo- lis di Fritz Lang: la città del futuro nell’Età del „Cembalomusik des 20. Jahrhunderts: histori- jazz / 109. – Appendice fotografica / 127. sche Bühnen und Hauptrichtungen der Ent- wicklung.“ Darin: 3.3.3. Klavesin v otečestvennoj kino- Finocchiaro, Francesco: Modernismo musicale muzyke [Das Cembalo in der heimischen [= e cinema tedesco nel primo Novecento. Lucca: russ.] Filmmusik] / 141–147. LIM 2017, 16, 213 S. ( Biblioteca musicale LIM: In kyrill. Schrift. Saggi.). Inhaltsverzeichnis: Introduzione. Il paradigma cinematografico / VII. – Prologo. Il cinemato- Finocchiaro, Francesco (a cura di): Musica e grafo e le arti / 3. – 1. Vienna 1913: agli albori cinema nella repubblica di Weimar. Roma: dell’Autorenfilm – 2. Il cinema letterario – 3. I Aracne 2012, 149 S. (Aracne. 10. / Scienze grandi letterati vanno al cinema – 4. L’influ- dell’antichità, filologico-letterarie e storico- enza della cinematografia sul teatro di parola. artistiche. 803.). – 1. Il cinema e il dramma espressionista / 15. – Il volume intende offrire un contributo pre- 1. Arnold Schönberg e il cinema: fase prima – liminare in direzione di un’indagine storica 2. Alban Berg: l’abbozzo per ‘Nacht (Nok- sistematica, vòlta a documentare le relazioni turn)’. – 2. Paul Hindemith e l’universo cine- fra musica d’avanguardia e cinema, nel sec- matografico / 27. – 1. L’incontro con Arnold ondo e terzo decennio del Novecento. Per una Fanck – 2. ‘Im Kampf mit dem Berge’: «Eine ricerca storica sulla componente musicale Alpensymphonie in Bildern». – 3. Edmund nell’era del „muto‟, la stagione del cinema Meisel: il compositore cinematografico / 47. – 1. Fra compilazione e composizione – 2. Per una Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 57

riforma della musica per film – 3. Il ‘Potëm- the reception of the language and aesthetic of kin’: un film sonoro ante litteram. – 4. Der Ro- cinema had significant influence on the do- senkavalier: una problematica rimediazione / main of music. Between 1913 and 1933, Mod- 63. – 1. Problemi di drammaturgia – 2. Da ernist composers’ exploration of cinema “Dresda 1911” a “Dresda 1926” – 3. Richard reached such a degree of pervasiveness and Strauss e la musica per film. – 5. Il cinema e il consistency as to become a true aesthetic par- teatro musicale / 79. – 1. L’invecchiamento adigm, a paradigm that sat at the very heart dell’opera – 2. Kurt Weill: la musica nel teatro of the Modernist project. In this insightful epico – 3. La Filmmusik in ‘Royal Palace’. – 6. volume, Finocchiaro shows that the creative Alban Berg, Lulu e il cinema come artificio / 95. confrontation with the avant-garde medium – 1. L’Interludio della ‘Lulu’ – 2. Il principio par excellence can be regarded as a vector of di simmetria: dalla forma al dramma – 3. Lo musical Modernism: a new aesthetic para- scenario – 4. Il linguaggio musicale e il rap- digm for the very process – of deliberate mis- porto con l’immagine – 5. Il cinema come ar- interpretation, creative revisionism, and tificio. – 7. Nuova Oggettività e cinema astrat- sometimes even intentional subversion of the to / 115. – 1. Vie nuove – 2. L’idea di cinema Classic-Romantic tradition – which realized assoluto – 3. La musica nel cinema assoluto: the “dream of Otherness” of the Modernist ’Lichtspiel Opusi’ – 4. Musica e cinema a Ba- generation. den-Baden – 5. “Film und Musik” 1927 – 6. Inhalt: 1. Introduction: the cinematic para- “Experimentalvorführung Film und Musik” digm – 2. Prologue: cinema and the arts – 3. 1928 – 7. “Tonfilme” 1929. – 8. Tra musica per Cinema and expressionist drama – 4. Paul film e musica da camera / 153. – 1. «Kammer- Hindemith and the cinematic universe – 5. musik oder Filmmusik» ? – 2. Arnold Schön- Edmund Meisel: the cinematic composer – 6. berg e il cinema: fase seconda – 3. La ‘Beglei- Der Rosenkavalier: a problematic remediation tungsmusik’ op. 34 – 4. Franz Schreker e i – 7. Cinema and musical theatre: Kurt Weill ‘Vier kleine Stucke’ – 5. La ‘Musik-Film’ di Jo- and the Filmmusik in Royal Palace – 8. Alban sef Matthias Hauer. – Epilogo. Gli albori del Berg, Lulu, and Cinema as artifice – 9. New cinema sonoro / 175. – 1. L’uomo parlante – 2. objectivity and abstract cinema – 10. Between Straniamento del cinema sonoro – 3. Kurt film music and chamber music – 11. Epilogue: Weill, Hanns Eisler e il montaggio musicale – the dawn of sound cinema. 4. La musica e il cinema: una vicendevole ere- dità. – Bibliografia / 193. – Indice degli esempi musicali / 211. – Indice delle figure / 213. Finocchiaro, Francesco / Izzo, Leo: The Sound of the Nightmares: On the Jazz Music in Fritz Lang’s Metropolis. In: Cinema Changes: Incor- Finocchiaro, Francesco: Musical Modernism porations of Jazz in the Film Soundtrack. Ed. and German Cinema from 1913 to 1933. Cham, by Emile Wennekes & Emilio Audissino. Switzerland: Palgrave Macmillan 2017, xix, Turnhout: Brepols 2019, S. 203–218. 259 S.

This book investigates the relationship be- FitzGerald, Louise / Williams, Melanie (eds.): tween musical Modernism and German cin- “Mamma Mia!” The Movie: Exploring a Cul- ema. It paves the way for an unorthodox path . London: I.B. Tauris 2013, of research, one which has been little ex- tural Phenomenon plored up until now. The main figures of mu- xii, 248 S. sical Modernism, from Alban Berg to Paul Inhalt: Facing our Waterloo: Evaluating Hindemith, and from Richard Strauss to Kurt Mamma mia! the Movie / Louise FitzGerald Weill, actually had a significant relationship and Melanie Williams – Everyone listens with cinema. True, it was a complex and con- when I start to sing: gender and ventrilo- tradictory relationship in which cinema often quism in the songs of Mamma mia! on stage emerged more as an aesthetic point of refer- and screen / Malcolm Womack – Mamma ence than an objective reality; nonetheless, mia!’s female authorship / Melanie Williams – Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 58

‘See that girl, watch that scene’: notes on the histories, its place amongst the events of the star persona and presence of Meryl Streep in 1960s, and its afterlife amongst fans. Mamma mia! / Deborah Mellamphy – ‘Know- ing me, knowing you’: reading Mamma mia! as feminine object / Caroline Bainbridge. Ford, Andrew: The Sound of Pictures: Listening Mama mia! The Movie (2008) was one of the to the Movies, from Hitchcock to “High Fi- top international box-office hits of its year delity“. Melbourne: Schwartz Publishing / Ann and the fastest selling DVD in British history. Arbor, Mich.: ProQuest 2010, 185 S. Responses were passionate but polarized: Dass.: The Sound of Pictures. Collingwood, while legions of fans participated in celebra- Vic.: Black Inc. 2010, 312 S. tory sing-along screenings, critics dismissed it The Sound of Pictures is an illuminating jour- as a „Super Pooper“. The critical split often ney through the soundtracks of more than ran along the fault line of gender, with male 400 films. How do filmmakers play with critics initially unimpressed by the uninhib- sound? And how does that affect the way we ited, tongue in cheek frivolity of this rare watch their movies? Whether pop or classical, film, produced and directed by women. This sweeping or sparse, music plays a crucial role welcome first book on a twenty-first century in our cinematic experience. Other sounds cultural phenomenon explores these diverse can be even more evocative: the sounds of na- responses to Mama mia!, along with key is- ture, of cities and of voices. In The Sound of sues such as the film’s representation of fe- Pictures, Andrew Ford speaks to acclaimed di- male friendship and its focus on the older fe- rectors and composers, discovering radically male protagonist, as well as its status as queer different views about how much music to use text. and when. And he explores some of cinema’s most curious sonic moments. How did Alfred Fleeger, Jennifer: Sounding American: Holly- Hitchcock use music to plant clues in his wood, Opera, and Jazz. New York/Oxford: Ox- films? Why do some ‘mix-tape’ soundtracks ford University Press 2014, X, 220 S. (The Ox- work brilliantly and others fall flat? How do classics from to ford Music / Media Series.). A Clockwork Orange The God- father, Cinema Paradiso to High Noon, use Inhalt: Archiving America: sound technology music and sound effects to enhance what we and musical representation – Opera cut short: see on screen? from the castrato to the film fragment – Sell- Inhalt: Introduction – The role of music – Five ing jazz short: Hollywood and the fantasy of composers: Ennio Morricone; Richard Rodney musical agency – Opera and jazz in the score: Bennett; Dick Hyman; Lalo Schifrin; Howard toward a new spectatorship – Conclusion. Shore – Listening to the music: Classical mu- Rev. (Spring, Katherine) in: Journal of the So- sic in films; Pop goes the score; Pictures of ciety for American Music 10,4, 2016, S. 508– sound; Listening for clues in Hitchcock; The 511. – Rev. (Hollenbach, Katie Beisel) in: Jour- sound of voices; The sounds of silence (and nal of Film and Video 69,3, 2017, S. 63–64. Bumps in the night) – Five directors: Bruce Beresford; Sally Potter; Wim Wenders; Peter Greenaway; Peter Weir – Epilogue: The Flinn, Caryl: “The Sound of Music“. London: shared experience of sound. British Film Institute 2015, 112 S. (BFI film classics.). Ford, Fiona: Edmund Meisel’s Potemkin score. A half-century after its release, The Sound of A close reading. In: Maske und Kothurn 61,1, remains the most profitable and recog- Music 2015, S. 29–54. nisable film musical ever made. Foreground- ing the film’s iconic musical numbers as key Vgl. dazu das Themenheft: Potemkin – to its global longevity and appeal, Caryl Meisel: Edmund Meisel und die „Wiener Fas- Flinn’s fresh new study traces the film’s pre- sung“ des „Panzerkreuzer Potemkin“ von Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 59

Sergej M. Eisenstein. Hg. Martin Reinhart, Peña Sánchez: La música de Antón García Thomas Tode. In: Maske und Kothurn 61,1, Abril y las adaptaciones de literatura española 2015, S. 7–110. en los medios audiovisuales / 95. – Manuel Martínez Nieto / Juan Francisco de Dios Her- nández: Val del Omar y el edén de los visiona- Ford, Fiona: Edmund Meisel’s score to Der rios / 111. – Esteban Martínez González / Ja- heilige Berg (1926) – prefiguring Hollywood’s vier Mateo Hidalgo: Habitando el ruido: la “golden age” narrative-scoring practices in dialéctica de los sonidos no musicales en el live performance. In: Music and Sound in cine español / 121. – 2. Música y lenguaje au- Silent Film: From the Nickelodeon to “The diovisual en España: perspectivas metodológi- Artist“. Ed. by Simon Trezise & Ruth Barton. cas: – Miguel Mera: La banda sonora sale del London: Routledge 2019, S. 124–145. armario: música, narración y proceso de cola- boración en sin límites (2009) / 137. – Alejan- dro González Villalibre: La voluntad del com- Fox, Albertine: Godard and Sound: Acoustic In- positor desechada. La reutilización de la músi- novation in the Late Films of Jean-Luc Godard. ca de Libertarias en Los fantasmas de Goya / London/New York: I.B. Tauris 2018, xiii, 274 S. 153. – Alejandro Román: Análisis musivisual: una propuesta metodológica para el estudio By detailing the production contexts and phi- de la música en Los otros, de Alejandro Ame- losophy behind Godard’s idiosyncratic sound nábar / 165. – Matilde Chaves de Tobar: Santa design, it provides an accessible route to un- Teresa de Jesús: historia, música y arte cine- derstanding his complex use of music, speech matográfico / 185. – Marcos Sapró Babiloni: and environmental sound, alongside the dis- Voces del infierno: la composición coral en el torting effects of speed alteration and audi- ideario sonoro de lo demoníaco y el preceden- tory excess. The book is framed by the conte español de la tetralogía templaria / 193. – cept of ‘acoustic spectatorship’: a way of cul- Juan Pedro Escudero Díaz: El flamenco en los tivating active listening in the viewer.It also medios audiovisuales. Apuntes para una apro- draws on ideas by leading sound theorists, ximación metodológica a su estudio / 207. – 3. philosophers, musicians, and poets, giving Géneros musicales y cultura audiovisual: músi- particular emphasis to the pioneering thought ca, cine y autores: – Jaume Radigales: Visiones of French sound engineer and theorist, Pierre contemporáneas de la ópera en el audiovi- Schaeffer. sual / 223. – Rebeca Ríos Fresno: Apuntes sobre la “música visual” de la ópera D.Q. (Don Fraile, Teresa / Viñuela, Eduardo (eds.): La Quijote en Barcelona) / 245. – José M. García música en el lenguaje audiovisual: Aproxima- Laborda: Dos versiones cinematográficas del mito de Salomé desde el teatro (O. Wilde-K. ciones multidisciplinares a una comunicación Russell) y desde el ballet (A. Gómez-C.Saura) / . Sevilla: ArCiBel Editores 2012, 604 mediática 257. – Carlos de Pontes-Leça: El cine musical S.; online. en el siglo XXI: los años cero / 273. – Joan Pa- Inhalt: Prólogo / 9. – 1. Música y cine en Espa- drol: Cine documental italiano años 50: ¿cine ña: reconstruyendo nuestra historias: – Julio perdido? ¿músicas perdidas? / 289. – Víctor Arce: Singin’ in Spain. Música y músicos en el Solanas Díaz: La música en el cine neorrealis- Hollywood multilingüe (1929–1934) / 15. – ta de Luchino Visconti: de Ossessione a Le not- Joaquín López González: Entre el casticismo y ti bianche / 307. – María Ayllón Barasoain / el sinfonismo: música cinematográfica en la Antonio Notario Ruiz: El sonido de la Teoría España de los años centrales del siglo XX / 41. Crítica: Alexander Kluge / 315. – Marcos Az- – Iván Iglesias: ¿Melodías prohibidas?: El jazz zam Gómez: Saraband de Ingmar Bergman, en el cine del primer franquismo (1939– un testamento músico-cinematográfico / 333. 1945) / 61. – Leopoldo Neri de Caso: La banda – 4. Músicas populares en los medios audiovi- sonora musical de Ernesto Halffter para Viaje suales: – Matilde Olarte: La descripción musi- romántico a granada (1955) / 75. – Francisco cal del héroe: realzando los temas populares Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 60 desde la creación incidental / 347. – Mauricio curso melódico para el aprendizaje de la flauta Durán Serrano: La reinterpretación del pachu- de pico con alumnos en formación de las titu- co a través del humor: el caso de Tin Tan. Una laciones de maestro / 583. – María Pardavila aproximación desde las dimensiones auditiva Neira: La música en publicidad como herra- y visual / 359. – Téo Massignan Ruiz / Estrela mienta educativa en la ESO / 593. Ruiz Leminski: El desarrollo del fonograma: cambios de la música en Brasil / 371. – David García Freile: Swing: visiones etnográficas de Fraile, Teresa / Viñuela, Eduardo (eds.): Rela- la comunidad Manouche / 385. – Elena Bos- ciones música e imagen en los medios audiovi- chi: ‘Canción Prohibida’. Simulacros musicales suales. Oviedo: Ediciones de la Universidad de y otros mundos en Barrio de Fernando Léon Oviedo 2015, 449 S. de Aranoa / 399. – Lola San Martín Arbide: Este libro engloba diferentes campos de la in- Hip-hop, medicina contra la inmoralidad. vestigación actual sobre música y medios au- Ghost Dog: El Camino del Samurai, una pelícu- diovisuales. El objetivo de esta publicación es la de Jim Jarmusch / 407. – Yaiza Bermúdez ofrecer al lector una visión multidisciplinar de Cubas: María Antonieta (2006): conversacio- las líneas de trabajo que se están desarrollan- nes entre el contrapunto clásico visual y la do en el campo de estudio que se ocupa de las música contemporánea. Aproximaciones para relaciones entre la música y la imagen. De el entendimiento del eclecticismo sonoro / esta manera, el volumen se divide en diferen- 419. – César Rivadeneyra: La llegada del pop tes bloques: comienza con un apartado dedi- a la música cinematográfica: el caso de El gra- cado a cuestiones metodológicas, en el que se duado / 435. – 5. Estudios interdisciplinares en abordan debates fundamentales para el análi- la música para audiovisual: música, publicidad sis de la música en el audiovisual, como las y videojuegos: – Judith Helvia García Martín: funciones de la música en el cine. Un segundo Nuevos códigos identitarios en la música pu- bloque se centra en la música del cine español blicitaria actual: estrategias comerciales / 449. en diferentes periodos de la historia. A conti- – Virginia Sánchez Rodríguez: Más allá del nuación se examina la obra de diversos com- film. La reutilización de la música de cine en positores para el cine (Alan Menken, José Nie- la publicidad española / 463. – Cristina Gon- to, Alberto Iglesias) y la presencia de la músi- zález Díaz: La música como reclamo publicita- ca en la filmografía de directores como Von rio: aproximación al estudio de la música en Trier o Visconti. Otro apartado se dedica al los spots de publicidad / 475. – Daniel Torras i análisis pormenorizado de la música de pe- Segura: Modelos de música y silencio en la lículas concretas con ejemplos que van desde persuasión electoral / 489. – Julio Montero: el periodo del cine ‘mudo’ hasta la actualidad. Características compositivas de la música sin- Tras los bloques dedicados específicamente al fónica en los videojuegos / 503. – Israel V. cine, recogemos otro tipo de investigaciones, Márquez: La influencia de los videojuegos en comenzando con las que utilizan la relación la música popular / 511. – 6. Música y medios música-imagen como herramienta pedagógi- audiovisuales para la educación: aplicaciones ca. A continuación, incluimos un apartado so- didácticas de la música en el audiovisual: – Vi- bre la presencia de las músicas populares ur- cente Galbis López: La música de concierto en banas en los medios audiovisuales (cine, viel cine de Woody Allen: Análisis y aplicacio- deoclip, videocjuego), así como el uso que ha- nes didácticas / 525. – Juan Carlos Montoya cen diversos géneros musicales, como el ska o Rubio: ¿Por qué le gusta Shrek a mi papá? el heavy, del lenguaje audiovisual. Para finali- Comprensión y trabajo didáctico sobre los re- zar, dedicamos un apartado especial a la músi- ferentes sonoros en el cine infantil / 547. – Mª ca en las series de televisión, con ejemplos tan Elena Hidalgo Sánchez: Tecnoaula audiovi- populares como Pretty Little Liars o Cómo co- sual: un nuevo espacio educativo en la impro- nocí a vuestra madre. visación musical / 573. – María Esperanza Jambrina Leal: Buenas prácticas docentes en Inhalt: Teresa Fraile y Eduardo Viñuela: Intro- educación musical: la banda sonora como re- ducción / 7. – I. Reflexiones metodológicas y perspectivas de análisis / 13: – Marco Alunno: Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 61

Reflexiones alrededor de la diégesis del sonido dóvar / 231. – Víctor Solanas- Díaz: Luchino en el cine / 15. – Virginia Sánchez: Las obras Visconti: los últimos ritos. Estrategias en la literarias como fuente de conocimiento de la banda sonora de Confidencias y El inocente / música de cine: el caso de los vanguardistas 243. – IV. Estudio de casos / 249: – Marcos Az- españoles (1920–1930) / 25. – Daniel Torras y zam Gómez: La musicalización de Matti Bye y Alicia Álvarez: Parámetros, conceptos y ámbi- KTL para La carreta fantasma de Victor Sjö- tos para una redefinición del cine musical ström / 251. – Zaida Hernández Rodríguez: como género / 39. – Yaiza Bermúdez: Tópicos, Música, comida e imagen: la transterritoriali- usos estéticos y relaciones de montaje en la zación en Polítiki Cusina / 263. – Marco Bel- música del cine «histórico» / 55. – Sergio La- lano: Painted orchestras. Orchestration and suén: La armonía como elemento de comuni- musical adaptation in Fantasia and Fantasia cación en el cine español de los noventa. Apli- 2000 / 277. – Mauricio Alejandro Durán Se- cación práctica a la música de José Nieto y Al- rrano: Hacia la unidad nacional. La construc- berto Iglesias / 67. – II. Música en el cine espa- ción de un imaginario a través del himno na- ñol / 77: – M.ª José Ramos: En los orígenes de cional mexicano en tres filmes de principios la música para largometrajes de animación en de siglo xx / 289. – Matilde Chaves de Tovar: España: la secuencia como unidad de acción. El lenguaje musical y audiovisual en la trans- El caso de la «Canción de los cipreses». / 79. – misión de sentimientos: el asunto de la banda Lidia López Gómez: Música y propaganda en sonora de Gladiador / 301. – V. Didáctica y el cine de la Guerra Civil española. El film na- medios audiovisuales / 315: – M.ª Jesús Ca- cional Ya viene el cortejo / 93. – Laura Miran- mino Rentería: Aprendizaje Musical con TIC / da: Suspenso en comunismo o el cambio de dé- 317. – Olalla Martín Vaquero: Propuestas pe- cada en el cine español: un acercamiento al dagógicas para el uso del medio audiovisual estudio de la comedia española de los años en el aula de música de secundaria / 325. – cincuenta / 109. – Jaume Radigales / Isabel Vi- Marcela González: La canción como recurso llanueva / Yaiza Bermúdez: El papel de la ópe- expresivo en el cine: apuntes y propuestas di- ra en el cine español / 121. – Josep Lluís i Fal- dácticas para la asignatura Música / 333. – VI. có: Migraciones y música pop en la España de Músicas populares urbanas y otros medios au- los sesenta: el cine a ambos lados del espejo / diovisuales / 345: – Gonzalo Fernández Monte: 133. – Diego García Peinazo: Manuela o la Músicas negras y estética sixties como inspi- disputa del estereotipo andaluz. Rock, baile ración sonora y visual en videoclips del siglo flamenco, feminidad y políticas del cuerpo en xxi / 347. – Julia M.ª Martínez-Lombó Testa: el cine de la transición / 147. – Magdalena Se- El videoclip en el heavy metal asturiano: el llés Quintana: Una introducción al estudio del caso de Malefic Time: Apocalypse de Avalan- documental musical en España / 163. – III. ch / 359. – Israel V. Márquez: Traducciones Autores: compositores y directores / 175: – Lu- mediáticas: cuando el videoclip se convierte cía Donoso Madrid: La elaboración de ideas en videojuego / 379. – Elena Monzón Pertejo: musicales en el cine: Análisis de una banda Britney Spears y la poesía o la disolución de sonora musical del compositor Ángel Arteaga fronteras entre «cultura popular» y «alta cul- de la Guía / 177. – Alba Montoya Rubio: Alan tura» / 393. – VII. La música en la ficción tele- Menken y la evolución de los números musi- visiva / 403: – Judith Helvia García Martín: cales en las películas Disney: Comparación «Melodías tortuosas» en la recreación musical entre La Sirenita (1989) y Enredados (2010) / del género negro en las series de televisión / 191. – Magdalena Polo Pujadas: Estética y 405. – Victoria Bernad López: Lo siniestro en música en Lars von Trier. De la nostalgia a la Pretty Little Liars. La música entre lo vivo y lo melancolía / 209. – Alejandro González Villa- muerto / 421. – Consuelo Pérez Colodrero: libre: El «sonido Nieto». Marcas de estilo del «Celebrémoslo cantando y bailando»: la mú- compositor a lo largo de 40 años de carrera / sica en las siete primeras temporadas de la si- 219. – Francisco Jiménez Criado: Las bandas tcom Cómo conocí a vuestra madre (How I met sonoras de Alberto Iglesias aplicadas en las your mother) / 433. películas de género dramático de Pedro Almo- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 62

Franke, Lars: Godfather Part III: Film, Opera, cartoon series; Yellow Submarine-film form and the Generation of Meaning. In: Changing and style; The narrative/number relationship; Tunes: The Use of Pre-existing Music in Film. “Eleanor Rigby”; “Only a Northern Song”; Ed. by Phil Powrie & Robynn Stilwell. Alder- “Sea of Holes”; “Lucy in the Sky with Dia- shot: Ashgate 2006, S. 31–45. monds”; Conclusion. – 5. The end of an era, the end of the Beatles – Let It Be; Observa- Nachdr. London: Routledge 2017. tional documentary, form, and function in Let It Be; The Beatles as social actors; A fifth Bea- tle?; George Harrison: The “quiet one” speaks; Franklin, Peter: Reger and film music. In: Ringo Starr: The lovable drummer writes a Musikgeschichte in Mittel- und Osteuropa [= song; Paul McCartney; (Reluctant?) leader Mitteilungen der internationalen Arbeitsge- John Lennon: The enigma; The viewer as meinschaft an der Universität Leipzig in voyeur; The Beatles take a final bow: “Revolu- Zusammenarbeit mit den Mitgliedern der in- tion, “Hey Jude,” and the rooftop perfor- ternationalen Arbeitsgemeinschaft für die mance; Conclusion; Conclusion. Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig] 18, 2017, S. 407–420. Frishkopf, Michael: Mood Music. In: Screen 25,3, 1984, S. 78–88. Fremaux, Stephanie: The Beatles on Screen: From Pop Stars to Musicians. New York: Bloomsbury Academic 2018. 170 S. Fryer, Paul: The Composer on Screen: Essays on Classical Music Biopics. Jefferson, N.C.: McFar- Inhalt: Introduction; Theoretical frameworks land 2018. 228 S. and literature survey; Chapter summaries. – 1. A Hard Day’s Night: Beatlemania hits the big screen; Context and musical sequence Fuchs, Henning: Der Film- und Medienkom- analysis; “A Hard Day’s Night” (opening cred- ponist als Unternehmer. Konstanz: UVK 2015, its); “I Should Have Known Better”; “If I Fell”; 202 S. (Praxis Film. 87.). “Can’t Buy Me Love”; “And I Love Her”/ “I’m Happy Just to Dance with You”; The final live concert sequence (”Tell Me Why”/“If I Fell”/”I Fuchs, Maria: The hermeneutic framing of Should Have Known Better”/“She Loves film illustration practice. The Allgemeine You”); Conclusion. – 2. Help! Beatlemania is Handbuch der Film-Musik in the context of a out of control; “Help!” (opening credits); historico-musicological tradition. In: Claus “You’re Going to Lose that Girl”; “You’ve Got Tieber & Anna Windisch (eds.): The Sounds of to Hide Your Love Away”; “Ticket to Ride”; “I Silent Films: New Perspectives on History, The- Need You”; “The Night Before”; “She’s a Wo- ory and Practice. Hampshire: Palgrave man”; “Another Girl”; Conclusion. – 3. Roll up Macmillian 2014, S. 156–171. for the Magical Mystery Tour; Producing and promoting Magical Mystery Tour; Perception, performance, liberation-psychedelia’s influ- Fuchs, Maria: Kunst oder Nichtkunst. Zur Kri- ence on the Beatles; The Beatles’ psychedelic tik der Musik für den Stummfilm im Deutsch- promotional films; “Rain” and “Paperback land der 1920er Jahre. In: Fritz Trümpi & Si- Writer”; “Strawberry Fields Forever”; Magical mon Obert (Hrsg.): Musikkritik: Historische Mystery Tour as a psychedelic trip; “Magical Zugänge und systematische Perspektiven. Mystery Tour”; “The Fool on the Hill” and Wien: Mille Tre 2015, S. 111–113 (Anklänge “Flying”; “I am the Walrus”; “Blue Jay Way” 2015. Wiener Jahrbuch für Musikwis- and “Death Cab for Cutie”; “Your Mother senschaft.). Should Know” Conclusion. – 4. From seaside mystery trips to Pepperland: Aboard the Yel- low Submarine; King Features and the Beatles Fuchs, Maria: Stummfilmmusik: Theorie und Praxis im „Allgemeinen Handbuch der Film- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 63

Musik“ (1927). Marburg: Schüren 2017, 288 S. and recurring scenes. Composing original (Marburger Schriften zur Medienforschung. music for a specific film was not economical 68.). nor easy but it was considered as superior by contemporary critics, composers and conduc- Zuerst als Diss., Universität Wien 2015. tors. The techique of musical illustration was Die Verfasserin referiert zunächst den Stand criticised from various aesthetic and ideologi- der Forschung zur Filmmusikgeschichte. Die cal viewpoints. However, the value of music Herausgeber des Handbuchs, Giuseppe Becce, illustration was discussed widely by many in- Hans Erdmann und Ludwig Brav, werden cluding representative modern composers vorgestellt. Ein eigenes Kapitel ist dem such as Paul Hindemith and Kurt Weill. They „Entstehungskontext der musikalischen evaluated original film scores as well as “me- Hermeneutik“ gewidmet; große Bedeutung chanical music“, an aspect, which is to be un- hat hier der Musikwissenschaftler Hermann derstood against the background of the so Kretzschmar. Sehr differenziert werden dann called ‘Neue Sachlichkeit’ movement, during zeitgenössische Schriften zur Stummfilm- the Weimar Republic. By using a wide and musik in Deutschland dargestellt. Der Blick variegated set of publications from the film richtet sich schließlich auf das „Allgemeine trade press, contemporary music press and Handbuch der Film-Musik“, auf dessen Reper- daily papers of the 1920s, this article exam- toireauswahl des „Thematischen Skalenregis- ines the artistic and aesthetic value of the pre- ters“ und seine Gliederung. Ein spezielles vailing practices of musical illustration from a Kapitel ist schließlich dem Komponisten Ernö new perspective and demonstrates the ideo- Rapée vorbehalten, der von Hans Erdmann logical resentment shown in the journalism unangemessen scharf kritisiert wurde, was against this practice. (Vorlage) man aus heutiger Sicht als Antiamerikanis- mus bezeichnen kann. Rev. (Martins, Eunice) in: Filmblatt 22,64–65, Fuchs, Maria: Hermann Kretzschmar’s for- 2018, S. 151–153. gotten heirs: ‘Silent’ Film Music as Applied Musical Hermeneutics. In: Music and the Mov- ing Image 12,3, 2019, S. 3–24. Fuchs, Maria: Silent Film Music in the Weimar TheAllgemeines Handbuch der Film-Musik Republic: Reception by the Contemporary was published by Hans Erdmann, Ludwig Criticism and Modernist Composers. In: Jordi Brav, and Giuseppe Becce in 1927 by the Ballester & Hérman Gan Quesada (eds.): Mu- Berlin-based publisher Schlesinger. It repre- sic Criticism 1900–1950. Turnhout: Prepols sents the most comprehensive and undoubt- Publishers 2018, S. 399–421 (Music, Criticism, edly most significant document pertaining to & Politics.). the practice of “silent“-film accompaniment This chapter discusses the criticism of silent during the 1920s in Germany. The four hun- film music in Germany’s trade press through- dred-page work is divided into two volumes: out the 1920s. Not only the new film media it- The first one delivers an elaborate aesthetic self but also the sounds accompanying silent and theoretical debate about the prevalent films quickly gained a bad reputation in Ger- and ideal methods of film accompaniment, many. Using musical illustrations, especially and the second volume contains a cinema musical compilations, was one of the most music catalog, the so-called Thematisches common methods for producing silent-film Skalenregister (Thematic Music Index), with accompaniments during those years. So-called over three thousand musical incipits. While “Kinomusikbibliotheken” (cinema music li- the Handbuch was firmly grounded in the braries) consisted of pre-existing composi- musical practice of cinema musicians, the two tions, mostly from traditional European art parts were not solely intended as a manual to music, and especially that from the late nine- facilitate the fast-paced working routine of teenth century together with newly com- practitioners, like the numerous cinema mu- posed musical pieces to suit specific moods sic catalogs that were published in Germany Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 64

in the wake of Becce’s Kinotheken (1919– 21st century – created in cooperation with 1929). In these catalogs, music pieces of vari- artists from musical ensembles thEoRy Of ous origins were organized according to cer- Shake (SK/CZ), The California EAR Unit tain parameters in order to satisfy the musi- (USA), and fine artist Ludivine Allegue (F), co-dramatic demands of day-to-day “silent“- among others –, and influenced by his experi- film accompaniment. The pieces were inter- ence with the semiotic theoretical compre- preted for their extramusical associations and hension of music. labeled under specific semantic categories in order to be used for specific and recurrent types of film scenes. This labeling of music Fujiwara, Masao: Akutagawa Yasushi no eiga was based on the tradition of “musical ongaku gohō no hensen: Tēma ongaku no hermeneutics,” and it inspired the conception kyōchō to motīfu no ryūyō ni chakumoku shi- of the Handbuch’s second volume, the The- te [藤原征生: 芥川也寸志の映画音楽語法の変 matic Music Index, which is a complex and 遷: テーマ音楽の強調とモティーフの流用に着 multilayered classification system for cinema 目して]. In: Ningen kankyō-gaku [人間・環境 music. Thus, in addition to providing a precise 学] 26, 2017, S. 91–106. method for film accompaniment, the Hand- buch contains a theory and an aesthetics that “The Transition of Musical Expression in Ya- sushi Akutagawa’s Film Music: Paying Atten- applies the music-hermeneutical ideas of Ger- man musicologist Hermann Kretzschmar to tion to Emphasis on Theme Music and Con- version of Motifs. the practice of film accompaniment. Kret- zschmar (1848–1924) located the core problem In japan. Schrift. – Abstract: This essay devel- of musical hermeneutics?a discipline of music ops a basis for exploring the musical strategy analysis that essentially studies musical of Yasushi Akutagawa’s film music. The au- meaning and interpretation?in the nomencla- thor divides Akutagawa’s career of film music ture of musical expression, which formed the into two periods: one (period I) is from 1951 basis of the musical accompaniment method to 1970, the other (period II) is from 1974 to in “silent” cinema. This essay focuses on the 1982. In an interview held in 1978, he referred influence of Kretzschmar’s theory of musical to the change of his ideal in composing film hermeneutics on the indexing system of the music: in the earlier era, he prioritized the Handbuch as well as on the author’s inten- synchronicity between music and picture, tions to ground their work in academic the- while he gradually came to deemphasize the ory. (Vorlage) idea and put stress on what he called “theme music.” To verify his statement, this essay examines three of his film scores chronologi- Fujak, Július: Influence of Musical Semiotics cally: A Cat, a Man and Two Women ( 猫と庄造 and Aesthetics on Music-Intermedia Arts (Ex- , 1956), Hana Noren (花のれん, と二人のをんな amples from Personal Practice). In: p-e-r-f-o-r- 1959) and Portrait of Hell (地獄変, 1969). Fur- m-a-n-c-e 1,1, Oct. 2014, [URL]. thermore, this essay links this analysis to “conversion of motifs,” a characteristic that The paper deals with the phenomena of music previous researches such as Kuniharu Akiya- semiosis from the perspective of Slovak theo- ma and Hisao Nishikawa have singled out as reticians Peter Faltin; his original semiotic Akutagawa’s signature. theories in the 1970s, including his last work Signification of Aesthetic Signs – Music and Language (to be specific, its second part Fujiwara, Masao: Sengonihon eiga sangyō to Meaning in Music), and post-structuralist aes- ongakuka: Akutagawa Yasushi to ‘3-ri no kai’ thetician Jozef Cseres at the break of 1990s/ no katsudō o rei ni [藤原征生: 戦後日本映画産 2000s. Following this, the author devotes his 業と音楽家: 芥川也寸志と「3 人の会」の活動 attention to the aesthetic interpretation of his を例に]. In: Ningen kankyō-gaku [ various contemporary, experimental music- 学] 27, 2018, S. 77–88. 人間・環境 intermedia projects from the beginning of Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 65

“Musicians in Post-War Japanese Film Indus- Japanese cinema’s overseas advance or as one try: The Work of Yasushi Akutagawa and the of the earliest successful color motion pic- Three-Composer Group.” tures in Japan, Gate of Hell (dir. Teinosuke In japan. Schrift. – Abstract: Recent film stud- Kinugasa, 1953) has received a certain appre- ies tend to focus on cinema as an industry. In ciation in the film history. However, its music the field of Japanese film studies, some schol- composed by Yasushi Akutagawa has been ars such as Masao Inoue and Takafusa Hatori overlooked. This essay firstly points out the have published important researches which characteristics of the music of Gate of Hell in discuss studio system including Five-/Six- both ‘synchronic’ features, that is, influences Company Agreement, the agreement which from other film music of the times, and ‘di- restricted actors and staffs’ free movement achronic’ features which can be found in his between companies and formed the basis of later film music. Then I show how the music the studio system in post-war Japanese cin- of Gate of Hell is strongly connected to his ema. However, a field that these previous Prima Sinfonia (1954/55) in terms of the reuti- studies hardly explored surely exists ; that is, lization of motifs and the similarity of the- the relationship between film industry and matic. Prima Sinfonia was premiered at the musicians. This essay aims to elucidate how first concert by Sannin no Kai (「3 人の会」). musicians were engaged in the film industry Sannin no Kai, a collective formed by three in post-war Japan. To this goal, the author composers, Akutagawa, Ikuma Dan, and To- firstly outlines the connection between musi- shiro Mayuzumi in 1953, left big marks on cians and the film industry at that time ac- post war Japanese music culture. What’s in- cording to Seitaro Omori’s Western Music in teresting is that both Prima Sinfonia and the Japan, Volume Two and evaluates musicians, music of Gate of Hell, composed around al- especially composers, as “super-studio sys- most same time, use the same motif. Thus this tematic” existence. After that, the author ex- essay reevaluates Gate of Hell from a view- amines the work of Yasushi Akutagawa and point of the connection with the history of Three-Composer Group, the group which music in post war Japan which has been Akutagawa formed with Ikuma Dan and scarcely mentioned by former studies. Toshiro Mayuzumi in 1953. Specifically, the author points out that the group had a function as cooperative association for film music which allows the members to behave free from The Agreement. Furthermore, Akuta- gawa repeatedly used the motif called “Theme – G – from Ako Roshi” as a result of his “super-studio systematic” behavior. The author con- Gabbard, Krin: Signifyin(g) the phallus: Mo’ cludes that Akutagawa’s works were quite Better Blues and representations of the jazz unique in the history of film music in Japan. trumpet. In: Cinema Journal 32,1, 1992, S. 43– 62. Fujiwara, Masao: Akutagawa Yasushi no ongaku kara miru “Jigoku-mon” no eiga/on- Gabbiani, Claudio: Trame sonore: Musica, gaku-shi-teki igi [藤原征生: 芥川也寸志の音楽 voce, rumori e silenzio nel cinema. Ogliastro からみる『地獄門』の映画/音楽史的意義]. In: Cilento (SA): Licosia 2018, 254 S. Ningen kankyō-gaku [人間・環境学] 28, 2019, Introduzione – Perché amiamo la mu- S. 81–92. Inhalt: sica? – La musica è fatta di melodie e armonia “The Significance of Gate of Hell on Film/Mu- – Tutti cantiamo la melodia, ma il ritmo e il- sic History inferred from its Music by Yasushi timbro? – Musica e linguaggio – il potere e Akutagawa.” motivo della musica – Non c’è cinema senza In japan. Schrift. – Abstract: As a landmark in suono – La musica e le immagini: la sinestesia – Voci, rumori e silenzio – I diversi gradi di Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 66

intervento della componente sonora nel film Marc Shaiman – Steve Horowitz – Nathan – Le funzioni della musica – Nuove idee, Barr – Trevor Morris. nuova musica – Le produzioni marvel e la temp music – Conclusioni. Gall, Johannes C.: Hanns Eisler goes Holly- wood: Das Buch „Komposition für den Film“ Gadzinski, Anna: Appropriated music – an al- und die Filmmusik zu „Hangmen Also Die“. tered system of relationships between music Wiesbaden: Breitkopf & Härtel 2015, 325 S. and image. In: New Sound: International Mag- (Eisler-Studien. 5.). azine for Music (Belgrade: Union) 36,2, 2010, S. Zugl.: Diss., Hamburg: Universität Hamburg, 91–100. FB Kulturgeschichte – Kulturkunde, 2011. It is noticeable that the relationship between Inhalt: Vorwort – Einleitung – I. Komposition music and image has been considerably al- fur den Film: – 1. Textgeschichte – Anlass, tered since a few decades ago. But what is the Pramissen – Eisler und Adorno als Koautoren nature of it? If we persistently stick to analyz- – Arbeit am Text und Drucklegung der eng- ing the scores, we are prone to miss it, and if lischsprachigen Erstausgabe – Publikation ei- we assign the innovations in film music to ner deutschen Fassung im Henschel-Verlag – technological developments alone, the final “Erstdruck der Originalfassung” – Rezeption, assumption will not be the one of a musical Kommunikationsstorungen. – 2. Eislers Buch: nature, or a musicological one, respectively. Adornos Buch. – 3. Darlegungen: Thesen – This article is looking into alternative ap- Der Film als „das charakteristischste Medium proaches that have emerged within the fields gegenwartiger Massenkultur“ – Kulturindus- of sound theory and the aesthetics of popular trielle Filmmusik – Unarten und schlechte music in the last decades. Aside from this, the Gewohnheiten von Hollywoods Filmmusik- modern art concepts require the implementa- Praxis – Aspekte einer Filmmusik-Asthetik – tion of the specialized vocabulary. The aim is Eigenschaften sachgerechter Filmmusik – II. to gain a closer look at characteristics of both Hangmen Also Die – Eislers erster Hollywood- “sides” and suggest a new place for film mu- film. – 1. Geschichtlicher Hintergrund: das sic, preferably beyond the common commerce Attentat auf Heydrich. – 2. Brechts Mitarbeit. versus art frontier. (Vorlage) – 3. Eislers Mitarbeit – Finanzieller Engpass – Arbeitssuche in Hollywood – Endlich Arbeit in Hollywood: die Filmmusik zu Hangmen Gadzinski, Anna Christina: James Newton Also Die – Bedingungen bei Eislers erster Hol- Howards Soundtrack zu „Michael Clayton“ lywood-Arbeit – An der kalifornischen Kuste (2007): Filmmusik auf der Höhe ihrer Zeit. gestrandet. – 4. Analyse – Ubersicht – Diss., Universität Wien, Institut für Musik- Praexistente Musik – Song of the Hostages – wissenchaft 2017, 361 S. Main Title; Foreword and Landscapes and Hradčin: Hitler Picture – Heydrich Hospital; Gaines, Jason M.: Composing for Moving Pictu- Street: till bell rings in rooming house – Ten- sion music during dinner (doorbell rings); De- res: The Essential Guide. Oxford/New York: dič Scene – Bell Sequence – Restaurant music Oxford University Press 2015 No.II – Mass Grave; Finale – Andante – Die Inhalt: Part I. A brief history of film – The dig- Filmmusik der DDR-Fernsehfassung Henker ital audio workstation – Recording and edit- sterben auch. – III. Komposition für den Holly- ing audio – Recording and editing MIDI – To woodfilm. –Anhang I: Materialien zum Film- loop or not to loop: an exploration of loops, musikbuch von Adorno und Eisler. – Anhang beds and foley – Working with videos – Mu- II: Filmpartitur zu Hangmen Also Die. sic creation on mobile devices and an introduction to basic mixing – Delivery, collaboration and archiving – Best practices and trou- Garcia, Desirée J.: Sounds: Ethnic Spectator- bleshooting. – Part II. Terence Blanchard – ship and Boston’s Nickelodeon Theatres, Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 67

1907–1914. In: Film History: An International 15). – Panja Mücke, Narrativität und Stumm- Journal 19,3, 2007, S. 213–227. film. Die Originalkompositionen Giuseppe Becces zu Tartüff (1925) (17–33). – Robert Rabenalt, Zwischen Text, Klang und Drama. Garcia, Desirée J.: The Migration of Musical Über den Zusammenhang von Narration und Film: From Ethnic Margins to American Main- Musik im Film (35–61). – Willem Strank, stream. New Brunswick, NJ/London: Rutgers Überlegungen zur Intertextualität von Film- University Press 2014, x, 260 S. musik (63–81). – Josef Kloppenburg, Filmsyn- Abstract: [E]xamines one of the unsung influ- tax und Filmmusik (83–97). – Guido Heidt, ences on the Hollywood musical–the lower Stimmen hören. Film, Musik und die Sprache budget folk musicals produced by Mexican, der Erzähltheorie (99–126). – Markus Bandur, Yiddish, and African-American filmmakers. Zeit, Fiktion und das Unsichtbare. Grundüber- Far from mere escapist entertainments, these legungen zur Bedeutung der Musik für das films expressed both the struggles and dreams filmische Erzählen (127–137). – Wolfgang of immigrants and minorities in America. Thiel, Narrative Filmmusik als dramaturgis- Offering a revised history of the American che Metafunktion. Möglichkeiten und Gren- musical, The Migration of Musical Film pro- zen „sprechender“ Orchesterklänge in Berlin- vides a window into the ways in which Amer- Spielfilmen zwischen 1945 und 1975 (139– icans and immigrants have negotiated the 155). – Federico Celestini, Narration aus Sicht boundaries of belonging in our society.. der Musik- und Literaturwissenschaft – Michail M. Bachtin und Gustav Mahler (157– Inhalt: Introduction – 1. The Shtetls, Shund, 177), – Hans J. Wulff, Suprasegmentale Funk- and Shows of Musicals – 2. The Musicals of tionen der Filmmusik: Summaries und Reka- Black Folk – 3. “Not a Musical in Any Sense pitulationen (179–203). – Claudia Bullerjahn, of the Word” – 4. “Our Home Town” – 5. Immer das Gleiche, aber nicht in gleicher “Tahiti, Rome, and Mason City, Iowa” – 6. Weise. Musik und Narration im Westernfilm “Ease on Down the Road” – 7. Home Is Where (205–230). – Julia Heimerdinger, “I sing the the Audience Is – Conclusion – Notes – Bibli- body electric“. Elektroakustik im Film (231– ography – Index. 248). Giacovelli, Enrico: Mozart e il cinema: I film su Garner, Ken: ‘Would You Like to Hear Some Mozart, i film da Mozart, i film con musiche di Music?’ Music In-and-Out-of-Control in the Mozart. Roma: Gremese 2017, 222 S. (La Films of Quentin Tarantino. In: Film Music: cineteca degli immortali.). Critical Approaches. Ed. by K. J. Donnelly. New York: The Continuum 2001, S. 188–205. 1. Vita cinematografica di Mozart / 9. – 2. Il teatro di Mozart a l cinema / 43. – 3. La musica di Mozart nel cinema / 89. Gengaro, Christine Lee: Listening to Stanley Kubrick: The Music in His Films. Lanham, Md: Scarecrow Press 2013, x, 305 S. Giampietro, Manfred: Ruoli e funzioni della musica nel cinema: quasi un dialogo. Ghezzano Rev. (Thompson, Brian C.) in: Journal of the San Giuliano Terme [Roma]: Felici Editore Society for American Music 10,1, 2016, S. 85– 2013, 312 S. 89. La musica per film e, in senso più lato, l’inter- azione audiovisiva rappresentano, allo stato Gervink, Manuel / Rabenalt, Robert (Hrsg.): attuale della nostra contemporaneità, un fat- Filmmusik und Narration: Über Musik im tore mediatico di importanza cruciale nella filmischen Erzählen. Marburg: Tectum 2017, ricezione quotidiana delle informazioni es- 253 S. (Dresdner Schriften zur Musik. 6.). tetiche. Nella prima parte del libro si esami- nano quali sono, a livello inferenziale e com- Inhalt: Manuel Gervink, Zur Einführung (9– binatorio, i livelli comunicativi di un dato mu- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 68

sicale rispetto ad un’opera filmica. Nella sec- dans l’enseignement traditionnel ou en con- onda parte, ampio spazio è dedicato all’analisi servatoire. Évitant de préconiser des «pistes di un singolo film (Espiazione, oscar come pédagogiques», issues du savoir de quelques miglior colonna sonora a Dario Marianelli) initiés, nous avons préféré rassembler sous la per verificare in corpore vili come la musica forme d’un ouvrage collectif les retours d’ex- agisca su, dentro, per mezzo o a dispetto ap- périences d’un certain nombre éducateurs et parente delle immagini. de professionnels de la musique ayant eu à mener, à des niveaux d’enseignement divers (du primaire à l’université), des analyses de Gil-Curiel, Germán (ed.): Film Music in ‘Mi- musiques de film auprès de leurs élèves ou nor’ National Cinemas. New York: Bloomsbury étudiants. Academic 2016, xii, 249 S. (Topics and Issues in National Cinema.4.). Gimpel, Othmar: Schostakowitschs Filmmusik Inhalt: 1. Introduction: Modalities of Music in zu ›Der Fall von Berlin‹. In: Archiv für Musik- ‘Minor Cinema’ / Jonathan P. J. Stock; – 2. wissenschaft65 (2008) 2, S. 61–83. Aural Dialectics and Revolutionary Media in Cuba / Nicholas Balaisis; – 3. Sobre las Olas, Über die Musik von Dmitri Shostakovich Waltz and Films: Classical Music and Mexican (1906–1975) für den Film Padenije Berlina von Identity / Armida de la Garza; – 4. Black Or- Mikhail Chiaureli (1894–1974) 1950. pheus / Hans Hess; – 5. Chinese Identity: Po- etics of Cinema and Music in Hero / Germán Gil-Curiel; – 6. ‘The Continental Melody’ – Giuffre, Liz: Making “A mall movie about a Soldiers and Japan’s Imperial Screen / man with a 13–inch penis”: popular music Chikako Nagayama; – 7. Collective Nostalgia representations of pornographic intention. In: and Anxiety in Korean Film Music: Im Earogenous Zones: Sound, Sexuality and Cin- Kwont’aek’s Use of P’ansori in Sop’yonje / ema. Ed. by Bruce Johnson. London/Oakville, Jooyeon Rhe; – 8. Music and the ‘Minor’: Mu- CT: Equinox 2010, S. 158–173. sical Expression as Oral Testimony in the Films of Bahman Ghobadi / Rowena Santos Aquino; – 9. Subtle Idiosyncracy: Sound and Giuffre, Liz: The lost history of jazz on early Music in the Australian Animated Short Film Australian popular music television. In: Jazz The Lost Thing (2010) / Rebecca Coyle, Jon Research Journal 8,1–2, 2014, S. 126–143. Fitzgerald and / Philip Hayward; – 10. Minor Cinema and Major Music in New Zealand: Giuffre, Liz / Hayward, Philip (eds.): Music in No. 2 and Don McGlashan / Henry Johnson; – Comedy Television: Notes on Laughs. New 11. Between the Text and the Sub-text: a York: Routledge 2017, viii, 204 S. (Routledge Reading of Selected Benin Musical Video- Music and Screen Media Series.). Films from Nigeria / Osakue S. Omoera and Charles O. Aluede; – 12. Music and African Inhalt: Introduction: music in comedy televi- Identity in the Films of Flora Gomes / Carolin sion / Liz Giuffre – Sesame Street as a musical Overhoff Ferreira. comedy-variety show / Kathryn A. Ostrofsky – And now for something completely different (sounding): Monty Python’s musical cir- Gimello-Mesplomb, Frédéric: Analyser la cus / Liz Giuffre and Demetrius Romeo – That musique de film. Paris: Books on Demand junky funky folk vibe: Quincy Jones’s title 2010, 188 S. theme for Sanford and Son / Amedeo D’Adamo – Once in a Lifetime: music, parody L’objet de cet ouvrage est d’offrir aux en- and comical incongruity in / seignants quelques outils afin d’aborder la The Young Ones Phillip Hayward and Matt Hill – The mocku- musique de film de manière simple et intu- mentary sitcom: the discomfort of fake real- itive dans un cadre pédagogique, que ce soit ism / Carlo Nardi – “Must hear TV”: Scrubs Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 69

and the pop soundtrack / Alexander Koch – Rev. (Tim McNelis) in: Music, Sound, and the Music in comedy television from the com- Moving Image 9,2, 2015 (Special Issue: “Musi- poser’s perspective: getting “the answers cal Screens: Musical Inventions, Digital Tran- you’re not looking for” in an interview with sitions, Cultural Critique”. Guest ed.: James David Schwartz / Liz Giuffre – “I told you I Tobias), S. 225–230. was freaky”: gender, genre and parody in the songs of Flight of the Conchords / Kirsten Zemke – The Lonely island’s “SNL digital Godsall, Jonathan: Reeled in...: Pre-existing short” as music video parody: building on Sat- Music in Narrative Film. London/New York: urday night live’s legacy / Penny Spirou – Routledge 2019, xii, 189 S. (Ashgate Screen Sketching out Portlandia’s musical layers / Music.). Emma Driver and Sarah Attfield – Inverting How and why is pre-existing music used in expectations: Mozart in the jungle and humor films? What effects can its use have on films with classical musicians / Stan Beeler – Pure and their audiences? And what lasting impact and simple: music as a personal and comedic can appropriation have on the music? Reeled resource in Car Share / Brett Mills and Mark In is a comprehensive exploration of these Rimmer. questions, considering the cinematic quotation of Beethoven symphonies, Beatles songs, Glynn, Stephen: The British Pop Music Film: and Herrmann scores alike in films ranging The Beatles and Beyond. Basingstoke/New from the early sound era to the present day, York: Palgrave Macmillan, 2013, viii, 258 S. and in every role from ‘main title theme’ to ‘music playing in bar’. Incorporating a discus- Inhalt: Introduction: Genre, Academia and the sion of such factors as copyright and com- British Pop Music Film; – 1. Generic focus; merce alongside examination of texts and Genre terminology and empirical parameters; their effects, this broad study is a significant Genre and the problems of definition; Genre contribution to the scholarship on music in and life-cycles; Genre and academia; – 2. The screen media, demonstrating that pre-existing Primitive Pop Music Film: Coffee Bars, Cosh music possesses unique attributes that can Boys and Cliff; Introduction: evasions and im- affect both how filmmakers construct their itations; Coffee bar pop idols; Coffee bar cosh works and how audiences receive them, to an boys; Cliff Richard; – 3. The Mature Pop Mu- extent regardless of the music’s style, genre, sic Film: Bombs, Beatlemania and Boorman; and so on. This book also situates the recep- Introduction: rockets and rehearsals; The pop tion of music by film, and by audiences expe- music film as political allegory: It’s Trad, Dad! riencing that music through film, as signifi- (1962); The canonical pop music film: A Hard cant processes within present-day culture, Day’s Night (1964); The colonial pop music while more generally providing an illuminat- film: Help! (1965); The Chekhovian pop music ing case study of the kinds of borrowings, film:Catch Us If You Can (1965); Coda; – 4. adaptations, and reinventions that character- The Decadent Pop Music Film: Politics, ize much of today’s art and entertainment. Psychedelia and Performance; Introduction: Inhalt: 1. Production contexts and considera- Blow Up and the backlash; The pop music tions. – 2. Intention and interpretation. – 3. film as personal polemic: Privilege (1967); The Functions of musical reference. – 4. Post-ex- pop music film as underground parable: Yel- isting music low Submarine (1968); The pop music film as political diptych: One Plus One/Sympathy for the Devil (1968); The pop music film as finale: Goldmark, Daniel: Before Willie: Reconsider- Performance (1970); Coda; – 5. Afterlife: The ing Music and the Animated Cartoon of the Historical Pop Music Film; The grit and the 1920s. In: Goldmark, Daniel; Lawrence Kra- glam; The punk and the Pink; The postmod- mer; Richard Leppert (eds.): Beyond the Sound- ern and Plan B; – 6. Conclusion: Music Mat- track: Representing Music in Cinema. Berkeley: ters; An affective genre. University of California Press 2007, S. 225– Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 70

245. / 41 – Television musical / 57 – Video [music video] / 61. – Biographies / 69.

Goldmark, Daniel: Drawing a New Narrative from Cartoon Music. In: Neumeyer, Daniel Goldmark, Daniel / Keil, Charles (eds.): Funny (ed.): The Oxford Handbook of Film Music Stud- Pictures: Animation and Comedy in Studio-Era ies. New York/London: Oxford University Hollywood. Berkeley: University of California Press 2014, S. 229–244. Press 2011, viii, 331 S. This collection of essays explores the link be- Goldmark, Daniel: Adapting The Jazz Singer: tween comedy and animation in studio-era From Short Story to Screen: A Musical Profile. cartoons, from filmdom’s earliest days In: Journal of the American Musicological Soci- through the twentieth century. Written by a ety 70,3, 2017, S. 767–817. who’s who of animation authorities, Funny Pictures offers a stimulating range of views The Jazz Singer grew from a moment of inspi- on why animation became associated with ration when author Samson Raphaelson saw comedy so early and so indelibly, and illus- Al Jolson perform in 1917. Raphaelson’s idea trates how animation and humor came to- of a rising singer, Jack Robin, torn between gether at a pivotal stage in the development sacred and secular, became in turn a short of the motion picture industry. To examine story, a play, a feature film, a novelization, some of the central assumptions about com- and a radio play. With each new adaptation, edy and cartoons and to explore the key fac- the music evolved; the thread that binds to- tors that promoted their fusion, the book ana- gether all of these stories is the jazz singer’s lyzes many of the key filmic texts from the stock in trade – his songs. For Jolson and The studio years that exemplify animated comedy. Jazz Singer, these songs serve several func- Funny Pictures also looks ahead to show how tions: besides providing a unique snapshot of this vital American entertainment tradition popular vaudeville melodies in the 1920s and still thrives today in works ranging from The beyond, the songs used in the various tellings Simpsons to the output of Pixar. of have a specific connection The Jazz Singer Inhalt: Introduction: What Makes These Pic- to Jolson, providing numerous opportunities tures So Funny? (Charlie Keil and Daniel to retell his (largely fictionalized) origin story Goldmark / 1). – The Chaplin Effect: Ghosts in with the very songs he had used to make it on the Machine and Animated Gags (Paul Wells / Broadway in the first place. We might then 15). – Polyphony and Heterogeneity in Early consider The Jazz Singer a proto-jukebox mu- Fleischer Films: Comic Strips, Vaudeville, and sical, in which preexisting songs with a com- the New York Style (Mark Langer / 29). – The mon thread or history become the basis for a Heir Apparent (J.B. Kaufman / 51). – Infec- new story. Making extensive use of archival tious Laughter: Cartoons’ Cure for the De- documentation and addressing previously un- pression (Donald Crafton / 69). – “We’re examined adaptations of the story, this article Happy When We’re Sad”: Comedy, Gags, and shows how each version of The Jazz Singer 1930s Cartoon Narration (Richard Neupert / came to be a musical summary of Jolson’s life 93). – Laughter by Numbers: The Science of as a performer. Comedy at the Walt Disney Studio (Susan Ohmer / 109). – “Who Dat Say Who Dat?: Racial Masquerade, Humor, and the Rise of Goldmark, Daniel / Graff, Peter (eds.): The American Animation (Nicholas Sammond / Grove Music Guide to American Film Music. 129). – “I Like to Sock Myself in the Face”: Re- New York/Oxford: Oxford University Press considering “Vulgar Modernism” (Henry 2019, xxxii, 444 S. (Grove Music Guides.). Jenkins / 153). – Auralis Sexualis: How Car- Inhaltsüberblick: Concepts / 1: – Film music / toons Conduct Paraphilia (Philip Brophy / 3 – Musicalfilm / 25 – Music in video games / 175). – The Art of Diddling: Slapstick, Science, 32 – Production music / 39 – Television music and Antimodernism in the Films of Charley Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 71

Bowers (Rob King / 191). – Tex Avery’s Prison in Ramoji film city, Hyderbad / Shanti Kumar House of Animation, or Humor and Boredom – The music of intolerable love: political con- in Studio Cartoons (Scott Curtis / 211). – Tish- jugality in Mani Ratnam’s Dil se / Anustup Tash in Cartoonland (Ethan de Seife / 228). – Basu – Intimate neighbors: Bollywood, dang- Sounds Funny/Funny Sounds: Theorizing dut music, and globalizing modernities in In- Cartoon Music (Daniel Goldmark / 257). – donesia / Bettina David – The ubiquitous non- The Revival of the Studio-Era Cartoon in the presence of India: peripheral visions from 1990s (Linda Simensky / 272). Egyptian popular culture / Walter Armbrust – Appropriating the uncodable: Hindi song and dance sequences in Israeli state promotional Goldmark, Daniel / McKnight, Utz: Locating commercials / Ronie Parciack – Dancing to an America: Revisiting Disney’s Lady and the Indian beat: “Dola” goes my diasporic heart / Tramp. In: Journal for the Study of Race, Na- Sangita Shresthova – Food and cassettes: en- tion and Culture 14,1, 2008, S. 101–120. counters with Indian filmsong / Edward K. Chan – Queer as desis: secret politics of gen- By studying the diegesis and music of the film der and sexuality in Bollywood films in dias- Lady and the Tramp, the authors describe a poric urban ethnoscapes / Rajinder Dudrah – specific form of American social membership Bollywood gets funky: American hip-hop, that continues to define social politics today. basement bhangra, and the racial politics of In the film, dogs, cats and rats represent hu- music / Richard Zumkhawala-Cook. man archetypes, their needs, desires and activities, and provide a narrative that secures an American ideal about the place of race and Gorbatova, O[lesja] V[asil’evna]: Betchoven v nation. The argument is put forth that this prostranstve kinoteksta: «Lekcija 21» A. Ba- representation defines a politics of whiteness rikko [Горбатова, О[леся] В[асильевна]: that not only uses the threat of formal exclu- Бетховен в пространстве кинотекста: «Лек- sion and elimination from society to define ция 21» А. Барикко]. In: ethnicity and race, but also seeks to eliminate Ežekvartal’nyj re- the likelihood of a successful radicalization of cenziruemyj, referiruemyj naučnyj žurnal the border. This is a nation where even the «Vestnik AGU», Vypusk 1 (174), 2016, S. 178– idea of difference is defeated and domestica- 183; [URL]. tion is total. Against this narrative, the au- “Beethoven in Film Text Space: Lecture 21 of thors contend that the absence of an adequate A. Baricco.” description in the film of the class politics and In kyrill. Schrift. – Abstract: The paper focuses racial practices that support this vision raises on the feature film of Alessandro Baricco Lec- serious questions as to the social coherence of ture 21 [Lezione 21, Italien/Großbritannien Disney’s America. 2008]. Addressing the Symphony No. 9 of L. van Beethoven, the director tries to give the Gopal, Sangita / Moorti, Sujata (eds.): Global answer to a question of what the choral symphony of the composer is today: unsurpassed Bollywood: Travels of Hindi Song and Dance. example of classical heritage of the master or Minneapolis, Minn.: University of Minnesota “an exaggerated masterpiece”? Analyzing the Press 2008, 340 S. film music, in particular the Symphony No. 9 Inhalt: Tapping the mass market: the commer- of L. van Beethoven used by A. Baricco, the cial life of Hindi film songs / Anna Morcom – author on a tangent addresses movies of S. The sounds of modernity: the evolution of Kubrick (Clockwork Orange), A. Tarkovsky Bollywood film song / Biswarup Sen – From (Nostalgia) and other directors, proposing the Bombay to Bollywood: tracking cinematic version of the response to the question raised and musical tours / Nilanjana Bhattacharjya by the director. & Monika Mehta – Bollywood and beyond: the transnational economy of film production Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 72

Gordon, Robert / Jubin, Olaf (ed.): The Oxford dosthenous – Attracting the family market: handbook of the British musical. New York: shows with cross-generational appeal / Re- Oxford University Press 2018, xviii, 754 S. becca Warner – Genre counterpoints: challenges to the mainstream musical / David Inhalt: Ballad opera: commercial song in en- Roesner – Some yesterdays always remain: lightenment garb / Berta Joncus – Between Black British and Anglo-Asian musical the- opera and musical: theatre music in early atre / Ben Macpherson. nineteenth-century London / Christine Fuhr- mann – Comic opera: English society in Gil- bert and Sullivan / Carolyn Wiliams – English Gotto, Lisa: ‚Trans / formieren‘. Zum Verhält- musical comedy, 1890–1924 / Stephen Ban- nis von Bild und Ton in The Jazz Singer (Alan field – English West End revue: the First Crosland, USA 1927). In: Jazzforschung / Jazz World War and after / David Linton – Musical Research 41, 2009, S. 119–134. comedy in the 1920s and 1930s: Mister Cin- ders and Me and my girl as class-conscious carnival / George Burrows – West End royal- Graff, Peter: Re-evaluating the silent-film mu- ty: Ivor Novello and English operetta, 1917– sic holdings at the Library of Congress. In: 1951 / Stewart Nicholls – The American inva- Notes: Quarterly Journal of the Music Library sion: the impact of Oklahoma! and Annie get Association 73,1, 2016, S. 33–76. your gun / Dominic Symonds – ‘Ordinary people’ and British musicals of the post-war decade / John Snelson – After Anger: the Gratzer, Wolfgang: Schauplätze der Erregung. British musical of the late 1950s / Elizabeth A. Zykans ›Staatsoperette‹ und die verdrängten Wells – ‘I’m common and I like ’em’: represe- Siebzigerjahre. In: Österreichische Musikzeit- nations of class in the period musical after schrift (ÖMZ) 57 (2002) 10, S. 16–21. Oliver! / Ben Francis – Towards a British con- Über den Film von Franz Novotny (geb. 1949) cept musical: the shows of Anthony Newley 1977 mit der Musik von Otto M. Zykan. and Leslie Bricusse / David Cottis – The pop- music industry and the British musical / Ian Sapiro – ‘Everybody’s free to fail’: subsidized Green, Jessica: Understanding the score: Film British revivals of the American canon / Sarah music communicating to and influencing the Browne – Les misâerables: from epic novel to audience. In: Journal of Aesthetic Education epic musical / Kathryn M. Grossman and 44,4, 2010, S. 81–94. Bradley Stephens – ‘Humming the sets’: sce- nography and the spectacular musical from When most people sit down to watch a film, Cats to The Lord of the Rings / Christine their focus usually stays on the very dynamic White – Billy Elliot and its lineage: the poli- images that move onscreen. The dialogue, as a tics of class and sexual identity in British mu- form of diegetic sound, is probably the next sicals since 1953 / Robert Gordon – Noèel piece of the film they concentrate on, but this Coward: sui generis / Dominic McHugh – only imitates actual experience, since most Joan Littlewood: collaboration and vision / people understand communication by both Ben Macpherson – Lionel Bart: British verna- watching and listening. Christian Metz, in his cular musical theatre / Millie Taylor – Time influential text Film Language: A Semiotics of Rice: the pop star scenario / Olaf Jubin – Ca- the Cinema, describes film as “Born of the fu- meron Mackintosh: control, collaboration, sion of several pre-existing forms of expres- and the creative producer / Miranda Lund- sion, which retain some of their own laws skaer-Nielsen – Andrew Lloyd Webber: (image, speech, music, and noise),” to which haunted by the Phantom / David Chandler – he later adds “written materials” as a fifth The beggar’s legacy: playing with music and component. Of these five channels of infor- drama, 1920–2003 / Robert Lawson-Peebles – mation included in film, music is the most ar- Mamma mia! and the aesthetics of the twen- tificial. ty-first century jukebox musical / George Ro- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 73

Greene, Liz / Kulezic-Wilson, Danijela (eds.): of Film Sound in the 1980s, Katherine Spring. The Palgrave Handbook of Sound Design and – 20. Unlearning Film School: The ‘lo-fi’ Music in Screen Media: Integrated Soundtracks. Soundtracks of Joe Swanberg, Nessa John- London: Palgrave Macmillan 2016, xix, 468 S. ston. – 21. The Janus Project: Cristobal Tapia de Veer’s Utopia, Anempathetic Empathy and Inhalt: 1. Introduction, Liz Greene and Dani- the Radicalization of Convention, Annette jela Kulezic-Wilson. – Part I BOUNDARIES Davison and Nicholas Reyland. – 22. Inter- AND THEIR DISINTEGRATION. – 2. From view 4: Building Bridges – Sound Design as Noise: Blurring the Boundaries of the Sound- Collaboration, as Style and as Music in The track, Liz Greene. – 3. Interview 1: Sound Bridge: An Interview with Carl Edström, An- Recording, Sound Design and Collaboration: nette Davison and Martin Parker. – Part VI An interview with Ann Kroeber, Liz Greene. THE SOUND OF MACHINES AND NON-HU- – 4. Organizing Sound: Labour Organizations MANS. – 23. The Sound of an Android’s Soul: and Power Struggles that Helped Define Mu- Music, MIDI and Muzak in Time Of Eve, Philip sic and Sound in Hollywood, Gianluca Sergi. Brophy. – The Sounds in the Machine: Hi- – 5. Mixing as a Hyperorchestration Tool, rokazu Tanaka’s Cybernetic Soundscape for Sergi Casanelles. – 6. Emotional Sound Effects Metroid, William Gibbons. – 25. Redundancy and Metal Machine Music: Soundworlds in and Information in Explanatory Voice-Ins and Silent Hill Games and Films, K. J. Donnelly. – Voice-Offs, Cormac Deane. – 26. Interview 5: Part II PRESENCE, IMMERSION, SPACE. – 7. Under the Skin of Film Sound: An Interview Towards 3–D Sound: Spatial Presence and the with Johnnie Burn, John Hough. – Part VII Space Vacuum, Miguel Mera. – 8. Inner and THE MUSICALITY OF SOUNDTRACK. – 27. Outer Worlds in the Film Gravity: A Multidis- Electroacoustic Composition and the British ciplinary Approach, Gilbert Gabriel and Documentary Tradition, Andy Birtwistle. – David Sonnenschein. – 9. Intertwining Sound 28. Renegotiating the Overture: The Use of and Music in Film, Martine Huvenne. – 10. In- Sound and Music in the Opening Sequences terview 2: Reality and Representation: An In- of A Single Man (2009) and Shame (2011), terview with Dario Marianelli, Miguel Mera. Adam Melvin. – 29. Interview 6: Orchestra- – Part III LISTENING: AFFECT AND BODY. – tion, Collaboration, and the Integrated Sound- 11. Sound Effects / Sound Affects: ‘Meaning- track: An Interview with Matt Dunkley, Ian ful’ Noise in the Cinema, James Wierzbicki. – Sapiro. – 30. Musically Conceived Sound De- 12. Listening to Violence: Point-of-Audition sign, Musicalization of Speech and the Break- Sound, Aural Interpellation, and the Rupture down of Film Soundtrack Hierarchy, Danijela of Hearing, Tony Grajeda. – Acoustic Disgust: Kulezic-Wilson. Sound, Affect, and Cinematic Violence, Lisa Coulthard. – Part IV TIME AND MEMORY. – 14. Mad Sound and the Crystal-Image: The Greenwald, Ted: The Self-Destructing Mod- Soundtrack of Rivette’s L’Amour Fou, Byron ules behind the Revolutionary 1956 Sound- Almén and James Buhler. – 15. The Sonic track of Forbidden Planet. In: Keyboard Maga- Realm in The Quatermass Experiment: Medium zine, Febr. 1986, S. 54–65. and Genre and Sound, Robynn Stilwell. – Sound, Music and Memory in Jia Zhangke’s ‘Hometown Trilogy’, Robynn Stilwell. – 16. Grover-Friedlander, Michal: Vocal Apparitions: Sound, Music and Memory in Jia Zhangke’s The Attraction of Cinema to Opera. Princeton, ‘Hometown Trilogy’, Philippa Lovatt. – 17. N.J.: Princeton University Press 2005, xii, 186 Vinyl Noise and Narrative in CD-era In- S. diewood, Ian Garwood. – 18. Interview 3: One of the guiding questions of this book is Mixing Punk Rock, Classical, and New what occurs when what is aesthetically essen- Sounds in Film Music: An Interview with tial about one medium is transposed into the Brian Reitzell, Meghan Joyce Tozer. – Part V aesthetic field of the other. For example, BREAKING CONVENTIONS. – 19. From Ana- Grover-Friedlander’s comparison of an opera logue to Digital: Synthesizers and Discourses Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 74

by Poulenc and a Rossellini film, both based Guarracino, Serena: Musical “contact zones” on Cocteau’s play The Human Voice, shows in Gurinder Chadha’s cinema. In: European the relation of the vocal and the visual to be Journal of Women’s Studies 16,4, 2009, S. 373– surprisingly affected by the choice of the 390; [URL]. medium. Her analysis of the Marx Brothers’ A Night at the Opera demonstrates how, as a This article explores strategies of cultural rep- response to opera’s infatuation with death, resentation in the production of Gurinder cinema comically acts out a correction of Chadha, a British director of Sikh origin. opera’s fate. Grover-Friedlander argues that Chadha’s work is located in what Marie filmed operas such as Zeffirelli’s Otello and Louise Pratt defines as ‘contactzones’, negoti- Friedrich’s Falstaff show the impossibility of a ating between US, European and Indian audi- direct transformation of the operatic into the ences. The resultis a directing style that puts cinematic. Paradoxically, cinema at times can together’ East’ and ‘West’, Bollywood and be more operatic than opera itself, thus cap- Hollywood, in an in-between space that has turing something essential that escapes been radically reconfigured through hy- opera’s self-understanding. bridization. This happens in particular through her use of music and soundtrack, from the documentary I’m British but... (1990), Gschwendtner, Petra: Song Scoring „Juno“: Die up to the recent Bend It Like Beckham (2002) Rolle der Popmusik im Film „Juno“ – von Kim- and Bride and Prejudice (2004). Here, many ya Dawson bis Sonic Youth. Diplomarbeit, and diverse musical languages are put to- Wien: Universität Wien, Philologisch-Kultur- gether through the representational strategies wissenschaftliche Fakultät 2015, 121 S.; [URL]. of parody and kitsch, deconstructing the idea of cultural identity in the very gesture that Zu Jason Reitmans Spielfilm Juno (USA 2007). creates it. Zusammenfassung: Die Verwendung von Pop- musik im Kino kann bis in die Stummfilmzeit zurückverfolgt werden. In den 1960er Jahren Guglielmetti, Yohann: Musique et cinéma, hielt die Popmusik als Song Score in Filmen l’union libre. Paris: L’Harmattan 2020, 120 S. wie Easy Rider oder The Graduate Einzug und (Champs visuels.). ist heute nicht mehr als Filmmusik wegzuden- La musique doit vous dire quelque chose que ken. In dieser Arbeit wird dieses Phänomen vous ne savez pas encore, qu’on ne peut pas zunächst theoretisch beschrieben, um die ver- deviner en regardant uniquement les images. schiedenen Funktionen und Elemente von Cette vision exprimée par le compositeur Song Scores anschließend am Filmbeispiel Carter Burwell se retrouve chez son homo- Juno analytisch festzumachen und die Ent- logue Bruno Coulais qui donne à la musique wicklungen in einen neuen Diskurs zu stellen. la mission de „capter les choses invisibles du Juno vereint bestehende Popularmusik ver- film“. Comme le résume le réalisateur-com- schiedener Jahrzehnte mit extra für den Film positeur Tom Tykwer: „Lorsque vous écrivez komponierten Songs. Die Analyse zeigt, dass un script, vous étudiez la structure, alors que die verschiedenartige Musik in Juno auf den quand vous écrivez de la musique, c’est beau- ersten Blick sehr ähnlich wirkt, bei genauerer coup plus porté sur l’émotion abstraite.“ Cette Betrachtung jedoch ganz unterschiedliche problématique des „deux histoires en une“, Funktionen erfüllt. Popsongs können somit, l’une visuelle, „matérielle“, qui „étudie la richtig eingesetzt, auch Funktionen anneh- structure“, l’autre sonore, „spirituelle“ et men, die man theoretisch nur extra für den „beaucoup plus porté[e] sur l’émotion ab- Film komponierter Musik zuweist. In der Pra- straite“, suppose indéniablement une complé- xis gibt es bereits eine Weiterentwicklung, mentarité, au même titre que la conscience et denn immer öfter komponieren bekannte le cérébral pour Bergson ou l’esprit et le corps Pop-Interpreten Musik extra für Filme. pour Descartes, qui pose la question des théories reposant sur les principes de concor- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 75

dance ou de non-concordance entre musique vers l’observation de représentations sonores et images. du feu ou l’archétype du tonnerre dont l’usage comme ponctuation dramatique ou comme signifiant au cinéma est pour le moins Guglielmetti, Yohann: L’indépendance de la ... subjuguant. musique de film. Paris: L’Harmattan 2020, 138 S. (Champs visuels.). La musique navigue entre fonctionnalité et indépendance au cinéma comme dans l’opéra. L’idée d’une musique au service de l’image se – H – retrouve tant dans les métaphores visuelles employées par les biographes de Beethoven que dans Alexandre Nevski et Ivan le terrible. Haegele, Vincent: Bernard Herrmann: un génie Pourtant, élément de mémoire et de mystifica- de la musique de film. Paris: Minerve 2016, 196 tion émotionnelle du film, au cœur de la prob- S., 6 ungez. S. Bildtafeln. lématique du rythme et de la temporalité in- Hagen, Earle: Scoring for Films: A Complete trinsèque de l’œuvre, la musique peut tant se . Los Angeles: E.D.J. Music / New York: rattacher à la vie intérieure des personnages, Text à la diégèse et à l’intrigue que s’accorder Criterion Music 1971, iv, 253 S. toute latitude par rapport aux images. Cinéas- tes et compositeurs gagnent même à l’exclure Hagen, Earle: Advanced Techniques for Film de cette dichotomie et à lui préférer un carac- Scoring: A Complete Text. Los Angeles: Alfred tère omniscient basé sur le scénario, ce qui Music 1990, 172 S. nous interroge sur l’autonomie du compositeur face aux attentes du réalisateur et sur le cas particulier des réalisateurs-compositeurs: Hager, Laura-Christine: „The Jazz Singer“ écrivent-ils une musique fonctionnelle ou in- (1927): Die Musik im ersten Tonfilm. Masterar- dépendante? beit, Wien: Universität Wien, Philologisch- Kulturwissenschaftliche Fakultät 2015, 116 S.; [URL]. Guglielmetti, Yohann: Silence, bruit, et musique au cinéma. Paris: L’Harmattan 2020, 111 Zusammenfassung: Diese Masterarbeit befasst S. (Ouverture Philosophique – Esthétique.). sich mit dem Film „The Jazz Singer“ aus dem Jahr 1927, welcher als erster Tonfilm in die Peut-on encore croire aux frontières entre Filmgeschichte einging. Dabei liegt das musique, bruit et silence au cinéma? Dans ce Hauptaugenmerk auf der Musik im Film und livre, vous explorerez les ressorts esthétiques ihren Funktionen. Zunächst wird die Entste- du silence et les enjeux de son application. hung des Films beschrieben und ein Bild des Vous naviguerez le long de la frontière po- Amerikas um 1927 vermittelt, damit die reuse entre bruit et musique, croisant les Handlung und die Musik in den gesellschaftli- considérations usuelles sur le bruit, et serez chen Kontext gebracht werden kann. Der In- transportés aux racines de la musique occi- halt, der einen Generationenkonflikt in einer dentale qui tracent les prémisses de cette dé- jüdischen Emigrantenfamilie schildert, wird marcation. Vous sonderez la part de bruit mit der Musik in einen szenischen und dra- dans la musique et, afin de prendre con- maturgischen Kontext gesetzt. Dazu werden science de la perméabilité de ces frontières et die einzelnen Musikgenres aus „The Jazz Sin- de mettre en relief les potentialités drama- ger“, wie etwa der Jazz, (vorwiegend romanti- tiques du bruit au cinéma, l’origine de la mys- sche) Kunstmusik oder jüdische Musik auf térieuse „règle des trois“ vous sera dévoilée. ihre Funktionen untersucht und im Detail Son „naturel“ et son „artificiel“ afficheront analysiert. Das Resümee ergibt, dass der Film leur étonnante complicité que nous démas- sich einerseits bekannter Hits der Popularkul- querons dans Les oiseaux d’Hitchcock, à tra- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 76

tur der 1920er Jahre bedient, um ein breites S. 173–175. – Rev. (Lisa Colton) in: H-Net Re- Publikum anzusprechen und andererseits views, Aug. 2017, [URL]. Kunstmusik verwendet, um ihn auf ein an- spruchsvolleres Niveau zu heben und ihn dramaturgisch zu unterstützen. Hainge, Greg: Airport music: Muzak, »non- lieux« and film sound in Stéphanik’s ›Stand- by‹ and Lioret’s ›Tombés du ciel‹. In: Studies Haggith, Toby: Reconstructing the musical ar- in French Cinema 9 (2009) 3, S. 201–214. rangement for ›The Battle of the Somme‹ Über die Filme von Roch Stéphanik (2000) (1916). In: Film History 14 (2002) 1, S. 11–24. und Philippe Lioret (1993). Über den anonymen Dokumentarfilm des British Topical Committee for War Film. Halfyard, Janet K.: Music of Fantasy Cinema. Sheffield: Equinox Publishers 2012, viii, 244 S. Haines, John: Music in Films on the Middle (Genre, Music and Sound.). Ages: Authenticity vs. Fantasy. New York: Routledge 2013, xvii, 229 S. (Routledge Re- Fantasy has had a modern resurgence in cin- search in Music Series.). ema due largely to the success of superhero narratives and the two major fantasy series, This book explores the role of music in the the Lord of the Rings and Harry Potter. Often some five hundred feature-length films on the regarded as mere escapism, works of both lit- Middle Ages produced between the late 1890s erature and cinema wishing to be taken seri- and the present day. Haines focuses on the ously by the public, by critics and by aca- tension in these films between the surviving demics have tended to shelter under the eu- evidence for medieval music and the id- phemistic umbrella of Magic Realism and, un- iomatic tradition of cinematic music. The lat- til very recently, there has been a general lack ter is taken broadly as any musical sound oc- of serious academic work concerned with fan- curring in a film, from the clang of a bell off- tasy as a genre. This volume explores the way screen to a minstrel singing his song. Me- in which music and sound articulate the fan- dieval film music must be considered in the tastic in cinema and contribute to the creation broader historical context of pre-cinematic of fantasy narratives. Apart from the accusa- medievalisms and of medievalist cinema’s tion of frivolous escapism that attaches itself main development in the course of the twen- to the fantasy genre, another issue is the lack tieth century as an American appropriation of of a single and simple definition of what fan- European culture. The book treats six perva- tasy is: the consensus of academic opinion ap- sive moments that define the genre of me- pears to be that fantasy invokes the magical dieval film: the church-tower bell, the trum- within its narratives as the means by which to pet fanfare or horn call, the music of banquets achieve what would be impossible in our own and courts, the singing minstrel, perfor- reality, as compared to sci-fi’s as-yet un- mances of Gregorian chant, and the music known technologies and horror’s dark and that accompanies horse-riding knights, with deadly supernatural forces. Fantasy remains each chapter visiting representative films as problematic, however, because it defies many case studies. These six signal musical mo- of the conventional mechanisms by which ments, that create a fundamental visual-aural genre is defined such as setting, mood and au- core central to making a film feel medieval to dience. In a way quite unlike its co-genres, modern audiences, originate in medievalist fantasy moves with infinite flexibility be- works predating cinema by some three cen- tween locations – the world (almost) as we turies. (Verlag) know it, historical, futuristic or mythic loca- Rev. (Elizabeth Aubrey) in: Notes: Second Se- tions; between moods – heroic, epic, magical; ries 62,2, Dec. 2005, S. 387–389. – Rev (Kevin J. and between audiences – children, teens, Harty) in: From: Arthuriana 25,1, Spring 2015, adults. In English-language cinema, it encom- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 77

passes the grand mythic narratives of Lord of case studies of musical approaches in three the Rings, Legend and The Seventh Voyage of high-profile series: Buffy the Vampire Slayer, Sinbad, the heroic narratives of Superman, Battlestar Galactica and Lost. Written from a Flash Gordon and Indiana Jones and the mag- musicological standpoint but fully accessible ical narratives of Labyrinth, Edward Scis- to non-musicologists, the book significantly sorhands and the Harry Potter series, to name advances television and music studies. (Um- just some of films that typify the variety that schlag) the genre offers. What these films all have in Inhalt: Introduction / 1 – 1. Music and its common is a requirement that the audience Means of Production: Film versus TV / 10 – 2. accepts the a fundamental break with reality Early Cult Television Scoring Strategies / 24 – within the diegesis of the filmic narrative, and 3. Intros and Outros: the Changing Nature of embraces magic in its many and various Opening Titles and End Credits in Cult TV / forms, sometimes benign, sometimes not. This 44 – 4. Listening to Buffy the Vampire Slayer / volume examines music in fantasy cinema 73 – 5. Scoring Television Vampires / 93 – 6. across a broad historical perspective, from The Bells of Hell go Tingalingaling: Diabolical Bernard Herrmann’s scores for Ray Harry- Genre Games in Supernatural TV / 114 – 7. hausen, through the popular music scores of Music, Fantasy and Subjectivity in ‘Real the 1980s to contemporary scores for films World’ Dramas / 135 – 8. The Rest is Noise: such as The Mummy and the Harry Potter se- Music and Sound in Hannibal / 162 – Conclu- ries, allowing the reader to see not only the sion / 185 – Notes / 188 – Works Cited / 195 – way that the musical strategies of fantasy TV and Filmography / 203 – Index 209. – Mit scoring have changed over time but also to Notenbeispielen. appreciate the inventiveness of composers Rev. (Paul Kauppila) in: Historical Journal of such as Bernard Herrmann, John Williams, Film, Radio and Television 37,4 Jul 2017, S. Jerry Goldsmith, Danny Elfman and Elliot 753–754. – Rev. (Derek Johnston) in: Journal Goldenthal, and popular musicians such as of Popular Television 6,1 Mar 2018, S. 140–142. Queen and David Bowie in evoking the mythic, the magical and the monstrous in Hanley, Jason: Natural Born Killers, music and their music for fantasy film. image in postmodern film. In: Judith Irene Rev. (Scoggin, Lisa) in: Notes: Quarterly Jour- Lochhead & Joseph Henry Auner (eds.): Post- nal of the Music Library Association 70,1, 2013, modern Music/Postmodern Thought. NewYork/ S. 111–113. – Rev. (Rambarran, Shara) in: Pop- london: Routledge 2002, S. 335–359. ular Music 33,2, 2014, S. 348–350. Zum Spielfilm von Oliver Stone (USA 1994).

Halfyard, Janet K.: Sounds of Fear and Wonder: Hara, Kunio: Joe Hisaishi’s Soundtrack for “My Music in Cult TV. London/New York: I.B. Tau- Neighbor Totoro”. New York/London/Oxford/ ris 2016, xi, 215 S. New Delhi/Sydney: Bloomsbury Academic How does music enrich and define cult televi- 2020, xiii, 164 S. sion series? This book analyzes theme tunes Miyazaki Hayao’s beloved animated and scoring on television to reveal how com- Abstract: film, (1988), expresses posers construct a series’ identity using musi- My Neighbor Totoro nostalgia for both an innocent past and a dis- cal idioms and instruments. Characters and tant home, sentiments greatly enhanced by plot developments, similarly, are enhanced by Joe Hisaishi’s music. their musical accompaniment. The different scoring strategies employed in science fiction Inhalt: Miyazaki, Hisaishi, and their collabora- and horror-based genres, comprising for ex- tion – Two songs from the image album – To- ample Star Trek or Dr. Who, are considered toro in music and sound – The wind and the alongside cult shows set in our reality, such as forest – Satsuki and Mei – Forgotten sounds – Dexter, The Sopranos and Queer as Folk. These Conclusion: Forgetting and remembering. discussions are complimented by in-depth Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 78

Harbert, Benjamin J.: American Music Docu- for a national identity following the American mentary: Five Case Studies of Ciné-Ethnomusi- occupation. To depict this, Hayasaka wrote a cology. Middletown, Conn.: Wesleyan Univer- sound track that mixed traditional Japanese sity Press 2018, xiv, [ii], 300, [2] S. (Music/In- and European instruments, making them au- terview.). ral stand-ins for Mizoguchi’s narrative theme of conflict between new (Western) and old Inhalt: Introduction – 1. Where is the music? (Japanese) values. This article focuses on the what is the music? Albert Maysles, Gimme music’s three main elements and discusses Shelter (1970) – 2. Representing the margins how they articulate Mizoguchi’s narrative in- and underrepresenting the real: Jill God- terrogation of Japan’s postwar struggle. (Vor- milow, Antonia: A Portrait of the Woman lage) (1974) – 3. The use and abuse of musicological concepts: Shirley Clarke, Ornette: Made in America (1985) – 4. The theater of mass cul- Hasegawa, Machizō: Sa-n-to rando: Saundo to- ture: D. A. Pennebaker and Chris Hegedus, rakku de miru eiga [長谷川町蔵著: サ・ン・ト Depeche Mode: 101 (1988) – 5. Cinematic dub ・ランド: サウンドトラックで観る映画]. Tōk- and the multitude: Jem Cohen and Fugazi, In- yō: Yōsensha 2017, 229 S. (Eiga hihō koreku- strument (1999) – Epilogue: toward a ciné-eth- shon.). nomusicology. [„Sa-n-to Land: Filme, die auf dem Soundtrack zu sehen sind“] Harner, Devin: Memory, Metatextuality and In japan. Schrift. – Inhalt: 1. Soundtrack-Fil- the Music of War. In: Revue LISA/LISA e-jour- memacher – 2. Geschichte des Aufstiegs und nal 10,1, 2012, S. 319–336. Niedergangs der amerikanischen Animation Auch online: [URL]. anhand des Soundtracks – 3. Auch Schauspie- ler legen besonderen Wert auf Musik – 4. Das Dans le cadre de cette étude, nous explorons Franchise passt zu den Klängen der Zeit – 5. la structure du film animé Valse avec Bashir, Professionelle Soundtrack-Stile – 6. Popmu- son esthétique et sa musique. Cette œuvre, sikgeschichte im Soundtrack zum Anhören qui traite des mêmes thèmes que ceux des re- Teil 1 – 7. Musikalische Filmideen des 21. portages sur la guerre du Vietnam rédigés par Jahrhunderts – 8. Popmusikgeschichte im Michael Herr pour le magazine Esquire (plus Soundtrack zum Anhören Teil 2 – 9. Was Sie tard recueillis dans Dispatches), explore les im Musiker-Biopic sehen können – 10. Die limites du genre et montre les difficultés de Soundtrack-Nebengeschichte, die ich dir er- présenter la guerre de façon conventionnelle. zählen möchte – 100 Must-Listen-Soundtrack Cette représentation subjective et consciente des 21. Jahrhunderts. de la guerre, cette esthétique peu conventionnelle aident l’artiste à mettre en avant la relation complexe entre la représentation lit- Haunschmidt, Elisabeth: Wo man singt, da laß téraire et la réalité. (Vorlage) dich nieder – Böse Menschen kennen keine Lieder: Musik in Film und Roman über psy- . Diss., Universität Harris, Michael W.: A score full of grief: Fu- chopathische Gewalttäter Wien, Institut für Musikwissenschaft 2005, mio Hayasaka’s music for Sanshō the Bailif 262 S. (1954). In: Asian Music: Journal of the Society for Asian Music 46,2, 2015, S. 25–54. The focal point of discussion is the seemingly paradox interrelation of music and psy- When Fumio Hayasaka began work on the chopaths in literature and film. Music deno- music for Kenji Mizoguchi’s 1954 cinematic tates the best, human being is capable of pro- adaptation of the Japanese legend Sanshō the ducing, and the violent murderer is the most he found a film that had turned the tale Bailif, horrid facette of humanity. Fritz Lang, Alfred into an allegory of postwar Japan’s struggle Hitchcock, Anthony Burgess, Stanley Kubrick Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 79

and Bret Easton Ellis critically stated that evil and Steve Larson, have commented on the is part of humanity and subtly challenged hu- value of considering music through one’s em- manity’s predominantly positive self-reflec- bodied experiences. Film and music are inher- tion. All artists use the combination of music ently energetic, as both contain perceivable and the psychopath to present man as a dou- energies and forces. Analyzing the common ble-edged creature, to illustrate the wide energetic qualities of film and music provides range of mankind’s facilities and to point to an approach for connecting film music to cer- contemporary social problems (not without tain filmic and narrative attributes and events. being severely attacked by critics and the au- This dissertation uses models based in physics dience). Music has the advantage of introduc- to reveal the latent constructs that connect ing a great spectrum of meaning, almost music to extramusical associations. Building without any limitations. Music can produce a off of established concepts and models in the wide range of emotions, give precise links to work of composers and theorists such as creation and creator, yet remains per se un- Ernst Kurth, Steve Larson, and Arnold fathomable, its meaning infinite. Even more Schoenberg, this dissertation reconsiders sev- so, it can denotate contradicting ideas at the eral energetic models based in motion and ap- same time. Music is therefore the most suc- plies them to film music analysis. This study cessful medium potraying mankind in its di- also proposes several original models based in chotomy, fragmentariness and ambiguity and the related branch of continuum mechanics therefore plays an essential, self-sufficient by considering the internal structure and role in portraying the fictional extreme char- changes of musical concepts and gestures as acters in analysed films and novels. Hitch- objects. These concepts and models create a cock, Burgess and Kubrick see in Beethoven’s system of analysis that considers and ac- music, that entails the myth of his life as well, counts for the connections between film mu- an important instrument to portray genius, sic, onscreen actions, and narrative events. sensibility and morbid violence. Lang makes use of one well-known whistled melody by Grieg to point out the inherent evil powers of Heiland, Konrad / Piegler, Theo (Hrsg.): Der man and current maladities of society, as all Soundtrack unserer Träume: Filmmusik und investigated artists. And Ellis considers the Psychoanalyse. Mit Beitrr. von Stepan kitsch and fake sentimentaly of the 80s pop- Brüggenthies [...]. Gießen: Psychosozial-Ver- music accurate and apt in presenting his fic- lag 2013, 271 S. tional hero and society as compusively and Mathias Hirsch: Einige Gedanken zur obsessively holding up a façade that hides ter- Inhalt: Wirkung und Funktion von Musik im Film / rible illnesses. 17 – Sebastian Leikert: Von der Musik der Hauze, Emily: Keyed fantasies: Music, the ac- Bilder, Versuch zur ästhetischen Form der cordion and the American dream in Stroszek Filmkunst / 35 – Johannes Hirsch: Musik und and Schultze Gets the Blues. In: German Life Stille im Film / 53 – Helga de la Motte-Haber: and Letters 62,2, 2009, S. 84–95. Stummfilm – ein audiovisuelles Medium. Notwendigkeit musikalischer Begleitung zum Über die Filme von Werner Herzog (1976) und bewegten Bild / 69 – Hannes König: Mit Michael Schorr (2003). Hingabe zum Schaudern. Über das Unheim- liche in der Musik von Die neun Pforten (1999) / 81 – Matthias Hornschuh: Why So Serious? Hazelwood, Zachary: Music, Action, and Nar- Filmmusik als Miterzähler in Christopher rative in Film: An Energetic and Gestural Ap- Nolans The Dark Knight (2008) / 95 – Willem proach to Film Score Analysis. Ph.D. Thesis, Strank: Markierungen des Irrealen. Zur An- Louisiana State University 2014, xi, 206 S. deutung alternativer Realitätszustände durch (LSU Doctoral Dissertations. 327.); [URL]. Filmmusik / 115 – Andreas Jacke: Todes- Music theorists and philosophers, such as Rezeptionen. Händel und Wagner in Lars von Mark Johnson, Janna Saslaw, Robert Hatten, Triers Antichrist (2009) und Melancholia Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 80

(2011) / 127 – Konrad Heiland: Die Hochzeit again, Duke: jazz performance, improvisation, von Ton und Bild bei David Lynch, die Ton- and the construction of spontaneity / Björn spur als eigenständiges Kunstwerk bei Jean- Heile. Luc Godard / 143 – Konrad Heiland: Ton- Rev. (Williams, Katherine) in: Notes: Quarterly spuren im Schnee. Zur Filmmusik von Stanley Journal of the Music Library Association 74,4, Kubricks The Shining (1980) / 165 – Theo 2018, S. 460–463. Piegler / Konrad Heiland: Rettungsfantasien in Bild und Ton. Psychoanalytische Betrach- tungen über die Filme Vertigo (Hitchcock Heiligenthal, Britta: Zeichentrickmusik: Funk- 1958) und The Artist (Hazanavicius 2011) / 171 tionen der Filmmusik in Zeichentrickfilmen – Irene Kletschke: Gemalte Träume. Walt Dis- Walt Disneys. Baden-Baden: Nomos 2016, 205 neys Fantasia (1940) / 211 – Stephan Brüggen- S. (Filmstudien. 72.). thies: Schicksal und Zufall, Schuld und Reue. Die Musikdramaturgie von Magnolia (1999) / Zuerst als Diss., Johannes Gutenberg Univer- 225 – Enjott Schneider: Filmmusik-Traumar- sität Mainz, 2015. beit in surrealer Welt. Ein persönlicher Mit scharfsichtig-analytischem Sinn für die Bericht aus der Komponistenwerkstatt / 231 – Bild-Gestaltung und profundem musikalis- Auf der Transsib. Zur Vertonung eines Doku- chen Verständnis widmet sich die Autorin mentarfilms über die Transsibirische Eisen- drei exemplarisch ausgewählten Filmen, die bahn. Interview mit der Musikerin und Kom- jeweils als Stellvertreter für eine bestimmte ponistin Christina Fuchs (Mai 2012) / 245 – „Epoche“ an Disney-Filmen gelten können: Andreas Jacke: „Mimique“ – durch den Kör- Snow White and the Seven Dwarfs (1937), The per versinnbildlichte Musik im Film: David Jungle Book (1967) und Beauty and the Beast Bowie und Marilyn Monroe / 249. (1991). Detailliert-einleuchtend beschrieben und sprachkräftig kommentiert legt sie die Heile, Björn / Elsdon, Peter / Doctor, Jennifer Struktur dar, auf deren Grundlage die ver- R. (eds.): Watching Jazz: Encounters with Jazz schiedenen Funktionen von „Zeichentrick- Performance on Screen. New York: Oxford Uni- musik“ in Erscheinung treten. Die Dis- versity Press 2016, xiii, 289 S. ney’sche Zeichentrickmusik ist eine Film- Inhalt: Shaping screen media. Framing jazz: musik, die der erzählten Geschichte zu mehr thoughts on representation and embodiment / Tiefe und den gezeigten Bildern zu größerer Peter Elsdon – “All aboard!”: soundies and Vi- Schärfe verhilft. (Verlag) taphone shorts / Emile Wennekes – Assimilat- Rez. (Frédéric Döhl) in: r:k:m – rezensionen: ing and domesticating jazz in 1950s American kommunikation:medien, 2.2.2017, [URL]. variety television: Nat King Cole’s transformation from guest star to national host / Kristin McGee – “Jazz is where you find it”: Heimerdinger, Julia: Music and sound in the encountering jazz on BBC television, 1946– horror film & why some modern and avant- 66 / Jenny Doctor – Gesture and mediatiza- garde music lends itself to it so well. In: Seil- tion. “All sights were perceived as sounds”: tanz: Beiträge zur Musik der Gegenwart 4, Pat Metheny and the instrumental image / April 2012, S. 4–19. Jonathan de Souza – Jazz performance on screen: mediatization of gesture, bodily empathy, and the viewing experience / Paul McIn- Heimerdinger, Julia: Populäre Adaptionen. tyre – “Playing the clown”: Charles Mingus, György Ligetis Musik in Stanley Kubricks Jimmy Knepper, and Jerry Maguire / Krin Film 2001: A Space Odyssey. In: Re-Set: Rück- Gabbard – Ontologies of media. Seeking reso- griffe und Fortschreibungen in der Musik seit lution: John Coltrane, myth, and the audio- 1900. Hrsg. v. Simon Obert & Heidy Zimmer- visual / Tony Whyton – Screening the event: mann. Mainz: Schott 2018, S. 302–309. watching Miles Davis’s “My funny Valentine” / Nicholas Gebhardt – Play it Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 81

Heimerdinger, Julia: Franz Schuberts „Er- in additional film contexts. lkönig‟ als Filmmusik. In: musik | kultur | theorie. Festschrift für Marie-Agnes Dittrich. Hrsg. v. Christian Glanz, Anita Mayer-Hirzberger, Heiner, Stefan: Musik in Spielfilmen mit Nikolaus Urbanek. Wien: Hollitzer Verlag Epilepsie. In: Zeitschrift für Epileptologie 29,1, 2019, S. 339–350. 2016, S. 25–30. Epilepsie spielt vergleichsweise häufig eine Heimerdinger, Julia: Mendelssohn im Film. In: Rolle im internationalen Spielfilm. Anfälle werden oft zur Dramatisierung des Mendelssohn Handbuch. Hrsg. v. Christiane Geschehens eingesetzt. Filmmusik im Wiesenfeldt. Kassel: Bärenreiter / Berlin: weitesten Sinne kann dabei mehr als nur „Be- Metzler 2020, S. 463–466. gleitmusik“ sein. Mit der „Tonspur“ verfügt Inhalt: Mendelssohns Musik als Filmmusik / der Spielfilm über ein hervorragendes Mittel, 463. – Die Figur Mendelssohn im Film / 466. Außen- und Innensicht epileptischen Geschehens wiederzugeben. Das lässt sich an den beiden Filmen „The exploding girl“ und Heine, Erik: James Newton Howard’s “Signs”: „The exorcist“ zeigen, die ein extrem gegen- A Film Score Guide. Lanham, Md.: Rowman & sätzliches Bild der Epilepsie zeichnen. Let- Littlefield 2016, xvi, 211 S. (Scarecrow Film zterer nutzt raffinierte Klangcollagen dazu, Score Guides. 17.). den Zuschauer in eine Welt anhaltenden Schreckens zu versetzen. „The exploding girl“ Inhalt: Howard’s musical background / How- mischt effektvoll szenische und außerszenis- ard’s film scoring technique / Historical and che Tonfolgen, um Sinneseindrücke der Be- critical context of Signs / Sounds of science troffenen und Erfahrungen ihres miterleben- fiction and Shyamalan / Sketching and scor- den Freundes dem Zuschauer nahezubringen. ing Signs / Analysis of the score. Die Botschaft der beiden Filme umfasst den weiten Erwartungshorizont – von Abscheu Heine, Erik: Chromatic mediants and narra- bis Empathie –, den noch heute die Begeg- nung mit Epilepsiekranken auszeichnet. tive context in film. In: Music Analysis 37,1, 2018, S. 103–132. This article examines specific narrative con- Heinze, Carsten / Niebling, Laura (Hrsg.): Po- notations associated with chromatic mediant puläre Musikkulturen im Film: Inter- und motions in film music. Following the neo-Rie- transdisziplinäre Perspektiven auf Formen, In- mannian work of theorists such as David halte und Rezeptionen des fiktionalen und do- Kopp and Richard Cohn, and film-music theo- kumentarischen Musikfilms. Wiesbaden: Sprin- rists such as Scott Murphy and Frank Leh- ger VS 2016, XV, 482 S. (Film und Bewegtbild man, I propose a lexicon of harmonic motions in Kultur und Gesellschaft.). and associative connotations. The article provides a survey of both major-mode and mi- Inhalt: Editorial / V. – I. Populäre Musikkultu- nor-mode chromatic mediant relationships in ren im Film: Allgemeine Zugänge. – Carsten as many different genres of film as possible, Heinze: Populäre Jugend- und Musikkulturen with science-fiction and fantasy films being im Film: Konzeptionen und Perspektiven / 3. most common. Through this survey I aim to – Laura Niebling: The Category of Music Film demonstrate not only the extent to which / 29. – Georg Maas & Susanne Maas: Zwi- chromatic mediants have become staple de- schen Zeitdokument, Erinnerungskultur und vices of film-scoring harmonic practice, with Utopie. Jugend und populäre Musik im Spie- meanings so consistent that they can be sub- gel des Spielfilms / 47. – Christian Hißnauer: verted for ironic and satirical purposes, but Der Traum vom Superstar: Castingshows als also to lay out a speculative path for future neue Form des Musikfilms? / 77. – Ramón film-music theorists to use these connotations Reichert: Musikvideos im Social Web. Zur Äs- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 82 thetik und Praxis kultureller Appropriation in „L.E.S.Artistes“ von Santigold / 453. partizipatorischen Medien / 91. – II. Rocku- mentaries: Exploring the Scene. – Laura Nieb- ling: Defining Rockumentaries. A Mode and Heirapetian, Marc: Ein Filmkomponist erster its History / 113. – Keith Beattie: Reworking Klasse. Über den legendären Filmkomponisten Direct Cinema: Performative Display in Ernest Gold und dessen Kooperation mit Hol- Rockumentary / 131. – Carsten Heinze: Per- lywoods größtem Independent-Filmemacher spektiven des Musikdokumentarfilms / 153. – Stanley Kramer. Das Golden Age der Film- III. Musikfilme in ihren soziokulturellen Bezü- musik. In: Cinema musica (2009) 16, S. 38–42 gen. – Markus Stiglegger: Laibach – Sieg unter der Sonne. Eine Rockumentary als politi- sches Manifest? / 191. – Anke Steinborn: Sing, Helbing, Volker: Pastorale, zwölftönig. An- Cowboy, sing. Wie der Osten den Westen merkungen zu einer Filmpartitur Hanns rockt / 213. – Clemens Langer: Konzert(Film)- Eislers. In: Musik und Ästhetik 4 (2000) 14, S. Erlebnisse: The Prodigy VS. The Chemical 25–39. Brothers / 231. – Ulrike Wohler: Madonna- Über die Musik von Eisler (1898–1962) zum Musikfilme als soziales Gedächtnis. Musikkul- anonymen Lehrfilm ›The Living Land‹ 1939. tur als Bestandteil feministischer und queerer Emanzipationsbewegungen / 247. – Senta Sie- wert: Musik, Affektivitä, Erinnerung und Ver- Heldt, Guido: “... Breaking the Sequence marktung bei Trainspotting / 267. – IV. Musik- Down by Beat”: Michael Nymans Musik zu kulturen in ihren filmischen Texten. – Hans J. den Filmen von Peter Greenaway. In: Hans J. Wulff: Medialisierung der Musik und Medien- Wulff, Norbert Grob & Karl Prümm [Hrsg.]: 2. kritik im Schlagerfilm der 1950er Jahre / 291– Film- und fernsehwissenschaftliches Kollo- 308. – Thomas Wilke: Soul Brother, Soul Man, quium/ Berlin 1989. Münster: MakS Publika- Soulboy? Die filmische Inszenierung subkul- tionen 1990, S. 177–188. tureller Eigendynamiken am Beispiel des Nor- thern Soul in Großbritannien / 309. – Mischa Esch: Swindle, Rude Boys, Highschool: über Heldt, Guido: Music and Levels of Narration in drei zeitgenössische filmische Kontextualisie- Film: Steps across the Border. Bristol: Intellect rungen von Punk / 331. – Andreas Wagen- 2013, x, 290 S. knecht: Die Suche bleibt. Die ostdeutsche Punk- und Independent.Szene vor und nach The first book-length study of the narratology der Wende in den Rockumentaries „flüstern & of film music and is an indispensable resource SCHREIEN“ (DDR 1988) und „flüstern & for anyone researching or studying film mu- SCHREIEN – 2. Teil“ (BRD 1994) / 353–369. – sic or film narratology. It surveys the so far Willem Strank: Glückliche Fügung – die Ent- piecemeal discussion of narratological con- stehung einer Subkultur in Cameron Crowes cepts in film music studies and tries to (cau- Singles / 371. – Thomas F. Cohen: Documenta- tiously) systematize, expand and refine them ry Value in the Concert Film: Metallica with reference to ideas from general narratol- Through the Never / 385. – V. Musikvideos: ogy and film narratology (including contribu- Praktiken, Ästhetiken, Kommerzialisierung. – tions from German-language literature less Benjamin Halligan: “A promo video is simply widely known in Anglophone scholarship). an advertisement for a song”? Music Video as The book goes beyond the current focus of Music Documentary / 399. – Ivo Ritzer: „Meet film music studies on the distinction between Africa’s Most Deadly Punk Rock Band“: diegetic and non-diegetic music (music un- Medienimmanenz Mediensimulacra und die derstood to be or not to be part of the story- Musikvideoclips von The Mochines / 429. – world of a film) and takes into account differ- Mirjam Kappes: Zur (multimodalen) Gestal- ent levels of narration: from the extrafictional tungsästhetik medialer Gewalt im Musikfern- to ‘focalizations’ of subjectivity and music’s sehen· Exemplarische Untersuchung von many and complex movements between them. The conceptual toolkit proposed in the Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 83

first part of the book is put to the text in a se- 2017, 199 S. (FilmMusik. 3.). ries of case studies: of numbers in film musi- Der dritte Band der Reihe „FilmMusik“ unter- cals; of music and sound in horror films; and sucht filmmusikalische Gags, Jazz als Idiom of music and narrative structures in, among für Satire und Parodie in Film und Fernsehen, others, films by Sergio Leone, The Truman Musik und Komödie im stalinistischen Kino, Show, Breakfast at Tiffany’s and Far from Frank Zappas 200 Motels sowie Musik in Hor- Heaven. rorkomödien. Inhalt: Vorwort 7. – Tarek Krohn: Überlegun- Heldt, Guido / Krohn, Tarek / Moormann, Pe- gen zum filmmusikalischen Gag / 11. – Lind- ter / Strank, Willem (Hrsg.): Martin Scorsese: say Carter: Das Leben ist freudiger geworden. die Musikalität der Bilder. München: Ed. text + Musik und Komödie im stalinistischen Kino / kritik 2015, 128 S. (FilmMusik.). 43. – Konstantin Jahn: »Who put the wit in syncopation?«. Jazz als Signum von Satire, Bereits in Mean Streets im Jahre 1973 gelang Parodie und Humor in Vaudeville-Film, Car- Martin Scorsese eine Szene, deren Kombina- toon und TV-Comedy / 73. – Jörg Heuser: tion von Bild und Musik Kultstatus erlangte: Frank Zappa, 200 Motels: Weltenkollision / Der Auftritt Robert De Niros zum Song 109. – Guido Heldt: Furchtbar lustig. Musik in „Jumpin’ Jack Flash“ der Rolling Stones sollte Horrorkomödien / 130. nur der erste Wurf eines Regisseurs sein, der es wie kaum ein anderer verstand, Musik und Film zur Einheit zu verschmelzen. Martin Heldt, Guido / Krohn, Tarek / Moormann, Pe- Scorseses Werke zeigen eine Fülle von ter / Strank, Willem (Hrsg.): Musik im Vor- Facetten der Komposition von Bild und Ton spann. München: edition text + kritik 2020, und zeugen von einer Musikkenntnis jenseits 142 S. (FilmMusik. 4.). stilistischer und zeitgeschichtlicher Befangen- heit. Ob in Bernard Herrmanns Soundtrack zu Die Musik im Vorspann stimmt die Zuschaue- Taxi Driver (1975), ob als Hommage an die rinnen und Zuschauer, ähnlich den Ouvertü- goldenen Zeiten des Jazz in New York, New ren vieler Opern und Operetten vor allem des York (1977) und Raging Bull (1980), ob in Peter 19. Jahrhunderts, auf das Bevorstehende ein, Gabriels Originalkomposition zu The Last begleitet sie als „Ohrwurm“ nach Ende der Ki- Temptation of Christ (1987), in zahlreichen novorführung oder Fernsehausstrahlung und Reminiszenzen an die Oper oder in Konzert- bleibt im Gedächtnis als Pars pro Toto für die dokumentationen wie The Last Waltz (1978), Gesamtheit des Scores. Doch trotz ihrer prä- Feel Like Going Home (2003), No Direction genden Wirkung und zentralen Position wur- Home (2005) oder Shine a Light (2008) – im- de der Rolle der Musik im Vorspann bisher mer wieder ist es Scorsese gelungen, den nur äußerst wenig Beachtung geschenkt. Der Zuschauer zum Zuhörer zu machen. Der neue Band der Reihe „FilmMusik“ versucht zweite Band der Reihe „FilmMusik“ nimmt diese Lücke mit vier Beiträgen zu schließen: daher das Werk eines der musikalischsten zum Hollywood-Kino und Erich Wolfgang aller Filmregisseure in den Blick, mit Beiträ- Korngold, zum Quality-TV, zum wechselhaf- gen zu Scorsese und Oper, zu präexistenter ten Werdegang Hanns Eislers und zur Wie- Musik als Autorensignatur, zu Musik und derverwendung einer bekannten Vorspann- Stadt in New York, New York, zur Schizophre- musik in zahlreichen anderen Produktionen. nie der Musik in Taxi Driver und zu Scorseses Beiträger des Bandes sind Felix Kirschbacher, Arbeit mit seinem „music editor“ Robbie Frank Lehman, Wolfgang Thiel und Andreas Robertson. (Verlag) Wagenknecht. Inhalt: Vorwort. – Frank Lehman: Form und thematische Struktur in Vorspannmusiken Heldt, Guido / Krohn, Tarek / Moormann, Pe- Erich Wolfgang Korngolds (11–52). – Wolf- ter / Strank, Willem (Hrsg.): Musik in der gang Thiel: Hanns Eislers Vorspannmusiken Filmkomödie. München: edition text + kritik zu Spielfilmen aus drei Jahrzehnten (53–77). – Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 84

Felix Kirschbacher: Das Beste kommt zum Henderson, Scott: Viewing with Your Ears, Anfang. Episodenbeginn und Vorspann in The Listening With Your Eyes: Synching Popular Good Wife (78 – 103). – Andreas Wagen- Music and Cinema. In: The SAGE Handbook of knecht: Immer wenn die Duduk spielt. Zur Popular Music. Ed. by Andy Bennett & Steve Wiederverwendung der Musik aus dem Vor- Waksman. Los Angeles/London/New Delhi/ spann des Films The Last Temptation Of Christ Singapore/Washington, DC: SAGE 2015, S. in Fernsehdokumentationen und Dokumen- 475–492. tarfilmen (104 – 127).

Henke, Matthias / Beimdieke, Sara (Hrsg.): Hellégouarch, Solenn: Musique, cinéma, pro- Das Wohnzimmer als Loge: Von der Fernseho- cessus créateur: Norman McLaren – Maurice per zum medialen Musiktheater. Würzburg: Blackburn, David Cronenberg – Howard Shore. Königshausen & Neumann 2016, 235 S. (Thur- Paris: Vrin 2020, 295 S. (MusicologieS.). nauer Schriften zum Musiktheater. 32.). Norman McLaren œuvre dans le domaine Inhalt: Vorwort der Herausgeber / 7. – Matthi- onirique de l’animation. David Cronenberg as Henke: Kunst der Stunde Null? Zu den An- est maitre du genre de l’horreur interieure. fängen der Fernsehoper / 11. – Barbara Diet- Que peuvent donc partager ces deux cineastes linger: Die Anfänge der Fernsehoper in den canadiens aux univers si distincts ? Chacun a USA am Beispiel des NBC Opera Theatre / 23. construit une relation a long terme avec un – Rainer J. Schwob: Zur Geschichte des Salz- compositeur – respectivement Maurice Black- burger Fernsehopernpreises / 43. – Sara Beim- burn et Howard Shore. D’un duo a l’autre, le dieke: Innovation und Rückgriff: Die Paßkon- musicien occupe une place centrale au sein de trolle (ORF, 1958) – eine Fernsehoper von Paul la creation collective ; sa musique se revele Angerer und Hans Friedrich Kühnelt / 75. – comme une composante fondamentale. Quels Kazusa Haii: Fernsehoper in Japan / 93. – processus creatifs lui permettent de se de- Bianca Michaels: Die Fernsehoper: Me- ployer ? Le livre fait la lumiere sur les mecan- thodisch-theoretische Annäherungen an ei- ismes collaboratifs et la pensee de ces duos. nen weißen Fleck der Forschung / 115. – Knut Plus generalement, il etablit une poietique de Hickethier: Fernsehspiel und Fernsehoper – la creation musico-filmique, decrit et com- Von der Bühne zum Studio / 133. – Ulrike prend les processus createurs filmique et mu- Hartung: Imaginäres Musiktheater: Oper in sical qui determinent la composition d’une Janet Cardiffs und Georg Bures Millers Opera musique de film et, plus encore, une musi- for a Small Room (2005) und Playhouse calite de tout le complexe audiovisuel. Du (1997) / 147. – Matthias Weiß: Money for cinema d’animation experimental (A Phan- nothing and your chicks for free? Videoclips tasy) au long-metrage de fiction (Crash, A als Werbung, visuelle Musik und televisuelles Dangerous Method) en passant par le docu- Musiktheater / 161. – Jelena Novak: Televisual mentaire engage (Jour apres jour), l’auteure Opera After TV / 179. – Ludger Brümmer: offre un portait inedit de pratiques musico- Beispiele medialer Technologie im zeitgenös- filmiques novatrices tout en proposant de sischen Medientheater / 197. nouvelles approches analytiques pour la musique de film. Hentschel, Frank: „Der Tod ist ein Meister aus Deutschland“. Nationalsozialismus als musi- Henderson, Clara: »When hearts beat like na- kalisch vermittelter Subtext filmischer Ge- tive drums:« Music and sexual dimensions of waltdarstellungen. In: Die Musiktheorie 27,12, the notions of »savage« and »civilized« in 2012, S. 266–279. ›Tarzan and His Mate‹, 1934. In: Africa Today 48 (2001) 4, S. 91–124. In many movies the depiction of violence exe- cuted by a male character is accompanied by Über den Film von Cedric Gibbons. German classical music. In this article such Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 85

film scenes are interpreted arguing that the Über den Film von Alan Crosland. German music is central for establishing a subtext on Nazism. The musical torture practices of the films are related to actual torture Herget, Ann-Kristin: On music’s potential to practices of the concentration camps. The convey meaning in film: A systematic review filmsdiscussed are Reservoir Dogs, James of empirical evidence. In: Psychology of Music Bond: The Spy Who Loved Me, The Silence of [Online first] (26.3.2019); [DOI]. the Lambs, Death and the Maiden, Brute Force With its schema-activating potential to influ- and Apocalypse Now. ence an audience’s perception and interpretation of film plot and protagonists, film music Hentschel, Frank: Musik im Horrorfilm 2010– goes far beyond the role of an emotionalizing 2017. In: Horror-Kultfilme. Hrsg. v. Angela accessory in film contexts. For this review, 24 Fabris, Jörg Helbig u. Arno Rußegger. Mar- German and English empirical studies that tested music’s potential to convey meaning burg: Schüren 2017, S. 153–174 (Marburger were identified to be compared in their re- Schriften zur Medienforschung. 78.). search questions, the characteristics of their methods, designs, samples, and stimulus ma- Hentschel, Frank / Moormann, Peter (Hrsg.): terials, as well as main results. Depending on Filmmusik: Ein alternatives Kompendium. the degree of realism and the abstraction level Wiesbaden: Springer VS 2018, VII, 356 S. of the audio-visual stimulus material, differently connoted music or music of different Dieses Handbuch nimmt eine komplementäre genres trigger supra-individual associations, Akzentsetzung zu den in jüngster Zeit er- which make the recipients’ perceptual pat- schienenen Büchern zur Filmmusik vor. In terns and evaluations of film plot and protag- den einzelnen Beiträgen wird die Praxis der onists predictable. The review provides a sys- Filmmusik so dargestellt, dass auch Filmkom- tematization of music’s effects as well as ponisten, Dramaturgen und Redakteure zu methodological and content-related indica- Wort kommen. Andere Aspekte werden kri- tions for future research. tisch unter die Lupe genommen und Themen wie die Filmouvertüre, Personalstile von Komponisten eigens beleuchtet. Herzfeld, Gregor: Disney psychedelisch: Inhalt: Technische Verfahren in der Film- Musik und Rausch im Zeichentrickfilm. In: musik – Akteure und Einflussfaktoren bei der Acta musicologica 86, 2014, S. 125–146. Realisierung von Filmmusik – Filmmusik und die multimedialen Künste des 19. Jh. – Zur Herzog, Amy: Discordant Visions: The Pecu- Rekonstruktion von Stummfilm-Musik – Musik und Zwischentitel im Stummfilm – Die liar Musical Images of the Soundies Jukebox Filmmusikouvertüre – Narratologie und Film- Film. In: American Music: A Quarterly Journal musik – Besonderheiten der Musik von US- Devoted to All Aspects of American Music and Fernsehserien – Psychologie der Filmmusik – Music in America 22,1, 2004, S. 27–39. Filmstimme – Sound Design – Die audiovisuelle Gestaltung digitaler Spiele – Musik, So- Hess, Carol A.: Competing Utopias? Musical undscapes und Soundmix in afrikanischen Fil- Ideologies in the 1930s and Two Spanish Civil men – Filmmusik jenseits des Films – Film- War Films. In: Journal of the Society for Amer- musik-Recherche im Internet. ican Music 2,3, 2008, S. 319–354.

Henzel, Christoph: »A Jazz singer – singing to van Heuckelom, Kris / Guść, Iwona: Songs of his god«. ›The Jazz Singer‹ (1927): Musik im home (and away): Ethnically-coded diegetic »ersten Tonfilm«. In: Archiv für Musikwis- music and multidirectional nostalgia in fiction senschaft 63 (2006) 1, S. 47–62. films about Polish migrants. In: NECSUS: Eu- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 86 ropean Journal of Media Studies 5,2 Autumn making – 7. Breaking the Sound Barrier – 8. 2016, 171–191; [URL]. Europe after World War I – Part Three: The Golden Age of Sound, 1929–1943. – 9. The Clas- This article offers a textual and contextual sical Hollywood Film Score – 10. Lighter Mu- analysis of ethnically-coded musical perfor- sical Scores – 11. Hollywood and World War mances in migration-themed fiction film, with II – 12. International Filmmaking: A Golden a particular focus on productions featuring Age Interrupted – Part Four: New Challenges expatriate characters from Poland. As we ar- for Hollywood, 1944–1959. – 13. The Postwar gue, the Polish sample substantially differs Years – 14. Expanding Modern Music, 1951– from soundtrack-related approaches prevalent 1959 – 15. Country, Rock, and All That Jazz, in films about postcolonial migrants and eth- 1951–1959 – 16. The Revitalization of Interna- nics. In the hands of the filmmakers and ac- tional Filmmaking – Part Five: The New Cin- tors involved, traditional Polish songs that ema, 1960–1974. – 17. The Tumultuous 60s – typically revolve around protective domestic- 18. The Rockin’ 60s – 19. Emerging from the ity and bonding (especially lullabies) hint at Crisis Years – 20. The New Wave and World the possibility of reinstalling a sense of inter- Cinema – Part Six: Synthesizing the Past and generational affinity at the core of the local Exploring the New, 1975–1988. – 21. The Re- household. Therefore, rather than evoking an turn of the Classical Score – 22. Alternatives aura of multicultural hybridity or exotic Oth- to the Symphonic Score – 23. Box Office vs. erness, the foreign-language musical perfor- Critics – 24. Global Views of the Past and mances featured in the films involved create a Present, 1975–1988 – Part Seven: Fin de Siècle, soundscape in which nostalgia ceases to be 1989–2000. – 25. Historical Films – 26. Life in the exclusive property of the displaced new- America – 27. Animations, Comedies, Ro- comer. mances, and Fantasies – 28. World Cinema after the Cold War – Part Eight: The New Mil- – 29. Blockbuster Fan- Hexel, Vasco: Hans Zimmer and James Newton lennium, 2001–2015. tasies and Adventures – 30. Seeking Heroes – Howard’s “The Dark Knight”: A Film Score 31. Animations, Musicals, and Dramas – 32. Lanham/Boulder/New York/London: Guide. International Films Achieve Parity. Rowman & Littlefield 2016, xxi, 211 S. (Film Score Guides. 18.). Inhalt: 1. Musical Background of the Com- Hill, Andrew Warren: Scoring the Screen: The posers / 1; – 2. Critical, Textual, and Historical Secret Language of Film Music. Montclair, NJ: Context of The Dark Knight / 13; – 3. The Hal Leonard Books 2017, xxxi, 391 S. Technical Approach of the Composers / 31; – Inhalt: Foreword: The Greatest Gig in the 4. Analysis of the Score as Musical Text / 53; – World / xiii; – Introduction: Ancient & Mod- 5. Analysis of the Score as Part of the Sound- ern: An Appreciation of James Newton scape / 111; – Conclusion / 133; – Notes / 135; Howard’s The Sixth Sense / xvii; – 1. From – Appendix I: Spotting / 149; – Appendix II: Among the Dead: Bernard Herrmann’s Ver- Orchestrations / 173. tigo / 1; – 2. Boo Radley’s Porch: Elmer Bern- stein’s To Kill a Mockingbird / 23; – 3. Signs and Meaning: From Spellbound to Inception / Hickman, Roger: Reel Music: Exploring 100 46; – 4. Perfume: The Scent of Murder / 78; – 2nd ed. New York / Lon- Years of Film Music. 5. Carmen in Hell: David Newman’s The War don: W. W. Norton 2017, xxviii, 628 S. of the Roses / 101; – 6. Waltz for a Dead Girl: Inhaltsübersicht: Part One: Exploring Film and Christopher Young’s Jennifer 8 / 130; – 7. Feed Music. – 1. Exploring Film and Music – 2. Ele- Your Head: Don Davis’s The Matrix / 160; – 8. ments of Music – 3. Listening to Film Music – Such a Long, Long Way to Fall: Danny Elf- 4. Forerunners of Film Music – Part Two: The man’s Alice in Wonderland / 195; – 9. Surgical Silent Film Era, 1895–1929. – 5. A New Art Precision: Alberto Iglesias’s La piel que habito Form – 6. The Foundations of Modern Film- / 228; – 10. The Strength of the Righteous: En- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 87

nio Morricone’s The Untouchables / 262; – 11. Hoeckner, Berthold: Film, Music, Memory. Toward a New Aesthetic of Music for the Chicago, Ill.: The University of Chicago Press Screen / 300; – 12. Through a Glass, and 2019, 278 S. (Cinema and Modernity.). Darkly: Anatomy of a Cue from Jerry Gold- smith’s Patton / 322; – 13. Stand Up! Two Film has shaped modern society in part by Cues from Elliot Goldenthal’s Michael Collins changing its cultures of memory. Film, Music, / 334; – 14. John Powell Slays a Dragon / 350; Memory reveals that this change has rested in – Against the Odds: The Road to Kraków / no small measure on the mnemonic powers of 382; – Afterword / 387. music. As films were consumed by growing American and European audiences, their soundtracks became an integral part of indi- Hischak, Thomas S.: The Encyclopedia of Film vidual and collective memory. Berthold Composers. Lanham, Md.: Rowman & Little- Hoeckner analyzes three critical processes field, 2015, 836 S. through which music influenced this new culture of memory: storage, retrieval, and affect. Rev. (Palmer, Landon) In: Music, Sound, and Films store memory through an archive of the Moving Image 11,1, 2017, S. 119–123. – cinematic scores. In turn, a few bars from a Rez. (Jewanski, Jörg) in: Kieler Beiträge zur soundtrack instantly recall the image that ac- Filmmusikforschung, 13, 2017, S. 151–156. companied them, and along with it, the affective experience of the movie. Hoeckner examines films that reflect directly on memory, Hiyama, Sachiko: Sengo eiga-shi ni miru wa- whether by featuring an amnesic character, a sei ‘surirā eiga’ no hōga to sono ongaku: “No- traumatic event, or a surge of nostalgia. As rainu” ni okeru ‘taiihō’ no yakuwari [肥山紗 the history of cinema unfolded, movies even 智子: 戦後映画史にみる和製「スリラー映画」 began to recall their own history through の萌芽とその音楽:『野良犬』における「対位 quotations, remakes, and stories about how 法」の役割]. In: Kōbedaigaku daigakuin nin- cinema contributed to the soundtrack of peo- gen hattatsu kankyō-gaku kenkyū-ka kenkyū ple’s lives. Ultimately, Film, Music, Memory kiyō [神戸大学大学院人間発達環境学研究科研 demonstrates that music has transformed not 究紀要] 11,2, 2018, S. 1–12. only what we remember about the cinematic “The birth of Japan-made thriller film and mu- experience, but also how we relate to memory sic in the history of the postwar Japanese itself. film: The role of counterpoint in A Stray Dog [Nora inu, dt. Ein streunender Hund, Japan Hoffmann, Bernd: Und der Duke weinte. Afro- 1949, Akira Kurosawa].” Amerikanische Musik im Film. Zu Arbeiten In japan. Schrift. des Regisseurs Dudley Murphy (1929). In: Jaz- zforschung / Jazz Research 39, 2007, S. 119– Hoeckner, Berthold [...]: Film music influences 152. how viewers relate to movie characters. In: Psychology of Aesthetics, Creativity, and the Hoffmann, Bernd: Way down upon the Arts 5,2, 2011, S. 146–153. Suwannee River: ‚Jazz‘-Adaptionen im frühen The study providesevidence that film music experimentellen Tonfilm der USA. In: Musik – can influence character likability and the cer- Pädagogik – Dialoge. Festschrift für Thomas tainty of knowing the character’sthoughts, Ott. Hrsg. v. Andreas Eichhorn u. Reinhard which are antecedents of empathetic concern Schneider. München: Allitera Verlag 2011, S. and emphatic accuracy. Thus film music may 86–103 (Musik – Kontexte – Perspektive. 1.). beregarded as modulating antecedents of empathic concern and empathic accuracy. Hoffmann, Bernd: Lindy Hop und Cotton Club: Tanz im frühen US-amerikanischen Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 88

Film. In: Bewegungen zwischen Hören und Se- Wulff (Hrsg.): Musik gehört dazu: Der deutsch- hen: Denkbewegungen über Bewegungskünste. österreichische Schlagerfilm im Kontext seiner Hrsg. v. Stephanie Schroedter. Würzburg: Zeit. Münster: Waxmann 2019, 137–152. Königshausen & Neumann 2012, S. 501–518. Hogg, Anthony: The Development of Popular Hoffmann, Bernd: Ruß im Gesicht. Zur Insze- Music Function in Film: From the Birth of Rock nierung US-amerikanischer Musical Shorts. ’n’ Roll to the Death of Disco. Cham, Switzer- In: Franz Kerschbaumer / Franz Krieger land: Palgrave Macmillan 2019, ix, 174 S. (Pal- (Hrsg.): Jazzforschung / Jazz Research (Graz: grave Studies in Audio-Visual Culture.). Adeva Musik) 44, 2012 [2013], S. 159–184. Inhalt: 1. Introduction – 2. The Classic Ameri- In leicht geänderter Form in: Kieler Beiträge can Musical Phase: The Films of Elvis Presley zur Filmmusikforschung, 11, Sept. 2014, S. – 3. The British Invasion Phase: A Hard Day’s 380–427 (online). Night – 4. The New Hollywood Alienation Phase: The Graduate – 5. The Disco Phase: Saturday Night Fever – 6. The Conservative Hoffmann, Bernd: Alltag im Jazz-Himmel: Die Post-Disco Phase: Footloose and Flashdance – Musical Shorts der 1930er Jahre. In: Musikpä- 7. Afterword. dagogik und Musikkulturen. Festschrift für Reinhard Schneider. Hrsg. v. Andreas Eich- horn u. Helmke Jan Keden. München: Allitera Hois, Eva Maria: (Volks)Musik im österre- Verlag 2013, S. 103–125 (Musik-Kontexte-Per- ichischen Heimatfilm. In: Jahrbuch des Öster- spektiven. 4.). reichischen Volksliedwerkes 60, 2011, S. 200– 204. Hoffmann, Bernd: Musical Shorts (Einleitung). In Willem Strank / Claus Tieber (Hrsg.): Jazz Holbrook Morris B.: Ambi-diegetic Music in im Film. Beiträge zu Geschichte und Theorie the Movies: The Crosby Duets in High Society. eines intermedialen Phänomens. Münster: Lit- In: Consumption, Markets and Culture 8,2, June Verlag 2014, S. 14–16 (Reihe Film. 16.). 2005, S. 153–182. One key element in the product design of a Hoffmann, Bernd: „Eisgekühlter Hot“. Visual- motion picture, ambi-diegetic music – that is, isierungen im Westdeutschen Jazz der 1950er cinemusical material that appears on-screen (like “diegetic” music) that advances the dra- Jahre. In: Jazz Research News, 47, 2015, S. matic development of plot, character, or other 2216–2240. important cinematic themes (like “non- In leicht geändert Form in: Kieler Beiträge zur diegetic” music) – helps to shape the mean- Filmmusikforschung, 12, April 2016, S. 395– ings conveyed to a film’s viewing audience. 431 (Online). By way of illustration, the present paper examines the role of a pivotal cinemusical duet (“Now You Has Jazz”) by two stellar perform- Hoffmann, Bernd: „Jazz – Gestern und Heute“. ers (Bing Crosby and Louis Armstrong) in the Anmerkungen zu einem Kurzfilm von MGM musical High Society (1956). By pairing Joachim Ernst Berendt. In: Kieler Beiträge zur off a middle-aged Bing Crosby with a much Filmmusikforschung, 13, 2017, S. 103–128 (On- younger Grace Kelly, this film faces the chal- line). lenge of rehabilitating the image of Bing in time to let him plausibly win the hand of the youthful Grace in the end. The mechanism for Hoffmann, Bernd: „Abfallprodukte des Jazz- this recuperation appears in the symbolically idioms“. Schlager als Gegenwelten improvi- central role played by the ambi-diegetic duet sierter Musik. In: Michael Fischer / Hans J. entitled “Now You Has Jazz.” Via his visual, Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 89

musical, and historical connection with Arm- Aufsehen erregt. Jetzt macht er sich auf die strong and thereby with a walking embodi- Suche nach den Spuren deutscher und öster- ment of jazz iconography, Crosby attains a re- reichischer Emigranten in Hollywood. Und er juvenated vitality to emerge as Kelly’s viable entdeckt, dass der schwelgerische Sound und suitor of choice. der opulente Orchesterklang, von denen die Filmmusik der amerikanischen Studios bis heute geprägt ist, zum großen Teil von Kom- Holbrook, Morris B.: Cinemusical meanings in ponisten geschaffen wurden, die vor den motion pictures: commerce, art, and Brando Nazis in die USA geflohen waren. Hope trifft loyalty … or … De Niro, My God, To Thee. In: die Nachfahren vieler Musiker. Er zeigt, wie Journal of Consumer Behaviour Volume 6,6, sehr die Traumfabrik von Los Angeles ein Ort Nov./Dec. 2007, S. 398–418. war, an dem Gestrandete ihre Hoffnungen aus den Koffern kramten und ihre Träume in The theme of art-versus-commerce has sur- Musik verwandelten. Von Erich Wolfgang Ko- faced in many motion pictures but serves here rngold über Kurt Weill bis zu Ennio Morri- to juxtapose three otherwise disparate films cone geht die Spurensuche des Autors, von that draw upon the power of jazz as a force Hitchcocks Spellbound über Michael Curtiz’ toward the dramatic development of charac- Casablanca bis zu Spielbergs Schindlers Liste. ter, plot, central themes, and other cinemusi- Das Ergebnis ist ein sehr persönliches Buch cal meanings. Specifically, via the significance mit bewegenden Eindrücken und Erkenntnis- of its ambi-diegetic music, New York, New sen. ein überraschender Blick auf ein (1977) shows the elevation of artistic in- York wichtiges Kapitel unserer Kulturgeschichte. tegrity (Robert De Niro as Jimmy Doyle) over (Verlag) commercialism (Liza Minnelli as Francine Evans). In Heart Beat (1980), the raw honesty of a committed-but-doomed creative genius Hörisch, Jochen: Pop und Papageno: Über das (Art Pepper) provides nondiegetic music that Spannungsverhältnis zwischen U- und E-Mu- signifies the self-destructive degradation of a sik. Paderborn: Wilhelm Fink 2016, 119 S. key protagonist (Nick Nolte as Neal Cassady). Finally, in The Score (2001), the appealing na- Darin: 4. Zeitkünste: Der Film und die Musik ture of diegetic jazz in a cinemusically-en- – Das Kino als Sphäre für U- und E-Musik (S. riched nightclub environment helps to ex- 83–102). plain why a soon-to-be- reformed criminal (Robert De Niro, again, as Nick Wells) would risk everything in collaboration with two Hörner, Michael: Filmmusik und Musikvideo bizarre partners (Marlon Brando as Max im Aufmerksamkeitshorizont des FFK. In: Baron and Ed Norton as Jack Teller) in hopes Fest|Stellungen: Dokumentation des 25. Film- of a payoff big enough to allow him to retire und Fernsehwissenschaftlichen Kolloquiums. from a lucrative career in crime in order to Hrsg. v. Thomas Nachreiner & Peter Podrez. run his legitimate jazz venue and to settle Marburg: Schüren 2014, S. 40–47 (Film- und down with his true love (Angela Bassett as Fernsehwissenschaftliches Kolloquium. 25.). Diane Boesman). Horowitz, Michael: Leonard Bernstein: Magier Hope, Daniel / Knauer, Wolfgang: Sounds of der Musik – die Biografie. Wien: Amalthea Hollywood: Wie Emigranten aus Europa die Verlag 2017, 239, 32 ungez. S. amerikanische Filmmusik erfanden. Reinbek: Rowohlt 2015, 319 S., 8 Bl. Hosono, Haruomi: Eiga o kikimashō [細野晴臣: Daniel Hope ist als Geiger ein Weltstar. Mit 映画を聴きましょう ]. Tōkyō: Kinema Jun- seinem Buch «Familienstücke» über die pōsha 2017, 317 S. Geschichte seiner jüdischen Vorfahren hat er [„Hören wir uns den Film an“.] Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 90

In japan. Schrift. – Inhalt: Meine erste filmische Erinnerung – Der erste japanische Film- Hust, Christoph: Übergangsriten: Musik und soundtrack! – Deep SF Filmmusik – Ein be- Ton in Hitlerjunge Quex (1933). In: Die sonderer Musiker für mich – Die Auswirkun- Tonkunst: Magazin für klassische Musik und gen von Science-Fiction-Filmen in der psy- Musikwissenschaft 3,4, 2009, S. 443–455. chedelischen Ära – Die Zeit des amerikanischen New Cinema – Germi-typische Rusti- Über den Film von Hans Steinhoff. celli-Musik [zu Pietro Germi und Carlo Rusti- chelli] – Die Magie der Filmmusik – Inspirie- rende Musik von Nino Rota – Ideale andere Huvet, Chloé: La musicologie du cinéma. En- Kombinationen. jeux disciplinaires et problèmes méthodolo- giques. In: Intersections: Canadian Journal of Music 36,1, 2016, S. 53–84. Housh, Rich: Minimalismus und das bewegte Bild. Filme und Musik von Phill Niblock. In: Film music has been neglected for a long time in scholarly literature, especially in French- Musik-Texte: Zeitschrift für neue Musik 132, speaking countries. This shortcoming is ad- 2012, S. 55–61. dressed since a few decades by the blossom- ing of musicological and specialized analysis Howell, Amanda: Popular Film Music and devoted to film music. By casting a retrospec- Masculinity in Action – A Different Tune. New tive glance over this young academic field York/London: Routledge 2015, 175 S. (Rout- called “film musicology”, we will first ques- ledge Advances in Film Studies. 38.). tion the place of film music study within musicological research, so as to understand the disavowal it has been subjected to. Disparities Hsu Greta: Jacks of All Trades and Masters of still exist between North American and None: Audiences’ Reactions to Spanning Gen- French approaches, but we will demonstrate res in Feature Film Production. In: Adminis- that the progressive institutionalization of trative Science Quarterly 51,3, 2006, S. 420– film music and its inclusion within musicol- 450. ogy are set on an encouraging path. The issues specific to film music study will be examined in order to highlight what method- Hsu, Greta / Negro, Giacomo / Perretti, Fab- ological challenges such a research object en- rizio: Hybrids in Hollywood: A Study of the tails. We will also show how they relate to Production and Performance of Genre Span- and reengage a number of reflections taking ning Films. In: Industrial and Corporate place within musicology itself. Change 21, 2012, S. 1427–1450.

Hubbert, Julie: Modernism at the Movies: The Cabinet of Dr. Caligari and a Film Score Revis- ited. In: The Musical Quarterly 88,1, 2005, S. – I – 63–94.

When the film premiered in Berlin in Febru- Imort, Peter: Rockklassiker in Filmklassikern: ary 1920, it was an enormous success with ein soziokultureller Streifzug durch 50 Jahre German audiences and also with critics, who populäre Musik im Film. In: Zwischen Rock- were impressed by Caligari’s innovative narrative and production design. A good deal of klassikern und Eintagsfliegen. 50 Jahre pop- the attention the film generated centered on uläre Musik in der Schule. Hrsg. v. Georg its unusual scenario, which mixed elements of Maas. Oldershausen: Lugert 2010, S. 177–191. the mystery... Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 91

Insdorf, Annette: Maurice Jaubert and werden Terayamas grundlegende Absichten François Truffaut: Musical Continuities from in Bezug auf die Beziehung zwischen dem L’Atalante to L’Histoire d’Adèle H. In: Yale Subjekt der ästhetischen Erfahrung und dem French Studies 60, 1980, S. 204–218. Objekt und der Dekonstruktion der Handlung bestimmt, und dann wird die Diskontinuität oder Desorganisation dieses Films extrahiert. Indraganti, Kiranmayi: Her Majestic Voice: Es wird jedoch klargestellt, dass diese Schwä- South Indian Female Playback Singers and chen in der Dramaturgie das sind, was Tera- Stardom, 1945–1955. New Delhi: Oxford Uni- yama selbst beabsichtigt hat, indem er das ur- versity Press 2016, xl, 186 S., 16 ungez. S. sprüngliche Drehbuch und die Spuren seiner Umschreibung nachzeichnet. Nachdem in vier This work brings to light the previously un- Fällen bestätigt wurde, dass eine eng mit charted history of female playback singers in Musik verwandte Szene in Form des Aus- the South-Indian (Telugu) film industry be- schneidens der Grundhandlung in diesen Film tween 1945 and 1955. Playback singers such eingefügt wurde, wird die Funktion der Musik as R. Balasaraswati Devi, K. Jamuna Rani, in diesem Film zwangsläufig generiert. [...] Im Jikki Krishnaveni, P. Leela, and the singing letzten Kapitel wird in diesem Beitrag mit Hil- actress P. Bhanumati’s contribution to play- fe von Siegfried Krakauers Filmtheorie die back singing have been studied in order to ar- Funktion der Musik in diesen Filmen gegen rive at a more cohesive history of Indian cin- die tragische kreative Position dargestellt, die ema. Aristoteles der Musik in der Poesie zugewie- sen hat. [...] Ireland, David: Identifying and Interpreting In- . Cham, Switzerland: Pal- congruent Film Music Ivaškin, Aleksandr V. / Kirkman, Andrew grave Macmillan 2018, xii, 248 S. (Palgrave (eds.): Contemplating Shostakovich: Life, Music Studies in Audio-Visual Culture.). and Film. Burlington, VT/Farnham: Ashgate Based on the autor’s PhD diss.: The Influence 2012, xxviii, 285 S. of Incongruence on Perceived Emotional mean- Contemplating Shostakovich marks an impor- ing in the Film Sound. University of Leeds tant new stage in the understanding of 2012. Shostakovich and his working environment. Each chapter covers aspects of the composer’s Itō, Tōru: Terayama Shūji “sho o suteyo, ma- output in the context of his life and cultural chi e deyou” eiga ni okeru ongaku no kinō [伊 milieu. The contributions uncover ‘outside’ 藤徹: 寺山修司《書を捨てよ、町へ出よう》 stimuli behind Shostakovich’s works, allow- ・映画における音楽の機能]. In: Kyōtokōgei- ing the reader to perceive the motivations behind his artistic choices; at the same time, the sen'idaigaku gakujutsu hōkoku-sho [京都工芸 nature of those choices offers insights into the 繊維大学学術報告書] = Bulletin of Kyoto Insti- workings of the larger world – cultural, so- 10, 2017, S. 1-21. tute of Technology cial, political – that he inhabited. Thus his of- “The functions of music in film and Terayama ten ostensibly quirky choices are revealed as Shūji’s Throw Away Your Books and Rally in responses – by turns sentimental, moving, the Streets.” sardonic and angry – to the particular condi- In japan. Schrift. – Zur Musik in Shūji Teraya- tions, with all their absurdities and contradic- mas experimentellem Spielfilm Werft die Bü- tions, that he had to negotiate. Here we see cher weg und geht auf die Straße (Japan 1971). the composer emerging from the role of tor- – Abstract: Dieses Paper ist ein Versuch, die tured loner of older narratives into that of the Funktion von Musik in einem Film zu be- gregarious and engaged member of his soci- trachten, wobei der Film Werft die Bücher weg ety that, for better and worse, characterized und geht auf die Straße (1971) von Shūji Tera- the everyday reality of his life. This invaluable yama als Hinweis verwendet wird. Zuerst collection offers remarkable new insight, in Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 92

both depth and range, into the nature of bilde – Lyddesignerens rolle – Lydens per- Shostakovich’s working circumstances and of sepsjonspunkt og subjektivitet – Byens lyder his response to them. The collection contains – Musikk og stemning – Livets ekkopunkt. – I the seeds for a wide range of new directions verdensrommet kan ingen høre deg skrike in the study of Shostakovich’s works and the (Asbjørn Tiller) / 118: – Lyden i verdensrom- larger contexts of their creation and recep- met – Filmlydens dynam ikk – Klaustrofobisk tion. stillhet og lyd – Betydningen av offscreen-lyd – Et lydfylt filmatisk verdensrom. – Lyden av fortiden (Gunnar Iversen) / 129: – Fjernsynet Iversen, Gunnar / Tiller, Asbjørn: Lydbilder: som lydmedium – Mad Men – Fortidens lyd- mediene og det akustiske. Oslo: Universitetsfor- landskap – Stemningsskapende musikk – laget 2014, 203 S. Boardwalk Empire – Musikalsk dobbeltekspo- Wir haben eine starke Tradition darin, die vi- nering – Lyden av 1920-årene – Lyden av for- suelle Seite von Film und Fernsehen zu analy- tiden. – Naturens lyder (Gunnar Iversen) / sieren, aber die Tonstudien sind weniger ent- 151: – Tre lydkategorier – Lydteknologi, san- wickelt. «Lydbilder» ["Tonbilder"] ist eine selighet og naturfølelse – Fjernsynsstemmene Einführung in Ton in Film, Fernsehen und – I villmarken – Lyden av planter – Naturens moderner Kunst. – Die Autoren geben zu- lyder. – Kunstens lydrom (Asbjørn Tiller) / nächst eine allgemeine Einführung in Klang 165: – Kunstens lyd – Rommets lyd – Forestil- und Theorien über Klang in den Medien und linger av rom. – Flyndras sang (Asbjørn Til- wie Klang in verschiedenen Genres und spezi- ler) / 177: – Møtet med Flyndra – Lydbilder i fischen Texten funktioniert. Sie diskutieren, lydmiljø – Lagvislyd – Flyndras rom – Tekno- was Ton ist, welche Funktionen er in ver- logibasert lydkunst – Skulpturen skaper et schiedenen Erzählungen hat, die Beziehung nytt lydrom. – Etterord / 191 – Litteratur / 193 zwischen Ton und Bild und die technologi- – Stikkord / 198. sche Entwicklung auf dem Gebiet des Tons. – Teil Zwei besteht aus der Analyse von Medientexten, bei denen der Schwerpunkt auf der Funktion des Klangs liegt. Die Analysen konzentrieren sich auf Filme ( Oslo, 31. August – J – und die Alien-Filme), Fernsehserien (Mad Men und Boardwalk Empire), Dokumentarserien (Madagaskar und Kingdom of Plants) und auf Jacobs, Lea: Film Rhythm after Sound: Tech- Klang in der modernen Kunst (z. B. die Ton- nology, Music, and Performance. Oakland, Cal.: skulptur Flyndre). University of California Press 2015, XII, 266 S. DEL 1. LYD OG AUDIO VISUELLE Inhalt: Inhalt: Introduction: film rhythm and the MEDIER (Gunnar Iversen/Asbjørn Tiller) / 15: problem of sound. A lesson with Eisenstein: – Innledning – Hva er lyd? – Lyd og teknolo- rhythm and pacing in Ivan the Terrible, Part I / gi – Lydfilmen – Målbar og opplevd lyd – Mickey Mousing reconsidered / Lubitsch and Opplevelse av rom – Sammenstilling av lyd Mamoulian / Dialogue timing and perfor- og bilde – Merverdi – Postsynkronisering – mance in Hawks. Lydgjengivelse – Lydens grunnleggende funksjoner – Fire typer lyd – Lydanslaget i The seemingly effortless integration of sound, Apocalypse Now – Tre helikopterlyder – Die- movement, and editing in films of the late getisk og ikke-diegetisk lyd – Subjektiv og 1930s stands in vivid contrast to the awk- objektiv lyd – Dynamikk – Dynamiske skifter wardness of the first talkies. Film Rhythm af- – Lyd og musikk – Å bygge broer – Stemmer ter Sound analyzes this evolution via close ex- og dialog – Lyd og følelser – Lydm edier. – amination of important prototypes of early DEL 2. SEKS LYDANALYSER: – Lyden av Os- sound filmmaking, as well as contemporary lo den 31. august (Gunnar Iversen) / 101: – En discussions of rhythm, tempo, and pacing. Ja- mann og en by – Norsk film med fransk for- cobs looks at the rhythmic dimensions of per- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 93

formance and sound in a diverse set of case Exzess, Emanzipation und Kunst im Jazz studies: the Eisenstein-Prokofiev collabora- Age / 60. – IV. Jazz und der frühe amerikanis- tion Ivan the Terrible, Disney’s Silly Sym- che Tonfilm / 77. – V. Das jazzige Hollywood- phonies and early Mickey Mouse cartoons, Musical / 96. – VI. Der Swing Craze / 111. – musicals by Lubitsch and Mamoulian, and the VII. Deutscher Exkurs: Jazz und Ideologie im impeccably timed dialogue in Hawks’s films. swingenden Schlagerfilm / 123. – VIII. Die Jacobs argues that the new range of sound Stadt, der Sex und der Rausch: Film noir, technologies made possible a much tighter sozialer Problemfilm und der »Hollywood synchronization of music, speech, and move- Jazz« der 1950er Jahre / 131. – IX. Die Etablie- ment than had been the norm with the live rung des Jazz in der Filmmusikkomposition / accompaniment of silent films. Filmmakers in 157. – X. Action, Horror, Porno und Science- the early years of the transition to sound ex- Fiction: Jazz im Genre-Kino / 179. – XI. Jazz- perimented with different technical means of Cartoons: Carl Stalling, Raymond Scott und achieving synchronization and employed a Jazz als postmodernes Konzept / 207. – XII. variety of formal strategies for creating Abstraktion und absolute Nähe: Experimen- rhythmically unified scenes and sequences. talfilm und Dokumentation / 214. – XIII. Be- Music often served as a blueprint for rhythm deutungsverlust und Verdichtung der Klis- and pacing, as was the case in mickey mous- chees: Jazz im Film seit den 1980er Jahren / ing, the close integration of music and move- 227. – XIV. Conclusio: Jazz in Film und Film- ment in animation. However, by the mid- musik als Spiegel sozialer und ästhetischer 1930s, filmmakers had also gained enough Entwicklungen / 239. – Quellenverzeichnis / control over dialogue recording and editing to 251 – Literaturliste (inkl. Noten und Online- utilize dialogue to pace scenes independently Dokumente) / 251 – Internetquellen (Websei- of the music track. Jacobs’s highly original ten, Webvideos, Webforen etc.) / 276 – Sonsti- study of early sound-film practices provides ges / 277 – Gemälde / 278 – Diskografie / 278 significant new contributions to the fields of – Songs / 279 – Glossar / 280 – Abbildungs- film music and sound studies. verzeichnis / 285 – Filmografie (inkl. TV-Seri- Rev. (Shpolberg, Masha) in: Film Quarterly en und Serienepisoden) / 291. 68,4, 2015, S. 101 – 102. – Rev. (Jones, Kent) in: Film Comment 51,3, 2015, S. 78. – Rev. James, David E.: (Pipolo, Tony) in: Cineaste 41,3, 2016, S. 76 – Rock ’n’ Film: Cinema’s 77. – Rev. (Wang, George Chun Han) in: Jour- Dance with Popular Music. New York/Oxford: nal of Film and Video 69,2, 2017, 58 –59. Oxford University Press 2016, 470 S. Inhalt: Introduction: rock ’n’ film – Absolute beginnings: Blackboard Jungle – Jukebox mu- Jaglarz, Barbara / Bemmerlein, Georg: Film- sicals – Dirty stars: Jayne Mansfield and Ken- musik im Musikunterricht: 38 originelle Ar- neth Anger – Rock ’n’ roll noir: Elvis before beitsblätter zu „Madagascar“, „Star Wars“, the army – Sunshine Elvis: The devil in dis- „Herr der Ringe“ & Co. Hamburg: Persen 2020, guise (inc morphology of the Elvis movie) – 48 S. (Bergedorfer Unterrichtsideen.). Back in the UK: the English Elvises – Beatles I: Richard Lester and A Hard Day’s Night – Beatles II: next morning – Bringing it all back Jahn, Konstantin: Hipster, Gangster, Femmes home: toward the folk documentary – D.A. Fatales: Eine cineastische Kulturgeschichte des Pennebaker: documentary from folk to folk München: et+k, edition text + kritik Jazz. rock and rock – Utopia and its discontents: 2016, 304 S. Woodstock – The Rolling Stones I: the great- Zuerst: Diss., Dresden: Hochschule für Musik est rock ’n’ film band in the world – Mick Jag- „Carl Maria von Weber“, u.d.T.: Die semanti- ger, demon brother – The Rolling Stones II: schen Wandlungen des Jazz in der Filmmusik. the U.S. tours, from concert film to film con- Inhaltsüberblick: I. Theorie und Methodik / 13. cert: Back to black: soul – And white: country – II. Jazz und früher Stummfilm / 30. – III. – Retrospection and reflexivity: rock ’n’ film Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 94

suicide. musik die gezeichneten Karikaturen lebendig und menschlich werden lässt. (Verlag) Janz, Tobias: Soundtrack des Mythos. Zum musikalischen Design der James Bond-Filme. In: Astrid Böger, Marc Föcking (Hrsg.): James Jaszoltowski, Saskia: Langohrige Helden und Bond. Die Anatomie eines Mythos. Heidelberg: gefiederte Diven. Reflexionen über Opern und Winter 2012, S. 185–222. Animated Cartoons in vier Akten. In: Kieler Beiträge zur Filmmusikforschung 11, 2014, S. Janz, Tobias: Filmmusik ohne Film? Charles 57–77. Koechlins „The seven star’s symphony“. In: Klang und Semantik in der Musik des 20. und Jaszoltowski, Saskia: Capturing Music as a 21. Jahrhunderts. Hrsg. v. Jörn-Peter Hiekel & Protagonist. Audiovisual Narration in Films Wolfgang Mende. Bielefeld: transcript 2016, S. by Jim Jarmusch. In: Enrique Encabo Fernán- 97–116. dez (ed.): (Re)inventig Sound: Music and Audio- visual Culture. Newcastle upon Tyne: Cam- Jaszoltowski, Saskia: Warum Wagner? bridge Scholars 2015, S. 175–187. Musikalische Grenzüberschreitungen in (Ze- ichentrick-)Filmen. In: Archiv für Musikwis- Jaszoltowski, Saskia: Belebende Musik: Zur senschaft 69,2, 2012, S. 154–164. Akustik der animierten Welt um 1930. In: Franziska Bruckner, Erwin Feyersinger, Jaszoltowski, Saskia: Animierte Musik – Be- Markus Kuhn, Maike Sarah Reinerth (Hrsg.): seelte Zeichen. Tonspuren anthropomorpher In Bewegung setzen …: Beiträge zur deutsch- Tiere in Animated Cartoons. Stuttgart: Steiner sprachigen Animationsforschung. Hamburg: 2013, 206 S. (Archiv für Musikwissenschaft. Springer 2016, S. 57–70. Beihefte. 74.]. Zugl.: Freie Universität Berlin, Diss., 2012. Jaszoltowski, Saskia: Memory, Spectacle, and the Image of Songs. In: Ivana Perkovic & Zeichentrickfilme mit Mickey Mouse, Tom und Jerry oder Bugs Bunny waren in Holly- Franco Fabbri (eds.): Musical Identities and Eu- woods Goldenem Zeitalter integraler Be- ropean Perspective: An Interdisciplinary Ap- standteil des Kinoprogramms und erfreuten proach. Frankfurt: Peter Lang 2017, S. 145– sich größter Beliebtheit. Mit Anbruch des 160. Tonfilms konnten sich die Cartoonfiguren Jaszoltowski, Saskia: Zur audiovisuellen Ana- nicht nur visuell gebärden, sondern auch lyse von Musik im Film. In: Gabrielle Busch- durch Musik, Geräusche und Stimme unmit- meier, Klaus Pietschmann (Hrsg.): telbar akustisch äußern, um beim Publikum Beitragsarchiv des Internationalen Kongresses eine der menschlichsten emotionalen Reaktio- der Gesellschaft für Musikforschung, Mainz nen auszulösen: das Lachen. Das Buch unter- 2016 – „Wege der Musikwissenschaft“. Mainz: sucht das konstitutive Zusammenspiel von Schott Campus 2017, S. 1–12. Bild und Ton in jenen Filmen, die bis heute nichts an Durchschlagkraft verloren haben. Aus historischer, technischer und analytischer Jaszoltowski, Saskia: On the Impact of Voids: Perspektive wird in dieser Studie das Genre Musical Silence and Visual Absence in Film. der animierten Kurzfilme erschlossen und In: Werner Wolf, Nassim Balestrini, Walter dabei die Besonderheit des Soundtracks her- Bernhart (eds.): Meaningful Absence Across ausgearbeitet, der die Glaubwürdigkeit der id- Arts and Media. The Significance of Missing iosynkratischen Mensch-Tier-Hybride maßge- Signifiers. Leiden/Boston: Brill/Rodopi 2019, S. blich befördert. Mit weitreichenden Bezügen 87–100. zur Ästhetik und Emotionsforschung erklärt Saskia Jaszoltowski anschaulich, wie Film- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 95

Jaszoltowski, Saskia: Disturbing Silences and high art and cinema as technologically medi- Open Narratives: Musical Gaps in Fictive and ated, popular entertainment. Joe argues that Documentary Moving Images. In: Walter when opera excerpts are employed on sound- Bernhart, David Francis Urrows (eds.): Music, tracks they tend to appear at critical moments Narrative and the Moving Image: Varieties of of the film, usually associated with the pro- Plurimedial Interrelations. Leiden/Boston: tagonists, and the author explores why it is Brill/Rodopi 2019, S. 17–28. opera, not symphony or jazz, that accompanies poignant scenes like these. Joe’s film analysis focuses on the time period of the Jaszoltowski, Saskia / Riethmüller, Albrecht: post-1970s, which is distinguished by an in- Musik im Film. In: Holger Schramm (Hrsg.): crease of opera excerpts on soundtracks to Handbuch Musik und Medien. Konstanz. Kon- blockbuster titles, the commercial recognition stanz: UVK 2009, S. 149–175. of which promoted the production of numerous opera soundtrack CDs in the following Repr.: Handbuch Musik und Medien: Interdiszi- years. Joe incorporates an empirical method- plinärer Überblick über die Mediengeschichte ology by examining primary sources such as der Musik. Wiesbaden: Springer VS 2019 production files, cue-sheets and unpublished [2018], S. 95–122. interviews with film directors and composers to enhance the traditional hermeneutic approach. The films analysed in her book in- Joe, Jeongwon: Reconsidering Amadeus: clude Woody Allen’s Match Point, David Cro- Mozart as Film Music. In Changing Tunes: The nenberg’s M. Butterfly, and Wong Kar-wai’s . Ed. by Phil Use of Pre-existing Music in Film 2046. Powrie & Robynn Stilwell. Aldershot: Ashgate 2006, S. 57–73. Nachdr. London: Routledge 2017. Johan, Adil: Scoring Tradition, Making Na- tion: Zubir Said’s Traditionalised Film Music for Dang Anom. In: Malaysian Journal of Mu- Joe, Jeongwon: Opera as Soundtrack. Surrey: sic 6,1, 2017, S. 50–72. Ashgate 2013, xv, 207 S. Zur Musik in Hussain Haniffs Film von 1962. Inhalt: Opera as geno-song – Opera in cinematic death – Opera in Woody Allen’s Match Point – Is cinema’s anxiety opera’s envy? – Johan, Adil: Cosmopolitan Intimacies: Malay Film divas: the problem and the power of the Film Music of the Independence Era. Singapore: singing women – Behind the discourse on the NUS Press 2018, xxvii, 387 S. opera-cinema encounter. Drawing on analyses of lyrics and music, in- Filmmakers’ fascination with opera dates terviews with musicians, and the content of back to the silent era but it was not until the Malay entertainment magazines, in an ap- late 1980s that critical enquiries into the in- proach that spans ethnomusicology and cul- tersection of opera and cinema began to tural studies, he reveals this body of work to emerge. Jeongwon Joe focusses primarily on be a product of a musical and cultural cos- the role of opera as soundtrack by exploring mopolitanism in the service of a nation-mak- the distinct effects opera produces in film, ef- ing process based on ideas of Malay ethnona- fects which differ from other types of sound- tionalism, initially fluid but increasingly ho- track music, such as jazz or symphony. These mogenized over time. Malay film music of the effects are examined from three perspectives: period covertly expressed radical sentiments peculiar qualities of the operatic voice; vari- despite being produced within a commercial- ous properties commonly associated with ized film industry. opera, such as excess, otherness or death; and multifaceted tensions between opera and cinema – for instance, opera as live, embodied, Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 96

Johnson, Bruce (ed.): Earogenous Zones: Sound, age 9,2, 2015 (Special Issue: “Musical Screens: Sexuality and Cinema. London/Oakville: Musical Inventions, Digital Transitions, Cul- Equinox 2010, x, 246 S. tural Critique”. Guest ed.: James Tobias), S. 131–144. Auch: [Ann Arbor, MN]: ProQuest 2010. This collection exemplifies a variety of ap- Paranormal Activity’s (2007) ‘found footage’ proaches to the sonic representation of sexu- horror conceit hinges upon the efforts of yup- ality in cinema. It draws on a range of sexual pie Micah to use his digital video camera to scenarios from pornography to sci-fi to art- capture proof of his girlfriend’s supernatural house and includes cinema from various cul- visitations. Micah concentrates on capturing tures and countries. Among the topics ad- visual evidence but the demon remains elu- dressed are how the deployment of sound is sive. Only ephemeral effects of its presence implicated in gender politics in the represen- are captured visually – instead, the invisible tation of sexuality and how sounds are able to demon is embodied sonically. This article will radically colour and even override the visual concentrate on this sonic embodiment within and lexical content of a film. the broader context of found footage horror’s cultural significance. Though Paranormal Ac- Inhalt: S. 12–37: Sound decisions: Interviews mainly employs a screen-centred 2.0 with Ole Ege / Bruce Johnson. – S. 38–53: Be- tivity stereo sound mix in keeping with its ‘home yond the Valley of the ultra cliche: Erotic movie’ sound aesthetic, it later uses the sur- plentitude in the films of Russ Meyer / Mark round channels so that the eerie, demonic Evans & Matt Burgess. – S. 54–65: The dy- sound ‘creeps’ into the full 5.1 surround namics of sound in Bertolucci’s Last Tango in sound field. Referring to Michel Chion’s and Paris, The Last Emperor and The Sheltering Randolph Jordan’s theorisations of the acous- Sky / Lesley Chow. – S. 66–88: Depraved de- mêtre as an unseen diegetic character whose sire: Sadomasochism, sexuality and sound in audible voice is imbued with mysterious the mid-1970s cinema / Clarice Butkus. – S. power, and Mark Kerins’ work on digital sur- 89–101: The peculiar ‘love’ music in Oshima’s round sound, this article argues that Paranor- Ai no korida / James Wierzbicki. – S. 102–124: mal Activity opens up a space beyond the Lust in space: Science fiction themes and sex screen for the digital surround sound demon cinema (1960–82) / Philip Hayward. – S. 125– to ‘haunt’ the exhibition space sonically as a 139: Science fiction themed porn cinema and voiceless beyond its ‘home movie’ its soundtracks 1990–2010 / Philip Hayward acousmêtre digital screen. & Emil Stoichkov. – S. 140–157: Music in New wave hookers carries the joke / Laura Wiebe Taylor. – S. 158–173: Making “a mall movie Jung-Kaiser, Ute / Simonis, Annette (Hrsg.): about a man with a 13–inch penis”: Popular Erich Wolfgang Korngold, „der kleine Mozart“. music representations of pornographic inten- Das Frühwerk eines Genies zwischen Tradition tion / Liz Giuffre. – S. 174–189: Musical loops: und Fortschritt. Hildesheim/Zürich/New York: Eyes Wide Shut ... Ears wide open / Kevin Clif- ton. – S. 190–202: Sound, sex and aural domi- Georg Olms 2017, xiii, 211 S. (Wegzeichen nance in 9 Songs / Andrea Warren. – S. 203– Musik. 12.). 216: Music, image, orgasm: Getting off on the Der Sammelband widmet sich schwerpunkt- Shortbus / Marianne Tatom Letts. – S. 217– mäßig Korngolds Frühwerk, in dem die Fun- 233: In extremis: The roots, soundscapes and damente seiner späteren epochemachenden significations of twenty-first-century zombie Filmmusiken liegen. Darüber hinaus beleuch- porn / Ralph G. Marsh. ten die Beiträger die intermedialen Verflech- tungen sowie die internationale Dimension seines Œuvre, das grenzüberschreitend zwi- Johnston, Nessa: The Voiceless Acousmêtre: schen Fin de Siècle und Moderne angesiedelt Paranormal Activity’s Digital Surround Sound ist. Demon. In: Music, Sound, and the Moving Im- Inhalt: Arne Stollberg: Das fröhliche Herz. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 97

Korngolds Leitmetapher zwischen Ideologie, sical meaning through a critical analysis of Ästhetik und kompositorischer Funktion / 1. two recent films. Second, building examples – Claudia Breitfeld: Was der Wald erzählt – of scholarship around a single piece of music ein früher Klavierzyklus des 12-jährigen frequently used in film – Samuel Barber’s Korngold / 27. – Stephan Diedrich: „Und wenn Adagio for Strings – I follow the example set sie nicht gestorben sind ...“ Zur Charakterisie- by Murray Smith in Film, Art, and the Third rungskunst des jungen Korngold in seinen Culture and discuss the complementary ap- Märchenbildern op. 3 / 49. – Ute Jung-Kaiser: proaches of the humanities, the behavioral Korngolds Ballettpantomime Der Schneemann sciences, and the natural sciences to under- (1908) – das vielversprechende Werk eines standing music and its use in film. „Wunderkindes“ / 67. – Clemens Höslinger: „Der arme Junge hat gestern bitterlich geweint ...“. Zur ersten Aufführung der Ballett- pantomime Der Schneemann an der Wiener Staatsoper am 4. Oktober 1910 / 109. – Clau- dia Maria Korsmeier: Zu Korngolds frühem – K – Liedschaffen / 125. – Annette Simonis: Korn- golds im kulturgeschichtlichen Kon- Violanta Kaganovsky, Lilya / Masha Salazkina (eds.): text des Fin de Siècle — eine Femme forte im Zeichen der Venus Verticordia / 149. – Arne Sound, Speech, Music in Soviet and Post-Soviet Stollberg: „Wirkung ohne Ursache“ oder Cinema. Bloomington, IN/Indianapolis: Indi- „Oper pur“? Erich Wolfgang Korngolds Die ana University Press 2014, viii, 299 S. tote Stadt hinter den Klischees ihrer Rezeption Challenges the ways we look at both cinema / 173. – Kerstin Schüssler-Bach: Der „Traum and cultural history by shifting the focus from der Wiederkehr“ als Versuchsanordnung. Zu the centrality of the visual and the literary to- Karoline Grubers Hamburger Inszenierung ward the recognition of acoustic culture as der Toten Stadt (2015) / 189. formative of the Soviet and post-Soviet experience. Leading experts and emerging scholars from film studies, musicology, music the- Jünger, Hans: Unpopuläre Filmmusik. In: Bil- ory, history, and cultural studies examine the dung, Musik, Kultur – Horizonte öffnen: [BMU, importance of sound in Russian, Soviet, and Bundesverband Musikunterricht, 2. Bundes- post-Soviet cinema from a wide range of in- kongress Musikunterricht, Leipzig 2014]. terdisciplinary perspectives. Addressing the Hrsg. v. Dorothee Barth, Ortwin Nimczik, Mi- little-known theoretical and artistic experi- chael Pabst-Krueger. Kassel/Mainz: BMU, mentation with sound in Soviet cinema, Bundesverband für Musikunterricht 2015, S. changing practices of voice delivery and 185–191 (Musikunterricht. 2.). translation, and issues of aesthetic ideology and music theory, this book explores the cultural and historical factors that influenced the Justus, Timothy: Toward a Naturalized Aes- use of voice, music, and sound on Soviet and thetics of Film Music: An Interdisciplinary Ex- post-Soviet screens. ploration of Intramusical and Extramusical Inhalt: From the history of graphic sound in Meaning. In: 13,3, 2019, S. 1–22; Projections the Soviet Union, or, Media without a medium [URL]. / Nikolai Izvolov. – Silents, sound, and mod- In this article, I first address the question of ernism in Dmitry Shostakovich’s score to The how musical forms come to represent mean- New Babylon / Joan Titus. – To catch up and ing – that is, the semantics of music – and il- overtake Hollywood: early talking pictures in lustrate an important conceptual distinction the Soviet Union / Valerie Pozner. – ARRK articulated by Leonard Meyer in Emotion and and the Soviet transition to sound / Natalie Meaning in Music between absolute or intra- Ryabchikova. – Making sense without speech: musical meaning and referential or extramu- the use of silence in early Soviet sound film / Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 98

Emma Widdis. – The problem of heteroglossia mensions proposed by the Event-Indexing in early Soviet sound cinema (1930-35) / Model, as well as both the introductions and Evgeny Margolit. – Challenging the voice of endings of background music (BGM). The re- God in World War II-era Soviet documen- sults of multiple regression analysis, con- taries / Jeremy Hicks. – Vocal changes: Mar- ducted on shot-by-shot reaction times as the lon Brando, Innokenty Smoktunovsky, and dependent variable, indicate that the situa- the sound of the 1950s / Oksana Bulgakowa. – tional dimensions that influence animation Listening to the inaudible foreign: simultane- comprehension vary for different genres. In ous translators and Soviet experience of for- contrast, the results also indicate that the eign cinema / Elena Razlogova. – Kino- BGM endings influence comprehension pro- muzyka: theorizing Soviet film music in the cesses irrespective of the genre. In addition to 1930s / Kevin Bartig. – Listening to Muzykalʹ- indicating that BGM can potential enhance naia istoriia (1940) / Anna Nisnevich. – The the updating of situational model, these find- music of landscape: Eisenstein, Prokofiev, and ings also provide hints for animation produc- the uses of music in Ivan the Terrible / Joan tion that can potentially facilitate audience Neuberger. – The full illusion of reality: re- comprehension. pentance, polystylism, and the late Soviet soundscape / Peter Schmelz. – Russian rock on Soviet bones / Lilya Kaganovsky. Kalinak, Kathryn (ed.): Music in the Western: Rev. (Cavendish, Philip) in: Studies in Russian Notes from the Frontier. New York [...]: Rout- and Soviet Cinema 8,3, 2014, S. 250–251. – Rev. ledge, 2012, ix, 237 S. (The Routledge Music (Paranyuk, Vika) in: Film Quarterly 67,4, 2014, and Screen Media Series.). S. 84–85. – Rev. (Rowin, Michael Joshua) in: Presents essays from both film studies schol- Cineaste 40,2, 2015, S. 78–79. – Rev. (Young- ars and musicologists on core issues in west- blood, Denise J.) in: Slavic Review 74,2, 2015, ern film scores: their history, their generic S. 424–425. – Rev. (Jacq, Jasmine) in: Russian conventions, their operation as part of a nar- Journal of Communication 8,2, 2016, S. 202– rative system, their functioning within indi- 205. vidual filmic texts and their ideological im- port, especially in terms of the western’s construction of gender, sexuality, race and ethnic- Kajii, Naochika: Monogatari-nai no BGM to ity. The Hollywood western is marked as jōkyō no henka wa animēshon rikai katei ni uniquely American by its geographic setting, dono yō ni eikyō suru ka [梶井直親: 物語内の prototypical male protagonist and core Amer- BGM と状況の変化はアニメーション理解過程 ican values. Music in the Western examines にどのように影響するか ]. In: The Japanese these conventions and the scores that have Journal of Cognitive Psychology 15,1, 2017, 1– shaped them. But the western also had a re- 12. sounding international impact, from Europe “How changes in background music and situ- to Asia, and this volume distinguishes itself ations influence the processes of animation by its careful consideration of music in non- comprehension.” Hollywood westerns, such as Ravenous and The Good, the Bad, and the Ugly and in the In japan. Schrift. – This study exam- Abstract: “easterns” which influenced them, such as Yo- ines the factors that influence the processes of jimbo. animation comprehension. To that aim, the study both applies the Event-Indexing Model, Other films discussed include Wagon Master, which is a model of textual comprehension, to High Noon, Calamity Jane, The Big Country, elucidating the factors that influence the com- The Unforgiven, Dead Man, Wild Bill, There prehension of animations and examines Will Be Blood and No Country for Old Men. whether those factors differ according the an- Contributors: Ross Care – Corey K. Creekmur imation genre by contrasting two genres. The – Yuna de Lannoy – K. J. Donnelly – Caryl factors investigated are the five situational di- Flinn – Claudia Gorbman – Kathryn Kalinak Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 99

– Charles Leinberger – Matthew McDonald – Kalinak: Kathryn / Neumeyer, David: Settling Peter Stanfield – Mariana Whitmer – Ben the Score. [Rev. Art. of: Strains of Utopia, by Winters. Caryl Flinn; and Settling the Score, by Kathryn Kalinak.] In: Journal of the American Musico- logical Society 47,2, 1994, S. 364–385. Kalinak, Kathryn [Marie]: Performance practices and music in early cinema outside Holly- wood. In: The Oxford Handbook of Film Music Kampe, Gordon: »Die Musik ist wie die Ka- Studies. Oxford/New York: Oxford University mera ...«: Beobachtungen zu filmischen Ver- Press 2014, S. 611–619. fahren in Adriana Hölszkys Oper Giuseppe e Sylvia (1998–2000). In: Seiltanz: Beiträge zur Musik der Gegenwart 17, Oktober 2018, S, 18– Kalinak, Kathryn [Marie] (ed.): Sound: Dia- 34. logue, Music, and Effects. New Brunswick, N.J.: Rutgers University Press 2015, 224 S. (Behind the Silver Screen.). Kaneko, Katsushi: Hikaku kōka-on kō: Jiburi eiga no hi-mai-ban no hikaku kara [兼古勝史: Sound has always been an integral compo- 比較効果音考: ジブリ映画の日・米版の比較か nent of the moviegoing experience. Even dur- ら]. In: Ongaku kyōiku media kenkyū [音楽教 ing the so-called “silent era,” motion pictures 育メディア研究] = Music Education Media 4, were regularly accompanied by live music, 2018, S. 27-35. lectures, and sound effects. Today, whether we listen to movies in booming Dolby the- “Comparative Study of Sound Effects: The aters or on tiny laptop speakers, sonic ele- Difference between Japanese and North Ame- ments hold our attention and guide our emo- rican Versions in GHIBLI’s Film.” tional responses. Yet few of us are fully aware In japan. Schrift. of the tremendous collaborative work, involving both artistry and technical wizardry, required to create that cinematic soundscape. Kassabian, Anahid: Ubiquitous Listening: Af- Sound, the latest book in the Behind the Sil- fect, Attention, and Distributed Listening. ver Screen series, introduces key concepts, Berkeley: University of California Press 2013, seminal moments, and pivotal figures in the xxx, 151 S. development of cinematic sound. Each of the book’s six chapters cover a different era in the From the conclusions of the book: This book history of Hollywood, from silent films to the may have seemed an idiosyncratic journey. digital age, and each is written by an expert in From music at home to experimental video that period. Together, the book’s contributors art to sensory films to TV musical episodes to are able to explore a remarkable range of past Armenian jazz to Putumayo albums, what and present film industry practices, from the holds these items together is far from obvi- hiring of elocution coaches to the marketing ous, when inventoried by object. But that is, of soundtrack records. as I hope has become clear along the way, my point. There are very few kinds of music that Inhalt: Introduction / Kathryn Kalinak – 1. The silent screen, 1894–1927 / James are not listened to as ubiquitous music, and in fact listened to frequently in that way. From Wierzbicki – 2. Classical Hollywood, 1928– 1946 / Kathryn Kalinak – 3. Postwar Holly- classical music in restaurants and cars to techno in clubs and on condo websites, very wood, 1947–1967 / Nathan Platte – 4. The auteur renaissance, 1968–1980 / Jeff Smith – 5. little music escapes this... The new Hollywood, 1981–1999 / Jay Beck with Vanessa Theme Ament – 6. The modern Kassabian, Anahid: Sound and the Moving entertainment marketplace, (2000–present) / Image: The Present and a Future? In: The Ash- Mark Kerins. gate Research Companion to Popular Musicol- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 100 ogy. Ed. by Derek B. Scott. Farnham/Burling- Arbeit für das Kino widmen. Basierend auf ton, CT: Ashgate 2009 [E-Book: 2016], S. 61– dem musikalischen Material bekannter ukrai- 76. nischer Komponisten wie B. Lyatoshynsky, I. Shamo und M. Skoryk werden die Besonder- heiten der ukrainischen Filmmusik berück- Kaul, Susanne / Palmier, Jean-Pierre Palmier / sichtigt. Skrandies, Timo (Hrsg.): Erzählen im Film. Unzuverlässigkeit – Audiovisualität – Musik. Bielefeld: transcript 2009 [E-Books: 2015], 276 Kellerbauer, Johanna: Kurt Schwaens Film- S. (Medien – Kultur – Analyse. 6.). musik zu „Der Fall Gleiwitz“. [Berlin:] Kurt- Schwaen-Archiv 2014, 56, XIX S. Inhalt: Lars Oberhaus: Jazz erzählt – Narrativ- ität zwischen Konstruktion und Improvisation Vollständige Fassung zugl.: Magisterarbeit, in Jazzfilmmusik der 1950er Jahre / 205. – An- Berlin: Technische Universität Berlin, 2010. – dreas Blödorn: Bild/Ton/Text. Narrative Ko- Zu Schwaens Film (DDR 1961). härenzbildung im Musikvideo, am Beispiel von Rosenstolz: Ich bin ich (Wir sind wir) / 223. – Oliver Krämer: Erzählstrategien im Vi- Kelley, Andrea J.: Soundies: Jukebox Films and deoclip am Beispiel des Songs Savin’ Me der the Shift to Small-Screen Culture. New Bruns- kanadischen Rockband Nickelback / 243. – wick, N.J.: Rutgers University Press 2018, 194 Laura Sulzbacher, Monika Socha: Forschungs- S. (Techniques of the Moving Image.). übersicht zum unzuverlässigen, audiovi- Rev. (Hans J. Wulff) in: Medienwissenschaft: suellen und musikalischen Erzählen im Film / Rezensionen, 1, 2019, S. 64–66. 255.

Keown, Daniel J.: A descriptive analysis of Kawaguchi, Miki: Ongaku ga eiga ni ataeru film music enthusiasts’ purchasing and con- kōka: Harī Pottā to Rōdo obuza Ringu to no sumption behaviors of soundtrack albums: An hikaku [実希: 音楽が映画に与える効果: ハリー exploratory study. In: Psychology of Music ポッターとロードオブザリングとの比較]. In: 44,3, May 2016, S. 428–442. Ningen bunka [ 人間文化 ] = Humanities and Sciences (H&S) 38, 2015, S. 95–105. Khanjani, Ramin S.: Musical Peace-Pact: „Die Wirkung von Musik auf Filme: Ein Ver- Sound and Music in Heinosuke Gosho’s gleich zwischen Harry Potter und Lord of the The Rings“. Neighbour’s Wife and Mine (1931). In: Off- screen 19,8, Aug 2015, [URL]. In japan. Schrift.

Kibby, Marj / Neuenfeldt, Karl: Sound, Cinema Kazarian, Alina Robertivna: Kinomuzyka and Aboriginality. In: Screen Scores: Studies in ukrayinskykh kompozytoriv u doslidzhen- Contemporary Australian Film Music. Ed. by nyakh vitchyznyanykh mystetstvoznavtsiv Rebecca Cole. Sydney: Australian Film Televi- [Казарян, Аліна Робертівна: Кіномузика sion and Radio School 1998, S. 66–77. українських композиторів у дослідженнях вітчизняних мистецтвознавців]. In: Visnyk NAKKKiM 2, 2014, S. 243–247; [URL]. Kirby, Philip: Sound and fury? Film score and the geopolitics of instrumental music. In: Po- „Die Filmmusik ukrainischer Komponisten in litical Geography 75, 2019, online. der Forschung einheimischer Kunstkritiker.“ Political geography has devoted substantial In kyrill. Schrift. – Abstract: Der Artikel ana- attention to visual popular culture. Where the lysiert die Werke einheimischer Kunstkritiker, aural has been considered, this has generally die sich ukrainischen Komponisten und ihrer been through the spoken-word (e.g. radio) or Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 101

lyrics (e.g. popular music). The geopolitics of und Theo Piegler (Hrsg.): Der Soundtrack un- instrumental music – music without words – serer Träume. Gießen: Psychosozialverlag is yet to be considered in depth. This article 2013, S. 211–223. provides an outline of how such media might be approached, building on affectual analyses of sound in human geography. In particular, it Kletschke, Irene: „Quintessentially German“? examines the example of instrumental film Der deutsche Musik- und Schlagerfilm nach score. It suggests that, rather than just provid- 1945. In: Kieler Beiträge zur Filmmusik- ing background to the visual component of forschung 10, 2013, S. 128–143. film, score provides a key mode through which geopolitical knowledges are communicated. Through case studies of musical con- Kletschke, Irene: Cult of Inexpressiveness – structions of identity/difference from three Strawinskys Verhältnis zur Filmmusik. In: geopolitical periods – World War Two, the Archiv für Musikwissenschaft 71,32, 2014, S. Cold War, and the War on Terror – this article 135–145. makes the case for adding instrumental musical literacy to political geography’s methodological toolkit. Kloppenburg, Josef: Musik im Film. In: Hand- buch Funktionale Musik. Psychologie – Technik – Anwendungsgebiete. Hrsg. v. Günther Rötter Kjazimova, L[ala] T[ofik]: «Kinematogra- & Jan Bauer. Wiesbaden: Springer Fachme- fičeskie intencii» v simfonizme K. Karaeva: ot dien 2016, S. 1–28. «Don Kichota» k «Goje» [Кязимова, Л. Т.: «Кинематографические интенции» в сим- Knight, Arthur: фонизме К. Караева: от «Дон Кихота» к Disintegrating the Musical: Black Performance and American Musical Film. «Гойе»]. In: Muzyka v mire iskusstv / Music in Durham, NC/London: Duke University Press the World of Arts [Rostov-na-Donu] 2014, S. 2002, xii, 338 S. 82–86; [URL]. Acknowledgments; Introduction: Dis- “«Cinematographic Intentions» in the Sym- Inhalt: integrating the Musical; 1: Wearing and Tear- phonism by Qara Qaraev: From «Don Qui- ing the Mask: Blacks on and in Blackface, jote» to «Goya».” Live; 2: “Fool Acts”: Cinematic Conjunctions In kyrill. Schrift. – Abstract: The most impor- of White Blackface and Black Performance; 3: tant features of artistic conceptions and musi- Indefinite Talk: Blacks in Blackface, Filmed; 4: cal dramaturgy in symphonic engravings Black Folk Sold: Hollywood‘s Black-Cast Mu- «Don Quijote» and the Fourth symphony sicals; 5: “Aping” “Hollywood: Deformation «Goya» by Q. Qaraev are elucidated in the ar- and Mastery in The Duke is Tops and Swing!; 6: ticle. The researcher characterizes program- Jammin’ the Blues: The Sight of Jazz, 1944; music specificity of this works which is de- Coda: Bamboozled? pended on its connection with the literary Rev. (Mahar, William J.) in: The Journal of origins by M. Cervantes and L. Feuchtwanger. 90,3, 2003, S. 1087–1088. – The ways of realization of soundtracks’ music American History Rev. (Regester, Charlene) in: Screen 45,4, 2004, material (from movies by G. Kozintsev and K. S. 452. Wolf) in «Don Quijote» and «Goya» are examined. The role of pictorialism and abstract plotness as basic types of program-music Kobayashi, Atsushi: Ifukube Akira kataru: Ifu- thinking in symphonic works by Q. Qaraev is kube Akira eiga ongaku kaikoroku [小林淳: 伊 marked. 福部昭語る: 伊福部昭映画音楽回顧録]. Tōkyō: Wise Publishing 2014, 399 S. Kletschke, Irene: Gemalte Träume – Walt Dis- neys Fantasia (USA 1940). In: Konrad Heiland Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 102

[„Akira Ifukube spricht: Akira Ifukube-Film- Godzilla-Filmmusik mit dem Duft der 1970er musik-Retrospektive“.] Jahre – 5. Die Morgendämmerung von God- In japan. Schrift. – Interviews mit Ifukube zilla-Filmmusik in der neuen Ära – 6. Heisei- Akira (1914–2006), dem Komponisten der Godzilla: Die Dämmerung der Godzilla-Film- Godzilla-Filmmusiken. musik – 7. Godzilla-Filmmusik: Aspekte der 2000er Jahre – 8. Der Klang, der Godzilla in Inhalt: Vorwort: Ifukubes Filmmusikstil; 1. „Shin Godzilla“ [2016] weckt. 1940er Jahre (1947–1949); 2. 1950er Jahre (1950–1959); 3. 1960er Jahre (1960–1969); 4. 1970er Jahre (1970–1978); 5. 1990er Jahre Kohara, Shinichi: Geki ongaku no kyōzai ken- (1991–1995). kyū ni tsuite: Eiga-ban no tokuchō ni chakumoku shite [小原伸一: 劇音楽の教材研究につ Kobayashi, Atsushi: Ifukube Akira to sengo ni- いて: 映画版の特徴に着目して]. In: Bulletin of hon eiga [小林淳: 伊福部昭と戦後日本映画]. the Faculty of Education, Utsunomiya Universi- Tōkyō: ab Books [alpha-beta Books] 2014, ty, Section 1, 64, 2014, S. 119–139. 396, 10 S. (Sōsho 20 seiki no geijutsu to “About the Study of Teaching Materials for bungaku.). Drama Music: From the Viewpoint of the Fea- ture Film Version.” [„Ifukube Akira (1914–2006) und der japanische Nachkriegsfilm“.] In japan. Schrift. In japan. Schrift. – Japan. Filmgeschichte der Nachkriegszeit aus der Perspektive des be- Köhle, Katharina: Musik ist Stenographie der kannten Filmkomponisten Akira Ifukube Gefühle: Ein Versuch der Untersuchung der (1914–2006). durch Musik und musikalischer Untermalung Inhalt: 1. Akira Ifukube und die Filmmusik – hervorgerufenen bzw. gestützten emotionalen 2. Toho und Ifukubes Filmmusik – 3. Daiei Kommunikation in Filmen. Magisterarb. Wien: und Ifukubes Filmmusik – 4. Toei Film und Universität Wien, Fakultät für Sozialwissen- Ifukubes Filmmusik – 5. Nikkatsu und Ifuku- schaften 2019, 174 S.; [URL]. bes Filmmusik – 6. Shochiku Movie und Ifu- kubes Filmmusik – 7. Unabhängige Filmpro- Abstract: Das Ziel dieser Arbeit ist es, aus duktion und und Ifukubes Filmmusik – 8. Do- kommunikationswissenschaftlicher Sicht, die kumentar- / Kulturfilme und und Ifukubes Beziehung und Funktion von Filmmusik in- Filmmusik. nerhalb des medialen Systems Film zu untersuchen. Die zentrale Fragestellung befasste sich mit dem kommunikativen Charakter von Kobayashi, Atsushi: Gojira eiga ongaku hisu- Filmmusik, außerdem wurde besonderes Au- toria: 1954–2016 [小林淳: ゴジラ映画音楽ヒス genmerk auf den Aspekt der narrativ-emotio- トリア: 1954–2016]. Tōkyō: αβ Books [alpha- nalisierenden Funktion von Musik im filmis- beta Books] 2016, 294 S. chen Kontext gelegt. Um diese Thematik in- duktiv-qualitativ zu untersuchen, wurden, vor [„Geschichte der Musik im Godzilla-Film“.] dem Hintergrund einer ausführlichen Theori- In japan. Schrift. – Die Geschichte von 11 erecherche in den Bereichen der Musik- und Komponisten, die gegen Godzilla kämpfen. Filmwissenschaft, der Emotionspsychologie Eine Godzilla-Filmgeschichte mit dem und Kommunikationswissenschaft, Praktiker- Schwerpunkt Musik bis zu „Shin Godzilla“ Interviews mit vier Film-schaffenden der [2016]. Mit Berücksichtigung der Film- österreichischen Filmbranche geführt. Ausge- musiktheorie. hend von den Erkenntnissen aus diesen Inter- Inhalt: 1. Die Geburt der Godzilla-Filmmusik views wurden zwölf Sequenzen aus insgesamt – 2. Akira Ifukube: Das Erglühen der God- vier Filmen des Regisseurs Jim Jarmusch qual- zilla-Filmmusik – 3. Godzilla-Filmmusik in itativ-inhaltsanalytisch auf die musikalischen den Händen der beiden großen Meister – 4. Funktionen hin untersucht. Die Ergebnisse Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 103

zeigen eine narrativ-kommunikative Rolle Koldau, Linda Maria: Frauen – Militär – Mu- von Filmmusik innerhalb des Filmsystems, sik. Darstellung und Interpretationen im sowie eine starke Tendenz der emotional- Spielfilm. In: Paradestück Militärmusik. Beiträ- isierenden Funktion. ge zum Wandel staatlicher Repräsentation durch Musik. Hrsg. v. Peter Moormann, Al- brecht Riethmueller u. Rebecca Wolf. Biele- Koldau, Linda Maria: Filmmusik als Bedeu- feld: transcript 2012, S. 151–164. tungsträger. Die musikalische Schicht von K19 – The Widowmaker. In: Kieler Beiträge zur Filmmusikforschung, 2, 2008, S. 89–134. Koldau, Linda Maria: The Soundtrack Album as Text and Medium to Re-Experience a Movie. [S.l.: Selbstvlg. (Amazon)], 2014, 23 S. Koldau, Linda Maria: U-Boot à la Hollywood. Atom-U-Boote im Spielfilm. In: Schiff & Zeit [Text first presented as a key note lecture on a 67, 2008, S. 32–39. large-scale film conference in Seoul, South Korea, in 2010.] Erw. Fassung von: Von U-Booten, U-Boot-Fil- A movie soundtrack album makes it possible men und ihrer Musik. In: MarineForum 82, 2007, S. 48–51. to “take the movie home”: By listening to the music over and over again, you re-experience key scenes from the movie – and the emo- Koldau, Linda Maria: Die Arbeit mit kompositions you felt the first time you saw these torischen Topoi – ? Eine Diskussion. In: Kieler scenes. How does this process work? How Beiträge zur Filmmusikforschung, 3, 2009, S. does music evoke film scenes and emotions, 22–33. and how does it interact with film sound and speech on soundtrack albums? Fortgef.: Kompositorische Topoi als Kategorie in der Analyse von Filmmusik. In: Archiv für Musikwissenschaft 65,4, 2008, S. 247–271. Kollinger, Franziska: Von der Bühne zum Film: Georges Aurics Musik der 1930er Jahre. Stutt- Koldau, Linda Maria: Musik zum Krieg: gart: Steiner 2019, 185 S. (Beihefte zum Archiv Klangliche Mittel zur emotionalen Steigerung für Musikwissenschaft. 82.). in U-Boot-Filmen. In: Historische Mitteilungen der Ranke-Gesellschaft 22, 2009, S. 170–187. Der Name des französischen Komponisten Georges Auric ist zwar geläufig, sein Werk I.W. über den Film Das Boot (1981) von Wolf- und Wirken jenseits einer Verortung inner- gang Petersen (geb. 1941) mit der Musik von halb der Pariser Künstler-Avantgarde der Klaus Doldinger. 1920er Jahre jedoch kaum erschlossen. Franziska Kollinger untersucht erstmals sys- Koldau, Linda Maria: Musik zum Krieg: Klan- tematisch Aurics Bühnen- und Filmmusiken der 1930er Jahre und entschlüsselt das dichte gliche Mittel zur emotionalen Steigerung in Geflecht aus strukturellen, ästhetischen und U-Boot-Filmen. In: . Militär, Musik und Krieg medialen Einflussfaktoren, welche die erneute Kolloquium anlässlich des 70. Geburtstags Wende in der Debatte um die ästhetischen von Michael Salewski. Hrsg. v. Linda Maria und kulturellen Werte der Musik im Frankre- Koldau. Stuttgart: Steiner 2010, S. 170–187 ich der 1930er Jahre prägten. Auric figuriert (Historische Mitteilungen. 22, 2009.). hierbei als Seismograph für die disparaten Entwicklungen seiner Zeit, indem er die ver- Koldau, Linda Maria: Sound Effects as Genre- schiedenen Diskurse zum einen als Beobach- Defining Factor in Submarine Films. In: Me- ter registrierte und dokumentierte und zum anderen grundlegende Strukturveränderun- dieKultur 48, 2010, S. 18–30. gen für seine Kompositionspraxis und die Vermittlung seiner Werke nutzte. Diese bilden Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 104

damit zugleich eine Topographie der Pariser screen co-writer, Philip Kaufman made in Kulturlandschaft der 1930er Jahre, die den adapting the novel dramatically alter the un- Horizont der oftmals verkürzten Darstellung derlying social/political implications in the des Jahrzehnts in der Musikgeschichte erweit- story. The analysis examines how this trans- ert. Aurics Werke erscheinen auf diese Weise formation from the original story is commu- aber nicht nur im Spiegel ihrer Zeit: Es treten nicated through cultural codes embodied in auch die Grenzen und Möglichkeiten ihrer preexisting music layered in the soundtrack besonderen Medialität hervor. along with Takemitsu’s originally composed textures, by artists including Cole Porter, Duke Ellington, Latino rappers Cypress Hill, Kompanek, Sonny: From Score to Screen: Se- and the seventies New Wave band, the B-52s. quencers, Scores, & Second Thoughts – The New Film Scoring Process. New York: Schirmer 2004, xviii, 174 S. Kregor, Jonathan: Understanding the Leitmo- tif: From Wagner to Hollywood Film Music. Scoring for film has changed dramatically In: Notes: Quarterly Journal of the Music Library over the past twenty years. With the advent Association 73,3, 2017, S. 547–550. of MIDI, sequencers and low-cost recording gear, just about any composer anywhere can score a film. Krehl, Sebastian: Musik als Genrekritik in Jean-Luc Godards Prénom Carmen. In: Rabbit Eye: Zeitschrift für Filmforschung, 6, 2014, S. Koozin, Timothy: Parody and ironic juxtapo- 172–184; [URL]. sition in Toru Takemitsu’s music for the film, Rising Sun (1993). In: TheJ ournal of Film Mu- sic 3,1, 2010, S. 65–78. Kubaczek, Marianne / Pircher, Wolfgang: Fad- ing: über das Verschwinden der Musik im Toru Takemitsu created music for more than Tonfilm. In: 1929. Beiträge zur Archäologie der a hundred films, but only one was for a major Medien. Hrsg. v. Stefan Andriopoulos & Bern- Hollywood studio, Rising Sun (1993) with hard J. Dotzler. Frankfurt: Suhrkamp 2002, S. Sean Connery and Wesley Snipes. In his music for Rising Sun, Toru Takemitsu contrasts 350–369 (Suhrkamp-Taschenbuch Wissen- and juxtaposes exotic, popular, and modernist schaft. 1579.). musical elements to depict the cinematic Der Tonfilmpionier Oskar Messter stellt im drama in ways that are analogous to proce- Jahr 1903 ein System vor, das eine annähern- dures that have been noted in dramatic music de Synchronisation von Filmvorführapparat by Debussy, Stravinsky, and Messiaen, com- und Schallquelle ermöglicht. Dieses Verfahren posers Takemitsu is known to have admired. wird in der Folge zur Herstellung von Ki- At the same time, Takemitsu references tradi- noclips verwendet, in denen bekannte Musik- tional Japanese music, American jazz, and stücke nachträglich „verfilmt“ werden. Das musical genres of the crime drama and film Interesse Arnold Schönbergs für den Tonfilm noir to construct a musical narrative of evoca- schließt das Bewusstsein ein, dass es sich bei tive color, irony, and dark humor. Rising Sun diesem Medium um ein „selbständiges Instru- is based on a Michael Crichton novel that was ment zu neuartigem künstlerischem Aus- criticized as a reactionary statement against druck“ (Schönberg) handle. An der Zusam- Japanese economic aggression. This study menarbeit von Sergej Eisenstein und Sergej shows how Takemitsu’s compelling music Prokof’ev (Aleksandr Newskij, 1938) sowie an ironically projects the themes of economic Hanns Eislers Nachvertonung von Joris Ivens’ warfare and cultural division in the film while Stummfilm Regen (1941) werden unterschied- also providing resistance through a subtle liche Zugänge zur Filmmusik diskutiert. Die projection of his own humanistic worldview. ästhetischen Erwartungen der genannten The considerable changes that director and Künstler werden dadurch negiert, dass im Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 105

Zuge der tontechnischen Verbesserungen die Kulezic-Wilson, Danijela: The Music of Film Filmmusik tendenziell zur Begleitmusik her- Silence. In: Music and the Moving Image 2,3, abgestuft wird. Der Tonfilm wandelt nicht nur 2009, S. 1–10. den Stummfilm per se in ein Kunstprodukt um, er macht auch den Film zum Gesamt- kunstwerk, in dem Bild und Ton in gleicher Kulezic-Wilson, Danijela: Soundscapes of Weise formbestimmend sind. (Wendelin Bitz- Trauma and the Silence of Revenge in Peter an) Strickland’s Katalin Varga. In: The New Sound- track 1,1, 2011, S. 57–71. Kuhn, Bernhard: Film Melodrama and Opera: La Tosca in Italian Cinema. In: The Italianist 37,2, 2017, S. 135–148. Kulezic-Wilson, Danijela: Gus Van Sant’s Soundwalks and Audio-visual Musique Con- crète. In: Wierzbicki, James Eugene (ed.): Mu- Kulezic-Wilson, Danijela: The Audio-visual sic, Sound, and Filmmakers: Sonic Style in Cin- Structure of Film and the Influence of the Po- ema. New York: Routledge 2012, S. 76–88. etics of Myth on its Maturing. In: New Sound, 9, 1997, S. 59–64. Kulezic-Wilson, Danijela: Tango for a Dream: Narrative Liminality and Musical Sensuality Kulezic-Wilson, Danijela: The Musicality of in Richard Linklater’s Waking Life. In: Al- Film Rhythm. In: National Cinema and Be- phaville: Journal of Film and Screen Media, 8, yond. Ed. by John Hill & Kevin Rockett. Winter 2014, online. Dublin: Four Courts Press 2004, S. 115–124.

Kulezic-Wilson, Danijela: The Musicality of Kulezic-Wilson, Danijela: Musical and Mythi- Narrative Film. Basingstoke/New York: Pal- cal Patterns in Paul Thomas Anderson’s Mag- grave Macmillan [2015], x, 218 S. (Palgrave nolia. In: Film History and National Cinema. Studies in Audio-Visual Culture.). Ed. by John Hill & Kevin Rockett Dublin: Four Courts Press 2005, S. 57–68. The musicality of narrative film is the first book to examine in depth the film/music anal- ogy. Using comparative analysis, Kulezic-Wil- Kulezic-Wilson, Danijela: The Musicality of son explores film’s musical potential, arguing Film and Jim Jarmusch’s Dead Man. In: Film that film’s musicality can be achieved through and Film Culture 4, 2007, S. 8–20. various cinematic devices, with or without music. Kulezic-Wilson, Danijela: Musical and Film Inhalt: 1. Introduction. 2. Music as Model and Time. In: Journal of Musicology, 8, 2008, S. Metaphor. 3. The Musicality of Film Rhythm. 253–271. 4. The Rhythm of Rhythms. 5. Musical and Film Kinesis. 6. The Symbolic Nature of Musi- Kulezic-Wilson, Danijela: A Musical Ap- cal and Film Time. 7. Jim Jarmusch’s Dead proach to Filmmaking: Hip Hop and Techno Man and the Rhythm of Musical Form. 8. Hip Composing Techniques and Models of Struc- Hop and Techno Composing Techniques and turing in Darren Aronofsky’s Pi. In: Music Models of Structuring in Darren Aronofsky’s and the Moving Image 1,1, 2008, S. 19–34. Pi. 9. Audio-Visual Musicality and Reflexivity in Joe Wright’s Anna Karenina. Conclusion. Kulezic-Wilson, Danijela: Sound Design is the New Score. In: Music, Sound and the Moving Kulezic-Wilson, Danijela: Musically Con- Image 2,2, 2008, S. 127–131. ceived Sound Design, Musicalization of Speech and the Breakdown of Film Sound- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 106 track Hierarchy. In: Kulezic-Wilson, Danijela Despite Mervyn Cooke’s assertion that the & Liz Greene (eds): The Palgrave Handbook of use of Bach’s music in film is, among classical Sound Design and Music in Screen Media: Inte- composers, “perhaps the most susceptible to grated Soundtracks. London: Palgrave Macmil- contrasting interpretations,” “I argue in this lan 2016, S. 429–444. article that in the case of recent television commercials, Bach has more or less taken on Kulezic-Wilson explores the growing trend of a single function: reassurance. It is no coinci- disrupting the traditional hierarchical rela- dence that most companies that use Bach in tionships between speech and music in film their commercials offer financial or insurance soundtracks manifested in the musical use of services (including American Express, the spoken word. By using examples from MetLife, and Allstate), thus requiring a mes- several recent films with strong musical un- sage of trust. But even commercials for non- derpinnings – Drake Doremus’ Breathe In finance products, like Wix.com, Healthy (2013), Harmony Korine’s Spring Breakers Choice Café Steamers, and Papa Murphy’s (2012) and Shane Carruth’s Upstream Color Pizza, have used Bach as the sound of reassur- (2013) –, Kulezic-Wilson identifies the main ance. Furthermore, it is a particular subset of strategies involved in the musicalization of works that continually reappears in such con- film speech and argues that undermining the texts, particularly the Prelude from the Vio- narrative sovereignty of the spoken word and loncello Suite No. 1 in G Major BWV 1007 endorsing the interchangeability of speech and the Prelude in C Major from the Well- and music promote modes of perception Tempered Clavier Book I. Drawing on Bach which can change our expectations of narra- scholarship, screen music scholarship, my tive film and emphasize its musical and sen- own empirical studies on the reception of suous qualities. classical music in television commercials, and interviews with advertising creative directors, I demonstrate how and why Bach’s music has Kulezic-Wilson, Danijela: Sound Design and in commercials come to represent the sound Its Interactions with Music: Changing Histori- of “good hands” “(to invoke Allstate Insur- cal Perspectives. In: Mera Miguel, Ron Sadoff ance’s motto). In the process, I reveal that & Ben Winters (eds): The Routledge Compan- what might seem on the surface to be an ob- ion to Screen Music and Sound. New York: vious association is actually the result of ne- Routledge 2017, S. 127–138. gotiations among aesthetic, semiotic, and so- cio-demographic factors, and especially the evolution of television advertising in recent Kulezic-Wilson, Danijela: Sound Design is the decades. (Vorlage) New Score: Theory, Aesthetics, and Erotics of the Integrated Soundtrack. New York/Oxford: Oxford University Press 2020, viii, 170 S. Kurata, Marie: Ruguran no geijutsu sōsaku ni Enthält: Introduction – “The most beautiful okeru oto to eizō: Ongaku to heiwa no in'yu area”: soundtrack’s liminal spaces – Scoring to shite no ‘tori’ [倉田麻里絵: ルグランの芸術 with sound, the aesthetics of reticence, and 創作における音と映像: 音楽と平和の隠喩とし films and Peter Strickland – Musicalized ての「鳥」]. In: Gei-jutsu kenkyū [藝術研究] sound design and the erotics of cinema; The 31, 2018, S. 19–33. musicalization of speech and the breakdown “Sound and Image in Michel Legrand’s Art of the film soundtrack hierarchy – Conclud- Works: “Birds” as a Metaphor of Music and ing thoughts. Peace.” In japan. Schrift. – Abstract: The most re- Kupfer, Peter: “Good hands”: The music of J. S. markable point of the feature film, Cinq jours Bach in television commercials. In: Bach 50,2, en juin (1989), directed by Michel Legrand 2019, S. 275–302. (1932–), is that only two of the music originally composed by Legrand in the film. What Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 107

is more, the ambient sounds of birdsong in In japan. Schrift. – Am Beispiel des Spielfilms the film is distinctively choreographed. In Dave (USA 1993, Ivan Reitman) werden Kom- different works of Legrand (film music, pic- positionstechniken des US-amerikanischen ture book, novel), the use of “birds” as musical Filmkomponisten und Produzenten James elements can be easily found. This paper Newton Howard (*1951) im Zusammenhang seeks to show the significance of the bird in mit Hintergrundmusik von der Seite der Har- his works through an analysis of metaphor as monie untersucht. a mode of expression and of the experiences of Legrand himself. The Legrand’s use of “birds” as musical elements reveals not only Kutscher, Jan: Paul Lincke: Sein Leben in Bil- his intention to connect birds and music but dern und Dokumenten. [Mitarb.: Sabine West- also his antipathy to war. Thus, if it represents phal u. Heinrich Dreyhaupt; m. e. Vorwort v. Legrand’s belief that “the music (musical ele- Albrecht Dümling.] Mainz: Schott 2016, 327 S. ments) in the film must surpass the political Darin: Vorkriegsjahre: Filmmusik (S. 116– unreasonableness,” the expression of “birds” is 118). not simply a symbol of peace in general but is also a mirror to reflect Legrand’s aspiration for peace. Kuwabara, Yoshihiro: Eizō to oto no dōki Kurihara, Utako: Monogataranai animēshon: ―‘dōga senkō no gensoku’ no konkyo to ōyō Nōman Makuraren no fushigina sekai [栗原詩 [桑原圭裕: 映像と音の同期―「動画先行の原子著: 物語らないアニメーション: ノーマン・則」の根拠と応用]. In: Eizogaku 102, 2019, S. マクラレンの不思議な世界 ]. Yokohama: 54-74. Shumpusha 2016, 157 S. “Synchronization of Screen Images and [„Non-Story-Animation: Norman McLarens Sound: The Basis and Application of the Prin- geheimnisvolle Welt.“] ciple of the “Picture Leading Sound”.” In japan. Schrift. – Über die Rolle des Musik In japan. Schrift. – Abstract: The principle of bei Norman McLaren (1914–1987), einem Pio- the “picture leading sound” is widely applied nier des experimentellen Animations- in animation production with regard to the (kurz-)films. synchronization of screen images and audio Inhalt: Neighbours [1952] – die einzige Story- inputs, it is believed that the final product is Animation – Zwei Techniken, die unter dem superior when the picture leads the sound by Namen McLaren erfunden wurden – Kanadi- two frames. For example, Disney’s short ani- sches Volksliedprojekt – Humor ohne Ge- mation movie series The Silly Symphony was schichte – Eine rein geometrisch geschaffene produced for 10 years from 1929, and initially, Welt – Vertiefung des musikalischen Wissens the rule of maintaining the unity of moving – Anstatt zu schließen – Nachwort – Liste der pictures and music was followed. However, Werke McLarens – Transkriptionsbeispiele: computer analyses confirm that with time, Neighbours [1952], Canon [1964], Synchromy pictures began leading the sounds. While the [1971]. – Verweise. principle of the “picture leading sound” is simply a rule of thumb for filmmakers, and the scientific rationale for this practical stan- Kuriyama, Kazuki: Eiga ongaku ni okeru Jē- dard has not yet been sufficiently investi- muzu Nyūton Hawādo no sakkyoku gihō [栗 gated. It is said that human beings perceive 山和樹: 映画音楽におけるジェームズ・ニュー “deviations” with screen images when their トン・ハワードの作曲技法]. / An Analysis of corresponding sounds are three frames or 0.1 James Newton Howard’s Film Scoring Techni- second or more apart regardless of whether que. In: Kunitachi ongaku daigaku kenkyū they are viewing a live- action or an anima- kiyō [国立音楽大学研究紀要]. / Kunitachi Col- tion film. Therefore, it is necessary to refer to theories of perceptual psychology to ade- lege of Music Journal 50, 2015, 69–78. quately understand the principle of the “pic- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 108

ture leading sound” to develop a hypothesis about film production norms concerning stimuli reaching the human brain. This paper aims to present a theoretical explanation for the adoption of the above manner of frame processing in filmmaking. It further intends to analyze specific examples from cinema to – L – reveal that the method of image preceding sound brings about artistic dynamism in all Lacombe, Alain: motion pictures and not in animated films Hollywood Rhapsody: L’âge alone. d’or de la musique de film à Hollywood. Paris: Jobert 1983, 292 S. (Transatlantiques.). This is an “appreciation” of film music geared Kuykendall, James Brooks: William Walton’s toward the general public. Although it stems film scores: New evidence in the autograph from France, its focus – as suggested by the manuscripts. In: Notes: Quarterly Journal of title – is the music of mainstream Hollywood the Music Library Association 68,1, 2011/12, S. films. 9–32.

Über den Filmkomponisten William Walton. Laderman, David: Slip-Sync. Punk Rock Nar- rative Film and Postmodern Musical Perfor- Kyriakides, Yannis: Imagined Voices: A Poetics mance. In: Beck, Jay / Grajeda, Tony (eds): of Music-Text-Film. Diss. Leiden, Leiden Uni- Lowering the Boom: Critical Studies in Film versity 2017, 283 S. Sound. Urbana, Ill/Chicago: University of Illi- nois Press 2008, S. 269–288 (=ch. 16). Imagined Voices deals with a form of composition, music with on-screen text, in which the dynamic between sound, words and visu- Ladic, Branko: Music by Frantisek Skvor for als is explored. The research explores the the Karol Plicka’s Film The Earth Sings – the ideas around these ‘music-text-films’, and at- Beginning of Slovak National Music? In: Mu- tempts to explain how meaning is constructed sicologica Brunensia 52,1, 2017, S. 79–87. in the interplay between the different layers of media. Issues that initially arose out of the research, were directly related to the question LaFave, Kenneth: Experiencing Film Music: A of ‘voice’: Who is narrating? And where is the Listener’s Companion. Lanham/Boulder/New voice located? These questions became more York/London: Rowman & Littlefield 2017, xxii, pertinent after noticing a phenomenon occur- 191 S. (The Listener’s Companion.). ring during performances of these works: that Rev. (Poulakis, Nick) in: Music & Letters 100,1, when we read text synchronised to music, we 2019, S.163–165. become very aware of an inner voice silently Inhalt: Timeline – Introduction – The not-so- reading along. This effect of hearing one’s silent era – Max Steiner and the first genera- own voice in the music, was a discovery that tion – Spotlight: spotting and the click track – had many consequences for the ways in Mysteries, thrillers, and film noir – Spotlight: which the ideas about listening and the role orchestrators – The epic, the exotic, and war of multimedia could function within music. – Cowboys and superheroes – Drama – Spot- light: jazz in film music – Theme songs, comedies, and romantic comedies – Spotlight: animation – Science fiction and fantasy – Ambi- ent music, no music, and ready-mades – Trends, forecasts, and innovations. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 109

Laing, Heather: The Gendered Score: Music in Larsen, Peter [Leonard]: Filmmusikk: Historie, 1940s Melodrama and the Woman’s Film. analyse, teori. Oslo: Universitetsforlag 2013, Aldershot/Burlington, VT: Ashgate 2007, xiv, 280 S. 196 S. (Ashgate Popular and Folk Music.). Heather Laing examines, for the first time, the Lasuén, Sergio: La armonía en las bandas so- issues of gender and emotion that underpin noras del cine español de los noventa. Prólogo the classical style of film scoring, but that de Pascal Gaigne. Alicante: Investigación y have until now remained unquestioned and Publicación 2018, 228 S. untheorized, thus providing a benchmark for thinking on more recent and alternative styles Utilizando una propuesta metodológica origi- of scoring. Many theorists have discussed this nal, personal e inductiva, Sergio Lasuén siste- type of music in film as a signifier of emotion matiza distintos tipos de herramientas armó- and ‘the feminine’, a capacity in which it is nicas que aparecen asociadas de forma recu- frequently associated with female characters. rrente a secuencias cinematográficas con unas The full effect of such an association on either expectativas expresivas similares. Partiendo female or male characterization, however, has de un enfoque aplicable a distintos tipos de not been examined. This book considers the obras interdisciplinares que surgen como re- effects of this association by progress through sultado de lo que denomina proceso creativo three stages: cultural-historical precedents, global y tras una primera parte en la que nos the generic parameters of melodrama and the explica y deja traslucir el alcance de su pro- woman’s film, and the narrativization of mu- puesta, la pone en práctica sirviéndose de una sic in film through diegetic performance and amplia muestra del cine español de los noven- the presence of musicians as characters. Case ta, formada por 26 largometrajes, dirigidos studies of specific films provide textual and por 21 realizadores distintos y con música de musical analyses, and the genres of melo- 12 compositores diferentes. Para contrastar drama and the woman’s film have been cho- sus resultados, hace referencia a más de 200 sen as representative not only of the epitome secuencias en las que el lector puede profun- of the Hollywood scoring style, but also of the dizar discrecionalmente. Este libro es una narrative association of women, emotion and obra indispensable para cualquier alumno de music. Laing leads to the conclusion that mu- composición atraído por los proyectos inter- sic functions as more than merely a signifier disciplinares, así como para cualquier persona of emotion. Rather, it takes a crucial role in interesada en el análisis musical. Es también both indicating and determining how emotion útil para intérpretes, ya que probablemente is actually understood as part of the construc- participarán en alguna obra interdisciplinar a tion of gender and its representation in film. lo largo de su carrera profesional. Por otro la- do y a pesar de que se utiliza terminología es- pecífica, tanto aficionados a las bandas sono- Laird, Paul R. / Lin, Hsun (eds.): Historical Dic- ras sin formación musical como profesionales tionary of Leonard Bernstein. Lanham/Boul- del mundo del cine han manifestado su inte- der/New York/London: Rowman & Littlefield rés por los resultados aquí obtenidos. – Mit 2019, xxix, 333 S. (Historical Dictionaries of Notenbeispielen. – Inhaltsverzeichnis: [URL]. Literature and the Arts.). Lau, Matthew: Sounds Like Helicopters: Classi- Lamberts-Piel, Christa: Filmmusik und ihre cal Music in Modernist Cinema. Albany: State Bedeutung für die Musikpädagogik. 3., unv. University of New York Press 2019, xiii, 169 S. Aufl. Augsburg: Wißner-Verlag 2018, 206 S. (SUNY Series Horizons of Cinema.). (Forum Musikpädagogik. 69. / Wißner Musik- Enthält: Introduction: a fundamental conti- buch.). nuity – What happens to an apocalypse de- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 110

ferred: Coppola, Herzog, and Schwarzeneg- bilised, a close reading of the film reveals that ger as readers of Wagner’s Ring – The im- the performance situates Orbison within a perfect Wagnerite: Luis Buñuel and roman- different masculinist discourse: the 19th-cen- tic surrealism – “A film should be like mu- tury Romantic discourse of masculine genius sic”: Stanley Kubrick and the condition of that continues to inflect 21st century notions music – Too soon, too late, and still to about artists and art music. Thus, in Black and come: Jean-Luc Godard and the ruins of White Night, normative and non-normative classical music – Before a winter’s journey: masculinities are thoroughly imbricated, each Michael Handke’s critique of film music in simultaneously destabilising and reaffirming the other. (Vorlage) TheP iano Teacher – Conclusion: Modernist cinema’s family tree. Lawson, Matt / MacDonald, Laurence E.: 100 Greatest Film Scores. Lanham/Boulder/New Laubholt, Lars: Ein ‚bombastischer Abgesang‘. York/London: Rowman & Littlefield 2018, xii, Musik und nationalsozialistische Ideologie im 323 S. Tobis-Film Philharmoniker (D 1944). In: Die Musikforschung 68,4, 2015, 386–416. Inhalt: The Adventures of Robin Hood – Alexander Nevsky – Around the World in 80 Days – Avalon – Back to the Future – Batman Laudadio, Nicholas Christian: Singing Ma- – A Beautiful Mind – Becket – Ben-Hur – The chines: Musical Intelligences and Human In- Best Years of our Lives – The Big Country – struments in Science Fiction and Film. Ph.D. Blade Runner – Born Free – Braveheart – Thesis, Buffalo, NY: State University of New Breakfast at Tiffany’s – The Bride of Franken- York 2005, vi, 186 S. stein – The Bridge on the River Kwai – Casablanca – Chariots of Fire – Chinatown – Laver, Mark: Gender, genius and rock and roll Cinema Paradiso – Citizen Kane – City Lights – Close Encounters of the Third Kind – Co- in Roy Orbison and Friends: A Black and White nan the Barbarian – Dances with Wolves – . In: 30,3, Night Popular Music: A Yearbook The Day the Earth Stood Still – Doctor 2011, S. 433–453. Zhivago – East of Eden – Edward Scis- To a considerable extent, the mythology of sorhands – Empire of the Sun – E.T. – The Ex- rock and roll rebellion is predicated upon a tra-Terrestrial – Fargo – Forrest Gump – The similarly mythologised male sexual potency Ghost and Mrs. Muir – Giant – Gladiator – that Simon Frith and Angela McRobbie have The Godfather I and II (1972-74) – Gone With characterised as “aggressive, dominating, and the Wind – The Great Escape – The Green boastful, ... [constantly seeking] to remind the Mile – Henry V – High Noon – How the West audience of [its] prowess, [its] control” (Frith Was Won – Interstellar – Jaws – Jurassic Park and McRobbie 1990, p. 319). In this article, I – King Kong – King of Kings – Kings Row – look to Roy Orbison – a musician who was a The Last of the Mohicans – Laura – Lawrence key figure in the genesis of rock and roll, but of Arabia – The Lion in Winter – The Lord of who nevertheless subverts this phallocentric the Rings: The Fellowship of the Ring – Lost meta-narrative. Focusing on the 1987 concert Horizon – The Magnificent Seven – The Man film,Roy Orbison and Friends: A Black and With the Golden Arm – The Mission – The White Night, I argue that Orbison’s staid per- Natural – North by Northwest – Now, Voy- formance style, unusual voice and unconven- ager – The Omen – On Golden Pond – On the tional songwriting as evidenced (and ampli- Waterfront – Once Upon a Time in the West fied) by that film trouble the purportedly – Out of Africa – The Piano – The Pink Pan- monolithic rock and roll masculinity, and the ther – Pirates of the Caribbean: The Curse of concomitant mythology of rebellion. At the the Black Pearl – Planet of the Apes – The same time, however, I propose that even as Prisoner of Zenda – Psycho – Quo vadis – normative masculinity appears to be desta- Raiders of the Lost Ark – The Red Pony – The Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 111

Red Violin – The Robe – Schindler’s List – Cultures, and Contexts, xi, 463 S. (Routledge Scott of the Antarctic – The Sea Hawk – The Music Bibliographies.). 7th Voyage of Sinbad – The Shawshank Re- demption – Somewhere in Time – The Song Inhalt: Bd. 1. Histories, Theories, and Gen- of Bernadette – Spartacus – Spellbound – The res: – I. Film Music Research: Overviews and Spirit of St. Louis – Star Trek, the Motion Pic- Resources / 1: – State of the Field of Film Mu- ture – Star Wars – A Streetcar Named Desire sic Research / 1 – Bibliographies, Discogra- – Sunset Blvd. – Superman – The Third Man – phies, and Other Reference Sources / 5 – Film Titanic – To Kill a Mockingbird – Tom Jones Music Journals and Other Specialized Sources – Unbreakable – Up – Vertigo – Appendix A. / 16 – Special Issues of Journals from Other The Next 100 Film Scores – Appendix B. Pro- Disciplines / 18 – Websites / 19 – Anthologies files of Composers. of Primary Source Documents / 19 – Archives of Primary Source Materials / 20 – Studies of Archives and Repositories / 34 – II. Histories Lee, Hyunseon: Metamorphosen der Madame and Other Surveys / 38: – Broad Historical Butterfly. Interkulturelle Liebschaften zwischen Overviews / 38 – Historical Surveys: 1900– Literatur, Oper und Film. Heidelberg: Winter 1932 / 45 – Historical Surveys: 1933–1949 / 52 2020, 445 S. (Reihe Siegen. Beiträge zur Liter- – Historical Surveys: 1950–1979 / 57 – Histor- atur-, Sprach- und Medienwissenschaft. 181.). ical Surveys: 1980–2000 / 59 – Historical Sur- veys: 2000—Present / 60 – Broadly Defined Aus Pierre Lotis ‚Madame Chrysanthème‘ Collected Essays/Conference and Symposium (1887) entwickelt sich am ‚Fin de Siècle‘ das Reports / 61 – Other Surveys / 65. – III. The- globale Narrativ der ‚Madame Butterfly‘. Im ory and Criticism / 69: – Theories and Aes- Laufe des 20. Jahrhunderts werden so west- thetics of Film Music and Sound / 69 – Empir- lich-asiatische Liebesbeziehungen in diversen ical and Experimental Approaches / 158 – Re- medialen Spielarten und Kulturen trans- ception Studies / 169 – Film Music Criticism formiert. Das kulturell ‚Andere‘ wird als through 1960 / 172. – IV. Genre / 181: – Genre diskursives Objekt produziert und zirkuliert Theory / 181 – Action-Adventure / 182 – in einem global-medialen Kontext. Die Studie Adaptations of Stage Works and Literature / zeigt auf, wie die modernen Kulturen und 182 – Animation / 185 – Biopics / 203 – Blax- Diskurse miteinander verflochten sind und ploitation / 216 – Comedy and Romantic wie Stereotype die wechselseitige Bezug- Comedy / 217 – Concert Films / 222 – Docu- nahme prägen. Die diskurstheoretische und mentaries / 229 – Experimental Film / 244 – komparative Medienanalyse legt auch die in- Film Musicals / 255 – Film Noir / 295 – termediale Ästhetik zwischen Literatur, Heimatfilm / 298 – Historical Films / 298 – Musiktheater und Film von Künstlern wie Gi- Horror and Thriller / 299 – Martial Arts acomo Puccini, Fritz Lang, Franz Lehár, Films / 308 – Melodrama / 309 – Opera François Truffaut, Alain Resnais, David Kro- Film/Opera and Film / 309 – Pornography and nenberg u.a. kritisch reflektierend offen. Die Erotica / 351 – Road Movies / 353 – Sci-Fi and (De-)Konstruktion des Butterfly-Mythos kul- Fantasy / 353 – Shorts / 365 – Sports Films / miniert in seiner postkolonialen, sogar tran- 365 – Titles and Trailers / 366 – War and skulturellen Überformung jenseits europäis- Combat Films / 367 – Westerns / 368 – cher Opernbühnen wie in den japanischen Woman’s Film / 372. – V. Case Studies of Indi- Butterflys von Mori Ôgai und Saegusa Shige- vidual Films / 373: – Note on the Indexes / aki oder den subalternen GI-Bräuten des ko- 569. – Names Index / 571. – Film Titles Index / reanischen Kinos. 637. – Bd. 2. People, Cultures, and Con- texts: – VI. People / 1: – Composers / 1 – Conductors / 134 – Directors and Filmmak- Lee, Jonathan Rhodes: Film Music in the Sound ers / 135 – Musicians and Bands on Screen / Era: A Research and Information Guide. 2 Bde., 179 – Orchestrators and Arrangers / 188 – New York/London: Routledge 2020: 1. Histo- Other / 189 – Studio Musicians / 192. – VII. ries, Theories, and Genres, xi, 663 S.; 2. People, Social and Cultural Studies / 194: – Film, Mu- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 112

sic, Politics, and Society / 194 – Gender / 198 score, Horner illustrates the mental life of the – National and Cultural Studies / 203 – Race mathematician John Nash with wildly chro- and Other Identity / 269 – Religion / 270 – matic but firmly triadic music. A group gener- Sexuality / 270 – Depictions of Music Making, ated by the operators L, R, and S provides the Teaching, Instruments, and Listening / 271. – transformational fount for a “Genius com- VIII. Musical Genre / 275: – Film Music in plex” “that represents intense intellection. Concert/Film Music and Concert Music / 275 Three cues from A Beautiful Mind are ana- – Jazz and Film / 277 – New Music, Modernist lyzed. Collectively, their tonal spaces reveal a Techniques, and Electronic Music in Cinema / distinctly transformational contribution to 288 – Popular Music in Film / 290 – Use of narrative and characterization. These readings Pre-Existing Classical and World Music in further evince a tension between the logical Film / 321. – IX. Pedagogy / 330: – Film Music teleology of sequential patterning with the Analysis / 330 – Film Music and General Edu- radically contingent, even game-like quality cation / 333 – Film Music Composition and of Horner’s triadic manipulations. (Vorlage) Preparation / 334 – Movies and Music Educa- tion / 338. – X. The Industry / 342: – Film Busi- ness Marketing, Copyright, and “the Indus- Lehman, Frank: Hollywood cadences. Music try” / 342 – Technology Studies and Studies of and the structure of cinematic expectation. In: the Recording Process / 353. – Note on the In- Music Theory Online (MTO) – A Journal of dexes / 369. – Names Index / 371. – Film Titles Criticism, Commentary, Research, and Scholar- Index / 437. ship 19,4, 2013, [URL]. Cadences are one of the most powerful tools Leeper, Jill: Crossing Musical Borders: The at a film composer’s disposal. The structure Soundtrack for Touch of Evil. In: Soundtrack and placement of a cadence can shape the Available: Essays on Film and Popular Music. emotional arc of a scene, accentuate narrati- Ed by Pamela Robertson Wojcik & Arthur val information, and manipulate generic expectations. Drawing from theories of film Knight. Durham: Duke University Press 2001, genre and cadential definition from Altman S. 226–243. (1999) and Caplin (2002), I explore several cinematically significant “cadential genres” – Lefàvre, Raymond: La cinéphilie chantante harmonic routines arising through the con- des années 30. In: CinemAction, 95 [= /95], vergence of independent musical phenomena 2000, S. 149–155. that together project a punctuative function. Through processes of attribute substitution and subtraction, a cadential genre can adapt Lehman, Frank: Transformational analysis to shifting scoring practices and generic ex- and the representation of genius in film mu- pectations. I showcase four such cadential sic. In: Music Theory Spectrum: The Journal of genres. The mixed plagal cadence imports the Society for Music Theory 35,1, 2013, S. 1–22. transcendent harmonic associations from the Romantic era. Phrasal “mickey mousing” Neo-Riemannian theory offers an auspicious arises through cadential synchronization, as toolkit for analyzing film music – a repertoire shown in an analysis of Korngold’s Robin in which dramatic exigency takes precedence Hood. The subtonic half cadence is strongly over functional tonal logic. The ability of neo- linked with a specific film genre: the Western. Riemannian theory to model harmonic pro- Through analysis of Jerome Moross’s gressions as dynamic and contextually deter- subtonic-saturated scores and subsequent mined, particularly with association-laden adapted and abstracted usages, I show the chromatic motions, suits it eminently to Hol- value of the generic approach to style-based lywood scoring practice. This transforma- analysis. Lastly, I inspect the chromatically tional approach is tested on James Horner’s modulating cadential resolution (CMCR): the music for the film A Beautiful Mind. In this strategy of initiating a diatonic cadence in Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 113

one key only for the dominant to discharge musical accompaniment of Nixon’s speeches. onto the tonic of a chromatically related key. Having demonstrated the active role these Through a variety of intrinsic and contextual scores play, I conclude that Williams’s music traits describable by linear, transformational, constitutes an authoring of history in a and cognitive models, I explain the strong as- strong, albeit postmodern, sense, consistent sociation of CMCRs with cinematic evoca- with but independent from Stone’s screen- tions of wonderment. This is illustrated play. (Vorlage) through a case study of Williams’s Jurassic Park. (Vorlage) Lehman, Frank: Film-as-Concert music and the formal implications of ‘cinematic listen- Lehman, Frank: Scoring the President. Myth ing’. In: Music Analysis 37,1, 2018, S. 7–46. and politics in John Williams’s JFK and What does it mean for film music – subordi- Nixon. In: Journal of the Society for American nated, contingent, ‘unheard’ – to be plucked 9,4, 2015, S. 409–444. Music from its intended context and placed at the Throughout his career, John Williams has set forefront of the listener’s attention? The tradi- the musical tone for the American presidency, tion of excerpting and arranging movie scores most elaborately with his scores for Oliver for the concert hall poses this question Stone’s controversial films JFK (1991) and sharply. While scholarship on ‘cinematic lis- Nixon (1995). While invested in capturing the tening’ has picked up in recent years, the character of these commanders in chief specifically music-theoretical issues raised by through musical codes, Williams’s sound- this repertoire have been largely unaddressed. tracks are equally engaged in the act of the In this article, I argue that film-as-concert evocation and telling of “history.” Specifically, music presents hearing ‘cinematically’ as a they construct a tragic myth of 1960s America valid alternative to structural modes of listen- in which the promise represented by JFK is ing, a form of hearing that subverts both destroyed from without, and Nixon from naive formalism and reflexive anti-formalism. within, both by the malevolent forces of the Following a discussion of theoretical and in- military-industrial complex. In considering terpretative priorities for analysing film-as- the thematic and dramatic means by which concert music, I begin investigation of a sub- Williams paints his orchestral portraits, I re- set of the film-as-concert corpus: stand-alone veal the extent to which music supports scherzi originating from action set pieces. Stone’s paranoiac narratives, especially in More than any other type of underscore, ac- cases where the director’s collage-like visual tion cues answer to dramatic, editorial and aesthetic puts pressure on the otherwise nos- visual imperatives rather than to ‘absolute’ talgic traits of Williams’s default tonal style. I logic. My core data emerges from a detailed offer a music-analytical approach to JFK and study of John Williams’s film and concert Nixon informed by interviews, studies of po- scherzi, with short analyses of cues/pieces litical mythology and paranoia, and musico- from E.T., the Indiana Jones movies and Star logical appraisals of Williams’s music. Stone’s Wars. My approach emphasises the way in 1960s-as-lapsarian-metanarrative positions which formal alterations bring about drasti- Kennedy as a romanticized absence, an image cally different ways of hearing the work of the fabular fallen King, and Williams ren- tonally and expressively across multiple ver- ders him as a public recollection rather than a sions. A larger-scale case study of ‘The Aster- human being with interiority. Nixon, by con- oid Field’ from The Empire Strikes Back serves trast, is a tragic antihero, consumed by dark to demonstrate the tonal, sectional and narra- forces of history and an abundance of am- tival transformations that occur between bivalent thematic material. Particular atten- movie theatre and concert hall. To conclude, I tion is paid to the dismantling of Kennedy’s propose that the film-as-concert mindset can noble leitmotif during JFK’s prologue and mo- be transferred to filmgoing itself, as a new torcade sequence and to the near-fascistic mode of cinematic listening. (Vorlage) Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 114

Lehmann, Frank: Hollywood Harmony: Musi- Ynnis Éditions 2017, 251 S. New cal Wonder and the Sound of Cinema. Au cinéma, la musique est très vite devenue York: Oxford University Press 2018, xvii, 292 indissociable de l’image, lui apportant une S. (Oxford Music/Media Series.). nouvelle dimension à part entière. Derrière Film music often tells us how to feel, but it les thèmes cultes que le public connaît par also guides us how to hear. Filmgoing is an cœur œuvrent des compositeurs amoureux intensely musical experience, one in which d’un art aux formes multiples. Chacun d’entre the soundtrack structures our interpretations eux apporte ses couleurs et ses inspirations and steers our emotions. Hollywood Har- dans des styles qui parcourent tous les genres mony explores the inner workings of film musicaux, et parfois même les plus expéri- music, bringing together tools from music mentaux. Cet ouvrage rédigé par deux pas- theory, musicology, and music psychology in sionnés de cinéma et de musique retrace le this first ever book-length analytical study of parcours de la musique de film, des composi- this culturally central repertoire. Harmony, teurs les plus prolifiques à des noms plus con- and especially chromaticism, is emblematic of fidentiels, des films qu’on ne présente plus à the “film music sound,” and it is often used to ceux qu’il faut absolument découvrir: grands evoke that most cinematic of feelings-wonder. classiques, musicals, science-fiction, action, To help parse this familiar but complex musi- aventure, romance... Le Guide des composi- cal style, Hollywood Harmony offers a first- teurs de musique de film vous guidera sur les of-its kind introduction to neo-Riemannian sentiers d’un univers auditif riche dont theory, a recently developed and versatile chaque note est une image. John Williams, method of understanding music as a dynamic Hans Zimmer, Howard Shore, James Horner, and transformational process, rather than a Bernard Herrmann, Lalo Schifrin, Ennio Mor- series of inert notes on a page. This applica- ricone, Michel Legrand, Joe Hisaishi, Jerry tion of neo-Riemannian theory to film music Goldsmith, Maurice Jarre, Alan Silvestri, is perfect way in for curious newcomers, Henry Mancini, Alexandre Desplat, Nino Rota while also constituting significant scholarly et bien d’autres. contribution to the larger discipline of music theory. Author Frank Lehman draws from his extensive knowledge of cinematic history Lensing, Jörg U.: Sound-Design, Sound-Mon- with case-studies that range from classics of tage, Soundtrack-Komposition. Über die Gestal- Golden Age Hollywood to massive contempo- tung von Filmton. 3. Aufl. Berlin: Schiele & rary franchises to obscure cult-films. Special Schön 2018. 286 S. emphasis is placed on scores for major blockbusters such as Lord of the Rings, Star Wars, Lenz, Friedemann: Musikalisches Tempoemp- and Inception. With over a hundred meticu- finden in audiovisuellen Medien: empirische lously transcribed music examples and more than two hundred individual movies discus- Untersuchung zur intermodalen Wahrnehmung sed, Hollywood Harmony will fascinate any mit präsentativen Forschungsmethoden. Wies- fan of film and music. baden: Springer 2020, XIII, 241 S. Diss. Bremen: Universität Bremen 2017. Lehnert, Sigrun: Ursprung und Entwicklung Auch zur Filmmusik. –[U]ntersucht die Wir- kung des musikalischen Tempos im Kontext der Musik in der Neuen Deutschen Wochen- audiovisueller Medien. Im Vorfeld gibt der schau. Muster, Funktionen und Kontinuitäten Autor einen umfassenden Einblick in die For- vom Stummfilm bis zur Tagesschau. In: Nach schung zu musikalischem Tempo in audiovi- dem Film, 14, 2015, [URL]. suellen Medien und daran angrenzende Ge- biete. Die drei explizit untersuchten Aspekte Lejeune, Vivien / Dasnoy, Romain: Le guide betreffen erstens die gegenseitige Beeinflus- des compositeurs de musique de films. Paris: sung der visuellen Geschwindigkeit durch das Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 115

musikalische Tempo und die umgekehrte to create two very different realms that the Richtung, zweitens den Einfluss des musikali- main characters must traverse: the land of the schen Tempos und der visuellen Geschwin- living, and the land of the dead. digkeit auf die Wahrnehmung der Schätzung der Gesamtdauer sowie drittens die emotionale Beeinflussung durch das musikalische Tem- Leonard, Kendra Preston: The Lady Vanishes: po. Vocality and Agency in Cinematic Ophelias. Inhalt: Psychologische Grundlagen zur audio- In: The Afterlife of Ophelia. Ed. by Deanne visuellen Wahrnehmung, zur Wahrnehmung Williams & Kaara L. Peterson. New York: von Zeit, audiovisuellen Medien, Filmmusik Routledge 2012, S. 101–117. und dem Themenkomplex Emotion. – Empiri- sche Überprüfung von drei Forschungshypo- Leonard, Kendra Preston: Rosalind’s Musical thesen. – Methodische Zugänge und statisti- Iconicity in Branagh’s and Doyle’s As You sche Auswertungsverfahren. Like It. In: Upstart Crow, 31, Jan. 2013 [= An- nual 2012], S. 1–9. Leonard, Kendra Preston: Shakespeare, Mad- ness, and Music: Scoring Insanity in Cinematic Leonard, Kendra Preston: From ‘Angel of Mu- Adaptations. Lanham/Toronto/Plymouth, UK: sic’ to ‘that Monster’: Music for the Human Scarecrow Press 2009, ix, 153 S. Uncanny in Phantom of the Opera (1925/1929). Shakespeare’s three political tragedies – In: Studies in Gothic Fiction 3,1, Spring 2014, S. Hamlet, Macbeth, and King Lear – have nu- 13–23. merously been presented or adapted on film. These three plays all involve the recurring Leonard, Kendra Preston: Sounds of India in trope of madness, which, as constructed by Supple’s Twelfth Night. In: Bollywood Shake- Shakespeare, provided a wider canvas on . Ed. by Craig Dionne & Parmita Kapa- which to detail those materials that could not speares be otherwise expressed: sexual desire and ex- dia. New York: Palgrave Macmillan 2014, S. pectation, political unrest, and, ultimately, 147–163. truth, as excavated by characters so afflicted. The concept of “Bollywood Shakespeare” al- Music has long been associated with madness, most invariably suggests adaptations of and was often used as an audible symptom of Shakespeare’s works into which traditional a victim’s disassociation from their surround- large-scale song and dance numbers have ings and societal rules, as well as their loss of been interpolated, a hybrid film of dramatic self-control. and musical performance that appeals to multiple audiences. Two recent examples include director/writer/composer Vishal Bhardwaj’s Leonard, Kendra Preston: Buffy, Ballads, and Omkara (2006) and Maqbool (2003), adapta- Bad Guys Who Sing. Music in the Worlds of tions of Othello and Macbeth set in the Indian Joss Whedon. Lanham/Toronto/Plymouth, UK: criminal underworld. While these two films Scarecrow Press 2011, xxi, 308 S. follow the plots of Shakespeare’s plays fairly Über die TV-Serie Buffy, the Vampire Slayer. closely, they also each contain the several song and dance spectaculars that would be startling to unsuspecting audiences but are Leonard, Kendra Preston: Topsy-Turvy Victo- expected by fans and serve as universal signi- riana: Locating Life and Death in Corpse fiers of a Bollywood production. Indeed, San- Bride. In: Aether 7, Jan. 2011, S. 27–41. gita Gopal and Sujata Moorti claim that for a movie to be a true “Bollywood film,” “the In the 2005 film Corpse Bride, director Tim song-dance sequence is the dealmaker.” Burton and composer Danny Elfman collaborate using both musical and visual signifiers Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 116

Leonard, Kendra Preston: The Use of Early Der Beitrag stellt zwei Fallstudien vor, die Modern Music in Film Scoring for Elizabeth I. darstellen, wie sowohl gedruckte als auch On- In: Gender and Song in Early Modern England. linematerialien benutzt werden können, um Ed. By Leslie C. Dunn & Katherine R. Larson. spezielle Formen von Stummfilmmusik zu er- Farnham, Surrey: Ashgate 2014, S. 169–183. forschen. Der erste Fall untersucht Musik für „Spukgeschichten” (Filme, die übernatürliche Dinge behandeln), die in der Spezialsamm- Leonard, Kendra Preston: Music for Richard lung der Musikbibliothek der University of III: Cinematic Scoring for the Early Modern North Texas existieren, der zweite führt die Monstrous. In: The Oxford Handbook of Music Rezeptionsgeschichte der Noten für den 1916 and Disability Studies. Ed. by Blake Howe, entstandenen Spielfilm Joan the Woman von Stephanie Jensen-Moulton, Neil Lerner & Cecil B. DeMille aus. Joseph Straus New York: Oxford University Press 2015, S. 836–855. Leonard, Kendra Preston: Musical Mimesis in Orphans of the Storm. In: Music Theory Online Leonard, Kendra Preston: Music for Silent 24,2, June 2018, online. Film: A Guide to North American Resources. Middleton, Wisc.: A-R Editions and the Music “In this essay I explore the use of musical Library Association Index and Bibliography mimesis in the score for D. W. Griffith’s 1921 film .” Series, 2016, xvii, 277 S. (Music Library Asso- Orphans of the Storm ciation Index and Bibliography Series. 39.). Part 1: Primary Sources: – 1. Archives / 3. – 2. Leonard, Kendra Preston: Performing Spiritu- Rental and Lending Libraries / 17. – 3. In- alism in the Silent Cinema. In: Performance, struction Books / 19. – 4. Photoplay Albums / Religion, and Spirituality 1,2, October 2018, S. 25. – 5. Interviews and Biographies / 31. – 6. 1153–188. Books / 41. – 7. Articles / 43: – Periodicals / 43 The silent film era coincided with a revival of – General / 45 – Advice, Cues, and Sugges- belief in spiritualism in America. Desperate to tions / 58 – Opinion, Editorials, and Philoso- find meaning in the deaths of the Great War phies of Accompaniment / 134 – Reviews / and the 1918 Spanish Flu epidemic, the be- 142 – Ensembles / 152 – Theater Organs and reaved sought contact with the dead and evi- Other Instruments / 153 – Jazz / 160 – The dence of an afterlife. Given this fascination Coming of Sound / 161. – Part 2: Secondary with spiritualism, it is not surprising that the – 8. Scholarly Books / 167 – Research Sources: topic quickly became a favorite for filmmak- and Reference Guides / 167 – Source Readings ers. This resulted in numerous moving pic- / 170 – Collections of Essays / 171 – Mono- tures that featured the presence of spirits, graphs / 174 – Theses and Dissertations / 179. which in turn required musical accompani- – 9. Scholarly Articles / 183. – Name Index / ment suited to the subject. Cinema musicians 211. – Title Index / 221: – Articles and Chap- borrowed from the aural atmosphere of the ters / 221 – Books / 237. – Film Title Index / Spiritualist Church, private and public 241. – Subject Index / 272. séances, and other entertainments and experiences involving the supernatural. Both pro- Leonard, Kendra Preston: Resources for Silent fessions were ones in which women could not only fully participate, but were thought by Film Music. In: Fontes Artis Musicae 63, Oct.- many to be better suited than men for the Dec. 2016, S. 259–276. work at hand. The highly gendered musical and moral educations and expectations for Leonard, Kendra Preston: Using Resources for women in the nineteenth century, which were Silent Film Music. In: Fontes Artis Musicae intended to prepare women for domesticity, 63,4, Oct.–Dec. 2016, S. 259–276. were exactly the training they needed to suc- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 117

ceed as professional mediums and cinema ac- sic fathers makes it possible to unite all three companists. The code of morals that held up groups in a single historical example. Due to accomplished women as respectable models them, we may learn in parallel about the con- provided mediums and accompanists with fluent major events in their historical period; considerable power in determining the aes- we may also discover the consonance of their thetics and practices of their workplaces personal leitmotifs with the underscoring major theme of their epoch as well as the resonance that their music evoked in the society. Leonard, Kendra Preston / Whitmer, Mariana (eds.): Re-locating the Sounds of the Western. London/New York: Routledge 2019, xi, 149 S. Lewis, Hannah: The realm of serious art. Henry Hadley’s involvement in early sound Inhalt: The wild west meets the wives of film. In: Journal of the Society for American Windsor: Shakespeare and music in the 8,3, 2014, S.285–310. mythological American West / Kendra Pre- Music ston Leonard. – The commodification of the western soundscape / Mariana Whitmer. – Lewis, Hannah: The music has something to High-senberg noon: Breaking Bad and the say. The musical revisions of L’Atalante sounds of the West / Jeffrey Bullins. – Some (1934). In: Journal of the American Musicologi- people call me the space cowboy: sonic mark- cal Society 68,3, 2015, S. 559–603. ers of the science fiction western / S. Andrew Granade. – You can’t build an empire without getting a mite unscrupulous: music, morality, Lewis, Hannah: Love Me Tonight (1932) and and Cold War criticism in Doctor Who’s The the development of the integrated film musi- Gunfighters (1966) / Stanley C. Pelkey II. – cal. In: The Musical Quarterly 100,1, 2017, S. 3– From the old west to the new future: Stoney 32. Burke, The Outer Limits, and The Daystar stock music library / Reba Wissner. – Reinterpret- ing the American western in Ry Cooder’s Lewis, Hannah: French Musical Culture and soundtrack to Paris, Texas (1984) / Erin Bauer. the Coming of Sound Cinema. New York: Ox- – The soundscape of the East German indian- ford University Press 2019, xii, 245 S. erfilme / Joanna Yunker. Hannah Lewis argues that the debates about sound film resonated deeply within French musical culture of the early 1930s, and con- Levin, Ėlizabeta: Selestial’nye bliznecy u isto- versely, that discourses surrounding a range kov muzyki i kino [Левин, Элизабета: Се- of French musical styles and genres shaped лестиальные близнецы у истоков музыки audiovisual cinematic experiments during the и кино]. In: Tsikly kul’tury: Filosofskaja škola transition to sound. Lewis’ book focuses on 4, 2018, S. 51–58; [URL]. many of the most prominent directors and „Die Himmlischen Zwillinge zu den Ursprün- screenwriters of the period, from Luis Buñuel gen von Musik und Kino.“ to Jean Vigo, as well as experiments found in lesser-known films. Additionally, Lewis exam- In kyrill. Schrift. – [...] The present article, ines how early sound film portrayed the di- based on the author’s presentation at the verse soundscape of early 1930s France, as House of Scientists in Haifa and devoted to filmmakers drew from the music hall, popular the 90th anniversary of the talkies, discusses chanson, modernist composition, opera and the history of music in cinematography and operetta, and explored the importance of mu- the key role played in it by the composers Irv- sical machines to depict and to shape French ing Berlin and Max Steiner — a couple of ce- audiovisual culture. In this light, the author lestial twins born during the Phoenix Hour discusses the contributions of well-known between 1885–1900. Significantly, the follow- composers for film alongside more popular ing story of the legendary pair of the film mu- music hall styles, all of which had a voice Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 118

within the heterogeneous soundtrack of cultural environment between the two world French sound cinema. wars, to analyse the principles of his collabo- Inhalt: Introduction – Imagining Sound Film: ration with other composers in the case of co- Debates in the Press – Surrealist Sounds: Film authorship, and briefly to characterise the Music and the Avant-Garde – “An achieve- function, significance and qualities of Pales- ment that reflects its native soil”: Songs, ter’s soundtracks, with particular reference to Stages, Cameras, and the Opérette Filmée – the film Zabawka (Toy). Palester’s most pro- Théâtre filmé, Opera, and Cinematic Poetry: ductive collaboration was that with film di- The Clair/Pagnol Debate – Source Music and rector Józef Lejtes (1901–83). The composer Cinematic Realism: Jean Renoir and the Early wrote music for five of Lejtes’s films: Dzikie Poetic Realists – “The Music Has Something pola (Wild Fields, 1932), Młody las (The Young to Say”: The Musical Revisions of L’Atalante Forest, 1934), Dzień wielkiej przygody (The Day (1934) – Conclusion: Alternative Paths for of Great Adventure, 1935), Róża (Red Rose, Sound Film 1936), and Dziewczęta z Nowolipek (Girls of Nowolipki, 1937). Rev. (Rossi, Jérôme) in: Revue de Musicologie 105, 2019, S, 466–469. Lindstedt, Iwona: Polska refleksja o muzyce w Lilkendey, Martin: 100 Jahre Musikvideo: Eine kinie dźwiękowym w latach trzydziestych XX Genregeschichte vom frühen Kino bis YouTube. wieku: główne idee i perspektywy badawcze Bielefeld: transcript, 2017, 193 S. (Reihe Film.). w muzykologii. In: Muzyka 63,2, 2018, S. 3–26. [“Polish reflections on music in sound film in Rev. (Christoph Jacke) in: H-Soz-Kult, 6.1. 2020, [URL]. the 1930s: Major ideas and perspectives of musicological research”.] In Poland, the first evidence of reflections Limbacher, James L. / Wright, H. Stephen: concerning music sounding directly from the Keeping Score: Film and Television Music, screen precedes the premiere of the first Pol- 1980–1988. [With additional coverage of 1921– ish sound film Moralność pani Dulskiej ([The 1979.] Metuchen/London: The Scarecrow Morality of Mrs Dulska], 1930). As early as in Press 1991, xi, 916 S. the late 1920s, researchers such as Kamieński and Dembiński noticed the vast potential of Lin, Samantha: ‘How Silver-Sweet Sound ‘cinematic music’ and the need to synchro- Lovers’ Tongues’: The Music of Love and nize the music setting with the plot of a film. Death in Franco Zeffirelli’s Romeo and Juliet. After the presentation of film music at the In: The Soundtrack 7,1, April 2014, S. 39–46. Music Festival in Baden-Baden (1929), an attempt was made to introduce a systematic Lindstedt, Iwona: Roman Palester jako pionier categorization of the pioneering sound films polskiej muzyki filmowej. In: Muzyka 64,1, (Stromenger). In the 1930s, Mateusz Gliński 2019, S. 84–105. addressed the subject of sound film several times. The issue of the acoustic layer of a film [“Roman Palester as a pioneer of Polish film perceived holistically was also discussed by music”.] other journalists (Zahorska, Fryd, Braun), Roman Palester’s film music has left a lasting filmmakers (Bohdziewicz) and composers trace on Polish cinematography, even though (Rathaus). They usually identified an ideal the composer himself did not attach much im- model for such a synthesis in animated films portance to this aspect of his work. The pre- and Rene Claire’s movies. In addition, in the sent paper is dedicated to the first stage of his reflections on sound film in Poland psycho- work for the film industry (until 1939). On the logical themes were also present (e.g. Czer- basis of surviving audio-visual materials and miński and Furmanik), and concerned the role indirect sources, I aim to sketch a panorama of music in the viewer-listener’s experience of of the reception of Palester’s film music in the the film. The most comprehensive and in- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 119

sightful approaches to film music were ex- Amiri Baraka / David Murray – III. Until the pressed by Marian Neuteich and Zofia Lissa real thing: biography, autobiography, and other in 1937. All the sources quoted above are un- fictions. Blaxploitation Bird: Ross Russell’s doubtedly valuable material for film-related pulp addiction / John Gennari. – How many musicological research, focused on such sub- miles? Alternate takes on the jazz life / Krin jects as style, genre and function, ‘film biogra- Gabbard – IV. Second balcony jump: unsettling phies’ of Polish composers, or studies into the score. “A rebus of democratic slants and Polish film music perceived as ‘modern mu- angles”: to have and have not, racial represen- sic’. tation and musical performance in a democracy at war / Ian Brookes. – “No brotherly love”: Hollywood jazz, racial prejudice and Littlefield, Richard: The Silence of the Frames. John Lewis’s score for Odds against tomorrow In: Music Theory Online (MTO) 2,1, 1996, / David Butler. – Anatomy of a movie: Duke [URL]. Ellington and 1950s film scoring / Mervyn Cooke – V. Criss cross: jazzisticologics. Jump- ing tracks: the path of conduction / Michael Lochner, Jim: The Music of Charlie Chaplin. Jarrett. Jefferson, NC: McFarland 2018, xi, 438 S. Rev. (Coyle, Michael) in: Cadence 36, 2010, S. Charlie Chaplin the actor is universally syn- 66–67. onymous with his beloved Tramp character. Chaplin the director is considered one of the great auteurs and innovators of cinema his- Lopez, Ana: Early Cinema and Modernity in tory. Less well known is Chaplin the com- Latin America. In: Cinema Journal 40,1, 2000, poser, whose instrumental theme for Modern S. 48–78. Times (1936) later became the popular standard “Smile,” “a Billboard hit for Nat King Cole in 1954. López Hernández, Sofía: The contributions of the music of George Fenton to the films of Ken Loach. In: Anuario Musical 72, 2017, S. Lock, Graham / David Murray (eds.): Thriving 277–292. on a Riff: Jazz & Blues Influences in African Ken Loach is a high profile British film direc- American Literature and Film. Oxford/New tor. Since the mid 1960’s, he has made numer- York: Oxford University Press 2009, XIII, 296 ous films for cinema and television. There is S. already a lot written about his way of filming Inhalt: Introduction: You’ve got to be jazzistic and yet very little is written about the music – I. So black and blue: music, image, identity. for his films. To be able to get inside the mu- You ain’t got to be black to be black”: music, sic of Ken Loach’s films, we must first talk race, consciousness, and identity in The auto- about George Fenton as he has been Loach’s biography of an ex-colored man and Mojo usual composer since 1994. The object of this hand / Nick Heffernan. – Blackface minstrelsy article is to fill this gap: to discover what mu- and jazz signification in Hollywood’s early sical characteristics Fenton contributes to sound era / Corin Willis – II. Paging the devil: Loach’s cinema. jazz and blues poetics. “Thanks, Jack, for that”: the strange legacies of Sterling A. Brown / Steven C. Tracy. – Phraseology: an interview López González, Joaquín: Música y cine en la with Michael S. Harper. – Paul Beatty’s White España del Franquismo. El compositor Juan boy shuffle blues: jazz poetry, John Coltrane, Quintero Muñoz (1903–1980). In: Revista de and the post-soul aesthetic / Bertram D. Ashe. musicología 33,1–2, 2010, S. 573–601. – Giving voice: an interview with Jayne This article presents the Spanish musicologi- Cortez. – “Out of this world”: music and spirit cal community with the work carried out over in the writings of Nathaniel Mackey and Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 120

the last five years, which resulted in the PhD music and silence in film, including the idea thesis “Music and Film in Spain during the that music can function as silence; and the Franco Regime: the Composer Juan Quintero function of silence in early chant. Perhaps the Muñoz (1903–1980)”. Although based on a most all-pervasive theme of the book is that particular composer, this thesis was written of silence and nothingness, music and spiritu- with the aim of tackling art, music and film ality: a theme that has appeared in writings culture during a decisive period in the recent on John Cage but not, in a broader sense, in history of the culture of our country. In the scholarly writing. The book reveals that unex- post-war context, cinema and music theatre, pected concepts and ways of thinking emerge in particular the operetta and revue genres, from looking at sound in relation to its an- attracted audiences’ interest. Juan Quintero tithesis, encompassing not just Western art composed his works over nearly three traditions, but the relationship between mu- decades, dividing his time between the suc- sic, silence, the human psyche and sociologi- cess of his compositions for the theatre and cal trends – ultimately, providing deeper un- his increasingly prolific musical creation for derstanding of the elemental places both mu- film. This thesis aims to discuss all ofthe sic and silence hold within world philoso- composer’s facets in a broad and exhaustive phies and fundamental states of being. Si- manner: the composition of light music dur- lence, Music, Silent Music will appeal to those ing the twenties and thirties, his activity as a working in the fields of musicology, psychol- theatrical composer, and especially his work ogy of religion, gender studies, aesthetics and in the field of film music, in which he was philosophy. (Publisher) outstanding. Quintero is also used as an ex- Inhalt: The texture of silence / Jenny Doctor. – ample to study the work system and musical Faith, silence and darkness entwined in Mes- production mechanisms of Spanish cinema of siaen’s ‘Regard du silence’ / Matthew Hill. – the time. Sounding silence, moving stillness: Olivier Messiaen’s Le banquet celeste / Jan Christi- aens. – Going gently: contemplating silences Losseff, Nicky / Doctor, Jenny (eds.): Silence, and cinematic death / Stan Link. – Film Music, Silent Music. Aldershot, Hants: Ashgate sound, music and the art of silence / Ed 2007, xii, 253 S. Hughes. – Pragmatics of silence / William The contributions in this volume focus on the Brooks. – Some noisy ruminations on Susan ways in which silence and music relate, con- Sontag’s ‘Aesthetics of silence’ / Darla M. template each other and provide new avenues Crispin. – Preliminary thoughts about silence for addressing and gaining understanding of in early Western chant / Emma Hornby. – The various realms of human endeavour. The book communicative rest / John Potter. – The air maps out this little-explored aspect of the between two hands: silence, music and com- sonic arena with the intention of defining the munication / Julie P. Sutton. – ‘Meditation is breadth of scope and to introduce interdisci- the musick of souls’: the silent music of Peter plinary paths of exploration as a way forward Sterry (1613-1672) / Tom Dixon. – Silent mu- for future discourse. Topics addressed include sic and the eternal silence / Nicky Losseff. the idea of ‘silent music’ in the work of Eng- lish philosopher Peter Sterry and Spanish Je- suit St John of the Cross; the apparently para- Luko, Alexis: Sonatas, Screams, and Silence: doxical contemplation of silence through the Music and Sound in the Films of Ingmar medium of music by Messiaen and the rela- Bergman. New York/London: Routledge 2016, tionship between silence and faith; the aes- xxxii, 290 S. thetics of Susan Sontag applied to Cage’s idea Inhalt: Aural close-up: music in Bergman’s of silence; silence as a different means of un- life – A language of love: Ingmar Bergman, derstanding musical texture; ways of thinking Käbi Laretei, and music – Bergman’s film mu- about silences in music produced during ther- sic: music as film and film as music – Ingmar apy sessions as a form of communication; Bergman’s musicians – Bergman’s musical Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 121

clones and character doubles – Listening to der Schule. Oldershausen: Lugert 2010, 400 S. Bergman’s monsters: horror music, mutes, (Musikunterricht heute. 8. / AFS-Jahrbuch, and acoustical beings – Music lessons with 2010.). August Strindberg: A dream play – Mixing with Bergman: at work in the sound studio – Darin u.a.: Georg Maas: Populäre Musik und Bergman, Bach, Berlioz, and murder: From die Macht der BilderPodiumsdiskussion / 165. the life of the marionettes. – Peter Imort: Rockklassiker in Filmklassiker. Ein soziokultureller Streifzug durch 50 Jahre Populäre Musik im Film / 177. – Olaf Mehl: Lumby, Catherine: Music and Camp: Popular Sound Design: Die Klangwelt des Films / 192. Music Performance in Priscilla and Muriel’s – Georg Maas: Beatles und Film. A splendid Wedding. In: Screen Scores: Studies in Contem- time is guaranteed for all / 198. porary Australian Film Music. Ed. by Rebecca Cole. Sydney: Australian Film Television and McCann, Ben: »(Under)scoring poetic real- Radio School 1998, S. 78–88. ism«. Maurice Jaubert and 1930s’ French cinema. In: Studies in French Cinema 9 (2009) 1, S. 37–48. Über 3 Filme mit der Filmmusik von Jaubert.

– M – McClelland, Clive: Gods and Monsters: Signi- fication in Franz Waxman’s film score Bride of Ma, Jean: Sounding the Modern Woman: The Frankenstein. In: Journal of Film Music 7,1, . Durham, N.C.: Songstress in Chinese Cinema 2014 [2017], S. 5–19. Duke University Press 2015, 296 S. In the introduction, Ma lays out the historical MacDonald, Hugh: and theoretical underpinnings for the analy- Saint-Saëns and the Stage: ses she pursues in the following chapters. The Operas, Plays, Pageants, a Ballet and a Film. five chapters, then, follow in a more or less Cambridge/New York/Port Melbourne/New chronological order the origins of the Delhi/Singapore: Cambridge University Press songstress in the Shanghai film industry of 2019, xv, 432 S. (Cambridge Studies in Opera.). the 1920s and 1930s, the migration of much of Mit Bemerkungen zu Saint-Saëns Musik für this industry to Hong Kong beginning in the den Film L’Assassinat du Duc de Guise von Second World War and continuing through André Calmettes (Frankreich 1908). the communist revolution, the further itera- tions of the songstress in Hong Kong Man- darin cinema as wildcat and then mambo girl, MacDonald, Laurence E.: The Invisible Art of and finally, the unraveling of the songstress Film Music: A Comprehensive History. Exp. ed. image in a return to the stereotype of the per- Lanham, Md.: Scarecrow Press 2013, xvii, 605 forming woman undone by love. The coda S. wraps things up with a quick reference to the go-go girl of the late 1960s, discussion of the Arranged chronologically from the silent era displacement of the songstress by the martial to the present day, this volume provides in- arts hero, and mention of the few revivals of sight into the evolution of music in cinema the songstress in later Hong Kong cinema. and analyzes the vital contributions of scores to hundreds of films. MacDonald reviews key Rev. (Andrew Stuckey) in: H-Asia, Sept. 2015. developments in film music and discusses many of the most important and influential Maas, Georg (Hrsg.): Zwischen Rockklassikern scores of the last nine decades. und Eintagsfliegen. 50 Jahre populäre Musik in Rev. (Davison, Annette) in: Music, Sound, and Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 122

the Moving Image 9,2 , 2015 (Special Issue: Logan’s Run. Each is set in a dystopian envi- “Musical Screens: Musical Inventions, Digital ronment of the future and each reflects the Transitions, Cultural Critique”. Guest ed.: New Hollywood’s aspirations to artistic seri- James Tobias), S. 237–238. ousness and social relevance. – The music accompanying these films connoted an image of technological and human progress at odds McDonald, Matthew: Death and the Donkey: with the critical notions informing similar Schubert at Random in Au Hasard, Balthazar. music for the concert hall. These film scores In: The Musical Quarterly 90, Fall/Winter 2007, emphasized the extrapolated consequences of S. 446–468. developments occurring during the 1950s and 1960s that social activists, science fiction writers, and even filmmakers regarded as worri- McGinney, William Lawrence: The Sounds of some trends. Filmmakers drew on the popular the Dystopian Future: Music for Science Fiction perceptions of these musical sounds to rein- Films of the New Hollywood Era, 1966–1976. force pessimistic visions of the future, thereby Ann Arbor, Mich.: UMI [2009], IV, 221 S. imbuing these sounds with new meanings for Zuerst: Ph.D. Diss., Denton, TX: University of listeners of the contemporaneous present. North Texas, 2009. From 1966 to1976, science fiction films tended MacGowan, Kenneth: The Coming of Sound to to depict civilizations of the future that had the Screen. In: The Quarterly of Film Radio and become intrinsically antagonistic to their in- Television 10,2, 1955, S. 136–145. habitants as a result of some internal or exter- nal cataclysm. This dystopian turn in science fiction films, following a similar move in sci- MacGowan, Kenneth: When the Talkies Came ence fiction literature, reflected concerns to Hollywood. In: The Quarterly of Film Radio about social and ecological changes occurring and Television 10,3, 1956, S. 288–301. during the late 1960s and early 1970s and their future implications. – In these films, “dystopian” conditions are indicated as such McLean, Adrienne L.: ‘It’s Only That I Do by music incorporating distinctly modernist What I Love and Love What I Do’: ‘Film Noir’ sounds and techniques reminiscent of twenti- and the Musical Woman. In: Cinema Journal eth-century concert works that abandon the 33,1, 1993, S. 3–16. common practice. In contrast, music associated with the protagonists is generally more MacMahon, Orlene Denice: Listening to the accessible, often using common practice har- monies and traditional instrumentation. – French New Wave: The Film Music and Com- These films appeared during a period referred posers of Postwar French Art Cinema. Bern: Pe- to as the “New Hollywood,” which saw ter Lang 2014, 320 S. (New Studies in Euro- younger American filmmakers responding to pean Cinema. 16.). developments in European cinema, notably [...] offers the first detailed study of the music the French New Wave. New Hollywood film- and composers of French New Wave cinema, makers treated their films as cinematic “state- arguing for the need to re-hear and thus re- ments” reflecting the filmmaker’s artistic vi- assess this important period in film history. sion. Often, this encouraged an idiosyncratic Combining an ethnographic approach with use of music to enhance the perceived artistic textual and score-based analysis, the author nature of their films. – This study examines challenges the idea of the New Wave as revo- the scores of ten science fiction films pro- lutionary in all its facets by revealing tradi- duced between 1966 and 1976: Fahrenheit 451, tional approaches to music in many canonical Planet of the Apes, 2001: A Space Odyssey, New Wave films. However, musical innova- THX-1138, A Clockwork Orange, Silent Run- tion does have its place in the New Wave, ning, Soylent Green, Zardoz, Rollerball, and particularly in the films of the marginalised Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 123

Left Bank group. The author ultimately brings such as the Blue Danube Waltzes of Johann to light those few collaborations that engaged Strauss, Jr., in 2001: A Space Odyssey, and with the ideology of adopting contemporary Beethoven’s Ninth Symphony in A Clockwork music practices for a contemporary medium. Orange. Paying special attention to the recep- Drawing on archival material and interviews tion histories and dynamic bodies of associa- with New Wave composers, this book re-tells tions with which these pieces conjure, I will the story of the French New Wave from the identify ways in which the pieces interpret perspective of its music. the films and the ways in which the films confer meaning upon the music. Musical recognition will pertain to music that recurs McQuinn, Julie: Listening Again to Barber’s within a film as well as to music the spectator Adagio for Strings as Film Music. In: American is likely to have encountered before seeing Music: A Quarterly Journal Devoted to All As- the film. In addition to making a case for in- pects of American Music and Music in America terpretations that take musical recognition as 27, Winter 2009, S. 461–499. a central component in offering fresh readings of the films and situating the films as commentary on music, I identify four cate- McQuiston, Kate: The Stanley Kubrick experi- gories of musical techniques across Kubrick’s ence. Music, nuclear bombs, disorientation, oeuvre. These describe the distinctive roles and you. In: Music, Sound and Filmmakers: played by (1) diegetic music that is heard be- Sonic Style in Cinema. Ed. by James Eugene fore its source is seen; (2) monophonic music Wierzbicki. New York/London: Routledge signaling danger or isolation for a character; 2012, S. 138–150. (3) a piece that follows dialogue or narrative events in moment-to-moment correspondence and recurs in the same capacity across MacQuiston, Katherine [Kate]: Recognizing the film; and (4) music in the diegetic and . Ph.D. Music in the Films of Stanley Kubrick nondiegetic realms to articulate relationships Thesis, New York: Columbia University 2005, among characters and between characters 326 pp. and spectators. A concurrent aim of this Gedr. als: We’ll Meet Again: Musical Design in study that has arisen through my exploration the Films of Stanley Kubrick. New York: Ox- of musical recognition is to situate Kubrick’s ford University Press 2013, xiv, 235 S. oeuvre as stylistically influenced by the filmmaker Max Ophuls. Themes and techniques in Rev. (Thompson, Brian C.) in: Journal of the Kubrick have direct antecedents in Ophuls, Society for American Music 10,1, 2016, S. 85– 89. musical usage chief among these. I compare numerous scenes from the two directors’ This study examines the idea of recognizing films as evidence, and offer an analysis of music as a tool in interpreting the films of Eyes Wide Shut as Kubrick’s greatest homage Stanley Kubrick, primarily through close to Ophuls. analyses of Lolita, 2001: A Space Odyssey, and A Clockwork Orange. While Lolita’s music Magee, Gayle Sherwood: Robert Altman’s seems to fit within Hollywood scoring prac- Soundtracks: Film, Music, and Sound from tices, predicated upon what I term ‘associa- “M*A*S*H” to “A Prairie Home Companion”. tive listening,’ close inspection reveals New York/Oxford: Oxford University Press Kubrick’s mastery in combining music (on the 2014, xiii, 296 S. (The Oxford Music / Media basis of structure, style, or both) with the nar- Series.). rative in subtle ways which inform the film. The use of diegetic and nondiegetic realms in American director Robert Altman (1925-2006) Lolita forecasts Kubrick’s famous use of pre- first came to national attention with the sur- existing music in later films. I will focus on prise blockbuster M*A*S*H (1970), and he di- moments in Kubrick’s films that feature the rected more than thirty feature films in the most well-known preexisting pieces of music, subsequent decades. Critics and scholars have Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 124

noted that music is central to Altman’s films, Mainardi, Michele: Silenzio, lasciatelo parlare: and in addition to his feature films, Altman Il cinema in Puglia tra arte muta e sonoro. Pre- worked in theater, opera, and the emerging sentazione di Salvatore Colazzo. Lecce: Edizio- field of cable television. His treatment of ni Grifo 2019, 487 S. sound is a hallmark of his films, alongside overlapping dialogue, improvisation, and Inhalt: [URL]. large ensemble casts. Several of his best- known films integrate musical performances Malina, Lis: „Dear Papa: how is you?“: Das Le- into the central plot, including Nashville Wien: (1975), Popeye (1980), Short Cuts (1993), Kan- ben Erich Wolfgang Korngolds in Briefen. sas City (1996), The Company (2003) and A Mandelbaum 2017, 327 S. Prairie Home Companion (2006), his final film. Darin u.a.: Original-Filmmusik [von Erich Even such non-musicals as McCabe and Mrs. Wolfgang Korngold, 1897–1957] / 297. Miller (1971) have been described as, in fellow director and protege Paul Thomas Anderson’s Marion, Philippe: Confusion sensorielle et evocative phrase, as “musicals without people musicalité virtuelle. Représentation de l’ivres- singing.” Robert Altman’s Soundtracks conse au cinéma muet. In: Cinema & Cie: Interna- siders Altman’s celebrated, innovative uses of tional Film Studies Journal (2005) 7, S. 133–141. music and sound in several of his most ac- Über den Film ›Der Letzte Mann‹ (1924) von claimed and lesser-known works. In so doing, Friedrich Wilhelm Murnau (1888–1930). these case studies serve as a window not only into Altman’s considerable and varied output, but also the changing film industry over Marks, Martin: Screwball fantasia: Classical nearly four decades, from the heyday of the music in ›Unfaithfully Yours‹. In: 19th Cen- New Hollywood in the late 1960s through the tury Music 34 (2010/2011) 3, S. 237–271. “Indiewood” boom of the 1990s and its bust in the early 2000s. As its frame, the book will Über den Film (1948) von Preston Sturges consider the continuing attractions of au- (1898–1959). teurism inside and outside of scholarly discourse, by considering Altman’s career in terms of the director’s own self-promotion as Martella, Daniele: Filmmusik zu „Die Aben- a visionary and artist; the film industry’s pro- teuer des Prinzen Achmed“: Filmmusiktechni- motion of Altman the auteur; the emphasis on sche und diegetisch-musikalische Aspekte. In: Altman’s individual style, including his use of Animation und Avantgarde: Lotte Reiniger und music, by the director, critics, scholars, and der absolute Film. / Animation and Avant-gar- within the industry; and the processes, ten- de: Lotte Reiniger and Absolute Film. Hrsg. v. sions, and boundaries of collaboration. Evamarie Blattner, Bernd Desinger, Matthias Inhalt: Introduction: Listening to Robert Alt- Knop & Wiebke Ratzeburg. Tübingen: Univer- man – 1. The Sweet Music of Kansas City – 2. sitätsstadt Tübingen 2015, S. 137 ff. (Tübinger New Hollywood Song Tracks – 3. Nostalgia Kataloge. 101.). Trips – 4. A New Hollywood Musical – 5. Engl. Fassung ebd. u.d.T.: The Score for the Battling the Empire – 6. The Wilderness – 7. Film “The Adventures of Prince Achmed”: Indiewood and Improvisation – 8. The Perfect Technical and Diegetic Aspects in the Music, Servant – 9: Midwestern Musicals – Conclu- S. 140 ff. sion: Altman Today. Zu Reinigers Silhouettenfilm von 1926.

Magee, Gayle: Songwriting, Advertising, and Mythmaking in the New Hollywood: The Case Matthews, Simon: Psychedelic Celluloid: British Harpen- of Nashville (1975). In: Music and the Moving Pop Music in Film and TV 1965–1974. den: Oldcastle Books / No Exit 2016, 224 S. Image 5,3, 2012, S. 28–45. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 125

[C]overs over 300 British and European films 2019, vi, 250 S. and TV shows from the Beatles via Bond Introduction: Popular Music and the spinoffs to crazy personal follies de grandeur, Inhalt: Moving Image in Eastern Europe / Ewa Blow Up and its imitators, concert movies, Mazierska and Zsolt Gyori (1–24). – 1968 documentaries, stylish horror films and many Leftist Utopianism in more. Carefully researched and drawing on The Young Girls of and / Evan Tomer (25– interviews with some of the survivors of the Rochefort Hot Summer 44). – Representing Modern Romania in the era, it provides a witty and detailed account Musical of State Socialist Period / Gabriela of each major production, listing its stars, di- Filippi (45–62). – Worlds that Never Were: rectors, producers and music and showing Contemporary Eastern European Musical how they were linked to the fashion and Comedies and the Memory of Socialism / trends of the period. (Wheelers.co.nz) Baldzs Varga (63–82). – Pop Music, Nostalgia and Melancholia in Dollybirds and Liza, the Mazey, Paul: Restrained airs: The diegetic sur- Fox Fairy / Hajnal Kirdly (83–98). – When the face and nondiegetic depth of British film mu- Golden Kids Met the Bright Young Men and sic. In: Journal of British Cinema and Televi- Women: Rebellion, Innovation and Cultural Tradition in the Czech 1960s Music Film / sion 16,4, 2019, S. 429–443. Jonathan Owen (99–116). – ‘Music isn’t Mu- Über Musik in den Filmen Kind Hearts and sic, Words aren’t Words’: Underground Music Coronets von Robert Hamer (1949) und The in the Hungarian Cinema of the New Sensi- Importance of Being Earnest von Anthony bility / Zsolt Gyori (117–138). – Socialist Asquith (1952). Night Fever: Yugoslav Disco on Film and Tele- vision / Marko Zubak (139–154). – Disco Polo and Techno According to Maria Zmarz- Mazey, Paul: British Film Music: Musical Tradi- Koczanowicz / Ewa Mazierska (155–170). – tions in British Cinema, 1930s–1950s. Cham, Musical Variations in Karpo Godina’s Alter- Switzerland: Palgrave Macmillan 2020, xii, 213 native Cinema / Andrej Sprah (171–186). – S. (Palgrave Studies in Audio-Visual Culture.). Polish Music Videos: Between Parochialism and Universalism / Ewa Mazierska (187–204). From the celebration of landscape and com- – ‘She Stole it from Beyoncé!’: Transnational munity encompassed by pastoral music and Borrowingin Bulgarian Pop-folk Music folk song, and the connection of both with Videos and Audience Reaction to the the English Musical Renaissance, to the mys- Practice / Maya Nedyalkova (205–224). – tical strains of choral sonorities and the stir- Postsocialist Social Reality in Hungarian Rap ring effects of the march, this study explores Music Videos / Anna Baton (225–240). the significance of music in British film culture. With detailed analyses of the work of such key filmmakers as Michael Powell and Ménard, Sylvain: Musiques de films fantas- Emeric Pressburger, Laurence Olivier and tiques et de science-fiction. [Rosières-en-Haye]: Carol Reed, and composers including Ralph Camion blanc 2017 (Camion Blanc. 358. u. Vaughan Williams, William Walton and Brian 366.). Easdale, this systematic and in-depth study explores the connotations these musical styles 1. Les compositeurs de A à M, 871 S. impart to the films and considers how each 2. Les compositeurs de N à Z, 773 S. marks them with a particularly British inflection. Mera, Miguel / Sadoff, Ronald / Winters, Ben (eds.): The Routledge Companion to Screen Mu- Mazierska, Ewa / Gyori, Zsolt (eds.): Popular sic and Sound. New York/London: Routledge Music and the Moving Image in Eastern Europe. 2017, xxiii, 633 S. New York/London: Bloomsbury Academic Inhalt: Framing Screen Music and Sound. – Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 126

Part 1: Issues in the Study of Screen Music and Knowledge in Foley Artistry. – 28. Direct Sound. – 1 The Ghostly Effect Revisited. – 2. Sounds, Language Swaps, and Directors’ Cuts: Mystical Intimations, the Scenic Sublime, and The Quest for Fidelity in the Film Soundtrack. the Opening of the Vault: De-classicizing the – Part 4: Cultural and Aesthetic Perspectives. – Late-romantic Revival in the Scoring of ‘New 29. From Disney to Dystopia: Transforming Hollywood’ Blockbusters c. 1977–1993. – 3. “Brazil” for a US Audience. – 30. Birth and Screen Music and the Question of Originality. Death of the Cool: The Glorious Afflictions of – 4. Affect, Intensities, and Empathy: Sound Jazz on Screen. – 31. Home Theater(s): Tech- and Contemporary Screen Violence. – 5. Bali- nology, Culture, and Style. – 32. Drive, Speed, nese Music, an Italian Film, and an Ethnomu- and Narrative in the Soundscapes of Racing sicological Approach to Screen Music and Games. – 33. Music, Genre, and Nationality in Sound. – 6. Emphatic and Ecological Sounds the Postmillennial Fantasy Role-Playing in Gameworld Interfaces. – 7. “You Have to Game. – 34. ‘Sounding’ Japanese: Traditions Feel a Sound for It to Be Effective”: Sonic Sur- of Music in Japanese Cinema. – 35. Sounding faces in Film and Television. – 8. Screen Mu- Transculturation: Western Opera in Korea sic, Narrative, and/or Affect: Kieślowski’s Mu- during the Japanese Occupation (1910–1945). sical Bodies. – 9. Roundtable: Current Per- – 36. Christopher Plummer Learns to Sing: spectives on Music, Sound, and Narrative in The Torn Masculinities of Mid-Century US Screen Media. – Part 2: Historical Approaches. Musicals. – 37. Music, Whiteness, and Mas- – 10. Sound Design and Its Interactions with culinity in Michael Mann’s The Last of the Music: Changing Historical Perspectives. – Mohicans. – 38. Some Assembly Required: Hy- 11. Dimensions of Game Music History. – 12. brid Scores in Moonrise Kingdom and The The Changing Audio, Visual, and Narrative Grand Budapest Hotel. – Part 5: Analyses and Parameters of Hindi Film Songs. – 13. From Methodologies. – 39. Methods and Challenges Radio to Television: Sound Style and Audio of Analyzing Screen Media. – 40. From Intu- Technique in Early TV Anthology Dramas. – ition to Evidence: The Experimental Psychol- 14. Manifest Destiny, the Space Race, and ogy of Film Music. – 41. Idolizing the Syn- 1960s Television. – 15. The Early Cinema chronized Score: Studying Indiana Jones Hy- Soundscape. – 16. The Shock of the Old: The pertexts. – 42. Fearful Symmetries: Music as Restoration, Reconstruction, or Creation of Metaphor in Doppelgänger Films. – 43. Musi- ‘Mute’-Film Accompaniments. – 17. Music cal Dreams and Nightmares: An Analysis of That Works: Listening to Prestige British In- Flower. – 44. Reverb, Acousmata, and the dustrial Films. – 18. The Fine Art of Repurpos- Backstage Musical. – 45. Unsettling the ing: A Look at Scores for Hollywood B Films Soundtrack: Acoustic Profiling and the Docu- in the 1930s. – 19. Trailer or Leader? The Role mentation of Community and Place – 46. The of Music and Sound in Cinematic Previews. – Sound of Slime-ness: Telling Children’s Sto- Part 3: Production and Process. – 20. A Star is ries on the Nickelodeon. Born: Max Steiner in the Studios, 1929–1939. – 21. Sound Standings: A Brief History of the Impact of Labor and Professional Representa- Merritt, Russell: Recharging Alexander Nev- tion on the Place of Early Sound Workers in sky: Tracking the Eisenstein-Prokofiev War the Industry (1927–1937). – 22. In Sync? Mu- Horse. In: Prokofiev’s Music for the Silent Film sic Supervisors, Music Placement Practices, 48,2, 1994, S. 34–47. and Industrial Change. – 23. Shaping the Soundtrack? Hollywood Preview Audiences. – 24. Craft, Art, or Process: The Question of Meyer, Stephen C.: Epic Sound: Music in Post- Creativity in Orchestration for Screen. – 25. war Hollywood Biblical Films. Bloomington/In- Post-Apartheid Cinema. – 26. Simulation: dianapolis: Indiana University Press 2014, X, Squaring the Immersion, Realism, and Game- 272 S. play Circle. – 27. The Voice Delivers the Lavish musical soundtracks contributed a Threats, Foley Delivers the Punch: Embodied special grandeur to the new widescreen, Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 127

stereophonic sound movie experience of post- sic and the auteur epic / Julie Hubbert. – “The war biblical epics such as Samson and Delilah, epic and intimately human”: contemplating Ben-Hur, and Quo Vadis. In Epic Sound, Tara’s theme in Gone with the Wind / Nathan Stephen C. Meyer shows how music was uti- Platte. – “We’re the real countries”: songs as lized for various effects, sometimes serving as private musical territories in the epic ro- a vehicle for narrative plot and at times com- mances Casablanca, Doctor Zhivago, and The plicating biblical and cinematic interpretation. English Patient / Todd Decker. – Inverting the In this way, the soundscapes of these films re- epic: the music of Ridley Scott’s Kingdom of flected the ideological and aesthetic tensions Heaven / Kirsten Yri. – The western as na- within the genre, and more generally, within tional epic: musical persona and narrative dis- postwar American society. By examining key tance in High Noon / Jordan Carmalt Stokes. biblical films, Meyer adeptly engages musicology with film studies to explore cinematic interpretations of the Bible during the 1940s Meyer, Stephen C.: Dystopia and transcen- through the 1960s. dence. Tavener’s music for Children of Men. Inhalt: Introduction – 1. A Biblical Story, for In: Music and the Moving Image 13,1, 2020, S. the Post-World-War II Generation?: Victor 43–61. Young’s Music for DeMille’s Samson and Online. – Among the selections used for the Delilah – 2. Turning Away from “Concocted score to Alfonso Cuarón’s Children of Men are Spectacle”: Alfred Newman’s Score for David two works by John Tavener: Eternity’s Sunrise and Bathsheba – 3. Spectacle and Authenticity (1997) and Fragments of a Prayer, written, as in Miklós Rózsa’s Quo Vadis Score – 4. Novel the composer says, “in response” “to the film. and Film, Music and Miracle: Alfred New- The pairing of Tavener’s music with scenes of man’s Score to The Robe – 5. Spirit and Em- dystopian violence articulates spiritual pro- pire: Elmer Bernstein’s Score to The Ten Com- cesses of witness and grief, processes which mandments – 6. The Law of Genre and the find fulfillment in the final scene of the film. Music for Ben-Hur – 7. King of Kings and the (Vorlage) Problem of Repetition – 8. Suoni nuovi, suoni antichi: The Soundscapes of Barabbas – 9. Universality, Transcendence, and Collapse: Miceli, Sergio: Analizzare la musica per film. Music and The Greatest Story Ever Told – Epi- Una riproposta della teoria dei livelli. In: Riv- logue. ista italiana di musicologia 29,2, 1994, S. 517– 544. Meyer, Stephen C. (ed.): Music in Epic Film: Listening to Spectacle. New York/London: Miceli, Sergio: Petrassi tra musica per film e Routledge 2017, xii, 244 S (Routledge Music musica nel film. In: Nuova rivista musicale and Screen Media Series.). italiana 9,4, ott.-dic. 2005, S. 549–556. Inhalt: Branding the franchise: music, opening credits, and the (corporate) myth of origin / Miceli, Sergio: Film Music: History, Aesthetic- James Buhler. – Manufacturing the epic score: Analysis, Typologies. Ed. and transl. by Marco Hans Zimmer and the sounds of significance / Alunno & Braunwin Sheldrick. Milano: Ri- Frank Lehman. – Topoi and intertextuality: cordi/LIM, 2013, xxxvi, 835 S. narrative function in Hans Zimmer’s and Lisa Gerrard’s music to Gladiator / Joakim Till- A history and analysis of film music from the man. – The politics of authenticity in Miklos silent era into the late 20th century. Music Rozsa’s score to El Cid / Stephen C. Meyer. – and film from many countries and styles are From authenticity to anachronism: pre-exist- examined. ing music and “epic Englishness” in Elizabeth and Master and Commander / Alexandra Wil- son. – Records, repertoire and rollerball: mu- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 128

Michaylov, Marcus / Hindi, Mohammed / am Beispiel russischer Kultfilme der 1960er Eriksson, Edward: “More Than a Feeling”: En bis 1980er Jahre. Die Entwicklung von Metho- kvalitativ studie om hur synkronisering kan den, Formen und Bedeutungen der Verwen- stärka en artists varumärke. Kanditatuppsats dung von Musikstilisierungen in der Ge- [B.A.-Arbeit], Kalmar/Växjö: Linnéuniversite- schichte des Kinos wird verfolgt. Basierend tet, Institutionen för marknadsföring (MF) auf dem hermeneutischen Konzept des Spiels 2016, 68 S.; [URL]. enthüllt der Autor die Stilisierungsmerkmale von Dmitri Schostakowitsch, Alfred Schnitt- The purpose of this study is through a quali- ke, Sergej Kuryochin und anderen Filmkom- tative study understand how artists and their ponisten, die nicht nur den Stil des Kompo- representatives in the Swedish music industry nisten und das Konzept des Regisseurs des can strengthen an artist brand by synchroniz- Films charakterisieren, sondern auch die ideo- ing music, and what aspects should be taken logischen und künstlerischen Tendenzen ihrer into account in the synchronization. This Zeit widerspiegeln. Stilisierungen werden im study is based on a qualitative research ap- Kontext des audiovisuellen Kontrapunkts, in proach with a primary deductive approach, der polysemantischen Rahmenstruktur, in der with some elements of inductive approach. Ästhetik der visuellen Absurdität untersucht. These approaches of methods became obvious Der Autor verwendete: die hermeneutische for us because we had an interest and desire Methode zur Interpretation und zum Ver- to look more closely at the subject and going ständnis eines Kunstwerks, den historischen into depth. The empirical data consisted of und kulturellen Ansatz, die Methode zur ver- eight people with insight and extensive expe- gleichenden Analyse von Genres und Stilen rience of the swedish music industry. All the der Musikkunst und des Kinos. Musikalische interviews were semi-structured interviews. Stilisierungen in der Kinematographie werden Through our theory and literature, we have erstmals auf der Grundlage des hermeneuti- created a stability based on marketing theo- schen Spielkonzepts sowie der hermeneuti- ries, such as branding and relations. We have schen Konzepte des ästhetischen Gefühls, der even used theories, which are directly col- ästhetischen Erfahrung, Interpretation, des lected from the music business about syn- Verständnisses und der Schaffung eines theo- chronization. Throughout our analysis and fi- retischen Modells eines Kunstwerks unter- nal discussion we concluded that artist must sucht. Das Verständnis von musikalischen Sti- take into account many aspects of the place- lisierungen in einem Film als Spiel in einem ment of their music when synchronizing. We Spielraum wird begründet. Die Schlussfolge- have referred to and discussed these aspects rung wird über den Beginn der Globalisierung in the conclusions wich are; Image, congru- im künstlerischen Weltprozess gezogen, was ence aesthetics and capitalize the possibility. sich insbesondere in der multikulturellen Na- The artists brand can become stronger, if tur moderner Musikstilisierungen in der Ki- these aspects are done right. nematographie äußert.

Micheeva, Ju[lija] V[sevolodovna]: Igra v igre: Micheeva, Julija Vsevolodovna: Tipologizacija muzykal’nye stilizacii v kinematografe [Ми- audiovizual’nych rešenij v kinematografe: (na хеева, Ю[лия] В[севолодовна]: Игра в игре: materiale igrovych fil’mov 1950-ch – 2010-ch музыкальные стилизации в кинематогра- gg.) [Михеева, Юлия Всеволодовна: Типоло- фе]. In: Filosofia i Kultura 11 (83), 2014, S. гизация аудиовизуальных решений в кинема- 1684–1689; [URL]. тографе: (на материале игровых фильмов “Spielen Sie im Spiel: Musikstile in der Kine- 1950-х – 2010-х гг.)]. Diss. Moskva: Vserossij- matographie.” skij gosudarstvennyj institut kinematografii imeni S. A. Gerasimova] 2016, 377 S.; [URL]. In kyrill. Schrift. – Abstract: Gegenstand der Forschung in diesem Artikel sind musikali- Dazu: Avtoreferat diss., Moskva 2016, 53 S.; sche Stilisierungen in der Kinematographie [URL]. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 129

"Typologie der audiovisuellen Lösungen im senz eines visuellen Ereignisses zu erfassen / Kino: (am Material der Spielfilme der 1950er 185 – Kapitel 4. Spieltyp: – 4.1. Der Spielbe- bis 2010er Jahre). griff in der Geschichte des philosophischen In kyrill. Schrift. – Aus der Einleitung: Die For- Denkens und der Kultur des 20. Jahrhunderts. schungsarbeit konzentriert sich auf audiovi- Die Struktur des Spielraums / 213 – 4.2 Ele- suelle Lösungen im Kino im allgemeinen Kon- mente von Soundspielen im Bildschirmbe- text des Russischen und in der Westeuropäi- reich: Musikzitate, automatische Zitate, schen und nordamerikanischen Kultur von Quasi-Zitate, Meta-Zitate, Stilisierungen / 219 der zweiten Hälfte des 20. bis zu den ersten – 4.3. Klangunfälle und Improvisationen / 237 Jahrzehnten des 21. Jahrhunderts. Film Bild – 4.4 Theatralisierung und Mystifizierung der und Ton werden nicht nur als Bestandteile Realität im Kino mit audiovisuellen Techni- der klangvisuellen Synthese betrachtet, son- ken / 244 – 4.5 Intonationsspiele im Bild- dern auch als Ausdruckselemente und Indika- schirmbereich / 267 – 4.6. Sound Ironie als die toren verschiedener problematischer Aspekte Einstellung des Autors zur Bildschirmaktion / moderner Kultur, darunter: das Verhältnis von 270 - 4.7. Audiovisuelle Collage: Kunstform, Masse und Elite, klassische und nicht-klassi- Spielaktivität, Weltanschauung des Autors / sche Kulturen, Assimilation von für das Euro- 275. – Kapitel 5. Verfremdeter Typ: – 5.1. Geis- zentrisches Modell nicht-traditionellen kultu- teszustände als Formen des gesunden Den- rellen Werte von anderen Ländern – ehemali- kens und Wahrnehmens / 282 – 5.2 Klangver- ge Kolonien, Fragen der Globalisierung, des fremdung und meditative Klangzonen in Fil- Transkulturalismus und des Schutzes der namen / 288 – 5.3 Musikalischer Minimalismus tionalen Kulturen, kultureller Dialog usw. als besondere Art des künstlerischen Denkens / 302 – 5.4. Musikalischer Minimalismus in Inhaltsverzeichnis [in dt. Übers.]: Kapitel 1. der Kinematographie / 308. – Schlussfolge- Definition des audiovisuellen Raums des Films rung / 323. – Bibliographie / 332. – Filmo- im künstlerischen und historischen Kontext: – graphie. 1.1. Bildung klang-visueller Beziehungen im Raum des Stummkinos / 26 – 1.2. Die sinnlich isomorphe Art audiovisueller Lösungen im Michelone, Guido: Jazz-film: Rapporti tra cin- Kino: vom Stummfilm bis zu den neuesten ema e musica afroamericana. Nuova edizione Tonfilmen / 33 – 1.3. Audiovisueller Kontra- ampliata e aggiornata, I edizione. Roma: Ar- punkt: Die Manifestation der Klangsubjektivi- cana 2016, 349 S. (Arcana jazz.). tät / 42 – 1.4. Der Ursprung und die Entwick- lung des audiovisuellen Kontrapunkts / 48 – Inhalt: 1. Il cantante di jazz: un percorso 1.5. Die Struktur des audiovisuellen Raums ei- storico / 11 – 2. Classici / 60 – 3. Kitsch biopic nes Tonfilms. Die relativen und absoluten / 80 – 4. Modern Hollywood / 103 – 5. New Aspekte des Klangs in Film / 66 – 1.6. Ästheti- biopic / 126 – 6. Effetto nostalgia / 147 – 7. sche Lokalisierung des Autors als Grundlage Effetti collaterali / 175 – 8. Drama & comedy / für die Typologisierung audiovisueller Lösun- 191 – 9. Fiction in Italy / 210 – 10. Docu in gen im Kino / 73. – Kapitel 2. Reflexiver Typ: – Italy / 225 – 11. Europa 01 / 237 – 12. Docu- 2.1. Ton als Methode und Reflexionsrichtung menta / 250 – 13. Story & history / 265 – 14. in der Intraframe-Zeit eines Films / 79 – 2.2. Series (e cofanetti) / 275 – 15. Clip & soundies Existenzielle Reflexion im Klang / 90 – 2.3. / 282 – 16. Jazztoon / 295 – 17. Experimenta / Filme über die "menschliche Grenze" und die 310 – 18. Cinico jazz / 326 – Bibliografia es- klangliche Ekstase / 110 – 2.4. Spekulation in senziale / 340 – Filmografia cronologica / 344. Klängen: Erfahrungen mit spirituellen Suchen und Reflexionen von Direktoren / 131 – Kapi- tel 3. Phänomenologischer Typ: – 3.1. Ideen der Michot, Julie: Billy Wilder et la musique philosophischen Phänomenologie und der Ki- d’écran: filmer l’invisible. [Préface de Christian notheorie / 157 – 3.2. Schallreduzierung als Viviani.] Reims: Épure, Éditions et presses phänomenologisches Mittel im Kino / 162 – universitaires de Reims 2017, 200 S. (Studia 3.3. Ton und Nicht-Ton als Mittel, um die Es- Remensia. 5.). Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 130

[R]elève le défi d’aborder Billy Wilder par le texts. This overview of the development of biais de la musique et nous ouvre une pers- narrative theory in music charts the course of pective passionnante en nous faisant réaliser three “waves” of narratological engagement à la fois l’abondance et la diversité de cette di- with music: (1) the scholars of the 1980s, such mension dans l’œuvre du cinéaste. De plus, as Anthony Newcomb, Susan McClary, and dans cette analyse, la musique, parce qu’elle Patrick McCreless, whose work focused on sous-tend le dialogue et le son, devient à la narrative in instrumental tonal music; (2) a fois un outil d’investigation original et un ins- period of critical reappraisal of musical narra- trument de création considérable et, jusqu’ici, tive in the 1990s by writers such as Jean- négligé. Car, par le biais de la musique, c’est la Jacques Nattiez and Carolyn Abbate; (3) the maîtrise chorégraphique qui est étudiée (l’hô- opening up of narrative theory to broader tel-cabaret de Berlin-Est dans Un, deux, trois, musical repertories–e.g. film and popular mu- qui culmine dans les trémoussements de Lise- sic–with scholars such as Nicholas Reyland. lotte Pulver au son de La Danse du sabre ; la Important strands of narrative thinking are ronde effrénée des danseurs autour de Watson highlighted, demonstrating the significance of dans La Vie privée de Sherlock Holmes) ; puis balancing structural and “humanistic” ap- la gestion de la mécanique des corps devient proaches to the study of music through narra- naturellement celle des voix et des répliques, tive, encouraging close theoretical links be- voire des détails faciaux (il y a chez Wilder tween cultural and analytical readings. une chorégraphie du visage de Jack Lemmon). Bref, en un remarquable équilibre de rigueur analytique et de gourmandise cinéphile, Julie Minnick, Jonathan: Cyborgs and cybernetics. Michot célèbre un art complet, souverain, Electroacoustic characterization and ecology bien plus profond et complexe que ses appa- in Forbidden Planet, In: Lied und populäre Kul- rences enivrantes le laissent supposer. – Ent- tur: Jahrbuch des Zentrums für Populäre Kultur hält Filmografie, Diskografie und Indexe. und Musik 64, 2019, S. 49–66. Forbidden Planet’s (1956) premiere electrified Miley, Mike: David Lynch at the crossroads. the burgeoning Sci-Fi genre, which drama- Deconstructing rock, reconstructing Wild at tized the international exploration efforts of Heart. In: Music and the Moving Image 7,3, the Space Race, allowing audiences to witness 2014, S. 41–60. and hear imagined cosmic landscapes. Louis and Bebe Barron’s fully electronic film score, This paper examines the use of rock music in the first of its kind, sparked the imagination David Lynch’s Wild at Heart (1990) to chal- of generations of Sci-Fi directors, composers, lenge the film’s reputation as a vapid mess of and enthusiasts to come. During the early postmodern irony and show how the film’s stages of the Barrons’ electronic music exper- references to rock ’n’ roll forms, iconography, imentation, Louis read Norbert Wiener’s Cy- and history assert a Romantic conception of bernetics, or Control and Communication in art as a generative force in the American the Animal and the Machine (1948), which the- spirit. orizes the relationship between human-generated mechanics and electronics and structures of animals and other beings. Rather than us- Millard, Russell: Telling Tales: A Survey of ing the then-available synthesizers or the Narratological Approaches to Music. In: Cur- theremin in their orchestration, the Barrons rent Musicology, 103, Fall 2018, online. engineered their own electronic oscillators Of the various hermeneutic approaches to the and circuits, applying the same mathematics study of music developed in the last half cen- and schematics found in Wiener’s book. This tury or so, narratological analysis has gone foundational connection to Wiener’s inquiries further than many in navigating a path that encourages us to consider an ecomusicologi- draws on both cultural and structural con- cal analysis, exploring the complex relationship between the natural and the non-natural Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 131

present in the soundtrack as well as the film. Sternschnuppen fallen ... (DDR), 1981). Although the sound machines were designed Abstract: The paper deals with a kind of «war to mimic animals, their electroacoustic ties to trilogy» directed by I. Talankin with the mu- characters both human and non-human trans- sic of a composer Alfred Schnittke and, as a ports the listener to a non-earth setting. The separate musical text, the composer partition binary of these sound machines mirrors ele- to the following movies: «Entry», «Daytime ments in the film, like the humanoid Robby Stars» and «Star Fall». The work identifies the the Robot and the Krell monster, a creation of basic principles how the director and the Dr. Morbius’s subconscious. Furthermore, composer reveal deeply moral issues in the Forbidden Planet’s reworking of Shakespeare’s context of war and peace. For the first time on The Tempest, and numerous ecocritical read- the basis of archival materials and unexplored ings of this play, elucidates post-colonial the- partitions the composer’s method of work in ories of imperialism. Themes of conquest are the movie is cleared up: the principles of common in Sci-Fi movies, in which unsustain- monothematicism, the system of leitmotifs able lifestyles on Earth have forced humans to (leit-theme of war, fate, hope, dreams and search for new planets to settle. Ecomusicol- farewell), the ratio of music in shot and be- ogy has traditionally focused on Earth-based hind-the-scenes and conjugations of different landscapes, but my research on Forbidden styles in partitions. During the analysis of Planetexpands the boundaries to the realms of movies and partitions their genre and stylistic outer space. An ecological reading of the mu- features and the peculiarities of composition sic associated with Forbidden Planet’s humans, solutions are revealed. The methods and tech- non-humans, and alien landscapes demon- niques of the composer developing deep psy- strates how the cyborg sound machines ani- chological problems, implied realities, sym- mate the complex elements of the forbidden phonic pairings of sharply contrasting musi- planet Altair IV. From the invisible, dangerous cal images are highlighted. The importance of Krell, to the harmless “Shangri-La In The lyrical-psychological and tragic spheres of Desert,” this paper shows how the sound ma- music for Talankin’’s movies is emphasized. It chines of the soundtrack curate a cosmic en- was found out that music of Schnittke in the vironment filled with objects and beings that Talankin’s movies is always meaningful; it exhibit the shared human/non-human binary. gives additional information, reveals deep (Vorlage) psychological motives and complex emotional feelings of the characters. The work of Alfred Schnittke in the cinema is shown to be impor- Miroškina, A[l’fija] F[aritovna]: Vojna i «Tri tant for the formation of polystylistic writing cveta vremeni žizni» (o fil’mach I. Talankina s method, peculiar to master, as well as testing muzykoj A. Šnitke) [Мирошкина, А[льфия] of many imaginative, timbre and harmonic Ф[аритовна]: Война и «Три цвета времени solutions being implemented into the maj or жизни» (о фильмах И. Таланкина с музы- academic genres (for example, «Faustian кой А. Шнитке)]. In: Ežekvartal’nyj recenziru- theme»). emyj, referiruemyj naučnyj žurnal «Vestnik AGU», Vypusk 3 (164), 2015, S. 136–141; [URL]. Miroškina, Al’fija Faritovna: Kinomuzyka Al’- freda Šnitke: opyt issledovanija [Мирошкина, “The war and «3 colors of a lifetime» (about I. Альфия Фаритовна: Киномузыка Альфреда Talankin’s movies with A. Schnittke’s music).” Шнитке: опыт исследования]. Diss. Oren- In kyrill. Schrift. – Zu Schnittkes Musik für burg: GBOU VO «Orenburgskij gosudarstven- drei Filme von Igor Talankin: Vstuplenie nyj institut iskusstv im. L. i M. Rostropovičej» (Вступление, Entry aka Introduction, 1963), 2017, 256 S. Dnevnye zvëzdy (Дневные звёзды, Tagesster- ne, 1968) und Zvezdopad (Звездопад, Sternen- Dazu: Avtoreferat, Magnitogorsk 2017, 27 S.; regen aka Sternschnuppe (DDR) aka Wenn die [URL]. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 132

„Alfred Schnittkes Filmmusik: Eine For- Monaghan, Terry: Rock around the clock. The schungserfahrung.“ record, the film, and the last historic dance re- Zur Filmmusik der russ.-dt. Komponisten Al- volt. In: Popular Music History 3,2, 2008, S. fred Schnittke (Al’fred Garri’evič Šnitke, 123–148. 1934–1998). – In kyrill. Schrift. The unruly surge of enthusiastic mass dancing to rock ’n’ roll music became a defining Mitchell, Helen: Against all odds: The decline event of 1956, a year packed with memorable and resurgence of the symphonic film score in political and cultural changes. Through detailed analysis of key films from Rock Around Hollywood. In: The Journal of Film Music 2,2– the Clock to Jailhouse Rock, this article locates 4, 2009), S 175–200. 1950s rock’n’roll on the cusp between the With the birth of sound film, the symphonic remnants of the swing era, and the subse- film score would begin a journey which quent period of music industry control. After would firmly entrench the symphonic score the shock administered by mid-1956 rock ’n’ in Hollywood practice and parlance. On roll music and mass dancing to the then pre- route, the symphonic film score would experi- vailing racially segregated social norms, Hol- ence many highs and lows, reflecting changes lywood films downplayed the role of dance within the film and music industries and also and refocused creative audience interest on within society at large; changes compounded the “rock’n’roll” “vocal stars. by the impact of new technologies. Monchick, Alexandra: Paul Hindemith and the Mogl, Verena: Musik in Bewegung. Mieczys- Cinematic Imagination. In: The Musical Quar- law Weinbergs Kompositionen für den Film. terly 95,4, 2012, S. 510–548. In: Osteuropa 60 (2010) 7, S. 123–137. Moormann, Peter: Nino Rota und Ennio Mor- Möller, Hartmut: Dis-sonare – Auseinander- ricone. Musik im italienischen Film der 1960er klingen in der Musik / Dis-sonare – Sounding Jahre. In: Thomas Koebner u. Irmbert Schenk apart in music. In: Musiktherapeutische Um- (Hrsg.): Das goldene Zeitalter des italienischen schau: Forschung und Praxis der Musiktherapie Films. Die 1960er Jahre. München: Edition Text 36,4 2015, S. 294-308. und Kritik 2008, S. 447–469. Zusammenfassung: Der Dissonanzbegriff wird in allen europäischen Sprachen auf das Zu- Moormann, Peter: Komponieren mit flexiblen sammenklingen unterschiedlicher Tonhöhen Modulen: Zur Filmmusik von John Williams. angewandt. Dabei führte die unterschiedliche In: Archiv für Musikwissenschaft 67 (2010) 2, Gewichtung von physikalischen, wahrneh- S. 104–119. mungspsychologischen und ästhetischen As- pekten vom Mittelalter bis heute zu unter- schiedlichsten Begründungen der Grenze zwi- Moormann, Peter: Lisztomania – Starkult um schen konsonanten und dissonanten Zusam- den Virtuosen. In: Kieler Beiträge zur Film- menklängen und der musikgeschichtlichen musikforschung 7, 2011, S. 45–54, [URL]. Rolle der Dissonanz. Seit dem 20. Jahrhundert stehen dem Selbstverständnis der Neuen Mu- Moormann, Peter: Composing with Types and sik, dass mit Schönbergs Emanzipation der Dissonanz die Tonalität gestorben sei, der da- Flexible Modules. In: Journal of Film Music von unbeeindruckte ausdrucksvolle Disso- 5,1–2, 2012, S. 165–168. nanzgebrauch in weitgehend tonaler Pop- und Filmmusik gegenüber. Moormann, Peter: Musik und Geräusch im frühen Tonfilm. In: Ivana Rentsch u. Arne Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 133

Stollberg (Hrsg.): Tonspuren aus der Alten nen Sound produziert und erfasst, angeeignet Welt: Europäische Filmmusik bis 1945. Mün- und genutzt wird. chen: Edition Text + Kritik 2013, S. 55–65. Inhaltsübersicht: I. Methodisch-theoretische Zugänge – II. Begriffe – III. Disziplinäre Per- spektiven – IV. Akustische Phänomene – V. Moormann, Peter: Wagners Klangwelten im Räume – VI. Medien – VII. Politik. Fantasyfilm, In: Jan Drehmel, Kristina Jaspers u. Steffen Vogt (Hrsg.): Richard Wagner und das Kino der Dekadenz. Wien: Turia + Kant Mörchen, Roland: »Das große Ganze«: Franz 2014, S. 36–43. Grothes Filmschaffen nach 1945. In: Banter, H[arald] / Brandhorst, J[ürgen] / Braun, M[i- Moormann, Peter / Lüschow, Stefan / Wulff, chael] [u.a.]: Franz Grothe. München: Allitera Hans J. (Komp.): Beethovens Musik im Film. In: Verlag 2019, S. 93–102 (Komponisten in Bay- Medienwissenschaft: Berichte und Papiere 189, ern: Dokumente musikalischen Schaffens im 2020, 25 S. 20. und 21. Jahrhundert. 64.). Wege ins populäre Wissen: Beethoven als Filmmusiker / Hans J. Wulff [1]. – Beethovens Morcom, Anna: Hindi Film Songs and the Cin- Musik im Film: ein Verzeichnis / Peter Moor- ema. Aldershot, Hampshire/Burlington, VT: mann & Stefan Lüschow [4]. – Fidelio-Filme / Ashgate 2007, xii, 281 S. (SOAS Musicology Fidelio-TV-Aufzeichnungen / Hans J. Wulff Series.). [21]. Neuaufl.: Oxford/New York: Routledge 2016, xviii, 287 (SOAS Musicology Series.). Moormann, Peter / Wünschel, Ulrich: John Inhalt: The cinematic study of Hindi film Williams’ Filmmusik zu Krieg der Sterne. In: songs – The production process of Hindi film Gerhard Paul u. Ralph Schock (Hrsg.): Sound songs – The musical style of Hindi film songs des Jahrhunderts. Geräusche, Töne, Stimmen – Music, narrative and meaning in Hindi films 1889 bis heute. Bonn: Bundeszentrale für poli- – The commercial life of Hindi film songs – tische Bildung 2013, S. 492–495. The audience reception of Hindi film songs in and beyond the parent film.

Morat, Daniel / Ziemer, Hansjakob / Rutz, Rainer (Hrsg.): Handbuch Sound: Geschichte – Morcom, Anna: Film I: Bollywood-Music and Begriffe – Ansätze. Stuttgart: Metzler 2018, XI, Multimedia. In: The Routledge Companion to 437 S. Music and Visual Culture. Ed. by Tim Shep- hard & Anne Leonard. New York/London: Überblick über Sound in den Kultur-, Geistes- Routledge 2014, S. 352–358. und Sozialwissenschaften. Ausgehend von der Beobachtung, dass Sound ein soziales und damit auch ein historisches Phänomen ist, grei- Moreux, Serge: La Partition musicale mi- fen die Autorinnen und Autoren die Vielfalt crogénique. Reflexions et conseils pratiques. von Sound in unterschiedlichen Erschei- In: Polyphonic 2,6, 1950, S. 7–18. nungs- und Darstellungsformen auf und ver- folgen ihre Spuren in Geschichte und Gegen- wart. Sie skizzieren methodisch-theoretische Morricone, Ennio: Inseguendo quel suono: In Zugänge und Begriffe der Soundforschung His Own Words. Ennio Morricone in conversa- und gehen auf disziplinäre Perspektiven und tion with Alessandro De Rosa. Translated Traditionen ebenso ein wie auf einzelne akus- from the Italian by Maurizio Corbella. New tische Phänomene. Dabei werden spezifische York: Oxford University Press 2019, xxii, 341 Räumlichkeiten genauso berücksichtigt wie S. die medialen und politischen Kontexte, in de- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 134

Werkverzeichnis Ennio Morricone: S. 265– of Twentieth Century History. 64.). 299. Rev. (David Clampin) in: Contemporary British History 31,1, March 2017, S. 136–137. Morricone, Ennio / Miceli, Sergio: Composing The Nazi Party stressed the superiority of for the Cinema: The Theory and Praxis of Music Germanic culture, and the promotion of in Film. Translated by Gillian B. Anderson. Richard Wagner and Carl Orff was central to Lessons transcribed by Rita Pagani and edited Hitler’s cultural program. In Britain, the War by Laura Gallenga. Lanham, Md.: Scarecrow Office under Winston Churchill chose to pro- Press 2013, XIV, 295 S. mote Edward Elgar and Hubert Parry, but also to appropriate and ‘de-Nazify’ Ludwig van Zuerst ital.: Componere per il cinema. Teoria Beethoven – whose Fifth Symphony was used e prassi della musica nel film. Venezia: Mar- extensively in wartime broadcasts and has silio 2001, 316 S. since become synonymous with VE Day. Inhalt: Introduction: the composer in the cin- Meanwhile, the work of Ralph Vaughan ema – Audiovisual analysis, part I – Produc- Williams, whose music was commissioned by tion procedures – Audiovisual analysis, part II Powell and Pressburger for use in 49th Paral- – The recording and sound design – Composi- lel, reclaimed a particularly English past tional elements – Questions and answers. stretching back to the Tudors. A cultural history of music in wartime based on detailed archival research, Culture and Propaganda in Morricone, Ennio / Tornatore, Giuseppe: En- World War II analyses the use of music in the nio: un maestro. Milano: HarperCollins 2018, work of British and German film-makers and 334 S. will be essential reading for historians, musicians, film scholars and propaganda analysts. Due amici si incontrano e discutono. Discuto- no del mondo e del loro lavoro, perché non sono soltanto amici, si muovono anche nello Morton, Lawrence: Rule, Britannia! British stesso universo artistico. Uno realizza cinema, Film Music. In: Hollywood Quarterly 3,2, 1947, l’altro realizza musiche per il cinema. È così S. 211–214. che nascono queste pagine densissime, ani- mate dalle domande di Giuseppe Tornatore, che riportano i suoi lunghi colloqui con Ennio Moseley, Roger: Music, Visual Culture, and Morricone. Pagine nelle quali il cinema è un Digital Games. In: The Routledge Companion to tema ed è un pretesto, qualche volta in primo Music and Visual Culture. Ed. by Tim Shep- piano, qualche altra sullo sfondo dei loro in- hard & Anne Leonard. New York/London: contri. Ne parlano, lo affrontano, lo rigirano Routledge 2014, S. 376–384. da ogni parte per capire cosa sia stato, cosa sia oggi e che futuro abbia, lo osservano da ci- neasti, lo osservano da appassionati, lo osser- Moser, Rolf / Scheuermann, Andreas / Drücke, vano anche da spettatori. Intrecciano le loro Florian / Albiez, Christiane (Hrsg.): Handbuch opinioni, i loro racconti, le loro sensazioni. der Musikwirtschaft. Völlig neu bearb. 7. Aufl. Ogni tanto sembra che i loro ruoli si inverta- München: Beck 2018, XLV, 1009 S. no. Tornatore cerca una sua musica delle im- Darin u.a.: §15. Der Filmmusikverlag (Rolf magini, Morricone una misteriosa visibilità Moser) / 134–145. – §68. Filmkomponisten- dei suoni. und Soundtrackverträge (Georg Höss) / 881– 900. – §69. Werbemusikverträge (Peter F. Schulz) / – 901–925. – §70. Filmmusik-Lizenz- Morris, John: Culture and Propaganda in verträge (Peter F. Schulz) / 926–989(?). World War II: Music, Film and the Battle for National Identity. London / New York: I.B. Tauris, 2014, vii, 248 S. (International Library Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 135

Motazedian, Tahirih.: To Key or Not to Key: Müller, Janina: Musik im klassischen Film noir. Tonal Design in Film Music. Diss. Ph.D. Thesis, Würzburg: Königshausen & Neumann 2019, Yale University 2016. 276 S. (Klangfiguren. 5.). Dazu: Dissertation Abstracts International Zuerst als Diss., Humboldt-Universität Berlin DAI-A 78/07(E). 2018. Scholars have long been dismissive of the via- Die Studie beleuchtet die Rolle der Musik in bility of long-range tonal organization in film Hollywoodfilmen der 1940er und 1950er music. Controversy over questions of autho- Jahre, die französische Filmkritiker nach dem rial intent, aural perception and tonal mem- Ende des Zweiten Weltkriegs Film noir ory, and the ability of a sound track to func- tauften. Gegenüber dem klassischen Erzäh- tion as a cohesive “work” “have led scholars lkino prägt der Film noir eine Reihe von to steer dear of (or reject) the concept of tonal Besonderheiten aus. Dazu gehört seine the- design in film. To date, filmic tonal design has matische Vorliebe für die Schattenseiten zwis- been explored by only a few scholars in the chenmenschlicher und gesellschaftlicher context of a few films. Having analyzed over Beziehungen, der Einsatz von subjektivierten sixty films, my work addresses this lacuna, Erzählverfahren und eine expressive and establishes a systematic methodology for Raumgestaltung. Seine Musik, die mit Kom- tonally analyzing film sound tracks. My ponisten wie Miklós Rózsa, Roy Webb, analyses reveal overarching tonal organiza- George Antheil, Adolph Deutsch, Max Steiner tion and elaborate networks of harmonic rela- und Henry Mancini verbunden ist, greift tionships, in which specific keys serve explicit sowohl harmonische Stilmittel aus dem functions within the filmic narrative and Epochenfeld zwischen Spätromantik, Impres- structure. In addition to overturning preva- sionismus und Moderne als auch Einflüsse der lent assumptions about the feasibility of populären Musik und des Jazz auf. Das stereo- large-scale tonality in film, my findings foster type Bild von Hollywoods Filmmusik der a fascinating new level of engagement be- „goldenen Ära“ als einer spätromantisch ver- tween a film’s music and narrative, and chal- hafteten Praxis ist mit Blick auf diesen stilis- lenge the sedimented notion that key is an ir- tischen Eklektizismus revisionsbedürftig. Hier relevant parameter in the study of film music. setzt die Arbeit an, um auf der Basis von film- The following films will be analyzed: The Tal- musikalischen Quellenstudien einen Einblick ented Mr. Ripley (1999), The English Patient in die facettenreiche musikalische Charakter- (1996), Breaking and Entering (2006), The istik des Film noir zu geben. Im Fokus steht Grand Budapest Hotel (2014), The Royal Tenen- eine Auswahl von filmgeschichtlich ausgeze- baums (2001), Fantastic Mr. Fox (2009), Moon- ichneten Produktionen, darunter John Hus- rise Kingdom (2012), The Darjeeling Limited tons The Maltese Falcon (1941), Howard (2007), Persuasion (1995), Emma (1996), and Hawks’ The Big Sleep (1946), Robert Siodmaks Amadeus (1984). The Killers (1946) und Nicholas Rays In a Lonely Place (1950) bis hin zu Billy Wilders Hollywoodsatire Sunset Boulevard (1950) und Müller, Antje: Cinematographische Verfahrens- Orson Welles’ Touch of Evil (1958). weisen in den Orchesterwerken von Charles Koechlin. Hofheim am Taunus: Wolke 2015, 257 S. (Sinefonia.). Müller, Janina / Plebuch, Tobias:Decomposing heroism. Rolf Wilhelm’s music for Radetzky- Zugl.: Diss. Berlin: Technische Universität marsch (1965). In: Music, Collective Memory, 2010. Trauma, and Nostalgia in European Cinema Darin: „Filmmusik und durch den Film inspi- After the Second World War. New York: Rout- rierte Musik“ / 175. ledge 2020, S. 209–234. In 1965, Joseph Roth’s famous novel Radet- zkymarsch (1932) was adapted for the screen Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 136

with an original score by Rolf Wilhelm. Com- Königshausen & Neumann 2009, S. 123–133 pared to escapist monarchy films from the (Thurnauer Schriften zum Musiktheater. 22.). 1950s, Radetzkymarsch shifts the perspective to the dark sides of the Habsburg era. In- depth analysis of the autograph score demon- Münzmay, Andreas: Bird, Blues, Broadway. strates a similar tendency of the music. A pro- Gestalt und Funktion der Musik in Shadows gressive decay of the march determines its von John Cassavetes. In: Willem Strank/Claus Mahlerian trajectory per astra ad inferi. Wil- Tieber (Hg.): Jazz im Film: Beiträge zu Ge- helm employs a variety of traditional and schichte und Theorie eines intermedialen Phäno- modernist techniques including plain quota- mens. Wien/Berlin: Lit 2014, S. 133–158. tions, subtle allusions, caricature, fragmenta- John Cassavetes’ Shadows (USA 1959) mit tion, rhythmic manipulation, and cluster dem von Charles Mingus’ Jazz Workshop chords. His music thus exhibits an anti-sub- eingespielten Soundtrack gilt als Paradigma lime attitude in accord with prevalent post- des improvisierten Films. Eine differenziertere war sentiments in Austria and Germany. (Vor- Lektüre gerade auch der musikalischen Kom- lage) ponente des Films ergibt eine präzisere Bes- timmung des Verhältnisses von Improvisation Müller, Sabine: Eduard Künneke: Leben und zu kompositorischen Verfahrensschritten wie Materialauswahl, Arrangement, Schnitt und Werk. Emmerich am Rhein: Verlag des Emme- Synchronisation. Erarbeitet wird – nicht richer Geschichtsvereins e. V. 2018, XIII, 409 S. zuletzt mit höranalytischen Verfahren – ein + 1 Audio-CD. (Emmericher Forschungen. Gesamtüberblick über die Verwendung von 36.). Musik in Shadows. Davon ausgehend zielen Zuerst: Diss. Bremen: Universität Bremen die beiden zentralen Fragen des Beitrages auf 2016. das künstlerische Handeln, die künstlerischen Darin u.a.: S. 217–311: 5. FILMMUSIK-KOM- Entscheidungen von Cassavetes und Mingus: POSITIONEN: 5.1 Stummfilm-Musiken – 5.1.1 Welche Musik kommt zum Einsatz? In Anfänge – 5.1.2 Das Weib des Pharao op. 15 – welcher Weise kommt Musik zum Einsatz? 5.1.3 Das Blumenwunder [op. 20] – 5.1.4 Zitathafte Verbindungen ergeben sich zu ver- Ausklang – 5.1.5 Resümee – 5.2 Tonfilm- schiedensten kulturellen Ausdrucksformen Musiken – 5.2.1 Übergang vom Stumm- zum wie Rock’n’Roll (Elvis Presley), Bebop (Char- Tonfilm – 5.2.2 Filmmusiken 1932–1938 – lie Parker), Blues (Earl Hines/Billie Eckstine), 5.2.3 Eduard Künneke im Zweiten Weltkrieg – Musical und Film (The Ziegfeld Follies, USA 5.2.4 Resümee – 5.3 Exkurs: Mythos Sucht. – 1936;), so dass die insgesamt 21 verschiedenen Mit Notenbeispielen. Musiken, die an 37 Stellen im Film eingesetzt werden, jeweils in beredter Weise unmittelbar mit Inhalt und Bildlichkeit des Films inter- Mungen, Anno: Theatermusik als Filmmusik. agieren. In drei nach phänomenonlogischen Kurt Weills „Dreigroschen“-Musik als Adap- Kriterien unterschiedenen Durchgängen wird tion für den Film von G.W. Papst. In: Filmexil die gesamte Shadows-Musik in den Blick 14, 2001, S. 9–24. genommen: solistische Jazzimprovisation; En- semblearrangements aus der Feder von Charles Mingus; zitierte Musik. Zu lesen sind Mungen, Anno: Film-Theater. Malerei, Musik Film und Musik nicht zuletzt als emphatisches und Tanz in Vincente Minellis An American in Statement für eine gegenseitige Öffnung Paris (1951). In: Betzwieser, Thomas / Münz- afroamerikanischer und weißer populärer may, Thomas / Mungen, Anno / Schroedter, (Musik-)Kulturen. (Autor) Stephanie (Hrsg.): Tanz im Musiktheater – Tanz als Musiktheater. Bericht eines internationalen Symposions über Beziehungen von Murphy, Scott: The Major Tritone Progression Tanz und Musik im Theater. Würzburg: in Recent Hollywood Science Fiction Films. In: Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 137

Music Theory Online (MTO) 12,2, 2006, [URL]. the visual scope of imagery to consider the presence and expression of music and sound, In the 2002 film , composer Treasure Planet as well as how the psyche encounters ex- James Newton Howard accompanies the pri- panded images – archetypal, personal or cul- mary shot of the titular orb with an undula- tural – on both conscious and unconscious tion between two major triads a tritone apart. levels. By closely examining music in film, I offer three approaches to understanding the Nagari considers music’s complementary, en- appropriateness of this image/music pairing. hancing, meaningful, and sometimes disrup- First, I present several scenes from recent tive, contribution to expressive images. Chap- Hollywood films that conspicuously combine ters present a Jungian approach to music in this triadic progression with settings of, or film, highlighting how ‘music-image’ func- objects from, outer space. Second, I relay tions both independently and in conjunction ways in which the intrinsic harmonic and with the visual image, and suggesting further voice-leading characteristics of this triadic directions in areas of research including mu- progression invoke the concepts of great dis- sic therapy and autism. Divided into three cu- tance, ambiguity, and unfamiliarity. Third, I mulative parts, Part I explores the Jungian conclude with a more thorough study of psychological account of the music-image; Howard’s harmonic language in the score for Part II combines theory with practice in Treasure Planet, suggesting that this progres- analysing how the auditory image works with sion and the scene it accompanies represents the visual to create the ‘film as a whole’ expe- the culmination of musical and visual/narra- rience; and Part III implements a specific un- tive processes, respectively. derstanding of three individual film cases of different genres, eras and styles as psycholog- Musegades, Paula: Aaron Copland’s Hollywood ically scrutinised ‘case histories’. Film Scores. Rochester: University of Rochester Press 2020, 201 S. (Eastman Studies in Music. Nagato, Yōhei: Eiga onkyōron: Mizoguchi Kenji 169.). kiga o kiku [長門洋平: 映画音響論: 溝口健二映 Inhalt: Setting the Standard: Hollywood’s Stu- 画を聴く]. Tōkyō: Misuzu Shobō 2014, vi, 391, dio System – Breaking with Tradition: Cop- 19 S. land’s Theories on Film Music – Scoring [„Theorie des Filmtons: Kenji Mizoguchis Fil- Morality: (1939) – Keeping It Of Mice and Men me hören“.] Simple: Our Town (1940) – “Doing His Bit”: The North Star (1943) – Sophisticated Simplic- In japan. Schrift. – Kenji Mizoguchi (1898– ity: The Red Pony (1949) – Silence and Sound: 1956) war kreativ in einer Vielzahl von Gen- The Heiress (1949) – Hearing the Shift: Cop- res, Stilen und Technologien, einschließlich land’s Lasting Impact on Hollywood. Pionierversuchen zu Beginn der Talkies und seiner Beschäftigung mit neuer und zeitge- nössischer Avantgarde-Kunst. Analysiert wird die Klangerzeugung in japanischen Filmen vom frühen Talkie bis zum goldenen Zeitalter der 1950er Jahre. In diesem Buch wird die – N – Nützlichkeit von Ton in Mizoguchis Filmen in Bezug auf Bilder und Geschichten betrachtet. Darüber hinaus wird die Klangerzeugung im Nagari, Benjamin: Music as Image: Analytical Produktionsprozess anhand der Partitur und Psychology and Music in Film. London/New des Manuskripts des Komponisten selbst ana- York: Routledge 2016, xix, 157 S. lysiert. Wichtige Literatur zum Filmklang Through a theoretical and practical explo- wird eingeführt. Es ergibt sich ein theoreti- ration of Jungian and post-Jungian concepts schen Rahmen für die Analyse von Filmen surrounding image, this book moves beyond von der auditorischen Seite her, der eine Me- thodik bietet, die von Experten auf verschie- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 138

denen Gebieten wie der audiovisuellen Kultur Mikrofiche-Ausg.: Ann Arbor, Mich.: Pro- und der Medienforschung verwendet werden Quest, 4 Mikrofiches. kann. Im Anhang ein langes Interview mit Iwao Otani, dem verantwortlichen Toninge- nieur für alle Mizoguchi-Filme, die in den Nettelbeck, Colin: A Cycle of Freedom: Louis 1950er Jahren in Daiei Kyoto produziert wur- Malle’s Jazz Films. In: Nottingham French den. Mit sorgfältigen Analysen von Tokyo Studies 43,1, 2004, S. 156–164. Symphony, Furusato, Elegie in Naniwa, Er- zählung von den späten Chrysanthemen, Die Neumeyer, David: Film II. In: Legende vom Meister der Rollbilder und Die The Routledge Ed. by Straße der Schande. Es wird eine filmakusti- Companion to Music and Visual Culture. sche Theorie entwickelt, die nicht nur Fil- Tim Shephard & Anne Leonard. New York/ memacher und Musikwissenschaftler einbe- London: Routledge 2014, S. 359–366. zieht, sondern auch technologische, ge- schlechtsspezifische und postkoloniale theo- Neumeyer, David: Studying Music and Screen retische Perspektiven umfasst. Media. In: The Routledge Companion to Music Inhalt: 1. Tonorte – Grundlegende Gedanken and Visual Culture. Ed. by Tim Shephard & zur Klassifizierung von Filmtönen. – 2. Tōkyō Anne Leonard. New York/London: Routledge kōshinkyoku [Tokyo Symphony aka Tokyo 2014, S. March] (1929) – Versuch eines Talkie. – 3. Fu- rusato (1930) – die Morgendämmerung der Talkie-Ära. – 4. Naniwa erejî [Elegie in Nani- Neumeyer, David: Meaning and Interpretation wa aka Osaka Elegy] (1936) – das Fehlen von of Music in Cinema. With contributions by Begleitmusik und der Realismus. – 5. Zangiku James Buhler. Bloomington: Indiana Univer- monogatari [Erzählung von den späten sity Press 2015, xv 317 S. (Musical Meaning Chrysanthemen] (1939) – Stimme, Stille, Phan- and Interpretation.). tomgeschichte. – 6. Chikamatsu monogatari By exploring the relationship between music [Die Legende vom Meister der Rollbilder aka and the moving image in film narrative, Eine Erzählung nach Chikamatsu] (1954) – Die Ästhetik der „unvollständigen“ Musik. – 7. David Neumeyer shows that film music is not conceptually separate from sound or dialogue, Akasen chitai [Die Straße der Schande] (1956) – Nachkriegs- und zeitgenössische Musik im but that all three are manipulated and contin- japanischen Film. ually interact in the larger acoustical world of the sound track. In a medium in which the image has traditionally trumped sound, Navitski, Rielle: The Tango on Broadway: Car- Neumeyer turns our attention to the voice as los Gardel’s International Stardom and the the mechanism through which narrative (dia- Transition to Sound in Argentina. In: Cinema log, speech) and sound (sound effects, music) come together. Complemented by music ex- Journal 51,1, 2011, S. 26–49. amples, illustrations, and contributions by James Buhler, Meaning and Interpretation of Nelson, Robert U. / Rubsamen, Walter H.: Bib- Music in Cinema is the capstone of liography of books and articles on music in Neumeyer’s 25–year project in the analysis film and radio. In: Hinrichsen’s Musical Year and interpretation of music in film. Book 6, 1949/50, S. 318–331. Inhalt: Part 1: Meaning and interpretation – Music in the vococentric cinema – Tools for analysis and interpretation. – Part 2: Music in Ness, Richard R.: Non-Visual Pleasures: Music, the mix: Casablanca – Acoustic stylization: Gender, and Narrative Cinema. Ph.D. Thesis, the film’s sound world – Music and utopia: a Detroit, Mich., Wayne State University 2002, reading of the reunion scene – The reunion III, 292 S.. scene’s contexts. – Part 3: Topics and tropes: Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 139

two preludes by Bach Performers onscreen – Niedermüller, Peter: »Make it loud! This is a Underscore four studies of the C major pre- Romeo foxtrott. Shall we dance?«: Richard lude. Wagner und die Filmmusik. In: Wagner-Per- spektiven: Referate der Mainzer Ringvorlesung zum Richard-Wagner-Jahr 2013. Hrsg. v. Axel Newiak, Denis: „Wer sagt, er wäre geflogen, Beer & Ursula Kramer. Mainz: Are Edition lügt“. Peter Gotthardts Musik zum DEFA-Film 2015, S. 149–178 (Schriften zur Musikwissen- Ikarus (1975). In: Klaus-Dieter Felsmann schaft.). (Hrsg.): Peter Gotthardt – 50 Jahre Filmmusik. Berlin: Ries & Erler 2016, S. 37–45. Nitsche, Jessica: »Wild, White Horses« – Film- musik und Tod in Wim Wenders’ Palermo Newlin, Dika: Music for the Flickering Image: Shooting. In: “Dancing with Mr. D” – Tod in American Film Scores. In: Music Educators Popmusik und Kunst. Hrsg. v. Jörg Vögele, An- Journal 64,114, Sept. 1977, S. 24–35. na Schiller, Luisa Rittershaus & Kelly G. Waap. Newsom, Jon: ‘A Sound Idea’: Music for Ani- Köln: Wienand 2019, S. 66–71. mated Films. In: The Quarterly Journal of the Noeske, Nina: Musik und Imagination. J.S. Summer 1984, S. 279–308. Library of Congress, Bach in Tarkovskijs Solaris. In: Filmmusik: Beiträge zu ihrer Theorie und Vermittlung. Nicholls, Mark: Scythian rhapsody: The Red Hrsg. v. Knut Holtsträter, Oliver Huck & Vic- Shoes, Le Sacre du Printemps, creative youth toria Piel. Hildesheim/Zürich/New York: Olms and regenerative rage. In: Quarterly Review of 2008, S. 25–42. Film and Video 34,5, 2017, S. 425–444. Über den Film von Michael Powell und Noeske, Nina: „In allen Opern, die von Erlö- Emeric Pressburger (1948) zum Ballett von sung handeln, wird im 5. Akt eine Frau Sergei Diaghilev mit der Musik von Igor geopfert“. Film, Musik und Oper bei Alexan- Stravinsky von (1913). der Kluge. In: Kieler Beiträge zur Filmmusik- forschung 3, 2009, S. 84–95. Niebling, Laura: Rockumentary: Theorie, Ge- schichte und Industrie. Marburg: Schüren, Noeske, Nina: Violeta Dinescus Musik zu 2018, 412 S. (Marburger Schriften zur Medien- Friedrich Murnaus Stummfilm Tabu: Eine mu- forschung. 79.). sikalische Topographie des ‚Blicks‘. In: Blick- wechsel Ost/West: Gender-Topographien. Hrsg. Zugl.: Diss. Universität Bayreuth 2017. v. Nina Noeske & Melanie Unseld. Hildesheim: Inhalt: 1. «Video Revives The Radio Star» – Olms 2009, S. 27–36 (Jahrbuch Musik und Einleitung / 7 – 2. Die Rockumentary – Annä- Gender. 2.). herung und intermedialer Kontext / 35 – 3. Musik im Film, Musik als Film – Eine Sche- matisierung des Musikfilms / 65 – 4. Gegen- Noeske, Nina: Gläserne Harmonien hinter kultur, Subkultur, Massenkultur – Die Ge- dem Eisernen Vorhang: Eine sur-realistische schichte der Rockumentary / 173 – 5. Beigabe, Zeichentrickfilmmusik von Alfred Schnittke. B-Movie, Blockbuster – Die Industrie der Mo- In: Postmoderne hinter dem Eisernen Vorhang: dernen Rockumentary / 257 – 6. Rockumenta- Werk und Rezeption Alfred Schnittkes im Kon- ry – Movens und Dokument der Musikge- text ost- und mitteleuropäischer Musikdiskurse. schichte / 341. Hrsg. v. Amrei Flechsig & Stefan Weiss. Hil- Rez. (Klos, Stefanie) in: MEDIENwissenschaft: desheim: Olms 2013, S. 77–92 (Ligaturen. Mu- Rezensionen, 3, 2019, S. 307–309. – Rev. (Weid- sikwissenschaftliches Jahrbuch der HMTH. 6.). hase, Nathalie) in: Popular Music History 12,2, 2019, S. 243–246. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 140

Noeske, Nina: Mit Wagner über Wagner hin- sche Theorie von Super Mario Brothers – 7. aus: Hans-Jürgen Syberbergs Parsifal-Film Essay zur Designstudie von Game Audio – (1982). In: Parsifals Rituale: Religiöse Präfigura- Geschichte, Bewegung, Zeit. tionen und ästhetische Transformationen. Bei- träge der Ostersymposion Salzburg 2013. Hrsg. v. Jürgen Kühnel & Siegrid Schmidt. O’Brien, Charles: Movies, Songs, and Electric Anif/Salzburg: Müller-Speiser 2014, S. 110–124 Sound: Transatlantic Trends. Bloomington: In- (Wort und Musik. 77.). diana University Press 2019, xi, 212 S. How did the introduction of recorded music affect the production, viewing experience, and Noeske, Nina: Zur filmmusikalischen Reprä- global export of movies? In Movies, Songs, sentation männlicher Homosexualität. In: Mu- and Electric Sound, Charles O’Brien examines sik und Homosexualität – Homosexualität und American and European musical films created Musik. Hrsg. v. Kadja Grönke u. Michael Zy- circa 1930, when the world’s sound-equipped wietz. Hildesheim/Zürich/New York: Olms theaters screened movies featuring recorded 2017, S. 61–75 (Jahrbuch Musik und Gender. songs and filmmakers in the United States 10.). and Europe struggled to meet the artistic and technical challenges of sound production and Noeske, Nina: Zukunftsmusik. Musikpraxis im distribution. The presence of singers in films exerted special pressures on film technique, Science-Fiction-Film. In: Musik in der Science- lending a distinct look and sound to the films’ . Hrsg. v. Knut Fiction / Music in Science fiction musical sequences. Rather than advancing a Holtsträter, Tarek Krohn, Nina Noeske u. film’s plot, songs in these films were staged, Willem Strank. Freiburg: Waxmann 2019, 364 filmed, and cut to facilitate the singer’s en- S. (= Jahrbuch „Lied und Populäre Kultur / gagement with her or his public. Through an Song and Popular Culture“. 64.). examination of the export market for sound films in the early 1930s, when German and American companies used musical films as a vehicle for competing to control the world film trade, this book delineates a new transnational context for understanding the – O – Hollywood musical. Combining archival research with the cinemetric analysis of hun- Obana, Takashi: Eiga ongaku kara gēmu ōdio dreds of American, German, French, and e: Eizō onkyō kenkyū no chihei [尾鼻崇: 映画音 British films made between 1927 and 1934, 楽からゲームオーディオへ: 映像音響研究の地 O’Brien provides the historical context neces- 平]. Kyōto: Kōyō Shobō 2016, x, 187 S. sary for making sense of the aesthetic impact of changes in film technology from the past to In japan. Schrift. – Zeigt, wie sich die in frü- the present. hen Hollywood-Filmen etablierte klassische Musiksprache mit der anschließenden Ent- wicklung von Videomedien verändert hat und O’Meara, Jennifer: Character as DJ: Melomania wie sie sich auf unser Musikhören auswirken and Diegetically Controlled Music. In: The New könnte. Soundtrack 5,2, 2015, S. 133–151. Inhalt: 1. Der Filmmusikkomponist Max Stei- Despite a wealth of literature on the narrative ner und sein Umfeld – 2. Max Steiners Film- and emotional implications of film music, lit- musik und das „Lichtmotiv“ – 3. Synchroni- tle has been written on the relationship be- sieren von Video und Ton in Max Steiners tween musical choices and characterisation. Filmmusik – 4. Aspekte von Game Audio in When character is discussed in relation to der Frühzeit des Videospiels – 5. Familien- music, the focus tends to be on how directors computer und „Spielemusik“ – 6. Die akusti- and sound designers use non-diegetic music – Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 141

either a score or pre-existing songs – to com- of Ukrainian composers and identify some as- ment on a character’s psyche. This article pects of its understanding (film music as a considers possible implications of, and bene- sound reality of culture, communicative func- fits to, characters shown to choose and play tion of music and sound image, etc.). Research music for themselves. In Auteur Music, Clau- methodology lies in the use of comparative dia Gorbman uses the term mélomane to de- methodological principles as well as system scribe ‘music-loving directors’ who treat mu- and musical-historical methods. The above sic ‘as a key thematic element and a marker methodological approach allows to study the of authorial style’ (2007: 149). Just as Gorb- applied (by its origin) composing sphere in man suggests that melomania allows an au- perspective of representation of contempo- teur to express individuality through musical rary culture and reveal national and cultural choices, I argue for the significance of charac- identity of film music of Ukrainian com- ter melomania in granting these fictional con- posers. The scientific novelty of this study structs individuality through music. As can be consists in the expansion of notions of the demonstrated through a series of case studies “secondary” field of Ukrainian composers’ from the films of – among others – Sofia Cop- works, which is a significant part of our cul- pola, Hal Hartley and Jim Jarmusch, this trend ture and often reflects the major trends of its for a character to serve as DJ is particularly development. “Music for Films” is a constant strong in American independent cinema. of the works of Ukrainian authors, but this is- Through engagement with theories of charac- sue has not yet become the subject of a spe- ter construction and identification (Dyer 1998; cial scientific discussion. Conclusions. Film Smith 1995), as well as literature on indie cin- music of Ukrainian composers of the second ema as character rather than plot-based (King half of the XX century and today represents a 2005; Newman 2011), this article reveals specific phenomenon, characterized by het- diegetically controlled music to be an impor- erogeneity of functional and stylistic manifes- tant tool for the development of, and audience tations. If, in some cases, music created for a identification with, characters. The technique film, is only a special case of manifestation of is also connected to selected findings from so- the creative talent of the composer (as Boris cio-musicology, whereby character DJs can be Liatoshynsky, Miroslav Skoryk, Valentin Sil- seen to represent the way that, in everyday vestrov), in others – we are dealing with real life, individuals use music to develop their so- experts in this area, whose works in their cial identity. bulk are connected to the “production” of music for films (Vladimir Guba, Oleg Kiva).

Ottenheym, Konrad: Film und Musik bis zur Einführung des Tonfilms: Beiträge zu einer Ozsvárt, Viktória: Interactions between sym- Geschichte der Filmmusik. Diss., Friedrich-Wil- phonies and film music in the œuvre of László helms-Universtät zu Berlin 1944, (4], 154 S. Lajtha. In: Studia musicologica: An Interna- tional Journal of Musicology 58,2, 2017, S. 239– 253. Ovsyannikova-Тrеll, Aleksandra: Film Music in the Works of Contemporary Ukrainian In the case of Hungarian composer and eth- Composers. In: Visnyk Natsionalnoi akademii nomusicologist László Lajtha (1892–1963) dis- kerivnykh kadriv kultury i mystetstv [Kyïv] 2, covering the manifold potentials in a sym- 2016, S. 91–94; [URL]. phonic orchestra linked strongly with the composition of works for stage and screen. Abstract: The purpose of the article. The re- Nevertheless, it clearly makes sense to exam- search is related to the study of film music of ine the long-term relations Lajtha had with contemporary Ukrainian composers. It is a the film as a genre, by searching for common specific genre layer in Ukrainian music cul- features in the structure of his music com- ture of today. The author tries to define the posed for films and his symphonies. Much of problem field of cultural studies of film music the musical material in Lajtha’s Third Sym- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 142

phony is similar to those he used in his 1948 this essay builds upon existing scholarship to film music for Murder in the Cathedral. The propose a political economy of film music similarity gains more complexity if one takes stardom as a means to historicise the intersec- into consideration that the Third Symphony tions between media industries. By applying was marked by the composer as the starting the methodologies and concepts of compara- point in a monumental, five-fold symphonic tive media studies to a history of postwar cycle composed through the 1950s. The article Hollywood that found itself challenged by a makes an attempt to explore the thematic and proliferation of ‘new’ media, particularly in motivic relationship between the Third Sym- the emergence of a youth-oriented consumer phony, the Variations and the film score Mur- culture and the increasingly popular compet- der in the Cathedral by analysing the musical ing screen of television, this article demon- material and the structure, and by searching strates how transmedia stardom indexes the for correlation between the audible and visual ways in which production cultures have un- effects of the music Lajtha used in the movie derstood the development of media industries scenes. This kind of examination may offer a and commodities in relation to one another. new perspective on the sources of inspiration that shaped Lajtha’s workmanship and it also gives some important information about his Patka, Marcus G. / Stalzer, Alfred (Hrsg.): Stars way of thinking about music. of David: Der Sound des 20. Jahrhunderts. Hrsg. im Auftrag des Jüdischen Museums Wien. Ber- lin: Hentrich & Hentrich 2016, 349 S. Darin: Sheldon Harnick: Der Mann. der die Songs für Fiddler on the Roof schrieb / The – P – Man Who Created the Songs of Fiddler on the Roof. Interview: Alfred Stalzer / 78. – Günter Krenn: Europäische Emigranten als Filmkom- Pagan, Nicholas O.: Tous les matins du monde: ponisten in Hollywood / European Emigrants Roland Barthes and the Culture of Musician- as Film Composers in Hollywood / 82. – Gün- ship. In: PostScript 22,1, Fall 2002, S. 35–44. ter Krenn: Stars of David am Firmament Hol- Palmer, Christopher: Miklós Rózsa: A Sketch of lywoods / Stars of David in the Hollywood His Life and Work. London: Breitkopf und Här- Skies / 90. tel 1975, 78 S. Pauli, Hansjörg: Filmmusik – ein historisch- Palmer, Landon: ‘And Introducing Elvis Pres- kritischer Abriss, in: Hans Christian Schmidt ley’: Industrial Convergence and Transmedia [Hrsg.]: Musik in den Massenmedien Rundfunk Stardom in the Rock ’n’ Roll Movie. In: Music, und Fernsehen: Perspektiven und Materialen. Sound, and the Moving Image 9,2, 2015 (Special Mainz: Schott 1976, S. 91–119. Issue: “Musical Screens: Musical Inventions, Digital Transitions, Cultural Critique”. Guest Paulus, Irena: Music in Krzysztof Kieslowski’s ed.: James Tobias), S. 177–190. film Three Colors: Blue. A rhapsodie in shades Recent cinema music scholarship has demon- of blue: The reflections of a musician. In: Inter- strated that the correspondence between national Review of the Aesthetics and Sociology commercial music production and Hollywood of Music 30,1, 1999, S. 65–91. filmmaking has rarely operated according to a stable or fixed formula, but has instead taken Über die Musik von Zbignew Preisner (geb. place as an ever-shifting negotiation between 1955) für den Film von Kieslowski (1993). media industries. Through a case study that examines the production histories and promo- Payri, Blas: ‘Moon River and Me’: The film- tional efforts of Elvis Presley’s first two films, song as leitmotiv in Breakfast at Tiffany’s. In: Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 143

The Soundtrack 4,2, 2011, S. 137–152. ein zentrales Merkmal in Oper, Film und anderen theatralen Formen. Doch welche Funk- tionen erfüllt die Musik für die Handlung? Pelkey, Stanley C. / Bushardt, Andy (eds.): An- Mit welchem Zweck wird sie eingesetzt und xiety Muted: American Film Music in a Subur- von wem? Ist sie Ausdruck der Gefühle der ban Age. Oxford/New York: Oxford University Figuren oder ein Kommentar des Komponis- Press 2015, xviii, 298 S. ten ans Publikum? «Hören» die Figuren selbst Inhalt: A survey of history, themes, and die Musik? Antworten auf diese Fragen sam- trends / Stanley C. Pelkey II – Music and melt die Autorin aus allen relevanten Fachge- mimicry in Sunset Boulevard (1950) / Christina bieten und nutzt die Betrachtung von Leitmo- Gier – Who’s who in Hadleyville: the civic tivik, Kommunikationsmodellen, Theaterse- voice in High Noon (1952) / Anthony Bushard miotik, Schauspielmusik und Filmmusik zur – Anxieties of accuracy: Miklós Rózsa’s score Entwicklung eines eigenen umfassenden und for Quo vadis (1951) / Linda K. Schubert – für alle musiktheatralen Gattungen gültigen “Whatever will be, will be”: gender equality Funktionssystems. In Beispielen aus Werken and the music of Alfred Hitchcock’s The Man Albert Lortzings zeigt sich paradigmatisch Who Knew Too Much (1956) / Joshua Neu- das virtuose Spiel des Komponisten mit den mann – Music, maturity, and the moral geog- unterschiedlichen Funktionen der Musik. raphy in Leave It to Beaver (1957–1963) / Stan- Darin u.a.: E. Filmmusik (81–118): I. Fünf ley C. Pelkey II – The whole truth: music as Funktionen von Filmmusik – 1. Bildton und truth in TheT wilight Zone (1959–1964) / Reba Fremdton – 2. Diegetische und extradiegeti- Wissner – “Living in harmony” ?: American sche Musik – 3. Drei »livelli« und die »epifa- music and individualism in The prisoner nia degli artefici« (Miceli) – 4. Der »degree of (1967–1968) / Joanna Smolko and Tim Smolko musical reality« (Van der Lek) – II. Filmmusik – The sound of disability: music, the Obses- und Narratologie – III. Funktionssysteme – 1. sive avenger, and eugenics in America / La Motte-Haber/Emons – 2. Pauli – 3. Maas/ Meghan Schrader – Masculinity, race, and the Schudack – 4. Bullerjahn – 5. Retter – 6. Klop- blues in the Bizpic Cadillac records (2008) / penburg – IV. Weitere Modelle. Jesse Schlotterbeck – Comin’ back to the six- Rez. (Michael Berger) in: [rezens.tfm], 15.5. ties: mobilizing music and performing poli- 2019; [URL] u. [URL]. tics, 1988–1990 / Christopher D. Stone – Late- adolescence in the American sixties: “The twist” “and the twentysomethings in AMC’s Phillipot, Michel: ‘Musique à ne pas voir’. In: Mad men (2007–) / Samantha London – Musi- Vibrations, 4, 1987, S. 58–64. cally recreating the fifties in Far from Heaven (2002) / Mariana Whitmer – The very essence of tragic reality: Aaron Copland and Thomas Phinney, Nicole Dawn: The Influence of Music Newman’s suburban scoring / Anthony in Transportation and Character Identification. Bushard. Diss., Santa Barbara, CA: Fielding Graduate University 2017. This paper seeks to answer if music has an in- Pflüger, Dana: Musik und Handlung: Die Funk- fluence on the level of transportation and tionen der Musik in Oper, Film und Schauspiel character identification in a fictional narra- mit einer exemplarischen Betrachtung von Al- tive. Two groups were asked to watch nine bert Lortzings Werken. Bern/Berlin/Bruxelles/ videos each and rate the level of transporta- New York/Oxford/Warszawa/Wien: Peter Lang tion (how invested in the narrative they were) 2018, VII, 267 S. (Perspektiven der Opernfor- and the level of character identification, in- schung. 26.). cluding if they wished to watch more of the Diss. Paderborn: Universität Paderborn 2016. film. It was found that music as an emotional variant produced significant results in both Die Verbindung von Handlung und Musik ist levels of transportation and character identifi- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 144

cation. Significant results were found in both von ihrer Komposition über deren Wirkung – between-group and pairwise comparison. auch der von Stille oder Geräuschen – bis hin Furthermore, when gender was examined as a zu ihrer Rezeption im Rahmen des audiovisu- condition, it was found that music as an emo- ellen Gesamtkunstwerks. Zur Veranschauli- tional valancehad a significant impact in chung werden zahlreiche Filmbeispiele, wie some, but not all, videos. One video in partic- Disneys Fantasia (1940), The Shining (1980) ular, Vanilla Sky, produced significant results oder The Artist (2011), herangezogen. in gender, independent from music as an Inhalt: Vorwort 7. – Mathias Hirsch: Einige emotional variant. Gedanken zur Wirkung und Funktion von Musik im Film / 17. – Sebastian Leikert: Von der Musik der Bilder. Versuch zur ästheti- Piccardi, Carlo / Anderson, Gillian B. / Bagnoli, schen Form der Filmkunst / 35. – Johannes Lidia: Pierrot at the cinema. The musical com- Hirsch: Musik und Stille im Film / 53. – Helga mon denominator from pantomime to film, pt. de la Motte-Haber: Stummfilm – ein audiovi- 2. In: Music and the Moving Image 2,2, 2009, S. suelles Medium. Notwendigkeit musikalischer 7–23. Begleitung zum bewegten Bild / 69. – Hannes Having noted similar theoretical issues and König: Mit Hingabe zum Schaudern. Über das challenges in the setting of music for pan- Unheimliche in der Musik von Die neun Pfor- tomime and for film, Carlo Piccardi collected ten (1999) / 81. – Matthias Hornschuh: Why an exhaustive list of early theoretical com- So Serious? Filmmusik als Miterzähler in ments, reactions, and descriptions about the Christopher Nolans The Dark Knight (2008) / issue. In part I, in Music and the Moving Im- 95. – Willem Strank: Markierungen des Irrea- age, volume 1, number 2, extensive quotes by len. Zur Andeutung alternativer Realitätszu- Jacques de Baroncelli, Paul Huguonet, Alice stände durch Filmmusik / 115. – Andreas Ja- Orient, Jeanne Ronsay, and Émile Jaques-Dal- cke: Todes-Rezeptionen. Händel und Wagner croze (among many others) demonstrated the in Lars von Triers Antichrist (2009) und Me- similarities between the development of mu- lancholia (2011) / 127. – Konrad Heiland: Die sic for pantomime and that for dance and cin- Hochzeit von Ton und Bild bei David Lynch, ema, and cinema music’s connection to the die Tonspur als eigenständiges Kunstwerk bei futurist movement. In part II, we have obser- Jean-Luc Godard / 143. – Konrad Heiland: vations and ruminations by Ricciotto Canudo Tonspuren im Schnee. Zur Filmmusik von and Sebastiano Arturo Luciani. It is astonish- Stanley Kubricks The Shining (1980) / 165. – ing to read comments written almost a hun- Theo Piegler & Konrad Heiland: Rettungsfan- dred years ago that reflect on issues that are tasien in Bild und Ton. Psychoanalytische Be- still very much with us today. (Vorlage) trachtungen über die Filme Vertigo (Hitchcock 1958) und The Artist (Hazanavicius 2011) / 171. – Irene Kletschke: Gemalte Träume. Walt Piegler, Theo / Konrad Heiland (Hrsg.): Der So- Disneys Fantasia (1940) / 211 – Stephan Brüg- undtrack unserer Träume: Filmmusik und Psy- genthies: Schicksal und Zufall, Schuld und choanalyse. Gießen: Psychosozial-Verlag 2013, Reue. Die Musikdramaturgie von Magnolia 271 S. (1999) / 225. – Enjott Schneider: Filmmusik- Traumarbeit in surrealer Welt. Ein persönli- Erst in den letzten Jahrzehnten begann die cher Bericht aus der Komponistenwerkstatt / psychoanalytische Auseinandersetzung mit 231. – Auf der Transsib. Zur Vertonung eines Film und Musik. Insbesondere Soundtracks Dokumentarfilms über die Transsibirische Ei- von Filmen wurde bisher wenig Beachtung senbahn. Interview mit der Musikerin und geschenkt. Dabei ist die Gestaltung der Ton- Komponistin Christina Fuchs (Mai 2012) / spur wesentlich für die emotionale und ästhe- 245. – Andreas Jacke: »Mimique« – durch den tische Wirkung eines Films.Im vorliegenden Körper versinnbildlichte Musik im Film: Da- Band untersuchen renommierte Musikwissen- vid Bowie und Marilyn Monroe / 249. schaftler und Psychoanalytiker Filmmusik Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 145

Pilewski, Marcelo: Film music. Interactive auner gibt es immer noch was zu sagen: Aufsätze dio-visual approaches. In: Min-Ad: Israel Stud- und Notizen. Bayreuth: Universität Bayreuth ies in Musicology Online (Ramat-Gan: Bar-Ilan 2015, S. 29–41 (HAGEL. 28.). University) 15, 2018, S. 228–239. This work deals with the analysis and compo- Piotrowska, Anna G.: O muzyce i filmie: wpro- sition of film music. After presenting the prin- wadzenie do muzykologii filmowej. Kraków: cipal approaches in musical multimedia re- Musica Iagellonica 2014, 380 S. (Acta musicolo- search, the work proposes a general music gica Universitatis Cracoviensis. 25.). analysis tool that considers extra-musical aspects of a movie. The tool examines film-mu- Mit engl. Abstract: “On music and film: An in- sic from points of view related to the narra- troduction to film musicology (377–380)”; tive of the film. It presents categories that [URL]. – Inhaltsverzeichnis: [URL]. point to functions of the music in an audiovisual context. The categories are non-exclu- Platte, Nathan R.: sive. Each film requires the selection of the Musical Collaboration in the categories for analysis which are relevant to Films of David O. Selznick, 1932–1957. Diss., it. The goal is to avoid granting superiority to University of Michigan, Ann Arbor 2010, xvii, the visual plane, and to remark the analog in- 486 S.; [URL]. fluence of the two channels, sound and image, Abstract: This dissertation investigates the on the creation of the meaning. Afterwards, a collaborative process of film scoring as prac- few ideas for the application of the tool in ticed in the films of David O. Selznick, a pro- learning music composition will be suggested. ducer whose close attention to music distinguished him from Hollywood competitors. Drawing from extensive archival research, I Piñera, Antonio: Miklós Rózsa: una vida, dos examine the producer’s memos, composers’ pasiones. Madrid: T & B Ed. 2015, 366 S. scores, and various correspondences to trace Inhaltsverzeichnis: Prólogo / 9 – Introducci- streams of influence that shaped the musical ón / 13 – Biografía / 21. – PRIMERA PARTE. rhetoric of Selznick’s most significant films. MÚSICA CINEMATOGRÁFICA: – 1. 1837– Close study reveals that interpretive argu- 1948 / 29 – 2. 1948–1961 / 103 – 3. 1961– ments concerning these films are best 1981 / 231. – SECUNDA PARTE. MUSICA DE grounded in a thorough knowledge of the CONCIERTO: – 4. Música de cámara / 281 – film scores’ collaborative construction. Rather 5. Trabajos para orquesta / 293 – 6. Obras pa- than depicting Selznick as a producer-auteur ra solo de instrumento y orquesta / 305 – 7. who merely imposed his ideas on composers, Trabajos para solo de instrumento / 317 – 8. this dissertation views the scores from his Trabajos para voces / 325 – 9. Obras para pia- films as sites of artistic contestation in which no solo / 329 – 10. Música sinfónica con varia- musical decisions made before, during, and ciones de música de cine a música de concier- after composition alternately reflect instances to / 335. – ANEXOS. DISCOGRAFÍA COM- of negotiation and resistance. Selznick’s col- PLETA DE LA MÚSICA BE CONCIERTO: – laboration with composers Miklós Rózsa, Max Discografía completa de la música de cine / Steiner, Dimitri Tiomkin, and Franz Waxman 345 – Catálogo completo de scores / 353 – Ca- forms the centerpiece of this study, with se- tálogo completo do obras de concierto / 357 – lect scores receiving special emphasis. Analy- Epílogo. El mito Rózsa / 363. – Bibliografía / sis of King Kong (1933), The Young in Heart 365. (1938), Gone with the Wind (1939), and Re- becca (1940) shows Selznick’s growing involvement in the film scoring process and Piontek, Frank: Eine Walküre der Wissen- also highlights the savvy mediation of com- schaft. Zur Filmmusik von A Dangerous Mind. posers and music directors. Inspection of In: Piontek, Frank / Schultz, Joachim: Zu Wag- Symphony of Six Million (1932), Little Lord Fauntleroy (1936), and Since You Went Away Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 146

(1944) further reveals Selznick’s indebtedness Journal of the Society for American Music 8,3, to musical practices of the silent cinema.The 2014, S. 311–337. scores for Spellbound (1945), The Paradine Case (1947), and Portrait of Jennie (1948) bear intricate collaborative tensions—often involv- Platte, Nathan [R.]: “The Epic and Intimately ing director Alfred Hitchcock—and receive a Human”: Contemplating the Tara Theme in chapter each, allowing ample space to explore Gone With the Wind. In: Music in Epic Film: the aesthetic controversies surrounding each Listening to Spectacle. Ed. by Stephen C. Meyer. score’s production, promotion, and reception. New York/London: Routledge 2017, S. 163–183. In these chapters theoretical concerns, such as the relationship between music, subjectiv- Platte, Nathan [R.]: Making Music in Selznick’s ity, and gender, gain nuance when set against . New York: Oxford University Press the backdrop of creative collaboration. By Hollywood considering issues of authorship and artistic 2019, ix, 398 S. (The Oxford Music/Media Se- control, this dissertation demonstrates that ries.). the scores for Selznick’s films convey a dense Through the rise and fall of the Hollywood polyphony of ideas, revisions, and interpola- studio system, David O. Selznick reigned as tions effected by composers, music editors, di- Hollywood’s preeminent producer. His repu- rectors, and producer. Scrutiny of these scores tation depended in large part on music. The and the process of their construction illumi- orchestral cacophony of King Kong, the puls- nates rarely glimpsed facets of film music ing electronic sonorities of Spellbound, and production, encouraging the scholar to recon- the Tara theme from Gone with the Wind sider the social dynamics that constitute artis- made music a distinguishing feature of the tic collaboration in multimedia. Selznick experience. By flaunting music’s role in film and overseeing its distribution through sheet music, concerts, radio broadcasts, and Platte, Nathan [R.]: Dream analysis: Korngold, soundtrack albums, Selznick cultivated a fas- Mendelssohn, and musical adaptations in cination with film scores. But he did not do it Warner. Bros.’ ›A Midsommer Night’s Dream‹ alone. In Making Music in Selznick’s Holly- (1935). In: 19th Century Music 34,3, 2010/11, S. wood, Nathan Platte brings to light the men 211–236. and women whose work sounds throughout Über den Film von William Dieterle (1893– Selznick’s many films. The cast includes fa- 1972) und Max Reinhardt (1873–1943) mit der miliar composers like Max Steiner, Franz Musik von Erich Wolfgang Korngold. Waxman, and Dimitri Tiomkin, but extends to overlooked contributors, including music editor Audray Granville, orchestrator Hugo Platte, Nathan [R.]: Nostalgia, the Silent Cin- Friedhofer, harpist Louise Klos, choral direc- ema, and the Art of Quotation in Herbert Stot- tor Jester Hairston, publicist Ted Wick, and hart’s Score for The Wizard of Oz (1939). In: many others. Novelists, studio writers, and di- Journal of Film Music 4,1, 2012, S. 45–64. rectors like Alfred Hitchcock also influenced the soundscapes of Selznick’s films. Whether working with the producer directly or manag- Platte, Nathan [R.]: Conducting the composer. ing his presence from a distance, all had to David O. Selznick and the Hollywood film reckon with Selznick’s musical preoccupa- score. In: Music, Sound and Filmmakers: Sonic tions. Rarely was it easy. Rewritten scores, Style in Cinema. Ed. by James Wierzbicki. New fired personnel, and other skirmishes reflect York/London: Routledge 2012, S. 122–137. the troubles-and uneven compromises-that shaped music for films like Gone with the Wind, Duel in the Sun, and Rebecca. Platte, Nathan [R.]: Kong Was King: Compet- ing Methods in Hollywood Underscore. In: Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 147

Plebuch, Tobias: Der dunkle Spiegel. Bachs Plebuch, Tobias: Richard Wagner im Film bis Musik in den Filmen Ingmar Bergmans. In: Jo- 1945. In: Wagnerspectrum 4,2, 2008, S. 123–140. hann Sebastian Bach und die Gegenwart: Beiträ- Hrsg. v. Mi- ge zur Bach-Rezeption 1945–2005. Plebuch, Tobias: Ergötzlich entsetzlich. Ent- chael Heinemann u. Hans-Joachim Hinrichsen stellte Musik im Spielfilm. In: Kieler Beiträge in Zusammenarb. mit Andreas Krause. Köln: zur Filmmusikforschung 3, 2009, S. 123–129 Dohr 2007, S. 167–199. (online). Bergman verwendet in zwölf seiner Filme Kompositionen Bachs, fast ausschließlich langsame Instrumentalsätze. Vor dem Hinter- Plebuch, Tobias: Zeitarbeit. Das Zusammen- grund der Vielzahl an Filmen mit Bachscher spiel von Menschen, Maschinen und Musik in Musik werden am Beispiel von Bergmans Fil- der Entwicklung von Tonfilmtechniken. In: men Szenen mit Bachs Musik analysiert und Spiel (mit) der Maschine: Musikalische Medien- wiederkehrende Konstellationen von Proble- praxis in der Frühzeit von Phonographie, Selbst- men und Personen bestimmt. Der Analyse des spielklavier, Film und Radio. Hrsg. v. Marion frühesten Beispiels (Wilde Erdbeeren [Smul- Saxer; redakt. Mitarb.: Leonie Storz. Bielefeld: tronstället], 1957) folgt zunächst die Unter- transcript 2016, S. 177–210 (Musik und Klang- suchung derjenigen Filme, in denen die Musik kultur. 11.). Momente der Hoffnung und Heilung aus- drückt (Wie in einem dunklen Spiegel [Sasom i Plebuch, Tobias / Panning, Moritz: Wie man en spegel], 1961, Das Schweigen [Tystnaden], 1963, Ach, diese Frauen [För att inte tala om al- durch die vierte Wand singt. Opernszenen im la dessa Kvinnor], 1963, Persona, 1966, Schreie Musikerfilm. In: Kieler Beiträge zur Filmmusik- und Flüstern [Viskningar ich rop], 1972), forschung 10, 2013, S. 101–127 (online). Herbstsonate [Höstsonaten], 1978, Sarabande, 2003), anschließend folgen diejenigen Szenen, Pokorny, Johannes: Stilmittel und Kompositi- in denen Momente der Angst und Bedrohung onstechniken zur Suggestion von Emotionen im musikalisch umgesetzt werden ( Die Stunde Film: Dargestellt anhand von „Inception“ und des Wolfes [Varstimmen], 1968, Schande „The Curious Case of Benjamin Button“. Master- [Skammen], 1968, Passion [En Passion], 1969, arbeit, Wien: Universität Wien. Philologisch- Fanny und Alexander, 1982). Im Vergleich der behandelten Szenen werden drei Thesen her- Kulturwissenschaftliche Fakultät 2014, 131 S.; ausgearbeitet: 1. Bergman vollzieht mit Bachs [URL]. Musik einen moralisch und ästhetisch prekä- Zusammenfassung: Die Filmmusik ist oftmals ren Balanceakt in Bezug auf Sentimentalität; mit dem Vorurteil konfrontiert, lediglich be- 2. Filmszenen mit Bachscher Musik rücken gleitende Funktionen des Bildes zu überneh- bei Bergman ein existentielles Problem, einen men, und wird fernab jeglicher Kunstmusik Krisenmoment in den Vordergrund; 3. Ver- kategorisiert. In der vorliegenden Arbeit wird gleichbare Charakterkonstellationen prägen diesem Vorurteil durch genaue Szenenanalyse diese Szenen. – Trotz unterschiedlicher Hand- sowie Sequenzprotokolle zu den Filmen In- lungsdetails werden eine unverwechselbare ception und The Curious Case of Benjamin Handschrift und ähnliche Rollenkonstellatio- Button nachgegangen. Untersucht wird dabei nen, Grundstimmungen und handlungstrei- der in der Handlung sowie in den Szenen an- bende Probleme erkennbar: Bach erklingt hand von Kompositionstechniken. Im Ver- häufig in (latent) religiösen Situationen, in de- gleich der Kompositionen von Hans Zimmer nen die Kommunikation zwischen Familien- und Alexandre Desplat wird an einigen Bei- mitgliedern zutiefst gestört ist. Gleichwohl spielen bewiesen, dass der Filmmusikkompo- geht von der Musik meist eine heilende, Hoff- nist als Teil eines Produktionsteams eines nung verleihende oder Trost spendende Kraft Films seine kreativen Ideen mit bestimmten aus. (Beatrix Obal) Techniken in seinen Kompositionen entwi- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 148

ckeln kann. Es zeigt sich, dass der Komponist the philosophical, existential and ethical jedes Mal aufs Neue vor einer komplexen themes recurring throughout his work. Ex- Aufgabe steht, diese mit seinem Ideenreich- ploring the multilayered relationship between tum und handwerklichen Geschick bewältigt music, sound, film image and narrative space, und eine zum Bild korrelierenden Filmmusik- Pontara provides penetrating and innovative komposition schafft. close readings of Solaris (1972), Mirror (1975), Stalker (1979), Nostalghia (1983) and The Sac- rifice (1986) and in turn deeply enriches criti- Pollerus, Christine: Konstruktion des Barock: cal understanding of Tarkovsky’s films and Ennio Morricone, Vatel (2000) und die musika- their relation to the broader traditions of Eu- lische Ästhetik des Historienfilms. In: Tonspu- ropean art cinema. An excellent resource for ren: Musik im Film: Fallstudien 1994–2001. scholars, researchers and students interested [Symposion zwischen dem 24. und 26. Oktober in European art cinema and the role of music 2004 an der Universität für Musik und darstel- in film, as well as for film aficionados inter- lende Kunst Graz]. Hrsg. v. Andreas Dorschel. ested in Tarkovsky’s work. Wien: Universal Edition 2005, S. 106–124 (Stu- Inhalt: Interpreting Tarkovsky’s Cinema dien zur Wertungsforschung. 46). through its Music – Bach at the Space Station: Diegetic Ambiguities and Multiplying Gaps in Solaris – Memories, Dreams and Mysteries: Pomerance, Murray: ‘The Future’s Not Ours to Music and Dimensions of Human Experience See’: Song, Singer, Labyrinth in Hitchcock’s in Mirror – Beethoven Overcome: Transcen- The Man Who Knew Too Much. In: Soundtrack dence and Utopia in Stalker – Musical Offer- Available: Essays on Film and Popular Music. ings, Soothing Sounds and Sacrificial Acts: Ed. by Pamela Robertson Wojcik & Arthur Managing the Nostalgia of Nostalghia – The Knight. Durham: Duke University Press 2001, Voice of Truth: Liminal Music, Spiritual Au- S. 53–73. thenticity and Gradual Awakening in The Sac- rifice – Music, Meaning and Troubled Utopias in Tarkovsky’s Cinema – Appendix: The Pontara, Tobias: Beethoven overcome: Roman- Structure of Mirror. tic and existentialist utopia in Andrei Tarkov- sky’s ›Stalker‹. In: 19th Century Music 34 (2010/2011) 3, S. 302–315. Potamkin, Harry Alan: Music and the Movies. In: The Musical Quarterly 15,2, 1929, S. 281– Pontara, Tobias: Andrei Tarkovsky’s Sounding 296. Cinema: Music and Meaning from “Solaris” to “The Sacrifice”. New York/London: Routledge Powell, Andrew S.: The Interconnectivity of 2020, xi, 193 S. (Music and Sound on the Inter- Elfman’s Film Scoring and Burton’s Narrative. national Screen.). In: A Critical Companion to Tim Burton. Ed. by Abstract: Andrei Tarkovsky’s Sounding Cin- Adam Barkman & Antonio Sanna. Lanham/ ema adds a new dimension to our under- Boulder/New York/London: Lexington Books standing and appreciation of the work of Rus- 2017, S. 57–70. sian director Andrei Tarkovsky (1932–1986) through an exploration of the presence of mu- Powrie, Phil: Soundscapes of loss: Songs in sic and sound in his films. The first compre- contemporary French cinema. In: A Compan- hensive study in English concentrating on the . Ed. by A. soundtrack in Tarkovsky’s cinema, this book ion to Contemporary French Cinema reveals how Tarkovsky’s use of electronic Fox, M. Marie, R. Moine & H. Radner. Oxford: music, electronically manipulated sound, tra- Blackwell Publishing 2015, S. 527–546. ditional folk songs and fragments of canon- ized works of Western art music plays into Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 149

Powrie, Phil: Music in Contemporary French can Music 8,3, 2014, S. 371–400. . Cham, Switzerland: Cinema: The Crystal-Song As the first Hollywood film to employ an all- Palgrave Macmillan 2017, xv, 273 S. electronic score, Forbidden Planet (1956) help- Inhalt: Introduction / 1. – Space / 37. – Gender ed cement the association of science-fiction / 71. – Performance / 97. – Time / 129. – films with electronically produced sounds and Hearing / 165. – Seeing / 197. – Conclusion / music. While sounds lacking real-world refer- 229. – Filmography / 245. ents were crucial for representing sonically Rev. (Claus Tieber) in: rezens/tfm, 2, 2017, on- the nature of fantastic objects and beings, line. Louis and Bebe Barron’s soundscape also had to serve the more conventional musical demands of narrative cinema where music sets Powrie, Phil: Looking Back at the (French) mood and atmosphere and creates the illusion Opera-Film. In: Open Screens 1,1,5 (2018), 39 S.; of character subjectivity. This double function [URL]. of their ‘electronic tonalities’, however, en- gendered a strange ambiguity in the film’s This article considers the early development sonic ontology. In this article, I examine how of the opera film and focuses on the final few the practical and aesthetic issues arising from opera films made in France – Boris Godounov this ambiguity forced the Barrons to confront (Andrzej Zulawski, 1989), Madame Butterfly in their score a complex of intertwined musi- (Frédéric Mitterrand, 1995) and Tosca (Benoît cal and cultural messages: how electronic mu- Jacquot, 2001) – placing them in the context sic evokes notions of the exotic Other; how of the challenges faced by the subgenre. conceptions of vocality and embodiment in their music intersect with other visual and narrative elements to illuminate a gendered Priewe, Marc: The Power of Conformity: Mu- divide among envoiced bodies in the film; and sic, Sound, and Vision in Back to the Future. In: how music in the film evolves to illustrate and European Journal of American Studies 12,4, posit a threat to the male body and, thus, 2017, [URL]. masculinity itself – only in order, ultimately, This essay investigates the aesthetic and polit- to restore and reassert conventional patri- ical functions of the choice and placement of archy and the primacy of male subjectivity. music in Back to the Future (1985; dir. Robert As I argue, by using modernist methods and Zemeckis). After an overview of the movie’s materials to serve a conventionally populist cultural contexts, the focus shifts to the inter- representational form, the Barrons effectively plays between sound and cinematic mise-en- exposed some of the deep underlying tensions scène, with a particular emphasis on popular and contradictions within modernism itself, music. I argue that the film employs music even while revisioning fundamental aspects strategically in order to convey a nostalgic of the Hollywood film score. view of American culture and society in the 1950s by including certain songs and exclud- Provost, Sarah: The Dance Hall, Nazi Germany, ing others, as well as by a score that is deeply rooted in the traditions of Hollywood film and Hell: Accruing Meaning through Filmic music. The intermedial use and remediation Uses of Benny Goodman’s ‘Sing Sing Sing.’ In: of music not only amplifies the movie’s quasi- Music and the Moving Image 10,2, Summer philosophical treatment of time and history in 2017, S. 33–45. intricate ways, it also resonates with the contemporary sense of American exceptionalism. Prox, Lothar: Konvergenzen von Minimal Mu- sic und Film. In: Helga de la Motte-Haber Prock, Stephan: Strange voices. Subjectivity (Hrsg.): Film und Musik: Fünf Kongreßbeiträge Mainz/London/ and gender in Forbidden Planet’s soundscape of und zwei Seminarberichte. Madrid/New York/Paris/Tokyo/Toronto: Schott tomorrow. In: Journal of the Society for Ameri- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 150

1993, S. 18–24. spectacles to a more complex one in which the challenge was synchronizing the content of images with appropriate mu-sic. The analy- Psujek, Jennifer L.: The Composite Score: In- sis here makes clear that this was part of a diewood Film Music at the Turn of the Twenty- global phenomenon that included Chile. This First Century. Ph.D. Thesis, Washington Uni- becomes evident through analysis of Erno versity in St. Louis, 2016, VI, 268 S. Rapée’s 1924 compilation that synthe- tized Inhalt: Indiewood, Composite Scores, and the cinematic musical practices that are possible Mélomanes – Molding the Composite Score in to trace not just in the United States but in Eyes Wide Shut (1999) – Collaboration and different Chilean cities. Quirkiness in Magnolia (1999) – Blurred Boundaries in Fight Club (1999) – Moulin Pustay, Steven: Love’s Old Song Will Be New: Rouge! (2001) and the Blended Composite Score. Deleuze, Busby Berkeley and Becoming-Music. In: Film-Philosophy 19, 2015, S. 172–189; [URL].

Pulakēs, Nikos: Musikologia kai kinēmatogra- phos: kritikes prosengiseis stē musikē tōn syn- chronōn ellēnikōn tainiōn. / Musicology and Cinema: Critical Approaches to the Music of Modern Greek Films [Πουλάκης, Νίκος: Μου- – R – σικολογία και κινηματογράφος: κριτικές προσεγ- γίσεις στη μουσική των σύγχρονων ελληνικών Rabenalt, Peter: Der Klang des Films: Dra- ταινιών]. Athēna: Edition Orpheus 2015, 149 S. maturgie und Geschichte des Filmtons. Berlin: Alexander 2014, 272 S. In griech. Schrift. – Inhalt (in dt. Übers. – L.K.): Vorwort / 7 – Einführung: Sounds und Rez. (Magdalena Fürnkranz) in: [rezens.tfm], Animationen. Modelle zur Analyse filmischer 2, 2014, [URL]. Musik / 11 – 1. Die Musik auf dem Bild- schirm. Auf dem Weg zu einer Musikwissen- schaft des Kinos / 23 – 2. Ethnomusikologie, Rabenalt, Robert: Musikdramaturgie im Film: Anthropologie und Kino. Anlässlich zweier Wie Filmmusik Erzählformen und Filmwirkung Filmdarstellungen von rebetiko / 37 – 3. Fau- beeinflusst. München: edition text + kritik 2020, lenzen und Tarnen. Die Musik in der Satire 420 S. des New Greek Cinema / 69 – 4. Akropolis. Die auditive Gestaltung im Kino lädt zum auf- Eine musikwissenschaftliche Lesung / 85 – 5. merksamen Zuhören ein, um eine Geschichte Ethnizität, Identität und Musik. Die kinemato- interessant und unterhaltsam zu erzählen. grafische Konstruktion der Vergangenheit / Musik im Film ist ein dramaturgisches Mittel 103. und beeinflusst dabei sowohl Form als auch Wirkung des Films. Der schillernde Begriff Purcell, Fernando / González, Juan Pablo: Am- „Dramaturgie“, der sich stets zwischen Theo- enizar, sincronizar, signicar: Música y cine rie und Praxis behaupten muss, erfährt in diesem Buch eine für die Beschäftigung mit silente en Chile, 1910–1930. In: Latin American Filmmusik notwendige Konkretisierung. – Music Review 35,1, Spring/Summer 2014, S. 88– Mit zahlreichen Beispielen und auf unter- 114; [URL]. schiedlichen Wegen der Filmmusikanalyse, This article deals with discussions and debates die vom Allgemeinen zum filmmusikalischen about the relationship between music and Detail führen oder umgekehrt von einem Teil- silent cinema in Chile. During the 1910s and moment ausgehen und auf dessen Bedeutung 1920s music altered cinema’s functionality. It für das Ganze schließen lassen, werden shifted from the role of enlivening cinematic Grundformen und Ausnahmen des filmischen Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 151

Erzählens thematisiert und die Rolle, die der Wahrnehmungsebenen – 4.8 Zusammenfas- Filmmusik dabei zukommt, illustriert. – Mit sung Kapitel 4. – 5. Zusammenfassung und Blick auf das Verwenden und Komponieren Ausblick. – 6. Anhang – 6.1 Verzeichnis der von Musik sowie auf deren Wahrnehmung im Filme – 6.2 Verzeichnis der Abbildungen und Kontext einer Geschichte wird die oft benann- Noten – 6.3 Verzeichnis der Personen – 6.4 te, aber bisher weder ausführlich noch syste- Verzeichnis der Musikstücke und literarischen matisch untersuchte Bedeutung der Drama- Werke – 6.5 Internetquellen – 6.6 Literatur- turgie von Grund auf überdacht. – Das dra- verzeichnis – 6.7 Glossar. maturgisch Verbindende der verschiedenen eingenommenen Perspektiven, die Querver- bindungen zwischen Musiktheorie, filmischer Rainer, Svenja Maria: Emotionsinduktion durch Montage, Erzählformen und Filmrezeption Stummfilmmusik.Masterarbeit, Wien: Univer- führen schließlich zu einem neuen, auf die sität Wien, Philologisch-Kulturwissenschaftli- dramaturgische Wirkungsweise von Musik che Fakultät 2017, 82 S.; [URL]. spezialisierten Modell der auditiven Ebenen Zusammenfassung: Generell hat sich in der im Film. In Verbindung mit einer Systematik vorliegenden Arbeit gezeigt, dass Musik je- von dramaturgisch wirksamen Musik-Bild- denfalls emotionsverstärkend wirkt, auch Kopplungen und dem Konzept vom Fabelzu- wenn sie zumeist nicht als Induktor jener im sammenhang der Filmmusik wird ein univer- Alleingang fungiert und somit vor allem auf selles und zeitgemäßes Analysemodell für künstlerischer Ebene ein wichtiger Teil des Filmmusik offeriert, das sich auch über die be- Gesamtkunstwerkes Film ist. Dass die sprochenen Genres und Formen hinaus an- Stummfilmmusik zu Beginn aus rein pragma- wenden lässt. Ein ausführliches Glossar tischen Gründen genutzt wurde, schafft eine schließt das Buch ab, das damit für Medien- grundsätzliche Abhängigkeit des Films von schaffende und Forschende gleichermaßen musikalischer Begleitung. Allerdings zeigte von Interesse sein wird. sich schon bei der frühen Nutzung dieser Inhalt: Einleitung. – Teil I: Grundlagen und in- Funktion eine Bedeutung für die emotionelle terdisziplinäre Umgebung: – 1. Dramaturgie Ebene des Filmerlebens durch Realitätsschaf- und Musik – 1.1 Dramaturgie – 1.2 Musikäs- fung mit „Ich-Nähe“ der Zuschauers(-hörers). thetische Perspektiven auf Musik und Erzäh- In der parallelen Entwicklung von Film und len – 1.3 Zusammenfassung Kapitel 1. – 2. Äs- Musik zeigte sich außerdem, dass von den thetik und Affekt – 2.1 Filmästhetische Über- Film- und Musikschaffenden bewusst auf legungen zur Einheit von Klang und Bild – 2.2 kompositorische Elemente zur Emotionsin- Einfühlung und Distanz – 2.3 Filmmusik und duktion zurückgegriffen wurde. (Aus dem Emotion – 2.4 Zusammenfassung Kapitel 2. – letzten Abschnitt). 3. Was ist Musikdramaturgie im Film? – 3.1 Praxisorientierte und theoretische Ansätze – 3.2 Abgrenzung zur Musiktheater-Dramatur- Rásky, Béla / Pawlowsky, Verena (Hrsg./eds.): gie – 3.3 Zusammenfassung konkreter Aspek- Partituren der Erinnerung: Der Holocaust in der te der Musikdramaturgie im Film. – Teil II: Musik. / Scores of Commemoration: The Holo- Methoden und Anwendung der musikdrama- caust in Music. Wien: new academic press 2015, turgischen Analyse: – 4. Filmmusik und Ana- 388 S. (Beiträge zur Holocaustforschung des lyse – 4.1. Vorüberlegungen zum Themenbe- Wiener Wiesenthal Instituts für Holocaust- reich Filmmusik und Analyse – 4.2 Kritik der Studien (VWI). 1.). Modelle und Kataloge filmmusikalischer Funktionen – 4.3 Möglichkeiten und Grenzen Darin: Stefan Schmidl: “Different than any- der musikalischen Analyse von Filmmusik – thing”: Filmmusik und Holocaust (S. 349–352). 4.4 Fabelzusammenhang der Filmmusik – 4.5 – Johannes Hofinger: Die Unbeachtete: Zur Sujetbezug der Filmmusik – 4.6 Die dramatur- Rezeption von Filmmusik im ‘Holocaust- gische Dimension von Musik-Bild-Kopplun- Spielfilm’ (S. 353–366). gen – 4.7 Die auditiven Gestaltungs- und Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 152

Rathert, Wolfgang / Ostendorf, Berndt: Musik Hitchcock and Bernard Herrmann, featuring der USA: Kultur- und musikgeschichtliche Streif- new perspectives on their collaboration. Fea- züge. Hofheim am Taunus: Wolke 2018, 740 S. turing essays by leading scholars of Hitch- cock’s work, including Richard Allen, Charles Darin: 2.3 Filmmusik / 371. Barr, Murray Pomerance, Sidney Gottlieb and Jack Sullivan, the collection examines the working relationship between the pair and the contribution that Herrmann’s work brings Raveleau, Alexandre: Musiques de films: une to Hitchcock’s idiom. Examining key works, autre histoire du cinéma. Paris: Chronique édi- including The Man Who Knew Too Much, Psy- tions 2018, 227 S. cho, Marnie and Vertigo, the essays explore Deux notes suffisent parfois pour suggerer approaches to sound, music, collaborative au- l’angoisse ... Il n’est pas rare non plus que des thorship and the distinctive contribution that trompettes se melent aux vaisseaux spatiaux Herrmann’s work with Hitchcock brought to dans le vide sideral d’une galaxie lointaine ... this body of films, examining the significance, L’histoire de la musique de film a debute des meanings, histories and enduring legacies of l’apparition du cinema. Meme muet, il a tou- one of film history’s most important partner- jours ete sonore! Comment est nee la musique ships. By engaging with the collaborative work of Hitchcock and Herrmann, the book de Star Wars? Quels blockbusters ont permis a Hans Zimmer d’imposer sa marque de fa- explores the ways in which film directors and brique a Hollywood? Qui a compose la pre- composers collaborate, how this collaboration miere partition originale pour le cinema? is experienced in the film text, and the ways Combien de themes a concu Ennio Morricone in which such partnerships inspire later work. durant sa carriere? Comment Howard Shore Inhalt: K. J. Donnelly & Steven Rawle: Intro- a-t-il ecrit Le Seigneur des anneaux? Qui est duction / 1. – 1. Jack Sullivan: Bernard Her- l’auteur du theme de James Bond? Des ori- rmann: Hitchcock’s secret sharer / 10. – 2. gines jusqu’a l’Âge d’or des studios hollywoo- Charles Ban: Hitchcock, music and the math- diens, de la Nouvelle Vague aux premieres ex- ematics of editing / 24. – 3. Kevin Clifton: The periences electroniques, Musiques de films, anatomy of aural suspense in Rope and Ver- une autre histoire du cinema raconte plus de tigo / 37. – 4. Sidney Gottlieb: The therapeutic cent-vingt ans de mariage dans les salles obs- power of music in Hitchcock’s films / 50. – 5. cures, avec (par ordre d’apparition) Max Stei- Royal S. Brown: A Lacanian take on Herr- ner, Erich Wolfgang Korngold, Maurice Jau- mann/Hitchcock / 62. – 6. Murray Pomerance: bert, Alfred Newman, Georges Auric, Miklos Portentous arrangements: Bernard Herrmann Rozsa, Bernard Herrmann, Elmer Bernstein, and The Man Who Knew Too Much / 75. – 7. Henry Mancini, Georges Delerue, Maurice Pasquale Iannone: On the road with Hitch- Jarre, Michel Legrand, Vladimir Cosma, Nino cock and Herrmann: sound, music and the car Rota, Jerry Goldsmith, Ennio Morricone, Lalo journey in Vertigo (1958) and Psycho (1960) / Shifrin, John Barry, John Williams, Vangelis, 89. – 8. David Cooper: A dance to the music James Horner, Hans Zimmer, Danny Elfman, of Herrmann: a figurative dance suite / 100. – Éric Serra, Michael Kamen, James Newton 9. Richard Allen: The sound of The Birds / 113. Howard, Howard Shore, Alexandre Desplat et – 10. K. J. Donnelly: Musical romanticism v. Michael Giacchino parmi les roles principaux. the sexual aberrations of the criminal female: Mamie (1964) / 135. – 11. Tomas Williams: The murder of Gromek: theme and varia- Rawle, Steven / Donnelly, Kevin J. (eds.): Part- tions / 150. – 12. Gergely Hubai: Mending the ners in Suspense: Critical Essays on Bernard Torn Curtain: a rejected score’s place in a Herrmann and Alfred Hitchcock. Manchester: discography / 165. – 13. William H. Rosar: The Manchester University Press: 2017, xii, 223 S. Herrmann-Hitchcock murder mysteries: post- mortem / 174. – 14. Steven Rawle: How could This volume of new, spellbinding essays ex- you possibly be a Hitchcocko-Herrmannian?: plores the tense relationship between Alfred Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 153

Digitally re-narrativising collaborative au- Redner, Gregg: Deleuze and Film Music: Build- thorship / 197. ing a Methodological Bridge between Film The- ory and Music. Bristol: Intellect 2011, 194 S. Raybould, Clarence: Music and the Synchro- Drawing on the philosophy of Gilles Deleuze, nized Film. In: Sight and Sound 2,7, Autumn film studies scholar Gregg Redner provides a 1933, S. 80–81. much-needed analysis of the problem which then forms the basis of his exploration of the function of the film score and its relation to Reddell, Trace: The Sound of Things to Come: film’s other elements. Not just a groundbreak- An Audible History of the Science Fiction Film. ing examination of persistent difficulties in Minneapolis/London: University of Minnesota this new area of study, Deleuze and Film Mu- Press 2018, 478 S. sic also offers a solution–a methodological bridge–that will take film music analysis to a Reddell assembles a staggering array of new level. movies from sixty years of film history–including classics, blockbusters, B-movies, and documentaries from the United States, Reed, Philip: Britten in the Cinema: Coal Face. Britain, France, Germany, Japan, and the So- In: The Cambridge Companion to Britten. Ed. by viet Union–all in service to his powerful con- Mervyn Cooke. Cambridge: Cambridge Uni- ception of sound making as a speculative ac- versity Press 1999, S. 54–77. tivity in its own right. Reddell recasts debates about noise and music, while arguing that sound in the science fiction film provides a Rees, Lucy M.: Mongolian Film Music: Tradi- medium for alien, unknown, and posthuman tion, Revolution and Propaganda. Farnham, Sur- sound objects that transform what and how rey/Burlington, VT: Ashgate 2015, vi, 192 S. we hear. Inhalt: Tradition, politics and film music – Inhalt: Introduction: New sounds in science Tradition and transition in Mongolian music fiction – The origins of sonic science fiction – New beginnings: patriotism, propaganda (1924–50) – Ambient novum, alien novum and professional music – Socialist cinema (1950–68) – Cosmos philosophy and thought from conception to dissemination – A stan- synthesizers (1959–1968) – Sonic alienation dard of socialist cinema: The Clear River Tamir and the psytech at war (1971–77) – Sonorous (Tungalag Tamir, 1970-1973) – Perestroika, a object-oriented ontologies (1979–89) – Con- wise queen and a delinquent rock star – New clusion: Sonic science fiction into the twenty- directions: the democratic revolution and the first century. aftermath of the socialist era – Tradition, revolution, propaganda and consolidation: a brief Redner, Gregg: Deleuzian sensation and Mau- conclusion. rice Jaubert’s score for ›L’Atalante‹ (Vigo, 1934). In: Studies in French Cinema 9,2 2009, S. Reinsch, Paul N.: Music over words and sound 97–110. over image: Rock Around the Clock and the centrality of music in post-classical film narra- Redner, Gregg: Scoring East of Eden: The divi- tion. In: Music and the Moving Image 6,3, 2013, sion of the ‘One’: Leonard Rosenman and the S. 3–22. score for East of Eden. In: Sound and Music in This article argues for the centrality of the Bill Film and Visual Media. A Critical Overview. Ed. Haley and His Comets song Rock Around the by Graeme Harper. New York: Continuum Clock in creating post-classical sound through 2009, S. 692–724. its appearance in Blackboard Jungle and Rock Around the Clock. The song turns the cinema into a music delivery system and relegates the Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 154

image to perhaps only accompanying the Als „beste“ Filmmusik gilt gemeinhin jene, die sound. The audience for each film also repur- nicht bewusst wahrgenommen wird – und poses the cinema space for active response in doch ist Filmmusik auf einzigartige Weise the form of dancing and thereby challenges dazu imstande, eine Handlung klanglich zu theorizations of the cinema as a series of im- intensivieren und ihr neue Bedeutungsebenen ages meant to be received by a passive audi- zu erschließen. „Ton-Spuren aus der Alten ence. Welt“ will das nur unbewusst Bekannte ins Zentrum der Aufmerksamkeit rücken und dabei zugleich ein bisher wenig erkundetes Ter- Reinsch, Paul N. / Westrup, Laurel (eds.): The rain beleuchten: die europäische Filmmusik Soundtrack Album: Listening to Media. New bis 1945. Während sich das Forschungsinter- York/London: Routledge 2020, xvi, 259 S. esse auch heute noch primär auf die So- (Routledge Music and Screen Media Series.). undtracks der „goldenen Ära“ Hollywoods ab den 1930er Jahren richtet, bleiben die „Ton- Inhalt: Introduction: Listening to Media / Paul Spuren“ der Alten Welt häufig im Schatten. N. Reinsch and Laurel Westrup. – Part 1: Case Erst recht fühlbar werden die Lücken in der Studies. 1. The Soundtrack in Transition: The Filmmusik-Forschung mit der Erweiterung Many Objects of Paul Simon’s One-Trick Pony der Perspektive über das Kino der Weimarer / Landon Palmer. – 2. It’s a Kind of Sound- Republik und den nationalsozialistischen Pro- track: Queen, Highlander, and the “Unofficial pagandafilm hinaus. So stellt sich die Frage, Soundtrack Album” / Ross Melnick. – 3. Super ob sich innerhalb der europäischen Filmin- Fly and the Sound of Seventies Blaxploitation dustrien bis zur Zäsur des Jahres 1945 ver- Cinema / Matthew Tchepikova-Treon. – 4. schiedene „nationale“ Traditionsstränge ent- Signifyin(g) on the Soundtrack Album? Out- wickelten oder ob das musikalische Vokabular Kast’s Idlewild Project / Laurel Westrup. – rückblickend als ein dezidiert „gesamteuro- Part 2: Brands. 5. Learning from Sesame Street päisches“ anzusehen ist. Das Buch trägt dieser Soundtrack Albums / Kathryn A. Ostrofsky. – Ausgangslage Rechnung, indem es die Film- 6. Creazioni Artistiche Musicali and Italian musik-Traditionen einzelner europäischer Cinema after World War II / Roberto Cal- Länder anhand ausgewählter Beispiele zum abretto. – 7. King of the Whole Wide World: Thema macht: von Deutschland, Österreich Elvis, RCA Camden, and the Non-Filmic und der Schweiz über Frankreich, Italien und “Budget” Soundtrack Album / Justin Morris. – Spanien bis hin zu Dänemark, der Tschecho- 8. Sing Along with Hitch: Musically Market- slowakei und der Sowjetunion. Ergänzt wer- ing the Master of Suspense / Richard R. Ness. den die Fallstudien durch systematisch ausge- – Part 3: Formats. 9. Fixing the Brand: The richtete Beiträge zu Theorie und Ästhetik der Sonic Branding of Adult Swim / David Gur- Filmmusik allgemein sowie zu Fragen ihrer ney. – 10. Video Game Soundtrack Albums heutigen Rekonstruktion. and the Digital Revolution / Robert Cavanagh. – 11. Tracking Hypernostalgia: Soundtrack Inhalt: Vorwort / 7. – I. Systematische Aspekte: Albums and the Return of the Cassette in – Iakovos Steinhauer: Notizen zur Ästhetik American Film and Television / Kristen der Filmmusik / 13. – Christoph Hust: Per- Galvin. – Part 4: New Directions. 12. Now-For spektiven auf das Fremde. Orientalismus in Even Greater Enjoyment...The Home Movie der deutschen und amerikanischen Kino- Soundtrack Album / Liz Czach. – 13. A Brief musik der Stummfilmzeit und sein Echo im Hearing for the Unified Soundtrack Album / Videospiel / 27. – Peter Moormann: Musik Paul N. Reinsch. und Geräusch im frühen Tonfilm / 55. – Clau- dia Bullerjahn: Zwischen Patina und High- Tech. Zur Problematik der Rekonstruktion Rentsch, Ivana / Stollberg, Arne (Hrsg.): Ton- von Stummfilm-Originalkompositionen der Spuren aus der alten Welt: Europäische Film- 1920er Jahre / 66. – II. Ein europäisches Pan- musik bis 1945. München: Edition Text + Kritik orama in Fallstudien: – Arne Stollberg: Illus- 2013, 319 S. tration oder Komposition? Camille Saint- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 155

Saens’ Musik zu L’Assassinat du Duc de Guise 2015 (Special Issue: “Musical Screens: Musical (1908) im Licht späterer Gattungskonventio- Inventions, Digital Transitions, Cultural Cri- nen / 93. – Sinem Derya Kiliç: Die Musik als tique”. Guest ed.: James Tobias), S. 115–130. >des Pudels Kern<. Mascagnis Werk und Teu- fels Beitrag zum italienischen Stummfilm Situating the aesthetic practices of recent nar- Rapsodia Satanica (1917) / 125. – Ivana rative film scoring within debates on ‘intensi- Rentsch: Opernfilmmusik. Bohuslav Martinüs fied’ or ‘post-continuity’ style, as well as ac- cineastische Kompositionen zwischen Illusion counts of reception in terms of post-cinematic und Realismus / 152. – Felix Lenz: Stabilität affect or distributed subjectivity, this paper durch Subtilität Audiovisueller Rhythmus in identifies two significant stylistic tendencies Eisensteins Alexander Newski (1938) / 169. – in film scoring: ‘corporate classicism’ and ‘the Josef Kloppenburg: Klischee und Kunst. Ei- metaphysical style’. Examples are drawn from senstein/Prokofjew: Iwan der Schreckliche film and a wider range of musical media, with (1944) / 186. – Robert Schäfer: Der Einsatz des an analytical focus on representative cues »Dies irae« in Carl Theodor Dreyers Vredens from Hans Zimmer and James Newton dag (1943) / 201. – Cristina Urchueguía: Howard’s score to The Dark Knight (2008) and Musik für eine Diktatur. Manuel Paradas Thomas Newman’s score to American Beauty Musik zu Francos Kriegsepos Raza (1941) / (1999). The two styles of screen music scoring, 210. – Panja Mücke: »Trennung der Elemen- orchestration, production, and post-produc- te«. Eislers Musik zu Kuhle Wampe (1932) im tion beg reminders not only of the problem- Umfeld avancierter Kompositionskonzepte / atic ‘utopian’ call of classical Hollywood film 230. – Christoph Henzel: Sinfonische Film- scoring (Flinn 1992), but also suggest that the musik in Veit Harlans Opfergang (1944) / 248. powerful affective work performed by these – Alexandra Vinzenz: Auditive und visuelle scores raises the question of ‘unheard Propagandastrategien im NS-Film. Jud Süß melodies’ (Gorbman 1987) anew. (1940) und Der ewige Jude (1940) im Ver- gleich / 266. – Stefan Schmidl: »... vom Deut- Reyland, Nicholas / Thumpston, Rebecca: In- schen Reich bewußt zu distanzieren«. Film- troduction. In: dies. (eds.): musik in Osterreich 1933 bis 1938 / 285. – Music, Analysis and Anna Katharina Hewer: Schweizer Filmmusik the Body: Experiments, Explorations, and Em- im Zeichen der »Geistigen Landesverteidi- bodiments. Leuven/Paris/Bristol, Conn.: Peeters gung«. Robert Blums Füsilier Wipf (1938) und 2018, S. 1–14 (Analysis in context.). Gilberte de Courgenay (1941) / 295. Riazantsev, Lev Vasylovych: Rol pesny v ukraynskom fylme [Рязанцев, Лев Васильо- Reyland, Nicholas: Zbigniew Preisner’s Three вич: Роль песни в украинском фильме]. In: Colors Trilogy: Blue, White, Red: A Film Score Visnyk KNUKiM, Seriia «Mystetstvoznavstvo» Guide. Lanham, Mad.: Scarecrow Press 2012, 37 (2017), S. 89–98; [URL]. xix, 459 S. (Scarecrow Film Score Guides. 11.). “The role of the song in the Ukrainian film.” Inhalt: Preisner’s musical background – Preis- ner’s presence – Kieslowski: concepts and co- In kyrill. Schrift. – Abstract: The purpose of workers – The Three Colors trilogy: critical the article is to analyze the role of the song in contexts – The ode to Agape: Blue – Last the Ukrainian film in the process of organiz- Tango in Warsaw: White – The bloom of life: ing the film score and identify the features of Red. using the song in films of different genres. The research methodology consisted in the application of audiovisual analysis of Ukrain- Reyland, Nicholas: Corporate Classicism and ian motion pictures, which provided for un- the Metaphysical Style: Affects, Effects, and derstanding the main functions of the song in Contexts of Two Recent Trends in Screen Scor- film music. The scientific novelty of the re- ing. In: Music, Sound, and the Moving Image 9,2, search lies in the fact that the basic principles Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 156

of using the song in the film were formed for Richardson, John / Gorbman, Claudia / Vernal- the first time, revealing its influence on the lis, Carol (eds.): Oxford Handbook of New Au- film score. Conclusions. The song can be the diovisual Aesthetics. Oxford/New York: Oxford leitmotif of the whole film, an audiovisual University Press 2013, X, 735 S. counterpoint, or a comment on the film. It can unite and move forward the action, enhance Inhalt: Introduction / 3 – Theoretical Pressure the dramatic nature of the situation, and ac- Points: Classical Music for the Posthuman curately describe the time setting of the film. Condition / 39 – Beyond Music: Mashup, Mul- In the film, the song is addressed to the on- timedia Mentality, and Intellectual Property / screen “listeners”; it affects their feelings, 53 – The Audio-Logo-Visual and the Sound of emotional experience, behavior, that is, par- Languages in Recent Film / 77 – The End of ticipates in the development of the plot. The Diegesis As We Know It? / 89 – Sounding Out song in the film, most notably a solo, repre- Film / 107 – Narrative, Genre, Meaning. sents not only itself but a certain type of per- Changing Times, Changing Practices. Audio- formance at the same time. Sometimes the visual Space in an Era of Technological Con- song functions as a symphonic coda in the fi- vergence / 125 – Title Sequences for Contem- nal scene of the film. porary Television Serials / 146 – No Country for Old Music / 168 – Cue the Big Theme? The Sound of the Superhero / 171 – Video Speech Ribac, François (sous la dir. de): Rock et Ciné- in Latin America / 194 – Animated Sounds. ma. = Volume! La revue des musiques populaires Pixar and the Animated Soundtrack / 213 – / The French Journal of Popular Music Studies, Notes on Sound Design in Contemporary An- Hors-série 1, 2004, 138 S. imated Films / 227 – Zig Zag: Reanimating Len Lye as Improvised Theatrical Perfor- The articles analyze the use of rock ’n’ roll in mance and Immersive Visual Music / 233 – various films: Phantom of Paradise by Brian Musical Moments and Transformations. The De Palma, Exploding Plastic Inevitable by An- Mutating Musical and The Sound of Music / dy Warhol with The Velvet Underground’s 251 – Chinese Rock ’n’ Roll Film and Cui Jian music, A Hard Day’s Night by Richard Lester, on Screen / 266 – The Neosurrealist Musical David Lynch movies, as well as Frank Zappa, and Tsai Ming-LiangÆs The Wayward Aphex Twin and “kinok”. Cloud / 284 – Parties In Your Head: From the Acoustic to the Psycho-Acoustic / 309 – Ex- panded Soundtracks. Sensory Aspects of Con- Richards, Mark: Film Music Themes: Analysis temporary Cinema / 325 – The Sound of In- and Corpus Study. In: Music Theory Online tensified Continuity / 331 – Extending Film (MTO) 22,1, 2016, [URL]. Aesthetics: Audio Beyond Visuals / 357 – The The phrase structure of film music themes re- Audiovisual Construction of Transgender mains virtually unexplored in scholarly litera- Identity in Transamerica / 372 – Soundscapes ture. This article proposes an analytical sys- of Istanbul in Turkish Film Soundtracks / 389 tem that expands and adapts Caplin 1998 in – Audiovisual Objects, Multisensory People order to categorize the gamut of film music and the Intensified Ordinary in Hong Kong themes insome detail. This system is then ap- Action Films / 412 – Emerging Audiovisual plied to a cross-section of 482 themes from Forms. Music Video and Beyond. Music Oscar-nominated scores ranging from the Video’s Second Aesthetic? / 437 – Aesthetics early 1930s to the present day. In doing so, and Hyperembodiment in Pop Videos: Ri- notable divisions appear around 1960 and hanna’s “Umbrella” “/ 466 – The Emancipa- 1990, times that coincide with trendsthat tion of Music Video: YouTube and the Cul- drastically affected the composition of film tural Politics of Supply and Demand / 483 – music in general. Music Video Transformed / 501 – Video, Film, and Installation Art. “Betwixt and Between” “Worlds: Spatial and Temporal Liminality in Video Art-Music / 525 – Sound Events: Inno- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 157

vation in Projection and Installation / 543 – Mitarb. v. Simone Galliat. Laaber: Laa- Gaming. Contextualizing Game Audio Aes- ber-Verlag 2004, S. 147–163 (Spektrum der Mu- thetics / 563 – Implications of Interactivity: sik. 8). What Does it Mean for Sound to Be “Interac- tive” ? / 572 – Multichannel Gaming and the Aesthetics of Interactive Surround / 585 – Au- Riethmüller, Albrecht: Kubricks letztes diovisuality in Performance and Daily Life. Wunschkonzert: Beobachtungen an der Musik Sound and Vision: The Audio/Visual Economy zu Eyes Wide Shut (1999). In: Tonspuren, Musik of Musical Performance / 605 – Foreground im Film: Fallstudien 1994–2001. Hrsg. v. Andre- Flatland / 622 – Remaking the Urban: The Au- as Dorschel. Wien: Universal-Ed. 2005, S. 82– diovisual Aesthetics of iPod Use / 628 – On 104 (= Studien zur Wertungsforschung. 46.). Soundscape Methods and Audiovisual Sensi- bility / 645 – Leaving Something to the Imagi- nation: “Seeing” “New Places through a Musi- Riethmüller, Albrecht: Einige Fragen im Vor- cal Lens / 659. feld der Edition von Filmmusik. In: Ästhetische Erfahrung und Edition. Hrsg. v. Rainer Falk u. Gert Mattenklott. Tübingen: Niemeyer 2007, S. Rieger, Eva: Wagner’s influence on gender 129–141 (Beihefte zu editio. 27.). roles in early Hollywood film. In: Joe, Jeong- won / Gilman, Sander L. (eds.): Wagner and Riethmüller, Albrecht: Cosima und Richard Cinema. Bloomington, Ind.: Indiana University Wagner auf der Leinwandbühne von William Press 2010, S. 131–151. Dieterle und Ken Russell. In: wagner spectrum 4,2, 2008, S. 105–121. Riethmüller, Albrecht: Landschaft in der Musik, Landschaft zur Musik. Beethovens Pas- Riethmüller, Albrecht: Musik auf Tonband und torale und Walt Disneys . In: Fantasia Freibur- im Film: Verlust der Fassung? In: Transkription 85, Okt. 1984, S. 61–77. ger Universitätsblätter, und Fassung in der Musik des 20. Jahrhunderts. [Beiträge des Kolloquiums in der Akademie Riethmüller, Albrecht: Tacet musica. Notizen der Wissenschaften und der Literatur, Mainz, zum Tonfilm. In: Mainzer Studien zur Musik- vom 5. bis 6. März 2004.] Hrsg. v. Gabriele wissenschaft 37,1 (= Festschrift Christoph-Hell- Buschmeier. Stuttgart: Steiner 2008, S. 89–102 mut Mahling zum 65. Geburtstag), 1997, S. (Akademie der Wissenschaften und der Liter- 1127–1134. atur, Abhandlungen der geistes- und sozialwis- Riethmüller, Albrecht: Zarah Leander singt senschaftlichen Klasse, Jahrgang 2008, Nr. 2.). Bach. Feindbild der Musikkultur in Carl Froe- lichs Film Heimat (1938). In: Sprache und Liter- Riethmüller, Albrecht: Frau ohne Gewissen von atur 90, 2002, S. 79–89. Billy Wilder (1944) und Endstation Sehnsucht U.d.T. „Antiamerikanisches in Carl Froelichs von Elia Kazan (1951). In: Klassiker der Film- Film Heimat (1938)“ in: Attraktion und Ab- musik. Hrsg. von Peter Moormann. Stuttgart: wehr: Die Amerikanisierung der Alltagskultur Reclam 2009, S. 86–88 und 105–107. in Europa. Hrsg. v. Angelika Linke und Jakob Tanner. Köln/Weimar/Wien: Böhlau 2006, S. Riethmüller, Albrecht: Mahler im Film. In: 162–176. Mahler-Handbuch. Hrsg. v. Bernd Sponheuer u. Wolfram Steinbeck. Stuttgart/Weimar: Metz- Riethmüller, Albrecht: Vom Verstehen der ler / Kassel: Bärenreiter 2010, S. 472–484. Musik im Film: L’âge d’or von Luis Buñuel (1930). In: Musik und Verstehen. Hrsg. v. Chris- Riethmüller, Albrecht: Korngolds Mendels- toph von Blumröder & Wolfram Steinbeck. U. sohn. Zur Musik für Max Reinhardts Sommer- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 158 nachtstraum-Verfilmung (1935). In: Archiv für terdisziplinärer Überblick über die Medi- Musikwissenschaft 67, 2010, S. 187–211. engeschichte der Musik. Hrsg. v. Holger Schramm, 2. überarb. u. erw. Aufl. Wies- baden: Springer VS 2019 [2018], S. 95–122. Riethmüller, Albrecht: „Nessun dorma“ von Ken Russell in Don Boyds Aria (1987). In: Aria: Riley, John: Dmitri Shostakovich: A Life in Film. Eine Festschrift Wolfgang Ruf. Hrsg. v. Wolf- London/New York: Tauris 2005, 150 S. (KI- gang Hirschmann. Red.: Sebastian Biesold. NOfiles Filmmakers’ Companions. 3.). Hildesheim: Olms 2011, S. 739–747 (Studien und Materialien zur Musikwissenschaft. 65.). Rindauer, Gerhard / Gelbmann, Monika (eds. in Repr. in: Kieler Beiträge zur Filmmusik- charge): Music in Film and Television: An Inter- forschung 7, 2011 [= Musik bei Ken Russell], S. national Selective Catalogue, 1964–1974: Opera, 65–73. Concert, Documentation. Comp. & ed. by the International Music Centre, Vienna. English version: Erika Obermayer, Silvia Kampas. Pa- Riethmüller, Albrecht: Homer Simpson’s ris/Wien/München: Unesco Press, Jugend und “Doh!” “Singsong between Music and Speech. Volk 1975, 197 S. In: On Voice. Ed. by Walter Bernhart & Law- rence Kramer. Amsterdam/New York: Rodopi 2014, S. 215–224 (Word and Music Studies. 13.). Roche, David: Quentin Tarantino: Poetics and Politics of Cinematic Metafiction. Jackson, Miss.: University Press of Mississippi 2018, 352 S. Riethmüller, Albrecht: Musik als Emblem in Billy Wilders Film The Emperor Waltz (1948). Darin: “Lookin’ Back on the Track, Gonna Do In: Archiv für Musikwissenschaft 76,3, 2019, S. It My Way”: The Use of Preexisting Music 166–176. (224–243). Three years after the end of World War II and after the Holocaust became publicly known, Rodosthenous, George: The Disney Musical on Paramount Pictures released Billy Wilder’s Stage and Screen: Critical Approaches from The Emperor Waltz, in which the film maker – ‘Snow White’ to ‘Frozen’. London: Bloomsbury born in the Habsburg monarchy and a Methuen Drama 2017, ix, 257 S. refugee from Hitler’s Reich – depicts the Aus- trian Emperor Franz Joseph I and the Ameri- Inhalt: PART A: DISNEY MUSICALS: ON can salesman Virgil Smith (Bing Crosby), who FILM. – 1. Music and the Aura of Reality in around 1900 was trying to sell gramophones Walt Disney’s Show White and the Seven to the Old World. The music for Smith was Dwarfs / Elizabeth Randekk Upton. – 2. Me- sung by Crosby, whereas the music for Franz dieval Beauty and Romantic Song in Ani- Joseph is symbolized, but not exclusively, by mated Technirama: Pageantry, Tableau and Johann Strauss Jr.’s “Kaiser-Walzer,” which Action in Disney’s Sleeping Beauty / Raymond makes its entrance into the film’s title. The Knapp. – 3. Mary Poppins: A Precursor of the paper focuses on the juxtaposition of the mu- Matriarchal Musical / Tim Stephensen. – 4. sic and scenery of 1900 with the political cir- Musicals in the Mirror: Enchanted, Self-reflex- cumstances of 1945. (Vorlage) ivity and Disney’s Sudden Boldness / Paul R. Laird. – PART B: DISNEY ADAPTATIONS: ON STAGE AND BEYOND. – 5. Disney as Riethmüller, Albrecht / Jaszoltowski, Saskia: Broadway Auteur: The Disney Versions of Musik im Film. In: Handbuch Musik und Me- Broadway Musicals for Television in the Late dien. Hrsg. v. Holger Schramm. Konstanz: UVK 1990s and Early 2000s / Geoffrey Block. – 6. 2009, S. 149–175. The Hunchback of Notre Dame (1996): Too Far “Out There”? / Olaf Jubin. – 7. The Lion King: Auch in: Handbuch Musik und Medien: In- A Blockbuster Feline on Broadway and Be- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 159

yond / Barbara Wallace Grossman. – 8. Not to conventional filmmaking procedure can ex- Only on Broadway: Disney Junior Across the pose the fragility of reception history by com- United States / Stacy E. Wolf. – PART C: DIS- paring visual, literary, and musical versions of NEY MUSICALS: GENDER AND RACE. – 9. Caravaggio’s biography. (Vorlage) Dancing toward Masculinity: Newsies and Ho- mosocial Choreography / Aaron C. Thomas. – 10. We’re All in This Together: Being Girls Rogers, Holly: “Noises, Sounds and Sweet and Boys in High School Musical (2006) / Do- Airs”: Singing the Film Space in Prospero’s minic Symonds. – 11. ‘I wanna be like you’: Books. In: Cinemusic: Constructing the Film Negotiating race, racism and Orientalism in Score. Ed. by David Cooper. Cambridge: Cam- The Jungle Book on stage / Stefanie Jones, Do- bridge Scholar’s Publishing 2008, S. 141–164. natella Galella, Catherine Young, and Emily Clark. – 12. Ashman’s Aladdin Archive: Queer Orientalism in the Disney Renaissance / Sam Rogers, Holly: Visualising Music: Audio-Visual Baltimore. – 13. “For the first time in forever”: Relationships in Avant-Garde Film and Video Locating Frozen as a Feminist Disney Musi- Art. Saarbrücken: Lambert 2010, iv, 235 S. cal / Sarah Whitfield. Inhalt: Ears wide shut: the historiography of an inaudible criticism – Fitzcarraldo’s search for Aguirre: music and text in the Amazonian Rodman, Ronald: The Popular Song as Leitmo- films of Werner Herzog – Painted time: music tif in 1990s Film. In: Changing Tunes: The Use of and image in Derek Jarman’s Caravaggio – Pre-existing Music in Film. Ed. Phil Powrie & Beyond Diegesis: music and space in the Robynn Stilwell. Aldershot: Ashgate 2006, S. video installations of Bill Viola. 119–136. Nachdr. London: Routledge 2017. Rogers, Holly: The unification of the senses. In- termediality in video art-music. In: Journal of Rogers, Holly: Fitzcarraldo’s search for Aguirre. the Royal Musical Association 136,2, 2011, S. Music and text in the amazonian films of Wer- 399–428. ner Herzog. In: Journal of the Royal Musical Association 129,1, 2004, S. 77–99. Rogers, Holly: “Betwixt and between” worlds. Spatial and temporal liminality in video art- Rogers, Holly: Audio-Visual Biography: Music music. In: Oxford Handbook of New Audiovi- and Image in Derek Jarman’s Caravaggio. In: sual Aesthetics. Ed. by John Richardson, Clau- The Journal of Musicological Research 27,2, dia Gorbman & Carol Vernallis. Oxford/New 2008, S. 134–168. York: Oxford University Press 2013, S. 525–542. Working beyond mainstream practice, Derek Jarman creates films that are unusually musi- Rogers, Holly: Sounding the Gallery: Video and cal. Caravaggio, a biography of the artist, is a the Rise of Art-Music. Oxford: Oxford Univer- case in point. Jarman’s collaboration with sity Press 2013, xi, 231 S. (The Oxford Music / composer Simon Fischer Turner from the Media Series.). start of the filmmaking process enables music Composing with technology: the art- to assume a structural role, a procedure that Inhalt: ist-composer – Silent music and static motion: turns common music-image interaction on its the audio-visual history of video – Towards head in two ways. First, rather than strive for the spatial: music, art and the audiovisual en- the audio-visual fusion common to many vironment – The rise of video art-music: mainstream films, music and image are here 1963–1970 – Interactivity, mirrored spaces juxtaposed. Second, as music becomes audi- and the closed-circuit feed: performing video. ble, the film’s illusion of realism is destroyed. This article explores how Jarman’s challenge Rev. (Stephen Graham) in: Music, Sound, and Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 160

the Moving Image 9,2, 2015 (Special Issue: 5. Music, Science, and Educational Film in “Musical Screens: Musical Inventions, Digital Post-War Britain / Thomas F. Cohen. – 6. Transitions, Cultural Critique”. Guest ed.: Reinventing the Documentary: The Early Es- James Tobias), S. 219–224. say Film Soundtracks of Chris Marker / Or- lene Denice McMahon. – 7. Water Music: Scoring the Silent World / Mervyn Cooke. – 8. Rogers, Holly: Multimedia Art: Video Art-Mu- Music and the Aesthetics of the Recorded sic. In: The Routledge Companion to Music and World: Time, Event and Meaning in Feature Visual Culture. Ed. by Tim Shephard & Anne Documentary / John Corner. – 9. Irish Sea Leonard. New York/London: Routledge 2014, S. Power: A New Version of Man of Aran 367–375. (2009/1934) / K. J. Donnelly. – 10. Excavating Rogers, Holly: The Musical Script: Norman Authenticity: Surveying the Indie Rock-Doc / McLaren, Animated Sound and Audiovisuality. Jamie Sexton. – 11. More Than Background: Ambience and Sound-Design in Contempo- In: Animation Journal 22, 2014, S. 68–84. rary Art Documentary Film / Marion Leonard and Robert Strachan. – 12. Sonic Ethnogra- Rogers, Holly: Beethoven’s Myth Sympathy: phies: Leviathan and New Materialisms in Hollywood’s Reconstruction. In: Beethoven. Ed. Documentary / Selmin Kara and Alanna by Michael Spitzer. Farnham: Ashgate 2015, S. Thain. – Afterword / Anahid Kassabian. 509–521 (The Early Romantic Composers.) [Preview: URL; online: URL.]

Rogers, Holly [Claire] (ed.): Music and Sound Rogers, Holly / Barham, Jeremy (eds.): The Mu- in Documentary Film. Preface by Bill Nichols. sic and Sound of Experimental Film. New York: New York,/ Abingdon, Oxon: Routledge 2015, Oxford University Press 2017, xvi, 320 S. xi, 210 S. (Routledge Music and Screen Media Series.). This book explores music/sound-image relationships in non-mainstream screen reper- This collection of fourteen essays provides a toire from the earliest examples of experi- rich and detailed history of the relationship mental audiovisuality to the most recent between and music and image in documen- forms of expanded and digital technology. It tary films, exploring the often overlooked role challenges presumptions of visual primacy in of music in the genre and its subsequent im- experimental cinema and rethinks screen mu- pact on an audience’s perception of reality sic discourse in light of the aesthetics of non- and fiction. Exploring examples of documen- commercial imperatives. Several themes run tary films which make use of soundtrack mu- through the book, connecting with and sig- sic, from an interdisciplinary perspective, Mu- nificantly enlarging upon current critical dis- sic and Sound in Documentary Film is the first course surrounding realism and audibility in in-depth treatment on the use of music in the the fiction film, the role of music in main- nonfiction film and will appeal to scholars stream cinema, and the audiovisual strategies and students working in the intersection of of experimental film. The contributors investi- music and film and media studies. gate repertoires and artists from Europe and Inhalt: Preface / Bill Nichols. – 1. Introduc- the USA through the critical lenses of syn- tion: Music, Sound, and the Nonfiction Aes- chronicity and animated sound, interrelations thetic / Holly Rogers (1–19). – 2. Resounding of experimentation in image and sound, au- City Films: Vertov, Ruttmann and Early Ex- diovisual synchresis and dissonance, experi- periments with Documentary Sound Aesthet- mental soundscape traditions, found-footage ics / Carolyn Birdsall. – 3. Sounding the film, re-mediation of pre-existent music and World: The Role of Music and Sound in Early sound, popular and queer sound cultures, and “Talking” Newsreels / James Deaville. – 4. a diversity of radical technological, aesthetic, Race, War, Music and The Problem of One tropes in film media traversing the work of Tenth of Our Nation (1940) / Julie Hubbert. – early pioneers such as Walther Ruttmann and Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 161

Len Lye, through the mid-century innova- Röhring, Klaus: Ulrich Gasser: Die aufgehobene tions of Norman McLaren, Stan Brakhage, Lis Zeit. Eine Monographie in Essays zu Leben und Rhodes, Kenneth Anger, Andy Warhol, and Werk des Komponisten. Hofheim am Taunus: studio collectives in Poland, to latter-day ex- Wolke 2015, perimentalists John Smith and Bill Morrison, as well as the contemporary practices of Zum schweizerischen Komponisten Ulrich Vjing. Gasser (*1950). – Darin: Filmmusik / 124. Inhalt: Absolute sounding images: abstract film and radio drama of the 1920s as comple- Román, Alejandro (ed. por): C.I.N.E.M.A.: Com- mentary forms of a media-specific art / Dieter posición e investigación en la música audiovi- Daniels. – A primitivism of the senses: the sual. Madrid: Visión Libros 2014, 363 S. role of music in Len Lye’s experimental animation / Malcolm Cook. – An education Este libro da testimonio del trabajo investiga- avant-garde: sound and music in Julien tivo de un grupo de jóvenes compositores con Bryan’s OIAA films on Latin America, 1942- una completa formación teórica, técnica y 1949 / James Tobias. – “bump...bup...bup”: au- musical que culminó un proceso formativo de ral innovation in the films of Norman muchos años de intenso estudio. Para la elab- McLaren / Terence Dobson. – Sights and oración de cada uno de los artículos los au- sounds of the moving mind: the visionary tores han seleccionado aquellos aspectos más sountracks of Stan Brakhage / Eric Smigel. – relevantes de cada uno de sus trabajos de in- Discontinuities and resynchronisations: the vestigación fin de carrera dentro del ámbito use of sound in Polish experimental cinema de los estudios de „Composición para Medios from the 1930s to the 1980s / Daniel Muzy- Audiovisuales“ realizados en el Real Conser- czuk. – Grid intensities: hearing structures in vatorio Superior de Música de Madrid y diri- Chantal Akerman’s films of the 1970s / Paul gidos por el compositor y profesor Alejandro Hegarty. – Meaning and musicality: sound- Román. Los nueve ensayos que en este volu- image relations in the films of John Smith / men se presentan abordan diferentes aspectos Andy Birtwistle. – Audiovisual dissonance in de la música aplicada al cine, tanto desde pun- found-footage film / Holly Rogers. – Rebal- tos de vista psicológicos, instrumentales y ancing the picture-sound relationship: the au- técnicos, pasando por los distintos usos de- diovisual compositions of Lis Rhodes / Aimee pendiendo de los géneros cinematográficos, Mollaghan. – Sounding decay in the digital ya sean el „thriller“, la „ciencia ficción“ o el age: “audio-visions” of Decasia (2002) and cine „místico“, e incluso el uso de músicas cul- Lyrical Nitrate (1991). – The sound of queer tas preexistentes que aportan nuevos signifi- experimental film / Juan A. Suaarez. – Avant- cados entrando a formar parte de las pelícu- gardists and the lure of pop music / Carol las. El texto, por tanto, constituye una buena Vernallis. – The music of Gustav Mahler in muestra de la excelencia de las nuevas gen- experimental film contexts: questions of vis- eraciones de músicos, que va más allá de la ual music and intermedial theory / Jeremy práctica musical, tanto en su faceta interpre- Barham. tativa como compositiva, en la cual el pensa- miento a través de la investigación va a apor- tar, en este caso a la teoría musical cinemato- Roginska, Agnieszka / Geluso, Paul (eds.): Im- gráfica, nuevos puntos de vista desde la pro- mersive Sound: The Art and Science of Binaural pia práctica musical, nuevas perspectivas que and Multi-Channel Audio. New York/London: ahondarán en las intrincadas mazmorras de la Routledge 2018, xi, 363 S. (Audio Engineering comprensión de la música desde la propia Society Presents. / A Focal Press Book.) música entendida y explicada por los propios músicos. Darin: Considerations in Mixing for Film and Games / 346. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 162

Rona, Jeff: Making Soundtracks, Part 1: Those the Elves, the unfamiliar. Howard Shore’s Pesky Songs that Show Up in Between Your compartmentalization of harmony in The Lord Cues – Who Puts ’em There, Anyway?. Part 2: of the Rings invites close investigation as to More On the Differences between the Score how film scores can continue several nine- and the Soundtrack. In: The Routledge Film Mu- teenth-century traditions and can assist in sic Sourcebook. Ed. by James Wierzbicki, our understanding of entire peoples in the Nathan Platte & Colin Roust. New York: Rout- fantasy genre. (Vorlage) ledge 2012, S. 259–264. Rosar, William H.: Film music and Heinz Wer- Rone, Vincent: Scoring the familiar and unfa- ner’s theory of physiognomic perception. In: miliar in Howard Shore’s The Lord of the Rings. Psychomusicology: A Journal of Research in Mu- In: Music and the Moving Image 11,2, 2018, S. sic Cognition 13,1–2, 1994, S. 154–165. 37–66. Each December between 2001 and 2003, Rosar, William H.: Music for Martians. Tolkien fans and film lovers alike flocked to Schillinger’s two tonics and harmony of theaters to see The Lord of the Rings films. Pe- fourths in Leith Stevens’ score for War of the ter Jackson’s interpretation of Tolkien’s work Worlds (1953). In: The Journal of Film Music 1,4, invited audiences to immerse themselves in 2006, S. 395–438. the landscapes and peoples of Middle-earth. Howard Shore’s film music became integral to After seeing Steven Spielberg’s remake of that process and consequently garnered criti- “War of the Worlds” “on the 4th of July week- cal attention. Many have noted Shore’s adop- end 2005, an old friend who sat with me dur- tion of musical techniques used in Romantic ing the screening commented on how effec- opera, especially his predilection for Wagner- tive John Williams’ score for it was, and that ian leitmotifs. Yet Shore scores Middle-earth it reminded her of film noir scores. An inter- in a far more nuanced manner than just the esting coincidence, I thought, as many years adoption of the leitmotif. He distinguishes en- earlier I had been struck by how passages in tire peoples of Middle-earth through entire Leith Stevens’ score for Paramount’s “War of systems of harmony. In fact, Shore’s score the Worlds” “(1953) reminded me of “crime parallels an ordered triple of races (Hobbits, drama music,” music for gangster or detective Men, and Elves) with an ordered triple of har- movies. Why should Stevens and Williams monic accompaniment (major-minor diatonic, write music for a science fiction film in a style modal diatonic, and nondiatonic [chromatic evocative of another film genre? mediants]). Moreover, analysis of each race in this series places them on a continuum of fa- Rosenfeld, Ninett / Steffens, Jochen: Effects of miliar to unfamiliar, from ordinary to fantas- audiovisual congruency on perceived emotions tical, derived from associativity codified in the Romantic era. I first trace the associativity in film. In: Psychomusicology: A Journal of Re- of each harmonic system to developments in search in Music Cognition 29,4, 2019, S. 200– the nineteenth century and then locate their 208. correlates in the textual and cinematic depic- This study examined the influence of film mu- tions of each race, as well as their leitmotifs. sic on the emotional perception of unambigu- For example, tonality’s association with nor- ous semantically (in)congruent audiovisual mativity parallels the Hobbits, the familiar. film scenes. We predicted that the visual stim- Next, the revitalization of modes as expres- ulus would dominate the emotional percep- sive deviations from tonality and as markers tion of the combined audiovisual stimuli and of the past suggests how Men reflect both fa- that a sarcastic or melancholic effect would be miliarity and unfamiliarity. Finally, composers conveyed when the visual and musical stimuli often have used mediant progressions to sum- are semantically incongruent. Therefore, one mon the fantastical, which parallels music of visual stimulus and one musical stimulus Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 163

clearly representing one of the four emotions par Jérôme Rossi. Préface de Gilles Mouëllic. (anger, fear, happiness, and sadness) were Lyon: Symétrie 2016, 470 S. (Symétrie Re- chosen and combined in a congruent and in- cherche, série 20–21.). congruent way with each other. Utilizing an online experimental methodology, partici- Inhalt: Jérôme Rossi: Introduction (11–32). – pants watched 16 stimulus combinations, rat- Stéphane Chanudaud: La musique de film ing them in terms of the perceived emotions d’Arthur Honegger: du cinéma à l’écriture de (anger, fear, happiness, and sadness) and the concert (35–52). – Audrée Descheneaux: Mu- emotional effects (melancholy and sarcasm) sique et idées dans La Grande Illusion (1937– on a unipolar 5–point Likert scale. In addi- 1958) (53–74). – Michela Niccolai: De l’opéra tion, participants rated the perceived congru- au grand écran: Louise de Gustave Charpen- ence between image and music for each stim- tier dans la réalisation d’Abel Gance (75–96). ulus. The results showed that the perceived – Cédrine Zwein-Chouard: Yves Baudrier: le audiovisual emotion was determined by the cinéma comme nouveau „terrain d’entente“ visual emotion, and semantically incongruent de la musique française (97–107). – Frédéric music was able to decrease the visually per- Gimello-Mesplomb: Tendances et spécificités ceived emotions, compared to the congruent de la musique dans le cinéma de la Nouvelle condition. Furthermore, a sarcastic effect was Vague (109–132). – Chloé Huvet: Vivement perceived when happy music accompanied Dimanche! de Georges Delerue (1983): un negatively valent visual content. The results hommage distancié aux films classiques amé- also showed that the perception of a melan- ricains (133–160). – Orlene Mcmahon: Jacques cholic effect was influenced by sad film music. Rivette: un cinéaste à la sensibilité musicale The study provides further empirical founda- moderne (161–182). – Nicolas Viel: Pierre Bar- tions for the interaction of visual and audi- baud et le cinéma: question de méthode (183– tory sensory channels, and its effect on the 200). – Philippe Gonin: Antoine Duhamel: emotional perception of film scenes. Thus, it portrait en 24 images par seconde (201–226). – contributes to the understanding of audiovi- Jérôme Rossi: La musique dans le cinéma de sual perception and highlights the importance Claude Lelouch: la chanson, cœur battant du of both film content and film music on the in- film (229–270). – Gérard Dastugue: Sarde by terpretation of a scene. (Vorlage) side: profils d’un scénariste musical (271–286). – Michaël Andrieu: La chanson française au cinéma: l’idole Johnny (287–298). – Cécile Ca- Rösser, Thomas: Bilder zum Hören: Die Zusam- rayol: Une nouvelle forme de symphonisme: menarbeit von Alfred Hitchcock mit dem Kom- le cas de Swimming Pool (315–330). – Ale- ponisten Bernard Herrmann. Hamburg: Kovač xandre Poncet: La musique de film en France: 2013, 445 S. (Schriften zur Medienwissenschaft. vers un modèle américain? (331–342). – Séve- 37.) rine Abhervé: Compositeur de musiques de films: un métier spécifique de l’œuvre ciné- Zuerst: Diss. Marburg: Universität Marburg matographique française? (343–356).– Sté- 2012. phane Chanudaud: Entretien avec Madeleine Rez. (Uli Jung) in: Medienwissenschaft: Rezen- Milhaud (361–376). – Stéphane Chanudaud: sionen 30,4, 2014, S. 421–423. Entretien avec Henri Dutilleux (377–388). – Gérard Dastugue: Entretien avec Éric Demar- san (389–392). – Gérard Dastugue, Alexandre Rossi, Jérôme: The use of songs in films by Tylski: Entretien avec Antoine Duhamel (393– Claude Lelouch. A comprehensive typology. In: 396). – Gérard Dastugue: Entretien avec Mi- Kieler Beiträge zur Filmmusikforschung, 12, chel Colombier (397–404). – Gérard Dastugue, 2016, S. 258–273. Arnaud Damian, Nicolas Kannengiesser: En- tretien avec Vladimir Cosma (405–408). – Mara Lacchè: Ennio Morricone et le cinéma Rossi, Jérôme: La Musique de film en France: français (1969–1985) (409–412). – Alain Garel: courants, spécificités, évolutions. Ouvrage coord. Hommage à Maurice Jarre (413–418). Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 164

Rossi, Jérôme: Recherches formelles et émo- well-written for the microphone) and the tions populaires. L’Art de la „chanson de film“ scores of Arthur Honegger, we will try to de- selon Claude Lelouch. In: La chanson dans le fine a conception of cinematic orchestral film français et francophone depuis la Nouvelle sound of this neoclassical composer and his Vague. Würzburg: Königshausen & Neumann contemporaries. While studying the number 2016, S. 209–224. of musicians and the orchestral parts, the microphone positioning, the diversity of orchestral devices, and some musical writing princi- Rossi, Jérôme: Henri Dutilleux et la tradition ples, we will distinguish a “French film music française de la musique de film. In: Revue de sound” “from the Hollywood orchestral sound Musicologie 105,1, 2019, S. 111–144. of the same period. (Vorlage) In the 1930s, as the opera gave signs of slow- down, composers went into the new media Roth, Raphaël: À l’écoute de Disney: Une soci- such as radio and film. Initially commissioned ologie de la réception de la musique au cinéma. to compose music for documentaries, the Préface d’Emmanuel Ethis et Damien Malinas. young Dutilleux also wrote, at the age of Paris: L’Harmattan 2017, 256 S. (Champs vi- thirty years, the score of Henri Decoin’s fea- suels.). ture film La fille du diable (1945), followed by four other films, Le café du cadran (1946), Six Zuerst als Diss.: Bande originale de film, heures à perdre (1946), Le crime des justes bande originale de vie. Université Avignon, (1950) and L’amour d’une femme (1953), 2013. which confirmed the composer’s appetite and Comment Disney nous a-t-il dotés des oreilles talent for film dramaturgy. The last film he de Mickey ? Des Trois Petits Cochons (1933) à was involved in, Sous le soleil de Satan (1986), La Reine des Neiges (2013), le succès des films shows the strength of his music with images, et des chansons des studios Disney est inter- even if it’s based on a previous work. The fil- national et traverse plusieurs générations. Le mography of Dutilleux presents a very per- cinéma est l’un des médias qui a le plus inves- ceptible evolution since La fille du diable ti nos vies, tant parce qu’il les traduit par la where he dogged Arthur Honegger’s foot- fiction que parce qu’il nous réunit collective- steps – aiming at an autonomous musical ment dans les salles ou dans nos foyers. Cet form, a particular thematism, the musical ouvrage décrit les modalités de la constitution stylization of noises – to L’amour d’une du voir et de l’entendre cinématographiques where, under the impetus of the film- femme au travers du « cas » Disney. Univers qualifié maker and composer Jean Grémillon, he com- de merveilleux, magique ou enchanté, le posed a music that is both less symphonic and monde musical de Disney se laisse saisir par less thematic (with only one recurring les discours des spectateurs de cinéma. Ils ont theme). This economy of means, combined grandi avec ces musiques emblématiques qui with the sparse presence of the music, finally sont devenues des tubes qui précèdent ou links Dutilleux to Maurice Jaubert, a com- prolongent leur expérience devant le film. Par poser whose film approach he admired. le biais d’une enquête sociologique, À l’écoute de Disney présente une analyse des ressorts Rossi, Jérôme: Composers and “microgénie”. A sémiotiques de la réception de la musique de study of the symphonic sound of French cin- films et tente de dépasser, par le cinéma qui lui donne un ancrage, l’ineffabilité de cette ema in the thirties. In: Music and the Moving musique que l’on ressent toujours sans ne ja- 12,2, 2019, S. 15–39. Image mais pouvoir la matérialiser. During the thirties, French cinema was Inhaltsüberblick: 1. La naissance des musiques mostly accompanied by small symphonic or- emblématiques : description des modalités du chestras. Through the theoretical writings on voir et de l’entendre cinématographiques par “microgénie” “(i.e., quality of a composition la synchronisation / 25. – 2. Alice on The Wall Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 165

: les structures culturelles de la synchronisa- her, not only through her sorrow, but also in tion audiovisuelle / 61. – 3. Qu’y a-t-il d’origi- rediscovering herself.The soundtrack mainly nal dans une bande originale ? Précautions draws upon a pop song, “Love You ’Till The théoriques et méthodologiques pour l’analyse End” ,which takes on a very crucial role in des significativités musicales au cinéma / 107. many ways. The song functions as a reminder – 4. La bande originale comme emblème de to the wife of her deceased husband when she l’univers filmique : résultats d’enquête sur la dreams or hallucinates. It also encourages her réception de Quand on prie la bonne étoile to express herself in public, disguising her in- par la méthode du portrait chinois / 141. – 5. dividual emotions in a collective mood. The Esthétiser le réel par l’emblème : l’expérience sound-track uses stylistic means that refer to musicale, de la théorie au terrain / 193. Irish folk music (evoking an impression of Irishness), especially in scenes that take place in Ireland. Finally, the pop score displays a Rothbart, Peter: The Synergy of Film and particular realm of pop culture and its sound- Music: Sight and Sound in Five Hollywood scapes. (Vorlage) Films. Lanham, Md./London: The Scarecrow Press 2013, xx, 159 S. Although writers on film music frequently al- Ryčkov, Konstantin Nikolaevič (Red.): Zakadro- lude to specific parts of scores, comprehen- voe iskusstvo: istorija i teorija kinomuzyki: ma- sive examinations of entire scores are rare. In terialy meždunarodnoj naučnoj konferencii addition, most analyses of scores composed [Рычков, К(онстантин) Н(иколаевич) (ред.): for the screen are discussed outside their cin- Закадровое искусство: история и теория ки- ematic context. To best understand the role номузыки. Материалы международной науч- music plays in the production of a motion ной конференции]. Moskva: Naučno-izdatelʹ- picture, however, it benefits the viewer to skij centr »Moskovskaja konservatorija« 2014, consider all of the elements that comprise the 198 S. film experience. InThe Synergy of Film and Music: Sight and Sound in Five Hollywood Die Sammlung enthält Materialien der Inter- Films, Peter Rothbart considers the aural and nationalen Wissenschaftskonferenz „Offs- visual aspects of five representative films: creen Art: Geschichte und Theorie der Kino- West Side Story, Psycho, Empire of the Sun, Al- musik“, die im November 2012 am Moskauer tered States, and American Beauty. For each Staatlichen Tschaikowsky-Konservatorium film, the author demonstrates how a variety stattfand. Die Forscher stellen einige Aspekte of elements work together to create a singular der Theorie der Filmmusik, die Traditionen experience. verschiedener Filmschulen, die Arbeit einzelner Filmkomponisten und die musikalischen Ansichten der Regisseure vor. Rundell, Sarah: Illusion of Motion: Music and Inhalt: Sovremennaja ėstetika kinomuzyki Animation. In: Animation Studies 2.0 [blog] [современная эстетика киномузыки]: – (19.09.2016): Theme: “Movement”, [URL]. Tat’jana Egorova: Novye vozzrenija na muzy- ku kino [Татьяна Егорова: Новые воззре- ния на музыку кино] / 9. – Tat’jana Šak: Rupp, Ciara / Wulff, Hans Jürgen: “Love You Metodologija analiza muzyki kino (k posta- ’till the end”: Musik und Subjektivität in der novke problemy) [Татьяна Шак: Методоло- romantischen Komödie P.S. I Love You (2007), гия анализа музыки кино (к постановке In: Samples: Notizen, Projekte und Kurzbeiträge проблемы) / 21. – Julija Micheeva: Audiovi- zur Popularmusikforschung 17, 2019, online. zual’nyj kontrapunkt v kinofil’me: ėvoljucija i P.S. I Love You (2007) is a romantic comedy perspektivy [Юлия Михеева: Аудиовизу- that deals with a man’s early death by cancer альный контрапункт в кинофильме: эво- and his wife’s grief. Before he died, the man люция и перспективы] / 33. – Džejms V’ež- wrote her a series of letters that will guide bicki: Zvukovoj rjad kak muzyka: o novych Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 166 putjach v izučenii kinoiskusstva Джеймс 173. – Dar’ja Žurkova: Obajatel’nye zlodei i Вьежбицки: Звуковой ряд как музыка: о kovarnye genii: muzicirujuščie geroi otečest- новых путях в изучении киноискусства / vennogo kinematografa 1990-2000-ch godov 46. – TRADICII I TENDENCII V MIROVOJ [Дарья Журкова: Обаятельные злодеи и KINOMUZYKE [ТРАДИЦИИ И ТЕНДЕН- коварные гении: музицирующие герои ЦИИ В МИРОВОЙ КИНОМУЗЫКЕ]: – Kon- отечественного кинематографа 1990-2000-х stantin Ryčkov: 40-model’ gollivudskoj kino- годов] / 184. muzyki [Константин Рычков: 40-модель голливудской киномузыки] / 67. – Irina Skvorcova: Gavriil Popoviego muzyka k le- gendarnomu fil’mu «Čapaev» [Ирина Скво- рцова: Гавриил Поповиего музыка к ле- гендарному фильму «Чапаев»] / 94. – Irina – S – Viskova: «Tainstvennyj sad» Zbigneva Praj- snera [Ирина Вискова: «Таинственный Salamone, Frank A.: Jazz and Film Noir. In: An- сад» Збигнева Прайснера] / 101. – Violetta thropos: Časopis za psihologijo in filozofijo ter Junusova: Nacional’nyj material v kinomuzy- za dodelovanje humanističnih ved 49, 2017, S. ke kompozitorov Azii (zametki k issledovani- 143–157. ju) [Виолетта Юнусова: Национальный ма- териал в киномузыке композиторов Азии Jazz became the music most associated with (заметки к исследованию)] / 106. – Muzyka film noir. The key movie was The Wild One, v interpretacii režissera [Музыка в интер- starring Marlon Brando who personified the претации режиссера]: – Ekaterina Kalinina: noir hero, or anti-hero. He was looking for Muzyka Bacha v tvorčestve Ingmara Bergma- trouble, any trouble. Great jazz figures were na [Екатерина Калинина: Музыка Баха в drawn to the noir form, and there was a noir творчестве Ингмара Бергмана] / 117. – Ma- style of music. West Coast trumpeter Shorty rina Karasëva: O ložnych marker-pojnterach: Rogers had 4 tunes in Leith Stevens great muzykal’no-zvukovye strategii v fil’mach Ta- score. Great jazz stars Bud Shank, Jimmy rantino [Марина Карасёва: О ложных мар- Giuffre, Shelley Manne and Henry Mancini кер-пойнтерах: музыкально-звуковые followed. The TV show Peter Gunn soon ap- стратегии в фильмах Тарантино] / 123. – peared and kept great jazz musicians work- Aleksandr Dobrochot ov: Konvokacija vizual’- ing. Jazz became the sound of the hard-boiled nogo i muzykal’nogo v fil’me Al’freda Chič- detective and the noir film. koka «Ubijstvo!» [Александр Доброхот ов: Конвокация визуального и музыкального в фильме Альфреда Хичкока «Убийство!»] Samigullina, Dar’ja Robertovna: Kinomuzyka: / 143. – Tat’jana Sergeeva: Problema sotvor- formirovanie obrazov v sovremennom kinemato- čestva režissera i kompozitora na primere fil’- grafe pri pomošči zvukovych sredstv vyrazitel’- mov Akiry Kurosavy [Татьяна Сергеева: nosti (na primere analiza tvorčestva Chansa Flo- Проблема сотворчества режиссера и ком- riana Cimmera i Dėnni Roberta Ėl’fmana) [Са- позитора на примере фильмов Акиры Ку- мигуллина, Дарья Робертовна: Киномузы- росавы] / 151. – Sergej Uvarov: Mifičeskij ка: формирование образов в современном ки- Rustam Chamdamov: ego muzyka i muzy нематографе при помощи звуковых средств [Сергей Уваров: Мифический Рустам Хам- выразительности (на примере анализа дамов: его музыка и музы] / 159. – Muzy- творчества Ханса Флориана Циммера и Дэн- kal’nye metamorfozy žanrovogo kinemato- ни Роберта Эльфмана)]. Vypusknaja kvalifi- grafa [Музыкальные метаморфозы жанро- kacionnaja rabota bakalavra [B.A.-Thesis], вого кинематографа]: – Svetlana Sevast’ja- Krasnojarsk: Sibirskij Federal’nyj Universitet nova: Partitura muzykal’no-biografičeskogo (SFU), Gumanitarnyj Institut, Kafedra kul’tur- fil’ma [Светлана Севастьянова: Партитура ologii 2018, 81 S.; [URL]. музыкально-биографического фильма] / Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 167

„Filmmusik: Bildgestaltung im modernen Ki- ment in a film-scoring project – Working no mit klanglichen Ausdrucksmitteln (am Bei- practices – Local differences in a global indus- spiel der Analyse der Arbeit von Hans Florian try – The role of the orchestrator in the con- Zimmer und Danny Robert Elfman).“ temporary film industry – Appendix A: out- In kyrill. Schrift. line interview schedules – Appendix B: inter- viewee details – Appendix C: information on software packages. Sánchez López, Roberto: Jazz de película: such Rev. (Heine, Erik) in: Music, Sound, and the sweet thunder. Zaragoza: Ed. Doce Robles 2015, Moving Image 13,1, 2019, S. 87–91. 227 S. (Colección Cine.).

El cine y el jazz nacieron poco antes del siglo Saran, Sathya: Sun mere bandhu re: The Musical XX y se convirtieron en manifestaciones World of S. D. Burman. Noida: HarperCollins artísticas casi al mismo tiempo. No es casuali- India 2014, xii, 258 S. dad que la primera película sonora se llamara El cantor de jazz (1927). Sus caminos se han Über den indischen Filmkomponisten Sachin unido en numerosas ocasiones con resultados Dev Burman (1906–1975). – Inhalt: 1. Begin- tan memorables como irregulares: algunas de nings / 1; – 2. Calcutta; / 21; – 3. Bombay / 55. las obras maestras del cine llevan el sonido in- – Afterword: Moti Lalwani: Sachin Dev Bur- confundible de las apasionadas notas del jazz. man: The Man behind the Legend / 235. – Ap- Roberto Sánchez, crítico de cine y profesor de pendix / 245. Historia del Arte en la Universidad de Zaragoza, ofrece en Jazz de película un ex- haustivo y fascinante recorrido por la conflu- Saura, Norma: Julián Bautista en el cine ar- encia de ambas sendas artísticas. Desde los gentino. In: Cuadernos hispanoamericanos, 666, inicios del sonoro hasta la actualidad, el 2005, S. 7–20. género musical de Duke Ellington, Billie Holi- day, Bird (Charlie Parker), Miles Davis, John Saxer, Marion: Zeit der Oper, Zeit des Films. Coltrane o Louis Armstrong ha cautivado a grandes maestros del cine. El jazz, como ban- Der ›Rosenkavalier‹ im Stummfilm. In: Musik da sonora, como presencia poderosa en la und Ästhetik 15 (2011) 57, S. 42–61. pantalla, como parte fundamental, pero oculta, de películas que no se entenderían sin Scarpelli, Furio / Monicelli, Mario / Scarpelli, su música. El jazz en los grandes musicales y Giacomo: Storia meravigliosa di Niccolò Pa- en documentales específicos y genéricos. ganini: Un progetto per un film non fatto. A cu- Todo ello convierte a este libro en un gran re- ra di Giacomo Scarpelli. Prefazione di Frances- galo para los amantes del cine y del jazz. ca Archibugi. Pisa: Ed. ETS, 2016, 100 S. (Dil- linger: Scrigni di cinema, 1.). Sapiro, Ian: Ilan Eshkeri’s “Stardust”: A Film Score Guide. Lanham, Md.: Scarecrow Press Scemama, Céline: ›Histoire(s) du cinema‹ von 2013, 163 S. (Scarecrow Film Score Guides. 15.). Jean-Luc Godard. Die Auferstehung der Bilder. In: Musik und Ästhetik 15 (2011) 60, S. 106–113. Sapiro, Ian: Scoring the Score: The Role of the Orchestrator in the Contemporary Film Industry. Schlichter, Ansgar / Wulff, Hans J. (Komp.): New York/London: Routledge 2017, xxiv, 220 S. Jazz-, Musical-, Schlager-, Rock- und andere Zuerst: PhD thesis, University of Leeds 2011. Stars der populären Musik im fiktionalen Film, 1950–2018. In: Medienwissenschaft: Berichte Inhalt: Interviews and interviewees – Orches- trating and arranging – Becoming an orches- und Papiere 182, 2018, 61 S. (online). trator – The impact of technology – Involve- Vgl. auch in der gleichen Reihe: Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 168

114, 2011: Rock zwischen Calypso und Twist: Schneider, Enjott [= Norbert Jürgen]: Hand- Musiker im Rock’n’Roll-Film, 1956–1963. buch Filmmusik. Bd. 1–2. München: Ölschläger 115, 2011: Die Beach-Party-Filme (1963–1968). 1986–1989: 1. Musikdramaturgie im Neuen 130, 2012: Rocksploitation: Rockmusiker im Deutschen Film, 1986, 361 S.; 2., überarb. Aufl., Trash-, Horror- und Splatterfilm. 1990, 368 S.; [Neudr.] Konstanz: UVK [2006], 368 S. (Kommunikation audiovisuell. 13.); 2. 144, 2012: Rockmusiker im fiktionalen Film. 1. Musik im dokumentarischen Film, 1989, 361 S. 151, 2013: Rockmusiker im fiktionalen Film. 2. (Kommunikation audiovisuell. 15.) 162, 2015: Biopics der Unterhaltungsmusiker. Rez. (Bd. 2) (Rothschild, Thomas) in: MEDIEN- wissenschaft: Rezensionen 1, 1991, S. 15–16. Schlütz, Daniela: Serielles Quality TV und die Rolle der Musik. In: Ineke Borchert & Schneider, Norbert Jürgen: Der Film – Richard Christoph Hust (Hrsg.): Musik im Quality TV. Leipzig: Hochschule für Musik und Theater Wagners „Kunstwerk der Zukunft“? In: „Felix Mendelssohn Bartholdy“ Leipzig 2019, S. Richard Wagner und die Musikhochschule 5–23 (Schriften online. Musikwissenschaft. München, die Philosophie, die Dramaturgie, die 10.); [URL]. Bearbeitung, der Film. Hrsg. v. Erich Valentin & Wolfgang Seelig. Regensburg: Bosse 1983, S. 123–150 (Schriftenreihe der Hochschule für Schmidl, Stefan: TheF ilm Scores of Alois Meli- Musik München. 4.). char: Studies in the Music of Austro-German Cinema 1933–1956. Wien: myMorawa 2018, 88 S. Schönherr, Ulrich: Als die Bilder hören lernten: Musik, Ton, Avantgardeästhetik und Ge- Due to his provocative writings against schlechterkonfiguration in Wim Wenders Lis- Arnold Schoenberg and other proponents of bon Story. In: Monatshefte für deutschsprachige 20th century’s musical avant-garde, Alois Literatur und Kultur 96,2, 2004, S. 234–251. Melichar (1896–1976) has gained a reputation as one of the most controversial film composers of his time, which overshadowed the Schönherr, Ulrich: Out of tune: Music, postwar efforts in his primary calling: movie music. politics, and Edgar Reitz’s ›Die zweite Heimat‹. This concise monography encompasses Meli- In: New German Critique, 110, 2010, S. 107–124. char’s prolific career as a composer for Aus- tro-German cinema for the first time, tracing Schroeter-Wittke, Harald: Jesus-Transformati- the chronology and the particularities of his work for film. Considering their peculiar in- on als Filmmusikkinderbibel. Mario Castel- graining in the media of the Third Reich and nuovo-Tedescos Klavierzyklus „Evangelion. La the Wirtschaftswunder, Melichar’s scores of- storia di Gesü, narrata a i fanciulli in 28 piccoli fer valuable insights into the musical tech- pezzi per Piano“ (1949). In: Jesus-Transforma- niques of emotional persuasion in cinema. tionen. Festschrift zum 60. Geburtstag von Pro- fessor Dr. Martin Leutzsch. Hrsg. v. Richard Ja- nus, Sophia Niepert-Rumel, Ilona Nord, Jochen Schmidt, Hans-Christian: Musikalische Titel Schmidt, Harald Schroeter-Wittke. Leipzig: von Serien des Fernsehens. Überlegungen zu Evangelische Verlagsanstalt 2019, S. 192–210. einer alltäglichen Erscheinung, in: Ders. [Hrsg.]: Musik in den Massenmedien Rundfunk Schwimmer, Helmut: Film und Musik. In: und Fernsehen: Perspektiven und Materialien. Me- Mainz: Schott 1976, S. 91–119. los: Jahrbuch für zeitgenössische Musik 34, 1967, S. 249–258 Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 169

Schwind, Elisabeth: Im Lichttunnel: Ligetis is full of colour and light yet silent; one is in- Musik in Stanley Kubricks 2001: A Space visible and marvellously noisy.’ Such a belief, Odyssey. In: Neue Zeitschrift für Musik 164,3, this book argues, betrays an ideological con- 2003, S. 32–35. straint on music, desiccating it to sound, and art to vision. The starting point of this study is more hybrid (and hydrating): that music is Sciannameo, Franco: Nino Rota’s “The Godfa- never employed without numerous and com- ther Trilogy”: A Film Score Guide. Lanham, plex intersections with the visual. By involv- MD/Toronto/Plymouth, UK: Scarecrow Press, ing the concept of synaesthesia, the book 2010, xviii, 193 S. (Scarecrow Film Score evokes music’s multi-sensory nature, stops it Guides. 9.). from sounding alone, and offers music as a Sclafer, Germain: 2001: A Pace Odyssey. The subject for art historians. Music bleeds into Donau Sequence as an American Film Musical art and visuality, in its graphic depiction in Number. In: Quarterly Review of Film and Video notation, in the theatre of performance, its 36,1, 2019, S. 26–41. sights and sites. This book looks at music in its absolute guise as a model for art; at nota- For its singular use of the Johann Strauss Jr.’s tion and the conductor as the silent visual ful- “An der Schönen, Blauen Donau” “(“The Blue cra around which music circulates; at the mu- Danube”) Viennese waltz, the spaceships se- sic and image of Erik Satie; at the concert hall quence from Stanley Kubrick’s 2001: A Space as white cube; at the symphonic film ‘2001: A Odyssey (1968) created a revolution in respect Space Odyssey’; and at the liminality of John of film scoring, turning spectators into apes Cage and Andy Warhol. facing a black monolith and generating reac- Rev. (Stuart-Smith, Mark): From “Mousike” to tions of reject. To fill such lack of understand- Synaesthesia: New Interdisciplinary Agendas ing, the number of studies increased, gener- in Music and Visual Culture. In: Art History ally focused on the semantic shock – between 39,1, Febr. 2016, S. 173–181. the old and respected Western classical music on one hand, and the popular science fiction imagery on the other – and neglecting the Scoggin, Lisa: The Music of “Animaniacs”: Post- syntactic analysis. However, it seems that this modern Nostalgia in a Cartoon World. Hillsdale, aspect is essential to apprehend Kubrick’s un- NY: Pendragon Press 2016, xi, 158 S. (Music in precedented combination. This paper will Media Series. 2.). point out how the real revolution came from the structuration of the whole Donau se- Zur TV-Animationsserie Animaniacs (USA/Ja- quence, built according to the parameters of pan 1993–98). – Mit Notenbeispielen. the American film musical’s numbers as defined by Rick Altman, and the creation of a fusion between two film genres thought as to- Sheer, Miriam: „The Godard/Beethoven Con- tally incompatibles until then – and still to- nection: On the Use of Beethoven’s Quartets in day. Godard’s Films. In: The Journal of Musicology 18,1, 2001, S. 170–188.

Shaw-Miller, Simon: Eye hEar: The Visual in Shephard, Tim / Leonard, Anne (eds.): The Music. Farnham, Surrey/Burlington, VT: Ash- gate 2013, xvi, 207 S., 41 Abb. Routledge Companion to Music and Visual Cul- ture. New York/London: Routledge, 2014, xviii, Nachdr. London/New York: Routledge 2016. 391 S. ‘Eye hEar The Visual in Music’ employs the Rev. (Stuart-Smith, Mark): From “Mousike” to concept of the visual in proximate relation to Synaesthesia: New Interdisciplinary Agendas music, producing a tension: ‘is it not the case in Music and Visual Culture. In: Art History that there is a gulf between painting and mu- 39,1, Febr. 2016, S. 173–181. sic, between the visible and the audible? One Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 170

Darin u.a.: Studying Music and Screen Me- Shibata, Kōtarō: Nikkatsu sakkyoku-bu ni oke- dia / David Neumeyer (67–74). – Film I: Bolly- ru Matsudaira Nobuhiro no musei eiga bansō: wood–Music and Multimedia / Anna Morcom Jun eiga geki undō e no ongaku-teki ōtō [柴田 (352–358). – Film II / David Neumeyer (359– 康太郎: 日活作曲部における松平信博の無声映 366). – Multimedia Art: Video Art-Music / 画伴奏: 純映画劇運動への音楽的応答]. In: En- Holly Rogers (367–375). – Music, Visual Cul- geki kenkyū [演劇研究] 40, 2016, S. 131–151. ture, and Digital Games / Roger Moseley (376–384). “The Silent Film Accompaniment by Nobuhiro Matsudaira in Nikkatsu Music Department: The Two Musical Responses to the Pure Film Shibata, Kōtarō: Ichi kyū san rei-nendai kōhan Movement.” no Nihon eiga ni okeru ‘riarizumu’ to Fukai In japan. Schrift. Shirō no eiga ongaku: Bansō ongaku muyō-ron o megutte [柴田康太郎: 一九三〇年代後半の日本映画における「リアリズム」と深井史郎の映 Shibata, Kōtarō: Sairento-ki no Tōkyō ni okeru 画音楽: 伴奏音楽無用論をめぐって]. In: Aesthe- eigakan no ongaku jissen to kankyaku no on- tics 66,1, 2015, 173–184. gaku juyō: Kyūkei sōgaku to eiga bansō no kankei [柴田康太郎: サイレント期の東京にお “‘Realism’” in late 1930s Japanese films and ける映画館の音楽実践と観客の音楽受容:休憩奏 Fukai Shiro’s film music: around anti-musical 楽と映画伴奏の関係]. In: Aesthetics 68,1, 2017, accompaniment arguments.” 109–120. In japan. Schrift. – Abstract: In Japanese film history, the late 1930s was known as a period “Musical Practice and Reception in the Movie when interest in filmic “realism” rose. This Theaters in Tokyo during the Silent: The Rela- study examines how this interest in filmic re- tionship between Intermission Music and Ac- alism influenced musical accompaniment in companiment Music.” narrative films in the late 1930s. It mainly fo- In japan. Schrift. – Abstract: Movie theaters in cuses on two complementary aspects of filmic the silent era had a feature as a concert hall. realism: one based on naturalist/ socialist re- Especially in Japan inthe Taisho era, they alism in literature and the other based on a were central places where ordinary people new conception of filmic representation that heard Western music.Though they are impor- emphasized audiovisual realism. This study tant case for Japanese receptive study of investigates the contrasting influences of Western music, howfilm audiences received it these two aspects. One influence was the de- had scarcely been investigated. This study, fo- crease in the use of non-diegetic music, a cusing onsome theaters in Tokyo especially practice reported in contemporary texts that around 1920 and 1927, tries to show their re- can be confirmed by existing realist films. The ceptionsof Western music. First three sections first half of the paper analyzes contemporary consider on the audiences’ columns in thep- discourse on filmic realism and anti-musical amphlets issued by one of the main movie accompaniment arguments and reveals that theaters, Teikokukan in Asakusa. Theyshow musical accompaniment was considered un- that audiences were so interested in Western suitable for both the above-mentioned aspects music which was frequently playedas inter- of realism. This influence, however, was not mission music that, when the same music was restricted to the decrease in use of non- used for film accompaniment, it sometimes diegetic music. In fact musical accompani- gained audiences attention more than the film ment was not completely abandoned, and it was used for. But until 1927, musical med- some contemporary Japanese film composers leys had gradually gained popularity as a new sought an effective way of using it in realist form of intermissionmusic. The popularity films. The latter half of this paper shows the was based on each tunes’ associative images efforts of Fukai Shiro, one such leading Japa- which had beenformed in audience through nese composer, in this regard. their repetitive use in film accompaniment. The peculiarassociations formed in the movie Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 171

theaters gave birth to a unique musical prac- nese movie theaters and on repertoires and tice. ensembles of Asakusa Fuji-kan and Kanda Nikkatsu-kan, premier theaters of Nikkatsu in Tokyo. The first section of the paper examines Shibata, Kōtarō: 1920-Nendai kōhan no jidaige- the try and errors of Iwao Miyake, the man- ki eiga ni okeru ongaku bansō no setchū-sei ― ager of Fuji-kan, and the process of introduc- wayō gassō senkyoku shinsaku-kyoku [柴田康 tion of Western ensembles and syncretic en- 太郎: 1920 年代後半の時代劇映画における音楽 sembles into Jidaigeki films. Then, through 伴奏の折衷性 ─――和洋合奏・選曲・新作曲 ─]. examining the documents and contemporary In: Ongakugaku: Journal of the Musicological scores which survives, the last two sections Society of Japan 64,1, 2018, S. 1–16. scrutinize the repertoire of Jidaigeki accompaniment around 1926 and the practice of the “The Syncretisms in Musical Accompaniment composer Nobuhiro Matsudaira, one of the of Jidaigeki Films in the late 1920s: Wayo representative accompanist of Jidaigeki films gasso, Musical Selection, New Composition.” after 1927, which show how Japanese- and In japan. Schrift. – Abstract: In the 1920s, mu- Western styles in the repertoire and ensemble sic for Japanese silent films was undergoing were syncretized and transformed in the lat- the process of reformation, whichwas a com- ter half of the 1920s. plex outcome of localization of Western music in Japan and of the contemporary conversion from stage to film. In the first place, the ac- Shirai, Fumito: Shēnberuku “eiga no ichi ba- companiment style of Japanese films in the men no tame no bansō ongaku” no sakkyoku 1910s was implicated in that of kabuki, Japa- katei to sono haikei: Mi happyō no kōsō memo nese traditional drama, because Japanese to 1920-nendai no eiga no ongaku to no kanren films at that time were a kind of cheap substi- [白井史人: シェーンベルク《映画の一場面のた tute for stage drama and were shot in long めの伴奏音楽》の作曲過程とその背景: 未発表 fixed shots and long takes. They were usually の構想メモと 1920 年代の映画の音楽との関連]. accompanied with the Japanese traditional in- In: Ongakugaku: Journal of the Musicological struments, such as shamisen and taiko, so as Society of Japan 61,1, 2015, S. 1–15. to imitate the soundscape of kabuki. Around 1920, however, such stage-oriented films came “Compositional Process and Background of to be criticized for being content with old- Arnold Schoenberg’s Begleitungsmusik zu fashioned stories and for not pursuing film einer Lichtspielszene: His Unpublished Memo techniques like close up and cross cutting, and Film Music in the Twenties.” which were considered to be central to cin- In japan. Schrift. – Abstract: Arnold Schoen- ema. In the Pure Film Movement, which tried berg’s Begleitungsmusik zu einer Lichtspiel- to pursue new Japanese films, the accompani- szene Op. 34 (1930) indicates the close relation ment music also came to be substantially re- between Schoenberg’s work and film music. formed under the influence of Western music Although Schoenberg did not contribute to and Western film accompaniment. Moreover, any films in his career, he had planned to ac- this movement extended over period drama in company the performance of his work Die Japan (Jidaigeki), which is under the tradition gluckliche Hand (1913) with a silent film. He of kabuki. Jidaigeki films began to be screen- emphasized the importance of sound film in ed with classical Japanese music and im- the 1920s in texts such as “Der sprechende ported Western music as well as newly com- Film,” 1927 (“The Talkie”). His relationship posed music, which were played with West- with Guido Bagier, the head of the depart- ern-style ensembleor syncretic-style ensemble ment in charge of sound films department of of Japanese and Western Instruments. – This Universum Film AG (UFA), also indicates study tries to conceive how these accompani- Schoenberg’s interest in films during that ment music of Japanese cinema was trans- time. This paper explores Begleitungsmusik formed through examining the contemporary both in terms of its musical structure and documents on the screening practices of Japa- with reference to the praxis of musical ac- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 172

companiment of silent films. First, the musical 系譜: 溝口健二、マウリシオ・カーゲル、坂本 character of Begleitungsmusik is analyzed 龍一]. In: Artes Mundi [Nagoya] 5, 2020, S. 49– from the perspective of its structure and the 64. process of its composition. Discussion of an “A Genealogy of Film Accompaniment Music unpublished memo indicating the program- without Visual Images: Kenji Mizoguchi, matic content of this piece and a detailed Mauricio Kagel, Ryuichi Sakamoto.” analysis of Schoenberg’s musical manuscripts show that his revisions emphasized a dra- In japan. Schrift. maturgical structure, partly corresponding to the unpublished memo. Second, the relation between the film and Schoenberg’s activities, Sibilla, Gianni: The Concert will be Televised: Il based on the examination of related prelimi- “live” come modello narrativo e produttivo nel- nary material including the diary of his sec- la musica pop e nei media. In: comunicazioni ond wife Gertrud and the unpublished autobi- sociali 2, 2020, 12 S. ography of Guido Bagier, will be surveyed. Fi- The relationship between television and “live nally, the contemporary situation and the aes- music” has been a weak one: the televisive di- thetics of musical accompaniment of silent mension of music was mainly absorbed by the film are discussed, focusing on the relation of music video model, or by single performances the three subtitles Schoenberg used in his Be- in TV shows. The arrival of digital technology gleitungsmusik, “threatening danger,” “anxi- has profoundly affected the dynamics of the ety,” and “catastrophe.” Musical scenarios pub- music industry: recorded music has under- lished in Film-Ton-Kunst, a magazine that gone a sharp decline in sales while, at the specialized in the film music praxis in the same time, the relevance of live concerts has 1920s, are systematically explored. Conse- increased. Live music has become the pivot of quently, this paper recontextualizes Be- musicians’ careers and of the music industry gleitungsmusik within Schoenberg’s own de- as a whole ‒ therefore the offer of tours and velopment and the historical background to concerts has multiplied. In the last 20 years, clarify that although Schoenberg and contem- the presence of pop music on television has porary praxis of musical accompaniment at- intensified, forming itself as a genre in its tached great importance to dramaturgical own right: the talent show. This phenomenon construction, nevertheless, their musical lan- produces a double movement of exchange and guages and attitudes toward the excerpting of a mutual influence between television and the musical pieces differed. pop concert: the two areas of that will be the object of study of this contribution. After an introduction on the definition of “live” and Shirai, Fumito: Ensō suru eiga/ utai oeru opera: “liveness” and after an overview of the rela- 1910~20-nendai no shēnberuku no butai saku- tionship between music and TV and on the hin to eiga to no kankei [白井史人: 演奏する映 analysis of the current state of the music in- 画/歌い終えるオペラ: 一九一〇~二〇年代のシェ dustry and its effects on music and media ーンベルクの舞台作品と映画との関係 ]. In: production, the paper will analyze some mod- Hyōshō [表象] 12, 2018, 151–168. els of these new forms of transmedia narra- “A Film Which Interprets the Music, an Opera tion of music and the new relationship be- Which Ceases to Sing: The Relationship between concerts live and TV shows. These ex- tween Schoenberg’s Theater Pieces and the amples will be aimed at showing both the hy- Cinema from the 1910s to the 1920s.” bridization of the productive forms and television/spectacular narration in concerts, and In japan. Schrift. the presence of narrative and production forms derived from concerts in television Shirai, Fumito: Eizō naki bansō ongaku no kei- shows. These pages will show how, in the fu: Mizoguchi Kenji, Maurishio Kāgeru, Saka- years two thousand, “live” pop-rock concerts moto Ryūichi [白井史人: 映像なき伴奏音楽の and visual and television entertainment con- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 173

verge on the re-discussion of what “live” term used in this analysis is explained. means. The goal is to show how the relationship between these spaces has become a sort of oxymoron: the “live” concert is more and Simeon, Ennio: Programmi narrativi stratifi- more televised, and the musical television cazioni del senso nella musica per film. Il caso show is more and more similar to the concert. di Entr’acte. In: Secondo Convegno Europeo di Analisi Musicale: Atti. [European Conference of Music Analysis. 2, 1991, Trient.] A cura di Silin, Magdalena: The Score “Test Drive” as a Rossana Dalmonte. Trento: Università degli Narrative Element in the Animation Film “How Studi di Trento, Dipartimento di Storia della to Train Your Dragon”. Degree Thesis, Media Civiltà Europea 1992, S. 389–399 (Studi i test. Culture, [Helsinki:] Yrkeshögskolan Arcada 1.). 2018, 49 S.; [URL]. Zusammenfassung: The purpose of this thesis Simonton, Dean Keith: Film music: Are award- is to analyse how the film music works as a winning scores and songs heard in successful narrative element in the scene Test Drive, motion pictures? In: Psychology of Aesthetics, from the film How to Train Your Dragon Creativity, and the Arts 1,2, 2007, S. 53–60. (2010). The film is produced by DreamWorks Animation and the music is composed by John Powell. The reason for choosing this film Slowik, Michael: After the Silents: Hollywood and scene is because the film music is an im- Film Music in the Early Sound Era, 1926–1934. portant part as an element both throughout New York: Columbia University Press 2014, XI, the film. The aim of the thesis is to study how 40 3 S. (Film and Culture Series.). music in action scenes in animated Holly- wood mainstream children’s films is com- Inhalt: Introduction; 1. A Wide Array of posed. My purpose is to gain knowledge of Choices: Musical Influences in the 1920s; 2. how to compose music for film. The analysis Music in Early Synchronized and Part-Talking is limited to only one children’s animation Films, 1926–1929; 3. Toward a Sparse Music film and one scene from that film. The mate- Style: Music in the 100 Percent Talkie, 1928– rial that I used is the scene where the music 1931; 4. Interlude: The Hollywood Musical, piece Test Drive occurs, the sheet music of 1929–1932; 5. Music and Other Worlds: The the music piece, the film’s script and the mu- Hollywood Film Score, 1931–1933; 6. Re- sic piece on Spotify. The method that I use is assessing King Kong; or, The Hollywood Film case study, and for analysing the music piece Score, 1933–1934; Conclusion; Appendix: is done with music theory knowledge and is a Chronological Filmography, 1926–1934; qualitative model that I have developed on Notes; Bibliography; Index. my own. There was not found a method that Rev. (Bennett, Alexis) in: Music, Sound, and suited the music piece or the purpose of this the Moving Image 10,2, 2017, S. 215–219. thesis. There have not been done previous analysis about the film music in How to train your dragon, though small analyses about Smiraglia, Richard / Henry, Joshua: Sounds of film music composed by John Powell have Yesterday: Case Study Taxonomy of Topoi been done. I discovered in the analysis that from Dutch Silent Film Music. In: Proceedings there are many elements that needs to be in- of the Annual Conference of CAIS./ Actes du cluded in a composition. With recurring congrès annuel de l’ACSI. Ottawa: Canadian As- themes and melodies that sound different sociation for Information Science 2016, online. each time and with the help of the three act structure and the dramatic curve, the result of Taxonomy is the rigorous act of distinguish- the music piece is extraordinary and out- ing differentiated concepts by naming and standing. There is a list of definitions in the defining them with precision. A case of taxo- introduction chapter where every musical nomic research arises from film music history Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 174

with regard to musical cues, topoi, used to ac- Smith, Steven C.: A Heart at Fire’s Center: The company silent film. The present case study Life and Music of Bernard Herrmann. Berke- uses the Eyl Collection of Dutch silent film ley/Los Angeles/London: University of Califor- music nia Press 1991, x, 415 S. Repr. 2002, xiv, 415 S., [14] Bl. Smith, Kenneth M.: Vertigo’s musical gaze. From his first film (Citizen Kane) to his last Neo-Riemannian symmetries and spirals. In: (Taxi Driver), Herrmann was a master of Music Analysis 37,1, 2018, S. 68–102. evoking psychological nuance and dramatic tension through music, often using unheard- Laura Mulvey coined the term ‘male gaze’ of instrumental combinations to suit the dra- (1975), using Lacanian theory as a ‘political matic needs of a film. His scores are among weapon’ against the standard mode of view- the most distinguished ever written, ranging ing in which the viewing subject turns on- from the fantastic (Fahrenheit 451, The Day screen women into fantasy objects. While po- the Earth Stood Still) to the romantic (Obses- litically laudable, her article misconstrues La- sion, The Ghost and Mrs. Muir) to the terrify- can’s concept of ‘the gaze’, the power of ing (Psycho). Film was not the only medium in which emanates from the object itself. We which Herrmann made a powerful mark. His might better serve Lacanian theory by invert- radio broadcasts included Orson Welles’s ing Mulvey’s reading of Alfred Hitchcock’s Mercury Theatre of the Air and The War of Vertigo to suggest that Scottie (James Stewart) the Worlds. His concert music was commis- is himself objectified by the mystique of the sioned and performed by the New York Phil- ‘object’ he watches and follows: Madeleine harmonic, and he was chief conductor of the (Kim Novak). The screen’s gaze reduces spec- CBS Symphony. tators to objects too. From this perspective, rather than watching the film, the film can be said to be watching us. This extends to Smith, Steven C.: Music by Max Steiner: The Bernard Herrmann’s soundtrack, famously in- Epic Life of Hollywood’s Most Influential Com- fluenced by the yearning of Wagner’s “Tristan poser. New York/Oxford: Oxford University und Isolde”. Developing David Schwarz’s Press 2020, xvi, 480 S. (Oxford Cultural Biogra- (2006) musical gaze (in which repeated pedal phies.). points of Schubert songs gaze at us), I analyse Vertigo’s frequent emphasis on the pitch class During a seven-decade career that spanned D. A pedal D is often repeated in alluring yet from 19th century Vienna to 1920s Broadway sinister bare octaves as Scottie follows to the golden age of Hollywood, three-time Madeleine. But at key moments in the film, Academy Award winner Max Steiner did the pitch becomes a sophisticated tool that more than any other composer to introduce captivates us in unique ways. Around this and establish the language of film music. In- central pitch third-relationships circle. These deed, revered contemporary film composers resonate with neo-Riemannian theory, partic- like John Williams and Danny Elfman use the ularly in their hexatonic ‘poles’, which Cohn same techniques that Steiner himself per- shows to be agents of the Freudian ‘uncanny’ fected in his iconic work for such classics as (2004) and which here also serve as an alter- Casablanca, King Kong, Gone with the Wind, native gaze to the reiterated D. Other pitch The Searchers, Now, Voyager, the Astaire- constellations, in symmetries or spirals, form Rogers musicals, and over 200 other titles. similar obsessional musical ‘gazes’ that, using And Steiner’s private life was a drama all its Lacanian theory, prompt the question about own. Born into a legendary Austrian theatri- whether we are listening to the music or the cal dynasty, he became one of Hollywood’s music is listening to us. (Vorlage) top-paid composers. But he was also constantly in debt–the inevitable result of gam- bling, financial mismanagement, four mar- riages, and the actions of his emotionally Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 175

troubled son. Throughout his chaotic life, nature of such ratios for categorical phenom- Steiner was buoyed by an innate optimism, a ena of film music. Reasoned grounds selection quick wit, and an instinctive gift for melody, of “film music in the cultural space” as in spe- all of which would come to the fore as he met cific theoretical and substantive meanings of and worked with luminaries like Richard the concept of representing real, relatively in- Strauss, George Gershwin, Irving Berlin, the dependent, structurally and functionally com- Warner Bros., David O. Selznick, Bette Davis, plex phenomenon. Particularly focuses on the Frank Sinatra, and Frank Capra. In Music by situation of the nominal connection of film Max Steiner, the first full biography of music and film in different ways. There are Steiner, author Steven C. Smith interweaves analyzed the typical situations of transforma- the dramatic incidents of Steiner’s personal tion of musical texts in the transition from life with an accessible exploration of his com- one cultural space to another. Special atten- posing methods and experiences, bringing to tion is given to the use of classical music in life the previously untold story of a musical film, as well as the phenomenon of formation pioneer and master dramatist who helped cre- of new classical music on the basis of film ate a vital new art with some of the greatest music. It is noted contextual significance of film scores in cinema history. popular culture, understood in the author’s interpretation as the most organic and in tune with the film environment. The necessity of Sokovikov, S[ergej] S[tepanovič]: Prostranstvo more detailed and in-depth study of the phe- kinomuzyki i kinomuzyka v kul’turnom pros- nomenon of film music in the cultural space transtve: populjarnaja kul’tura kak kontekst as insufficiently studied phenomenon. In the [Соковиков, С[ергей] С[тепанович]: Про- analysis of materials apply the principles of странство киномузыки и киномузыка в contextual and categorical analysis. культурном пространстве: популярная культура как контекст]. In: Vestnik Čeljabins- koj gosudarstvennoj akademii kul’tury i iskusstv Sonnenschein, David: Sound Spheres: A Model 4 (44), 2015, S. 36–43; [URL]. of Psychoacoustic Space in Cinema. In: The New Soundtrack 1, 2011, S. 13–27. “The space of film music and film music in the cultural space: popular culture context.” The importance of localisation of sound in our real world is explored and compared with the In kyrill. Schrift. – Analized phe- Abstract: use of diegetic sound in film, which has been nomens of film music in the cultural space usefully codified by Michel Chion as onscreen and space of film music in their ratio as a rel- and offscreen. To further develop the theory atively independent phenomenon in a mean- of filmic psychoacoustic space, the Sound ingful, functional and procedural aspects. Spheres model offers six levels of sonic expe- Shows the importance of studying the prob- rience, beginning from the most inner per- lems of film music in connection with the sonal sphere and expanding toward the most state art and culture, including music, and outer unknown sphere: I Think, I Am, I other cultural phenomena non-fiction charac- Touch, I See, I Know and I Don’t Know. Real ter. Describes specific features of different world experiences and perceptual exercises of forms of existence of texts of film music, as in these spheres inform us how they can be ap- the structure of the film itself, so when you plied to the creation of filmic stories. include them in contexts broader scale. Marked by a long history of tradition to address to the problems of music movies since Sonntag, Sabine: „Seht ihr’s Freunde?“: Wagners “silent” cinema. The connection and distinc- Tristan und Isolde im Film. Würzburg: Königs- tion of the space of film music and film music hausen & Neumann 2015, 176 S. in the cultural space is considered through the ratio of categories such as “genus – Lars von Trier rückte 2011 mit seinem Film species”, “status – mode”. Shows contextual Melancholia erneut die Frage ins Zentrum, wie gut Wagners „Tristan“-Partitur zur Film- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 176

musik taugt und vor allem, wie sehr diese uncanny qualities that had always been Musik einen Film bestimmen kann. Schon an present in the cinematic image. It complicated der Schwelle zum Tonfilm hatte Luis Buñuel the general viewing sensation of the presence 1930 Vorspiel und „Liebestod“ für seine sur- of the figures speaking and moving on the realen Filme verwendet. Danach entdeckte screen. Sound changed the visual appearance das Hollywood-Kino der 1940er Jahre die of these figures in ways that made them look hochemotionale Musik Wagners für seine Lie- to some viewers like ghosts. This widespread, bes- und Schicksalsdramen. Zwischen Lars sporadic, uncontrolled, and temporary film von Trier und Buñuel liegt die ganze Band- reception phenomenon possibly influenced breite vom biographischen Wagner- und Lud- Hollywood film production trends in ways wig II.-Film über Fantasy-Filme, Filmkomödi- that long outlived the three and a half years en und Pornofilme bis zu jener Gattung, wo of the sound transition period. sich Wagners Musikdrama und der Film be- sonders nah sind: in den Filmen um Selbst- mord, Verklärung und Vision. Interessant ist Spohr, Mathias (ed.): Swiss Film Music: Anthol- dabei auch die Frage, wie originalgetreu Wag- ogy 1923-2012. / Schweizer Filmmusik: Antholo- ners Musik verwendet wird. Hier reicht die gie 1923–2012. / Musique de film suisse: Antho- Spannweite von der Tristan-Schallplatte als logie 1923–2012. / Musica da film svizzera: anto- Soundtrack in Melancholia über die Bearbei- logia 1923–2012. Zürich: Chronos 2014, 396 S, 3 tung des „Liebestod“ zum Violinkonzert in CDs, 1 DVD-Video im Schuber. „Humoresque“ bis hin zur vollständigen Mu- Urs Schnell: Preface – Vorwort – Pré- tation in Hitchcocks Vertigo. Dem Buch liegen Inhalt: Untersuchungen von etwa 100 Filmen zu- face – Prefazione / 8. – Essays – Aufsätze – grunde, und es behandelt u.a. Werke von Al- Etudes – Saggi: – Mathias Spohr: Musik im fred Hitchcock, Billy Wilder, Luchino Viscon- Kontext des Filmtons: Überlegungen zu dieser ti, Monty Python, Werner Herzog, Ken Rus- Anthologie / 19. – Bruno Spoerri: Musik zum sell, Helmut Dietl, Claude Chabrol, Louis Mal- Stummfilm in der Schweiz – Bruchstücke ei- le und Yukio Mishima. 2010 erschien ihr Buch ner Geschichte / 33. – Reto Parolari: Die ver- “Richard Wagner im Kino”, 2013 “Der Opern- gessene Musik: Begleitmusik zu Stummfilmen besuch im Spielfilm”. (Verlag) – ihre Anwendung, ihre Qualität, ihr Charak- ter / 67. – Thomas Meyer: «Raté!!!»: Zur Film- musik Arthur Honeggers / 79. – Anna Katha- Spadoni, Robert: The Uncanny Body of Early rina Hewer: «L’Art pour l’homme»: Robert Sound Film. In: The Velvet Light Trap 51,1, 2003, Blum als Filmkomponist / 91. – Felix Aeppli: S. 4–16. Der Film an der Expo 64 in Lausanne oder: Das Jahr null des neuen Schweizer Films mit The first synchronized sound films were Ergänzungen von Bruno Spoerri zur Musik / widely hailed as a forward leap in cinematic 109. – Gerrit Waidelich: Grenzenlose Freiheit realism. Many critics and other commentators oder formales Korsett? Der Improvisator An- noted that everything in the films and, most dré Desponds als Pianist vor der Leinwand / strikingly, the speaking human figures in 119. – Bettina Spoerri: Auf der Suche nach them now appeared to be more lifelike, dem idealen Klang: Eine kleine Sounddesign- present, and three-dimensional. Today, silent Geschichte im Schweizer Film / 129. – Source films seem to viewers who are not accus- texts – Quellentexte – Temoignages – Testi ori- tomed to watching them to be remote, bound ginali: – Summary / 143. – Alexandre Mitnits- by conventions such as intertitles that are ky: Le cinéma, son Evolution et la musique / strange and unreal. The impression that 145. – Arthur Honegger: Du cinéma sonore à sound brought the cinema closer to reality, la musique réelle / 149. – Robert Blum: Die therefore, seems to have been one that stuck. Musik im Film Wesen, Aufgabe und Entste- This was not the only impression that sound hung / 155. – Julien-François Zbinden: La films made on their first audiences, however. Suisse s’interroge: Cinq films d’Henry Brandt Sound also brought to the foreground certain pour Expo 64 / 164. – Bruno Spoerri: Musik Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 177

für Werbespots – 1965 / 165. – Victor Togno- of non-musical genres, including melodramas, la: Chi è stato Mario Robbiani – la nostra in- romantic comedies, Westerns, prison dramas, credibile empatia / 171. – Jacques Guyonnet: and action-adventure films, and shows how Film, musique, rencontre et chimie / 173. – Jo- filmmakers tested and refined their approach nas C. Haefeli: Suspense: Gedanken über mei- to songs in order to reconcile the spectacle of ne Filmmusik / 177. – Christoph Baumann: song performance, the classical norms of sto- Stummfilm-Live-Musik / 179. – Christine Auf- rytelling, and the conventions of background derhaar: Filmkomposition. Überlegungen zur orchestral scoring from the period of silent Arbeitsweise / 183. – Fatima Dunn: Frauen cinema. Written for film and music scholars und Filmkomposition / 185. – Training, insti- alike as well as for general readers, Saying It tutions and prizes / Ausbildungen, Institutionen With Songs illuminates the origins of the und Preise / Formation, institutions et prix / popular song score aesthetic of American cin- Percorsi formativi, istituzioni e premi: – Daniel ema. Weissberg: Klänge, Bilder, Zahlen / 191. – An- dre Bellmont: Filmmusikausbildung an der Zürcher Hochschule der Künste / 196. – Vol- Sprout, Leslie A.: Composing film music in ker Böhm: Audiodesign an der Hochschule theory and practice. Honegger’s contributions für Musik Basel / 199. – Frédéric Maire: La Ci- to Les misérables and Rapt. In: Journal of the némathèque suisse et la musique de film / 201. American Musicological Society 72,1, 2019, S. – Guy Bovet: L’orgue de cinéma et ses festi- 43–113. vals en Suisse / 202. – Swiss Media Compo- Arthur Honegger composed his first sound sers Association (SMECA) / 204. – Pierre film scores in 1933–34. For , Funck und André Bellmont: Forum Filmmusik Les misérables Raymond Bernard, who was under contract at und Internationaler Filmmusikwettbewerb / Pathé-Natan to direct big-budget theatrical 206. – Preis für die «Beste Filmmusik» films that would compete with Paramount’s («Quartz») / 208. – Preise der FONDATION French-language productions, expected SUISA für Film- und Medienmusik / 209. – Honegger to provide intermittent orchestral Works – Werke – Œuvres – Opere: – Intro. – underscoring for already filmed sequences CD 1: 1923–1959 /214. – CD 2: 1960–1989 / that privileged dialogue over music. For , 238. – CD 3: 1990–2012 / 266. – DVD: 1934– Rapt the musically trained Dimitri Kirsanoff used 2011 /300. independent financing to collaborate from the start with Honegger and Arthur Hoérée on Spring, Katherine: Saying It With Songs: Popu- what the director called “a hybrid form … in lar Music and the Coming of Sound to Holly- which music, image, and dialogue work to- wood Cinema. New York/London: Oxford Uni- gether”. The innovative electroacoustic and versity Press 2013, xi, 229 S. (Oxford Music/ sound editing techniques in the soundtrack for have, I argue, overshadowed the Media.). Rapt strikingly reciprocal relationship between the Hollywood’s conversion from silent to syn- soundtrack’s more conventional instrumental chronized sound film production not only in- underscoring and the images on screen. stigated the convergence of the film and mu- Honegger theorized in 1931 that, in sound sic industries but also gave rise to an extraor- film, music’s “autonomy” “would free it from dinary period of songs in American cinema. the burden of mimesis. Instead, the images on Saying It With Songs considers how the in- screen would teach listeners about music’s creasing interdependence of Hollywood stu- abstract “reality”. In practice, however, in dios and Tin Pan Alley music publishing firms Rapt, mimetic music and musicalized sound influenced the commercial and narrative effects bridge the gap between aesthetic goals functions of popular songs. While most schol- of hybridity and practical demands for intelli- arship on film music of the period focuses on gible dialogue. My analysis of the abduction, adaptations of Broadway musicals, this book washhouse, storm, and dream sequences in examines the functions of songs in a variety “Rapt” “demonstrates that a successful hybrid Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 178

of sound and image ultimately has the poten- me jedoch noch einiges mehr zu erzählen, als tial not just to use images to pin down mu- es etwa der Hintergrundmusik zu Zeiten des sic’s elusive “reality”, but also to use music’s Klassischen Hollywood-Studio-Systems er- mimetic possibilities to influence our reading laubt war. Ob als Foreshadowing der folgen- of ambiguous imagery. It also shows that mu- den Geschichte, ob als Kommentar und Sub- sic does not need to be in itself groundbreak- text zu den Bildern, ob als Teil der Charakteri- ing in order to contribute to groundbreaking sierung der Protagonisten und damit als Aus- innovations in sound film. (Vorlage) löser von Empathie sowie Identifikation, oder gar als Quelle der Mythenbildung, die Film- musik vermag in beiden Filmen auszu- Stabodin, Kerstin: „Die Kinos brauchen die drücken, was über kein anderes filmisches Musik wirklich, brauchen sie dringend“: Über Element vermittelt scheint. Ähnlich dem Chor die narrative Funktion der Filmmusik in „The der antiken Tragödie scheint die Filmmusik Graduate“ und „Easy Rider“. Diplomarb. Wien: nun als gleichberechtigtes, ja entscheidendes Universität Wien, Philologisch-Kulturwissen- narratives Element im Film angekommen. schaftliche Fakultät 2015, 113 S.; [URL]. Bens Sommer mit Mrs. Robinson in The Ga- duate sowie Easy Rider abenteuerliche Motor- Abstract: Bereits seit Anbeginn des Mediums radtour quer durch die USA legen es offen – Film war es die Musik, welche es vermochte was wäre der Film ohne Musik, was die Musik eine wunderliche Faszination zu entfachen, ohne Film? wie sie wohl schon viele Zuschauerinnen und Zuschauer erleben durften. Was wäre das Fil- merlebnis ohne die sanften Melodien einer Stanfield, Peter: Crossover: Sam Katzman’s Liebesgeschichte, die spannenden Klänge ei- Switchblade Calypso Bop Reefer Madness ner Krimigeschichte oder die unheimlichen Swamp Girl or Bad Jazz, calypso, beatniks and Töne einer Horrorgeschichte? Und vielleicht rock ’n’ roll in 1950s teenpix. In: Popular Mu- gerade deshalb ist die Musik seit jeher lär- sic: A Yearbook 29,3, 2010, S. 437–455. mender und doch stiller Begleiter des Filmbil- des. Sei es die Live-Musikbegleitung der This essay challenges the received wisdom Stummfilme über die Orchestersymphonien that teenpix of the 1950s were dominated by a des Klassischen Hollywood-Kinos bis hin zur soundtrack of rock ’n’ roll. I argue that this kommerziell erfolgreichen Verwendung be- cycle of film production was marked by a di- reits veröffentlichter Songs bekannter Musik- versity of musical genres, styles and types. gruppen- oder Interpreten, Musik und Film Not only rock ’n’ roll, but rhythm ’n’ blues, sind untrennbar miteinander verbunden und folk, rockabilly, swing, West Coast jazz, be- damit auch die wissenschaftliche Suche nach bop, Latin music such as the mambo, the dem Geheimnis der Faszination um die Film- rhumba, the cha cha chá, and Caribbean ca- musik angeregt. Ende der 1960er Jahre, einer lypsos were all heavily featured in these films. Zeit in welcher die epochalen Orchestersinfo- This study is carried out through a focus on nien großer Hollywood-Produktionen längst the temporal arrangements – fads, cycles, veraltet schienen und die Jugendbewegung trends – that govern serial production and Rebellion und Opposition heraufbeschwor, consumption of movies and popular music. sollten es The Gaduate und Easy Rider mit be- Following Philip Ennis’ thesis that rock’n’roll reits veröffentlichten Folk- und Rocksongs is best defined by its ability to “crossover” schaffen, Publikum und Kritiker gleicherma- musical boundaries – to move, for example, ßen zu faszinieren. Nun ist es die Filmmusik, across the pop, country, and rhythm’n’blues welche Emotionen und Zeitgeist vermittelt, charts – I argue that the film industry chose welche Kontinuität und Hintergrundatmo- not to overly limit the music it had on offer sphäre schafft sowie auch narrative Funktio- and instead provided a varied package, some nen übernehmen kann. Vom Wesen des Songs of which, it expected, would crossover and als Verbindung zwischen Sound und Lyrics appeal to diverse and capricious teenage profitierend, vermag die Filmmusik beider Fil- tastes. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 179

Ersten Weltkriegs seine Geburtsstadt Dorpat Staudacher, Michael: The way of Film Scoring. (Tartu) in Estland und ging nach Paris, um In the case of my film score for the movie In- dort sein Cellostudium fortzusetzen. Er spielte in Stummfilmorchestern und wurde ab 1921 dian Summer. In: Asian Musicology 1, 2002, S. selbst zu einem unabhängigen und herausra- 111–120. genden Filmregisseur, dessen Filme mittler- weile restauriert und teilweise auf DVD er- Steiner, Fred: An Examination of Leith Stevens’ schienen sind. Aufsehen erregte sein nach Use of Jazz in The Wild One. In: Film Music einem Pariser Arbeiterviertel benannter Film Notebook 2,2, 1976, S. 26–35. Ménilmontant (1926), danach das kurze „Filmgedicht“ ( , Steinhauer, Iakovos: Notizen zur Ästhetik der Brumes d’automne Herbstnebel 1928) und der 1933 im schweizerischen Wallis Filmmusik. In: Ton-Spuren aus der Alten Welt: gedrehte kühne Tonfilm Rapt (Frauenraub), zu Europäische Filmmusik bis 1945. Hrsg. v. Ivana dem Arthur Honegger und Arthur Hoérée Rentsch & Arne Stollberg. München: edition eine ganz ungewöhnliche Musik kom- text + kritik 2013, S. 13–26. ponierten. 1952 entstand ein weiteres „Filmgedicht“, Arrière saison (Spätherbst). Erst Steinhauer, Iakovos: Das Musikalische im Film: 20 Jahre nach seinem Tode wurde Ménil- Zur Grundlegung einer Ästhetik der Filmmusik. montant in Frankreich und den USA als einer Hildesheim/Zürich: Georg Olms 2018, 271 S. der zentralen Stummfilme wiederentdeckt, (Studien und Materialien zur Musikwis- doch im deutschen Sprachgebiet blieb Kir- sanov weiterhin unbekannt. senschaft. 102.). Unter welchen Voraussetzungen kann von einer audiovisuellen Verbindung im Film ge- Stenzl, Jürg: Musik / Film: Konstellationen zwis- sprochen werden, die Ton und Musik nicht als chen Claude Debussy / Dudley Murphy und akzidentelle, sondern als immanente Elemen- Hans Werner Henze / Alain Resnais. München: te des Films behandelt? Um diese Frage zu Text + Kritik 2016, 376 S. klären, befasst sich die vorliegende Studie mit Stenzl ist davon überzeugt, dass bedeutende einem wenig beachteten Aspekt in der Theo- Filme nicht nur anzusehen, sondern auch – rie der Filmmusik, indem sie das Thema der mit „gespitzten Ohren“ – anzuhören sind. filmischen Bild-Ton-Beziehung aus philoso- Dieser Überzeugung liegt die Einsicht zu- phischer Perspektive untersucht. Durch die grunde, dass sich eine wissenschaftliche Auseinandersetzung mit wichtigen theoreti- Beschäftigung mit dem Thema „Musik und schen Quellen zur Ästhetik der Filmmusik Film“ lohnt – und zwar sowohl für die Musik- und anhand ausgewählter Filmbeispiele wird und Filmgeschichte generell als auch ins- ein hauptsächlich von der Phänomenologie besondere für die Rezeptionsgeschichte der und der Filmphilosophie Gilles Deleuzes aus- Musik. Vom frühen Stummfilm und deutschen gehendes theoretisches Konzept entworfen, „Bergfilm“ über die Nouvelle Vague bis zum das die Prinzipien des Einsatzes von Ton und Operettenfilm greifen Jürg Stenzls Studien Musik im Film auf ihre ästhetischen Grund- einzelne konkrete Beispiele heraus und zeigen strukturen zurückführt. auf methodisch kluge Art und Weise die vielfältigen wechselseitigen Konstellationen Stenzl, Jürg: Dmitrij Kirsanov: Ein verschollener zwischen Film und Musik auf – mit immer Filmregisseur. München: Edition Text + Kritik wieder ganz überraschenden Erkenntnissen. 2013, 238 S. (Verlag) Als Marc David Kaplan in eine jüdische Kauf- mannsfamilie hineingeboren, verließ der Stenzl, Jürg: Mozarts Filmdébut als Endspiel: Musiker und spätere Filmemacher Dmitrij La Mort de Mozart (1909). In: Musik und Äs- Kirsanov (1899–1957) kurz vor dem Ende des thetik 21 [= 82], April 2017, S. 39–50. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 180

Mozart’s Film Debut as an Endgame: La Mort GUILLOTINE (1913) / 133 – 5. Eleutero Rodolfi, de Mozart (1909) – The earliest Mozart film, LES DERNIERS JOURS DE POMPEI (GLI ULTIMI GIORNI DI until now usually ascribed to Louis Feuillade, POMPEI, 1 1913) / 134 – 6. Léonce Perret, which Étienne Arnaud made in 1909 for Gau- ĽEXPRESS MATRIMONIAL (1912) / 136 – 7. Marcel mond, deals with what later became a typical L’HERBIER, EL DORADO (1921) / 137 – 8. Scott subject: Mozart’s final, incomplete Requiem. Sidney, LA MARRAINE DE CHARLEY (CHARLEY’S The decisive aspect here is that the music for AUNT, USA 1925) / 139 – 9. Victor Sjöström, this film, arranged and recorded by Paul Fosse LARMES DE CLOWN (HE WHO GETS SLAPPED, USA (duration: 12–13 minutes) can be completely 1924) / 141 – 10. Hans Otto Löwenstein reconstructed. Paul Fosse’s choice of music (Pseud.: Hans Otto), BEETHOVEN (auch DAS LEBEN gives the story of Mozart’s requiem and DES BEETHOVEN, A 1927) / 145. – Register: Titres death, filmed in a conventionally linear fash- français de tous les films selon l’inventaire de ion, a dramaturgical structure through the Paul Fosse / 153. – Identifizierte nicht franzö- music. Pointing beyond the film itself, this in- sische Filme: Identified american and british dicates that the time of the silent film fea- Films / 181. – Films italien / 188. – Films sué- tured widely varied approaches to musical ac- dois / 190. – Deutsche und österreichische Fil- companiment (“adaptations”). They can be re- me / 191. – Restliche nicht französische Fil- searched and constructed using the record- me / 192. – Réalisateurs – Regisseure – Direc- ings of music for over 1600 silent films for tors / 193. which Paul Fosse “adapted” “the music at the Gaumont Palace. Stenzl, Jürg: Charlie Chaplin: Die Musik zu seinen Stummfilmen. München: edition text + Stenzl, Jürg: Musik für über 1500 Stummfilme: kritik 2020, 244 S. Das Inventar der Filmmusik im Pariser Gau- Stummfilme sind nie wirklich stumm gewe- mont-Palace (1911–1928) von Paul Fosse. / Mu- sen. Seit den Anfängen der Kunstgattung Film sique pour plus de 1500 films muets: l’inventaire wurden sie mit unterschiedlichen Musikbe- de la musique de film dans le Gaumont-Palace gleitungen versehen. Nur in seltenen Fällen parisien (1911–1928) de Paul Fosse. / Music for wurde Musik nur für einen bestimmten Film More than 1500 Silent Films: Music Inventory of komponiert, stattdessen vorhandene präexis- the Films Shown at the Paris Gaumont-Palace tente Musik für ganz unterschiedliche Filme (1911–1928) by Paul Fosse. Wien: LIT 2017, ii, und verschiedene Aufführung. 198 S. (Filmwissenschaft. 18.). Inhalt: Vorwort / 7. – Einleitung / 10. – I. Inhalt: Einleitung: Die bedeutendste Quelle Charlie Chaplin in Frankreich / 17. – II. Chap- für die Stummfilmmusik: Das musikalische lins Filme im Gaumont-Palace / 22. – III. Die Inventar von Paul Fosse des Gaumont-Palace Musik zu den Chaplin-Filmen im Gaumont- in Paris / 3 – Introduction: Une source de la Palace / 29. – IV. Filmische und musikalische plus haute importance concernant la musique Dramaturgien von Paul Fosse in Chaplins Fil- des films muets: L’inventaire musical de Paul men / 79. – V. Die beiden Adaptierungen von Fosse pour le Gaumont-Palace à Paris / 19 – CHARLOT AU MUSIC HALL (A NIGHT IN THE SHOW, Introduction: The Major Source for Silent Mo- 1915) / 85. – VI. Chaplin-Filme in Paris und vie Music: Paul Fosse’s Inventory for the Gau- anderswo / 93 – Das cue sheet für SHOULDER mont-Palace, Paris / 33. – Adaptations musi- ARMS von Eugene Conte und die Adaptierung cales des Films du Gaumont-Palace, 1911– von Paul Fosse / 97 – Chaplins Neuedition 1919: Volume 1/1 / 51 – Volume 1/2 / 85 – Vo- von SHOULDER ARMS mit seiner eigenen Musik lume 2 / 109 – Supplement: Ausgewählte Bei- in THE CHAPLIN REVUE (1959) / 107 – Drei Adap- spiele von 1909–1927 / 129. – 1. Etienne Ar- tierungen von THE PILGRIM: James C. Bradford, naud, LA MORT DE MOZART (1909) / 130 – 2. Edward Van Praag und Paul Fosse / 112 – Die Louis Feuillade, LA TARE (1911) / 131 – 3. Jean Adaptierungen von A NIGHT IN THE SHOW und Durand, LE RAILWAY DE LA MORT (1912) / 132 – 4. THE RINK durch Paul Fosse und Arthur Klei- Louis Feuillade, FANTOMÂS [I]: ĽOMBRE DE LA ner / 129 – Restaurierungen und Neukompo- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 181

sitionen von THE RINK durch das Paragon Rag- Stock, Robert: Musik-filmische Teilhabekon- time Orchestra und Carl Davis / 141 – Eine stellationen als Partizipationsversprechen und Klavierbegleitung von Roger Coss für CITY situiertes Wissen in The Queen of Silence (2014) LIGHTS / 143 – Chaplins »Monodram« ONE A. und And-Ek Ghes… (2016). In: Paragrana 28,1, M. mit präexistener und neu komponierter 2019, S. 153–174. Musik / 148 – THE KID in Los Angeles und Pa- ris / 152 – THE PAWNSHOP mit Adaptierungen Der Beitrag geht der Frage nach, wie (illegit- von Paul Fosse, Arthur Kleiner und in restau- ime) städtische Räume zu Schauplätzen einer rierten jüngeren Editionen / 157. – VII. Der Reflexion von Teilhabe werden können, wenn Musiker und Komponist Chaplin / 166. – VIII. sich Prozesse des Filmemachens, Tanzens und Carl Davis: Charlie und Ich / 195. – Musik-An- Musik-Hörens miteinander verschränken. Es hang / 197: – 1: James G. Ellis, Funny Charlie wird dafür argumentiert, Partizipation im Chaplin (»Who is the Idol of the day?«) / 197 Kontext dokumentarischer Bewegtbild-Pro- – 2: Emile Doloire, Il a des Moustaches à la duktionen als prozessual wie auch medial Chariot / 201 – 3: Laurent Halet, Fringant hergestellte Teilhabe zu konzeptualisieren. (Munter Lebhaft) / 203 – 4: Paul Fosse, Al Co- Die Analyse audiovisueller Teilhabekonstella- da, galop / 204 – 5: Domenico Savino, Carni- tionen, durch die sonische Körper mit konsti- val Grotesque / 206 – 6: George A. Little, So- tuiert werden, konzentriert sich auf zwei mebody, Song One-Step (»I have been lost in Filme: In The Queen of Silence (Agnieszka dreams«) / 210 – 7: Cecil Macklin, Très Mou- Zwiefka) und And-Ek Ghes… (Philip Scheffner tarde (Too Much Mustard), One or Two-Step or und Colorado Velcu) kommen Musikvideo- Tango / 214. – Anhang / 218: – Gesamtüber- Ästhetik und Referenzen auf Bollywood eine sicht aller für die Chaplin-Filme im Gaumont- entscheidende Rolle zu. Dabei stellt sich die Palace verwendeten musikalischen Werke Frage, wie diese Produktionen Repräsenta- und ihrer Komponisten / 218 – Verzeichnis tionspolitiken hinsichtlich der Sinti und Roma der Komponisten und ihrer Werke in Chaplin- in Polen und Deutschland durchdenken. Die Filmen, die nicht im Gaumont-Palace musika- Resonanzen zwischen Musik, Bewegtbild, lisch adaptiert worden sind / 225 – Chaplin- tanzenden/hörenden Körpern und urbanen Filmografie / DVD (Stummfilme) / 231 – Res- Räumen werden mit Blick auf die Sound Stud- taurierte DVD-Editionen / 233 – Diskografie / ies und Disability Studies kartiert und die 237 – Bibliografie / 239. Frage nach den Möglichkeiten einer situierten Wissensproduktion (Haraway) erörtert.

Stern, Dietrich: Ran (1985): Ein kultureller und emotionaler Grenzgang. Zur Musik in den Fil- Stokes, Jordan: Rock composition and recom- men Akira Kurosawas. In: Akira Kurosawa: Die position in The Departed’s soundscape. In: Mu- Konfrontation des Eigenen mit dem Fremden. sic and the Moving Image 6,2, 2013, S. 3–20. Hrsg. v. Gerhard Schneider, Peter Bär, Andreas Research on pop music in film has empha- Hamburger, Karin Nitzschmann, Timo Storck. sized the transformative effect of the song on Gießen: Psychosozial-Verlag 2018, S. 163–174 the film. Using examples from Martin Scors- (Im Dialog: Psychoanalyse und Filmtheorie. ese’s The Departed, I argue that songs, too, are 14.). transformed by films, formally altered by a series of transformations I have labeled “Jux- taposition,” “Truncation,” “and “Extension.” Stilwell, Robynn: Vinyl Communion: The (Vorlage) Record as Ritual Object in Girls’ Rites-of-Pas- sage Films. In: Changing Tunes: The Use of Pre- existing Music in Film. Ed. by Phil Powrie & Stollberg, Arne: Illustration oder Komposition? Robynn Stilwell. Aldershot: Ashgate 2006, S. Camille Saint-Saëns’ Musik zu L’Assassinat du 152–166. Duc de Guise (1908) im Licht späterer Gat- Nachdr. London: Routledge 2017. tungskonventionen. In: Ton-Spuren aus der Al- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 182 ten Welt: Europäische Filmmusik bis 1945. Hrsg. – eine intermediale Spurensuche (13–46). / von Ivana Rentsch und Arne Stollberg. Volker Mertens: „Im Kino gewesen“ – kom- München, text + kritik 2003, S. 93–124. poniert Puccini, der Film seiner Zeit und kine- matographische Operndramaturgie (47–68). / Norbert Abels: Die Fernsehoper. Lose An- Stollberg, Arne: Suspense und Sonatenform: merkungen zu einem Relikt aus der Welt von Strategien der Filmmusik-Adaption in Miklós gestern (69–83). / Uta Felten: Mozart als TV- Rózsas »Spellbound Concerto«. In: Von Arosa Serie? Überlegungen zu Peter Sellars’ Don nach Leipzig: Hans Schaeuble und sein Komposi- Giovanni (84–97). / Immacolata Amodeo: Das tionsstudium am Leipziger Konservatorium. traurige Nashorn. Oper und Film bei Federico Hrsg. v. Hans-Joachim Hinrichsen & Urs Fi- Fellini (98–107). / Dirk Naguschewski: Ex- scher. Kassel: Bärenreiter 2016, S. 164–178 portschlager. Carmen-Adaptionen im afrika- (Schweizer Beiträge zur Musikforschung. 23.). nischen Kino (108–122). / Panja Mücke: „… jene Öffentlichkeit erreicht, die Musik hören möchte“. Musiktheater und Film in den Stollberg, Arne: Die Stimme der Eissphinx. 1920er-Jahren (123–137). / Arne Stollberg: Pastoralismus und Anti-Pastoralismus in Mysterien – Mirakel – Marienspiele. Korn- Vaughan Williams’ „Sinfonia antartica“ sowie golds Heliane und ihre filmischen Schwestern der Filmmusik zu Scott of the Antarctic. In: (138–163). / Stephan Ahrens: Opern für die Ralph Vaughan Williams. Hrsg. v. Ulrich Tad- Leinwand. Erich Wolfgang Korngolds Film- day. München: edition text + kritik 2018, S. musik im Hollywood-Melodrama (164–183). / 186–205 (Musik-Konzepte. NF 12.).. David Roesner: Beyond the Screen. Die Eman- zipation der filmischen Bilder in zeitgenössis- Zur Filmmusik in ( Scott of the Antarctic Scotts chen Musiktheater-Produktionen (184–211). letzte Fahrt, Großbritannien 1948, Charles Frend). Rez. (Jahn, Konstantin) in: Die Musik- forschung 73,2, 2020, S. 185–187. In Ralph Vaughan Williams’s music for the filmScott of the Antarctic and the “Sinfonia antartica” “developed from it, the superficially Stoppe, Sebastian (Hrsg.): Film in Concert: Film exhibited heroism surrounding the expedition Scores and their Relation to Classical Concert team of Robert F. Scott is subtly undermined. Music. Glückstadt: Verlag Werner Hülsbusch The exotically inflected vocalises of the wom- 2014, 207 S. (AV-Medien.). ens’ voices – literally a siren’s song representing the strange and seductive realm of the This book wants to explore the nature of film Antarctic – unveil an erotic obsession behind music and its relation to classical music. How the ambitions of the South Pole explorers that is film music perceived today? Does film mu- ultimately leads them towards death. In con- sic have its place on its own – uncoupled trast to this, the beginning of the film as well from its original film – in the concert hall? as the fourth movement of the symphony And how does film music relate to other mu- (“Intermezzo”) portray an equally feminized sical genres in the 19th and 20th century? pastoral idyll connected to the English coun- Inhalt: Sebastian Stoppe: Film Music in Con- tryside, which is destroyed by Scott’s adven- cert: Introduction / 7. – Sebastian Stoppe: turous spirit revealing itself as an irrational Film Composing between Art and Business / and compulsive drive. (Vorlage) 11. – Emilio Audissino: Overruling a Roman- tic Prejudice: Film Music in Concert Programs / 25. – Jaume Radigales: Wagner’s Heritage in Stollberg, Arne / Ahrens, Stephan / Königsdorf, Cinema: The Bernard Herrmann Case / 45. – Jörg / Willer, Stefan (Hrsg.): Oper und Film: Ge- Irena Paulus: Williams versus Wagner – Or schichten einer Beziehung. München: edition an Attempt at Linking Musical Epics / 63. – text + kritik 2019, 254 S. Emilio Audissino: Golden Age 2.0: John Inhalt: Janina Müller: Das Opernhafte im Film Williams and the Revival of the Symphonic Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 183

Film Score / 109. – Gene Pritsker: On Film Strank, Willem: Die Verflechtung von Biogra- Music in the 21st Century / 125. – Kristjan phie und musikalischer Diegese in Clint East- Jarvi: “A Soundtrack to Our Lives...” / 131. – woods Bird. In: Kieler Beiträge zur Filmmusik- Gene Pritsker: Composing Cloud Atlas Sym- forschung 2, 2008, S. 68–75. phony / 145. – Lorenzo Sorbo: The Dramatic Functions of Italian Spaghetti Western Sound- tracks: A Comparison between Ennio Morri- Strank, Willem: Van Morrisons Konzertfilme. cone and Francesco De Masi / 161. – Marco In: Rock and Pop in the Movies 1, 2011, S. 26–50. Cosci: Musical Labyrinths in Time: Alain Resnais’ / 175. – L’Annee derniere a Marienbad Strank, Willem: Dont Look Back. In: Rock and Pascal Vandelanoitte: Ludwig: Consonant Mu- Pop in the Movies 3, 2013, S. 43–59. sic in a Dissonant Life / 191.

Strank, Willem: Filmmusik im Deutschunter- Stoppe, Sebastian: John Williams’s Film Music richt. In: ide: Zeitschrift für den Deutschunter- in the Concert Halls. In: John Williams: Music richt, 2, 2013, S. 102–111. for Film, Television and the Concert Stage. Ed. by Emilio Audissino. Turnhout: Brepols 2018, S. 95–116 (Contemporary composers. 1.). Strank, Willem / Tieber, Claus (Hrsg.): Jazz im Film: Beiträge zu Geschichte und Theorie eines Film music has its roots in late-romantic con- intermedialen Phänomens. Wien/Münster: Lit cert music. A number of composers of so- Verlag 2014, 242, (3) S. (Filmwissenschaft. 16.). called “serious music” also composed for the film. And some Golden Age film composers Inhalt: Vorwort (Willem Strank und Claus came from the concert-music realm and, once Tieber) / Einleitung: Jazz im Film: Ein weites they started their association with Holly- Feld (Willem Strank und Claus Tieber) / Im- wood, continued to pen works for the concert provisation/improvisieren. Anmerkungen zu stage too. Film music had to struggle for a einem missverständlichen Begriff und seiner long time against the prejudice that saw it as Bedeutung in der filmischen Repräsentation music not to be taken seriously; it was re- von Jazz (Claus Tieber) / AI Jolson und der garded as “neglected art”. Nevertheless, film- «jüdische Jazz» (Andrea Oberheiden-Brent) / music concerts have experienced a blossom- Jazz und die Cartoons mit Betty Boop (Lena ing in the recent years. There is a large vari- Christolova) / Ideologie und Swingmusik. Zur ety, from programmes that only perform film Deutungsproblematik von Unterhaltungsfilm- music in concert halls without any additional musiken aus der Zeit des Nationalsozialismus element to large-scale events in multi-pur- (Moritz Panning) / Jazz im DEFA-Film (Wolf- pose halls where film music is accompanied gang Thiel) / Swing in Schwarz-weiß. Zur by film clips or provides the live accompani- dramaturgischen Funktion des Jazztanzes in ment to entire films. This chapter examines Bonjour tristesse /(Hanna Walsdorf) / Zwis- the role of John Williams’s film scores in this chen Harmonie und Hegemonie. Jazz in der context. Are there any special features of Glenn Miller Story (Irene Kletschke) / Come Williams’s film music that make it particu- Back, Africa. Jazz im Hollywood der 1950er larly suitable to the concert hall? How does Jahre und der weiße Hipster. Repräsentatio- the performance practice of his film music nen von race im südafrikanischen und im US- differ in comparison to classical concerts? Are Kino (Max Annas) / Bird, Blues, Broadway. there any pieces that are played more fre- Gestalt und Funktion der Musik in Shadows quently than others, and if so, why? von John Cassavetes (Andreas Münzmay) / Off-Beats und Jump-Cuts – zwei Formen eines Ausdrucks. Jazz und Film im Lichte ihrer Strank, Willem: Jazz in Robert Altmans Kansas Ähnlichkeiten am Beispiel von Bebop und À City. In: Kieler Beiträge zur Filmmusikfor- bout de souffle (Frank-D. Neidel) / Space Is the schung 1, 2008, S. 102–119. Place (1974). Jazz als Methode des Films (Kon- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 184

stantin Jahn) / Free Jazz Documentaries (Wil- Summers, Tim: Star Trek and the Musical De- lem Strank) / Schläft ein Lied in allen Dingen. piction of the Alien Other. In: Music, Sound, Step Across the Border und die Konstruktion and the Moving Image 7,1, Spring 2013, S. 19– des romantischen Künstlers (Guido Heidt) / 52. Wenn Gesten und Melodien verschmelzen. Jazz und Schauspiel in Woody Allens You Will Meet a Tall Dark Stranger (Sarah Greifenstein) Sylvanus, Emaeyak Peter: Prefiguring as an in- / Verletzung einer Kultur. Repräsentation der digenous narrative tool in Nigerian cinema. An Jazzmusikkultur von New Orleans in der US- ethnomusicological reading. In: Ethnomusicol- amerikanischen Serie Treme (Claudia Relota). ogy: Journal of the Society for Ethnomusicology 63,2, 2019, 2, S. 159–183.

Stuart-Smith, Mark: From “Mousike” to Syn- Prefiguring entails the use of music to predict aesthesia: New Interdisciplinary Agendas in dialogue and scenes in film. It is prevalent in the cinematic productions of both the ethnic- Music and Visual Culture. In: Art History 39,1, based film industries in Nigeria and main- Febr. 2016, S. 173–181. stream Nollywood. Theoretically, prefiguring Review of: Shaw-Miller, Simon: Eye hEar the is a function of indigenous storytelling prac- Visual in Music. Farnham: Ashgate, 2013, xvi, tices, the appropriation of which conjures up 207 S.; Albright, Daniel: Panaesthetics: On the layers of meaning for the local practice, prac- Unity and Diversity of the Arts. New Haven/ titioners, and audiences. Relying on in-depth London: Yale University Press 2014, xi, 321 S. textual analyses, composers’ accounts, and (Anthony Hecht Lectures in the Humanities.); relevant literature, I argue that prefiguring is The Routledge Companion to Music and Visual a concept of major theoretical importance to Culture. Ed. by Tim Shephard & Anne Leon- the study of music in Nigerian cinema, not ard. New York/London: Routledge, 2014, xviii, least because its existence and efficacy 391 S. strongly support notions of a localized film [Excerpt:] Celebrating the current explosion music practice. (Vorlage) of productivity in the field of music and visual culture, Tim Shephard and Anne Leonard, ed- Sylvanus, Emaeyak Peter / Eze-Emaeyak, Obi- itors of the impressively wide-ranging Rout- ledge Companion to Music and Visual Culture, ocha Purity: The business of film music in cite the recent deregulation of methodologies mainstream Nollywood: competing without and materials, and the chronological and geo- advantage. In: Journal of Cultural Economy graphical expansion of interests in the field. 11,2, 2018, S. 141–153. But they also underline the challenges pre- This article addresses the business of film mu- sented by deregulation and proliferation: “To sic in mainstream Nollywood. It does so by what extent do the different parts maintain focusing on the materiality of the industry as distinct characteristics even as they converge an institution: its social organisation and sys- or hybridise into new forms? How should tems of film music production; markets; net- such subjects be taught, within a disciplinary works; and power relations. Specifically, the structure that may not yet be sufficiently ? ex- arguments rely on social organisational theo- ible to accommodate inter-arts enquiry? And, ries, and economic concepts such as vertical on a practical level, how many art historians integration and market competition alongside can claim equal mastery in musicology, or inferences from interviews with insider-prac- vice versa? How can we ensure the produc- titioners. Findings reveal that the Nollywood tion of worthwhile, responsible scholarship film music industry is characterised by non- that also remains intelligible, accessible, and institutionalised vertical integration within a (above all) useful to researchers in both fields perfectly competitive market in which its film and beyond?” music composers are, essentially, competing without advantage. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 185

化]. In: Jinkō chinō gakkai zenkoku taikai ron- bun-shū [人工知能学会全国大会論文集 ] 28, 2014, S. 1–4; [= The 28th Annual Conference of the Japanese Society for Artificial Intelligence, 2014]; [URL]. – T – “Structure of the film based on the music theory.” Takaoka, Tomoko: Bōmei yudayajin no eiga on- In japan. Schrift. gaku: 20 seiki doitsu ongaku kara Hariuddo, Hi- Abstract: This document describes the struc- gashidoitsu eno kiseki. [高岡智子: 亡命ユダヤ人 ture of a movie based on the Generative The- の映画音楽: 20 世紀ドイツ音楽からハリウッド、 ory of Tonal Music (GTTM). Various research 東ドイツへの軌跡]. Kyōto: Nakanishiya 2014, of summaries of a movie have been devel- 325 S. oped, it has not easy to representation a relationship of case and effect between scenes. [„Jüdische Filmmusik im Asyl: Deutsche We propose the method to represent structure Musik des 20. Jahrhunderts in Hollywood und of a movie by using Time-Span Tree of Ostdeutschland“.] GTTM, and we design the rules for analyzing In japan. Schrift. – Jüdische Komponisten, die the structure of a movie. nach dem Aufstieg der Nazis in die USA gin- gen, legten den Grundstein für die Filmmusik in Hollywood. Einige von ihnen machten in Takeuchi, Seiko / Hamanaka, Masatoshi / Ho- der Nachkriegszeit in Ostdeutschland Anti- shino, Junichi: Ongaku riron GTTM ni moto- Hollywood-Filmmusik. dzuku eiga no kōzō-ka shuhō [竹内星子 / 浜中 Inhalt: Vorwort. Woher kam Filmmusik? (Ur- 雅俊 / 星野准一: 音楽理論 GTTM に基づく映画 sprung der Hollywood-Filmmusik, Ursprung の構造化手法]. In: Information Processing Soci- der Anti-Hollywood-Filmmusik). – 1. Main- ety of Japan: IPSJ SIG Technical Reports 2015- stream der klassischen Musik des 20. Jahrhun- HCI-162,6, 2015, S. 1–8. derts (Wiens Musikwelt zwischen den Krie- “Method of structuring a film based on the gen und Schönberg; die Kontroverse um die Generative Theory of Tonal Music.” „Neue Musik“, die die zeitgenössische Musik hervorbrachte; Professor Schönbergs Holly- In japan. Schrift. wood). – 2. Die Geburt der Hollywood-Film- Abstract: In this paper, we propose a movie musik – Von der Oper zur Hollywood-Film- summarization system based on the Genera- musik (Spätromantische „filmähnliche“ Oper; tive Theory of Tonal Music (GTTM). In this Korngolds Stadt des Todes und Bergs Lulu; ge- system, we proposed a rule which reproduc- schultes amerikanisches Publikum; von der tion human’s cognitive analysis by grouping Oper zur Filmmusik; Hollywood-Motiv). – 3. scenes and get a tree structure (time-span Filmmusik, die zu einer Kunstrepublik Wei- tree) of the entire movie. We propose a mar, Ostdeutschlands Hollywood, geworden method to summarize the movie by time-span ist (filmmusikalische Studioexperimente in tree of the movie, and venified this system Dessau; Hollywoods Filmindustrie und die can be created a summary of movie while Komponisten im Asyl Adorno und Eisler; preserving the important scene to the under- „Freie“ Filmmusikproduktion im Sozialismus). standing of the contents. – 4. Wohin geht Filmmusik? (Hollywood- Motiv; Beruf als Komponist; Filmton). Tambling, Jeremy: Opera, Ideology, and Film. Manchester: Manchester University Press / Takeuchi, Seiko / Hamanaka, Masatoshi: Onga- New York: St. Martin’s Press 1987, 223 S. ku riron ni motodzuku eiga no kōzō-ka [ 竹内星子 / 浜中雅俊: 音楽理論に基づく映画の構造 Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 186

Tambling, Jeremy (ed.): A Night in at the regisseuren, die an vorderster Front aktiv Opera: Media Representations of Opera. London: sind. John Libbey 1994, iii, 310 S. (The Arts Council Inhalt: 1. Tarōistische Filmmusiktheorie (Ich of England.). und die Filmmusik. Was ist Filmmusik? Wie Filmmusik gemacht wird.). – 2. Dialoge mit 12 Offering an arresting range of accounts by Komponisten und Filmregisseuren (Dialog 1: specialists in music, media, and popular cul- Yuya Ishii [石井裕也] – Dialog 2: Shuichi Oki- ture on how the popular arts have repre- ta [沖田修一] – Dialog 3: Yoichi Choi [崔洋一] sented opera, this book raises issues about the – Dialog 4: Kazuya Shiraishi [白石和彌] – Dia- sociology of music and its implications for log 5: Yoshihiro Nakamura [中村義洋] – Dia- television and video culture. It looks at the re- log 6: Izuru Narushima [ 成島出 ] – Dialog 7: lationships between serious and popular mu- Hideyuki Hirayama [平山秀幸] – Dialog 8: Ko- sic, the desire of some composers to work in ji Matsuoka [松岡錠司] – Dialog 9: Atsuhiro the latter while being engaged in more classi- Yamashita [山下敦弘] – Dialog 10: Isao Yuki- cal composition, and the love-hate relation- sada [行定勲] – Dialog 11: Lee Soi [李相日] – ships between Hollywood and La Scala. Dialog: 12: John Woo [ジョン・ウー (chin.: 吳宇森)]). Taniguchi, Akihiro: Dizunī myūjikku: Dizunī eiga ongaku no himitsu [谷口昭弘: Disney Mu- Tavrizjan, Aleksandr Vladimirovič: Poėtika ki- sic / ディズニー・ミュージック: ディズニー映 nomuzyki Tomasa N’jumana [Тавризян, Алек- 画音楽の秘密]. Kokubunji: Stylenote 2016, 397 сандр Владимирович: Поэтика киномузыки S. Томаса Ньюмана]. Diss. Moskva: Rossijskaja Abweichender Titel: Dizunī eiga ongaku: tettei akademija muzyki imeni Gnesinych 2019, 277 bunseki [ディズニー映画音楽徹底分析]. S. [„Disney-Musik: Das Geheimnis von Disneys Dazu: Avtoreferat, Moskva 2019, 28 S.; [URL]. Filmmusik“ bzw. „Disney-Filmmusik: Eine umfassende Untersuchung“.] „Die Poetik von Thomas Newmans Film- musik.“ – Zum Werk des US-amerikanischen In japan. Schrift. – Erläutert ausführlich die Filmkomponisten Thomas Newman (*1955). Musik zu mehr als 70 Disney-Filmen, vom In kyrill. Schrift. ersten Talkie-Anime-Film Steamboat Willie von Walt Disney bis zu Frozen und Monsters University von Pixar. Taylor, Yuval / Ehrbar, Greg / Goldmark, Dani- Inhaltsübersicht: 1. Kurzfilmmusik. – 2. Klassi- el: The Cartoon Music Book. Chicago, Ill.: Chica- sches Disney (1). – 3. Klassisches Disney (2). – go Review Press / A Cappella 2002, xvi, 320 S. 4. Die Ära der Erben von Walts Willen. – 5. Flaggschiffe des neuen Disney-Films – 6. Dis- Inhalt: Episodic history of cartoon music. Ani- ney in der 3D-Ära. – 7. Pixar Movie Music. – mated cartoons and slap-stick comedy / Edith Personenindex. – Songtitelindex. Lang and George West – Make Walt’s music: music for Disney animation, 1928–1967 / Ross Care – An interview with Carl Stalling / Mike Tarō, Iwashiro: Eiga ongaku Tarō shugi: saundo Barrier – Hidey hidey hidey ho – boop-boop- torakku no butaiura [岩代太郎: 映画音楽太郎主 a doop! the Fleischer studio and jazz car- 義: サウンドトラックの舞台ウラ]. Tōkyō: ZE- toons / Jake Austen – I love to hear a minstrel N’ON Music Company 2016, 243, 11 S. band: Walt Disney’s TheB and Concert / David Wondrich – Disney, Stokowski, and the ge- [„Filmmusik nach dem Taro-Prinzip: Sound- nius of Fantasia / Chalre L. Granata – Music track Backstage.“] and the animated cartoon / Chuck Jones – In japan. Schrift. – Wie wird Filmmusik ge- Classical music and Hollywood cartoons: a macht? Der Filmmusik-Komponist Tarō Iwa- primer on the cartoon canon / Daniel Gold- shiro spricht mit 12 Filmkomponisten und - mark – Music in cartoons / Scott Bradley – Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 187

Personality on the sound track: a glimpse be- Musik in nationalsozialistischen Propaganda- hind the scenes and sequences in filmland / filmen wird auch die UFA-Kulturfilmmusik Scott Bradley – Make mine music and the end diskutiert. (Cornelia Schöntube) of the swing era / Stuart Nicholson – Sublime perversity: the music of Carl Stalling / Will Friedwald – Carl Stalling, improviser & Bill Thiel, Wolfgang: Europäische Tonfilmmusik. Lava, acme minimalist / Kevin Whitehead – In: Das Handbuch der Filmmusik: Geschichte – Raymond Scott, accidental music for ani- Ästhetik – Funktionalität. Hrsg. v. Josef Klop- mated mayhem / Irwin Chusid – Winston penburg. Laaber: Laaber-Verlag 2012, S. 339– Sharples and the “inner Casper” (or Huey has 412. two mommies) / Will Friedwald – An interview with Hoyt Curtin / Barry Hansen and Earl Kress – Rock ’n’ roll cartoons / Jake Thiel, Wolfgang: Die Hollywooder Tonfilm- Austen – “Put one note in front of the other”: symphonik. Studien zu Geschichte, Wesen, Ge- the music of Maury Laws / Greg Ehrbar. stalt und Funktion. In: Kieler Beiträge zur Film- musikforschung 8, 2012, S. 149–185 (online). Auch in: Film und Musik als multimedialer Teibler-Vondrak, Antonia: Silvestre Revueltas: Raum. Hrsg. v. Tarek Krohn u. Willem Strank. Musik für Bühne und Film. Wien/Wien: Böhlau Marburg: Schüren, 2012, S. 146–167 (Mar- 2011, 380 S. burger Schriften zur Medienforschung. 35.). V.a. Kap. 3: Silvestre Revueltas und der Film, S. 48–182. Thiel, Wolfgang: Zwischen „Hochofen-Musik“ S. auch unter Vondrak. und Orchesterklängen. Hanns Eislers Arbeit als Komponist und „Musikreporter“ für Joris Thayer, Julian F. / Levenson, Robert W.: Effects Ivens’ Film Pesn o Gerojach/Heldenlied/Die Ju- of Music on Psychophysical Responses to a gend hat das Wort/Komsomol von 1932. In: Stressfull Film. In: Psychomusicology 3,1, 1983, Hanns Eisler: angewandte Musik. München: S. 44–52. Ed. Text + Kritik 2012, S. 82–99. Thiel, Wolfgang: Filmmusik in Geschichte und Hanns Eisler’s score Pesne o Gerojach/Song Gegenwart. Berlin: Henschelverlag Kunst u. of Heroes (1932), written for Joris Ivens’ doc- Gesellschaft 1981, 447 S. (Film, Funk, Fernse- umentary film, has been little-noticed up ’til hen.). now. It contains four pieces for orchestra of differing origins and “Magnito-Komsomolzen- Rez. (Amzoll, Stefan) in: Musik und Gesell- Song”, a ballade for choir with lyrics by Sergej schaft 32, 1982, S. 116–117. – Rez. (Hansjörg Tretjakow, was specially composed for the fi- Pauli) in: Schweizerische Musikzeitung – nale of the film. Stylistically, the score is on a Schweizer musikpädagogische Blätter 122, par with other film music by Eisler such as 1982, S. 179–181. Kuhle Wampe. Prominent features are the Auszug: Ästhetik und Geschichte der Musik in novel sound of a jazz band-like orchestration, den dokumentarischen Filmgenres [1981]. In: the economy of the texture, the striking na- Ton: Texte zur Akustik im Dokumentarfilm. ture of the melodic and harmonic ideas. His Hrsg. v. Volko Kamensky, Julian Rohrhuber & film music implies unsentimental, combative Rick Altman. Berlin: Vorwerk 8 2013, S. 64– gestures, portraying social attitudes which 73. glorify the supposed enthusiasm of the Eine kritische Bestandsaufnahme der Doku- builders from Magnitogorsk. (Vorlage) mentarfilmmusik zeigt, wie nahtlos mitunter kompositorische und ideologische Ansätze miteinander verbunden sind. Neben progres- Thiel, Wolfgang: Fetzers Flucht – vielumstrit- siver Stummfilmmusik und der Rolle der ten, verboten, vergessen … In: Kieler Beiträge zur Filmmusikforschung 11, 2014, S. 222–234 Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 188

(online). sischen Spielfilm. Marburg: Tectum Verlag 2017, 132 S. Thiel, Wolfgang: Zwischen Chronik und Deu- In meiner Montagepraxis kommt es oft vor, tung. Anmerkungen zu einer Methodik der dass ich eine Sequenz schneide und Musik Filmmusikhistoriographie. In: Kieler Beiträge darüber lege und die Geschichte funktioniert. zur Filmmusikforschung, 12, 2016, S. 337–352 Doch was genau „funktioniert“ denn da? (online). Kann man diese Relation oder diesen magi- schen Zusammenhang von Filmmusik und Montage im Film beschreiben und wie kommt Thiel, Wolfgang: Filmmusik im Geiste Eislers: er zustande? Diese Arbeit betrachtet zur Be- Andre Asriel und die DEFA. In: Eisler-Mit- antwortung ihrer Fragestellung drei aktuelle teilungen, 68, 2019, S. 20–22. und preisgekrönte Spielfilmproduktionen, , und , die Wolfgang Thiel explores Andre Asriel’s work Mustang Michael Kohlhaas Timbuktu sich in unterschiedlicher Form mit dem Wi- as a composer for the East German film com- derstand von Einzelindividuen gegen Un- pany DEFA, which began in 1955 and span- menschlichkeit und Ungerechtigkeit ausein- ned fourteen feature films and two dozen doc- andersetzen. Sie zeigt dabei auch auf, welche umentaries. As Asriel himself admitted, a key verschiedenen Gestaltungsmöglichkeiten influence was the book Composing for the Montage, Sound und Filmmusik für eine Fil- Films by his teacher Eisler. Without copying merzählung bieten und möchte damit Film- Eisler, he adopted a number of his aesthetic studenten, Filmschaffenden und Filminteres- devices such as “dramaturgical counterpoint” sierten einen Einblick in die musikbetonte and the composition of film music in standard Montagearbeit geben. forms. Typical of Asriel’s film scores are a contrapuntual, quasi-Baroque structure, the use of popular music styles, and bespoke, se- Thompson, William Forde / Russo, Frank A. / lective instrumentation that avoids the stan- Sinclair, Don: Effects of Underscoring on the dard sound of a film orchestra. Perception of Closure in Filmed Events. In: Psychomusicology 13,1–2 (= Special vol. on film Thiel, Wolfgang: Misslungener Film, gute music), 1994, S. 9–27. Musik. Innovative Trends in der Filmmusik und Günter Kochans Komposition für Italienis- Thomsen, Kai: „Careless love“. Zur Filmmusik ches Capriccio (DDR 1961). In: Filmblatt 24,69, von Volker Schlöndorffs Homo Faber. In: 2019/20 S. 22–29. Diskussion Deutsch, 140, 1994, S. 401–410. Über den Film von Glauco Pellegrini mit der Musik von Kochan. Tieber, Claus / Windisch, Anna Katharina (eds.): The Sounds of Silent Films: New Perspec- Thiel, Wolfgang: Der Klang der Zukunftsstädte: tives on History, Theory and Practice. Basing- Zur musikalischen und akustischen Gestaltung stoke/New York: Palgrave Macmillan 2014, 288 S. (Palgrave Studies in Audio-Visual Culture.). filmischer SciFi-Cities. In: Urbane Zukünfte im Science-Fiction-Film: Was wir vom Kino für die Inhalt: Introduction: ‘The Birth of Cinema Stadt von morgen lernen können. Hrsg. v. Ferdi- from the Spirit of Music’ / Claus Tieber, Anna nando Terelle, Anke Steinborn & Denis Newi- K. Windisch (1–9). – 1. Organizing a Music ak. Berlin: Springer Berlin – Springer Spek- Library for Playing to Pictures in Britain: The- trum 2020, S. 94–104. ory vs. Practice / Julie Brown (13–35). – 2. The Formation of a Swedish Cinema Music Prac- tice, 1905–1915 / Christopher Natzén (36–48). Thomas, Dessi: Zwischen Hören und Sehen: – 3. The Use of Cue Sheets in Italian Silent Musik und Montage im zeitgenössischen franzö- Cinema: Contexts, Repertoires, Praxis / Marco Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 189

Targa (49–65). – 4. Music, Singing and Stage Titus, Joan: The Early Film Music of Dmitry Practice in the Cinemas of Upper Silesia dur- Shostakovich. New York/Oxford: Oxford Uni- ing the 1920s / Urszula Biel (66–83). – 5. The versity Press 2016, xv, 253 S. Sound of Music in Vienna’s Cinemas, 1910– 1930 / Claus Tieber and Anna K. Windisch In the late 1920s, Dmitry Shostakovich (84–102). – 6. The Moving Picture World, W. emerged as one of the first Soviet film com- Stephen Bush, and the American Reception of posers. With his first score for the silent film European Cinema Practices, 1907–13 / James New Babylon (1928–29) and the many sound Buhler and Catrin Watts (103–122). – 7. Musi- scores that followed, he was situated to ob- cal Beginnings and Trends in 1920s Indian serve and participate in the changing politics Cinema / Olympia Bhatt (123–138). – 8. De- of the film industry and negotiate the role of constructing the ‘Brutal Savage’ in John the film composer. In The Early Film Music of Ford’s The Iron Horse / Peter A. Graff (141– Dmitry Shostakovich, author Joan Titus exam- 155). – 9. The Hermeneutic Framing of Film Il- ines the relationship between musical narra- lustration Practice. The Allgemeines Handbuch tion, audience, filmmaker, and composer in der Film-Musik in the Context of Historico- six of Shostakovich’s early film scores, from Musicological Traditions / Maria Fuchs (156– 1928 through 1936. Titus engages with the 171). – 10. Sergei Eisenstein and the Music of construct of Soviet intelligibility, the filmmak- Landscape: the ‘Mists’ of Potemkin between ing and scoring processes, and the cultural Metaphor and Illustration / Francesco Finoc- politics of scoring Soviet film music, asking chiaro (172–191). – 11. Paradoxes of Auton- how listeners hear and see Shostakovich. The omy. Bernd Thewes’ Compositions to the discussions of the scores are enriched by the Rhythmus-films of Hans Richter / Marion composer’s own writing on film music, along Saxer (192–207). – 12. The Tradition of Nov- with archival materials and recently discov- elty – Comparative Studies of Silent Film ered musical manuscripts that illuminate the Scores: Perspectives, Challenges, Proposals / collaborative processes of the film teams, stu- Marco Bellano (208–220). – 13. Germaine Du- dios, and composer. The Early Film Music of lac’s Silent Film La Souriante Madame Beudet Dmitry Shostakovich commingles film/media (1923) and Its Scores by Arthur Kleiner and studies, musicology, and Russian studies , and Manfred Knaak / Jürg Stenzl (221–250). is sure to be of interest to a wide audience including those in music studies, film/media scholars, and Slavicists. Timm, Eitel: Musik im Film. Möglichkeiten Rev. (Taylor, Richard) in: Music, Sound, and und Grenzen der Transkription. In: Filmphilo- the Moving Image 11,1, 2017, S. 124–127. – logie: Studien zur englischsprachigen Literatur Rev. (Sheinberg, Esti) in: Slavic Review 76,4, und Kultur in Buch und Film. Hrsg. v. Paul G. 2017, S. 1137–1139. Buchloh, Jes-Peter Becker & Gottfried Schrö- der. Kiel: Universität Kiel 1982, S. 155–175 (Kieler Beiträge zur Erweiterung der Engli- Tobias, James: Isolated Tracks and Media schen Philologie. 2.). Clouds: Surveying Problems and Positions in Music, Sound, and the Moving Image before and after Digital ‘Convergence’. In: Music, Tinker, Chris: Jacques Demy’s ›Les Demoi- Sound, and the Moving Image 9,2, 2015 (Special selles de Rochefort‹ (1967): Beyond the Holly- Issue: “Musical Screens: Musical Inventions, wood film musical. In: Australian Journal of Digital Transitions, Cultural Critique”. Guest French Studies 41,1 2004, S. 37–47. ed.: James Tobias), S. 101–114. This special volume of Music, Sound, and the Titel, Jan: Der Architekt. David Raksin und das Moving Image collects seven broadly ranging Golden Age. Das Golden Age der Filmmusik. essays in the interest of putting problems in, In: Cinema musica, 17, 2009, S. 38–43. and orientations for, specific lines of research in conversation. Beginning with Nicholas Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 190

Reyland’s work on screen scoring as style in 2, 2014, S. 70–81; [URL]. Hollywood blockbusters, and ending with „Filmmusik als Grundlage des kunsttherapeu- Benjamin Robertson’s software studies-ori- tischen Trainings zur Entwicklung der per- ented critique of media composition, the work sönlichen Reflexion im Jugendalter.“ collected here stresses the contemporary movement as particularly apposite for staking In kyrill. Schrift. – Abstract: The article seeks out problematics, driving questions, and ten- to find and test the psychological and peda- tative answers across these lines of inquiry. gogical methods development mechanisms of On one hand, massive growth has occurred in personal reflection in adolescence. Such tool scholarship across those fields typically repre- development is the creation of art therapy sented in MSMI, while new journals and dis- practice on the basis of cinematic synthesis of ciplinary approaches continue to appear; both the arts. Theoretical basis of maintaining the problems and value proliferate in scholarly various reflexive positions in the perception work where music and sound meet or inform of cinema is the functional role of music in screen cultures. On the other, recent scholarly film. The authors examine in detail the forma- handbooks surveying these productively noi- tion of the main functions of music in film sy conversations on musicality, sound and au- and the birth of an independent genre – film dition, and audiovisuality provide, if not a music. As a result, the theoretical analysis and common reference framework, a highly con- experimental work for the first time in the lit- figurable guide to navigating historical and erature the authors argue that the special contemporary research at those epistemologi- functions of film music, such as illustrative cal inflection points where media studies and and distancing, may contribute to the harmo- cultural and technocultural studies move to- nious development of mechanisms for per- wards or away from one another and where sonal reflection through the actualization of music, sound, and audiovisual studies be- identification and isolation. Testing the effec- comes ever more vital work. tiveness of the training was conducted on the basis of the group of 2nd year students of the Moscow State Pedagogical University and Tode, Thomas: Töne stürmen gegen das Bild. showed promising increased use of this tech- Musikalische Strukturen im Werk von Dziga nique in the age aspect, and in terms of Vertov. In: Cinema. Unabhängige Schweizer changes in special orientation (for example, in Filmzeitschrift49, 2004, S. 21–35. groups of psycho-correction)

Tode, Thomas: Un Film peut en cacher un Torras i Segura, Daniel: Los spots musicales. autre: À propos des différentes versions du Diferencias con el género cinematográfico mu- ›Cuirassé Potemkine‹ et de la réapparaition de sical. / Musika iragarkiak. Musika genero zine- la mise en musique de Meisel. In: 1895: Revue matografikoarekiko ezberdintasunak. / Musical de l’Association Française de Recherche sur commercials. Differences with musical cine- l’Histoire du Cinéma 47, 2005, S. 39–76. matographic genre. In: Zer 18,35, 2013, S. 215– 232. Toropova, A[lla] V[ladimirovna] / Ermakova, Musicals are currently used as mechanism of N[atal’ja] M[ichajlovna]: Kinomuzyka kak os- attraction and persuasion. The musical com- nova art-terapevtičeskogo treninga dlja razviti- mercials feature iconic attributes and codes ja ličnostnoj refleksii v junošeskom vozraste related to the musical film genre. But al- [Торопова, А[лла] В[ладимировна] / Ерма- though the main references of the musicals, кова, Н[аталья] М[ихайловна]: Киномузыка as well as their uses, are usually kept in com- как основа арт-терапевтического тренинга mercials, the semiotic interpretation and для развития личностной рефлексии в ю- structure vary considerably with respect to ношеском возрасте]. In: Muzykal’naja psicho- films. These modifications are due to the influence of parameters such as the duration, logija, psichologija muzykal’nogo obrazovanija Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 191

the purpose, the form of reception, the origin becoming a ludic presentation of the society of the script and its structure. A qualitative itself. comparison between musical film and musical commercials is to argue this difference of interpretation. Toudoire-Surlapierre, Frédérique / Lécroart, Pascal (sous la dir. de): Marges de l’opéra: musique de scène, musique de film et musique ra- Torras i Segura, Daniel: La esencia del silencio diophonique en France, en Suisse, en Allemagne audiovisual. ‘El silencio’ de Bergman como et aux Etats-Unis, 1920–1950. Paris: Vrin 2015, ejemplo. In: Comunicación: Revista Interna- 282 S + 1 CD (MusicologieS.). cional de Comunicación Audiovisual, Publicidad y Estudios Culturales 12, 2014, S. 82–93. Darin u.a.: III. Les compositeurs face au cinema: un palliatif du rêve opératique ?: – Mi- Zu Ingmar Bergmans Spielfilm Tystnaden chel Gribenski: L’opéra cinématographique (Das Schweigen, Schweden 1963). selon René Clair et Georges Auric, ou la Silence is an audiovisual expressive matter, modernité ambivalente du phonographe which is always significant. The essence of si- dans À nous la liberté ! (1931) / 129. – Au- lence is contrast, which is needed to perceive drée Descheneaux: Transcendance et apoli- it; ambiguity, because silence cannot make tisme dans L’Idée (1934) d’Arthur Honeg- reference to one particular object or concept; ger / 135. – Jérôme Rossi: De la musique de and communicative context-dependence. Au- scène à la musique de film: Macbeth d’Or- diovisual silence – silence located in an au- son Welles et Jacques Ibert, une écriture diovisual product – has three more features: musico-cinématographique / 151. – Cécile constant meaning, because it is the will of the Carayol: La musique de film comme prolon- filmmaker; multiple interaction, because it is gement de l’opéra: correspondances entre modulated by all audiovisual elements; and, et finally, present anchored, because of the im- The Wuthering Heights The Ghost and Mrs possibility of relating to other film time than Muir de Bernard Herrmann / 173. the ‘here and now’. Trajkovski, Aleksandar: Muzikata vo makedon- Torras i Segura, Daniel: La transformación del skiot igran film: od »Frosina« do »Lazar« [Трај- género audiovisual musical en la red: Los lip- ковски, Александар: Музиката во македонс- dubs como vestigios del cine musical. In: Co- киот игран филм: од »Фросина« до »Лазар«]. municación y Hombre: Revista Interdisciplinar Skopje: Kinoteka na Makedonija 2018, 315 S. de Ciencias de la Comunicación y Humanidades In kyrill. Schrift. – Zur Filmmusik in der ma- 11, 2015, S. 115–128. kedon. Filmgeschichte 1952–2015. – Inhalts- [URL]. – Mit Zusammenfassung This article determines what remains of the verzeichnis: in englischer Sprache. musical film as genre in the new musical formats of the 2.0 communication. The citizen public / creator of the new communicative Travn, Danni: Bent Fabricius-Bjerre: en biografi. paradigm produces and promotes the lipdubs København: Gyldendal Fakta 2014, 311 S. with a semi-amateur perspective, an ideological or corporative promotion, familiar sur- Biografie des dänischen Unterhaltungsmusi- roundings, an aesthetic of improvisation, and ker und Komponisten Bent Fabricius-Bjerre the anonymous and collective character of (1924–2020); [Filmographie: URL]. their participants. New musical formats represent a transition from the musical film to the network in which the essential attributes Tribble, Evelyn: ‘When Every Noise Appalls of the former are maintained, but where its Me’: Sound and Fear in Macbeth and Akira connotations and some relevant traits change, Kurosawa’s Throne of Blood. In: Shakespeare Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 192

1,1, June 2005, S. 75–90. texts and paid relatively little attention to music. In contrast, I argue that music plays a key role in both the creative processes of vidders Troelsen, Anders: Sans og Samling: Om and the rhetorical and emotional effects of sammenligninger mellem musik og billede vids on their intended audiences. And, in ad- [“Connections and Correspondences between dition to contributing to vids’ transformations Visual Art and Music”]. In: K&K: Kultur og of their visual source material, music is itself Klasse 47,127, 2019, S. 91–110; [URL]. transformed through integration into a vid. In dän. Sprache. – Abstract: Mapping a span This analysis suggests that – at least for their of extrinsic and intrinsic relationships be- intended audiences – vids do constitute trans- tween music and visual arts (including film), formative and thus fair use of copyrighted the article discusses ways of comparative music. analysis. It takes its starting point in concrete examples and proposes some provisional categories for this kind of aesthetic examination. Important for the comparative analysis is that it includes the specific sensory substance of – U – the visual and auditory elements and sticks to a similar analytic level for both art forms. On the other hand, identifications of historical Uvarov, Sergej Alekseevič: Muzyka v režissure and structural convergence can assume an Aleksandra Sokurova [Уваров, Сергей Алексе- embarrassing concrete form without taking евич: Музыка в режиссуре Александра Соку- into account that often they should be located рова]. Diss. Moskva: Moskovskaja gosudarst- at a rather vague and overarching level. Ac- vennaja konservatorija imeni P. I. Čajkovskogo knowledging the necessity and usefulness of 2014, 259 S. analogies, the article also warns against the obvious pitfalls involved. Dazu: Avtoreferat diss., Moskva 2015, 30 S.; [URL]. „Musik in der Regie von Aleksandr Sokurov Troickaja, G.: Muzyka v ital’janskom neorealis- (*1951).“ ticeskom kino. In: Sovetskaja muzyka, 9, 1959, In kyrill. Schrift. S. 110–117. Inhalt: Vvedenie. – Glava I: Klassičeskaja muzyka v fil’mach Sokurova / 16: – Tvorčeskaja Turk, Tisha: Transformation in a New Key: ėvoljucija A. Sokurova. K probleme periodiza- Music in Vids and Vidding. In: Music, Sound, cii / 16; – I period: Lejtmuzyka / 25 – «Avto- and the Moving Image 9,2, 2015 (Special Issue: mobil’ nabiraet nadežnost’» / 25 – «Odinokij “Musical Screens: Musical Inventions, Digital golos čeloveka» / 27 – «Sonata dlja Gitlera» / Transitions, Cultural Critique”. Guest ed.: 35 – « Marija» / 37; – II period: Muzykal’naja James Tobias), S. 163–176. mozaika / 44 – «I ničego bol’še» / 45 – «Žert- va večernjaja» / 53 – «Skorbnoe besčuvst- ‘Vids’, a genre of remix that began as vie» / 57 – «Ampir» / 65; – III period: Muzy- slideshows and VHS tapes and is now a wide- kal’nyj vakuum / 68 – «Kamen’» / 69 – «Ti- spread digital practice, combine clips from chie stranicy» / 72; – IV period: Muzykal’nyj movies or television with carefully chosen tuman / 76 – «Mat’ i syn» / 76 – «Vostočnaja music (usually popular songs) to celebrate, in- ėlegija» / 77. – Glava 2: Sotrudničestvo s sovre- terpret, or critique the video source. Vids are mennymi kompozitorami / 84: – Aleksandr defined by music: vidders’ use of music helps Michajlov / 85 – « Razžalovannyj» / 85 – Jurij to distinguish vids and the vidding tradition Chanin (Chanon) / 89 – «Dni zatmenija» / 90 from other forms of remix video. Yet most fan – «Spasi i sochrani» / 96 – Sergej Evtušenko / studies scholarship on vidding has focused on 107 – «Rober. Sčastlivaja žizn’» / 107 – vids’ relationships with their visual source «Russkij kovčeg» / 109 – Andrej Sigle 111 « Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 193

Telec» / 113 – «Otec i syn» / 114 – «Solnce» / Inhalt: Liszt personaggio cinematografico / 3: 116 – «Aleksandra» / 118 – «Faust» / 120 – Lisztiana / 7 – Liszt e Chopin / 85 – Liszt e Murat Kabardokov / 130. – Glava III: Schumann / 109 – Liszt e Wagner / 123 – Liszt Muzykal’nyj teatr Aleksandra Sokurova / 132 – e gli altri / 145 – Liszt deus ex-machina / 159 Neosuščestvlennye zamysly i ėksperimenty / – Comparsate (in)verosimili / 175. – Franz 133 – Peterburgskie koncertno-teatral’nye Liszt: musica e immagine / 183: – Cinema e postanovki / 137 – Postanovki oper M. televisione / 199 – Cartoni animati / 431. – Bi- Musorgskogo / 142 – «Oresteja» S. Taneeva v bliografia sintetica / 479. – Elenco dei film in Michajlovskom teatre / 150 – «Antigona» S. ordine cronologico / 481: – Film con Franz M. Slonimskogo v Kapelle im. Glinki / 162 – Liszt / 482 – Film con musiche di Franz Liszt / «Pokajanie» v Kapelle im. Glinki / 164. – 484. – Abstract: Franz Liszt in the Movies / Glava IV. Obrazy muzykantov v tvorčestve 495. – Indice delle composizioni nei film / 505 Sokurova / 168 – Dmitrij Šostakovič / 169 – – Indice dei film con Franz Liszt / 515 – Indice «Al’tovaja sonata. Dmitrij Šostakovič» / 172 – di episodi biografici salienti / 517. «Kompozitor Šo stakovič» / 182 – «Dmitrij Šostakovič» / 186 – Fedor Šaljapin / 190 – «Ėlegija» / 190 – «Peterburgskaja ėlegija» / Vernallis, Carol: Unruly Media: YouTube, Music 194 – Vitautas Landsbergis: «Prostaja ėlegija» Video, and the New Digital Cinema. New York: / 195 – Mstislav Rostropovič i Galina Viš- Oxford University Press 2013, ix, 354 S. nevskaja: «Ėlegija žizni» / 197 – Sergej Slo- Argues that we are the crest of a new interna- nimskij: «Intonacija» / 198 – «Jurij Temirka- tional style in which sonic and visual parame- nov. Repeticija» / 200. – Zaključenie / 205. – ters become heightened and accelerated. This Literatura / 217. audiovisual turn calls for new forms of attention. Post-classical cinema, with its multi-plot narratives and flashy style, fragments under the influence of audiovisual numbers and music-video-like sync. Music video becomes – V – more than a way of selling songs. YouTube’s brief, low-res clips encompass many forms and foreground reiteration, graphic values Valenzuela, Juan Ignacio: Georges Delerue: De and affective intensity. These three media are la Nouvelle Vague a Hollywood. Prólogo de riven by one another: a trajectory from Bruce Beresford; proemio de Colette Delerue. YouTube through music video to the new dig- Murcia: Ediciones Rosetta, 2019, 304 S. ital cinema reveals commonalities, especially in the realms of rhythm, texture and form. Välimäki, Susanna: Transgender hearing and healing. The musical processing of trauma in Vernallis, Carol / Herzog, Amy / Richardson, Boys Don’t Cry and The Brandon Teena Story. John (eds.): The Oxford Handbook of Sound and In: Radical Musicology 7, 2019, online. Image in Digital Media. Oxford/New York: Ox- ford University Press 2013, xii, 817 S. Van Der Merwe, Ann: Music, the Musical, and Inhalt: Introduction / 1 – Cinema in the Realm Postmodernism in Baz Luhrmann’s Moulin of the Digital: Foundational Approaches. Dig- Rouge. In: Music and the Moving Image 3, Fall ital Cinema: Convergence or Contradiction? / 2010, S. 31–38. 13 – Angels of Light / 45 – Lost in Sensation: Reevaluating the Role of Cinematic Sound in the Digital Age / 61 – Dialogue: Screens and Verdi, Luigi: Franz Liszt e la sua musica nel ci- Spaces. Large Screens, Third Screens, Virtual- Lucca: Libreria Musicale Italiana 2014, nema. ity, and Innovation / 77 – Public Screens and 520 S. Urban Life / 92 – Glitches, Noise, and Inter- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 194 ruption: Materiality and Digital Media. A Hand: Agnes Varda, Trinh T. Minh-ha, and Noisy Brush with the Infinite: Noise in En- the Digital Documentary / 567 – The Sonic folding-Unfolding Aesthetics / 101 – Dirty Summons: Meditations on Nature and Anem- Sound: Haptic Noise in New Extremism / 115 pathetic Sound in Digital Documentaries / 582 – Going Gaga for Glitch: Digital Failure and – Workers Leaving the Factory: Witnessing Feminist Spectacle in Twenty-First Century industry in the Digital Age / 598 – Modes of Music Video / 127 – Discursive Accents in Composition: Digital Convergence and Sound Some Recent Digital Media Works / 140 – Production. The Absent Image in Electronic Doping the Voice / 154 – Uncanny Spaces and Music / 623 – Hugues Dufourt’s Cinematic Acousmatic Voices. Monstrous Noise: Silent Dynamism: Space, Timbre, and Time in Hill and the Aesthetic Economies of Fear / 173 L’Afrique d’après Tiepolo / 642 – Scoring for – “Charm the Air to Give a Sound”: The Un- Film and Video Games: Collaborative Prac- canny Soundscape of Punchdrunk’s Sleep No tices and Digital Post production / 663 – Visu- More / 191 – A Gash in the Portrait: Martin alizing the App Album with Björks Biophilia / Arnold’s Deanimated / 214 – The Acousmatic 682 – Digital Aesthetics Across Platform and Voice and Metaleptic Narration in Inland Em- Genre. Accelerated Aesthetics: A New Lexi- pire / 236 – Dialogue: Visualization and Soni- con of Time, Space, and Rhythm / 707 – fication. Museum Without Walls, Art History Acoustic Auteurs and Transnational Cinema / Without Names: Methods and Concepts for 732 – Instrumental Visions: Electronica, Mu- Media Visualization / 253 – Explorations in sic Video, and the Environmental Interface / Cultureson / 279 – Virtual Worlds, Paranoid 752 – Index / 773. Structures, and States of War. Music and the State of Exception in Alfonso Cuarón’s Chil- dren of Men / 289 – Understanding the Plea- Vicente, Victor A.: Strange new worlds? Musi- sures of War’s Audiovision / 310 – Outside cal instruments and cultural and temporal cod- the Law of Action: Music and Sound in the ing in Indian and Turkish science-fiction film. Bourne Trilogy / 325 – Debating the Digital: In: Musica humana 3,1, 2011, S. 41–59. Film and Reality in Barry Levinson’s Wag the Sci-fi’s extra-planetary scope has ensured it a Dog / 350 – Between Artifice and Authentic- global audience, inspiring the rise of the ity: Music and Media in Wag the Dog / 369 – genre in many unexpected places. This article Blockbusters! Franchises, Remakes, and Inter- explores the emergent worlds of science fic- textual Practices. “I Am Beowulf! Now, Its tion cinema in India and Turkey, comparing Your Turn”: Playing With (and As) the Digital the local uses of music to those of the West Convergence Character / 381 – Lion and and Japan. Specifically, it examines the way Lambs: Industry-Audience Negotiations in the indigenous timbres are used in the context of Twilight Saga Franchise / 397 – Sonic Times symphonic and digitized sound to code tem- in Watchmen and Inception / 417 – Inglo(u)ri- poral and cultural otherness. Analyzing ous Basterdization? Tarantino and the War scenes from “Stargate”, the Bollywood ro- Movie Mashup / 437 – Dialogue: De-Coding mance “Love Story 2050”, and the Turkish Source Code. Sound Thinking: Looped Time, space comedy G.O.R.A. the essay investigates Duped Track / 465 – Source Code: Eco-Criti- how musical instruments, orchestration, and cism and Subjectivity / 483 – Notes to the timbre are used to re-envision the past, con- Soundtrack of Source Code / 502 – Rethinking struct the present vis-à-vis other world pow- Audiovisual Embodiment. Virtual and Vis- ers, and not only imagine potential futures, ceral Experience in Music-Oriented Video but indeed forge new trajectories in history. Games / 517 – A Gaga-World Pageant: Chan- neling Difference and the Performance of Networked Power / 534 – Coming to Mind: Viejo, Breixo: La libertad de la imaginación: Pornography and the Mediation of Intensity / música y sonido en el cine de Luis Buñuel. 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America 93,4, 2016, S. 639–656. in which they both managed to bring improvisation into film art. Dependiendo de las condiciones socioecó- nomicas en las que realizó su obra–ya fuera en Francia, España, México o Estados Unidos– Volmar, Axel: Klanglandschaften der new fron- Buñuel empleó composiciones originales es- tier. Auditive Zukunftsvisionen und das Ver- critas específicamente para sus películas, re- hältnis zwischen Avantgarde und Kulturindis- utilizó obras fundamentales de música clásica, trie im US-amerikanischen Science-Fiction- o decidió prescindir de todo tipo de acom- Film. In: Act: Zeitschrift für Musik & Perfor- pañamiento musical extradiegético. Este 6, 2015, 20 S.; [URL]. artículo señala que fue precisamente esta de- mance cisión de rechazar un uso convencional de la Der Beitrag thematisiert produktionsästhetis- música ilustrativa lo que permitió al maestro che Strategien zur Darstellung auditiver español alcanzar un estilo plenamente surre- Zukunftsvisionen im US-amerikanischen Sci- alista en sus últimos largometrajes, desde Di- ence-Fiction-Film. Diese werden speziell an- ario de una camarera (1964) hasta Ese oscuro hand narrativer Wiederaufrufe des frontier- objeto del deseo (1977). Topos behandelt, in denen insbesondere das Weltall zum Imaginationsraum einer letzten bzw. “New Frontier” “stilisiert wurde, denn Viktória, Ozsvárt: Interactions between sym- der frontier-Mythos stellt bis heute das phonies and film music in the oeuvre of László maßgebliche Szenario dar, in dem wissen- Lajtha. In: Studia Musicologica 58,2, 2017, S. schaftlich-technischer Fortschritt im öf- 239–253. fentlichen Diskurs der USA verhandelt wird. Anhand von Filmbeispielen aus den 1950er bis 1980er Jahren wird untersucht, auf welche Villa, Sara: Practices and the Dawn of the New Weise musikalische und akustische Signa- American Cinema. In: The Oxford Handbook of turen zur Markierung unbekannter Zukünfte Critical Improvisation Studies. Ed. by George E. entstanden. Dabei wird die These vertreten, Lewis & Benjamin Piekut. Bd. 2. New York/Ox- dass die Erschließung neuer Klangwelten ford: Oxford University Press 2016, S. 322–337 durch die US-Filmindustrie insbesondere auf (Oxford Handbooks.). Aneignungen ästhetischer Formen und medi- In 1960, cinema critic Jonas Mekas welcomed aler Praktiken aus dem Bereich der musikalis- the advent of the New American Cinema, chen Avantgarden basierte und die Produk- praising the wave of independent movies pro- tion auditiver Zukunftsvisionen damit der duced in late 1950s for their casual and frag- gleichen ideologischen Struktur folgte, die der mentary nature. The key feature of these pro- frontier-Mythos auf der Handlungsebene im ductions, which was particularly remarkable Rahmen der fiktiven Eroberungen des Wel- in the case of two major features—Shadows by traums einnahm. John Cassavetes and Pull My Daisy by Alfred Leslie and Robert Frank—was an anti-Holly- Vondrak, Antonia: Silvestre Revueltas: Innova- wood style that relied on improvisatory practices affecting all structural levels: from the tive Filmmusik. In: Österreichische Musikzeit- acting to the montage, from the photography schrift (ÖMZ) 59,10, 2004, S. 19–30. to the soundtrack. The style of this “sponta- S. auch unter Teibler-Vondrak. neous cinema” was a pastiche of multiple improvisatory practices, borrowed from bebop, beat poetry, and Stanislavsky’s acting tech- Vuoskoski, Jonna K. / Eerola, Tuomas: The niques, which defied traditional cinemato- pleasure evoked by sad music is mediated by graphic narratives. A close analysis of Shad- feelings of being moved. In: Frontiers in Psy- ows and Pull My Daisy reveals the multiple chology 8, 2017, S. 439ff, [URL]. forms of improvisation that shaped these movies’ “spontaneous poetics” and the ways Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 196

characters’ psychologies. (Vorlage)

Walker, Alison Tara: Toward a theory of medieval film music. In: Medieval Film. Ed. by Anke Bernau & Bettina Bildhauer. Manchester/ – W – New York: Manchester University Press 2009, S. 137– 157. Wager, Jans B.: Jazz and Cocktails: Rethinking Race and the Sound of Film Noir. Austin: Uni- Walker, Elsie: Understanding Sound Tracks versity of Texas Press, 2017, x, 163 S. Through Film Theory. New York/Oxford: Oxford Explores the use of jazz in film noir, from its University Press 2015, ix, 435 S. early function as a signifier of danger, sexual- [B]reaks new ground by redirecting the argu- ity, and otherness to the complex role it plays ments of foundational texts within film the- in film scores in which jazz invites the specta- ory to film sound tracks. Walker includes sus- tor into the narrative while simultaneously tained analyses of particular films according transcending the film and reminding viewers to a range of theoretical approaches: psycho- of the world outside the movie theater. Jans B. analysis, feminism, genre studies, post-colo- Wager looks at the work of jazz composers nialism, and queer theory. The films come such as Miles Davis, Duke Ellington and Billy from disparate temporal and industrial con- Strayhorn, Chico Hamilton, and John Lewis texts: from Classical Hollywood Gothic melo- as she analyzes films including Sweet Smell of drama (Rebecca) to contemporary, critically- Success, Elevator to the Gallows, Anatomy of a acclaimed science fiction (Gravity). Along Murder, Odds Against Tomorrow, and consid- with sound tracks from canonical American ers the neonoir American Hustle. Wager films including The Searchers and To Have and demonstrates how the evolving role of jazz in Have Not, Walker analyzes independent Aus- film noir reflected cultural changes instigated tralasian films: examples include Heavenly by black social activism during and after Creatures, a New Zealand film that uses music World War II and altered Hollywood’s stan- to empower its queer female protagonists; dard representations of the social world. and Ten Canoes, the first Australian feature film with a script entirely in Aboriginal languages. Understanding Sound Tracks Through Walden, Joshua S.: Lip-sync in Lipstick. 1950s Film Theory thus not only calls new attention popular songs in a television series by Dennis to the significance of sound tracks, but also Potter. In: The Journal of Musicological Research focuses on the sonic power of characters rep- 27,2, 2008, S. 169–195. resenting those whose voices have all too of- In the 1993 television production Lipstick on ten been drowned out. Understanding Sound Your Collar, screenwriter Dennis Potter fore- Tracks Through Film Theory is both rigorous grounds popular 1950s rock-and-roll hit and accessible to all students and scholars songs, creating what he has called a “home- with a grasp of cinematic and musical struc- made musical.” Characters break out in song – tures. Moreover, the book brings together film but instead of singing, they move their studies, musicology, history, politics, and cul- mouths in synchrony with the voices of pop ture and therefore resonates across the liberal idols. A study of the effects of Potter’s tech- arts. nique, with help from the literatures of opera Inhaltsübersicht: General Introduction – Part and film theory and the history of ventrilo- One: Genre Studies – Part Two: Postcolonial- quism, shows that the songs in Lipstick on ism – Part Three: Feminism – Part Four: Psy- Your Collar gain fresh meaning in their new choanalysis – Part Five: Queer Theory – Coda context through the medium of lip-syncing, – Select Filmography – Further Perceiving – becoming spontaneous expressions of the Select Glossary – Index. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 197

Walker, Elsie: Hearing Haneke: TheS ound arbeiten. Tracks of a Radical Auteur. New York: Oxford University Press 2018, x, 221 S. (The Oxford music/media series.). Watts, Catrin: Blurred lines. The use of diegetic and nondiegetic sound in Atonement (2007). In: Inhalt: Introduction: Hearing Haneke through Music and the Moving Image 11,2, 2018, S. 23– the critical ruckus – The Seventh Continent: 36. the noises of consumerism, the music of something more – Funny Games: amplifying Zu Joe Wrights Spielfilm Atonement [Abbitte]. violence, the violators, and the victims – Code This paper will focus on Atonement and how Unknown: sonically representing social divi- the sound world is so inexplicably linked to sions, diversity, and hope – The Piano Teacher: our interpretation of events. In particular, I musical beauty without transcendence – will investigate how the typewriter acts as a Caché: the postcolonial resonance of silences pivot between diegetic sound and nondiegetic and saying “nothing” “– The White Ribbon: music. What becomes clear in Atonement is hearing Symbolic oppression and the Real in that the typewriter sound is indicative of an rebellion – Amour: the screams of life an- imagination running wild. It is initially con- swered with love. nected to Briony in the opening scene, but it is also used when Robbie types his explicit letter to Cecilia, Briony’s older sister. To aid Wallengren, Ann-Kristin/ Donnelly, Kevin J.: his writing, Robbie puts Puccini’s “O Soave Music and the Resurfacing of Silent Film: A Fanciulla” “on the record player, but as he General Introduction. In: Today’s Sounds for pours his desire onto the page, the sound of Yesterday’s Films: Making Music for Silent Cin- the typewriter and the record blur the lines ema. Ed. by Donnelly & Wallengren. Basing- between diegetic and nondiegetic sound, stoke/New York: Palgrave Macmillan 2016, S. thereby calling into question what Robbie can 1–9 (Palgrave Studies in Audio-Visual Cul- and cannot hear. This is not the only occur- ture.). rence of this technique, and just as the typewriter acts to blur the lines between diegetic sound and nondiegetic music, so too does the Wang, Shuang: Musicking the body. Dual cre- film blur the lines between reality and fiction. ativity in the score for King Hu’s Raining in the Mountain (1979). In: Music and the Moving Image 11,3, 2018, S. 22–39. Wegele, Peter: Duke Ellington, the film composer. In: The Soundtrack 6, March 2014, S. 83– In 1979 Wu Dajiang wrote the score to King 94. Hu’s film Raining in the Mountain, which engages with the filmic presentation of the bod- In the quantity of Duke Ellington’s oeuvre, ies embedded in the religious and cultural his film music is only a small aspect. Never- landscapes. This article seeks to explore the theless his first appearances on-screen were bodily rhythm and narrative of the film and crucial to get nationwide attention. With the the way they express Buddhist ideals. (Vor- help of his impresario Irving Mills, he was the lage) first African American musician to be featured in ‘white’ major Hollywood productions. Ellington was a visionary as a musician Watanabe, Chumei: Sakkyokuka Watanabe and as an entrepreneur. He also used his Chumei. Ed. Atsushi Kobayashi. [渡辺宙明: 作曲 growing popularity to promote an image of 家渡辺宙明. 小林淳編]. Tōkyō: Waizu Shuppan African American culture and dignity that 2017, 379. was completely different from the racist clichés that were cultivated in minstrel or In japan. Schrift. – Autobiographie des japan. blackface. Ellington managed to keep his Filmkomponisten Chumei Watanabe (*1925; band together even in the late 1940s when [URL]). – Mit Liste seiner Video- und Musik- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 198

most other big bands had to give up. His sen- Eine zentrale Funktion ist die emotionale Sti- sational comeback concert in Newport 1956 mulation der Zuschauer. Um die Hintergrün- catapulted him into new stardom and with de dieser Wirkung zu verstehen, werden in this he became interesting again for Holly- dieser Forschungsarbeit physiologische und wood. In 1959 he was assigned by Otto Pre- psychologische Grundlagen zusammengetra- minger to score his courtroom drama gen und mit dem Konzept von Emotionen und Anatomy of a Murder (1959). With this, he was musikalischem Ausdruck verknüpft. Was the first African American to write a non- Emotionen sind und welche Bedeutung ihre diegetic film score for a major Hollywood fea- mediale Vermittlung für die Gesellschaft hat, ture film. Some films such as Black and Tan findet sich hier ebenso wie die Geschichte der Fantasy (Murphy, 1929) or Anatomy are dis- Filmmusik, ihre Funktionen und Formen. cussed in detail.

Welker, Lorenz: Genie, Wahnsinn, Musik und Wegele, Peter: Max Steiner: Composing, “Casa- Psychoanalyse. Überlegungen zu Bernard Ro- blanca” and the Film Music of the Golden Age. ses Beethoven-Film ›Immortal Beloved‹. In: Lanham/Boulder/New York: Rowman & Little- Psychosozial 33,2, 2010, S. 59–70. field 2014, x, 259 S. Wegele unveils the man behind dozens of Wennekes, Emile: Betty meets Cab. The hi-de- memorable scores, offering a portrait of the ho man animated. In: From Stage to Screen: Mu- composer from a personal and professional sical Films in Europe and United States (1927– point of view. Beginning with background on 1961). Ed. by Massimiliano Sala. Turnhout: Bre- the history and techniques of film music, pols 2012, S. 289–296 (Specvlvm mvsicae: Pub- Wegele then examines Steiner’s musical inno- lications of the Pietro Antonio Locatelli Foun- vations, some of which are still used today. dation. 19.). This is followed by a thorough analysis of one of Steiner’s legendary scores – the music to Casablanca. More than eighty transcribed mu- Wennekes, Emile / Audissino, Emilio (eds.): sical examples demonstrate how efficient, mu- Cinema Changes: Incorporations of Jazz in the sically clever, and tremendously skilled the Film Soundtrack. Turnhout: Brepols 2019, xxvi, composer was when he wrote this score. 334 S. (Specvlvm mvsicae: Publications of the Drawing on quotes, notes from production Pietro Antonio Locatelli Foundation. 34.). files, and excerpts from the original script for Casablanca, Wegele provides insight not only Cinema is the form of entertainment that can into the production history of the film, but be, above all, identified with the twentieth also into the workings of Hollywood during century. It gradually replaced theatre as a the Golden Age. popular form of performed storytelling, and replaced opera too as the new “multimedia” art form, soon incorporating music as one of Weinberg, Robert: Classic FM – The Friendly cinema’s privileged means to co-tell stories. Guide to Film Music. London: Hodder 2009, xi, Speaking of music, jazz was as sensational a 177 S. twentieth-century novelty as cinema was. The two soon teamed up, and jazz, with its vari- Repr.: Film Music. New York: Elliott & Thomp- ous incarnations and styles, has accompanied son 2015, 110 S. (Classic FM Handy Guides). the moving images and the cinematic narratives throughout the decades. It was inevitable that these two iconic art/entertain- Weindl, Florian: Filmmusik und Emotionen: ment forms, jazz and cinema, should meet, Zum Einfluss von Instrumentalmusik auf die Re- blend, cooperate, and have a reciprocal influ- zeption. München: AVM – Akademische Ver- ence. While the early film music was mostly lagsgemeinschaft München 2013, 143 S. symphonic and inspired by the late-romantic Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 199 nineteenth-century idiom, jazz and Afro- Whoopee with The Fabulous Baker Boys / 291. American music – in various form and with diverse and changing racial/social connotations – appeared onscreen even before the Wentz, Brooke / Battaglia, Maryam: Music landmark film The Jazz Singer (1927), which Rights Unveiled: A Filmmaker’s Guide to Music officially launched the sound era. Rights and Licensing. New York/London: Rout- Inhalt: Emile Wennekes / Emilio Audissino: ledge 2018, x, 161 S. (American Film Market Prologue: A Reel Jazz Survey / ix. – Presents.). Rendition / Reception: – Emile Wennekes: Out of Tune? Jazz, Film and the Diegesis / 3. – Westermann, Kay: „Das Wirtshaus im Spes- Phillip Johnston: Jazzin’ the Silents: Jazz and sart“. In: Banter, H[arald] / Brandhorst, J[ür- Improvised Music in Contemporary Scores gen] / Braun, M[ichael] [u.a.]: Franz Grothe. for Silent Film / 19. – Luca Stoll: Cinema: A München: Allitera Verlag 2019, S. 103–116 Privileged Way of Acquiring Intimacy with Jazz Standards / 33. – Marida Rizzuti: Play, (Komponisten in Bayern: Dokumente musikali- My Fiddle, Play! Jazz and Klezmer at the End schen Schaffens im 20. und 21. Jahrhundert. of the 1930s / 51. – Randall Cherry: Ethel Wa- 64.). ters and the Search for Racial Redemption / Zu Franz Grothes Musik für den Film Das 67. – Jazz and National Cinemas: – Emilio Au- Wirtshaus im Spessart von Kurt Hoffmann dissino: The Multiform Identity of Jazz in Hol- (BRD 1958). lywood: An Assessment through the John Wilhams Case Study / 85. – Nicolas Pillai: Rhythms of the Everyday: An Alternative Wetterqvist, Anna: J:son: ett lätt turbulent por- History of the British Jazz Film / 99. – trätt. Täby: Skabetti Books & Agency 2016, 126 Philippe Gonin: Jazz and Cinema: Which Jazz S. + 1 CD. for Which Movies in France from 1945 to the early 1960s? / 115. – Julio Arce / Celsa Über den schwedischen Unterhaltungsmusi- Alonso: From the Chotis to the Charleston: ker und Komponisten von Filmmusik Björn Jazz in Spanish Films prior to the Civil War / J:son Lindh (1944–2013); [Filmographie: URL]. 133. – Roberto Calabretto: Jazz Music in – Mit Interviews. Michelangelo Antonioni’s Films / 153. – Willem Strank: When Jazz Meets German White, Daniel: Middle-earth music: The sonic Cinema: A Brief Overview / 169. – Jason R. Hillebrand: A Song Helps Us Live: The Narra- inhabitation of a fantasy world. In: Participa- tive Function of Jazz in the Soviet Musical tions 13,1, 2016, S. 488–511 (online). Film Jolly Fellows / 189. – Case Studies: – This article seeks to provide a deeper under- Francesco Finocchiaro / Leo Izzo: The Sound standing of the cultural inhabitation of imagi- of the Nightmares: On the Jazz Music in Fritz nary worlds by examining the role that music Lang’s Metropolis / 203. – Ryan Patrick Jones: and its consumption play in these processes. Dignity in the Twilight of Minstrelsy: Race, Focussing largely on Howard Shore’s music Nuance, and Aspiration in Duke Ellington’s for Peter Jackson’s two film trilogies set in Symphony in Black: A Rhapsody of Negro Life / Tolkien’s Middle-earth, the article relies on 219. – Adam Biggs: The Blues and Dissonance data found through web ethnography and a in Michelangelo Antonioni’s Blow-Up / 239. – researcher-designed questionnaire targeted at Armando Ianniello: Umiliani, Trovajoli, and fans of the franchise. Soundtrack consump- Rota: The Jazz Film Score of Boccaccio ’70 / tion and listening practices are analysed to 253. – Marcel Bouvrie: Synergetic Jazz Score: identify how and why this film music is lis- The Narrative ofthe Relation between the tened to, as are the ways in which music en- Diegetic and Nondiegetic Music in Whiplash / ables a further sonic level of the inhabitation 275. – Mervyn Cooke: ‘The Same Goddamn of Middle-earth. Placing Shore’s music along- Songs the Same Goddamn Way’? Makin’ side other contributions to Tolkien’s world Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 200

poses questions of authority, authenticity and ally associated with fictional characters who canon, finding that not every person’s Mid- experience high trauma, deals with psycho- dle-earth sounds the same. Results show that, logically induced “quasi silence.” The third for many, the world built by music functions trope, widely varied in execution yet consis- as an imagined or spiritual hometo which tent in affect, represents the point of view – they are transported and which provides nu- or, rather, the point of audition – of filmic merous personal and practical benefits. characters whose “quasi silence” has neuro- logical causes. (Vorlage)

Whitmer, Mariana: Elmer Bernstein’s “The Mag- nificent Seven”: A Film Score Guide. Lanham/ Wierzbicki, James Eugene (ed.): Double Lives: Boulder/New York/London: Rowman & Little- Film Composers in the Concert Hall. London/ field 2017, xiii, 159 S. (Film Score Guides. 19.). New York: Routledge 2019, xii, 254 S. Rev. (Musegades, Paula) in: Notes: Quarterly Collection of fifteen essays dealing with Journal of the Music Library Association 75,3, ‘iconic’ film composers who, perhaps to the 2019, S. 495–497. surprise of many fans of film music, nevertheless maintained lifelong careers as composers for the concert hall. Featured composers in- Wiemers, Judith: „Flotte Lieder“. (Afro-)Ameri- clude Erich Wolfgang Korngold, Franz Wax- kanische Idiomatik im deutschen Musikfilm. man, Miklós Rózsa, Bernard Herrmann, Nino In: Cinema, 62 (Thema:„Problemzone“), 2016, Rota, Leonard Rosenman, and Ennio Morri- S. 26–37. cone. Progressing in chronological order, the chapters offer accounts of the various com- Zum Musikfilm der Nazizeit. posers’ concert-hall careers and descriptions of their concert-hall styles. Each chapter com- Wiener, Oliver: „Wie ein fernes Echo, wie pares the composer’s music for films with his außerirdisches Rauschen“. Elektronische Musik or her music for the concert hall, and specu- lates as to how music in one arena might have als Signatur imaginärer Räume im und hinterm affected music in the other. For each com- Film. In: Wechselwirkungen: Neue Musik und poser discussed in the book, complete filmo- Film. Hofheim am Taunus: Wolke 2012, S. 41– graphies and complete works lists are in- 63. cluded as appendices. Inhalt: Erich Wolfgang Korngold: the last Wierzbicki, James Eugene: Narrative cinema’s prodigy / Brendan G. Carroll – The concert “sounds of silence”. Variations on the POA. In: works of Georges Auric, 1945 to 1983 / Colin Sound Studies 2,2, 2016, S. 137–150. Roust – Looking for Mr. Hyde: Franz Wax- man’s musical activities beyond film / Inge- Cinema has often depicted situations in which borg Zechner – The double life of Miklós a character encounters silence, but almost Rózsa’s Violin concerto and The Private life of never are these depictions actually silent. The Sherlock Holmes / Stephen C. Meyer – complete muting of a soundtrack is a gesture Bernard Herrmann’s concert music, 1935 to so disruptive of the movie-going norm that 1975: an overview / Samuel Cottell – Nino filmmakers, wisely, have seldom attempted it; Rota: neo-classicist, classical modernist, or filmmakers seeking to depict a dramatically pragmatic pluralist? / Carl Alexander Vincent meaningful absence of sound have often re- – Jerome Moross: the concert hall and stage lied extensively on a sonic presence. This es- works / Mariana Whitmer – Don Banks: say focuses on three cinematic tropes in Hammer horror and serial composition / which the idea of silence, or “quasi-silence”, is Michael Hooper – Modern composer off the communicated by means of sound. One of screen: Leonard Rosenman’s concert music / these tropes deals with “quasi silence” “caused Reba A. Wissner – The maestro of multiple by environmental factors. Another trope, usu- voices: the ‘absolute music’ of Ennio Morri- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 201

cone / Felicity Wilcox – ‘I did it for fun’: An- narrative film and reality, as seen through the dré Previn, crossover musician / Frédéric lens of on-screen classical concert perfor- Döhl – Wojciech Kilar: ‘I am like a Doctor mance. By investigating these scenes, wherein Jekyll and Mister Hyde’ / Bogumila Mika – the performance of music is foregrounded in Alberto Iglesias: the Spanish composer behind the narrative, Winters uncovers how concert Pedro Almodóvar’s films / María Ángeles Fer- performance reflexively articulates music’s rer-Forés – Johannes factotum: Jóhann importance to the ontology of film. The book Jóhannsson / Vasco Hexel – Laura Rossi’s war asserts that narrative film of a variety of aes- musics / Kendra Preston Leonard. thetic approaches and traditions is no mere copy of everyday reality, but constitutes its own filmic reality, and that the music heard in Wierzbicki, James Eugene: Science fiction and a film’s underscore plays an important role in its music. In: Lied und populäre Kultur: distinguishing film reality from the everyday. Jahrbuch des Zentrums für Populäre Kultur und As a result, concert scenes are examined as Musik 64, 2019, S. 19–30. sites for provocative interactions between these two realities, in which real-world musicians appear in fictional narratives, and an Wierzbicki, James Eugene: Terrence Malick: audience’s suspension of disbelief is prob- Sonic style. New York/London: Routledge 2019, lematised. In blurring the musical experiences xi, 127 S. (Filmmakers and Their Soundtracks.). of onscreen observers and participants, these concert scenes also allegorize music’s role in Wildgen, Wolfgang: Musiksemiotik: Musikali- creating a shared subjectivity between film sche Zeichen, Kognition und Sprache. Würz- audience and character, and prompt Winters burg: Königshausen & Neumann 2018, 209 S. to propose a radically new vision of music’s role in narrative cinema wherein musical un- Darin: Filmmusik oder die Integration von derscore becomes part of a shared audio-vis- Musik, (bewegtem) Bild und Sprache (S. 107– ual space that may be just as accessible to the 112). characters as the music they encounter in scenes of concert performance. Introduction: Film and Reality – Part I: Wilson, Alexandra: Unreliable authors, unreli- Inhalt: The Real versus the Reel: 1. Real Performers: able history: opera in Joe Wright’s adaptation The Musician as Actor – 2. Reel Performers: of . In: 27, Atonement Cambridge Opera Journal Fictional Music and Musicians. – Part II: Film 2, 2015, S. 155–174. and Life: The Mirror of Film: 3. Moments of Zu Joe Wrights Spielfilm Atonement [Abbitte] Desperation and Peril: Hollywood and Con- (2007). cert Performance – 4. Fantasizing, Visualiz- ing, Miming: ‘Fictional’ Listening? – 5. Hear- ing Symphonies Cinematically. – Part III: Windisch, Anna K. / Tieber, Claus: ‚Silent‘ Film’s Musical Identity: 6. The Concert as Films, Singing Voices: Vocal Accompaniment Drama: Structuring and Shaping Narrative7 in Viennese Moving Picture Exhibition, 1913– Film Viewed from the Podium: Music and the 1923. In: Music and the Moving Image 8,1, Ontology of Movies. Spring 2015, S. 19–36. Wißmann, Friederike: Deutsche Musik. Berlin: Winters, Ben: Music, Performance, and the Re- Berlin-Verlag 2015, 510 S. alities of Film: Shared Concert Experiences in Filmmusik / 249. – Was ist das Charak- New York/London: Routledge Darin: Screen Fiction. teristische an der deutschen Musik? Gibt es 2014, viii, 260 S. (Routledge Research in Music. sie überhaupt? Welches Verhältnis haben die 9.). Deutschen zur Musik, und warum bedeutet This book examines the relationship between sie ihnen so viel? Das umfassende Standard- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 202

werk zu Mythos und Wirklichkeit der deut- and One Step Beyond to The Outer Limits. Cue schen Musik. Friederike Wißmann lässt die Reuses / 33 – 3. From a Soft Blur to Crystal große Tradition von Bach bis Stockhausen le- Clarity: Orchestration and Sound Design / 59 bendig werden. Volkslied, Schlager und Tanz- – 4. The Scores of Dominic Frontière and musik finden ebenso Berücksichtigung wie Robert Van Eps / 81 – 5. The Scores of Harry Nationalhymnen, Fußballgesänge, deutsche Lubin / 153. – Appendix 1. Episode Informa- Filmmusik in Hollywood oder Punk, Rock tion / 181. – Appendix 2. Recording Session und Techno. Die renommierte Musikwissen- Information / 203. – Appendix 3. Internal schaftlerin legt eine große Mentalitätsge- Flowchart for the First Season of The Outer schichte der Deutschen und ihrer Musik vor. Limits / 211. Sie widmet sich nicht nur Werken und Le- benswegen deutscher Komponisten und Mu- siker, sondern erzählt die Geschichte vom Wlodarski, Amy Lynn: Musical Witness and bürgerlichen Konzert über den Wandel der Holocaust Representation. Cambridge/New musikalischen Formen bis zur Bedeutung York: Cambridge University Press 2015, xvi, deutscher Musikvereine, von der Entstehung 237 S. der Orchester über den Instrumentenbau bis Darin u.a.: 3. The composer as witness: Hanns zur Geschichte des Musiktheaters, vom größ- Eisler’s Film Score to Nuit et Brouillard (57– ten Heavy-Metal-Festival Wacken über die 91). TV-Castingshows bis hin zu den Kuriositäten des deutschen Schlagers. Ob himmlisch oder käuflich, ob widerständig oder diktiert, ob ge- Wolf, Jonas: »add rhythm to rhythm 21«: sellig, hymnisch oder komisch – Friederike Bernd Thewes’ Musik zum abstrakten Film Wißmann entwirft ein einzigartiges, facetten- Rhythmus 21 von Hans Richter. In: Seiltanz: reiches und kluges Panorama des deutschen Beiträge zur Musik der Gegenwart 12, April Klangs. (Verlag) 2016, S.1 19–32.

Wissner, Reba A.: We Will Control All That You Wood, Simon: Scoring The Body: Psychoanaly- Hear: “The Outer Limits” and the Aural Imagi- sis, Image Schemata, and the Syntax of the Nar- nation. Hillsdale, NY: Pendragon Press, 2016, rative Film Score. MA Thesis, Hamilton, On- vii, 241 S. (Music in Media Series. 3.) tario, McMaster University 1999, 148 S. From 1963–1965, The Outer Limits, an anthol- Through an application of the theories of ogy television show co-created by Joseph Ste- post-Freudien French psychoanalyst Jacques fano and Leslie Stevens, was broadcast on Lacan and American philosopher Mark John- ABC. Through the use of unconventional and son’s theory of “image schemata,” “this thesis newly invented instruments and household will construct a methodology for the analysis objects to produce unique sounds, the show of narrative film music. An overview of the not only looked different from most television relevant theoretical concepts is followed by il- of the time, but it sounded different as well. lustrative musical examples. The views of film We Will Control All That You Will Hear: The music composers, followed by a discussion of Outer Limits and the Aural Imagination, dis- the interaction of visual and musical stimuli, cusses the use of music within the series, of- will then serve as a foundation for the consid- fering multiple readings of the ways that mu- eration of the role of a culturally dependent sic is used. This book focuses not only on the system of musical syntax in the construction ways that newly composed scores and stock of meaning within a film score. Finally, the in- music were utilized in the series, but also how teraction of these three concepts (psychoanal- the music enhances and interacts with what ysis, image schemata and cultural syntax), is we see and hear onscreen. demonstrated in an analysis of the musical Inhalt: 1. You Are About To Participate in a scores of two films: Star Trek 11: The Wrath of Great Adventure / 1 – 2. From Stoney Burke Khan (music by James Homer) and The Piano Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 203

(music by Michael Nyman). 9. They Shot, He Scored: Looking Back and Looking Ahead. – Appendix I: Rathburn Fil- mography – Appendix II: Lists of Works – Wright, James K. / Rogers, Allyson: They Shot, Appendix III: Rathburn Discography – Notes He Scored: The Life and Music of Eldon Rath- – Bibliography – Index. burn. Montreal/Kingston/London/Chicago: Mc- Gill-Queen’s University Press 2019, xix, 362 S. Wright, Julie Lobalzo: Crossover Stardom: Popu- Eldon Davis Rathburn (1916–2008), one of the lar Male Music Stars in American Cinema. New most multi-dimensional, prolific, and end- York/London: Bloomsbury Academic 2018, ix, lessly fascinating composers of the twentieth 205 S. century, wrote more music than any other Canadian composer of his generation. During Focuses on male music stars who have at- a long and productive career that spanned tempted to achieve film stardom. Crossover seventy-five years, Rathburn served for thirty stardom can describe stars who cross from years as a staff composer with the National one medium to another. Although ‘crossover’ Film Board of Canada (1947–76), scored the has become a popular term to describe many first generation of IMAX films, and created a modern stars who appear in various medi- diverse catalogue of orchestral and chamber ums, crossover stardom has a long history, works. With the aid of extensive archival and going back to the beginning of the cinema. documentary materials, They Shot, He Scored Lobalzo Wright begins with Bing Crosby, a chronicles Rathburn’s life and works, begin- significant Hollywood star in the studio era; ning with his formative years in Saint John, moving to Elvis Presley in the 1950s and New Brunswick, and his breakthrough in Los 1960s, as the studio system collapsed; to Kris Angeles in connection with Arnold Schoen- Kristofferson in the New Hollywood period of berg and the LA Philharmonic Orchestra. The the 1970s; and ending with Will Smith and book follows his work at the NFB, his close Justin Timberlake, in the contemporary era, encounters with some of the most celebrated when corporate conglomerates dominate Hol- international figures in his field, and his col- lywood. Thus, the study not only explores laboration with the team of innovators who music stardom (and music genres) in various launched the IMAX film corporation. James eras, and masculinity within these periods, it Wright undertakes a close analytical reading also surveys the history of American cinema of Rathburn’s film and concert scores to out- from industrial and cultural perspectives, line his methods, compositional techniques, from the 1930s to today. influences, and idiosyncratic approach to in- Inhalt: Introduction – The crooner film star: strumentation, as well as his proto-postmod- Bing Crosby – The rock ’n’ roll film star: Elvis ern proclivity for borrowing from diverse Presley – The country film star: Kris Kristof- styles and genres. Authoritative and insight- ferson – The rap film star: Will Smith – The ful, They shot, he scored illuminates the ex- pop film star: Justin Timberlake. traordinary career of an unsung creative force Rev. (Kelly, Gillian) in: in the film and music industry. (Vorlage) Historical Journal of Film, Radio and Television 39,1, 2019, S. 196– Inhalt: Introduction; 1. Formative Years: From 198. Saint John to L.A. – 2. Early Years at the NFB: 1945–1952 – 3 The Unit B Years: 1952–1964 – 4. Career Crescendo: From Labyrinth to Wulff, Hans J.: Affekträume. Filmmusik und IMAX – 5. “Name Dropping”: Encounters die subtextuelle Charakterisierung der Figuren with Schoenberg, Varèse, Ives, Thomson, der Handlung. In: Musik und Gefühl: Interdiszi- Sorabji, and Havergal Brian – 6. Covering His Tracks: Rathburn’s Train Music – 7. Idiosyn- plinäre Annäherungen in musikpädagogischer crasies and Fascinatin’ Rhythms: Music for Perspektive. Hrsg. v. Martina Krause u. Lars Banjo, Jew’s Harp, Flexatone, Historical Key- Oberhaus. Hildesheim: Olms 2012, S. 249–267. boards, and Calliope – 8. The Concert Music – Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 204

Wulff, Hans J.: Militärmusiken im dramatis- cognitively and emotionally participate, the chen Feld des Spielfilms. In: Popularisierung successful transmission of narration-based und Artifizialisierung in der Militärmusik. [Do- texts is dependent on processes that forge hy- kumentationsband zum gleichnamigen Sympo- pothetical constructions and encourage the sium vom 6. bis 7. September 2011]. Hrsg. v. viewer’s moral empathy with the main char- Michael Schramm. Bonn: Militärmusikdienst acters. At the story’s conclusion the narration der Bundeswehr 2012, S. 1–18. is not merely extended but rather contextually experienced within its dramaturgical and Militärmusik taucht fast ausschließlich in Fil- poetic boundaries. The article presents four men auf, die im „Milieu des Militärischen“ strategies of musically supported or music- spielen oder die in einer erzählten Welt ange- based forms in a narrative film’s final scenes siedelt sind, in denen Militärs Machtpositio- in which they remain reflexively related to nen innehaben. Wenige Beispiele, in denen the text, positioned, as it were, above the der Auftritt von Militärkapellen zur Repräsen- story. tation staatlicher Macht gehören, ergänzen das Korpus. Militärmusik ist nicht „frei“, gehört nicht zum allgemeinen Repertoire von Wulff, Hans J.: Ethnomusikologie – filmisch: Musiken, die auch als Filmmusiken verwen- Neue Filme zur Erforschung nationaler und re- det werden können, sondern sind oft stofflich gionaler Musikkulturen. In: Kieler Beiträge zur gebunden an ihre realen Milieus. Gleichwohl Filmmusikforschung, 11, 2014, S. 333–379; kann gezeigt werden, dass Militärmusiken im [URL]. Kino in höchst differenzierter Weise in die Wulff, Hans J.: Hybridität der Gattungen: dramatische Struktur von Filmen eingebun- Schlagerfilm / Filmschwank / Schlagerfilm- den sind. In den meisten Fällen werden sie schlicht reportiert, weil sie zu den natür- schwank. In: Prekäre Genres: Kleine, periphere, lichen, kulturell vorgefundenen Elementen minoritäre, apokryphe und liminale Gattungen, der dargestellten Welt zählen. In einer ganzen Formen und Spezies. Hrsg. v. Hanno Berger, Reihe von Fällen aber werden sie mit subjek- Frédéric Döhl u. Thomas Morsch. Bielefeld: tiven Bedeutungen aufgeladen oder zu einem transcript 2015, S. 217–236. Argument der Tiefenideologien ihrer Texte, was zugleich Schlaglichter auf tiefere kul- Wulff, Hans J.: Körpertheater und Textseman- turellen Bedeutungen von Militärmusiken tik. Funktionskreise der Tanzszenen im Spiel- wirft. (Autor) film – von Top Hat (1935) bis Im Winter ein Jahr (2008). In: Sinnlichkeit und Sinn im Kino: Wulff, Hans J.: Finale all’opera: Wenn Filme Zur Interdependenz von Körperlichkeit und Tex- opernhaft enden. In: Cinema (Zürich) 59, 2013, tualität in der Filmrezeption. Hrsg. v. Heinz-Pe- S. 59–67. ter Preußer. Marburg: Schüren 2015, S. 57–82 (Schriftenreihe zur Textualität des Films. 8.). Wulff, Hans J.: Textsemantische Grundlagen der Analyse von Musikszenen und musikalis- Wulff, Hans J.: Die Musiken des Alltags und chen Inserts. In: Kieler Beiträge zur Filmmusik- der Krieg. Zu den Funktionen der Musik in Fil- forschung, 9, 2013, S. 224–292. men des Irakkriegs. In: Erzählungen und Ge- generzählungen: Terror und Krieg im Kino des 21. Jahrhunderts. Hrsg. v. Martin Seel u. Jochen Wulff, Hans J.: Über das Ende der Erzählung Schuff. Frankfurt/New York: Campus 2015, S. hinaus... Filmmusik und die Finalisierung von 215–239 (Normative Orders. 16.). Texten. In: Archiv für Musikwissenschaft 70,1, 2013, S. 1–16. Wulff, Hans J.: Pathische Löcher: Schlagerfilm- In conveying the story of a fictional reality in tänze als adressierende Erlebnisform. In: Mon- which the viewer is from the outset invited to Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 205 tage AV 25,2, 2015, S. 83–96. 2017, S. 179–203 (= Dresdner Schriften zur Musik. 6.). Wulff, Hans J.: Karaoke: Zwischen Kulturtech- nik, kommunikativem Format und dramaturgi- Wulff, Hans J.: Vom Singen, vom Mechanis- scher Praxis. Am Beispiel der Karaoke-Szenen chen und von den Emotionen. Überlegungen im Film. In: Archiv für Musikwissenschaft 73,4, zu Fernand Légers The Girl with the Prefabri- 2016, S. 306–327. cated Heart aus Hans Richters Omnibusfilm (1947). In: Karaoke singing is a cultural phenomenon Dreams That Money Can Buy Archiv that became popular in highly developed cap- für Musikwissenschaft 75,3, 2018, S. 179–192. italist societies in the 1970s. It establishes a Fernand Léger’s The Girl with the Prefabri- frame of musical acting in the public sphere cated Heart from Hans Richter’s episode of leisure, and produces a collective immedi- movie Dreams that Money Can’t Buy (1947) acy and conviviality in live audiences while connects the after-war reality to the impor- highlighting the subjective disposition of the tance of the mechanical and the dominant singer. Karaokists not only try to imitate their role of objects in constituting the social world chosen performer; they often generate an ob- in the avangarde projects of the 1920s. The vious asthetic distance to the recorded song film combines these themes with the disinte- through the use of exaggeration, overacting, gration of the category of sovereignity of the and substandard vocals, thereby exploiting subject and the substitution of the human by the music as a vehicle for their own subjec- mannequin body. It is based on a popular tive expression. Analyses of numerous karao- dandy song performed by Libby Holman and ke scenes from films seek to expose the corre- Josh White, two music stars of the 1940s, lation between song, showmanship, personal- telling a romantic love story with a fatal end- ized projection, and self-representation. ing. The song is told in animated scenes of mannequin dolls and abstract paintings and objects from Léger’s oeuvre, in the end un- Wulff, Hans J.: Medialisierung der Musik und folding to a collage of discursive differences Medienkritik im Schlagerfilm der 1950er Jahre. like to popular vs. the avangardistic, the clash In: Populäre Musikkulturen im Film: Inter- und between time concepts of music and image, transdisziplinäre Perspektiven auf Formen, In- heteronomous concepts of femininity, love halte und Rezeptionen des fiktionalen und doku- and the narcisisstic, and changing relations mentarischen Musikfilms. Hrsg. v. Carsten between the real and the imaginary, espe- Heinze & Laura Niebling. Wiesbaden: Springer cially in the pretended subjectivity of dream- VS 2016, S. 291–308 (Film und Bewegtbild in ing. Kultur und Gesellschaft.). Collective tacit knowledge about the mediati- Wulff, Hans J. / Fischer, Michael (Hrsg.): Musik zation von popular music is integrated in rep- gehört dazu: Der österreichisch-deutsche Schla- resentations of performances of popular gerfilm 1950–1965. Münster: Waxmann 2019, songs by showing technical elements of me- 239 S. (Populäre Kultur und Musik. 24.). dia distribution (like microphones, sound storage and recording media, life-broadcasts Inhalt: Hans J. Wulff: Editorial: Schlagerfilme etc.). im Kontext ihrer Zeit / 7. – Caroline Amann & Hans J. Wulff: Figuren, Gattungen und Ho- rizonte des Wissens und ihre Inszenierung im Wulff, Hans J.: Suprasegmentale Funktionen Schlagerfilm. Die Graf-Bobby-Filme / 21. – der Filmmusik: Summaries und Rekapitulatio- Stefanie Mathilde Frank: Plot gebraucht – nen. In: Filmmusik und Narration: Über Musik Musik neu? Schlager und Schlagerfilme in im filmischen Erzählen. Hrsg. v. Robert den Remakes der 1950er Jahre / 31. – Réka Rabenalt & Manuel Gervink. Marburg: Tectum Gulyás: Paprika Rock. Musikalische Ungarn- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 206

bilder in deutschsprachigen Filmen der 1950er In chines. Schrift. – Inhalt: [Introduction. – 1. und 1960er Jahre / 51. – Lucian Schiwietz: The germination and rapid development of Musik aus dem südöstlichen Europa im deut- Chinese film music (1905–1949) – 1.1 Chinese schen und österreichischen „Heimatfilm“ silent film period music under the influence of nach 1945. Phänomene und Funktionen / 71. foreign culture (1905–1930) – 1.2 The first cli- – Hans J. Wulff: Folklorisierung und Exotisie- max of Chinese film music – Movie music in rung des Regionalen. Hoch droben auf dem the left-wing period (1932-1937) – 1.3 Berg (BRD 1957, Géza von Bolváry) / 79. – Ga- Wartime and Post-War Film Music (1937– briele Vogt: Touristische Sehnsuchtswelten 1949). – 2. Film Music in the “Seventeen der Schlagerfilme / 95. – Michael Fischer: Me- Years” Period (1949-1966) – 2.1 The renewed lodie und Rhythmus. Selbstthematisierung ei- glory of movie songs – 2.2 A new develop- ner neuen Jugend- und Musikkultur in einem ment of film instrumental music – 2.3 The Peter-Kraus-Film / 111. – Detlef Arlt & Hans maturing film music creation team – 2.4 A J. Wulff: Die Ambivalenz der Frauenrollen. conscious exploration of the national style of Das süße Leben des Grafen Bobby (Österreich film music. – 3. Film Music During the “Cul- 1962, Géza von Cziffra) / 129. – Bernd Hoff- tural Revolution” (1966–1976) – 3.1 Model mann: „Abfallprodukte des Jazzidioms“. Opera Music – 3.2 Feature Film Music Cre- Schlager als Gegenwelten improvisierter ation. – 4. New Era Film Music (1976–2013) – Musik / 137. – Klaus Nathaus: How the hits 4.1 Recovery and Innovation of Film Music got into the flicks. The production of (1976–1984) – 4.2 The film music of the fifth Schlagerfilms in West Germany, 1955-1963 / generation director – 4.3 Music in the Diver- 153. – Martin Lücke: Schlagerfilmwirtschaft. sified Film Development Period (1990–2013). Das Geschäft mit dem populären Lied / 177. – – Conclusion.] Elisabeta Fabrici: Mehrfachpaarungen. So liebt und küsst man in Tirol (BRD 1961, Franz Marischka) / 193. – Theresa Georgen: Perlons Yeh, Yueh-yu: A Life of Its Own: Musical Dis- und Rüschen. Mode und Schlagerfilm am Bei- courses in Wong Kar-Wai’s Films. In: PostScript spiel von Die süßesten Früchte (BRD 1953/54, 19,1, Fall 1999, S. 120–136. Franz Antel) / 207. – Hans J. Wulff: Ein klei- nes Stück vom großen Glück. Der Film Mäd- Yeh, Yueh-yu: Historiography and Sinification: chen mit schwachem Gedächtnis (BRD 1956, Géza von Cziffra) im Kontext seiner Zeit / Music in Chinese Cinema of the 1930s. In Cin- 221. ema Journal 41,3, 2002, S. 78–97. Sinification, in the sense of rendering Chi- nese, or indigenizing a foreign medium, has been a dominant discourse in Chinese film historiography. This article analyzes film music in Chinese cinema of the 1930s and argues that sinification should not be taken as a natural or inevitable process but instead should – Y – be viewed as a conditional, negotiated practice, subject to intertwined industrial and political mediations. Yang Xuanhu: Zhōngguó diànyǐng yīnyuè fāzhǎn yánjiū = Research on the Development of Music in Chinese Film: Dàlù bùfèn] [杨宣华: 中 Yeung, Ka Chung Lorraine: An Aesthetic of 国电影音乐发展研究 = Research on the Develop- Horror Film Music. In: Film and Philosophy 23, ment of Music in Chinese Film: 大陆部分[Main- 2019, S. 159–178. land China]]. Běijīng: Zhōngguó diànyǐng chū- In this paper I develop an aesthetic of horror bǎn shè [China Film Publishing House] 2014, 2, film music based on the film sound theorist 2, 182 S. Kevin Donnelly’s “direct access thesis”. This Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 207

states that horror film scores have the power millan 2017, S. 237–262. to provide “direct accesses” “to the bodies of an audience; they “produce bodily sensations, excite (mainly negative) emotions and insert Zajceva, Marina Leonidovna / Michajlovna, Ti- in the audience “frames of mind and atti- tova Tat’jana: Chudožestvenno-ėstetičeskaja tudes...much like a direct injection”. I first ar- specifika ispol’zovanija fortepiano v akustičes- gue that two dominant theories in the field, kom prostranstve kinomuzyki Džo Chisaiši namely, the culturalist theory of film music [Зайцева Марина Леонидовна / Михайлов- and Peter Kivy’s cognitivist theory of music на, Титова Татьяна: Траектория науки: and emotion are inadequate. Then I will show Международный электронный научный that by aligning the direct access thesis with журнал]. In: Traektorija nauki: Meždunarodnyj Jenefer Robinson’s theory of music and emo- ėlektronnyj naučnyj žurnal 2,12, 2016, Razdel tion, Mark Johnson and Steve Larson’s con- «Iskusstvovedenie», S. 7.1–7.12; [URL]. tention that musical meaning is primarily embodied, we will be able to reveal a deeper “Artistic and aesthetic specifics of using the meaning of horror film scores than musical piano in the acoustic space of Joe Hisaishi’s convention. I illustrate my proposal with the film music.” shark motif in Jaws and Dies Irae in The Shin- In kyrill. Schrift. – Abstract: The article ex- ing. plains the problems of music functioning in the media text system, analyzes the stages of the creative collaboration of composer Joe Hi- Yokota, Koharu: “Robinfuddo no bōken” (1938): saishi and director Hayao Miyazaki in the cre- Ni okeru Korungoruto no eiga ongaku [横田小 ation of animated films, highlights the most 遥: 『ロビンフッドの冒険』(一九三八年)におけ important events in the biography of [the] るコルンゴルトの映画音楽]. In: Eiga-gaku [映 artists. On the example of the animated film 画学] 32, 2018, S. 27–35. Spirited Away (2001), the peculiarities of interaction of music, voice and video in the series “Korngold’s film music for The Adventures of are revealed, the role of the piano in the Robin Hood [USA 1938, Michael Curtiz & Wil- acoustic space of film music by Joe Hisaishi is liam Keighley].” – In japan. Schrift. defined.

Yokota, Koharu: “Arashi no seishun” (ichi kyū Zenck, Martin / Oy-Marra, Elisabeth: Stille und shi ni) [横田小遥: 『嵐の青春』(一九四二)]. In: Explosion in Andrej Tarkovskij’s Film Nostal- 映画学 Eiga-gaku [ ] 33, 2019, S. 16–25. gia. Das Echo altitalienischer Bilder und ihre “Korngold’s film music for Kings Row 1942 Resonanzen in Luigi Nonos ‘No hay caminos, [USA 1942, Sam Wood].” – In japan. Schrift. hay que caminar... Andrej Tarkovskij per 7 cori’. In: Marschall, Susanne / Liptay, Fabienne (Hrsg.): Mit allen Sinnen: Gefühl und Empfind- ung im Kino. Marburg: Schüren 2006, S. 305– 319.

Zenck, Martin: acoustic turn – versus iconic – Z – turn. Über die subvokale Bedeutung der Musik im Stummfilm (Buñuel: Rihm/Kagel) und in Zacharopoulos, Konstantinos: Musical syntax Filmen von Jean-Luc Godard, Pier Paolo Pa- in John Williams’s film music themes. In: Cole- solini und Andrej Tarkowskij. In: Petra Maria man, Lindsay / Tillman, Joakim (eds.): Contem- Meyer (Hrsg.): acoustic turn. München: Fink porary Film Music: Investigating Cinema Narra- 2008, S. 409–432. tives and Composition. London: Palgrave Mac- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 208

Zenck, Martin: Das Heilige, die Gewalt und die Afrofuturism. In: Off the Planet: Music, Sound Musik in Pasolinis Filmen Teorema und Medea. and Science Fiction Cinema. Ed. by Philip Hay- In: Thomas Koebner, Irmbert Schenk (Hrsg.): ward. Eastleigh: John Libbey Publishing 2004, Das goldene Zeitalter des italienischen Films. S. 77–95. München: text+kritik 2008, S. 257–267. U.a. zu John Coneys Film Space Is the Place (1974) über und mit dem US-amerikanischen Zuberi, Nabeel: The Transmolecularisation of experimentellen Jazzmusiker, Komponisten, [Black] Folk: Space is the Place, Sun Ra and Poeten und Philosophen Sun Ra (1914–1993).