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Ludger Kaczmarek; Hans Jürgen Wulff; Matthias C. Hänselmann Musik im Animationsfilm: Arbeitsbibliographie 2016 https://doi.org/10.25969/mediarep/12799
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Empfohlene Zitierung / Suggested Citation: Kaczmarek, Ludger; Wulff, Hans Jürgen; Hänselmann, Matthias C.: Musik im Animationsfilm: Arbeitsbibliographie. Westerkappeln: DerWulff.de 2016 (Medienwissenschaft: Berichte und Papiere 164). DOI: https://doi.org/10.25969/mediarep/12799.
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Redaktion und Copyright dieser Ausgabe: Ludger Kaczmarek u. Hans J. Wulff. ISSN 2366-6404. URL: http://berichte.derwulff.de/0164_16.pdf Letzte Änderung: 12.1.2016.
Musik im Animationsfilm: Arbeitsbibliographie Zusammengestellt von Hans J. Wulff und Ludger Kaczmarek
Mit einer Einleitung von Matthias C. Hänselmann: Phasen und Formen der Tonverwendung im Animationsfilm*
Der Animationsfilm ist ein von Grund auf syntheti- die lange Zeit dominante Animationsform handelt, sches Medium: Alle visuellen Aspekte – und das 2) gerade der Zeichentrickfilm Prinzipien der anima- wird besonders am Zeichentrickfilm deutlich – müs- tionsspezifischen Musikverwendung hervorgebracht sen zunächst künstlich erzeugt werden. Es müssen hat und diese Prinzipien 3) dann auch von anderen Serien syntagmatisch kohärenter Bewegungsphasen- Animationsfilmformen übernommen wurden bzw. bilder hergestellt werden, ehe diese durch einzelbild- sich prinzipiell auf diese übertragen lassen. weise Abfotografierung auf den Filmstreifen ge- bracht werden können, von wo aus sie sich dann un- Versuche der organischen Verbindung von dynami- ter geeigneten Vorführbedingungen als konsistenter, scher Malerei (als was sich der Zeichentrickfilm auf- flüssiger Bewegungsablauf auf die Leinwand proji- fassen lässt) mit koordiniert organisierten Tönen (als zieren lassen. was man Musik ansehen kann) begannen Anfang des Was für den Bildbereich gilt, ist im Tonbereich 20. Jahrhunderts mit eher technisch-wissenschaftli- grundsätzlich nicht anders. Auch die akustischen cher Zielsetzung denn mit künstlerisch-kreativen Komponenten eines Animationsfilms müssen zu- Ambitionen. Es war Rudolf Pfenninger, der bereits nächst künstlich hergestellt werden, bevor sie mit um 1922 während seiner Arbeit bei der Münchener dem Bildmaterial zusammenkopiert werden können. Lichtspielkunst AG (EMELKA) damit begann, unter Gespräche müssen bildsynchron eingesprochen, Ge- dem Stichwort „gezeichnete Musik“ bzw. „tönende räusche erzeugt und Musik eingespielt werden, ehe Handschrift“ ein System zur Erzeugung syntheti- sich der Animationsfilm als das audiovisuelle Medi- schen Tons zu entwickeln, indem er zunächst mit ei- um konstituiert, als das man ihn seit den 1930er Jah- nem Stift per Hand auf ein Blatt Papier grafische ren kennt. Zeichen auftrug. Anschließend fotografierte er diese Das ist evident, da die Kader für Kader vonstat- direkt mit der Filmkamera ab, um sie so auf einen tengehende Aufzeichnung der Bildspur jede zusam- Lichttonfilmstreifen zu bringen, der dann – von ei- menhängende Aufnahme von etwaigen szenischen ner Seleniumzelle abgelesen – zum ersten Mal die Originalgeräuschen unmöglich macht. Gleichzeitig seiner künstlich hergestellten Zeichnungen entspre- bedeutet das, dass die Bild- und die Tonspur des chenden Töne hörbar werden ließ. Ähnliche Versu- Animationsfilms sich in einer sehr freien und d. h.: che fanden ungefähr zeitgleich u. a. in Russland statt in einer flexiblen und kreativ gestaltbaren Beziehung mit den Experimenten von Arseni Michailowitsch zueinander befinden. Diese künstlerische Freiheit Awraamow, dem bis 1930 entwickelten Variophon wurde bereits sehr früh bemerkt und experimentell von Evgeny Sholpo und dem Vibroexponator von ausgetestet, ehe sich audiovisuelle Strategien für den Boris Yankovsky, der 1932 fertiggestellt wurde. All Animationsfilm festigten, die bis heute auch im diese Versuche folgten jedoch einer primär wissen- kommerziellen Mainstreamfilm Verwendung finden. schaftliche Motivation. Der folgende Abriss der wichtigsten Entwick- Erstmals stärker künstlerisch setzte László Mo- lungslinien der Tonverwendung im Animationsfilm holy-Nagy die Technologie des synthetischen Licht- legt das Hauptaugenmerk auf den grafisch-maleri- tons für sein Tönendes ABC (1932) ein, indem er die schen Zeichentrickfilm, da es sich bei diesem 1) um Buchstaben des Alphabets zunächst fotografisch auf Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 2 die Tonspur eines Filmstreifens brachte und dann die Tonpsychologie, die Ruttmann und Fischinger auf Buchstaben noch einmal als optische Elemente in die Gestaltung des „dynamisierten Bildes“ übertru- die Bildfelder des Films aufnahm. Auf diese Weise gen. So wird das Lauterwerden eines Tones bei- erreichte Moholy-Nagy, dass dem Zuschauer spielsweise mit dem Anwachsen eines Bildelements zugleich die optische Darstellung des Alphabets parallelisiert; kurzen, schrillen Tönen werden spitze, sowie dessen akustische Übersetzung durch die kurz aufblitzende Formen zugeordnet; „dunkle“ Lichttonabtastung des Projektors präsentiert werden Klangfarben bestimmter Instrumente der Tonspur konnte. Diese Idee wurde ab 1938 von Norman werden mit dunklen Farben in der Bildgestaltung McLaren aufgegriffen und weiterentwickelt, so dass korreliert etc. er etwa in Boogie-Doodle (1941) sogar eine Kombi- Ruttmann erstellte insgesamt vier „Lichtspiele“, nation von synthetischem und natürlichem Ton ver- deren erstes bereits am 27. April 1921 öffentlich ur- wendete. Mehrere folgten nach, wie beispielsweise aufgeführt wurde, sowie eine Reihe weiterer, meist auch Bruno Böttge, der 1966 für das DEFA-Studio zu Werbezwecken bestimmter abstrakter Tonkurzfil- grafisch Silhouettenketten gestaltete und diese Za- me wie etwa die Filme Der Sieger für Excelsior Rei- ckenschrift auf die Lichttonspur eines Films über- fen und Das Wunder für Kantorowicz-Liköre (beide trug. 1922). Fischinger fertigte zwischen 1921 und 1925 vier als „Studien“ bezeichnete abstrakte Tonfilme an Ungefähr zur gleichen Zeit, als diese ersten Versu- und ist vor allem auch für seine Arbeiten Allegretto che zur Herstellung von Geräusch und Musik mit (1936), Komposition in Blau (1935) und An Optical den Mitteln der Malerei unternommen wurden, such- Poem (1937) bekannt. te man auch nach Prinzipien und Verfahren, wie be- Betrachtet man die Entstehungszeiten besonders reits vorbestehende Musik in ein harmonisches Zu- der frühen Werke, fällt auf, dass sie im Zeitraum vor sammenspiel mit animierten Bildinhalten zu bringen der Etablierung des eigentlichen Tonfilms liegen. sei. Es war der Pionier des kameralosen Films Hans Tatsächlich entwickelte vor allem Fischinger vor der Lorenz Stoltenberg, der in seiner Schrift Reine Farb- Erfindung und Etablierung des Lichttonverfahrens kunst in Raum und Zeit und ihr Verhältnis zur Ton- eine Technik zur synchronen Wiedergabe von kunst von 1920 neben Walter Ruttmann als einer der Schallplatten- und Filmaufzeichnungen, die sich Ersten theoretische Überlegungen zu den Möglich- wahrscheinlich am Prinzip des Kinetophonographen keiten einer harmonischen Verbindung von visuellen von Thomas Alva Edison orientierte. Seine Experti- und akustischen Syntagmen anstellte und dabei auch se in der harmonischen Kopplung von abstrakten explizit den Film als Medium zur Realisierung einer Bildelementen mit Musikstücken brache Fischinger solchen Synthese miteinbezog. Auch wenn er selbst während seines Amerikaexils in Kontakt zu einem nur wenige Anstrengungen unternahm, seine Theo- anderen großen Pionier des „tönenden Trickfilms“: rie in die Praxis umzusetzen, so konnte er doch be- zu Walt Disney. reits 1937 in der zweiten Auflage seines Bändchens u. a. auf Walter Ruttmanns Lichtspiel Opus 1 und Obwohl es immer noch häufig zu lesen ist, war Dis- Oskar Fischingers Komposition in Blau (1935) ver- ney nicht der Erste, der einen mit Tonspur versehe- weisen. nen (gegenständlichen) Zeichentrickfilm fertigte. Diese beiden Arbeiten waren durchweg abstrakt, Bereits im April 1926 hatte das Studio Max Flei- wurden von – teils eigens komponierten – Musikstü- schers mit dem sechsminütigen My Old Kentucky cken begleitet und zielten derart auf eine symbioti- Home (1926) die erste Folge der „Song Car-Tunes“ sche Verbindung von Ton und Musik, dass wechsel- produziert. Diese Cartoon-Serie nutzte den von Lee weise die akustische Dimension der Filme die visu- de Forest auf Basis des Triergon-Verfahrens entwi- elle und umgekehrt die visuelle Dimension die akus- ckelten Phonofilm, eine frühe Form des Lichtton- tische erhellen, vertiefen und in ihrer ästhetischen films, bei dem akustische Informationen fotografisch Wirkung steigern sollte. Sowohl Ruttmann als auch aufgezeichnet werden und sich mittels Verstärker Fischinger machte sich dabei den Umstand zunutze, und Lautsprecher wieder abspielen lassen. Fleischers dass die einzelbildweise Aufnahmetechnik des Ani- Cartoons fanden aber nicht in erster Linie deshalb mationsfilms eine Zuordnung des Bildbereichs zum starken Gefallen beim Publikum, weil sie eine be- Tonbereich bis auf ¹⁄₂₄ einer Sekunde genau zulässt, sonders ansprechende Ton-Bild-Verbindung her- also eine quasi kadergenaue Abstimmung von Bild stellten, sondern vor allem, weil sie die Zuschauer und Ton möglich ist. durch ihr „Bouncing Ball Sing-Along“ zu aktivem Die Organisation der Bildelemente erfolgte – und Mitsingen animierten: Während der Film akustisch damit wirkten die beiden prägend für den Animati- ein bestimmtes populäres Lied wiedergab, wurde onsfilm – in der Regel nach Gesetzmäßigkeiten der dem Zuschauer gleichzeitig visuell der Liedtext dar- Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 3 geboten und – nach einem Prinzip, wie es noch heu- mittels der Ballbewegung die Geschwindigkeit ihres te beim Karaoke Verwendung findet – mittels eines Spiels und den Zeitpunkt des Geräuscheinsatzes an- von Silbe zu Silbe weiterhüpfenden Balls angezeigt, zeigte. Aus dem dabei aufgenommenen Tonspurne- wann welches Wort zu singen sei. Diese kurzen, in gativ und dem Zeichentrickfilmnegativ wurde dann eine narrative Struktur eingebundenen Lieder zum abschließend ein synchroner Zeichentricktonfilm zu- Mitsingen waren ungemein beliebt, auch wenn sich sammenkopiert. Präzisiert wurde dieses Verfahren ihre Gesamtqualität auf keinem sonderlich hohen durch den Einsatz eines Metronoms, dessen Einsatz Niveau bewegte. Wilfred Jackson im Disney-Studio einführte. Später Auch Paul Terrys früher Tonzeichentrickfilm revolutionierte Carl Stalling dieses Prinzip durch Dinner Time, ein nachsynchronisierter Cartoon aus seine Click-Tracks, bei denen es sich um metrisch der „Aesop’s Fables“-Serie der Van Beuren Studios, exakte Taktschläge handelte, die den Musikern des der am 14.10.1928 Premiere hatte, konnte, was die Studioorchesters während den Tonaufnahmen über akustisch-visuelle Gestaltung betrifft, nicht überzeu- Kopfhörer vorgespielt wurden und die – anders als gen und fiel – da ihm eine involvierende Anbindung die Metronomschläge bei Jacksons Prinzip – in der der Zuschauer fehlte, wie sie die „Car-Tunes“ Flei- späteren Tonspur nicht hörbar waren. schers boten – beim Publikum durch. Bei der tonorientierten Animation ist dagegen die Gegenüber diesen Vorläufern war Steamboat musikalische Einspielung bereits vor der Animati- Willie, der erste Ton-Cartoon Disneys, der am 18. onsarbeit gegeben und die Animation orientiert sich November 1928 zur Erstaufführung kam, ein Mei- streng an den Vorgaben der Tonaufnahme. Diese lenstein in der audiovisuellen Animationsgestaltung Form des Mickey-Mousing hat sich letztlich durch- und wirkte prägend für alle folgenden Ton-Cartoons. gesetzt, vor allem wohl deshalb, weil sie das beson- Während vor allem Paul Terry und anfangs auch dere zeichentrickliche Potential ausschöpfen kann, Fleischer im Tonfilm primär die Möglichkeit zur das darin besteht, dass die frame-by-frame-Filmer- Herstellung eines umfassenderen Spektakels sahen zeugung eine aufs Einzelbild exakte Taktung zur und zunächst entsprechend lärmende Filme produ- Tonspur erlaubt. Diese technische Variante des Mi- zierten, zeigte Disney von Beginn an ein ausgepräg- ckey-Mousing brachte es mit sich, dass zwischen der tes Bewusstsein und ein feines Gespür für die adä- Herstellung der eingespielten Partituren und der Fer- quate Korrelierung von Ton und Bild und schuf ein tigung der Animation mitunter eine lange Zeit und audiovisuelles Gestaltungsverfahren, das mit dem wie beispielsweise bei Disneys Snow White (1937) Namen seiner berühmtesten Figur auf immer ver- über drei Jahre liegen konnten. bunden bleiben wird: das Mickey-Mousing. Die Möglichkeit der kadergenauen Synchronisie- Technisch realisieren lässt sich diese symbioti- rung von Ton und Bild schöpfte Disney bereits in sche Verbindung von Bild und Ton auf zwei Arten, Steamboat Willie mustergültig aus, indem er nicht und entsprechend kann man zwischen einer animati- nur bestimmten Objekten und Handlungen der Bild- onsorientierten Vertonung und einer tonorientierten ebene rein illustrativ passende Geräusche auf der Animation unterscheiden. Bei ersterer, die auch zu- Tonspur zuordnete und eine begleitende Musikunter- mindest in Amerika, dem Heimatland des Mickey- malung hinzufügte, sondern die enge Korrelationier- Mousing, historisch gesehen die frühere Form ist, barkeit von Bild und Ton zur Herstellung einer wird zunächst die Animation hergestellt und dann höchst künstlerischen textuellen Überstrukturierung passend dazu eine Begleitmusik erzeugt. Um diese nutzte. So bewegen sich die Figuren nicht nur im Musik möglichst taktgenau einzuspielen, entwickelte Takt der Musik, sondern vollführen Handlungen, de- Walt Disneys Bruder Roy zusammen mit dem Ani- ren Geräusch sich minutiös in die Struktur der Mu- mator Ub Iwerks ein Verfahren, das 1928 als Patent sikbegleitung fügt, bis letztlich ununterscheidbar ist, eingereicht wurde und das zunächst die Anfertigung ob die akustische Dimension die visuelle illustriert eines Zeichentrickfilmnegativs vorsah, dessen Ton- oder die visuelle die akustische. Die enge Interaktion spur vorerst frei gelassen wurde. Aus diesem Film- von Ton und Bild, die seit 1929 insbesondere in den material erzeugte man dann einen „Partiturfilm“, Episoden der „Silly Symphonie“-Serie des Disney- d. h. einen Filmabzug, auf den zusätzlich zur Zei- Studios perfektioniert wurde, nutzte Disney bei- chentrickhandlung per Hand eine Folge von auf und spielsweise kreativ, um mittels der Tonspur dem Zu- ab hüpfenden Bällen gemalt wurde, die gemäß ihrer schauer Vorausdeutungen über das künftige Bildge- Auf- und Abbewegung dem Studioorchester zur me- schehen zu geben, um punktuell stark affektiv wir- trischen Orientierung diente. Dieser Partiturfilm kende Kontraste zwischen Ton und Bild zu installie- wurde dann so auf eine Leinwand projiziert, dass er ren oder um musikalisch Spannungsbögen über dem den Musikern und Geräuschemachern des Studios, Bildgeschehen zu errichten. die gleichzeitig die zugehörige Tonspur einspielten, Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 4
Kennzeichnend für Disney war dabei, dass er positioniert. Dem Trend, der populären Tanzmusik sich vornehmlich symphonisch-klassischer Musik vor der klassischen den Vorzug zu geben, schloss bediente, die seinem Anspruch entsprach, künstleri- sich letztlich selbst das Disney-Studio mit seinem sche Animation auf höchstem Niveau zu schaffen. zweiten Musik-Langfilm Make Mine Music (1946) Dieses Bestreben gipfelte 1940 in Fantasia, dem an, in dem Stücke u. a. von Benny Goodman und dritten abendfüllenden Zeichentrickfilm Disneys, der den Andrews Sisters verwendet wurden. in Zusammenarbeit mit dem von Leopold Stokowski Doch der ideologische Konflikt zwischen Dis- geleiteten Philadelphia Orchestra entstand und auf neys Hochkulturpathos auf der einen und den avant- Basis klassischer Orchesterwerke von Bach bis Stra- gardistischen Bestrebungen insbesondere der War- winsky acht thematisch voneinander unabhängige ner-Cartoons auf der anderen Seite beschränkte sich Musik-Cartoons bietet. An der Entwicklung des nicht auf die Verwendung unterschiedlicher Musik- Bach-Segment dieses ästhetisch ambivalenten Kon- stile. Trotz oder gerade wegen der extremen Perfek- zeptfilms beteiligte sich u. a. auch Oskar Fischinger, tion, zu der das Mickey-Mousing im Disney-Studio der seine Zusammenarbeit mit Disney allerdings geführt wurde, war vor allem auch dieses Verfahren nach einer Phase frustrierender Meinungsverschie- bald negativ konnotiert und als sklavisches, unkrea- denheiten hinsichtlich der künstlerischen Umsetzung tives Prinzip verschrien. Carl Stalling und Scott aufkündigte und bezeichnenderweise auch auf eine Bradley bemühten sich während ihrer Arbeit für die namentliche Nennung im Filmcredit verzichtete. Der Warner- und MGM-Cartoons in offener Ablehnung Film, für den William Garity mit dem sogenannten des Mickey-Mousing, wie es bei Disney praktiziert Fantasound ein eigenes Surround-Sound-System wurde, um einen freieren und flexibleren Einsatz der entwickelte, zerfällt in Sequenzen, die wie reiner Musik: Ihre Kompositionen liegen locker über der Kitsch wirken, und Abschnitte hoher animatorischer Bildhandlung, akzentuieren bestimmte Geschehnis- Artistik. Von den zeitgenössischen Kritikern und se, bereiten musikalisch Pointen in den Gagbändern Filmtheoretikern wurde er überwiegend negativ be- der Animation vor und liefern zum Bildgeschehen wertet, er floppte beim Publikum und führte auf- musikalisch Beiträge von humoristischem Eigen- grund seiner extremen Produktionskosten fast zum wert, wenn beispielsweise der Auftritt einer in Rot Bankrott des Disney-Studios. Gleichwohl beein- gekleideten Schönheit mit der populären Melodie flusste er die Ton-Bild-Koordination im Animations- von „The Lady in Red“ (Allie Wrubel, 1935) unter- film nachhaltig, rief mit dem Musik-Cartoon eine ei- legt wird oder eine Szene, in der eine Figur eine an- gene Zeichentrickgattung ins Leben und zog eine dere aufzufressen versuchte, ironisch von dem ganze Reihe von Persiflagen und Nachahmungen Schlager „A Cup of Coffee, a Sandwich, and You“ nach sich, angefangen bei Robert Clampetts Corny (Joseph Meyer, 1925) begleitet wird. Concerto (1943) über die Musik-Cartoons Chuck Mit dem Ende des traditionellen Package Book- Jones wie Long-Haired Hare (1949), Rabbit of Se- ing (Hauptfilm plus Cartoons plus Wochenschau) ville (1950), What’s Opera Doc? (1957) oder Baton und dem Aufkommen des kaum oder nur limitiert Bunny (1958) und Tex Averys Magical Maestro animierten starren Fernsehcartoons verlor sich die (1952) bis hin zu den Parodien Opera (1973) und Technik des Mickey-Mousing jedoch fast vollstän- Allegro Non Troppo (1976) von Bruno Bozzetto und dig und wird aufgrund des Fehlens einer kreativen den didaktischen Ten Pieces (2014) von Oliver Weiterentwicklung heute oft antiquiert und kurios Symth. empfunden und – wenn überhaupt – primär zur Dem symphonisch-klassizistischen Selbstver- Kommunizierung von Nostalgie oder Albernheit ständnis Disneys setzte dabei besonders das Warner- verwendet. Studio sarkastisch-kakophone Musikinterpretationen Es war vor allem auch der Fernsehcartoon, der entgegen, die nicht nur die verwendeten Stücke aus über Jahrzehnte hinweg den originellen Umgang mit dem klassischen Konzertrepertoire veralberte, son- den akustischen Möglichkeiten des Animationsfilms dern auch die Aura der Hochkultur und Kunstmusik blockierte, indem er den narrativen Schwerpunkt insgesamt dekonstruierte. Es war besonders die Ag- ganz auf den Voice-Over-Erzähler, die Figurenrede gressivität, mit der das Warner-Studio gegenüber und die mal mehr mal weniger motivierte Begleit- Disney Position bezog, und nicht so sehr der Um- musik verlagerte. Dieser Umstand führte auch zu je- stand, dass man ab 1940 meist auf populäre Unter- ne kritischen Auffassung verschiedener Theoretiker haltungsmusik und Brass-Orchester zurückgriff, des Animationsfilms, die besagt, dass es sich beim denn bereits seit den frühen 1930er Jahren hatte das Zeichentrickfilm um ein dominant visuelles Medien- Fleischer-Studio für seine Cartoons vor allem Jazz-, format handelt – eine Auffassung, die sich zuneh- Blues- und Black-Musik verwendete und sich damit mend und zu recht radikalisierte, als es besonders von Beginn an klar gegenüber dem Disney-Studio seit dem Aufkommen der Fernsehcartoons nach Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 5
1950 zu einer derart extremen Überbetonung des au- ditiven Bereichs kam, dass Kritiker häufig von illus- trierten Hörspielen oder bebilderten Radiosendungen sprachen. Wenn nach 1950 nach innovativen Bild- Ton-Korrelationen gesucht wurde, so geschah dies – mit einigen Ausnahmen wie etwa Chuck Jones Now Arbeitsbibliographie Hear This (1962) – meist abseits des etablierten Ani- von Hans J. Wulff u. Ludger Kaczmarek mationsfilmbetriebs in den Arbeiten experimenteller Künstler und Gruppierungen wie beispielsweise Norman McLaren, Yōji Kuri, der UPA oder Zagreb Allen, Steven: Audio Avery: Sound in Tex Avery’s Film. MGM Cartoons. In: Animation Journal 17,1, 2009, Entsprechend zeigt der Einsatz von Musik und S. 7–22. Ton im heutigen (narrativen) Animationsfilm kaum Aloff, Mindy: Hippo in a Tutu: Dancing in Disney noch größere Unterscheidungsmerkmale zur Musik- Animation. New York: Disney Ed. 2008, 175 S. und Tonverwendung im dominanten Realfilm. Die Musikspur wird auch im Animationsfilm inzwischen The ballet for hippo ballerinas and their croco- mit rein struktureller Funktion verwendet, etwa zur dile cavaliers (plus a corps de ballet of ostriches Klammerung und homogenen Verbindung einzelner and elephants) set to Ponchielli’s “Dance of the hours” in Fantasia (1940) is one of the best- Einstellungen oder Erzählabschnitte. Sie wird einge- loved scenes in all the Disney animated features. setzt, um den Zuschauer mittels Leitmotiven in der Many viewers may not realize, however, that this Handlung zu orientieren oder Figuren zu charakteri- ballet is no mere generalized parody of ballet sieren. Und sie wird kommentativ eingesetzt, um mannerisms, but is in fact a deeply informed, af- beispielsweise das affektive Potential romantischer fectionate parody of a famous scene choreo- Szenen durch eine geeignete Musikuntermalung zu graphed by George Balanchine for the film steigern oder – im Gegenteil – um dieses zu konter- Goldwyn Follies (1938) and starring his wife, the karieren. ballerina movie star Vera Zorina. With this se- Allein in animatorisch gestalteten Musikvideos, quence as a point of departure, the book exam- die aufgrund ihres Formats prädestiniert scheinen für ines the roles that dance, dancing, and choreo- kreative Ton-Bild-Lösungen, werden weiterhin in- graphy play in the Disney animated shorts and tensiver Experimente unternommen. Die Arbeiten features. This chronicle both analyzes and celeb- von Anthony Francisco Schepperd für die Band rates dance in the Disney studios’ work, while Blockhead oder für Jack White, Danger Mouse und also investigating behind the scenes to find out Daniele Luppi geben dafür ebenso beispielhaft Bele- how Disney’s animated dance sequences have ge wie etwa Cyriak Harris’ Musikvideo für die Band been made. Eskmo. Gerade diese Beispiele lassen erkennen, Rez. (Dow, Michael) in: Dance Chronicle: Stud- dass Lösungen für eine adäquate Ton-Bild-Verbin- ies in Dance and the Related Arts 33,3, 2008, S. dung nicht mehr vordergründig in den traditionellen 494. Verfahren der Tonpsychologie oder des Mickey- Alonge, Giaime: Il disegno armato: cinema di ani- Mousing gesucht werden, die in der Regel eine fein- mazione e propaganda bellica in Nord America e teilige Abstimmung der akustischen und visuellen Gran Bretagna, 1914–1945. Bologna: CLUEB Filmelemente fordern, sondern in der gewisserma- 2000, xi, 266 S. (Thesis. 1. Serie umanistica. 6.). ßen „suprasegmentalen“ strukturellen Korrelation von Intro, Verse, Chorus, Bridge/Solo, Outro auf der Zuerst Tesi di dott., Bologna: Università degli Tonseite mit geeigneten gecycelten oder geloopten studi di Bologna, Dipartimento di arte musica e Animationssegmenten auf der Bildseite. Die genann- spettacolo 1998 u.d.T.: Alonge, Andrea Giaime: ten Beispiele zeigen aber auch, dass das Potential für Cinema di animazione e propaganda bellici in eine innovative Ton-Bild-Kombination im Animati- Gran Bretagna e Nord America (1914–1945). onsfilm noch längst nicht ausgeschöpft ist. Ament, Vanessa Theme: The Foley Grail: The Art of Performing Sound for Film, Games and Anima- * Der vorliegende Text basiert auf Ergebnissen, die im tion. 2nd edition. Burlington, Massachussetts: Focal Zusammenhang der Arbeit an meiner Dissertation Der Press 2014. Zeichentrickfilm. Eine Einführung in die Semiotik und Narratologie der Bildanimation gewonnen wurden, die Rev. (Hemphill, Jim) in: American Cinemato- im Frühjahr 2016 in der Reihe Schriften zur Kultur- und grapher. Online edition, Dec. 2009. Mediensemiotik im Verlag Schüren, Marburg, erscheinen wird. Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 6
Arfini, Maria Teresa: Abstract Film as Viewable Although the ‘click-track’ approach to synchro- Music: Early Experiments of Hans Richter, Walther nization is not described, the author does men- Ruttmann and Oskar Fischinger. In: Music in Art: tion the role of animated films in the process of International Journal for Music Iconography 38,1/2, coordinating the image and sound for this non- 2013, S. 213–221. diegetic film music. With the development of the cinematic technolo- Austen, Jake: Hidey hidey hidey ho—boop-boop-a- gy, the time element could be applied to the doop! The Fleischer Studio and Jazz Cartoons. In: painting and musical structures could be corre- The Cartoon Music Book. Ed. by Daniel Goldmark lated to moving image. The German dada painter & Yuval Taylor. Chicago, IL: A Cappella Books Hans Richter (1888–1976) turned away in 1917 2002, S. 61–66. from expressionism, deciding “to paint com- Max and Dave Fleischer were known to produce pletely objectively and logically” and in 1921 he markedly edgier cartoons in their studio than premiered his first animated film, Rhythmus 1 their chief competitor, Walt Disney. Incorporat- which is organized on the principle of counter- ing inventions of collaborators, they pioneered point between the vertical dimension (simultan- the use of sound in animated films, and eventual- eity of elements on the screen) and horizontal di- ly produced an entire series of cartoons based on mension (succession of elements over time). The and accompanied by jazz. Louis Armstrong, Cab ten-minute long Lichtspiel Opus 1 by Walther Calloway, and other major musicians agreed to Ruttmann (1887–1941), created in 1919–1920, is appear in these shorts, which typically began structured like a music piece with three move- with the artists briefly performing live, then the ments, and in each of these we can see a themat- song would turn into often wildly, fantastically ic work with contrasting themes and their varia- conceived cartoons. Many of these films were tions. The score for string quartet accompani- questionable for their racial and sexual imagery, ment, includes color pictures of the film with in- but the musicians found them to be ideal adver- dicated repeats and changes, in order to allow the tisements of their forthcoming concert appear- musicians to synchronize playing with the film ances (Abstract by A. Balog). projection. Influenced by Ruttmann’s experi- ments, Oskar Fischinger (1900–1967) made be- Austen, Jake: Rock ’n’ Roll Cartoons. In: The Car- tween 1929 and 1934 fourteen Studien, attempt- toon Music Book. Ed. by Daniel Goldmark & Yuval ing to create a “visual music” with a perfect syn- Taylor. Chicago, IL: A Cappella Books 2002, S. aesthetic integration of images and music. 173–191. Arnell, Richard: Composing for Animation Film. In: Focuses on the music of animated shorts primari- Composer 73, Summer 1981, S. 8. ly from the beginning to the television era. Describes the planning, production, and perform- Babulewicz, Katarzyna: Jakie dźwięki powinny to- ance of a ten-minute computerized animated film warzyszyć wizycie psa w muzeum? Wokół muzyki – Dilemma, by John Halas – for which the elec- w serialu animowanym Reksio oraz jej twórcy. In: tronic score was made by the author and David Kwartalnik młodych muzykologów 23,4, 2014, S. Henson, a former pupil at Trinity College, Lon- 21–45. don (Abstract by F. Routh). [What sounds should accompany a dog while vi- Arvey, Verna: Present Day Musical Films and How siting a museum? Around film scores in an ani- They Are Made Possible. In: The Etude 49, Jan. mated series Reksio and its author.] 1931, S. 16–17, 61 u. 72. Examines the problem of music in the cultic Po- Nachdr. in: Celluloid Symphonies: Texts and lish Reksio series that was produced between Contexts in Film Music History. Ed. by Julie 1967 and 1990 by Studio Filmow Rysunkowych Hubbert. Berkeley, CA: University of California in Bielsko-Biala. The main area of interest is the Press 2011, S. 156–163. form of music and its diverse features and func- [T]his article describes how new technology was tions. The interview with the composer Zenon affecting the recording of music and the concep- Kowalowski and a visit to the Studio Filmow tualization of music in the early sound film. In Rysunkowych in Bielsko-Biala served as points particular, the sound editing technology allowed of departure. A detailed analysis of the music are filmmakers to experiment with musical presenta- based on videos and scores (which have been tions not tied to diegetic musical performance kindly shared by SFR). The first part contains a and cinematic realism. Thus, sound editing libe- brief biography of the composer’s art. The se- rated sound from the image and helped to libe- cond part is a collection of different types of in- rate music from a visualized-music-only policy. formation (working method for film music, its Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 7
features and the composer’s memories and anec- reference to the aesthetics and changing cultural dotes associated with the production of the se- economies of Schumann’s own compositional ries), which were collected during the interview. activities, the nineteenth-century Biedermeier The third part is a detailed analysis of one epi- Hausmusik tradition, and the “child” topos. The sode of the series (the details of solutions speci- emergence of a “Träumerei” protocol in film fied by the composer have been indicated). The scoring is uncovered in an examination of its fourth part is an attempt to determine the com- continued appearance in animated and live-ac- mon characteristics of music throughout the se- tion sound cinema from the 1930s to the present ries. Features that had been specified by the day. The risks of semantic impoverishment of composer himself and the set of other regulari- the music through clichéd film usage are asses- ties were identified, especially the original mean- sed. ing assigned to specific instruments, articulation, Barrier, Michael: The Animated Man: A Life of Walt form, and texture, as well as the most common ways of expressing certain emotions and moods. Disney. Berkeley/Los Angeles/London: University Based on a dissertation Muzyka Zenona Kowa- of California Press 2007, xviii, 393 S. lowskiego do wybranych odcinków serialu “Rek- Nachdr. 1998. sio”. Barrier, Michael: Hollywood Cartoons: American Baldwin, Frances Novier: The Passage of the Comic Animation in Its Golden Age. New York/Oxford: Book to the Animated Film: The Case of the Oxford University Press 1999, xviii, 648 S. “Smurfs”. M.A. thesis, Denton, TX: University of Barrier, Mike: An Interview with Carl Stalling. In: North Texas 2011, iv, 56 S.; URL: The Cartoon Music Book. Ed. by Daniel Goldmark
the Surface for computer-realized sound and For my thesis I am submitting an excerpt from it. image. The score for “Orchis” is a combination of a live solo cello and a mockup. The overall composi- Battey, Bret Franklin: Writing on the Surface: A tion is full of ambience created by electronic in- Work for Computer-Realized Video, Animation, and struments with high piano ringing tones and long Music. Ph.D. thesis, Seattle, WA: University of low cello notes. The music was inspired by the Washington, Center for Advanced Research Techno- beautiful photographs of Cemal Ekin who was logy in the Arts and Humanities (CARTAH) and able to capture the frozen beauty of dead flow- School of Music Computer Center (SMCC) 2001 ers. I composed, orchestrated, programmed and [2000], 1 DVD, 15 min. + Abstract, 1 S. conducted the score. Beauchamp, Robin: Designing Sound for Animation. Bendazzi, Giannalberto / Cecconello, Manuele / Mi- Amsterdam/Boston: Elsevier / Focal Press 2005, xxi, chelone, Guido: Coloriture: Voci, rumori, musiche 192 S. + 1 DVD-Video. nel cinema d’animazione. Bologna: Ed. Pendragon 2nd ed., Waltham, MA: Focal Press 2013. 1995, 357 S. (Le sfere. 4.). Beeler, Stan: Songs for the Older Set: Music and Bendrups, Dan: Sounds of Easter Island: Music and Multiple Demographics in Shrek, Madagascar and Cultural Representation in Ogú y Mampato en Rapa- Happy Feet. In: Children’s Film in the Digital Age: nui. In: Animation Journal 17,1, 2009, S. 72–85. Essays on Audience, Adaptation and Consumer Cul- Berthomé, Jean-Pierre: Le rendez-vous manqué: Les ture. Ed.by Karin Beeler & Stan Beeler. Jefferson, Noirs, le jazz et le “cartoon”. In: Positif 472, juin NC: McFarland 2015, S. 28–36. 2000, S. 101–103. Belousova, Sofya: “Terror in a Three Piece Suit” On the representation of Afro Americans and of and “Orchis” Music Scores. M.M. thesis, Los Ange- Jazz music in American animated films and car- les, CA: University of California, Los Angeles 2012, tons of the World War II era. Discusses especial- 32 S.; URL: ly the work of Bob Clampett and Isadore Fre-
Examines the impact of technology and of aes- Bradley, Scott: Music in Cartoons. In: The Cartoon thetics of feature and animated films on the per- Music Book. Ed. by Daniel Goldmark & Yuval Tay- formance art of Vladimir Horowitz, with exam- lor. Chicago, IL: A Cappella Books 2002, S. 115– ples of the pianist’s interpretation of Musorg- 120. skij’s Kartinki s vystavki, of transcription of Saint-Saëns’s Danse macabre, and of Liszt’s se- Bradley, Scott: Personality on the Sound Track: A cond rhapsody (Abstract by E. Živcov). Glimpse Behind the Scenes and Sequences in Film- land. In: The Cartoon Music Book. Ed. by Daniel Bosc, Michel: L’art musical de Walt Disney: L’ani- Goldmark & Yuval Taylor. Chicago, IL: A Cappella mation de 1928 à 1966. Paris [u.a.]: L’Harmattan Books 2002, S. 121–124. 2013, 250 S. Bravo, Fernando: The Influence of Music on the Bouënard, Alexandre / Gibet, Sylvie / Wanderley, Emotional Interpretation of Visual Contexts. M.Sc. Marcelo M.: Hybrid Inverse Motion Control for Vir- thesis, Ames, IA: Iowa State University 2011, vi, tual Characters Interacting with Sound Synthesis. In: 107 S.; URL:
2014, S. 494–508. (Lecture Notes in Computer Sci- (Music Television). Rather than the first (MTV ence. 8905.). played Joan Armatrading, Gary Bonds, Tina Tur- ner, and Prince before Jackson), both helped the The ability of music to influence the emotional Jackson 5 and Michael Jackson appear as crea- interpretation of visual contexts has been sup- tors of media equal opportunity for future Black ported in several psychological studies. How- entertainers while opening more doors for white ever, we still lack a significant body of empirical and black media capitalists to profit from black studies examining the ways in which specific cultural production and expression. structural characteristics of music may alter the affective processing of visual information. The Brocksch, Franziska: The Sound of Disney: Filmmu- present study suggests a way to use algorithmic- sik in ausgewählten Walt Disney-Zeichentrickfilmen. ally generated music to assess the effect of sen- Marburg: Tectum-Verlag 2012, 113 S. sory dissonance on the emotional judgment of a Verlag: Die Walt Disney Company verstand es visual scene. This was examined by presenting wie kein anderer Medienkonzern, eine beeindru- participants with the same abstract animated film ckende Symbiose zwischen Zeichentrickfilm und paired with consonant, dissonant and no music. Musik herzustellen und gilt als Pionier der Ani- The level of sensory dissonance was controlled mationsfilme und deren Vertonung. Franziska in this experiment by employing different inter- Brocksch analysiert anhand ausgewählter Walt val sets for the two contrasting background mu- Disney-Filme, wie Arielle die Meerjungfrau, sic conditions. Immediately after viewing the Der König der Löwen, Die Schöne und das clip, participants were asked to complete a series Biest, Schneewittchen und die sieben Zwerge und of bipolar adjective ratings representing the three weiterer Beispiele das bewusst komponierte Zu- connotative dimensions (valence, activity, and sammenwirken von Bild und Musik im Film. potency). Results revealed that relative to the Dazu beleuchtet die Autorin die gängigen Theo- control group of no music, consonant back- rien aus dem Genre des Realfilms. ground music significantly biased the affective impact by guiding participants toward positive Brophy, Philip: The Animation of Sound. In: The Il- valence ratings. This finding is discussed in lusion of Life: Essays on Animation. Ed. by Alan terms of interval content theory within the gen- Cholodenko. Sydney: Power Publications / Australi- eral perspective of post-tonal music theory and an Film Commission 1991, S. 67–112. David Temperley’s probabilistic framework Wiederabgedr. in: Movie Music: The Film Read- (model of tonalness). er. Ed. by Kay Dickinson. London/New York: Breaux, Richard M.: “I’m a Cartoon!”: The Jackson Routledge 2003, 133–142. (In Focus / Routledge 5ive Cartoon as Comodified Civil Rights & Black Film Readers.). Power Ideologies, 1971–1973. In: Journal of Pan Surveys animated music films in the mid-20th c., African Studies 3,7, 2010, S. 79–99. with particular attention to the output of the Dis- With the December 2009 release of Disney’s ney and Warner Brothers studios. The Princess and the Frog and the continued air- Brophy, Philip: An Interview with John Zorn. In: ing of the animated series The Boondocks (No- The Cartoon Music Book. Ed. by Daniel Goldmark vember 6, 2005–Present) and Little Bill (Novem- & Yuval Taylor. Chicago, IL: A Cappella Books ber 28, 1999–July 2, 2007), television viewers 2002, S. 263–268. and movie goers seem to forget that just over forty year ago, it was rarely if ever a time when Browning, Mark: Wes Anderson: Why His Movies non-stereotypical, minstrel-type caricatures did Matter. Santa Barbara, CA: Praeger 2011, xiii, 190 not represent the only images of African Ameri- S. (Modern Filmmakers.). cans in animated film or television. The Jackson 5ive animated series (September 11, 1971 – Sep- U.a. zu Rolle und Einfluss von Musik in tember 1, 1973) became only the second animat- Wes Andersons Animationsfilm Fantastic ed television series starring more than one non- Mr. Fox (2009). stereotypical African American character to air Brysch, Klemens / Bullerjahn, Claudia / Haug, Tan- on a major television network, and was one of ja: Musik im japanischen Zeichentrickfilm am Bei- the longest running cartoons with non-stereotypi- spiel Akira. In: Krah, Hans / Pabst, Eckhard / Struck, cal African Americans as title characters exclud- Wolfgang (Hrsg.): FFK 11. Dokumentation des 11. ing Fat Albert & the Cosby Kids (September 9, Film- und Fernsehwissenschaftlichen Kolloquiums 1973 – August 29, 1984) until 1999. In many an der Christian-Albrechts-Universität Kiel, Okto- ways, the Jackson 5ive animated series was to cartoons, what Michael Jackson was to MTV ber 1998. Hamburg: Kovač 1999, S. 166–174 (Schriften zur Kulturwissenschaft. 29.). Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 11
Buchsbaum, Tony: That’s All Folks! Cartoon Songs erature and his film music is exceptionally well- from Merrrie Melodies & Looney Tunes. In: Sound- suited to a study of the intertextual relations be- track: The Collector’s Quarterly 20,80, Winter tween literature, music, and images. The empha- 2001, S. 13.Buerger, Megan: Greatest Hits. In: Wall sis is on the essential role of W.H. Auden’s poe- Street Journal – Eastern Edition 261,67, 22.03.2013, try in the two documentaries that are analyzed, S. D5. Coal Face (Alberto Cavalcanti) and Night Mail (Harry Watt and Basil Wright). The innovative The article reviews several animated film songs use of sound—music and voices—removes the including “Be Our Guest” by Alan Menken, documentary from an everyday story, and makes “Circle of Life” by Tim Rice and Elton John, and the former a film-opera. Although Night Mail, “You’ve Got a Friend in Me” by Randy New- which uses synchronized dialogue, seems to tend man, featured respectively in the animated films more towards realism, the inclusion of a poem “Beauty and the Beast,” “The Lion King,” and by Auden towards the end moves it closer to po- “Toy Story.” etic realism. This somewhat antagonistic rela- Bujacz, Janusz: Muzyka w filmie animowanym. In: tionship between synchronized sound and the Acta Universitatis Lodziensis 50, 1979, S. 191–200. imaginary was noted by Lotte Reininger, who made animated films for which Britten also com- [Music in animated cartoons.] – Discusses theo- posed a score [Die Tocher, 1937]. In this case, retical and technical problems, and describes Britten’s music, in conjunction with the animat- specific features of music composed for cartoons ed image, creates a visual and musical poetry. If (Abstract by B. Brzezińska). the work of the documentary movement in Great Burešová, Alena: Die Legende vom Rattenfänger in Britain had a strong influence on British cinema, this influence is as much in the poetic aspect as der tschechischen Kultur. In: Musicologica Olomu- in its realistic components. censia 5, 2000, S. 31–37. Cadoz, Claude / Luciani, Annie / Florens, Jean- U.a. zum Animationsfilm Krysař von Jiří Bárta Loup: Physical Models for Music and Animated (1986). – A myth of the Pied Piper of Hamelin is Image: The Use of CORDIS-ANIMA© in Esquisses among those central topics of European culture which, over time, lose their connection with their – A Music Film by ACROE. In: [The Human original model and become symbols for a specif- Touch:] Proceedings of the 1994 International Com- ic situation, quality, or character. Focus is on the puter Music Conference. Organised by International theme of the Pied Piper in the context of Czech Computer Music Association and Danish Institute of culture from the earliest days to the present time. Electroacoustic Music September 12–17, 1994. Various treatments of the legend in different art Wayne Siegel, Conference chairman. San Francisco, forms (i.e., literature, drama, music, and plastic CA: International Computer Music Association arts) as well as its connection with historical 1994, S. 11–18; URL: events are explored. The topic is represented
ROE’s first creation performed thanks to COR- animation. Motions are locally modified using DIS-ANIMA material. The purpose and the perceptual cues extracted from the music. The structure of the work are presented here, as well key to this approach is the use of standard music as its realization processes, the specificities of analysis techniques on complementary MIDI and the implemented models for the sound and visual audio representations of the same soundtrack. production, and their symbiosis. These musical features then guide the motion editing process. It allows users to easily combine Callaway, Kutter: Scoring Transcendence: Film Mu- different aspects of the music with different as- sic as Contemporary Religious Experience. Waco, pects of the motion. Tex.: Baylor University Press 2013, X, 253 S. Care, Ross: Cinesymphony: Music and Animation at Darin: “Music in the Films of Pixar Animation the Disney Studio 1928–1942. In: Sight & Sound 46, Studios” (13–42). 1, Winter 1976–77, S. 40–44. Carbullido, Sherri: Spirituality, Aesthetics, and Care, Ross: Symphonists for the Sillies: the Compo- Aware: Feeling Shinto in Miyazaki Hayao’s “My sers for Disney’s Shorts. In: Funnyworld 18, Sum- Neighbour Totoro”. M.A. thesis, Victoria, BC: Uni- mer 1978, S. 38–48. versity of Victoria 2013, 137 S.; URL:
Carroll, Joe: Sound Strategies. In: Animatrix: A Cheng, Hui Tung Eos: Singable Translating: A Journal of the UCLA Animation Workshop, 7, 1993, Viewer-oriented Approach to Cantonese Transla- S. 31–36. tion of Disney Animated Musicals. Ph.D. thesis, Hong Kong: The Chinese University of Hong Kong Carson, Charles: “Whole New Worlds”: Music and 2013, 438 S. the Disney Theme Park Experience. In: Ethnomusi- cology Forum 13,2, Nov. 2004, S. 228–235. Abstract in: Dissertation Abstracts International A 75,7(E), Jan. 2015. One can easily discover the value of music in the “Disney Experience” by tracing its role through- This research focuses on singable translating in out the history of the company, from its early use the Cantonese dubbed version of Disney anim- in cartoons to its current incarnation as a stand- ated musicals, one of the most complicated – but alone product (for example, soundtrack record- at the same time one of the most neglected – ings). In this paper, I explore some of the ways translational activities. The present research is a in which music operates in the Disney theme pioneer attempt at an in-depth study of the rela- park experience. In the context of Walt Disney tionship between the target text and four major World, my belief is that music functions in at components of the multimedial presentation re- least three specific capacities: 1) music links cur- spectively, namely, the source music (one-melo- rent Disney experiences to (often romanticized) dy relationship, the time-related elements, and experiences of the past through nostalgia; 2) mu- rhyming), the source text (semantic fidelity, se- sic defines the boundaries which separate “same” mantic deviation and semantic anomaly), the from “other” in terms of both geography and, ul- source images (word-image relationship), and timately, identity; 3) and music serves as an in- the target viewer (immediate comprehensibility), dex for the “Disney Experience” in general; an hoping to shed new light on this complicated yet experience which itself is built upon a com- neglected translational activity. A viewer-orient- mixture of the aforementioned modes of identity ed approach for translating dubbed songs into and nostalgia. Cantonese is identified. Chan, Crystal: How to Write a Film on a Piano. In: Cheng, Xingwang: Zǎoqí zhōngguó dònghuà diàn- Sight & Sound NS 24,4, April 2014, S. 52–53. yǐng yīnyuè jíqí lìshǐ dìwèi. In: Zhōngyāng Yīnyuè Xuéyuàn xuébào 115,2, 2010, S. 53–62. On avantgardistic music in the films of Norman McLaren. [Musik im frühen chinesische Animationsfilm und ihr historischer Status.] Chen, Kuen-Meau / Shen, Siu-Tsen / Prior, Stephen D.: Using music and motion analysis to construct 3D The first Chinese animated film music was that animations and visualisations. In: Digital Creativity for the short Luotuo xianwu (“Dancing Camel”) 19,2, June 2008, S. 91–104. in 1935, around the time when sound films (made in China from 1930) began to dominate This paper presents a study into music analysis, the market; the first phase of animated film mu- motion analysis and the integration of music and sic in China lasted until 1949 as a period of ini- motion to form creative natural human motion in tial exploration and limited development. During a virtual environment. Motion capture data is ex- these 14 years, it engaged with the anti-Japanese tracted to generate a motion library, this places War and subsequent Civil War, and its relation the digital motion model at a fixed posture. The to society should not be neglected; it was also as- first step in this process is to configure the mo- sociated with the exploration of other elements tion path curve for the database and calculate the in film making (language, scene, etc.) at the possibility that two motions were sequential time. He Lüting’s score for an animation se- through the use of a computational algorithm. quence inserted into Yuan Muzhi’s Dushi feng- Every motion is then analysed for the next possi- guang (“Scenes of City Life”, 1935) was the first ble smooth movement to connect to, and at the piece of creative music used with animation in same time, an interpolation method is used to China. The peak of the early period was Lu create the transitions between motions to enable Zhongren’s music for China’s first animated fea- the digital motion models to move fluently. Last- ture, Tie Shan gongzhu (“Princess Iron Fan”), di- ly, a searching algorithm sifts for possible suc- rected by the Wan brothers (Wan Guchan and cessive motions from the motion path curve ac- Wan Laiming) in 1941. cording to the music tempo. It was concluded that the higher ratio of rescaling a transition, the Chusid, Irwin: Raymond Scott, Accidental Music for lower the degree of natural motion. Animated Mayhem. In: The Cartoon Music Book. Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 14
Ed. by Daniel Goldmark & Yuval Taylor. Chicago, Comuzio, Ermanno: Eventi musicali. In: Cineforum IL: A Cappella Books 2002, S. 151–160. 39,381, gen./feb. 1999, S. 11–13. Even though Scott (1908–94) himself never On the importance of music for the 1990s anim- wrote a score for an animated feature, his pro- ated film. – La colonna sonora dei film: Il princi- grammatic late-1930s novelty jazz instrumentals pe d’Egitto (musica di Hans Zimmer e canzoni di have been used in countless cartoons. Stephen Schwartz); Mulan (musica di Jerry Goldsmith e canzoni di Matthew Wilder); La Cipolloni, Marco: “Como un pequeño ciclón”: La gabbianella e il gatto (musica di David Rhodes. lunga corsa di Speedy Gonzales, tra connotazione Riferimenti alle colonne sonore di Alan Menken linguistica, musica e pubblicità. In: Dubbing Cartoo- (con testi di Ashman e Tim Rice). nia: Mediazione interculturale e funzione didattica nel processo di traduzione dei cartoni animati. A cu- Conrich, Ian / Tincknell, Estella (eds.): Film’s Musi- ra di Gian Luigi De Rosa. Casoria (Napoli): Loffre- cal Moments. Edinburgh: Edinburgh University do University Press 2010, S. 29–45. (Margens: Oltre Press 2006, xiii, 226 S. (Music and the Moving la traduzione.1.). Image.). Clague, Mark: Playing in ’Toon: Walt Disney’s Darin: 1. Jazz, Ideology and the Animated Car- “Fantasia” (1940) and the Imagineering of Classical toon. Music. In: American Music: A Quarterly Journal Cook, Malcolm: Visual Music in Film, 1921–1924: Devoted to All Aspects of American Music and Richter, Eggeling, Ruttman. In: Music and Modern- Music in America 22,1, Spring 2004, S. 91–109. ism, c. 1849–1950. Ed. by Charlotte de Mille. New- Examines the innovations in recording and pho- castle upon Tyne: Cambridge Scholars 2011, S. tography with the 1940 production of “Fantasia,” 206–228. by Walt Disney in the United States. Mechanical During the early 1920s Hans Richter, Viking Eg- reproduction of the classical music for the anim- geling, and Walther Ruttman produced a series ated film; Conceptions of art music as a moral of abstract animated films whose focus on quali- force for community uplift; Use of color, image, ties such as movement, rhythm, tempo, mood, pattern and narrative to articulate musical experi- counterpoint, harmony and composition was ence for the audience. more akin to the concerns of music than the re- Cohen, Thomas E.: The Click Track. The Business presentational narratives that were characteristic of Time: Metronomes, Movie Scores and Mickey of cinema in this period. All three of these artists Mousing. In: Sound and Music in Film and Visual were significantly influenced by music: Richter’s Media: An Overview. Ed. by Graeme Harper, Ruth interest in counterpoint was provoked by discus- Doughty & Jochen Eisentraut. London/New York: sions with composer Ferruccio Busoni; Busoni also proved an influence on Eggeling who was a Continuum 2009, S. 100–113. pianist and whose father owned a music shop; Walther Ruttmann was a cellist and violinist. Comerford, Lucy / Comerford, Peter J.: Dan and the The influence of music in their works can be un- Magic Musician: An Initiative by the Royal College derstood in two very different ways; on the one of Organists Which Involves Us All. In: Organists’ hand the non-representational quality of music Review 94,4, Nov. 2008, S. 34–37. can be seen as an inspiration to explore the Dan and the Magic Musician is a CGI animated unique qualities of the artist’s own medium, mu- short film about a boy being introduced to the or- sic serves as an analogy for the interrogation of gan. The Royal College of Organists commis- the nonrepresentational qualities of painting or sioned the film; the authors wrote the script, and film. it was animated by Karl Abson, of the School of Cook, Malcolm: The Lightning Cartoon: Animation Informatics at the University of Bradford, as his from Music Hall to Cinema. In: Early Popular Visu- masters’ thesis project. It is hoped that the film al Culture 11,3, Aug. 2013, S. 237–254. will help teachers include the organ in school music curricula and inspire more young persons Discusses, among others, the work of J. Stuart to choose to study the instrument. An accompa- Blackton and Winsor McCay in the USA, nying website, www.danmagic.org, provides ad- George Méliès in France, and Walter Booth in ditional information about organs as well as re- the UK. sources for teachers and parents to find each Cook, Malcolm: Performance Times: The Lightning other, and publicizes organ-related events in the Cartoon and the Emergence of Animation. In: Per- U.K. forming New Media, 1890–1915. Ed. by Kaveh As- Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 15 kari, Scott Curtis, Frank Gray, Louis Pelletier, Tami Yuval Taylor. Chicago, IL: A Cappella Books 2002, Williams & Joshua Yumibe. New Barnet, Herts: S. 279–288. John Libbey Publishing / Bloomington, IN: Distrib- Examines aesthetic and existential aspects re- uted in Asia and North America by Indiana Univer- lated to animation. sity Press 2015, S. 48–56. Corradini, Bruno Ginnani: Chromatic Music. In: The lightning cartoon act is an important exam- Animation Journal 4,2, [Spring] 1996, S. 78–84. ple of a music hall performance which transfer- red into early moving images. It played a critical Reprint of an text by the Italian futurist from the role in the formation of what would become year 1912. known as animation not only in Britain, the pri- Coyle, Rebecca: Hearing Screen Animation. In: Me- mary focus of this chapter, but also worldwide. tro 161, Jun. 2009, S. 158–162. Key figures in the early history of animation are known to have performed this act, including J. On the sound for animated film in Australia. Stuart Blackton and Winsor McCay in the United States, George Méliès in France and Wal- Coyle, Rebecca (ed.): Drawn to Sound: Animation ter Booth in the United Kingdom. This centrality Film Music and Sonicity. London: Equinox / Oak- of performance to animation has been high- ville, CT: DBBC 2010, x, 258 S. (Genre, Music and lighted in recent work by Donald Crafton [...]. Sound.). Cooke, Mervyn: A History of Film Music. Cam- Animation films are widely consumed in the bridge/New York: Cambridge University Press general population and the study of animation 2008, xxi, 562 S. films has blossomed. But music and sound are often marginalized, despite the significance of A comprehensive introduction to the major soundtracks (music, voice talent and sound ef- trends in film scoring from the silent era to the fects) for both the films and their marketing. Off present, focusing on dominant Hollywood prac- the Pad unpacks elements used in sound and mu- tices and offering an international perspective by sic tracks, contextualises them within the film including case studies of the national cinemas of and music industries, and profiles specific exem- the UK, France, India, Italy, Japan, and the early plars. Focusing largely on feature-length, wide- Soviet Union. The book balances wide-ranging ly-distributed films, the book highlights work overviews of film genres, modes of production and oeuvres from key centres of animation pro- and critical reception with detailed non-technical duction, such as USA, Europe and Japan. Chap- descriptions of the interaction between image ters by animation and music experts such as track and soundtrack in representative individual Daniel Goldmark, Paul Wells and Susan Buchan films. In addition to the central focus on narra- offer international perspectives on the history tive cinema, separate sections are also devoted to and aesthetics of music and sound in animation music in documentary and animated films, film film. Chapters from authors in Japan, Australia, musicals and the uses of popular and classical Denmark, Russia and Canada provide analyses music in the cinema. The author analyses the va- of key locations of activity and significant con- rying technological and aesthetic issues that have tributors to the field in several international are- shaped the history of film music, and concludes nas. As the first of its kind, this anthology is an with an account of the modern film composer’s invaluable resource for students, teachers and re- working practices. searchers in film, animation, music and media Rez. (Binns, Alexander) in: Music & Letters 91, studies [book jacket]. 1, Def. 2008, S. 135. Inhalt: Coyle, Rebecca: Introduction: Audio Mo- Rez. (Rogers, Holly) in: Twentieth-Century Mu- tion: Animating (Film) Sound. S. 1–13. – Coyle, sic 7,2, Sept. 2008, S. 245. Rebecca / Fitzgerald, Jon: Disney Does Broad- way: Musical Storytelling in The Little Mermaid Rez. (Timm, Larry M.) in: Journal of the Society and The Lion King. S. 223–248. – Coyle, Rebec- for American Music 8,3, Aug. 2014, S. 401. ca / Morris, Peter: DreamWorking Wallace & Rez. (Thompson, Brian C.) in: Fontes artis musi- Gromit: Musical Thematics in The Curse of the cae 56,4, Oct.–Dec. 2009, S. 428. Were-Rabbit. S. 191–208. – Fitzgerald, Ian / Hayward, Philip: Resilient Appliances: Sound, Corbett, John: A Very Visual Kind of Music: The Image and Narrative in The Brave Little Toaster. Cartoon Soundtrack Beyond the Screen. In: The S. 160–172. – Goldmark, Daniel: Sonic Nostal- Cartoon Music Book. Ed. by Daniel Goldmark & gia and Les Triplettes de Belleville. S. 141–159. – Halfyard, Janet K.: “Everybody Scream!”: Tim Burton’s Animated Gothic-Horror Musical Co- Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 16
medies. S. 25–39. – Hayward, Philip: Polar ly small company to a collaboration with a major Grooves: Dance, Music and Musicality in Happy US animation producer, DreamWorks Animation Feet. S. 90–103. – Imada, Kentaro: Lupin III and SKG, and their deployment of Hans Zimmer’s the Gekiban Approach: Western-styled Music in musical approach. a Japanese Format. S. 174–189. – Inglis, Ian: Craig, Donald Duane: Symphony by Numbers. Something Old, Something New, Something Borrowed... Something Blue: The Beatles’ Yel- D.Mus.Arts thesis, Seattle, WA: University of low Submarine. S. 77–89. – Koizumi, Kyoko: Washington 2009, iii, 9 S. + 1 Videodisc (21 min) + An Animated Partnership: Joe Hisaishi’s Mu- 1 CD-ROM. sical Contributions to Hayao Miyazaki’s Films. Music for Experimental films. Six movement in- S. 60–74. – Lerner, Neil: Minstrelsy and Musical termedia art work. Accompanying DVD and Framing in Who Framed Roger Rabbit. S. 104– CD-ROMs contain the images, music and files 119. – Tulk, Janice Esther: An Aesthetic of Am- associated with this composition. biguity: Musical Representation of Indigenous Peoples in Disney’s Brother Bear. S. 120–140. – Curtis, Scott: The Sound of Early Warner Bros. Car- Wells, Paul: Halas & Batchelor’s Sound Deci- toon. In: Sound Theory / Sound Practise. Ed. by sions: Musical Approaches in the British Con- Rick Altman. New York/London: Routledge 1992, text. S. 40–59. – Yamasaki, Aki: Cowboy Bebop: S. 191–203. Corporate Strategies for Animation Music Prod- Cuthbert, Pamela: A Night at the Opera. In: Take ucts in Japan. S. 209–222. One 6,16, 1997, S. 26–29. Rez. (Alexander, Helen) in: Popular Music Interview with Canadian animator Richard Con- 30,3, Oct. 2011, S. 475–476. die on his computer generated opera film La Sal- Rez. (Cooke, Mervyn) in: Music, Sound, and the la [Kurzfilm, Kanada 1996]. Moving Image 5,2, Fall 2011, S. 179. Dahl, Ingolf: Notes on Cartoon Music, 1949. In: The Coyle, Rebecca: Introduction: Audio Motion: Anim- Hollywood Film Music Reader. Ed. by Mervyn ating (Film) Sound. In: Drawn to Sound: Animation Cooke. Oxford/New York: Oxford University Press Film Music and Sonicity. Ed. by Rebecca Coyle. 2010, S. 93–100. London: Equinox / Oakville, CT: DBBC 2010, S. 1– Deneroff, Harvey: MTV Animation Putting Toons to 13. (Genre, Music and Sound.). Music. In: Animation Magazine 13,7, 1999 S.15–17. Coyle, Rebecca / Fitzgerald, Jon: Disney Does Deneroff, Harvey: Famous’s House of Animation- Broadway: Musical Storytelling in The Little Mer- Creativity and Independence in Indian Animation. maid and The Lion King. In: Drawn to Sound: Anim- In: Asian Cinema 14,1, Spring-Summer 2003, S. ation Film Music and Sonicity. Ed. by Rebecca 120–32. Coyle. London: Equinox / Oakville, CT: DBBC 2010, S. 223–248. (Genre, Music and Sound.). Deutsch, Stephen: Aspects of Synchrony in Anima- tion. In: The Soundtrack 1,2, 2008, S. 95–105. The overt deployment of Broadway musical-the- ater approaches in the films enabled Disney to Examines aspects of how sound (especially mu- launch a new generation of animation feature- sic) integrates with animated images and, espe- film production. These provided a fertile ground cially, how synchrony between sound and image for seeding future successes that radically offers the viewer focal points of attention within changed animation production. the animation. It examines synchronic gestures in two animations – one abstract, the other repre- Coyle, Rebecca / Morris, Peter: DreamWorking sentational and compares the use of synchronous Wallace & Gromit: Musical Thematics in The Curse sound in both. It places these two works in the of the Were-Rabbit. In: Drawn to Sound: Animation context of animation generally and offers reflec- Film Music and Sonicity. Ed. by Rebecca Coyle. tions on aspects of the relationship between London: Equinox / Oakville, CT: DBBC 2010, S. sound and image in animated film. Links to the 191–208.(Genre, Music and Sound.). audio and video material described are offered in Analyzes the feature film that arose from a col- the body of the text. laboration between the successful British clay- Dickinson, Kay (ed.): Movie Music: The Film Read- mation studio Aardman Animation and a Holly- er. London/New York: Routledge 2003, viii, 207 S. wood partner, Wallace & Gromit: The Curse of (In Focus.). the Were-rabbit (Nick Park and Steve Box, Repr. 2007. 2005). The music created by Julian Nott was in- formed by the studio’s transition from a relative- Darin: The Animation of Sound (133–142). Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 17
Dubowsky, Jack Curtis: The Evolving ‘Temp Score’ sound effects starting from nothing. Its thesis is in Animation. In: Music, Sound, and the Moving that any sound can be generated from first princi- Image 5,1, Spring 2011, S. 1–24. ples, guided by analysis and synthesis. The text takes a practitioner’s perspective, exploring the Temp music has long been used to assist in the basic principles of making ordinary, everday making of Hollywood motion pictures. Animated sounds using an easily accessed free software. feature films, in particular, often spend years in Readers use the Pure Data (Pd) language to con- production, going through a protracted process struct sound objects, which are more flexible and of development, storyboarding, animation, light- useful than recordings. Sound is considered as a ing, shading, editing and revisions. Unlike live- process, rather than as data—an approach some- action film, today’s computer-animated film is times known as “procedural audio. “Procedual also edited as it is being developed, written and sound is a living sound effect that can run as conceived. Hence, the temp score changes, computer code and be changed in real time ac- evolves and is ‘conformed’ as sequences are fur- cording to unpredictable events. Applications in- ther edited and altered following reviews, clude video games, film, animation, and media in screenings, rewrites, picture changes and new which sound is part of an interactive process. animation. Over several years, the temp score evolves along with the film. The evolution of the Fitzgerald, Ian / Hayward, Philip: Resilient Applian- temp score, while being a hidden, unglorified ces: Sound, Image and Narrative in The Brave Little part of the filmmaking process, is ideally situated Toaster. In: Drawn to Sound: Animation Film Music to impact upon debates concerning authorship, and Sonicity. Ed. by Rebecca Coyle. London: Equi- originality, auteur theory, collaborative processes nox / Oakville, CT: DBBC 2010, S. 160–172. (Gen- and intertextuality. Drawing on the author’s re, Music and Sound.). notes and discussions with filmmakers, this ar- ticle provides a glimpse into the internal process Fitzner, Frauke: Lotte Reinigers Musikfilm Papage- of temp scoring in computer-animated feature no: Die Rolle der Musik in der Produktion. In: Kie- film, and analyses temp and final music. Atten- ler Beiträge zur Filmmusikforschung, 8, 2012, S. 7– tion is given to the collaborative process, music 19. selection, intertextuality and authorship, as well Fleeger, Jennifer: Mismatched Women: The Siren’s as insight into possible ideological comparisons Song Through the Machine. Oxford/New York: Ox- with final score. ford University Press 2014, xi, 241 S. (Oxford Mu- Eastman, Patricia Lynn: The Collateral Relationship sic/Media Series.). between Sound Effects and Music in Selected Media. Darin: 4. The Disney Princess: Animation and M.A. thesis, San Jose, CA: San Jose State University Real Girls (106–136). 1994, x, 252 S.; URL:
male voice in historical debates over the emer- musician, music was given a distinct, almost gence of new media and unravels the complexity central, role in the creation of his cartoons. of female representation in moments of techno- Special techniques such as Mickey-mousing or logical change. the click track were developed by composers and used to synchronize this music and animation. Friedwald, Will: I Kid Because I Love: The Music These processes really began with Disney and of The Simpsons. In: The Cartoon Music Book. Ed. have formed the basis for all music synchronized by Daniel Goldmark & Yuval Taylor. Chicago, IL: to cartoon animation. From the very beginning A Cappella Books 2002, S. 253–262. with Mickey Mouse, to The Silly Symphonies, to Friedwald, Will: Sublime Perversity: The Music of the beloved classic Disney movies music has Carl Stalling. In: The Cartoon Music Book. Ed. by been an ever-present and developing center. Daniel Goldmark & Yuval Taylor. Chicago, IL: A Walt Disney, though not a composer himself, Cappella Books 2002, S. 137–140. hired a number of key composers from which we have many cherished melodies. Unlike most Friedwald, Will: Winston Sharples and the ‘Inner other cartoons Disney’s were focused on using Casper’, or, Huey Has Two Mommies. In: The Car- music of the classical style rather than the toon Music Book. Ed. by Daniel Goldmark & Yuval popular style. The music from a number of Taylor. Chicago, IL: A Cappella Books 2002, S. classical composers was used or drawn upon as a 161–168. model. Disney had a special purpose for the music in his animated films. Most of his films Explores the work of Sharples (1909–78), who is contained a story other than the music, but his considered—along with Carl Stalling and Scott movie Fantasia really seeks to find the purpose Bradley—one of the Three Greats of music for music itself has with visual interpretation. animated features. Sharples has spent the bulk of College students have done research on these his career at Famous Studios. ideas of simply listening to music or listening Furniss, Maureen: Music in Art Animation. In: while seeing an image. All of Disney’s animated Sound and Music in Film and Visual Media: An films would not be the classics they are without Overview. Ed. by Graeme Harper, Ruth Doughty & the music that holds them together. Disney music Jochen Eisentraut. London/New York: Continuum has become recognized as its own individual art 2009, S. 588–601. form. It has inspired America to dream and to think more deeply than realized. Walt Disney’s Furniss, Maureen: John Whitney’s Path to IBM. In: indirect effect on music history may be Animation Journal 21, 2013, S. 26–46. considered a stretch, but there is no doubt that the music developed through Disney Bros. has On the animator and composer. left an inspiration on the hearts of Americans. Gabbard, Krin: Friz Freleng’s Jazz: Animation and Gallo, Phil: Taking Flight. In: Billboard 123,11, Music at Warner Bros. In: The Wiley-Blackwell Hi- 02.04.2011, S. 8. story of American Film: Volume 2: 1929–1945. Ed. by Cynthia Lucia, Roy Grundmann & Art Simon. The article reports on the motion picture sound- Malden, MA: Blackwell 2012, S. 379–396. track for “Rio,” an animated film which is to feature music by artists such as Taio Cruz, Gabler, Neal: Walt Disney: The Triumph of the Ame- Will.i.am, and Sergio Mendes. It describes the rican Imagination. New York, NY: Knopf 2006, xx, unusually extensive marketing which the movie 851 S. (A Borzoi Book.). studio, Twentieth Century Fox, has undertaken. Mehrere Nachdr. – Mit Ausführungen zur The soundtrack is influenced by Brazilian music, Musik in Bambi, Cinderella, Davy Crockett, as the film is named after Rio de Janeiro, Brazil. Fantasia und Mary Poppins. Galm, Eric A.: Baianas, malandros, and Samba: Gage, Emma: A Walk through an American Classic. Listening to Brazil through Donald Duck’s Ears. In: In: Musical Offerings 3,2, 2012, S. 61–74. Global Soundtracks: Worlds of Film Music. Ed. by Mark Slobin. Middletown, CT: Wesleyan University The music of Walt Disney’s classic films was Press 2008, S. 258–280. written by a number of hand-picked composers who, working with Disney, ingeniously crafted Explores Disney’s feature-length animated film, the music to fit animation and bring musical The Three Caballeros (1944), as a representative inspiration to the homes of viewers leaving of cultural misrepresentation by Hollywood pro- America and the world with a beloved legacy. jects. Donald Duck travels to Latin America and Though Walt Disney was a cartoonist and not a joins with characters from Brazil and Mexico to form the titled trio. Analysis of the music used in Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 19
the film sheds light on how identity has been more subjects in the music-only group used ana- shaped through musical expression in both Bra- lytical descriptions of music elements for both zilian cultural and broader global contexts. No pieces of music than did the video-group sub- black people are portrayed in the movie even jects. though Brazil has a large population of African Geringer, John M. / Cassidy, Jane W./ Byo, James descendants. Disney’s portrayal of Bahia is based largely on the figure of the baiana—the ar- L.: Nonmusic Majors’ Cognitive and Affective Re- chetypal Bahian woman of African descent—the sponses to Performance and Programmatic Music most famous of which was Carmen Miranda. Videos. In: Journal of Research in Music Education 45,2, Summer 1997, S. 221–233. Garcia, Bob: Batman, the Animated Series: Com- posing Music for Animation. In: Cinefantastique This study was designed to compare the effects 24/25 [= 6,1], Febr. 1994, S. 108–110. of different kinds of visual presentations and mu- sic alone on university nonmusic students’ affec- On musical supervisor Shirley Walker. tive and cognitive responses to music. Four Gengaro, Christine Lee: Art Music in the Abstract groups of participants were presented with ex- cerpts from the first and fourth movements of Animated Films of Oskar Fischinger and Mary Ellen Beethoven’s Symphony No. 6 in F major (“Pas- Bute: Form, Structure, and Narrative. In: Reso- toral”). Two groups heard music excerpts only, nance: An Interdisciplinary Music Journal, Spring one interpretation conducted by Stowkowski and 2006, 4 S.; URL: one by Bernstein. One of the video groups view-
nas Kordušas (1986), Vilius Karalius (1988), Goldmark, Daniel: Bibliography. In: The Cartoon and Sukultas ąsotis (A Smashed Pitcher); and the Music Book. Ed. by Daniel Goldmark & Yuval Tay- television documentary Kernavės archeologai lor. Chicago, IL: A Cappella Books 2002, S. 299– (2002) by Gražina Basford. The effect of com- 305. puter technologies on the composer’s aesthetics is discussed. Goldmark, Daniel: Classical Music and Hollywood Cartoons: A Primer on the Cartoon Canon. In: The Gerwin, Carsten: »Kill the Wabbit!« – Richard Cartoon Music Book. Ed. by Daniel Goldmark & Wagner im Hollywood- Cartoon. In: Kieler Beiträge Yuval Taylor. Chicago, IL: A Cappella Books 2002, zur Filmmusikforschung, 11, 2014, S. 78–93. S. 103–114. Giddins, Gary: Viva la Vida. In: Film Comment 46, Goldmark, Daniel: An Interview with Alf Clausen. 6, Nov.–Dec. 2010, S. 16. In: The Cartoon Music Book. Ed. by Daniel Gold- The article offers information on the Spanish an- mark & Yuval Taylor. Chicago, IL: A Cappella imated film “Chico & Rita,” directed by Fernan- Books 2002, S. 239–252. do Trueba, in collaboration with artist Javier Ma- Goldmark, Daniel: An Interview with Mark Mo- riscal. According to the article, the film, which thersbaugh. In: The Cartoon Music Book. Ed. by was the highlight of the 2010 Telluride Film Festival, is a love story set in Havana and New Daniel Goldmark & Yuval Taylor. Chicago, IL: A York. Additionally, the film reportedly features Cappella Books 2002, S. 207–217. Cubop, Afro-Cuban jazz, Latin jazz and salsa. Goldmark, Daniel: An Interview with Richard Also cited are the other personalities involved in Stone, Steve Bernstein, and Julie Bernstein. In: The the film’s production. Cartoon Music Book. Ed. by Daniel Goldmark & Giusti, Marco [et al.]: Se c’è una rana al pianoforte / Yuval Taylor. Chicago, IL: A Cappella Books 2002, Ub Iwerks – Skrewi Bu – Ubbe Ert Iwwerks / Mate- S. 225–238. riali dai film di Ub Iwerks. In: Griffithiana: Rivista Goldmark, Daniel: Tunes for ’Toons: Music and the della Cineteca del Friuli 3,7, 1980, S. 20–27, 35–47, Hollywood Cartoon. Berkeley: University of Cali- 61–81. fornia Press 2005, xviii, 225 S. On Ub Iwerk’s trick film character ‘Flip the Inhalt: Carl Stalling and popular music in the Frog’ and on the score for the TV series (1933– Warner Bros. cartoons. / “You really do beat the 1936). shit out of that cat”: Scott Bradley’s (violent) Giusti, Marco: La bottega del cartoonist. In: Segno- music for MGM. / Jungle jive: animation, jazz cinema: Rivista Cinematografica Bimestrale, 52, music, and swing culture. / Corny concertos and nov./dic. 1991, S. 16–18. silly symphonies: classical music and cartoons. / What’s opera, doc? and cartoon opera. Zu den Silly Symphonies. In the first in-depth examination of music written Glebas, Francis: The Animator’s Eye: Adding Life to for Hollywood animated cartoons of the 1930s Animation with Ttiming, Layout, Design, Color and through the 1950s, Daniel Goldmark provides a Sound. New York/Oxford [u.a.]: Focal Press 2013, brilliant account of the enormous creative effort xi, 289 S. + DVD. that went into setting cartoons to music and shows how this effort shaped the characters and Zu Musik und Sound insbesondere das Kap. 8. stories that have become embedded in American Postproduction. culture. Focusing on classical music, opera, and Goldmark, Daniel: Carl Stalling and Humor in jazz, Goldmark considers the genre and compo- Cartoons. In: Animation World Magazine 2,1, 1997, sitional style of cartoons produced by major Hol- S. 28–30. lywood animation studios, including Warner Bros., MGM, Lantz, and the Fleischers. The Goldmark, Daniel I[ra]: Happy Harmonies: Music book discusses several well-known cartoons in and the Hollywood Animated Cartoon. Ph.D. Thesis, detail, including What’s Opera, Doc?, the 1957 Musicology, Los Angeles, CA: University of Cali- Warner Bros. parody of Wagner and opera that is fornia at Los Angeles 2001, xxi, 560 S. one of the most popular cartoons ever created. Goldmark pays particular attention to the work Abstract in: Dissertation Abstracts International of Carl Stalling and Scott Bradley, arguably the A 62,2, Aug. 2001, S. 380. two most influential composers of music for the- Vor allem über die Arbeit Carl Stallings und atrical cartoons. Though their musical back- Scott Bradleys. grounds and approaches to scoring differed Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 21
greatly, Stalling and Bradley together established Analyses how Sylvain Chomet’s musicscapes a unique sound for animated comedies that has and soundscapes of two eras and two continents not changed in more than seventy years. Using a operate without dialogue in Les Triplettes de rich range of sources including cue sheets, Belleville, a film that now has cult status. Sound scores, informal interviews, and articles from organizes historical eras, plotlines, and charac- hard-to-find journals, the author evaluates how terizations to effectively create spaces for nostal- music works in an animated universe. gia. Rez. (Furniss, Maureen) in: Animation Journal Goldmark, Daniel: Sounds Funny / Funny Sounds: 14,1, 2006, S. 93–94. Theorizing Cartoon Music. In: Funny Pictures: Rez. (Langdon, Caroline) in: Animation 2,2, Animation and Comedy in Studio-Era Hollywood. 2007, S. 206–209. Ed. by Daniel Goldmark & Charlie Keil. Berkeley/ Los Angeles/London: University of California Press Rez. (McQuiston, Kate) in: Current Musicology 2011, S. 257–271. 81, Spring 2006, S. 155–162. Goldmark, Daniel: Pixar and the Animated Sound- Rez. (Teachout, Terry) in: Wall Street Journal – track. In: The Oxford Handbook of New Audiovisual Eastern Edition 246,66, 30.09.2005, S. W6. Aesthetics. Ed. by John Richardson, Claudia Gorb- Goldmark, Daniel: Before Willie: Reconsidering man & Carol Vernallis. Oxford/New York: Oxford Music and the Animated Cartoon of the 1920s. In: University Press 2013, S. 213–226. (Oxford Hand- Beyond the Soundtrack: Representing Music in Ci- books in Music.). nema. Ed. by Daniel Goldmark, Lawrence Kramer Explores Pixar’s approach to music and the & Richard Leppert. Berkeley/Los Angeles/London: soundtrack to show how advances in sound de- University of California Press 2007, S. 225–245. sign, as well as an evolving approach to film Dichotomizing cartoon music into diegetic/non- scoring taken by veteran Hollywood composers, diegetic or source/underscore maintains a funda- have brought a new level of complexity and even mental misinterpretation of how music functions respectability to the long-maligned animated fea- in cartoons, and to explore this a survey is neces- ture. Through deftly crafted stories, animation, sary of examples before Walt Disney’s 1928 and soundtracks, these films have a striking ca- Steamboat, which was not the first to feature mu- pacity to evoke emotional responses in many sic but rather synchronized sound and effects new ways. that served as integral parts of the narrative. Goldmark, Daniel: Drawing a New Narrative for Stage musicals based on comic strips— Katzen- Cartoon Music. In: Oxford Handbook of Film Music jammer Kids, Little Nemo, and others—had be- Studies. Oxford/New York: Oxford University Press come popular in the 1910s, as well as John Al- 2014 [2013], S. 229–244. den Carpenter’s 1922 jazz pantomime for or- chestra Krazy Kat. Early accompanying guides Provides a succinct historical account of animat- for theater keyboardists saw cartoons as a place ed films and their musics. Working with shorts for players to be witty and show off, but soon the and animated features as well as television use of popular songs led to descriptive cues shows, the path running from Disney’s Steam- known as photoplay music, an early example of boat Willie (1928) to The Fairly Odd Parents which is Emil Velazco’s 1928 Komedy Kartoons (2001–) is traced, emphasizing the variety of ear- Theatre Organ Series. Carl Fleischer and Lee de ly studio practices, the centrality of production Forest explored possibilities for audiences sing- for music, and the effects of technological ing along with animated bouncing balls, and changes after 1950 (Abstract by D. Neumeyer). their short, Has Anybody Here Seen Kelly?, was admired by Disney. In light of this, and in com- Goldmark, Daniel / Taylor, Yuval (eds.): The Car- bination with the arrival of synchronized sound, toon Music Book. Chicago: A Cappella Books 2002, can be situated in a context, as well as Disney’s xvi, 320 S. later Silly Symphonies and Warner Brothers Loo- Inhalt: Strauss, Neil: Tunes for Tunes: A Cartoon ney Tunes and Merrie Melodies. Music Primer (S. 5–13). – Lang, Edith / West, Goldmark, Daniel: Sonic Nostalgia and Les Triplet- George: Animated Cartoons and Slap-Stick Co- tes de Belleville. In: Drawn to Sound: Animation medy (S. 17–19). – Care, Ross: Make Walt’s Film Music and Sonicity. Ed. by Rebecca Coyle. Music: Music for Disney Animation, 1928–1967 (S. 21–36). – Barrier, Mike: An Interview with London: Equinox / Oakville, CT: DBBC 2010, S. Carl Stalling (S. 37–60). – Austen, Jake: Hidey 141–159. (Genre, Music and Sound.). hidey hidey ho—boop-boop-a-doop! The Flei- scher Studio and Jazz Cartoons (S. 61–66). – Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 22
Wondrich, David: I Love to Hear a Minstrel Gonzalez, Fernando: Chico & Rita ...& Bebo. In: Band: Walt Disney’s The Band Concert (S. 67– JazzTimes 42,8, 2012, S. 14–15. 72). – Granata, Charles L.: Disney, Stokowski, and the Genius of Fantasia (S. 73–91). – Jones, A celebrated animated film, now available on Chuck: Music and the Animated Cartoon (S. 93– Blu-Ray and DVD, pays musical tribute to Latin 102). – Goldmark, Daniel: Classical Music and jazz pioneers. The Oscar-nominated Chico & Ri- Hollywood Cartoons: A Primer on the Cartoon ta starts in the late 1940s and tells the love story Canon (S. 103–114). – Bradley, Scott: Music in between a pianist and a singer, following them Cartoons (S. 115–120). – Bradley, Scott: Person- through their early struggles, success, heartbreak, ality on the Sound Track: A Glimpse Behind the and final triumph, from their native Havana, Cu- Scenes and Sequences in Filmland (S. 121–124). ba to New York, Las Vegas and back. But the – Nicholson, Stuart: Make Mine Music and the real focus of the film—the creation of a Spanish End of the Swing Era (S. 125–135). – Friedwald, team comprising Oscar-winning director Fernan- Will: Sublime Perversity: The Music of Carl do Trueba, illustrator Javier Mariscal, and direc- Stalling (S. 137–140). – Whitehead, Kevin: Carl tor Tono Errando—is the music. Author and pro- Stalling, Improviser and Bill Lava, Acme Mini- ducer Nat Chediak, who wrote the Dictionary of malist (S. 141–150). – Chusid, Irwin: Raymond Latin jazz which Trueba edited, is interviewed. Scott, Accidental Music for Animated Mayhem He explains that ‘the love story...is a pretext to (S. 151–160). – Friedwald, Will: Winston Shar- tell the history of the music of those days—the ples and the ‘Inner Casper’, or, Huey Has Two rise of bebop, the rise of Afro-Cuban jazz’ (Ab- Mommies (S. 161–168). – Hansen, Barry / Kress, stract by J.L. Oakes). Earl: An Interview with Hoyt Curtin (S. 169– [Gould, Glenn / McLaren, Norman:] Where Music 172). – Austen, Jake: Rock ’n’ Roll Cartoons (S. & Film Meet: Glenn Gould in Conversation with 173–191). – Ehrbar, Greg: ‘Put One Note in Norman McLaren. In: GlennGould 8,1, Spring 2002, Front of tThe Other’: The music of Maury Laws S. 13–19. (S. 193–199). – Vincentelli, Elisabeth: Merrie Melodies: Cartoon Music’s Contemporary Re- Transcribed from “Take 15” of CBC Radio’s surgence (S. 203–206). – Goldmark, Daniel: An “The Art of Glenn Gould”, broadcast August 24, Interview with Mark Mothersbaugh (S. 207– 1969. 217). – Miles, Milo: Robots, Romance, and Ro- Grãjdian, Maria: Befremdende Vertraulichkeiten. nin: Music in Japanese Anime (S. 219–224). – Anime-Soundtracks von domestizierendem Plagia- Goldmark, Daniel: An Interview with Richard rismus zu hybridisierender Authentizität. In: Kieler Stone, Steve Bernstein, and Julie Bernstein (S. Beiträge zur Filmmusikforschung, 8, 2012, S. 20–61. 225–238). – Goldmark, Daniel: An Interview with Alf Clausen (S. 239–252). – Friedwald, Granata, Charles L.: Disney, Stokowski, and the Ge- Will: I Kid Because I Love: The Music of The nius of Fantasia. In: The Cartoon Music Book. Ed. Simpsons (S. 253–262). – Brophy, Philip: An by Daniel Goldmark & Yuval Taylor. Chicago, IL: Interview with John Zorn (S. 263–268). – Lanza, A Cappella Books 2002, S. 73–91. Joseph: Rhapsody in Spew: Romantic Unders- cores in The Ren and Stimpy Show (S. 269–274). Grant, Barry Keith: “Jungle Nights in Harlem”: Jazz, – Corbett, John: A Very Visual Kind of Music: Ideology, and the Animated Cartoon. In: University The Cartoon Soundtrack Beyond the Screen (S. of Hartford Studies in Literature 21,3, 1989, S. 3– 279–288). – Ehrbar, Greg: Cartoon Music: A Se- 12. lect Discography (S. 289–298). – Goldmark, Da- Grant, Barry Keith: Jazz, Ideology, and the Animat- niel: Bibliography (S. 299–305). ed Cartoon. In: Film’s Musical Moments. Ed. by Ian Rez. (Burlingame, John / Rich, Martin) in: Vari- Conrich & Estella Tincknell. Edinburgh: Edinburgh ety 392,2, 25.08.2003, S. 100. University Press 2006, S. 17–27. Rez. (Hubbert, Julie Bess) in: Notes: Quarterly Explores the emergence of the jazz cartoon of Journal of the Music Library Association 60,1, the 1930s and 1940s. Although jazz has had a Sept. 2003, S. 146. significant presence in the movies from the arriv- Rez. (Hung, Eric) in: The Journal of Film Music al of sound onwards (during the Jazz Age itself 1,2/3, Fall-Winter 2003, S. 293. in the late 1920s), its ideological connotations have been a source of struggle and considerable Rez. (Meyer, Bill) in: Signal to Noise: The Jour- tensions, especially around race. Hollywood’s nal of Improvised & Experimental Music 29, casting mainstream jazz as primarily a white mu- Spring 2003, S. 36. sical form in feature films such as King of Jazz (1930) is problematically paralleled by the use of Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 23
hot jazz in animations such as Jungle Jive Halfyard, Janet K.: Superconductors: Music, Fantasy (1944), in which racist stereotypes of black men and Science in The Sorcerer’s Apprentice. In: The as sexually predators preying on white women Music of Fantasy Cinema. Ed. by Janet K. Halfyard. prevail. Though such films functioned as pro- Sheffield, South Yorkshire / Oakville, CT: Equinox gram fillers, they were often the site of an ag- 2012, S. 218–231. (Genre, Music, and Sound.). gressively asserted insistence on black pri- mitivism in which jazz is the primary signifier. Explores the hybrid pop and orchestral sound- track of The Sorcerer’s Apprentice (Turteltaub, Grečnár, Ján: Filmová hudba od nápadu po sound- 2010). The film continues Jerry Bruckheimer’s track. Bratislava: Slovenská Akadémia Vied (Ústav successful relationship with the other stalwart of Hudobnej Vedy) 2005, 85 S. fantasy-film production, Disney, a relationship [Film music from an idea to the soundtrack.] – that made it easier to include the clear references Discusses the process of film music making, in- to the animated musical film Fantasia (1940), as cluding the aspects of composing, orchestration, well as the symphonic poem by Dukas, L’ap- recording, synchronisation of sound and picture, prenti sorcier (1897). Much of the interesting microphone techniques, and mixing. Specific narrative territory surrounding science and magic types of film music, such as ethnic music and in the film is created through sound, a combina- music for period films, animated films, and TV tion of scoring, popular music, sound design, and shows are discussed. musical intertextuality. By virtue of the relation- ship between score, song, and Tesla coils, music Grice, Sue: Can Music and Animation Improve the acts as a mediator between science and emotion Flow and Attainment in Online Learning? In: Jour- on one hand, and between science and magic on nal of Educational Multimedia and Hypermedia the other. The narrative uses music to rehabilitate 18,4, 2009, S. 385–405. the idea of the scientist in a Hollywood film, making him an unambiguous hero rather than the Guzzo, Anne Marie: The Life and Music of Carl wicked, world-dominating villain of popular Stalling: From Toy Pianos to Dog Ears. Davis, CA: imagination. University of California, Davis, Ph.D. 2002. Hamon-Hill, Cindy: Music and Empathy: Influenc- Abstract in: Dissertation Abstracts International ing Factors on the Social Perception of Three Inter- A 63,9, March 2003, S. 3051. acting Objects. M.Sc. thesis, Halifax, NS: Dalhousie On the composer and his music for early Disney University, Department of Psychology 2006, ix, 109 animation. S. Halfyard, Janet K.: “Everybody Scream!”: Tim Bur- It is well understood that we infer causes and in- ton’s Animated Gothic-Horror Musical Comedies. tentions from the observed behaviour of others In: Drawn to Sound: Animation Film Music and So- based on dynamics of motion, particularly com- nicity. Ed. by Rebecca Coyle. London: Equinox / binations of movements (kinematic cues). Infer- Oakville, CT: DBBC 2010, S. 25–39. (Genre, Music ences can be affected by individual differences and Sound.). in cognitions and shared environmental factors, including audio and visual cues. Studies in music Examines Tim Burton’s stop-motion animation perception revealed that changes in pitch and films The Nightmare before Christmas (directed tempo can alter one’s interpretation of visual in- by Henry Selick, 1993) and Corpse Bride formation (Marshall & Cohen, 1988). Few if any (2005), and argues that music and songs help to studies have investigated the role of empathy in structure these films and allow horror and hu- social perception. The present study investigated mour to be juxtaposed so distinctively. the effect of empathic tendencies and music on Halfyard, Janet K. (ed.): The Music of Fantasy Cine- the social interpretation of kinematic cues per- ma. Sheffield, South Yorkshire / Oakville, CT: Equi- ceived in visual stimuli. Seventy-one university nox 2012, viii, 244 S. (Genre, Music, and Sound.). students were assigned to 1 of 4 levels of music accompanying the same animated film of simple Darin u.a.: Murphy, Scott: The Tritone Within: moving objects (Heider & Simmel, 1944). Prior Interpreting Harmony in Elliot Goldenthal’s to exposure of the visual and musical stimuli, Score for Final Fantasy: The Spirits Within (S. each participant completed the Interpersonal Re- 148–174). – Halfyard, Janet K.: Superconduc- activity Index (IRI) (Davis, 1983) as a measure tors: Music, Fantasy and Science in The Sorcer- of 4 types of empathic tendencies. Differences in er’s Apprentice (S. 218–231). ratings of social characteristics for each of the 3 objects in the animation were compared between groups defined by music and empathy. Consist- Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 24
ent with findings in previous studies, objects Harner, Devin: Memory, metatextuality and the mu- were perceived to vary from one another on so- sic of war. In: La Revue LISA/LISA e-journal 10,1, cial characteristics. In support of the present hy- 2012, S. 319–336; URL:
tional Film Board of Canada, winning both an Theories of Voice as a Facet of Spectatorship Oscar (for his 1952 anti-War Neighbours) and a (162) – Psychoanalytic Theories of Voice and Palme d’Or (Blinkity Blank, 1955). Spectatorship (164) – Cultural and Star Studies Theories of Voice (167) – Ethnically/ Culturally Hawk, Wayne: Carl Stalling: Master of the Merrie Marked Voices in Mulan and Howl’s Moving Melody. In: Filmfax, 34, 1992, S. 74–77. Castle (172). On composer and his work for the Warner Bros. Hébert, Pierre: Musicalité ou oralité? Réflexions cartoons. d’un cinéaste qui voulait “faire comme un mucici- Hay, Carla: Film Music Challenges Counting en”. In: Cinémas 3,1, 1992, S. 43–63. Crows’ Duritz. In: Billboard 116,19, 08.05.2004, S. The director on the importance of music for the 12. animated film. Focuses on the challenge faced by singer Adam Hebert-Leiter, Maria: Disney’s Cajun Firefly: Shed- Duritz in writing an original song for the animat- ding Light on Disney and Americanization. In: Jour- ed film “Shrek 2.” Approaches used by Duritz in nal of Popular Culture 47,5, Oct. 2014, S. 968–977. preparing for the song; Contents of the “Shrek 2” soundtrack; Plans for promoting the soundtrack. A criticism of the animated Disney film “The Princess and the Frog,” directed by Ron Cle- Hayward, Philip: Whimsical Complexity: Music and ments and John Musker. Particular focus is given Sound Design in The Clangers. In: Animation Jour- to the film’s depiction of the assimilation of the nal 17,1, 2009, S. 36–51. Cajuns of Louisiana into American culture, in- Zur britischen Animations-TV-Serie The Clan- cluding in regard to American norms and the gers (Auf dem pfiffigen Planeten, 1969–1974). influence of American popular music on Cajun music. Hayward, Philip: Polar Grooves: Dance, Music and Musicality in Happy Feet. In: Drawn to Sound: Herzfeld, Gregor: Disney psychedelisch: Musik und Animation Film Music and Sonicity. Ed. by Rebecca Rausch im Zeichentrickfilm. In: Acta musicologica Coyle. London: Equinox / Oakville, CT: DBBC 86,1, 2014, S. 125–146. 2010, S. 90–103. Explores the relation between music and states Analyses John Powell’s music and its operation of intoxication induced by drugs. Some have with popular songs and tap-dance music in stated that the films of Walt Disney led to the George Miller’s digital animation blockbuster emergence of the counterculture in the 1960s. Happy Feet (2006). The Disney film Dumbo (1941) is discussed, in particular the scene in which Dumbo the baby He, Shengjie: Yīnyuè zài diànyǐng huàmiàn zhōng elephant mistakenly drinks alcohol, has a psy- de qínggǎn biǎodá: Yǐ Dísīní dònghuà diànyǐng chedelic dream, and learns to fly. The song Pink “Huànxiǎngqǔ” yīnyuè wéilì. In: Zhōng xiǎoxué Elephants on Parade is interpreted as an un- yīnyuè jiàoyù 227,2, 2011, S. 31–33. leashing of the elephant’s creative potential. [Emotional expression by music in cartoon: On Heyman, Marshall: Making the Cartoons Sing. In: the example of music in Disney’s animated film Wall Street Journal – Eastern Edition 261,67, 22.03. Fantasia.] 2013, S. D5. Heath, Erin C.: In Plane Sight: Theories of Film The article reviews several songs by musician Spectatorship and Animation. Ph.D. thesis, Urbana/ Adam Young, whose performance name is Owl Champaign, IL: University of Illinois at Urbana- City, such as “To the Sky,” “When Can I See Champaign 2013, viii, 212 S.; URL: You Again?,” and “Shine Your Way,” for the
In the opening scenes of Yoram Gross’s 1977 dren. These films, I argue, offer the pleasures of film Dot and the Kangaroo, a sleepy, dreamy “captured” performance, and foreground what Australian bush landscape is evoked, first by mu- Roland Barthes terms the “grain” of the child’s sic, then by animation. In this and many of his voice. By examining the meaningless “babbling” other films, Gross uses the combination of music and spontaneous vocalisations of the aptly- and drawings as a unified animating force to named child Boo from Pixar’s Monsters, Inc. paint a metaphorical portrait of the Australian (2001), this article offers new ways of concep- bush, representing freedom from entrapment and tualising the relationship between animation and alienation and a playground for childhood fanta- voiceover, suggesting that computer-animated sy. After a brief discussion of significant devel- films celebrate childhood by emphasising the opments and theoretical perspectives in the histo- verbal mannerisms and vicissitudes of the un- ry of animation set to music, Gross’s films are prompted child actor. The calculated fit between examined in relation to other Australian animat- the digital children onscreen and the rhythms of ed feature films, and an overview is provided of their unrefined speech expresses an active en- some of the key elements used in Australian gagement with the pleasures of simply being animation (Abstract by E. Parry). young, rather than privileging growing up. Mon- sters, Inc. deliberately accentuates how the char- Hoffer, Heike: Aesthetics of Destruction: Music and acter’s screen voice is authentically made by a the Worldview of Ikari Shinji in “Neon Genesis child-as-a-child, preserving the unique vocal ca- Evangelion”. M.M. thesis, Tucson, AZ: The pabilities of four-year-old Mary Gibbs as Boo, University of Arizona 2012, 99 S. whilst framing her performance in a narrative Abstract in Masters Abstracts International 50,6, which dramatises the powers held within the Dec 2012. voice of children. Director Anno Hideaki’s series Neon Genesis Hollis, Tim / Ehrbar, Greg: Mouse Tracks: The Evangelion caused a sensation when it first aired Story of Walt Disney Records. Jackson, MS: Univer- on TV Tokyo in 1995 and has become one of the sity Press of Mississippi 2006, xii. 221 S. most influential anime ever made. Since its pre- Hou, Linqi / Zhang, Xiaolong: Dāngdài zhōngrì miere, fans across the globe have debated the dònghuà bèijǐng yīnyuè chuàngzuò shǒufǎ de bǐjiào possible interpretations of the complex plot, but little has been said about how composer Sagisu fēnxī: Yǐ “Qínshí míngyuè” hé “Huǒyǐng rěnzhě” Shiro’s score might contribute to understanding wéilì. In: Rénmín Yīnyuè 615,7, Jul. 2014, S. 73–75. the series. Anno’s rehabilitation in a Jungian [A comparative analysis of the compositional clinic and subsequent personal study of human techniques in the background music of contem- psychology plays heavily into understanding the porary Chinese and Japanese animated films: On main character Ikari Shinji, and music has much the examples of Qinshi mingyue and Naruto.] – to contribute to appreciating Shinji’s view of the Compares and constrasts scoring of the Chinese world. Shinji is an impressionable fourteen-year animated TV series Qinshi mingyue (The Legend old boy, so his musical interpretations of the of Qin), by the Hangzhou studio Sparkly Key, people and things around him do not always and the Japanese anime series Naruto, directed match reality. Sagisu’s music gives the viewers by Date Hayato. welcome insight into Shinji’s thoughts and feel- ings as he matures throughout the series. Hrycaj, Lara Rose: What Is This Music? Auteur Mu- sic in the Films of Wes Anderson. Ph.D. thesis, De- Holliday, Christopher: Emotion Capture: Vocal Per- troit, MI: Wayne State University 2013, iv, 257 S.; formances by Children in the Computer-animated URL: Film. In: Alphaville: Journal of Film and Screen
Imada, Kentaro: Lupin III and the Gekiban Ap- sional production and many other forms of ama- proach: Western-styled Music in a Japanese Format. teur media production, transformative fan pro- In: Drawn to Sound: Animation Film Music and duction is non-commercial, and centered on ap- Sonicity. Ed. by Rebecca Coyle. London: Equinox / propriating, commenting on, and celebrating Oakville, CT: DBBC 2010, S. 174–189. commercial popular culture. Participants in ro- bust fan production scenes are motivated to cre- Draws on a sociohistorical discussion of musical ate high-quality work that can rival the quality of derivation to contextualize the case study and professional media, but do this within an entirely shows how the music in these features operates non-commercial context. Rewards are not finan- at a point of confluence between traditional Ja- cial, but rather center on recognition and social panese stage and media sound and music and participation. I describe how AMV creators, sup- Western musical accompaniment. porters, and viewers engage in processes of so- Inglis, Ian: Something Old, Something New, Some- cial inclusion as well as processes for marking thing Borrowed... Something Blue: The Beatles’ Yel- status and reputation that delineate different low Submarine. In: Drawn to Sound: Animation modes of participating, contributing, and being Film Music and Sonicity. Ed. by Rebecca Coyle. recognized. This paper starts by outlining the conceptual framework and methodology behind London: Equinox / Oakville, CT: DBBC 2010, S. this study. Then the paper provides historical 77–89. background on the AMV scene before turning to Examines the music track for George Dunning’s descriptions of three complementary dimensions Yellow Submarine (1968) and shows how the of the AMV scene drawn from ethnographic producer George Martin deployed three catego- fieldwork: the properties of open access and ries of music—familiar and new Beatles songs sharing that support an amateur ethos, processes together with an original score—to create an in- of connoisseurship and distinction making, and tegrated aural and visual production. how status and reputation are established and ne- gotiated among the elite editors that comprise the IotaCenter (presenter): Kinetica 3: Abstraction / core of the scene. Together, these characteristics Animation / Music: Featuring Hy Hirsh and The of the AMV scene provide incentives for both Fifties, Jazz and Abstraction in Beat Era Film, Pre- new and aspiring creators to participate, as well miering Jordan Belson’s “Bardo”. Los Angeles, as for more experienced creators to improve their CA: IotaCenter 2001, 19 S.; URL: craft.
Jüngling, Markus: Musik mit Klischeewirkung: Der Abstract in: Masters Abstracts International 48, Cartoonkomponist Scott Bradley. In: EPD Film 17, 3, June 2010. 8, Aug. 2000, S. 31–33. This thesis compares the differences between Kadieva-Božinova, Penka S.: Za njakoi problemi na American animation from Disney Studio and muzikata v animacionnija film. In: Balgarska muzi- Japanese Anime soundtrack from Group Tac ka. Organ na Sajuza na Balgarskite Kompozitori i Studio in terms of the use of music style, com- na Ministerstvoto na Kulturata 24,2, 1973, S. 53–55. position, business. [Über einige Probleme der Musik im Animati- Kershaw, David: Tape Music with Absolute Anima- onsfilm.] ted Film: Prehistory and Development. Ph.D. thesis, York: University of York 1982, 525 S. [in 2 Bdn.]; Kael, Pauline: Metamorphosis of the Beatles. In: URL: The New Yorker (30.11.1968).
synthetical approach, if it says, the aesthetic of would prove to be the ultimate concept presented animated motion pictures. by McLaren in “the art of manipulating the invi- sible interstices that lie between the frames.” Kurihara, Utako: The music dictation of Norman McLaren’s animated piece “Synchromy”. In: Gei- Kurihara, Utako: Ongaku bunseki-teki kanten ni yo- jutsu kôgaku kenkyû 4, 2005, S. 65–75. ru Makuraren no animêshon sakuhin kenkyû. Ph.D. thesis, Fukuoka: Kyûshû Daigaku 2007. Zu Norman McLarens Kurzfilm Synchromy (1971). [Musical analysis of Norman McLaren’s animat- ed works.] – In an attempt to highlight a tempo- Kurihara, Utako: Nōman Makuraren no ongaku-sei: ral and aural side in film study, analyzed is mu- Eizō sakuhin
Art of Digital Paint and Animation. In: Cinefantas- Darin insbesondere 7. Working with Sound (S. tique 28,4/5, Nov. 1996, S. 64–67. 81–99). La Rochelle, Réal: Le “compositeur incomplet”: Lăzărescu, Laura: Sound Design in the American McLaren et la musique. In: 24 Images 120, Dec./Jan. Animated Film. Berlin: wvb Wissenschaftlicher Ver- 2004/2005, S. 27–29. lag Berlin 2013, 312 S. Lang, Edith / West, George: Animated Cartoons and Zugl.: Diss. București: Universitatea Nationala Slap-Stick Comedy. In: The Cartoon Music Book. de Arta Teatrala si Cinematografica “I.L. Cara- Ed. by Daniel Goldmark & Yuval Taylor. Chicago, giale” (National University of Theatre and Film IL: A Cappella Books 2002, S. 17–19. “I.L. Caragiale”) 2012. Langlois, Philippe: Les cloches d’Atlantis: Musique Starting from a compact history of the American électroacoustique et cinéma. Archéologie et histoire animation film, from its early stages, evoking the d’un art sonore. Paris: Éd. MF 2012, 483, [16] S. classics of its Golden Age (the animations of Disney, Warner Bros., MGM etc.) to the most re- (Répercussions.). cent 3D-animation films (Pixar, DreamWorks Texte remanié de Thèse de doctorat, Paris: Uni- etc.), the book analyzes the technical and espe- versité de Paris 4 (Sorbonne) 2004. cially the aesthetic evolution of the sound ac- companying animations through decades. The A study of the relationship between cinema and work recalls numberless examples of American the new sound technologies of the 20th century, animation shorts and features referring thus to a dealing primarily with the appearance of new wide range of artistic means through which sound technologies and sound systems in sound (dialogue, sound effects, music) comple- movies, the relations between musique concrète ment the image and contribute to creating comic and the animated image, electroacoustic tech- effects or characterize heroes, describing at the niques in genre films (fantasy and science fic- same time the aesthetic approaches of the sound tion), author and experimental films up to and in- track in the representation of dreams, leitmotifs, cluding structuralist and deconstructivist experi- in creating counterpoints, in constructing sus- ments (Abstract by L. Sautet). pense and the silence with multiple aesthetic Lanza, Joseph: Rhapsody in Spew: Romantic Under- values, in underlining specific animation clichés scores in The Ren and Stimpy Show. In: The Car- and geographic or cultural references. toon Music Book. Ed. by Daniel Goldmark & Yuval Leach, Jeremy L.: Towards a Universal Algorithmic Taylor. Chicago, IL: A Cappella Books 2002, S. System for Composition of Music and Audio-visual 269–274. Works. In: [On the Edge:] Proceedings of the 1996 Larson, Randall D.: Music for Japanese Animation. International Computer Music Conference. Organis- In: Soundtrack: The Collector’s Quarterly 14,53, ed by The International Computer Music Associa- 1995, S. 28–31. tion and The Hong Kong University of Science and Technology, August 19–24, 1996. Lydia Ayers & Discusses especially the work of composer Hiro- Andrew Horner, Conference chairs. San Francisco, shi Miyagawa. CA: International Computer Music Association Larson, Randall D.: The Carl Stalling Project. In: 1996, S. 320–323; URL: Soundtrack: The Collector’s Quarterly 10,37, 1991,
proach which minimizes the damage to either. films and their composers, and 3) composers and Starting from a MIDI file and motion data, fea- their films. ture points are extracted from both sources, Rez. (Franklin, Carole) in: American Reference paired, and then synchronized using dynamic Books Annual 6, 1975, S. 499. programming to time-scale the music and to timewarp the motion. We also introduce the mu- Rez. (McCarty, Clifford) in: Notes: Quarterly sic graph, a directed graph which encapsulates Journal of the Music Library Association 31,1, connections between many short music se- Sept. 1974, S. 48. quences. By traversing a music graph we can Lipscomb, Scott David: Cognition of Musical and generate large amounts of new background mu- sic, in which we expect to find a sequence which Visual Accent Structure Alignment in Film and matches the motion better than the original mu- Animation. M.A. thesis, Los Angeles: University of sic. California 1995, xii, 130 S. Lerner, Neil: Minstrelsy and Musical Framing in [Abstract in: Dissertation Abstracts Internation- Who Framed Roger Rabbit. In: Drawn to Sound: al A 56,9, Mar. 1996, S. 3366.] Animation Film Music and Sonicity. Ed. by Rebecca Lipscomb, Scott D[avid]: The Perception of Audio- Coyle. London: Equinox / Oakville, CT: DBBC visual Composites: Accent Structure Alignment of 2010, S. 104–119. Simple Stimuli. In: Selected Reports in Ethnomusi- Discusses Who Framed Roger Rabbit (Robert cology 12, 2005, S. 37–67. Zemenckis, 1988) in terms of musical framing The article examines the relationship between and its vestiges of U.S. minstrelsy, and argues musical sound and visual images when they are that the film’s repression of race as an issue is paired in animated sequences. Specifically, this evident in its music. study focuses on the relationship of points per- Lexmann, Juraj: Slovenská filmová hudba, 1896– ceived as accented musically and visually. The 1996. Bratislava: ASCO Art & Science / Slovenská study examines the determinants of accent in the visual and auditory fields and the precise align- Akadémia Vied (Ústav Hudobnej Vedy) 1997, 259 ment of auditory and visual strata necessary to S. ensure that an observer finds the combination ef- [Slovak film music, 1896–1996.] – Discusses fective. film music in Slovakia, including the silent film Luzzati, Emanuele: Musica-animazione: intervista a era, the first Slovak film to be accompanied by Emmanuele Luzzati. In: Cineclub Lumière [Geno- an organ, and aesthetic connections with music of other genres. The music performed is evaluat- va], dic. 1980, [6] S. ed, distinguishing between documentaries and Intervista concessa a Genova, ottobre 1979. animated films. The practice of adding sound tracks to film is explored as well. Creative im- Mancebo Roca, Juan Agustín: Del piano cromático a pulses, tendencies, customs, and manners for la pintura cinematográfica directa: Las experiencias developing technical conditions for film music abstractas de los Ginanni-Corradini. In: Norba: Re- are presented, including the changing creative vista de Arte 28/29, 2008/2009, S. 145–153. conditions and the requirements for creative As a continuation of their experiences on the dramaturgy in film music. An overview of Slo- chromatic piano, the Ginanni-Corradini brothers, vak film music is presented in chronological or- who can be considered as belonging to cerebrism der. –a movement of cultural renewal that ran parallel Limbacher, James L[ouis] (comp.): Film Music: to the Italian futurism– produced the first trials in From Violins to Video. Metuchen, NJ: Scarecrow direct painting. Their films with the cinemato- Press 1974, xi, 835 S. grapher resulted in the first attempts at painting directly over celluloid. These experiences made Consists of articles on film music by noted com- them the pioneers of direct and experimental ci- posers and authors, including Dimitri Tiomkin, nema, in the mid-1910s, as well as the unrecog- Elmer Bernstein, Miklos Rozsa, George Duning, nized founders of the forthcoming avant-garde and William Walton; the articles are divided ac- cinema. – Despite the loss of their films, the bro- cording to the following subjects: the early days, thers from Ravenna left testimonies of their ex- theories and comments, techniques, scoring, film periences in texts, such as Chromatic Music spectacles, classical music, and animated films (1912), Arte dell’ avvenire (1910) and Pittura and comedies. A list of films and their compo- dell’ avvenire (1915). sers is provided, citing 1) film titles and dates, 2) Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 34
March, Hunter C.: The Development and Evaluation The history of the initial 75 years of American of an Animated Film to Improve Listening Skills of movie music is discussed, covering all genres of Junior High School General Music Students. Ph.D. film music: silent films, animated musicals, ac- thesis, Ann Arbor, MI: University of Michigan tion thrillers, crime dramas, and classic roman- 1980, 141 S. ces. The primary purpose of this study was (1) to cre- Rez. (Grayson, Phil) in: The Cue Sheet: The ate an animated film which would help junior Journal of the Society for the Preservation of high school general music students perceive dif- Film Music 14,1, Jan 1998, S. 24. ferences in musical texture, and (2) to evaluate Marshall, Sandra K. / Cohen, Annabel J.: Effects of the film’s effectiveness as a teaching aid. The Musical Soundtracks on Attitudes toward Animated major hypothesis tested states that perception of Geometric Figures. In: Music Perception: An Inter- musical texture will be greater among students disciplinary Journal 6,1, Fall 1988, S. 95–112. who view the film than among students who use one of the most effective directed-listening aids Music influences interpretation of film. A study presently available, namely the “Call Chart.” presented a short animated film with one of two Other hypotheses state (1) that reading compre- different scores or with no soundtrack; listeners hension scores, as measured by the Iowa Test of were asked to characterize the figures in the film Basic Skills (ITBS), will have an interaction ef- on a semantic differential. Judgments of the fect with change scores, and (2) that musical ap- soundtracks heard without the film predicted cor- titude, as measured by the Musical Aptitude Pro- responding ratings of the films on Activity and file (MAP), will have an interaction effect with Potency dimensions, and ratings of the film change scores. A secondary objective was to de- ‘character’ on the Activity dimension were alter- velop a test to measure perception of musical ed by the soundtracks. texture. The film produced for the study is a vi- Martinelli, Dario: Saving the Earth with a Dominant sual representation of the textures employed by Chord and Some Delay: Cartoon Music Themes in Leonard Bernstein in the “Responsory: Alleluia” for The Mass. It demonstrates the four basic Italian TV. In: Music, Meaning and Media. Ed. by textures – monophonic, polyphonic, homophon- Erkki Pekkilä, Richard Littlefield & David Neumey- ic, and mixed – by synchronizing a visual pre- er. Imatra: International Semiotics Institute / Helsin- sentation of the text of the music with the actual ki: Semiotic Society of Finland / Helsinki: Universi- sound. A short introduction provides a verbal ty of Helsinki 2006, S. 94–114. and visual description of each texture. Six class- Martinelli, Dario: Le sigle dei cartoni animati in Ita- es of general music students representing three lia tra gli anni settanta e ottanta. In: Studi musicali different socio-economic levels and three distinct 36,1, 2007, S. 269–288. racial balances served as subjects for the study. Half of the students in each class were randomly Mathijs, Ernest: Surrealism, Jazz & the Pornograph- assigned to the control group and half to the ex- ic Cartoon. In: Plateau 20,3, 1999, S. 6–8. perimental group. Only the experimental group viewed the film. The control group listened to Merritt, Russell / Kaufmann, J.B.: Walt Disney’s the music recorded on the film soundtrack while “Silly symphonies”: A Companion to the Classic they followed a “Call Chart.” Test scores for all Cartoon Series. Gemona del Friuli: La Cineteca del students in reading comprehension, as measured Friuli 2006, xiii, 256 S. by the ITBS, and musical aptitude, as measured Michelone, Guido / Valenzise, Giuseppe: Bibidi bo- by the MAP, were collected prior to the study. bidi bu: La musica nei cartoni animati da Betty Students were pre- and posttested on the Musical Boop a Peter Gabriel. Roma: Castelvecchi 1998, Texture Perception Test, a test developed for the 314 S. (Suonerie. 6.). study. The data were submitted for statistical an- alysis to determine the effect of the experimental Musik im Zeichentrickfilm. treatment. Results indicate that students who viewed the film achieved significantly higher Miles, Milo: Robots, Romance, and Ronin: Music in posttest scores than students who followed the Japanese Anime. In: The Cartoon Music Book. Ed. “Call Chart.” Results also show that neither read- by Daniel Goldmark & Yuval Taylor. Chicago, IL: ing comprehension skills nor musical aptitude A Cappella Books 2002, S. 219–224. had any interaction effect with treatment. Mogl, Verena: Musik in Bewegung. Mieczyslaw Marmorstein, Gary: Hollywood Rhapsody: Movie Weinbergs Kompositionen für den Film. In: Osteu- Music and Its Makers 1900 to 1975. New York, NY: ropa 60,7, 2010, S. 123–137. Schirmer 1997, vii, 456 S. Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 35
Mieczyslaw Weinberg komponierte ab Ende der developments that evolved in tandem with the 1940er Jahre für die Filmindustrie. Zwischen visual music film, each simultaneously exerting 1949 und 1989 schrieb er die Musik für über 70 an influence on one another. It explores the ef- Kino-, Fernseh- und Animationsfilme, darunter fect that colour processing had on not only the so bekannte Filme wie Letjat žuravli oder der visual but the overall audiovisual structure of the Zeichentrick-Klassiker Vinni-Puch. Er drängte visual music film through a textual analysis of seine Musik nie in den Vordergrund, sondern Kreise (1933) by Oskar Fischinger. It also inves- hob stets mit großem Geschick Handlungsdetails tigates how particular styles of musical composi- mit wenigen musikalischen Mitteln hervor und tion dictated the development of specific techni- interpretierte so klanglich die Bilder. (Internet) cal processes such as painting directly onto the celluloid strip, in order to capture the syncopated Mollaghan, Aimée: The Musicality of the Visual Mu- and frenetic musicality of jazz music. The case sic Film. Ph.D. thesis, Glasgow: University of Glas- studies here are Begone Dull Care (1949) by gow, Department of Theatre, Film and Television Norman McLaren and A Colour Box (1935) by Studies, 2011, 267 S. Len Lye. Further to this, it examines how the This thesis explores the concept and expression technical processes of animated sound emerged of musicality in the absolute visual music film, in the search for a greater correlation between in which visual presentations are given musical the visual and sound tracks of the visual music attributes such as rhythmical form, structure and film through close analysis of Synchromy (1971) harmony. The role of music has, in general, been by Norman McLaren and the optical sound films neglected when analysing visual music textually of Guy Sherwin. Finally, this thesis marries the and if discussed it has been examined predomi- inquiry into technological innovation of its se- nantly from the academic vantage points of art cond half with the historical, aesthetic and philo- and avant-garde film theory. To adequately scru- sophical concerns of earlier chapters by consi- tinise these texts I consider it essential to look at dering the work of visual music pioneer John them not only in terms of their existence as mov- Whitney. Focusing on his digitally produced vi- ing pictures but also to give equal weight to their sual music films, the thesis explores Whitney’s aural aspect and to consider them in terms of enduring concern with the unification of sound specifically musical parameters. This thesis and image through the shared foundation of therefore seeks to redress previous imbalances mathematical harmony. by undertaking a close analysis of the expressly Moltenbrey, Karen: Laurence Garters Trance / musical qualities of these texts. Drawing on the Dance and Other Living Things. In: Computer seemingly disparate areas of film theory, art his- Graphics World 27,9, Sep. 2004, S. 18–19. tory, music theory and philosophy, it takes an in- terdisciplinary approach to investigating the The article presents information on the music vi- measurable influence that wider contextual, phil- deo collection called “Trance/Dance and Other osophical and historical developments and de- Living Things.” The author states that while bates in these areas bore on the aesthetics of spe- most music videos use film, video and animation cific visual music films. By drawing on the anal- to accomplish the visual portion, there is one art ogy of the absolute in music to demonstrate how form that is often overlooked, which is digital musical concepts can function across the disci- fine art. Computer graphic art pioneer Laurence plinary boundaries of music and film, the first Cartel illustrates that digital fine art can raise the half of this thesis illustrates how musical ideas music video bar in a recent music video collec- can be applied both formally and conceptually to tion called “Trance/Dance and Other Living the moving image in order to elucidate the mu- Things.” Cartel recently tapped the modern art sical characteristics of the text. Using the notion segment of this seldom-used music video re- of the absolute as a conceptual framework allows source to create what he calls “digital music mo- for a thorough overview of changing trends and vies,” which establish a visual melody to 28 aesthetics in music, film and art and the visual songs by a range of “offbeat” techno-music re- music film. The centrality of notions of the abso- cording artists featured on a compilation CD/ lute to visual music is demonstrated through DVD from Raggaforce Entertainment. To create close analysis of films by Viking Eggeling, Hans all these visual elements, Cartel dug into his per- Richter, Walter Ruttmann, Norman McLaren, sonal image reserve, a 30–year collection span- James Whitney and Jordan Belson. The second ning the early days of computer graphics to the part of this thesis concentrates less on the philo- present. In addition to altering some previous sophical vestiges carried over from musical works, he also Mgenerated new content using 2D thought to the visual music film, instead focusing and 3D software, video, traditional painting, and on the variety of techniques and technological graffiti art. Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 36
Mungen, Anno: Filme für Musik: Edgard Varese sic and an image, character, or other narrative und Bill Viola. In: Augen-Blick: Marburger und object appear to contradict one another in some Mainzer Hefte zur Medienwissenschaft 35, 2004, S. fashion. The first part of the essay reviews dis- 69–87. sonances, particularly major tritone progressions, that involve technical incongruities among mul- In seinem Beitrag zu Musik und Film wendet tiple basic-level associations between distinctive sich der Autor einem Sonderfall der Filmmusik musical tokens and narrative objects. The second zu, dem Film, der nach einer vorhandenen Musik part of the essay introduces a new cognition that gestaltet wird. Nach einem Überblick über histo- seeks to reconcile these seeming dissonances. rische Formen der bildhaften Musikillustrationen The score for the film was composed by Elliot werden die Merkmale der “Filme für Musik” dis- Goldenthal. kutiert. Zwei Filme, die klassische Musikstücke “verbildern”, werden vorgestellt. Walt Disneys N.N.: Gipsy Kings & Córdoba Star in Toy Story 3. Trickfilm “Fantasia”, der auf die Popularisierung In: Music Trades 158,6, Jul. 2010, S. 26. von klassischer Musik zielte, fordert die Zu- The article reports on the flamenco rendition of schauer auf, der eigenen Phantasie beim Hören musical group Gipsy Kings to Randy Newman’s der Musik freien Lauf zu lassen. Angesichts der “You’ve Got a Friend in Me” for the soundtrack generellen Dominanz des Visuellen wird diese of animated film “Toy Story 3” in the U.S. Phantasie durch die Bilder des Films allerdings wieder beschnitten. Ausführlich behandelt der Newsom, Jon: “A Sound Idea”: Music for Animated Autor den Film “Deserts”, den der Videokünstler Films. In: Wonderful Inventions: Motion Pictures, Bill Viola nach der gleichnamigen Komposition Broadcasting, and Recorded Sound at the Library of von Edgard Varese gestaltet hat. In diesem Film, Congress. Ed. by Iris Newsom. Washington: Library der (anders als “Fantasia”), primär künstleri- of Congress 1985, S. 58–79. schen Anspruch hat, wird die Musik mittels Bilder bewertet und gedeutet. Violas Bilder, “se- Zuerst in: The Quarterly Journal of the Library zieren die Vorlage, zerlegen die Musik in indi- of Congress 37,3/4, Summer 1984, S. 279–309. viualisierte Einheiten des Erlebens”. The use and adaptation of existing music in Poln. Übers.: Mungen, Anno: Filmy dla muzyki: animated films involved more than mere selec- Edgar Varèse i Bill Viola. In: Images 7,13/14, tive quotation. While small segments and entire 2009, S. 30–45. movements of “classical” pieces from the 18th to the early 20th centuries were sometimes animat- Murphy, Scott: The Tritone Within: Interpreting ed, composers were most often required to be Harmony in Elliot Goldenthal’s Score for Final Fan- adept at altering the formal structure of an exist- tasy: The Spirits Within. In: The Music of Fantasy ing work to accommodate the requirements of Cinema. Ed. by Janet K. Halfyard. Sheffield, South the animated film. In the lighter, more eclectic Yorkshire / Oakville, CT: Equinox 2012, S. 148– style of animated shorts, scores like those by 174. (Genre, Music, and Sound.). Scott Bradley exhibit characteristics of Stravin- sky, including octatonicism, tonally disjunct Several critical reviews of the animated fantasy melody figurations, and orchestration. In major film, Final Fantasy: The Spirits Within (Hirono- animated films such as those of Disney, Tchai- bu Sakaguchi and Moto Sakakibara, 2001) high- kovsky’s ballet music was similarly adapted. light the element of ambivalence. One critique Significantly, the forms in which these existing alludes to roboticist Masahiro Mori’s theory of works were used represented the first exposure the—uncanny valley—to describe the film’s to these pieces for many spectators of these close-but-not-quite-right simulation of human animated films (DBO). appearance and motion. The psychological the- ory of the uncanny, das Unheimliche, could be Nicholson, Stuart: Make Mine Music and the End of useful in cases where a particular image/music the Swing Era. In: The Cartoon Music Book. Ed. by amalgam precariously straddles two opposing Daniel Goldmark & Yuval Taylor. Chicago, IL: A interpretations or where it pushes both the fami- Cappella Books 2002, S. 125–135. liar and the strange into uncomfortably close Discusses the animated feature film Make Mine psychological quarters. This essay addresses a Music (1946), which is often seen as Disney’s kind of ambivalence in which an appreciable follow-up to Fantasia (1940), only this time in span of time separates the two contrasting inter- lieu of classical music, the topic was jazz, and pretations and which may require conscious de- more specifically, swing music. Ironically, the liberation. In media music, such ambivalence film arrived just as the Swing Era had reached its may arise when two chronologically independent terminus. but related mappings between a segment of mu- Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 37
Noyer, Jérémy: Blanche-Neige, Cendrillon et Dino- Bach’s toccata and fugue in D minor, excerpts saure de Disney: Perspectives intersémiosiques. In: from Čajkovskij’s Ščelkunčik, Dukas’s L’ap- Musique et images au cinéma: [actes du colloque prenti sorcier, Stravinsky’s Le sacre du prin- Musique et Images, Rennes, 2 Mars 2002]. Sour la temps, Beethoven’s symphony no. 6, Ponchielli’s dir. de Marie-Noëlle Masson. Rennes: Presses Uni- La danza delle ore from La Gioconda, Musorg- versitaires de Rennes 2003, S. 57–63. (Aesthetica.). skij’s Ivanova noč’ na Lysoj gore, and Schu- bert’s Ave Maria. The intention of Disney, the Discusses the narratological perspective of Dis- conductor Leopold Stokowski, and the musicol- ney’s animated films in three categories: conver- ogist Deems Taylor was to present three types of gence of musical and narrative segmentation as music: music that tells a story, music that draws exemplified in Snow White; parallelism and op- a picture, and abstract music. Most critics con- position in colors, melody, and concepts as seen sider that Fantasia has both virtues and faults. Its in Cinderella; and complementarity between mu- faults are its length and excessive variety of mu- sical and cinematographic discursivity as demon- sical and visual styles, while its main virtue is its strated in Dinosaur. revolutionary integration of music with some of O’Meara, Jennifer: A Shared Approach to Familial the most refined animation procedures ever seen. Dysfunction and Sound Design: Wes Anderson’s In- Paulus, Irena: Vladimir Kraus Rajterić. In: Hrvatski fluence on the Films of Noah Baumbach. In: The filmski ljetopis 3,10, Apr. 1997, S. 101–114. Films of Wes Anderson: Critical Essays on an Indie- wood Icon. Ed. by Peter C. Kunze. Basingstoke, Kraus-Rajterić (1924–96) composed scores for about 20 feature films and about 40 animated Hampshire/New York, NY: Palgrave Macmillan and documentary films. In the late 1940s he 2014, S. 109--124. joined the music department of Jadran Film in U.a. zu Rolle und Einfluss von Musik in Wes Zagreb as editor, and he also began writing mu- Andersons Animationsfilm Fantastic Mr. Fox sic for films. Several of his sound tracks are ana- (2009). lyzed. O’Neill, Eithne: Réflexions liminaires: La musique Paulus, Irena: Bio-filmografski razgovor s Anđel- dans le cinéma d’animation. In: Positif 502, Dec. kom Klobučarom. In: Hrvatski filmski ljetopis 4,15, 2002, S. 97–99. Okt. 1998, S. 125–132. Orlova, Elena Mihajlovna: Muzykal’naja informati- [Bio-filmographic interview with Anđelko Klo- ka v kolledže: Tvorčeskie vozmožnosti osvoenija. bučar.] – An interview with the Croatian organist In: Muzyka i èlektronika 3, 2012, S. 9–10. and composer. Among other compositions, Klo- bučar wrote sound tracks for 55 documentary, 44 [Musical informatics in college: The creative animated, and 20 feature films. possibilities of development.] – Discusses the use of computer technology at the Sankt-Peter- Paulus, Irena: Miljenko Prohaska: Glazbom od expe- burgskij Muzykal’nyj Kolledž imeni M.P. Mu- rimentalnog do crtanog filma. In: Hrvatski filmski sorgskogo; the fifth competition in creating the ljetopis 7,25, 2001, S. 173–188. soundtrack for the animated film; and the state- [Miljenko Prohaska: From experimental to anim- ments of the musicologists Arkadij Klimovickij ated film with music.] – His first score for a film and Zivar Gusejnova on computer music activi- Prohaska (b.1925) composed for the animation ties of students (Abstract by N. Ostroumova). Crvenkapica (1954), and until the early 1980s he Patterson, Richard [et al.]: Notes on Pink Floyd The wrote soundtracks for 56 feature, animated, and Wall / The Making of the Film Brick by Brick from documentary films. An analysis of film scores My View / High Speed Blood and Worms. In: Ame- for animated films Crvenkapica (Josip Sudar, rican Cinematographer 63,10, Oct. 1982, S. 1021– 1954), Palčić (Milan Blažeković, 1979), Mrav 1029, 1073. dobra srca (Aleksandar Marks and Vladimir Ju- triša, 1965), and for feature films Gravitacija On the special effects for the animated film by (Branko Ivanda, 1968), and Ponedjeljak ili uto- Pink Floyd. rak (Vatroslav Mimica, 1966) shows his musical Paulus, Irena: Klasična glazba u crtanom filmu Fan- versatility and styles which range from classical tazija (1940.) Walta Disneya. In: Arti musices: Hr- themes to jazz and sounds from nature. vatski muzikološki zbornik 28,1/2, 1997, S. 115–127. Paulus, Irena: Većinom nacrtana glazba: Skladatelj [Classical music in the 1940 animated film Fan- Tomislav Simović. In: Hrvatski filmski ljetopis 7,26, tasia by Walt Disney.] – The film consists of Jul 2001, S. 177–199. eight parts, each based on a different work: Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 38
[Mostly animated music: The composer Tomis- Simović wrote music for feature and documenta- lav Simović.] – Tomislav Simović (b.1931) com- ry films, their main interest was in music for posed soundtracks for over 250 animated, docu- animated films (Abstract by Zd. Blažeković). mentary, and feature films. The most famous and Rez. (Vidačković, Zlatko) in: Vijenac: Novine popular among them is the animated series Pro- Matice Hrvatske za književnost, umjetnost i zna- fessor Baltazar, in which Simović wrote music nost 11,232, Jan. 2003, S. 30. for the first 25 (of 59) films. This series has es- tablished its future narrative style and musical Paulus, Irena: Ivo Tijardović, prvi hrvatski filmski form. His compositional style is demonstrated in skladatelj za strane producente? In: Arti musices: the analysis of music for his two animated films Hrvatski muzikološki zbornik 45,1, 2014, S. 53–71; (Klizi puzi, Zlatko Grgić, 1968, and the Academy URL:
part of, what actually animates the work. Both naučno-teoretičeskij i kritiko-publicističeskij žurnal Lye’s kinetic sculptures and the performance 2, 1999, S. 91–96. have functioned as forms of extra-cinematic animation that pose a challenge to audiences. [Conversations on working in film.] – An inter- She uses the term ‘extra-cinematic animation’ to view with Alfred Schnittke concerning his work describe those forms that meet certain defining in film: Vstuplenie, Vyzyvaem ogon’ na sebja, criteria of animation, yet do so in a way that is Pohoždenija zubnogo vrača, Komissar, Agonija, either extraneous or additional to cinema-specif- Voshoždenije, Malen’kie tragedii, I vse-taki ja ic codes and technologies. In the extra-cinematic verju, and the animated films Stekljannaja gar- codes associated with theatrical performance, monika and Škaf. The question of auteur theory theater lighting, live music, and real-time audio- and the use of stylization are also discussed, as visual mixing operate in addition to the projected well as the musical dramaturgy of films and its image on the flat screen. The essay explores the idiosyncracies, the possibilities of sound engin- complex processes involved in the remediation eering, and timbral solutions. of art forms through a close reading of specific Pierson, Ryan: The Toy Like Nature: On the History extracts of the performance. and Theory of Animated Motion. Ph.D. thesis, Pitts- Perrott, Lisa: Music Video’s Performing Bodies: burgh, PA: University of Pittsburgh 2012, ix, 261 S.; Floria Sigismondi as Gestural Animator and Puppe- URL: teer. In: Animation: An Interdisciplinary Journal 10,
Purcell, Lee: Crowdsourced Creativity: Mass Anim- Performance and Immersive Visual Music (S. ation Clicks. In: Computer Graphics World 32,7, 233–248). Jul. 2009, Special section S. 1–6. Rez. (Belton, Robert) in: Popular Music and So- The article discusses the worldwide collabora- ciety 38,3, Jul. 2015, S. 391. tion and innovative use of technology demon- Rez. (Fleming-Brown, Annabel) in: Popular Mu- strated by Mass Animation for “Live Music,” an sic 33,3, Oct 2014, S. 573. animated short film about the love story of an electric guitar and a violin. Yair Landau, founder Rez. (Jacobus, Enoch S.A.) in: Notes: Quarterly of Mass Animation collaboration with Autodesk, Journal of the Music Library Association 71,3, Facebook and Intel for the project. It relates how Mar 2015, S. 514. animators around the world were able to contrib- Rez. (Winters, Ben) in: Music, Sound, and the ute to the project. Moving Image 8,2, Autumn 2014, S. 229. Randolph, Mark: Ralph Bakshi: Comic Truth. In: Robertson, Barbara: Funky Graphics. In: Computer Wax Poetics 38, 2009, S. 74–80. Graphics World 23,7, July 2000, S. 58–61. An interview with the maverick painter, animat- Highlights the computer animation film featuring or, and director of cutting-edge animated films the life of celebrity James Brown in Seattle, such as Fritz the Cat (1972) and American Pop Washington. Inclusion of the film in the collec- (1981)—films that made Bakshi a player in the tion of Paul Allen’s Experience Music Project counterculture and in popular music (Abstract by museum; Plot of the film; Animation techniques J.L. Oakes). used by film creator Digital Domain; Use of Reinsch, Paul N.: At Least Half the Picture: Sound complex deformation tools. and Narration in the Postwar/Pre-Dolby American Robertson, Barbara: Crowding In. In: Computer Film. Ph.D. thesis, Los Angeles, CA: University of Graphics World 32,11, Nov. 2009, S. 30–34. Southern California 2008, 400 S.; URL:
first time, specific examples of animated music logical sense. American film music has exerted a from the work of Norman McLaren, Oskar Fi- gentle but consistent influence on Japanese com- schinger, Rudolph Pfenninger, and several film- posers, many of whom admire Hollywood makers in Russia, this thesis enumerates the soundtracks and find them extremely effective techniques used in animated sound. It also ex- (Senju, 2012; Kuriyama, interview, 2012). In re- plores the process of its creation, adaptation, and sponse to this influence, in the past thirty years decline. In doing so, it reveals an important many Japanese film scores, not just Hisaishi’s, chapter in the little-known early history of mod- have drifted towards a Hollywood style of scor- ern synthesized sound alongside the futuristic ing. At the same time, Japanese anime has, since musical ideas it both answered and inspired. its first flowering in the 1960s, been desired by Americans: first by industry who attempted, and Rodriguez, Jose: Music of the Animated Pictures: failed, to market it to television audiences in the Will “Cartoon” Films Have a Place in Music Educa- 1960s and 70s; then by fans who imported VHS tion? In: Music Educators Journal 32, Apr. 1946, S. tapes and subtitled shows themselves, often at 18–19. extraordinary cost; and now again by industry Roedder, Alexandra Christina: “Japanamerica” or with the signing of the global distribution agree- “Amerijapan”? Globalization, Localization, and the ment between Hayao Miyazaki’s Studio Ghibli Film Scoring Practices of Joe Hisaishi. Los Ange- and the Walt Disney Company in 1998. Each of les, CA: University of California, Los Angeles 2013, these elements of soft power have been a factor xii, 331 S. in the growing globalization of film music. Hisa- ishi’s scores for Miyazaki’s films serve as an ex- Between 1984 and 2013, Japanese film compos- cellent case study of transnational cultural flows. er Joe Hisaishi (b. 1950) has scored ten feature- I combine close analysis of each film with field- length animated films for one of Japan’s most re- work, including interviews with Hisaishi and spected animators, Hayao Miyazaki (b. 1941). In several of his contemporaries, to trace the evolu- those forty years, while many of the basic ele- tion of what I believe to be the end of national ments of his style did not change, his film scor- film music styles. ing practices in terms of placement, timing, and Roger, N.: Le montage sonore et l’animation ou “j’ai audiovisual synchronization underwent a dramat- ic shift away from a historically Japanese prac- même fait des rires de pingouins”. In: Copie Zéro tice to a historically American one. Historically, 14, 1982, S. 21. Japanese anime music comes from a production On the importance of music and editing for the model wherein music is written prior to anima- animated film. tion and added in later. This, and the love of si- lence that many major Japanese film directors Rogers, Holly: The Musical Script: Norman McLa- seem to possess has led to a generally asynchron- ren, Animated Sound, and Audiovisuality. In: Anim- ous, sparse scoring practice. In Hisaishi’s case, ation Journal 22, 2014, S. 68–84. this meant long, unbroken melodies usually test- Rubinštejn, Il’ja Borisovič: Muzyka v kino. In: Mi- ed on each film’s pre-release “image album,” rovaja chudožestvennaja kul’tura XX veka: Kino, te- and then modified somewhat for the film sound- atr, muzyka. Moskva: Piter 2008, 390–426. (Mirova- track. American film scoring, in contrast, has ja hudožestvennaja kul’tura.). historically been tightly bound to the visuals, subservient to narrative and dialogue, and fre- [Music in film.] – Discusses the film music of quently highly synchronized, to the extent that Hollywood and European cinematography in the the term “mickey-mousing” has emerged as a de- second half of the 20th c. and in animated films. scription of film music which matches isochroni- The music of Russian cinema is examined with cally and isomorphically both the timing and examples of scores by Prokof’ev, Šostakovič, shape of the actions on screen. To understand and Artem’ev (Abstract by M. Kamankina). and explain this change, I explore Hisaishi’s body of work for Miyazaki within a framework Russett, Robert: Animated Sound and Beyond. In: of soft power and evolutionary constraints, posit- American Music: A Quarterly Journal Devoted to ing each new film score as the result of specific, All Aspects of American Music and Music in Ameri- if unknown, influences. Because film composers ca 22,1, Spring 2004, S. 110–121. write their music “to order” (Akira Senju, inter- Focuses on the development of a holistic audio- view, 2012), each project is dependent upon the visual approach to film that began about 1930 success of the last, and composers are constantly and that is now being explored with a new range learning what tactics and practices lead to con- of strategies and technologies. Developed during tinuing work: cultural evolution in the non-teleo- the era of experimental animation and labeled Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 42
sound by Canadian Film board animator Norman script that identifies the movements involved in McLaren, it is now being expanded upon by a the performance and their timing, the user can new breed of artists that are using dynamic digit- control the animation of characters easily. An- al media. Their high-tech works, which have a other unique feature of the system is its ability to fine-arts lineage, offer a fresh alternative to con- incorporate multiple characters into the same ventional motion pictures that could broaden the animation, both with synchronized and unsyn- way we think about art, entertainment, and the chronized movements. A system that integrates communication environment that lies ahead. Celtic dance movements is developed in this pa- per. An evaluation of the results shows that the Safiullina, Lilija Garifullovna: Utopičeskij i antiuto- majority of animations are found to be appealing pičeskij diskursy v animacionnych versijach simfo- to viewers and that altering the music can change ničeskoj skazki «Petja i Volk» S. Prokof’eva. In: Fi- the attractiveness of the final result. lologija i kul’tura / Philology and Culture 3 (29), 2012, S. 187–194; URL: Sauer, Danielle / Yang, Yee-hong: Music-Driven
[Musical animation: Opera and ballet.] – Ad- epic theater. In an alliance with jazz, they un- dresses the problems of the genre of the musical masked hidden aspects of society and its techno- theater on screen. Animation opera and ballet logical marvels in a questioning, revealing, and presuppose a new type of hero, the introduction confrontational manner. The article takes a phe- of spoken scenes, consciousness of musical ma- nomenological letterbox approach to the period. terial, and other characteristic features. Examin- Three case studies of early animation and jazz, ed are the works of Walt Disney, Nataliâ Dabiža, Felix the Cat, Mickey Mouse, and Betty Boop, Ivan Ivanov-Vano and other directors. The genre are employed to demonstrate a distinctive collab- of animation opera includes not only the tran- oration between the visual and sonic. The article scriptions of famous compositions of musical argues that the comparatively marginalized posi- theater, but also many original works created for tion of two improvised forms allowed for the de- the screen. velopment of a critical artistic movement identi- fied by the Frankfurt School. In particular, Wal- Sevast’janova, Svetlana Stepanovna: Mjuzikl v ter Benjamin and Theodor Adorno recognized mul’tiplikacii. In: Dialogičeskoe prostranstvo muzy- that popular or low art was not merely a reflec- ki v menjajuščemsja mire: sbornik po materialam tion of economic life but constituted a conscious, Meždunarodnoj naučno-praktičeskoj konferencii, active force for change. The subterranean and of- 20–22 nojabrja 2009 g. Saratovskaja gos. konserva- ten subversive values of the animation–jazz alli- torija im. L. V. Sobinova. [Red.: O. B. Krasnova.] ance were quickly recuperated, but for a limited Saratov: Saratovskaja Gosudarstvennaja Konserva- period offered a resistance that ran counter to es- torija im. L. V. Sobitova 2009, S. 287–292. tablished taste and the bourgeois appropriation of high art. [Musical in Animation.] – Considers animated musical as a separate genre of musical theater on Shiratori, Takaaki / Nakazawa, Atsushi / Ikeuchi, screen, combining the rules of musical drama- Katsushi: Dancing‐‐ to Music Character Animation. turgy with means of expression of visual screen In: Computer Graphics Forum 25,3, 2006, S. 449- art. The Russian animated musicals are examin- 458; URL: ed.
Attractions. M.A. thesis, Boulder, CO: University of gers University Press 1993, xvi, 216 S. (Communi- Colorado at Boulder 2011, 120 S. cations, Media, and Culture.) Abstract in: Masters Abstracts International 49, Rez. (Hastings, A. Walter) in: Lion and the Uni- 6, Dec. 2011. corn 20,2, 1996, S. 264–271. This thesis explores the ways in which early Rez. (McEachern, Robert W.) in: Journal of sound animation, from approximately 1928 to Popular Culture 29,4, 1996, S. 253–254. 1937, can be seen in relation to Tom Gunning’s Rez. (Ohmer, Susan) in: Film History 6,3, 1994, theory of “The Cinema of Attractions.” “The S. 405–408. Cinema of Attractions” argues that film before 1906 was focused on display rather than storytel- Rez. (Sharman, Leslie Felperin): Toon Culture. ling. But, after that point Gunning argues that the In: Sight & Sound NS 4,1, Jan. 1994, S. 38. “cinema of narrative integration” takes over, and Rez. (Shull, Michael S.) in: Historical Journal of bourgeois didacticism becomes the primary force Film, Radio and Television NS 14,1, 1994, S. in filmmaking. This period of animation also fo- 101–102. cuses on display and spectacle in lieu of classical narrative, and this can be seen through four com- Rez. (Wolf, Mark J. P.) in: Film Quarterly 50,1, ponents: original attractions, rubber hose anima- Fall 1996, S. 35–37. tion, animals, and sound. However, similar to the Steyn, Mark: MIA: Great Simpsons Musical Joke. process that happened in early cinema, the anim- ation studios moved toward narrative integration In: Maclean’s 120,33, 27.8.2007, S. 52–53. in the mid–1930s, and realism and storytelling This article offers a review of the music in The became goals. The cinema of attractions does not Simpsons Movie. completely disappear in animation after this point; it continues today in various forms. Strauss, Neil: Tunes for Tunes: A Cartoon Music Primer. In: The Cartoon Music Book. Ed. by Daniel Sickels, Robert C.: Steamboat Willie and the Seven Goldmark & Yuval Taylor. Chicago, IL: A Cappella Dwarves: The Disney Blueprint for Sound and Mu- Books 2002, S. 5–13. sic in Animated Films. In: Sound and Music in Film and Visual Media: An Overview. Ed. by Graeme Sullivan, Jack: New World Symphonies: How Ameri- Harper, Ruth Doughty & Jochen Eisentraut. London/ can Culture Changed European Music. New Haven/ New York: Continuum 2009, S. 602–611. London: Yale University Press 1999, xix, 262 S. Steamboat Willie (1928) was the first sound Darin v.a.: 6. Broadway, Hollywood, and the Ac- animated short film, and Snow White and the Se- cidental Beauties of Silly Songs (S. 161–190). ven Dwarves (1937) was the first sound animat- Taylor, K. Vivian: Nationality, Gender, and Genre: ed feature-length film, and both are credited to The Multiple Marginalization of Lotte Reiniger and Walt Disney. The significance of being first is “The Adventures of Prince Achmed” (1926). Ph.D. secondary to the fact that the way they both use thesis, Tampa, FL: University of South Florida sound and music has remained basically un- 2011, [iii], vii, 150 S.; URL: changed since these films appeared. They estab- lished a sort of blueprint in their integration of
tions of disciplinary divides and to unify the sci- The author, a sound designer, describes the pro- ences and humanities. However, the origins of cess of creating the sound scores for animated the animated feature film remain obscured. My films, and the similarity of some of these films to dissertation clarifies this obscurity by recovering feature-length films. Among the films discussed Lotte Reiniger, the inventor of the multiplane ca- are Robert Zemeckis’s The Polar Express, Henry mera and producer of the first animated feature Selick’s Coraline, and Brad Bird’s The Incred- film, The Adventures of Prince Achmed (1926). ibles. Tchamkerten, Jacques: De Frans Masereel à Arthur Thomson, Virgil: Fantasia. In: The New York Herald Honegger, ou comment “l’Idée” devient musique. Tribune (14.11.1940). In: Arthur Honegger: Werk und Rezeption. Hrsg. v. Nachdr. in: Ders.: The Musical Scene. New Peter Jost. Bern [u.a.]: Lang 2009, S. 229–251 (Pu- York: Knopf 1945; repr. 1969. blikationen der Schweizerischen Musikforschenden Gesellschaft. 49.). Nachdr. in: Ders.: Music Chronicles, 1940–1954. New York, NY: Library of America 2014, S. Mit L’Idée, einem bemerkenswerten Zeichen- 254–256. trickkurzfilm ohne Ton, konnte Arthur Honegger erstmals sein Ideal einer gegenseitigen Ergän- The author comments on the music in Walt Dis- zung von Film und Musik verwirklichen. Der ney’s animated classic film Fantasia, acknowl- Film basiert auf einer gleichnamigen Publikation edging that Stravinsky’s Rite of Spring survives des belgischen Malers und Graphikers Frans Ma- better than most of the other music in the film, sereel, die 83 Holzschnitte umfasst. Darin wird and highlighting the way that the music is inte- mit rein graphischen Mitteln das Schicksal einer grated with the visual :elements. He also recog- symbolischen Idee erzählt, die die etablierte Ord- nizes Leopold Stokowski for his efforts in learn- nung zu stören droht und von den Herrschenden ing about sound reproduction in film. mit Füßen getreten wird, sich aber mit den mo- Thomson, Virgil: More on Fantasia. In: The New dernen Kommunikationsmitteln ausbreitet und York Herald Tribune (29.12.1940). schließlich die Welt revolutioniert. Der tschechi- sche Regisseur Barthold Bartosch drehte den Nachdr. in: Ders.: Music Chronicles, 1940–1954. Film mit Masereels Hilfe zwischen Dezember New York, NY: Library of America 2014, S. 1930 und Januar 1932 mit extrem dürftigen tech- 887–891. nischen Mitteln. Als die Frage nach einer Film- [T]his essay examines some of the aesthetic con- musik akut wurde, wandte sich Masereel, nach- troversies surrounding the use of music in the dem zunächst Georges Auric in Erwägung gezo- Walt Disney animated film, Fantasia. gen worden war, an Honegger, mit dem er be- reits 1922 zusammengetroffen war. Nach dem Tobias, James S.: Music, Image, Gesture: The Briefwechsel Masereels mit seinem Freund Ge- Graphical Score and the Visual Representation of org Reinhart kamen beide Ende 1931 in Kontakt, Music in Cinema and Digital Media. Ph.D. thesis, und Honegger nahm das Angebot, die Filmmusik Los Angeles, CA: University of Southern California für L’Idée zu schreiben, sofort an. Aufgrund 2001, v, 339 S. zahlreicher Schwierigkeiten bezüglich des Bud- gets sowie des mit Arbeit überhäuften Zeitplans This study of music and musicality as represent- von Honegger konnte die Musik, die einen Mo- ed in audiovisual media proceeds as a compari- nat zuvor fertig gestellt worden war, erst im Juni son of musical design in cinematic forms and 1934 aufgenommen werden. new media forms, motivated by the cinema’s usefulness as the heretofore most thoroughly the- Tebbel, John Robert: Looney Tunester. In: Film orized object of analysis in studies of sound- Comment 285, Sept./Oct. 1992, S. 64–66. image relations. The notion of the graphical score as an organizational strategy for time- On the composer Carl Stalling and his work for based media is followed from cinema through in- the Disney animation film. teractive media, covering a roughly historical Thom, Randy: Notes on Sound Design in Contem- trajectory. Eisenstein’s graphical score for Alex- porary Animated Films. In: The Oxford Handbook ander Nevsky (1936) provides an example of the of New Audiovisual Aesthetics. Ed. by John Richard- theorization of sound-image relations according son, Claudia Gorbman & Carol Vernallis. New to a musical model. The synaesthetic world of York/Oxford: Oxford University Press 2013, S. visual music animation, as seen in the films of 227–232. (Oxford Handbooks in Music.). Oscar Fischinger, is contextualized against the graphical scores of Hans Richter and Ernst Bloch’s philosophy of musical carpet motifs. Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 46
Hanns Eisler’s challenge to the practice of close the narrative), the role of the film’s score in com- synchronization between sound and image is ex- municating the story of the film to the audience, amined in his film scoring practices, as applied how certain choices in scoring impacted the di- to his documentary film music, specifically A rection of the film’s narrative, and a short dis- Child Goes Forth (1941) and Night and Fog cussion of the major themes and musical motifs (1955). Jazz cinema and jazz visual culture of heard within the score (including its incorpora- the 1970s allow a comparison of mediation and tion of the Hejnal mariacki). performance between the recording industry and Tulk, Janice Esther: An Aesthetic of Ambiguity: the cinema, with attention to Larry Clark’s por- trayal of the recording struggles of Black jazz Musical Representation of Indigenous Peoples in improvisers in Passing Through (1976). Finally, Disney’s Brother Bear. In: Drawn to Sound: Anima- visual representations of music in interactive tion Film Music and Sonicity. Ed. by Rebecca Coyle. work accessed on the world wide web are con- London: Equinox / Oakville, CT: DBBC 2010, S. sidered against musical interfaces by Steina Va- 120–140. sulka in works of the 1980s and 1990s, where the Scrutinizes the world musics rendered for Dis- question of audiovisual isomorphics returns in a ney’s Brother Bear (Aaron Blaise and Robert new configuration of interactive performance. Walker, 2003) and describes the manner in The notion of the graphical score provides this which the music is ambiguous in its time and study of time-based audiovisual works with a cultural setting rather than being representative non-teleological theoretical arc and aims it at of specific indigenous peoples. further production and practice: all of these cul- tural productions can be understood as proto- Venžer [=Wenger], Natalija Jakovlevna: Kommuni- types for future reference, design, and develop- kativnye vozmožnosti mul’tiplikacii. In: Muzy XX ment. veka: Chudožestvennye problemy sredstv massovoj kommunikacii. [Otv. red.] Neja Markovna Zorkaja & Todaro, Sabrina: Il sodalizio Frattini-Bozzetto nel Jurij Aleksandrovič Bogomolov. Moskva: Iskusstvo cinema d’animazione: Tre brevi analisi. In: Civiltà 1978. musicale: Trimestrale di musica e cultura 19,51/52, Jan./Aug. 2004: “La musica nel cinema: Tematiche e [The communicative possibilities of animated metodi di ricerca”, S. 204–218. cartoons.] Discusses the collaboration of composer Roberto Verdonik, Maja: Maciej Ćwiek: “Stari dvorac”: Ani- Frattini and animator Bruno Bozzetto on To Bit mirani film inspiriran glazbom u nastavi medijske or Not to Bit, Mister Tao, and Cavallette. kulture. In: Theoria: Glasilo Hrvatskog Društva Tronerud, Nathanael D.: “Maly Trębacz”: An Ori- Glazbenih Teoretičara 6, Sept. 2004, S. 10–11. ginal Score for a Short Animated Film. M.A. thesis, Analysis of the 1992 animation “Stary zamek”, Long Beach, CA: California State University, Long written, directed, and designed by the Polish di- Beach 2013, 74 S. rector Maciej Ćwiek. The film, inspired by Mu- sorgskij’s movement from “Kartinki s vystavki”, Abstract in Masters Abstracts International 52,3, is suitable visualizatin of musical form in the June 2014. second grade of the elementary school. [Musik für Monica Kozlowskis Honors Thesis Veselinović-Hofman, Mirjana: Crtani film kao mo- (2012) an der California State University, Long gući vid propagandnog delovađa muzike, iz vizure Beach: Illustration: Maly Trębacz (The Little Voјislava Vučkovića. In: Prag i studenti kompozici- Trumpeter): Creating a Polish-Style Animation for an American Audience.] – This project report je iz Kraljevine Jugoslavije: Povodom 100–godišnji- will provide a description and analysis of the ori- ce rođenja Stanojla Rajičića i Vojislava Vučkovića. / ginal musical score, as composed and arranged Prague and the Students of Composition from the by the author, for the short animated film Maly Kingdom of Yugoslavia: On the occasion of 100 Trębacz, which was produced in collaboration years anniversary of Stanojlo Rajičić’s and Vojislav with the film’s director, Monica Kozlowski. It Vučković’s birth. Rajičić & Vučković Memorial Vol- will detail the process of the music’s composi- ume. Uredile Mirjana Veselinović-Hofman & Melita tion, including those decisions which were made Milin. Beograd: Muzikološko Društvo Srbije / Sig- whilst scoring the picture, the reasons and justi- nature 2010, S. 89–110. fications for so doing, a scene-by-scene analysis [Animated film as a possible form of the propa- of the film and accompanying music, back- gandistic effects of music, considered from the ground information concerning the film’s origins perspective of Vojislav Vučković.] – In his doc- and influences (including the historical origins of toral dissertation Muzika kao sredstvo propagan- Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 47 de (Music as a means of propaganda), presented may and should be shaped through the most re- at the Univerzita Karlova in Prague at the begin- cent compositional means of ‘good modern mu- ning of 1934, Vojislav Vučković (1910–42), a sic’. This stance of Vučković implies some the- distinguished Serbian composer, devoted a brief oretical issues that do not in fact belong to his chapter entitled ‘New forms of determining the strict sociological system, but bear the latencies place of music in society’ to artistic genres that of a phenomenological nature, anchored in the are among the most appropriate ones to be ap- way of thinking which points to the latent pre- plied as means of the social use of (modern) mu- sence of a semiological model, as well as a sic. These are chamber opera, Zeitstück-revue structuralist one in the aspect of the theory of and animated film. Although Vučković’s theoret- ideology. Therefore, here, it has to do with the ical view represents dogmatic ideology in many various theoretical potentialities of Vučković’s respects, it does not represent fanatic dogmatism. consideration of music, concentrated in and com- True, Vučković advocates the project of the prehended from his thoughts on animated film. It East-European labour movement between the is not an attempt to turn Vučković’s sociological two world wars, on the basis of the interpretation discourse into phenomenology, semiology or of Marxist theory which was characteristic of the structuralism, which, after all, would not always communist movement from the beginning of the be appropriate from the aspect of chronology it- 1930s, and in accordance with that he focuses es- self. pecially on questions of the social role and affir- Vičar, Jan: Václav Trojan. Praha: Panton 1989, 396 mation of predominantly music creativity. Al- though he develops his main thesis with the aim S. of rejecting all autonomous artistic tendencies as Václav Trojan komponierte u.a. Musik für Jiří being nonartistic, to deliberately neglect the au- Trnkas animierte Puppenfilme. tonomous logic of the development of expressive means of music, Vučković does not forget the Vičar, Jan: Václav Trojan’s Film Music. In: Musico- existence of a complex relationship between the logica: Acta Universitatis Palackianae Olomucen- social function of music and its inherent logic. sis, Facultas Philosophica: Philosophica-aesthetica This is particularly evident in his thoughts on 1,12, 1993, S. 65–77. animated film. As a specific formal and genre Václav Trojan (1907–83) wrote music for full- connection between the visual and the musical, length puppet films created by the sculptor Jiří animated film almost prevents the person who Trnka (1912–69), internationally known since investigates it from neglecting its structural as- 1946. Trojan’s music is neoclassic and uses an pect. Being an artist himself, Vučković was fully abundance of Czech folklore elements. His or- aware of that aspect and no matter how ideologi- chestration, rich in harmony and polyphony, cre- cally decisive his sociological position was, he ating an effect of a very personal realm of music, did not actually deny formal issues referring ei- resembles that of Ravel. ther to animated film or (its) music. It was as if the very genre of animated film represented the Vičar, Jan: The Film Music of Václav Trojan. In: subject of Vučković’s attention that simply Ders.: Imprints: Essays on Czech Music and Aes- forced him, albeit unintentionally, to highlight thetics. Olomouc: Univerzita Palackého / Praha: some thoughts that function inconspicuously TOGGA 2005, S. 37–49. within his theoretical system. And these are Václav Trojan komponierte u.a. Musik für Jiří included in his stance that animated film is an Trnkas animierte Puppenfilme. artistic genre within which an immediate rela- tionship is established between the unfolding of Vincentelli, Elisabeth: Merrie Melodies: Cartoon the animation and the music. That is due to a Music’s Contemporary Resurgence. In: The Cartoon particular analogy, which exists between the Music Book. Ed. by Daniel Goldmark & Yuval Tay- ‘line’ and the ‘music symbol’ as the basic con- lor. Chicago, IL: A Cappella Books 2002, S. 203– struction materials of the animated film and 206. music, respectively. From the angle of that analogy, the form of animated film and the Vivmenet, Pascal: Normand Roger: Composition et music shaping correspond directly. Consequent- écoute cinétiques. In: Cinémaction,51, 1989 (= Le ly, every content of a film story—and here Vuč- cinéma d’animation. Éd. par Pascal Vimenet & Mi- ković refers to an ideologically emphasized pro- chel Roudévitch), S. 188–193. paganda content—also becomes the content of a music story. In that way, music becomes a means Walsdorf, Hanna: Minutage und Mickey Mousing. of ideological propaganda, that is, it becomes so- Über das Verhältnis von Ballett- und Filmmusik am cially useful. Thereby, the very music substance Beispiel von Disney’s Fantasia (USA 1940). In: Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 48
Kieler Beiträge zur Filmmusikforschung, 3, 2009, S. Wright, Jean Ann / Lallo, M. J.: Voice-over for 34–45. Animation. Amsterdam/London: Elsevier/Morgan Kaufmann Publishers 2009, xvii, 263 S. + 1 sound Wells, Paul: The Animated Bestiary: Animals, Car- disc. (The Morgan Kaufmann Series in Interactive toons, and Culture. New Brunswick, NJ/London: 3D Technology.). Rutgers University Press, 2009, vii, 223 S. Voice Over for Animation takes animation and Cartoonists and animators have given animals voice-over students and professionals alike human characteristics for so long that audiences through the animated voice-over world. The are now accustomed to seeing Bugs Bunny sing- book provides information, exercises, and advice ing opera and Mickey Mouse walking his dog from professional voice-over artists. Now you Pluto. The Animated Bestiary critically evaluates can develop your own unique characters, and the depiction of animals in cartoons and anima- learn techniques to exercise your own voice gain tion more generally. Paul Wells argues that ar- the versatility you need to compete. You can also tists use animals to engage with issues that learn how to make a professional sounding demo would be more difficult to address directly be- CD, and find work in the field. The accompany- cause of political, religious, or social taboos. ing CD is professionally recorded, and features: Consequently, and principally through anthropo- scripts, Animation Talent Agent interviews, morphism, animation uses animals to play out a Casting Director interviews and Interviews with performance of gender, sex and sexuality, racial Animation Voice-Over Artists like Nancy Cart- and national traits, and shifting identity, often wright (Bart, The Simpsons) and Cathy Cavadini challenging how we think about ourselves. Wells (Blossom, Power Puff Girls) and Bill Farmer draws on a wide range of examples, from the ori- (Goofy). This is an invaluable resource for an- ginal King Kong to Nick Park’s Chicken Run to imators and voice-over artists. Disney cartoons such as Tarzan, The Jungle Book, and Brother Bear uto reflect on people by Wu, Yingju: Áoyóu zài měishùpiàn yīnyuè dì hǎi- looking at the ways in which they respond to ani- yáng zhōng: zuòqǔ jiā Wú Yīngjù zìzhuàn. In: mals in cartoons and films. Zhōngguó jìn xiàndài yīnyuè jiā chuán. Zhōngguó Wells, Paul: To Sonicity and Beyond! Gary Ryd- yìshù yán jiù yuàn yīnyuè yán jiū suǒ biān. [Ed. by] strom and Quilting the Pixar Sound. In: Animation Yansheng Xiang. 4 Vols. Shěnyáng: Chūnfēng Wén- Journal 17,1, 2009, S. 23–35. yì Chūbǎnshè 1994. Wells, Paul: Halas & Batchelor’s Sound Decisions: [Roaming in the sea of animated film music: An Musical Approaches in the British Context. In: autobiography of composer Wu Yingju.] Drawn to Sound: Animation Film Music and Sonici- Yamasaki, Aki: Cowboy Bebop: Corporate Strate- ty. Ed. by Rebecca Coyle. London: Equinox / Oak- gies for Animation Music Products in Japan. In: ville, CT: DBBC 2010, S. 40–59. Drawn to Sound: Animation Film Music and Sonici- Discusses long-form films (including the now- ty. Ed. by Rebecca Coyle. London: Equinox / Oak- famous Animal Farm [1954]) from the prolific ville, CT: DBBC 2010, S. 209–222. Halas and Batchelor studio by providing a na- Brings a media studies perspective to the music tional industrial context and showing how the products—including soundtrack, theme song, studio’s approach to animated musical forms and character song releases—associated with the offered a distinct form arising from the U.K. in television series and films. Yamasaki’s charac- the postwar period. terization of corporate strategies for animation Wennekes, Emile: Betty Meets Cab: The Hi-de-ho music in Japan shows how industry changes in the 1980s initiated new approaches to music gen- Man Animated. In: From Stage to Screen: Musical res and the marketing of animation CDs. Films in Europe and United States (1927–1961). Turnhout: Brepols 2012, S. 289–296. Zahed, Ramin: Brazilian rhapsody. Under the direc- tion of Carlos Saldanha, the team at Blue Sky de- Whitehead, Kevin: Carl Stalling, Improviser and Bill livers Rio, a visually stunning valentine to the birds, Lava, Acme Minimalist. In: The Cartoon Music the beauty and infectious music of Brazil. In: Anima- Book. Ed. by Daniel Goldmark & Yuval Taylor. tion Magazine 25,3, 2011, S.12–15. Chicago, IL: A Cappella Books 2002, S. 141–150. Zhivova, Angelina: ‘Chi fa cinema di animazione si Wondrich, David: I Love to Hear a Minstrel Band: può considerare un piccolo dio’: Censura e libertà Walt Disney’s The Band Concert. In: The Cartoon nel cinema di animazione sovietico. In: AAM-TAC: Music Book. Ed. by Daniel Goldmark & Yuval Tay- lor. Chicago, IL: A Cappella Books 2002, S. 67–72. Musik im Animationsfilm // Medienwissenschaft, 164, 2016 /// 49
Arts and Artifacts in Movie: Technology, Aesthetics, 1929, by Michail Cechanovskij), film directors Communication 10, 2013, S. 55–70. invited the collaboration of distinguished compo- sers. For many academic composers who were The rich history of Russian animation, spanning out of favor with the regime, work in the film in- over a hundred years, spanning over a 100 years, dustry was the only way to earn a living, gain is interesting not only from the point of view of access to listeners, and explore new creative ap- cinematography, but also as an illustration of the proaches. interactions between filmmakers and the Soviet regime. I examine animation as a space where censorship was less vigilant. Most notably, be- ginning with the first sound cartoon (Počta,