Issue3-Autumn2017
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ISSN 2515-981X Music on Screen From Cinema Screens to Touchscreens Part II Edited by Sarah Hall James B. Williams Musicology Research Issue 3 Autumn 2017 This page is left intentionally blank. ISSN 2515-981X Music on Screen From Cinema Screens to Touchscreens Part II Edited by Sarah Hall James B. Williams Musicology Research Issue 3 Autumn 2017 MusicologyResearch The New Generation of Research in Music Autumn 2017 © ISSN 2515-981X MusicologyResearch No part of this text, including its cover image, may be reproduced, transmitted, or utilized in any form by any electronic, mechanical, or others means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from MusicologyResearch and its contributors. MusicologyResearch offers a model whereby the authors retain the copyright of their contributions. Cover Image ‘Now’. Contemporary Abstract Painting, Acrylic, 2016. Used with permission by artist Elizabeth Chapman. © Elizabeth Chapman. http://melizabethchapman.artspan.com http://melizabethchapman.blogspot.co.uk Visit the MusicologyResearch website at http://www.musicologyresearch.co.uk for this issue http://www.musicologyresearch.co.uk/publications/julianahodkinson-creatingheadspace http://www.musicologyresearch.co.uk/publications/royaarab- howmenbecamethesoleadultdancingsingersiniranianfilms http://www.musicologyresearch.co.uk/publications/fernandobravo- neuralsystemsunderlyingmusicsaffectiveimpactinfilm http://www.musicologyresearch.co.uk/publications/enochjacobus-chooseyourownaudioventuresoundtrack http://www.musicologyresearch.co.uk/publications/emiliocascocenteno- silvestrerevueltasandthesoundsofidentityonthefilmscreenin1930smexico http://www.musicologyresearch.co.uk/publications/eliseplans-composerinyourpocket http://www.musicologyresearch.co.uk/publications/annabellelee-theclassicalmusicappmarket http://www.musicologyresearch.co.uk/publications/rupertloydell-kingsleymarshall-soundmirrors Full e-Journal PDF download: http://www.musicologyresearch.co.uk/publications/issue3-autumn2017 MusicologyResearch The New Generation of Research in Music Contents Acknowledgements Contributors Abstracts Editor’s Foreword 1 SARAH HALL 1 Neural Systems Underlying Music’s Affective Impact 5 in Film FERNANDO BRAVO 2 Sound Mirrors: Brian Eno and Touchscreen Generative 27 Music RUPERT LOYDELL AND KINGSLEY MARSHALL 3 Composer in Your Pocket: Procedural Music in 51 Mobile Devices ELISE PLANS 4 The Classical Music App Market 77 ANNABELLE LEE 5 How Men Became the Sole Adult Dancing Singers 97 in Iranian Films ROYA ARAB v 6 Silvestre Revueltas and the Sounds of Identity on The 123 Film Screen in 1930s Mexico EMILIO CASCO CENTENO 7 Choose Your Own Audio-venture: Soundtrack Choices 141 in Beat Hazard Ultra (2011) ENOCH JACOBUS 8 Creating Headspace: Digital Listening Spaces and 163 Evolving Subjectivities JULIANA HODKINSON Biographies 179 Contributor’s Review 187 Contributor’s Review 188 vi Acknowledgements I am extremely proud to present the second volume of this issue’s Call for Papers, which continues the theme of music on screen in its many forms. The quality of papers throughout both issues has been excellent, and it has been a pleasure to read each and every one. It has been a delight to work alongside James Williams for a second time, and I would like to begin by thanking him for his continuous support throughout the editing process. Furthermore, I would like to thank the reviewers for lending their valuable time, advice and expertise. Last but not least, I sincerely wish to thank every contributor for not only providing such a vast array of fascinating research topics, but also their shared enthusiasm and confidence in us and the bourgeoning success of Musicology Research. vii This page is left intentionally blank. viii Contributors ROYA ARAB is reading for an MPhil at City, University of London. FERNANDO BRAVO is a Post-doctoral Researcher, Technische Universität Dresden, and a Research Associate, University of Cambridge. EMILIO CASCO CENTENO is a PhD candidate at Royal Holloway, University of London. JULIANA HODKINSON is a Composer based in the UK. ENOCH JACOBUS is an Assistant Professor, Shorter University. ANNABELLE LEE is a PhD candidate at Royal Holloway, University of London. RUPERT LOYDELL is a Senior Lecturer at Falmouth University. KINGSLEY MARSHALL is a Senior Lecturer at Falmouth University. ELISE PLANS is a PhD candidate at Royal Holloway, University of London. ix This page is left intentionally blank. x Abstracts Arab How Men Became the Sole Adult Dancing Singers in Iranian Films This paper will chart changes in the use and presentation of music in Iranian films, with a focus on live musical performance in film (musicians seen within the narrative - diegetic), the female voice (diegetic and non-diegetic) and female and male dancing: their appearance, disappearance and re-emergence, set within the socio- political and economic context. The first Iranian sound film, in 1932, had a singing, dancing heroine. During the ensuing decades, music and dance featured prominently in films. After the multi-party revolution in 1978, the Islamic faction rose ferociously into the lead, any dissent waylaid by trench warfare laced with poisonous gases when Iraq attacked. The war weary country awoke to the remarkable and forceful influences of socio-religious modalities on all its life-ways. The arts were subjected to Islamic revolutionary cleansing as subject, image, context and text were edited with religious quill in hand. Music, its private and public consumption, production, presentation and performance were targeted. This hasn’t been a static or one dimensional landscape, the painting forever changes with the brush strokes of changing times and the artists’ palette that challenge, circumnavigate and take charge at various places, points and times - creating a dynamic and unique musical film voice. Taking a whistle stop journey through Iranian films since sound arrived we see how the lead female singing dancing ladies, accompanied by men from time to time, have now been xi exclusively replaced by men; females are only heard in chorus or singing ava, and whilst performance of musical instruments have made their way back into the cinema, since 1979 it has not been seen on television. A paradoxical situation triggered by the tastes and mores of those in power at any given time - reflecting the ongoing struggles between conservative and liberal religious factions within the ruling elite. Bravo Neural Systems Underlying Music’s Affective Impact in Film Music elicits distinct connotations, which are the outcome of associations made between its structural characteristics and different objects, concepts or states belonging to the extra-musical world. This connotative dimension of musical information has been frequently employed in film sound to influence the emotional comprehension of visual narratives. Film theorists have long acknowledged the affective function that music performs in film, and during the past two decades several empirical studies have shown that music does in fact exert a significant influence upon the perception and interpretation of visual information. However, so far, the precise neural underpinnings implicated during this processes still remain unexamined. The present paper summarises background theory and describes a pilot audiovisual experiment, which was designed to explore the neuro-cognitive systems underlying the spontaneous retrieval of music-evoked associations within the movie-viewing experience. The task requires participants to emotionally interpret ambiguous visual information biased by controlled musical cues. Situations that entail perceptual uncertainty rely on prior beliefs (i.e. memory systems) to inform our perception; consequently, they facilitate the use of methods that can illuminate the ways in which associations elicited by the music may influence the interpretation of the visual discourse. xii Casco Centeno Silvestre Revueltas and the Sounds of Identity on the Film Screen in 1930s Mexico The Mexican leading composer Silvestre Revueltas (1899-1940) left an original and significant impact on the music of 1930s Mexico. His friend and colleague Carlos Chávez (1899-1978), a key composer and promoter of avant-garde music in Mexico at that time, recognised the talent and work’s quality of Revueltas. The height of Revueltas’s career coincided with the development of sound film, where he knew to combine with his modernist style as well as his leftist and social ideology. The music of Revueltas evokes Mexico’s environment of the first half of the twentieth century, where socio-political and historical concerns are part of his discourse. From the perspective of artistic music, Revueltas’s participation is pioneering into an emerging film industry. He wrote original orchestral music for eight films between 1936 and 1940. For the purposes of this paper, Redes (The Wave, 1939) and La noche de los mayas (Night of the Mayas, 1939) are the more significant regarding their symbolic meaning. For example, scholars such as Jacqueline Ávila, Juan Arturo Brennan, Eduardo Contreras Soto, Roberto Kolb, Leonora Saavedra, or Julia Tuñón, among others, agree on the importance of these films. Thus, following the concept of culture semiosphere in Revueltas's music by R. Kolb, this paper seeks to discuss the contributions to the identity and modernist movement in the 1930s. In addition, the complexity and exciting culture