Music and the Moving Image XVI – REMOTE
DEPT. of MUSIC and PERFORMING ARTS PROFESSIONS Program in Screen Scoring
MAY 28 – MAY 31, 2020 Conference Committee Gillian B. Anderson, John Covach, Kate Galloway, Daniel Goldmark, Ronald H. Sadoff, Jessica Shine
REGISTRATION ONLINE
WEBSITE https://sites.google.com/nyu.edu/mami-2020
(Optional) Wednesday, May 27th, 1:00-3:00 pm
Remote Conference Workshop, technical preparation, and Q&A
(Optional) Wednesday, May 27th, 3:00-6:00 pm
Test and individualized support session Thursday, May 28, 1:00-2:30 pm
Welcome: Ron Sadoff and Gillian Anderson
Blake Neely, Keynote
Scoring Television: The New Golden Age in Streaming Media
Thursday, May 28, 2020 3:00-4:30 pm
2. Chair: Ron Sadoff 3. Chair: John Covach 4. Chair: Robynn Stilwell 5. Chair: Nathan Platte
Daniel Batchelder Lisa Coulthard and Lindsay Steenberg Claudia Lonkin “You Made Me Love You:” Judy Sonic Showdowns: Music and Fighting in “The Beatification of the Beat:” Hubert Ho Garland and the Performance of the John Wick Franchise Soundtrack and Documentary in 24 Cells, Fluids, and Visual Musics: Playing Sincerity Hour Party People the Picture at the 21st Century Planetarium
Jonathan Minnick Aaron Price Hannah Blanchette Gabrielle Berry Jerry Goldsmith Goes to Space: Avant From Grinding to Grooving: An “Blurring the Lines Between Real and Listening Through the Vibrations: Haptic Garde Film Scores and Landscape in Investigation of Motoi Sakuraba's RPG the Fake”: Lana Del Rey’s National Musical Experiences in Baby Driver Planet of the Apes (1968) and Alien Combat Music Anthem and Youth Disillusionment with (2017) (1979) the American Dream
Noah Balamucki John O’Flynn Kelly Cole Steven Janisse The General in Winter: Characterization Orchestral Scoring and Recording for TV Surprising, New Emotions: Female “Every Damn Song Is About You”: through Themes and Contrasts in Jerry and Film in Ireland - From the 1960s to Narrative in Paolo Sorrentino’s Youth Constructing Meaning with Sound and Goldsmith’s score for Patton the Early Twenty-First Century Songs in Baby Driver Thursday, May 28, 2020 5:00-6:00 pm
6. Chair: Claudia Gorbman 7. Chair: Gillian Anderson 8. Chair: Rebecca Fülöp 9. Chair: Jessica Shine
Kevin Bozelka K. E. Goldschmitt Brent Yorgason James Deaville Synchronization Rights and the Curating a Continent for Disney: Resurrecting Kong: Challenges in the Television, Music, Race, and the Disabled Dramatic Nature of Song in Hollywood Afropop, Cultural Intermediation, and the Live Performance of Classic Hollywood City: Sounding Trauma and Restoration in Cinema: Lawrence Hirsch v Twentieth Corporate Compilation Soundtrack Film Scores the New Orleans of Treme Century Fox (1945) Jeff Lyon Toby Huelin James Buhler Megan Sarno Partners in Crime: Max Steiner’s ‘Whirlwind Strings and Punchy Brass Music, Digital Audio, Labor Fantasia and the New Themes for The Letter and The Fanfares': Library Music and its Use in Unfaithful British Travel Television
Andrew Callaghan The Sonorous Mould: Indexicality, Inaudibility and Truth-claims in Hildur Guðnadóttir’s score for Chernobyl
Friday, May 29, 2020 1:00-2:30 pm
10. Chair: Daniel Batchelder 11. Chair: Katherine Spring 12. Chair: John Covach 13. Chair: Jessica Shine
Caitlan Truelove Tobias Pontara Nathan Platte Dorian Mueller
“Oh, Great, Another Musical Number!”: Performance, Perfectionism, Power: West Side Story (1961) and Robert Wise “Cue the Punch in the Gut: Music and the Determining Disney’s Self-Parody in Critical dialogues with Classical Music Projection of Complex Emotion in Galavant (2015- 2016) and Enchanted Culture in Grand Piano (2013), The Jessica Getman Dramatic Plot Reveals (2007) Violin Player (2018) and The Perfection Power, Nostalgia, and the TV Musical in (2019) The Magicians (2015-–) Jingyi Zhang James McGlynn Jordan Stokes On and Beyond Mickey-Mousing: Nick Carraway, Kanye and ‘Dubious “This is what Garbage Utopia feels like.” Revisiting Yuan Muzhi’s City Scenes Descendants of Beethoven’: Narrative Jiadi Jiang Crazy Ex-Girlfriend vs. Richard Dyer’s (1935) Functions of Rearrangement in Baz Musical Numbers for the Revolution Showbiz Luhrmann’s The Great Gatsby (2013) James Peter Moffatt Megan Murph Daredevil (2003) vs Daredevil (2015): Robynn Stilwell Sonic Bias and Ecological Idealism in Daredevil, Netflix and the Changing Theatricality, Artifice, and Affective Commercials from the Digital Age Aesthetics of ‘Film’ Music Space in the Films of Baz Luhrmann
Friday, May 29, 2020 3:00-4:30 pm
14. Chair: Katherine Spring 15. Chair: John Covach 16. Chair: Jessica Shine 17. Chair: Ron Sadoff
Christopher Greene Noah Horowitz Ryan O’Dell Enoch Jacobus Musical and Narrative Transformation Hans Zimmer’s Sherlock Holmes: A Analyzing Narrative Moments Across Crossing the Diegetic Divide with Linkage in Nier and Nier: Automata Model for Leitmotivic Structure in the Media: The Plunge Technique in Batman: Arkham Knight Non-Linear Era
Terrence Martin Stefan Swanson Christine Gengaro Anne Lake Hyper Light Drifter’s Warped Medium Cleaning Up the ‘Mess’: Black Hawk Development of A General Education Batman and the American Identity Crisis Down (2001), Alan Meyerson, and Film Music Appreciation Course: Case Timeline Layer Analysis Studies and Questions
Jacob Hart Michael Baumgartner Landon Palmer Jon-Luke Martin Identifying Gestural Vocabulary in Paraphrases of Genre Film Music in Jean- What Was the Motown Soundtrack? The Friendly Neighborhood Superhero: An Video Games Through Audio Corpus Luc Godard’s 1960s Cinema Analysis of the Spider-Man Theme in the Manipulation. Marvel Cinematic Universe
Friday, May 29, 2020 5:00-6:30 pm
18. Chair: James Deaville 19. Chair: Michael Baumgartner 20. Chair: Robynn Stilwell 21. Chair: Jessica Getman
Alan Elkins Henry Balme Larissa A. Irizarry William Ayers Musical Form and Gameplay Context in Altered States of Consciousness in the Alter Egos: Janelle Monáe’s Negotiation Music without the Moving Image: The the Japanese Role- Playing Game Abstract Films of of Bodily Sovereignty Soundtrack for Star Wars: Shadows of the Jordan Belson and James Whitney Empire Per Broman Stefan Greenfield-Casas Dissolving the Boundaries between Art John Covach Meredith Ward Uematsu’s Postgame: The Music of and Artist: The Dying Franz Schubert in Disruptive Intertextuality: Yes, King Listening to Toto in Virtual Space: Music Final Fantasy in the Concert Hall Ingmar Bergman’s In the Presence of a Crimson, and the Score for Vincent and Loneliness in YouTube ‘Atmospheric’ Clown. Gallo’s Buffalo ‘66 Video Culture Andrew Powell Richard Piatak What's "of" got to do with it? ‘"Saint George for England, and [Queer] Anyanwu Obumneke Stellam Structuralism, Functionalism, and Video Edward’s Right!"’: Music, Anachronism, Technology in Film Music Production of Game Diegesis and OutRage! in Derek Jarman’s Edward New Nollywood II (1991) Saturday, May 30, 2020 1:00-2:30 pm
22. Chair: James Deaville 23. Chair: Ron Sadoff 24. Chair: Gillian Anderson 25. Chair: Claudia Gorbman
Costantino Oliva Sergi Casanelles Jonny Best Jaclyn Howerton Exploring Musical Situations in Digital Spectral Transformation in Drones as a The Improvisational Practices of Early The Flemish Farm – Transnationalism, Games Harmonic Device in Mr. Robot’s Score Twentieth-Century ‘Silent’ Film Piano Propaganda, and the Film Music of Ralph Accompanists Vaughan Williams Sara Bowden Frank Lehman (Re)Playing for a Happy Ending: The Highway Hypnogogia: Sound and Music Julie Brown Associative Power of Music in Black for the Lynchian Drive Britain’s Rothafel? Walter F. Wanger in Mirror’s Bandersnatch the UK, 1921-24 Dave Ireland Marcos Acevedo-Arús Charles Leinberger Barbara Carvalho ‘The music shouldn’t acknowledge any of What a Thrill': Opening Theme as Somewhere between Modality and Composing a Nation through “Typically the jokes’: Audiovisual Incongruence and Narrative in Metal Gear Solid 3: Atonality: The Superset and Subset Portuguese” ‘Silent’ Film the Functions of Music in Dark Comedy Snake Eater Tetrachords in Ennio Morricone’s Score Films for Disclosure
Saturday, May 30, 2020, 3:00-4:30 pm
26. Chair: Gillian Anderson 27. Chair: Ron Sadoff 28. Chair: Julie Brown 29. Chair: Dave Ireland
Kate Galloway Elsie Walker Alexander Binns Beth Levy Duck, Duck, Goose: Gameplay, Animal Listening to BlacKkKlansman: Life 24x a Tokyo Sounds: Scoring the City’s Timing Is Everything: Musical Humor and (Un)Musicality, and Avatar Companion Second Changing Identity the Marx Brothers Species
Richard Anatone Danijela Kulezic-Wilson Randolph Jordan Christopher Smith Rethinking the Idée Fixe and Leitmotif Sonic Demons in Robert Eggers’ The Bell Tower of False Creek: Urban Sound Dancing Revolution: Subaltern Dance in in Role-Playing Games: A New Lighthouse (2019) and the Masking of Indigenous the Marx Brothers’ A Day at The Races Methodology of Interpretation and Sovereignty under Vancouver’s Burrard (1937) Analysis Bridge
Morgan Patrick Chelsea Oden Lisa Scoggin Oren Vinogradov Bootstrapping the Leitmotif: How Sinews and Ephemera in the Benevolent A New York State of Mind: Fleischer The Way You Look Tonight: Fred Astaire Narrative Film Composers Foster Sublime Studios' Screen Songs as Misremembered and the Crisis of Thematic Category Learning in Real Representations of New York City #menswear Masculinity Time Saturday, May 30, 2020, 5:00-6:30
30. Chair: Frank Lehman 31. Chair: Elsie Walker 32. Chair: Gillian Anderson 33. Chair: Gillian Anderson
Kent Kercher Kirsten Westerman Phillip Johnston James Gabrillo Limitations & Functionalities: The ‘Music to drown by...Now I know I’m in Cartoon Music of the Moment: Scoring Imagined Spaces: Song-and-Dance Game Music Handbook’s Look at Codes first class’: Sonic Spaces and the Collapse Harry Julius’ WWI Australian Sequences in Philippine Cinema and Semiotics in Music for Video of Social Structure in James Horner’s Propaganda Films in 2020 Games: Part One Score for Titanic. Jonas Kucharsky Noah Kellman James Wierzbicki Mary Simonson Remembering the future: rediscovering the Limitations & Functionalities: The Musical Cues and Musical Clues in Early “Orchestra by Radio”: Film Presentation soundtracks of Zdeněk Liška Game Music Handbook’s Look at Codes Hitchcock and Wireless Technology in the 1920s and Semiotics in Music for Video Grant Woods Games: Part Two Eric McKee Adventure, Intrigue, and Terror: Arabs and Loving out Loud: Romantic Coupling in the Middle East in Hollywood Film Music Early Sound Films (1928-1933)
Sunday, May 31, 2020 1:00-2:30 pm
34. Chair: Rebecca Fülöp 35. Chair: Reba Wissner 36. Chair: Katherine Spring 37. Chair: Katie Reed
Kevin Donnelly Violetta rosen Jeremy Grall Nicholas Kmet The Horrors of Supernatural Sound Paweł Szymański's "Contrapuntal" Film Narrative Agency in Daniel Hart’s Reconstructing the Score: A Method for Music (original scores and pre-existing Musical Score to A Ghost Story Determining the Impact of Music Editors concert works) Kristin Force Yayoi Everett Joseph Ovalle Moving Away from Horror Music Stephanie Venturino Narrative Agencies in Annie Proulx and Touching, Discovering You: Depictions is Clichés: An Analysis of Themes and Hearing Aaron Copland’s Music for Our Charles Wuorinen’s The Brokeback Queerness, Intimacy, and Sexuality in Techniques in Benjamin Wallfisch’s Town Cinematically Mountain (2014) Betty Who’s, “Human Touch”, “Taste”, Score for It (2017) and “I Love You Always Forever. Samuel Longo-Capobianco Aaron Berkson Jonathan Waxman The Menace of Modernity: Music in Two The Past, Present, and Future of A Swirling Vortex of Incessant Sound:” Films from Early Postwar South Korea Immersive Music: A Survey of Key Reassessing the Score to Manos: The Developments from Gabrieli Hands of Fate to Virtual Reality Sunday, May 31, 2020, 3:00-4:30 pm
39. Chair: Gillian Anderson 40. Chair: Jessica Shine 41. Chair: James Wierzbicki 42. Chair: KE Goldschmitt
Grace Edgar Tianfang Lin Johanna Ethnersson Pontara Holly Tumblin. “’They’ll Always Remember the Same Song, Different Film Opera in/and Film: The Utopian Ideals I Am the Goddess: Empowered Maverick Queen’: Narrating Western of Opera in Contemporary Cinema Femininity in a Bachata Music Video Women in the Theme Score Kate McQuiston Tanner Cassidy Isaac Page. Rachel Wilson Cota “Beautiful”: Unfolding the Map of Musical Topics and Cultural Trauma in Someday We'll Find It: Diegetic Angela Morley: Composer-as-Avatar in Hybrid Song in Michel Gondry’s Microbe Akira Ifukube’s Score for Gojira (1954) Ambiguity in The Muppet Movie (1979) Kehaar’s Theme et Gasoil (2015)
Benjamin Coghan Stephanie Ruozzo Janice Dickensheets Challenging Narrative and Spectacle: Symptomatic Singing: The Rehabilitation Uncovering the Musical Tapestries in Orders of Time and the “Non- Singing of the Medical Musical Episode Lord of the Rings and The Hobbit Film Musical”
Sunday, May 31, 2020, 5:00-6:00 pm
43. Chair: Mary Simonson 44. Chair: Gillian Anderson 45. Chair: Lisa Coulthard 46. Chair: Ron Sadoff
Samantha Jones Alyssa Michaud Jessica Shine Pheaross Graham Sounding Tap on Film: Dubbing, Holographic Pop Stars: On Screen, On “He has music in him” – Musical Don Shirley, Green Book Piano Style, and Direct-Recording and Aesthetics of Stage Moments and Corporeality in Joker Middlebrow Pianism Authenticity (2019) Reba Wissner Kara Yoo Leaman Katherine Reed Kristy Swift Immoral Music: Private Property (1960), Swingin’ Bach in Ballet: Musical and “Keep Your ‘Lectric Eye on Me, Babe”: “Giving Voice to the Voiceless”: Hildur Ethical Condemnation, and the National Visual Rhythms in Balanchine’s Video and the Development of the Pop Guðnadóttir’s “Bathroom Dance” as Legion of Decency Concerto Barocco (1941 Star Touring Show Sonic Trans-diegetic Bridge in Joker http://www.filmmusicfoundation.org We appreciate the generous support of scholarships provided by the FILM MUSIC FOUNDATION (FMF), a nonprofit California Public Benefit Corporation, that promotes appreciation of the art and craft of film music through education, filmed interviews, scholarly research and writing, and film scoring workshops for students.
DEPARTMENT OF MUSIC PERFORMING ARTS PROFESSIONS NYU Steinhardt’s Department of Music and Performing Arts Professions was established in 1925. Since that time, Steinhardt Music and Performing Arts Professions has functioned as NYU's "school" of music and developed into a major research and practice center in music technology, music business, music composition, film scoring, music performance practices, performing arts therapies, and the performing arts-in-education (music, dance, and drama). Today, 1,500 students majoring in renowned programs- baccalaureate through Ph.D.- are guided by more than 400 faculty who share The Steinhardt School’s spirit of openness and innovation. Faculty include international performing and recording artists, music business and technology leaders while others sit on leading journal editorial boards and publish some of the most significant music technology and performing arts research on the scene today. This depth and breadth of resources offers unparalleled opportunities for artistic, professional, and scholarly growth.
We recognize that in addition to substantial training in individual specializations, our graduates require multiple skills. To that end we encourage students to benefit from rich and varied courses throughout The Steinhardt School and the University. In addition, our campus is surrounded by and blends into the world’s capital and epicenter of the performing arts, New York City. Alumni have major performing careers and coveted professional positions in the music industry and in universities throughout the world. Prominent alumni include: jazz great Wayne Shorter, multiple Tony and Grammy Award winning music theatre composer and songwriter Cy Coleman, multiple Tony and Grammy Award winning lyricist Betty Comden, multiple Oscar winning film composer Elmer Bernstein, and Tony Award, Oscar and Pulitzer Prize-winning playwright and film writer John Patrick Shanley.
- Dr. Ronald H. Sadoff, Director