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

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

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

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

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

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

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

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

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

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

Achmetšin, Ilmir Azatovič: Muzykal’nyj mini- malizm v sovremennom amerikanskom nezavi- Aguilera, Christian: John Williams: sinfonías de simom kinematografe [Ахметшин, Ильмир un nuevo mundo. Madrid: T&B Editores, 2018, Азатович: Музыкальный минимализм в сов- 325 S. ременном американском независимом кине- Considerado de manera unánime uno de los матографе]. [M.A.-Arbeit], Sankt-Peterburg: más importantes compositores de la Historia Sankt-Peterburgskij Gosudarstvennyj Univer- del cine, John Towner Williams se mantiene sitet, Magisterskaja programma «Muzykal'naja en activo cuando cumple en 2018 su 60 ani- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 4

versario en el mundo del Séptimo Arte. Aso- 39,1, Febr. 2016, S. 173–181. ciado a algunas de las películas más populares del cine contemporáneo (la saga de Star Wars, las tres primeras producciones de la saga Ha- Alfieri, Gabe C.: From “Trivial Little Comedy” rry Potter, El coloso en llamas, Tiburón, Super- to “legitimate Magic”: Music and the Making man, Encuentros en la Tercera Fase y un largo of The Glass Menagerie. In: American Music: A etcétera), Williams representa con 51 nomina- Quarterly Journal Devoted to All Aspects of ciones al Oscar (5 de los cuales ha resultado American Music and Music in America 35,2, vencedor) la persona viva que ostenta seme- 2017, S. 143–171. jante récord y el segundo de toda la Historia de los premios otorgados por la Academia de The Glass Menagerie was Tennessee las Artes y de las Ciencias Cinematográficas Williams’s first success, both commercial and de los Estados Unidos. Christian Aguilera, au- critical, and remains one of the most fre- tor de monografías sobre las obras de Jerry quently revived of all American plays. For its Goldsmith y Bernard Herrmann completa su original production, Williams himself re- particular trilogía sobre los Grandes Compo- cruited master theater composer Paul Bowles sitores de Música de Cine con la escritura de to write an original score that helped turn “a un libro, el más completo en lengua castella- trivial little comedy of domestic tribulation” na, llamado a ser de referencia para todos into the “legitimate magic” that earned it a aquellos entusiastas del músico neoyorquino Drama Critics’ Circle Award and established adscrito, de manera especial, al cine de Steven it firmly among the great plays of the postwar Spielberg en casi una treintena de largometra- period. An examination of Bowles’s Menage- jes. rie score adds new depth to our understanding of one of the most storied premieres in American theater history, of the play itself, Álamo [Caballero], Lamberto del: El cine y su and of the extent to which music aided música: secretos y claves. Madrid: Ediciones Ri- Williams’s progressive vision for “a new, plas- alp 2020, 234 S. tic theater” influenced by techniques and aesthetics of the cinema. Cualquier escena romántica parece incomple- ta sin una tierna melodía de violín. La amena- zadora presencia de unos indios no resulta tan Alhuter, Barbara: Narration durch Filmmusik peligrosa sin la percusión de unos inquietan- im Mainstream-Film. Diss. Wien: Universität tes tambores. Los metales hablarán de senti- Wien 2012, 193 S.. mientos heroicos, y el saxofón, tal vez, de sen- sualidad. Crear un ambiente a partir de la mú- Die vorliegende Arbeit widmet sich der The- sica no siempre resulta fácil. Pero quien lo lo- matik der Narration durch Musik im Main- gre será capaz de acompañar a la imagen de stream-Film, wobei die Fähigkeiten von Mu- una manera sublime y estremecer al especta- sik im Zusammenhang mit der Dramaturgie dor en su butaca, hasta hacerle temblar, reír o anhand von acht Analysen exemplarisch dar- llorar. Valorar una partitura cinematográfica gelegt werden. Ziel ist es zu zeigen, wie man- exige unos conocimientos mínimos de música nigfach nicht nur die Kompositionsstile und - y de cine, que permitan relacionar con acierto mittel der Scores sein können – und wie groß imagen y sonido. parallel dazu der Pluralismus an Möglichkei- ten der Filmkomponisten ist –, sondern auch die Funktionen der Musik im Film sind. Ihrer Albright, Daniel: Panaesthetics: On the Unity gern als passiv oder auch als rein illustrierend and Diversity of the Arts. New Haven/London: bezeichneten Manier wird eine aktive, das Ge- Yale University Press 2014, xi, 321 S. (Anthony schehen beeinflussende Rolle gegenüberge- Hecht Lectures in the Humanities.). stellt. Filmmusik ist keine homogene Gattung und hängt von vielerlei Faktoren ab, die weit U.a. auch zu Musik im Film. über die filmwirtschaftlichen Entwicklungen Rev. (Stuart-Smith, Mark): From “Mousike” to hinausgehen. Da sie auch an soziokulturelle Synaesthesia: New Interdisciplinary Agendas und politische Veränderungen gekoppelt ist, in Music and Visual Culture. In: Art History werden zum einen die historischen Wurzeln Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 5

von Filmkompositionen erörtert und die Wer- níveis mais superficiais da redução ke zum anderen in ihrem Kontext präsentiert. schenkeriana desses trechos. Pankhurst (2008) Durch diese Einbettung und durch die Chro- e Salzer (1952), em suas análises a partir de nologie der Filmbeispiele – jeder Film steht Schenker, já ressaltavam o papel da „repetição als die erfolgreichste oder eine der erfolg- escondida” para a unidade de uma determi- reichsten Mainstream-Literaturverfilmungen nada obra. Observamos que, em ambos os fil- exemplarisch für ein Jahrzehnt des Tonfilms – mes, a música transmite significações que não wird ersichtlich, weshalb sich die Komponis- estão explícitas e que podem ser reveladas pe- ten für die jeweilige Kompositions-techniken la análise schenkeriana. Em Made in USA, ob- entschieden haben, inwiefern sie beispiels- serva-se a presença fundamental da repetição, weise hinsichtlich der Narration auf die filmi- não tão evidente num filme com tantas revi- sche Dramaturgie einwirken mussten und ravoltas, enquanto, em Uma mulher casada, é welche Lösungen sie für etwaige fehlerhafte a música que mais imprime a fatalidade e o Stellen fanden, um die filmische Logik auf- caráter trágico no filme. recht zu erhalten.

Alvim, Luíza Beatriz Amorim Melo: A Música Alunno, Marco: The discourse about film music de Villa-Lobos nos filmes de Glauber Rocha in Colombia: A bibliographical approach. In: dos anos 60: Alegoria da pátria e retalho de Revista Musical Chilena 70,225, 2016, S. 73–95. colcha tropicalista. In: Significação: Rivista de The motivation to explore the hidden heritage cultura audiovisual 42,44, 2015, S. 100–119. of literature on film music in Colombia, origi- Über die Filme Deus e o diabo na terra do sol nated from the absence of literature on Latin und Terra em transe von Rocha (1964 und American film music written by scholars from 1967) mit der Musik von Heitor Villa-Lobos. Europe and the United States, who have traditionally dealt with film music. Since an early period attempts to speak discursively about Anderson, Lauren: Beyond Figures of the Audi- film music in Colombia appear in articles ence: Towards a Cultural Understanding of the published in magazines and journals dedi- Film Music Audience. In: Music, Sound, and the cated to cinema, music, art and cultural topics Moving Image 10,1, 2016, S. 25–51. in general. These writings are often addressed to general audiences. Nevertheless there are Jeff Smith’s and Anahid Kassabian’s models of also a few writings intended for specialized film music perception and comprehension are readers. The present article is based on the two most detailed accounts (1998 and archival research and presents a snapshot of 2001, respectively). Since publication well the existing literature about film music in over a decade ago, their frameworks have Colombia as a starting point for future stud- been widely cited but rarely interrogated. ies. (Vorlage) Both models hinge on the idea that ‘knowing’ music can determine an audience member’s response (to both music and film). This article Alvim, Luíza Beatriz Amorim Melo: Análise critiques Smith’s and Kassabian’s theories: schenkeriana de ornamentações de trechos de my exploratory audience research suggests Beethoven em dois filmes de Jean-Luc Godard. that audiences’ modes of relating to film In: Anais do SIMPOM 3,3, 2015, S. 682–694. soundtracks are much more complex than simply ‘knowing’ or ‘not knowing’ the music Neste trabalho, fazemos uma análise (Anderson, 2011; 2012). A fuller understand- schenkeriana de trechos de música de Ludwig ing of the role of popular music in film for au- van Beethoven presentes em dois filmes de diences needs to take into account tastes, ver- Jean-Luc Godard: Made in USA (1966) e Uma nacular categorisations, senses of identity, mulher casada (1964). Godard se vale da and memory (both related to the self, and to repetição de trechos da Sonata op.14 n.1 e do the text at hand). Quarteto de cordas op.59 n.3 do compositor em cada um dos filmes respectivamente e essa característica pode ser observada também nos Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 6

Andrés Bailón, Sergio de (ed.): Estudios sobre la television arrived some 30 years ago, music influencia de la canción popular en el proceso de videos have introduced filmmakers to a new creación de música incidental. Salamanca: Edi- creative vocabulary: speeds of events ciones Universidad Salamanca 2016, 365 S. changed, and performance and mood came to (Música viva. 1.). dominate over traditional narrative storytelling. Popular Music and the New Auteur Inhaltsverzeichnis: Introducción / 9. – PRIME- charts the impact of music videos on seven vi- RA PARTE: CINE, TELEVISIÓN Y CANCIÓN sionary directors: Martin Scorsese, Sofia Cop- POPULAR EN ESPAÑA / 11: – Virginia Sán- pola, David Lynch, Wong Kar-Wai, the Coen chez Rodríguez: Aperturismo musical espa- brothers, Quentin Tarantino, and Wes Ander- ñol: músicas urbanas y músicas tradicionales son. These filmmakers demonstrate a fresh en el cine del franquismo / 13 – Sofía López kind of cinematic musicality by writing Hernández: La obra cinematográfica de Au- against pop songs rather than against script, gusto Algueró Dasca. Catalogación de su obra and allowing popular music a determining / 53 – Judith Helvia García Martín: La música role in narrative, imagery, and style. Featur- tradicional en las producciones televisivas es- ing important new theoretical work by some pañolas y su recepción a través del streaming of the most provocative writers in the area to- / 123 – Vicente J. Ruiz Antón: Presencia de las day, Popular Music and the New Auteur will músicas españolas de tradición popular en la be required reading for all who study film serie documental Esta es mi tierra, de José music and sound. It will be particularly rele- Nieto / 137 – INTERMEDIO 195: – Ignacio vant for readers in popular music studies, and Brasa Gutiérrez: Un tango para piano en los its intervention in the ongoing debate on au- arrabales de New Bedford, Massachusetts. teurism will make it necessary reading in film Empleo de música popular en el acompaña- studies. miento de una película muda para la modifi- cación e importación de significado / 197 – SEGUNDA PARTE: CANCIÓN POPULAR Y Askerfjord, Christer: The American Film Musi- MÚSICA INCIDENTAL EN EL ÁMBITO IN- cal Genre Today: A New Breed or Just More of TERNACIONAL / 211: – Sergio de Andrés the Same? The Development of the American Bailón: Kurt Schindler presenta a Claude De- Film Musical 2000–2013. BA Thesis, Kalmar/ bussy. Elementos de música oriental y otras Växjö: Linnéuniversitetet, Institutionen för afinidades culturales de la Belle Epoque en Le film och litteratur (IFL) 2014, 31 S.; [URL]. Martyre de Saint Sebastien / 213 – Matilde Olarte Martínez: La música aplicada (o inci- Abstract: Since the introduction of synchro- dental) escrita por Kurt Schindler para teatros nized sound at the end of the 1920s the film de Manhattan en las primeras décadas del si- musical has had a special place in American glo xx / 237 – Sergio de Andrés Bailón: La cita film. But even with that special place the in- musical en las comedias políticas de Gershwin terest in the film musical has varied a lot dur- / 281 – Juan Carlos Montoya Rubio: Clásicos ing the 20th century. From the high interest populares gracias al cine. La banda sonora during the “Golden Age” in the 1930s, 1940s, como agente generador de significados musi- and 1950s, through low interest in the follow- cales / 321 – Marco Bellano: I fratelli dinamite ing decades and then renewed interest in mu- di Nino Pagot (1949) e l’idea di «bello» in mú- sicals with the animated film musicals from sica / 335. Disney in the 1990s. But what has happened after the millennium? Has there been any development in the American film musical Antheil, George: On the Hollywood Front. In: genre or is it just more of the same? This the- Modern Music 15, 1937, S. 48–51. sis tries to answer the question by analyzing three successful film musicals from the period 2001–2013, Moulin Rouge! (Baz Luhrmann, Ashby, Arved: Popular Music and the New Au- 2001), The Phantom of the Opera (Joel Schu- teur: Visionary Filmmakers After MTV. New macher, 2004), and Les Misérables (Tom York: Oxford University Press 2013, 217 S. Hooper, 2012) and comparing them to classi- MTV utterly changed the movies. Since music cal traditional musicals. According to this thesis there is a split answer, some areas of the Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 7

classical American film musical have devel- immersive and multisensorial as possible. oped while other areas still remains the same. Film music has also entered the multimedia arena. Indeed, a very successful type of concert presentation of the film-music repertoire Asper, Helmut G.: Wenn die Musik der Filme is the multimedia form: a live orchestra plays Nahrung ist. Klassische Musik im Exilfilm. In: to projected film clips. This multimedia pre- Kulturelle Räume und ästhetische Universalität. sentations of film music should be of interest München: Edition Text + Kritik 2008, S. 149– not only to music scholars – film music has 166 (Musik und Musiker im Exil. 26.). undeniably become a favourite repertoire to fuel concert programmes, and multimedia presentations are the most fitting form to Atkinson, Simon: Interpretation and musical present film music. Multimedia presentations signification in acousmatic listening. In: Or- should also be of interest to film scholars, as ganised Sound 12,2, 2007, S. 113–122. multimedia presentations are a revival of past film-viewing experiences that can be traced Audissino, Emilio: John Williams, Star Wars back to the silent era. The case study here is and the Canonization of Hollywood Film Mu- John Williams’s conductorship of the Boston sic. In: Pietro Bianchi, Giulio Bursi, & Simone Pops Orchestra, which has been seminal not only because it brought more film music into Venturini (a cura di): Il Canone Cine- concert programmes, but also highly influen- matografico. / The Film Canon. Udine: Forum tial for its experiments with the multimedia 2011, S. 273–278. presentations.

Audissino, Emilio: Williams, The Boston Pops Orchestra and Film Music in Concert. In: Clau- Audissino, Emilio: Golden Age 2.0: John dia D’Alonzo, Ken Slock, and Philippe Dubois Williams and the Revival of the Symphonic (éds.): Cinéma, critique des images. Udine: Film Score. In: Sebastian Stoppe (ed.): Film in Campanotto 2012, S. 230–235. Concert, Film Scores and their Relation to Classi- cal Concert Music. Glücksstadt: VWH Verlag 2014, S. 109–124. Audissino, Emilio: The Aesthetic Cost of Mar- keting. The Economical Motivation of Pop Songs in Films. In: Catherine Naugrette (éd.): Audissino, Emilio: John Williams’s Film Music: Pratiques et esthétiques: Le coût et la gratuité. 3. “Jaws,“ “Star Wars,“ “Raiders of the Lost Ark,“ Paris: L’Harmattan 2013, S. 41–46. and the Return of the Classical Hollywood Music Style. Madison, Wisc.: University of Wisconsin Press 2014, xxvi, 317 S. (Wisconsin Film Stud- Audissino, Emilio: Hollywood Film Music and ies.). Ethnic Diversity. In: Carlos E. Cortés (ed.): Multicultural America: A Multimedia Encyclo- Beginning with an overview of music from Hollywood’s Golden Age (1933–58), Emilio pedia. Thousand Oaks, Cal.: Sage 2013, S. 1101– Audissino traces the turning points of 1103. Williams’s career and articulates how he revived the classical Hollywood musical style. Audissino, Emilio: Film music and multimedia: This book charts each landmark of this musi- An immersive experience and a throwback to cal restoration, with special attention to the the past. In: Institut für Immersive Medien scores for Jaws and Star Wars, Williams’s (Hrsg.): Klänge, Musik, Soundscapes. Marburg: work as conductor of the Boston Pops Or- Schüren 2014, S. 46–56 (Jahrbuch Immersiver chestra, and a full film/music analysis of Medien 2014). Raiders of the Lost Ark. The result is a precise, enlightening definition of Williams’s “neo- Multimedia events are part of contemporary classicism” and a grounded demonstration of society. Music, theatre, and visual arts have his lasting importance, for both his composi- been increasingly collaborating with each tions and his historical role in restoring part other to offer aesthetic experiences that are as of the Hollywood tradition. (Verlag) Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 8

Rev. (Halfyard, Janet K) in: Music, Sound, and Audissino, Emilio (ed.): John Williams: Music the Moving Image 9,2, 2015 (Special Issue: for Films, Television, and the Concert Stage. “Musical Screens: Musical Inventions, Digital Turnhout: Brepols 2018, xxiv, 440 S. (Contem- Transitions, Cultural Critique”. Guest ed.: porary Composers. 1.). James Tobias), S. 231–236. This volume is a large exploration of the many sides of Williams’s output. Once mostly Audissino, Emilio: Film Music and Multimedia. considered a commercial composer and a An Immersive Experience and a Throwback to mere rewriter of previous composers’ styles, the Past. In: Jahrbuch immersiver Medien [4], only recently Williams’ music has begun to 2014, S. 46–56. be taken seriously, and scholars from the music and the film departments have begun to produce research. The present volume seeks Audissino, Emilio: Overruling a Romantic Prej- to build upon, complement and review what udice. Forms and Formats of Film Music in has been written so far on Williams. It is a Concert Programs. In: Sebastian Stoppe (ed.): large exploration of the many sides of Film in Concert, Film Scores and their Relation Williams’s output, aimed at showing the to Classical Concert Music. Glücksstadt: VWH range of his production (not merely focussing Verlag 2014, S. 25–44. on film music) and at analysing the depth of his dramaturgic and compositional skills with selected case studies. To accomplish this ex- Audissino, Emilio: Gottfried Huppertz’s Me- ploration, a large team of international schol- tropolis: The Acme of ‘Cinema Music.’ In: To- ars has been assembled from all around the day’s Sounds for Yesterday’s Films: Making Mu- world. The contributors come from film, me- sic for Silent Cinema. Ed. by K. J. Donnelly & dia and music departments – to provide a va- Ann-Kristin Wallengren. Basingstoke/New riety of disciplinary perspectives on Willi- York: Palgrave Macmillan 2016, S. 45–63. ams’s work. Darin: Introduction: John Williams, com- Audissino, Emilio: A Gestalt Approach to the poser / Emilio Audissino – John Williams and the musical landscapes: film, television, jazz, Analysis of Music in Films. In: Musicology Re- and concert halls. A new symphonism for a search 2, Spring 2017, S. 69–88. new Hollywood: the musical language of John Williams’s film scores / Mervyn Cooke; John Audissino, Emilio: Film/Music Analysis: A Film Williams: television composer / Paula Muse- Studies Approach. Basingstoke/New York: Pal- gades; “Catch as catch can”: jazz, John Wil- grave Macmillan 2017, xiii, 245 S. (Palgrave liams, & popular music allusion / Ryan Pat- Studies in Audio-Visual Culture.). rick Jones; No sharks, no stars, just idiomatic scoring and sounding engagement: John Wil- This book offers an approach to film music in liams as a ‘classical’ composer / Emile Wenne- which music and visuals are seen as equal kes; John Williams’s film music in the concert players in the game. The field of Film-Music halls / Sebastian Stoppe – The Williams touch: Studies has been increasingly dominated by style and musical dramaturgy. The use of musicologists and this book brings the disci- variation in John Williams’s film music pline back squarely into the domain of Film themes / Mark Richards; The themes of Star Studies. Blending Neoformalism with Gestalt wars: catalogue and commentary / Frank Leh- Psychology and Leonard B. Meyer’s musicol- man; Star scores: orchestration and the sound ogy, this study treats music as a cinematic ele- of John Williams’s film music / Ian Sapiro; ment and offers scholars and students of both Orchestration transformation: examining dif- music and film a set of tools to help them an- ferences in the instrumental and thematic alyse the wide ranging impact that music has colour palettes of the Star wars trilogies / Ni- in films. cholas Kmet; The villain’s march topic in John Darin: The Not-so-fantastical Gap Between Williams’s film music / Joakim Tillman; Musi- Music Studies and Film Studies (17–43). cal dramaturgy and stylistic changes in John Williams’s Harry Potter trilogy / Jamie Lynn Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 9

Webster – Case studies. Sounding an Irish childhood: John Williams’s score for Angela’s Ashes / Laura Anderson; John Williams and sound design: shaping the audiovisual world of E.T.: The Extra-terrestrial / Chloe Huvet; To- – B – day I’m hearing with new ears: John Wil- liams’s use of audiovisual incongruence to convey character perspective in Munich and Bakels, Jan-Hendrik: Audiovisuelle Rhythmen: Spielberg’s historical films / David Ireland; Filmmusik, Bewegungskomposition und die dy- John Williams and the musical avant-garde: namische Affizierung des Zuschauers. Berlin/ the score for War of the Worlds / Irena Paulus; Boston: de Gruyter 2016 [2017], viii, 291 S. (Ci- Out of darkness: John Williams’s Violin con- nepoetics, 3.). certo / Tom Schneller; Happily never after: The book explores the relationship of move- Williams’s muisical exploration of the ‘con- ment and music in film to study the aesthetic troversial’ ending to A.I.: Artificial Intelligence principles of audience affect. It begins by a re- / Stefan Swanson – The performer’s view- constructive analysis and theoretical reflec- point. John Williams seen from the podium: tion on the rhythmicity of films – and goes on an interview with maestro Keith Lockhart / to show the extent to which the rhythmic di- Emilio Audissino, Frank Lehman; John Wil- mension of audiovisual images offers access liams seen from the piano: an interview with to intersubjective strategies to induce affect in maestro Simone Pedroni / Maurizio Caschet- the movie theater. to. Rev. (Sebastian Reinhard Richter) in: Medien- wissenschaft: Rezensionen, 4, 2019, S. 384–385. Bañagale, Ryan Raul: Selling Success: Visual Media and Rhapsody in Blue. In seinem: Ar- ranging Gershwin: “Rhapsody in Blue” and the Avila, Jacqueline: Cinesonidos: Film Music and Creation of American Icon. New York: Oxford National Identity during Mexico’s Época de Oro. University Press 2014, S. 148–173. New York: Oxford University Press 2019, xii, 274 S. (Oxford Music/Media Series.). Avila looks at the ways that Mexican cinema Bandur, Markus: De El burlador de Sevilla a and its music during the silent and early Don Giovanni: Presentación de la mentira, el sound periods continuously reshaped the con- engaño y la seducción en el teatro, la ópera y tested, fluctuating space of Mexican identity, la ópera filmada. In: Studi Ispanici 2006 (Pisa/ functioning both as a sign and symptom of Rom 2006), S. 89–102. social and political change. [Von El burlador de Sevilla zu Don Giovanni: Inhalt: Introduction: Listening to the Época de Zur Darstellung von Lüge, Betrug und Ver- oro – The prostitute and the cinematic führung in Drama, Oper und Film]. cabaret: Musicalizing the “fallen woman” and Mexico City’s nightlife – The salon, the stage, and Porfirian nostalgia – The sounds of indi- Bandur, Markus: Frühe Kinomusik im städtis- genismo: Cultural integration and musical ex- chen Raum. In: Populäre Musik in der urbanen oticism in Janitzio (1935) and Mariá Cande- Klanglandschaft: Kulturgeschichtliche Perspek- laria (1944) – The singing charro in the come- tiven. Hrsg. v. Tobias Widmaier u. Nils Grosch. dia ranchera: Music, machismo, and the in- Münster/New York: Waxmann 2014, S. 155– vention of a tradition – The strains of the rev- 168 (Populäre Kultur und Musik. 13.). olution: Musicalizing the soldadera in the revolutionary melodrama – Epilogue: After the Época de oro. Bandur, Markus: Mit Weber im Kino. 1: Be- gleitmusik zum Stummfilm. In: Weberiana: Mitteilungen der Internationalen Carl-Maria- von-Weber-Gesellschaft 25, 2015, S. 33–48. Die Opern Webers und insbesondere die Ou- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 10

vertüren gehörten mit zum Kernbestand der gesetzt werden muss, damit ihre Verwendung Musikbegleitung beim Stummfilm, sei es in den intendierten Zweck der Personen- und Europa, sei es in den USA. Zwar lässt sich Situationscharakterisierung erfüllen kann. über die usuelle Praxis der Stummfilmbe- (Autor) gleitung kaum eine Aussage hinsichtlich der Verwendung von Kompositionen Webers tre- ffen; die Handbücher und Arbeitsmaterialien Bang, Derrick: Crime and Spy Jazz on Screen der Kinomusiker belegen allerdings die feste since 1971: A History and Discography. Fore- Verankerung insbesondere der dramatischen word by Pat Irwin. Jefferson, NC: McFarland Werke im Rahmen der Musikbegleitung, so 2020, ix, 263 S. dass Gleiches auch für die alltäglichen und Abstract: Henry Mancini’s Peter Gunn theme. weniger durchorganisierten Verfahren der Lalo Schifrin’s Mission: Impossible theme. spontanen Begleitung von Stummfilmen Isaac Hayes’ theme from Shaft. These iconic anzunehmen ist. Inwieweit nun wiederum melodies have remained a part of the pop cul- diese Neukontextualisierung der Werke We- ture landscape since their debuts during an bers auf die Rezeption der Musik in Konzert era when movie studios and TV production und Oper im Verlauf des 20. Jahrhunderts companies employed full orchestral ensem- zurückwirkt(e), kann nur vermutet werden, es bles to provide a jazz backdrop for the sus- steht jedoch außer Frage, dass in der Frühzeit penseful adventures of secret agents, private des Kinos breite Schichten der Gesellschaft detectives, cops, spies and heist-minded crim- das Opern- und Konzertrepertoire (und damit inals. Hundreds of additional films and televi- auch Webers Musik) erstmals in Verbindung sion shows made from the mid-1950s and be- mit dem Stummfilm kennenlernten. (Autor) yond have been propelled by similarly swing- ing title themes and underscores, many of Bandur, Markus: Mit Weber im Kino. 2: Der which have (undeservedly) faded into obscu- Soundtrack des Tonfilms. In: Weberiana: Mit- rity. This meticulously researched book begins with Hayes’ game-changing music for teilungen der Internationalen Carl-Maria-von- Shaft, and honors the careers of traditional Weber-Gesellschaft 26, 2016, S. 51–56. jazz composers who-as the 1970s gave way to Die Verwendung präexistenter Musik findet the ’80s and beyond-resolutely battled against mehrheitlich in der filmischen Realität An- the pernicious influx of synth, jukebox scores wendung, während die umfangreichere Musik and a growing corporate disinterest in lavish zum Film überwiegend neu komponiert ist. ensembles. Fans frustrated by the lack of at- Auch Werke Webers sind in dieser Art in tention paid to jazz soundtrack composers-in- Soundtracks von Spielfilmen seit Beginn der cluding Mort Stevens, Laurie Johnson, Mike Tonfilmära bis in die Gegenwart verwendet Post, Earle Hagen, David Shire, Elmer Bern- worden. Zieht man von den etwa 50 stein and many, many others-will find solace nachgewiesenen Tonfilmen, in denen Kompo- in these pages (along with all the information sitionen von Weber verwendet werden, die needed to enhance one’s music library). But Opernverfilmungen und sogenannte Biopics, this is only half the story; the saga’s origins d.h. Filme zum Leben des Komponisten, sowie are discussed in this book’s companion vol- die Musikdokumentarfilme und TV-Serien ab, ume, Crime and Action Jazz on Screen: 1950– so bleiben ca. 20 Filme übrig, in denen Werke 1970. Webers entweder als On screen musik oder Off screen music fungieren. Ein kursorischer und chronologischer Durchgang durch diese Banter, H[arald] / Brandhorst, J[ürgen] / Filme aus der Zeit von 1931 bis 2015 zeigt, Braun, M[ichael] [u.a.]: Franz Grothe. Mün- dass sich diese „Zweckentfremdung“ zugleich chen: Allitera Verlag 2019, 163 S. (Komponis- als Rezeptionsgeschichte lesen lässt, als eine ten in Bayern: Dokumente musikalischen Spiegelung des Stellenwerts, den bestimmte Schaffens im 20. und 21. Jahrhundert. 64.). Werke Webers in der breiten Öffentlichkeit Michael Braun: Franz Grothe als hatten und haben. Dies gilt insbesondere für Darin u.a.: Filmkomponist in der Zeit des Nationalsozia- ihren Einsatz als On screen music, da hier die lismus (73–92). – Roland Mörchen: »Das gro- Erkennbarkeit der jeweiligen Werke voraus- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 11

ße Ganze«: Franz Grothes Filmschaffen nach shared reference; – 21. The story sequence 1945 (93–102). – Kay Westermann: Das Wirts- and the montage-prologue; – 22. When the haus im Spessart (103–116). editor learns about meaning; – 23. Montage and metaphor; – 24. The imitation of perception. – Part II: Dynamic and Syntactic Univer- Barden, Steve: Writing Production Music for sals: – 25. Nonverbal universals; – 26. The TV: The Road to Success. Anaheim Hills: Cen- polyvalence of the picture and the omniva- terstream 2018, 294 S. lence of the movie; – 27. The description of omnivalence as a floating target; – 28. Dy- namic universals: beginning, middle, and end- Barham, Jeremy: Cultural Archives and Trans- a prologue; – 29. Language and the momen- cending Diegetics: Mahler’s Music as ‘Over- tum of the body; – 30. Syntactic universals: score’. In: Music and the Moving Image 3,1, interval, context, and repetition; Interval; 2010, S. 22–47. Context; Repetition; – 31. The synergy of symmetry; – 32. Sidebar-another parallel Barnett, Daniel: Movement as Meaning in Ex- model and another speculative future; – 33. perimental Cinema: The Musical Poetry of Mo- Formal references in music and cinema; – 34. tion Pictures Revisited. London: Bloomsbury The developmental leap-keeping the referent Publishing 2019, 324 S. a mystery; – 35. Resemblance and resonance; – 36. The subliminal pull of the flicker; – 37. Inhalt: Foreword: Where does this Book Be- Aural and visual cadence; – 38. The frame of long?; – Preface: Arriving at the Scene; – In- the experience; – 39. Resonance among troduction: Two Pictures of a Rose in the frames; – 40. Ancient history– the medium as Dark. – Part I: Modes of Perception and Modes the model; – 41. Illustration, induction, and of Expression: – 1. First ideas in a new repetition; – 42. The material and the medium: the cinematic suspension of disbe- medium; – 43. Sonics and seamlessness; – 44. lief; – 2. One description of how the mind The private language machine and the evolu- may move toward understandings; – 3. New tion of a medium; – 45. Illusions and ontologi- paradigms and new expressions; – 4. Theories cal linchpins; – 46. Delimiting an audience; – of meaning-media, messages, and how the 47. Summarizing the singular window en mind moves; – 5. The relevance of the mecha- route to the panoramic view. – Part III: Con- nism-lessons to carry forward from an al- sidering Description: Tropes, Tunes, and Mov- ready obsolete medium; – 6. Frames versus ing Pictures: – 48. The world of description; – shots, surface versus window; – 7. What the 49. Recapitulation and prospectus. surface of the screen can tell us about language; – 8. Language integrates our perceptions as surely as the nervous system inte- Baroni, Maurizio [ed.]: Ennio Morricone: Mas- grates our sense data–hallucination or meta- ter of the Soundtrack. Texts by Germano Bar- data?; – 9. Letting the mind surround an idea: ban; contributions by Dario Argento [et al.]. an introduction to Wittgenstein; – 10. Ascer- English translation: Sylvia Adrian Notini. taining understanding: what one language Hamburg/Berkely, CA: Gingko Press 2019, 361 must evoke, another may stipulate (and vice S. versa); 11. – Dynamic and static theories of meaning; 12. Color, types of reference, and Ital. Orig. u.d.T.: Baroni, Maurizio (a cura di): the inveterate narrative; – 13. The polyva- Morricone. Testi di Germano Barban; inter- lence of the picture; – 14. Meaning and mu- venti di Dario Argento [et al.]. Milano: Lazy tual experience-kinds of reference re- Dog 2019, 361 S. described; – 15. What has art got to do with Inhalt: Maurizio Baroni: You Never Forget it?; – 16. A whole new way of reading-the Your First Love / 6 – Germano Barban: The surface of the screen and the modulation of Soundtrack of a Lifetime / 7 – Dario Argento: self-consciousness; – 17. The anteroom of I Started with Morricone / 8 – John Carpen- meaning and our conception of space; – 18. ter: Love of a Fan / 8 – John Boorman: “What Meaning and mental habits; – 19. Assumed you like, John?” / 9 – Liliana Cavani: The Mu- and earned meaning; – 20. The spectrum of sic that Completes the Movie / 10 – Roberto Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 12

Faenza: When It’s the Music that Makes the Momentform / 157. – Sandra Bittner: Elektro- Movie / 10 – Giuseppe Tornatore: The Histori- akustische Musik – Die Nachhaltigkeit von cal Role of Album Covers / 11 – Giuliano Entwicklungstendenzen elektroakustischer Montaldo: Ennio Taught Me to Give Space to Instrumente und Realisationsverfahren der Music / 12 – Quentin Tarantino: In conversa- Neuen Musik seit 1950 / 201. – Katrin Moll: tion with Maurizio Baroni: The Best Ending / Die Entwicklung der Toningenieursausbil- 14 – Carlo Verdone: “What About the Musi- dung an der HFF im Spannungsfeld von Tech- cian?” / 16 – Guido Lombardo; Ennio and Ti- nik & Kunst und Theorie & Praxis / 245. – tanus: An Extraordinary Relationship! / 17 – Schlusswort / 307. Daniele Furlati: The Sound of Strings / 17 – Picola Piovani: Maestros Aren’t Born, They’re Made / 18 – Mauro Maur: An Inhabitant of Bartkowiak, Mathew J. / Kiuchi, Yuya: The Mu- Other Marvelous and Diverse Universes / 19 – sic of Counterculture Cinema: A Critical Study Edda Dell’Orso: The Lady Sings the West / 20 of 1960s and 1970s Soundtracks. Jefferson, NC: – Gino Paoli: The Talent of the Person Who McFarland 2015, viii, 207 S. Sings Off-Key / 20 – Giancarlo Giannini: Mu- Films produced in late 1960s and early 1970s sic: Universal Language / 21 – Lisa Gastoni: America continue to frame our understanding Just Get It Done! / 22 – Franco Nero: “Vamos of the counterculture era. A study of contem- a matar Franco Nero”: Ennio and I / 22 – porary film soundtracks reveals a great deal Christopher Frayling: The Morricone Affair / of complexity. The coinciding struggles to de- 23 – Germano Barban, Maurizio Baroni: fine collective and individual identities based About This Book / 30. – Key / 31: 1961–1969 / on race, class, gender and generation is well 44 – 1970–1979 / 136 – 1980–1989 / 238 – documented in the music of counterculture 1990–1999 / 290 – 2000–2016 / 332 – List of il- cinema. lustrations for EP/45rpm/LP records and CDs / 363. – Mit Notenbeispielen. Inhalt: 1. Framing Utopia: Monterey Pop and the heart of the counterculture – 2. Creating the downfall: Gimme Shelter and the “end” of Barron, Lee: What if Zarathustra had not spo- the counterculture – 3. Searching fort the real ken? Alex North’s counterfactual soundtrack times, baby: Head and the unmaking of the to ›2001: A Space Odyssey‹. In: New Review of Monkees – 4. Love in counterculture films: Film and Television Studies 9 (2011) 1, S. 84–94. music’s diplomatic role in Harold and Maude – 5. Space is the place: Barbarella and hearing Über die nicht verwendete Filmmusik von the future – 6. Did the soundtrack also blow North zum Film von Stanley Kubrick (1968). it?: using rock to capture counterculture generational identity – 7. Setting the escapist scene with music: sex and comedy in an ex- Bartel, Frank / Kock, Ingo (Hrsg.): Tonkunst: otic world – 8. Generational genocide: selling Filmkunst und Sound Design. Der Studiengang youth rebellion in Roger Corman’s Gas-s-s – Ton der Hochschule für Film und Fernsehen 9. African American artists in Hollywood: Isa- „Konrad Wolf“ Potsdam-Babelsberg auf dem ac Hayes’ contribution to Shaft – 10. I’m Weg vom Fachschulstudiengang zum Kunst- watching it for its music: Deep throat and its hochschulstudiengang. Berlin: Vistas 2006, 308 soundtrack – 11. Challenging normativity and S. (Edition Kunst und Medien. 1.). pushing boundaries: Midnight Cowboy and Inhalt: Frank Bartel: Filmton – Die Bedeutung cultural resistance – 12. Ambiguous meaning des Tones beim Film / 7. – Peter Sebastian: of music: combining technology and music in Geräusche als Musik – Musik aus Ge- the dystopian world of A Clockwork Orange – räuschen: Die klangliche Emanzipation des 13. Understanding country ways: a talk with Geräusches im Spielfilm / 13. – Noemi Ham- Country Joe McDonald about counterculture pel: Die Möglichkeiten des Einsatzes von Stil- film – 14. Bringing the 1960s to life: an inter- le im Film / 57. – Eike Hosenfeld: Übertra- view with director Robert Greenwald. gung von Erkenntnissen der Musik- und Sin- nespsychologie auf die Wirkungsweise von Filmmusik / 87. – Klaus Barm: Medialität und Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 13

Barton, Ruth / Trezise, Simon (eds.): Music and 13. Musiques préexistante et originale; 14. Sound in Silent Film: From the Nickelodeon to L'Emplacement des musiques; 15. Le Son et The Artist. London/New York: Routledge 2019, le Mixage; 16. Composition et Instrumenta- xi, 214 S. (Routledge Music and Screen Media tion; 17. Orchestration et Interprétation; Series.). Conclusion. – Bibliographie; Présentation des compositeurs interviewés. – Index des Inhalt: Allison Wente, James Buhler: ‘Better Music at Smaller Cost’: Selling Mechanical In- compositeurs; Index des réalisateurs; Index struments to American Motion Picture Hous- des films. es in the 1910s / 25. – Kendra Preston Leon- ard: Cue Sheets, Musical Suggestions, and Bastié, Daniel: Georges Delerue: la musique au Performance Practices for Hollywood Films, Mariembourg: Éd. Grand 1908–1927 / 45. – Malcolm Cook: Sing Them service de l’image. Again: Audience Singing in Silent Film / 61. – Angle 2014, 134 S. Denis London: ‘Players Must Be of a Good Inhalt: Premiers films – Alors que la radio- Class’: Women and Concert Musicians in Irish phonie entrait dans tous les foyers – Philippe Picture Houses, 1910–1920 / 79. – Laraine de Broca, une collaboration naissante – Phi- Porter: Music, Gender, and the Feminisation lippe de Broca: deux triomphes au Box-office of British Silent Cinema, 1909–1929 / 93. – – de Broca: années 70 et 80 – de Broca: autres Gillian B. Anderson: Music’s Role in the De- films sans Delerue – de Broca et ses films velopment of the ‘Mute’ Feature Film: Ben après le décès de Delerue – François Truffaut, Hur and Wings / 111. – Fiona Ford: Edmund le frère d’armes – Henri Colpi – Russell, Clay- Meisel’s Score to Der heilige Berg (1926): Pre- ton et Zinnemann – La télévision, vivier créa- figuring Hollywood’s ‘Golden Age’ Narrative- tif – La musique de concert – Les années 60 – Scoring Practices in Live Performance / 124. – Les années 70 – Les années 80 – Les années Simon Triziose: Synchronisation and Scoring: 90 – Sources bibliographiques. Contemporary Reworkings. Carl Davis Inter- view / 149. – Ed Hughes: Scenes from Ozu / 160. – Emilio Audissino: Rediscovering a Film, Batchelor, Jennifer: From ‘Aida’ to ‘Zauberflö- Revisiting a Film, Damaging a Film: A Musi- te:’ Jennifer Batchelor considers the opera film. cal Comparison of Three DVD Editions of In: Screen 25,3, 1984, S. 26–39. Nosferatu / 174. – Nicholas Brown: Electro- acoustic Composition and Silent Film / 187. – James Wierzbicki: The ‘Silent’ Film in Modern Battenberg, Hermann: Dramaturgische und Times / 198. ideologische Funktionen der Musik in der Fernsehserie Bonanza. In: Rudolf Stephan (Hrsg.): Schulfach Musik. Mainz: Schott 1976, S. Basirico, Benoît: La musique de film: Composi- 106–116 (Veröffentlichungen des Instituts für teurs et réalisateurs au travail. Préface de Neue Musik und Musikerziehung Darmstadt. Thierry Jousse; propos recueillis par Benoit 16.). Basirico. Paris: Hémisphères éditions 2018, 256 S. (Ciné cinéma. 4.). Baumgartner, Michael: J.S. Bach, Jean-Luc Go- Inhalt: Introduction; 1. Le choix du composi- dard, and the reimagining of the immaculate teur; 2. La nécessité d'une musique dans un conception in “Hail Mary“. In: Bach 50,2, 2019, film; 3. Intervenir sur le scénario ou les S. 175–219. images; 4. Un compositeur au service du In his 1985 film Je vous salue, Marie (Hail réalisateur; 5. Indications musicales du réa- Mary), Jean-Luc Godard integrated preexist- lisateur (définir un langage commun); 6. Ré- ing music by J. S. Bach. The choice is a sur- férences et musiques temporaires; 7. Impli- prise, as Godard hardly ever used the music of cation du réalisateur; 8. Œuvre personnelle the German baroque master in his sixty-year ou simple commande; 9. Thèmes et mélo- film career. Since this use of Bach marks a dies; 10 Être un «caméléon»; 11. Soutien ou singular instance in Godard’s oeuvre, the ob- contraste; 12. Correspondances avec le récit; jective of this essay is to explore the process Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 14

of Godard’s cinematic reappropriation of Film / Barbara Milewski / 6. Empathy, Ethics, Bach’s music and how the music infuses the and Film Music: Alfred Schnittke and Larisa filmic narrative with a Lutheran message. Je Shepit’ko’s Voskhozhdenie (1977, The Ascent) / vous salue, Marie is an intimate, modern-day Maria Cizmic / 7. Fugue States: Music, Mem- adaptation of the story of Mary, from the An- ory, and Trauma in Alain Resnais’s Early nunciation to Christ’s birth. Mary is a basket- 1960s Films / Michael Baumgartner and Or- ball-playing high school student and Joseph a lene Denice McMahon / 8. Re-Sounding Trau- taxi driver in contemporary Geneva. In Je ma: Sonic Flashbacks in the Films of Jan Tro- vous salue, Marie, Godard examines the inex- ell / Alexis Luko – Part III: Nostalgia, and the plicable idea of conception without corporeal Impossible Returns Home – 9. Decomposing contact in a contemporary world that has lost Heroism: Rolf Wilhelm’s Music for Radetzky- its unchallenged acceptance of incomprehen- marsch (1965) / Janina Muller, Tobias sible occurrences. The mystical and intangible Plebuch / 10. The Music of Sacrificial Acts: aura of the film is evoked through numerous Displacement, Redemption, Beethoven and short musical fragments, excerpted from the Verdi in Andrei Tarkovsky’s Nostalghia (1983) best-known highlights of Bach’s oeuvre. Go- / Tobias Pontara / 11. “Chopin Meant Every- dard exploits the nineteenth- and twentieth- thing to Us Then”: Chopin Nostalgia in Polish century notion of Bach as both the quintes- Cinema, 1944–91 / Ewelina Boczkowska / 12. sential composer of sacred music and the un- Returning Home: Critical Nostalgia and rivaled master of the most sublime of all late French Cinematic Illusion in the Post-war baroque music. The use of Bach’s music al- Musical Films of Rene Clair and Jean Renoir / lows us to interpret, on the one hand, Mary in Hannah Lewis. a Catholic theological understanding as an enigmatic, mysterious, and transcendental figure and, on the other hand, Christ through Beaster-Jones, Jayson: Bollywood Sounds: The Luther’s concept of the theologia crucis. Go- Cosmopolitan Mediations of Hindi Film Song. dard integrates Bach’s music into Je vous Oxford/New York: Oxford University Press salue, Marie in a thoughtful and profound 2015, xx, 240 S. manner. He seeks to reinterpret Mary’s im- Inhalt: Bollywood sounds – Film songs at the maculate conception, her biblical role, and her end of the colonial era and the emergence of relationship to her son within a critical con- filmi style – “But my heart is still Indian”: film templation of the historical, religious, and so- songs of the early post-colonial era – The lan- cial foundations of Western society. (Vorlage) guage and lyrics of Hindi films – Songs in the key of the angry young man and the cabaret Baumgartner, Michael / Boczkowska, Ewelina woman – Liberalization, family films, and the (eds.): Music, Collective Memory, Trauma, and rise of Bollywood – Film songs in the era of the multiplex and YouTube – Concluding Nostalgia in European Cinema after the Second thoughts on the art and commerce of Hindi World War. New York/ London: Routledge film songs. 2020, 314 S. Part I: Collective Memory and (Trans-)Nation – 1. A Fanfare Floating Beneath Sea Level: Mu- Beaster-Jones, Jayson / Sarrazin, Natalie: Mu- sic as a Sonic Lieu de Memoire of Dutch Cul- sic in Contemporary Indian Film: Memory, tural Identity on Film / Emile Wennekes / 2. Voice, Identity. London: Routledge 2017, xi, 212 Which People’s Music? Witnessing the Popu- S. lar in the Musicscape of Giuseppe De Santis’s Provides a rich and detailed look into the (1949, / Maurizio Cor- Riso amaro Bitter Rice unique dimensions of music in Indian film. bella / 3. Phantoms of Italian Opera-Cultural Music is at the center of Indian cinema, and Memory in Italian and (West) German Films / India’s film music industry has a far-reaching Roger Hillman / 4. ? Music in A Bridge Too Far impact on popular, folk, and classical music the British War Film, 1945–80 / Mervyn across the subcontinent and the South Asian Cooke. – – 5. Part II: Trauma and Survival diaspora. In twelve essays written by an inter- Hidden in Plain View: The Music of Holocaust national array of scholars, this book explores Survival in Poland’s First Post-war Feature Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 15

the social, cultural, and musical aspects of the Beck, Jay: Designing Sound: Audiovisual Aes- industry, including both the traditional center thetics in 1970s American Cinema. New Bruns- of “Bollywood” and regional film-making. wick, N.J.: Rutgers University Press 2016, x, Concentrating on films and songs created in 263 S. (Techniques of the Moving Image.). contemporary, post-liberalization India, this book will appeal to classes in film studies, Inhalt: 1. Introduction: The State of the Art – media studies, and world music, as well as all 2. The British Invasion – 3. TV and Documen- fans of Indian films. tary’s Influence on Sound Aesthetics – 4. New Voices and Personal Sound Aesthetics, 1970– : 1. 1942 -A Inhalt: Part I: Hindi Hegemony 1971 – 5. Francis Ford Coppola: American Love Story: R.D. Burman’s Posthumous Zoetrope and Collective Filmmaking – 6. “Comeback” at the End of Old Bollywood Robert Altman’s Collaborative Sound Work – (Gregory D. Booth). – 2. Antakshari in Maine 7. Martin Scorsese’s Dialectical Sound – 8. Pyar Kiya: Intertextual Pleasures and Musical The Sound of Music: Dolby Stereo and Music Medleys at the Dawn of a New Era in Hindi in the New American Cinema – 9. The Sound Cinema (Peter Kvetko). – 3. From Vamp to of Spectacle: Dolby Stereo and the New Clas- Queen: The Remixed Sound of the Bollywood sicism – 10. The Sound of Storytelling: Dolby Scene (Ajay Gehlawat). – 4. Authorizing Ges- Stereo and the Art of Sound Design. ture: Mirchi Music Awards and the Re-cali- bration of Songs and Stardom (Monika Mehta). – 5. Tensions of Musical Re-anima- Beck, Jay / Grajeda, Tony (eds.): Lowering the tion from Bollywood to Indian Idol (Anaar Boom: Critical Studies in Film Sound. Urbana/ Desai-Stephens). – 6. Magic, Destruction, and Chicago, Ill.: University of Illinois Press 2008, Redemption in the Soundtracks of Aashiqui 2, x, 342 S. RockStar, Rock On!! (Natalie Sarrazin). – Part II: Regions and Identities: 7. Violence, Recon- Inhalt: Introduction: The future of film sound ciliation, and Memory: A.R. Rahman’s “Bom- studies / Jay Beck and Tony Grajeda – The bay Theme” (Jayson Beaster-Jones). – 8. phenomenology of film sound: Robert Bres- Iconic Voices in Post-Millennium Tamil Cin- son’s A Man Escaped / John Belton – The ema (Amanda Weidman). – 9. Folk Drums and proxemics of the mediated voice / Arnt Maasø Tribal Girls: Sounding the Himalayas in In- – Almost silent: the interplay of sound and si- dian Film (Stefan Fiol). – 10. Film Frontiers: lence in contemporary cinema and televi- Imagining Rajasthan in Contemporary Bolly- sion / Paul Theberge – The sounds of“si- wood Film (Shalini Ayyagari). – 11. Evolution lence”: dolby stereo, sound design, and TheS i- of a Ritual Musical Genre: The Adaptation of lence of the Lambs / Jay Beck – Sonic imagina- Qawwali in Contemporary Hindi Film (Irfan tion, or, film sound as a discursive construct Zuberi and Natalie Sarrazin). – 12. Music, in Czech culture of the transitional period / Sound, Noise: Interposition of the Local and Petr Szczepanik – Sounds of the city: Alfred the Global in Anurag Kashyap’s Gangs of Newman’s “street scene” and urban moder- Wasseypur (Madhuja Mukherjee). nity / Matthew Malsky – Film and the Wag- nerian aspiration: thoughts on sound design and the history of the senses / James Lastra – Beatriz Alvim, Luíza: Revolucionários, di- Asynchronous documentary: Bunuel’s Land tadura e ruínas ao som de Villa-Lobos. In: Sig- without Bread / Barry Mauer – “We’ll make a nificação: Rivista de cultura audiovisual 45,50, Paderewski of you yet!” Acoustic reflections 2018,S. 123–142. in The 5,000 Fingers of Dr. T / Nancy Newman – Paul Sharit’s cinematics of sound / Melissa Über Musik von Heitor Villa-Lobos als Film- Ragona – “Every beautiful sound also creates musik in 4 brasil. Filmen von 1964 bis 1970: an equally beautiful picture”: color music and Deus e o diabo na terra do sol (Glauber Rocha, Walt Disney’s Fantasia / Clark Farmer – “A 1964), O desafio (Paulo César Saraceni, 1965), question of the ear”: listening to Touch of Evil Glauber Rocha, 1967) und Terra em transe ( Os / Tony Grajeda – “Sound sacrifices”: the post Carlos Diegues, 1970). herdeiros ( modern melodramas of World War II / Debra White-Stanley – Real fantasies: Connie Ste- vens, Silencio, and other sonic phenomena in Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 16

Mulholland Drive / Robert Miklitsch – Selling nation of other texts that appeared in Die spectacular sound: dolby and the unheard his- Musik, Melos, and Musikblätter des Anbruch tory of technical trademarks / Paul Grainge – up until ca. 1930. Misgivings about silent mo- (S)lip-sync: punk rock narrative film and vies’ inadequacies with respect to music as postmodern musical performance / David La- mere illustration or with respect to the lack of derman – Critical hearing and the lessons of synchronization between sound and picture Abbas Kiarostami’s Close-up / David T. John- proved no longer relevant with the establish- son – Rethinking point of audition in TheC ell ment of talking movies. Decisive, however, is / Anahid Kassabian. the continuing demand for original film music, which in its components and structure was expected to adequately fulfil the needs of Becker, Rüdiger: Circusmusik in Deutschland: the newly developed medium. Von den Anfängen bis zur Gegenwart. Mün- chen: Allitera Verlag 2014, 437 S. (Musik, Kon- texte, Perspektiven. 5.). Beimdieke, Sara: „Der große Reiz des Kamera- Mediums“: Ernst Kreneks Fernsehoper „Ausge- Zuerst: Diss. Köln: Universität zu Köln 2008. rechnet und verspielt“. Siegen: universi – Uni- Darin: 3.5.1.2. Filmmusik (S. 371–381). versitätsverlag Siegen 2017, 399 S. (Si! Kollekti- on Musikwissenschaft. 2.). Beer-Gabel, J. C. / Hundley, Jessica (eds.): Be- Zuerst: Diss. Siegen: Universität Siegen 2014. yond the Beyond: Music from the Films of David Inhaltsverzeichnis: [URL]. Lynch. Original photography by David Black. Los Angeles: Hat & Beard Press 2016, 186 S. + 1 CD. Beinroth, Carolin: Musik im frühen deutschen Stummfilmkino: Eine Untersuchung der zeitge- Interview with David Lynch / 15. – In- Inhalt: nössischen Rezeption in ausgewählten Fachzeit- terview with Angelo Badalamenti / 31. – In- schriften der Jahre 1907–1925. Marburg: Tec- terview with Bob Roth / 39. – The Music of tum 2019, 203 S. (Systematische Musikwissen- David Lynch: The Theatre at The Ace Hotel, April 1, 2015 (Photography by David Black) / schaft und Musikkulturen der Gegenwart. 6.). 48. – Jessica Hundley: Pop Reinterpreted / 65. Filmfachzeitschriften wie der Kinematograph – Noel Murray: Subverting the Classic Score / und die LichtBildBühne stellten bereits ab 75. – Keith Phipps: Industrial Soundscapes / 1907 – und somit deutlich vor der Musikfach- 85. – Kim Morgan: The Extended Refrain / 97. presse – ein wichtiges Medium für den Aus- – Interview with Dean Hurley / 161. tausch von Ideen, Gedanken und Erfahrungen für Kinomusiker dar. Neben Erläuterungen zu den verschiedenen musikalischen Be- Beiche, Michael: Musik und Film im deutschen gleitungsmethoden, von Improvisation bis hin Musikjournalismus der 1920er Jahre. In: Ar- zur Originalkomposition, wurden hier auch chiv für Musikwissenschaft 63,2, 2006, S. 94– die alltäglichen Belange der Kapellmeister 119. und Musiker diskutiert. Zu einer Zeit, in der In 1928, when silent movies were undergoing die Filmindustrie noch wenig Interesse an der the final throws of replacement by the talkies, musikalischen Untermalung des bewegten questions relating to film music were “still Bildes zeigte, unterstützte die Filmfachpresse initially being formulated.” This sceptical ihre Leser bereits durch praktische Ratschläge point of view, voiced by Hans Mersmann, und Illustrationsvorschläge in beispielsweise paradigmatically represents the views of speziellen Filmmusikführern, Werbung für In- many other contemporary music journalists, strumente und Notensammlungen sowie Stel- musicologists, and composers. In this study, lenanzeigen und bietet damit zugleich Ein- Paul Hindemith’s contribution to the Cham- blicke in die zeitgenössischen musikalischen ber Music Festival in Baden-Baden in 1928 Aufführungspraktiken und deren Rezeption in (“Zu unserer Vorführung ‘Film und Musik’“) den ersten Jahren des Mediums Film. Zudem forms the backdrop for the systematic exami- wird der Einfluss der Filmfachzeitschriften auf eine Standardisierung von Filmmusik deut- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 17

lich. However, the hierarchy seems to present Rez. (Eunice Martins) in: Filmblatt 24, 2019/20, some intrinsic contradictions, as the “labels” S. 137–239. with the higher rank appear to be slightly different between the main index and the actual catalogue. It’s nonetheless possible to in- Beirens, Maarten: Quotation as a Structural El- fer a tripartite hierarchy, based on the con- ement in Music by Michael Nyman. In: Tempo cepts of “Dramatic”, “Lyric” and generic “Situ- 61, Oct. 2007, S. 25–38. ation” (Dramatische, Lyrische and Incidenz). A throughout analysis of the puccinian selection reveals that most of the fragments appear Belge, Boris: Klingende Sowjetmoderne: Eine in the “Lyric” section. Moreover, the greatest Musik- und Gesellschaftsgeschichte des Spätso- part of them are joined with labels referring zialismus. Köln/Weimar/Wien: Böhlau 2018, to positive emotions (“Love”, “Luck”, “Joy and 312 S. (Beiträge zur Geschichte Osteuropas. Peace”, “Hymn” etc.). Puccini’s music tends to 50.). be completely separated from its original context and meaning. Becce seems to have been Zuerst: Diss. Tübingen: Universität Tübingen guided by the mere “acoustic” feeling of the 2016. fragments to assign them their respective Darin u.a.: 5. Vergleiche und Verflechtungen: places. In this selection, Puccini’s operas like Die Musik und ihre Nachbarkünste / 215; – Il Tabarro or Suor Angelica are depicted as 5.1 Vergleiche: Literatur, Kunst, Film und overall bright works, incline to fantasy, Musik; – 5.2 Verflechtungen: Musik in Litera- melancholy and occasional gaiety. It’s possi- tur, Kunst und Film; – 5.3 Fazit: Distanzierte ble to explain this apparently unacceptable Nähe. Die Künste, Kulturpolitik und die Mos- interpretation of Becce with a quotation from kauer Trojka. the first volume of the Allgemeines Handbuch: «The best film music is the one that cannot be listened to alone.» Becce, Erdmann and Brav Bell, David A.: Getting the Best Score for Your were already aware of one of the main princi- Film: A Filmmakers’ Guide to Music Scoring. ples that modern film composers use in their Los Angeles: Silman-James 1994, xi, 112 S. work: the music has to depend on the moving Ratgeber. images, and these images have to be com- pleted by music. If Puccini’s music would have been catalogued in strict respect to its Bellano, Marco: The Silent Maestro: Giacomo original finalities, it would have resulted in Puccini and the Allgemeines Handbuch der being inappropriate for cinema performances: Film-Musik. In: Kieler Beiträge zur Filmmusik- it would have recalled memories and sensa- forschung 11, 2014, S. 106–127; [URL]. tions that would likely have given a wrong sense to a film sequence. That kind of logic is Abstract: The article studies the use of Giaco- perhaps the same that made Becce avoid to mo Puccini’s creations in one of the most use excerpts from operas such as La Bohème, complete and complex catalogues of music for Tosca and Madame Butterfly: their melodies silent films: the Allgemeines Handbuch der may have been too well-known to be effec- Filmmusik (1927), by Giuseppe Becce, Hans tively “disguised” through a clever work of Erdmann and Ludwig Brav. The presence of classification. Puccini’s music, in the Allge- Puccini in this compilation consists of 86 meines Handbuch der Filmmusik, contributed fragments from 6 operas: Gianni Schicchi, La to the consolidation and to the explication of Fanciulla del West, Manon Lescaut, Suor Angel- an important aesthetic tendency in early film ica, Il Tabarro and Le Villi. The fragments are music. However, it managed to do such a extracted from instrumental “fantasies” by thing by losing its dramatic sense and its Emile Tavan, Gaetano Luporini and Adolphe verses. In the cinema hall Puccini became a Gauwin. The excerpts are classified byan silent maestro, who gave a life and a future to elaborated system based on a series of verbal flickering shadows on a luminous screen. “labels” referring to emotions or situations, which are ordered in a hierarchical scale. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 18

Bellano, Marco: Václav Trojan: Music Composi- nisten Max Steiner, Bernard Herrmann, Elmer tion in Czech Animated Films. Boca Raton: Bernstein, Ennio Morricone, Jerry Goldsmith, CRC Press 2019, xxvii, 180 S. (Focus Anima- John Williams, John Barry, Thomas Newman tion Series./A Focal Press Book.). und Hans Zimmer.

Belton, John: Awkward Transitions: Hitch- Berg, Charles M.: The Human Voice and the cock’s Blackmail and the Dynamics of Early Silent Cinema. In: Journal of Popular Film 4,2, Film Sound. In: Musical Quarterly 83,2, 1999, S. 1975, S. 165–177. 227–246. Bernhart, Walter / Urrows, David Francis Beltrame, Giancarlo / Pavesi, Fausto (a cura (eds.): Music, Narrative and the Moving Image: di): Musica in cinema in 201 film: Filmare il Varieties of Plurimedial Interrelations. Leiden/ ritmo, la melodia e l’armonia. Colognola ai Col- Boston: Brill Rodopi 2019, xii, 254 S. (Word and li: Demetra 1999, 141 S. (Atlanti di cinema.). Music Studies. 17.). Cantare, ballare e sognare al ritmo di film e Inhalt: Film music: reflections on functions. melodie indimenticabili, sulle note di opere, Music’s body and the moving image / operette, balletti, film-rivista, musical e con- Lawrence Kramer – Disturbing Silences and certi. Storie e sentimenti narrati da pasi di Open Narratives: Musical Gaps in Fictional danza e musiche classiche, leggere, jazz, blues and Documentary Moving Images / Saskia e rock. Raccontare con le sette note in 201 Jaszoltowski – Traditional and Non-tradi- film, ritmati da schede tecniche, trame, valu- tional Uses of Film Music, and Musical Met- tazioni, curiosità e armoniosamente accompa- alepsis in The Truman Show / Werner Wolf – gnati da oltres 130 locandine originali. Homer and the Springfield Orchestra Bus: Four Test Cases for Any Future challenge to the Diegetic/Non-diegetic model / Jordan Car- Bennett, Alexis: Music with a British Accent: malt Stokes – Film Music: Significant Inter- Underscoring in British Films of the 1930s. In: medial Cases. Operatic Plurimediality in Ital- Dandelion 4,1, 2013, [URL]. ian Silent Cinema: Nino Oxilia and Pietro A number of notions prevail about the music Mascagni’s Rapsodia satanica (1915) / Bern- composed for British films in the 1930s. One hard Kuhn – Humanized Documentary, is that underscoring (a term that has now de- “Light” Verse, and Music Made to Fit: g.p.o. veloped a specific meaning: the non-diegetic1 film Unit/Auden/Britten’s Night Mail (1936) / musical accompaniment of dialogue) was kept Walter Bernhart – An Incarnation of Mem- to an absolute minimum; further, within this ory: Song as Absence in Claude Lanzmann’s apparent restriction, the closely synchronized Shoah / Ruth Jacobs – Accumulating Schu- recitative-style of underscoring so prevalent bert: Music and Narrative in Nuri Bilge Cey- in Hollywood was very unusual in films pro- lan’s Winter Sleep / Heidi Hart – Mise en duced in the United Kingdom. In this article I scene, Mozart, and a Borrowed Chorale: will be examining such received perceptions Learned Style and Identity in Pawlikowski’s of film music culture in Britain, with particu- Ida / Christopher Booth – Intermedial Vari- lar reference to the music composed for Lon- eties. Shadow Images Moving to Music: La don Films Productions, the company founded tentation de Saint Antoine in Montmartre / Pe- by Alexander Korda in 1932. ter Dayan – ‘The Big Turnaround in the Mid- dle’: On the Silent Movie and the Film Music Interlude in Alban Berg’s Opera Lulu / Mar- Berchmans, Tony: A música do filme: Tudo o ion Recknagel – All the pieces matter: On que você gostaria de saber sobre a música de complex TV music / Frieder von Ammon – cinema. [4. Aufl., rev. u. erw.] Prefácio de The Music Videos of Alternative Rock Band Rubens Ewald Filho. São Paulo: Escrituras Edi- They Might Be Giants: Prolegomena for a tora 2012, 205 S. Theory of Nonsense across Media / Emily Pe- termann – Remediations. Thrilling Opera: Behandelt werden u.a. die Flmmusikkompo- Conflicts of the Mind and the Media in Kasper Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 19

Holten’s Juan / Axel Englund – Novel, Wood- tle scenes or a romantic scene conveying un- cuts, Film, Music: Pondering over the Title of spoken intimacy. In the place of conversa- Gara Garayev’s Symphony Engravings “Don tional exchange exists a veil of sound in the Quixote” / Alla Bayramova – Film as Opera: form of music, and Situated Listening ex- Three Perspectives on Still Life and Brief En- plains why this function influences both the counter / Michael Halliwell – On the Intertex- course of interpretation and empathy experi- tual Docks, or, Whatever Happened to Shang- enced by film spectators. By focusing on cine- hai Lil? / David Francis Urrows. matic, physical, and emotional scenery surrounding a character, viewers can recognize aspects of their own lives, developing a Betzwieser, Thomas: Filmmusik vs. Kunstlied: deeper empathy for each fictional character Ravel, Ibert, Schaljapin und G. W. Pabsts ›Don through real and shared listening practices. Quichotte‹ (1933). In: Archiv für Musikwis- Inhalt: The character-as-vector. Music, off senschaft 64 (2007) 2, S. 156–177. stage – The listener in the picture – The radio Über die Musik im Film von Georg Wilhelm broadcast as anamorphic spot – The spectator Pabst (1885–1967). as situated listener – Heterological silence. Epiphanies – Love at first sight.

Biancorosso, Giorgio: Film, Music, and the Re- demption of the Mundane. In: Chris Wash- Bick, Sally: Of Mice and Men: Copland, Holly- burne / Maiken Derno (eds.): Bad Music: The wood, and American Musical Modernism. In: Music We Love to Hate. New York/London: American Music: A Quarterly Journal Devoted Routledge 2004, S. 190–211. to All Aspects of American Music and Music in America 23,4, 2005, S. 426–472.

Biancorosso, Giorgio: Situated Listening: The Sound of Absorption in Classical Cinema. New Bick, Sally: Unsettled Scores: Politics, Holly- York/Oxford: Oxford University Press 2016, xi, wood, and the Film Music of Aaron Copland 246 S. and Hanns Eisler. Urbana/Chicago/Springfield: University of Illinois Press 2019, xiii, 232 S. Screenwriters and film directors have long (Music in American life.). been fascinated by the challenges of representing the listening experience on screen. Sally Bick’s dual study of Copland and Eisler While music has played a central role in film pairs interpretations of their writings on film narrative since the conception of moving pic- composing with a close examination of their tures, the representation of music listening first Hollywood projects: Copland’s music for has remained a special occurrence. In Situated Of Mice and Men and Eisler’s score for Hang- Listening: The Sound of Absorption in Classical men Also Die! Bick illuminates the different Cinema, author Giorgio Biancorosso argues ways the composers treated a film score as for a redefinition of the music listener as rep- means of expressing their political ideas on resented in film. Rather than construct the lis- society, capitalism, and the human condition. tener as a reverential concertgoer, music ana- She also delves into Copland’s and Eisler’s lyst, or gallery dweller, this book instead often conflicted attempts to adapt their music shows how films offer a new way of thinking to fit Hollywood’s commercial demands, an about listening as distributed experience, an enterprise that took place even as they wrote activity made public and shareable across vast hostile critiques of the film industry. cultural spaces rather than an insular motion. It shows how cinema functions as not only a reservoir of established modes of listening, Biddle, Ian D.: Music, sound, and affect in Yid- but also an agent in the development of new dish-language Holocaust cinema: The post- listening practices. As Biancorosso argues, traumatic community in Natan Gross’s Unzere many films have perpetuated a long-existing Kinder (1948). In: Music and the Moving Image paradox of music as a means of silencing. 11,3, 2018, S. 40–59. Consider an aggressive score overlaying bat- This article explores some of the makeshift Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 20

musical strategies used in Natan Gross’s Yid- complicité peut s’instaurer entre les cinéastes dish-language feature film Unzere kinder (Po- et les compositeurs de tous les types de ciné- land, 1948) to tell the stories of a group of ma, des Aventures de Rabbi Jacob mises en Jewish children orphaned during the Holo- musique par Vladimir Cosma aux ouvres exi- caust. The article explores the notion of “post- geantes d’Atom Egoyan et Claire Denis en traumatic” cinema through an analysis of the passant par les succès planétaires des mu- film’s soundtrack. (Vorlage) siques d’Ennio Morricone. Inhalt: I. Musiciens de cinéma à l’œuvre: 1. Ennio Morricone: Dépasser les conditionne- Biella, Federico / Privitera, Massimo: Quando ments du cinéma – 2. Vladimir Cosma: Une cantavano le colt: Enciclopedia cine-musicale expression art total – 3. Carter Burwell: Dire del western all’italiana. Monza: Casa musicale quelque chose que vous ne savez pas encore – Eco 2017, 499 S. 4. Alberto Iglesias: Un langage musical diffé- Bespricht u.a. die Arbeiten der ital. Filmmu- rent pour chaque film. – II. Réalisateurs et sikkomponisten Alessandro Alessandroni, Lu- compositeurs en duo: 5. Jean-Paul Rappeneau is Enriquez Bacalov, Franco Bixio, Stelvio Ci- – Jean-Claude Petit: On confie les clefs de la priani, Maurizio De Angelis, Franco De Gem- maison à un autre artiste – 6. Benoit Jacquot ini, Edda e Giacomo Dell'Orso, Francesco De et Bruno Coulais: On n’écrit jamais que la Masi, Pino Donaggio, Nico Fidenco, Fabio musique du metteur en scène – 7. Atom Frizzi, Stefano Mainetti, Franco Micalizzi, En- Egoyan et Mychael Danna: La musique ra- nio Morricone, Nora Orlandi, Vince Tempera conte une histoire. – III. Cinéastes en solistes: und Piero Umiliani. 8. Claire Denis: La musique ne peut être que d’accord avec le film – 9. Stephen Frears: À bas le réalisateur ! Biesen, Sheri Chinen: Music in the Shadows: Noir Musical Films. Baltimore, Mad.: Johns Hopkins University Press 2014, xii, 210 S. Binns, Alexander: Desiring the diegesis: music and self-seduction in the films of Wong Kar Inhalt: Preludes to the noir musical – Blues in Wai. In: CineMusic? Constructing the Film the night: the noir musical on the brink of Score. Ed. by David Cooper. Newcastle: Cam- World War II – Smoky melodies: jazz noir bridge Scholars Publishing 2008, S. 127–140. musical drama – Le rouge et le noir: from The Red Shoes to A Star Is Born – Dark musical Examines Hong Kong art cinema, especially melodrama: from Young at Heart to West Side the work of film director Wong Kar-Wai, as a Story – The legacy of the noir musical. means of illustrating a use of music in film that puts a strain on the distinctions between diegetic music and its authoritative other, the Binh, N[guyen] T[rong] / Moure, José / Soj- non-diegetic, which have played a crucial role cher, Frédéric: Cinéma et musique accords par- in developing a critical approach to film mu- faits: dialogues avec des compositeurs et des ci- sic. The discussion focuses on two films from néastes. Bruxelles: Les Impressions Nouvelles the mid-1990s: Chungking Express and Fallen 2014, 202 S. (Caméras subjectives.) Angels. Il y a des scènes de films que nous connais- sons par cour, et des musiques de cinéma que Birkett, Danielle: Adapting “The Wizard of Oz“: nous pouvons fredonner instantanément. Musical Versions from Baum to MGM and Be- Cette conjonction paraît évidente au specta- yond. New York: Oxford University Press 2019, teur. Mais ce que l’on ignore, et qui sera révé- 258 S. lé dans cet ouvrage à travers une série d’en- tretiens passionnants avec des cinéastes et des compositeurs, ce sont les hasards miraculeux Bloch-Robin, Marianne: Carlos Saura: paroles ou les conflits intenses, le travail acharné ou et musique au cinéma. Villeneuve-d’Ascq: les élans d’inspiration qui ont présidé à d’in- Presses universitaires du Septentrion 2018, 336 oubliables morceaux d’anthologie. – L’idée de S. (Arts du spectacle: Images et sons.). ce livre, c’est aussi de montrer que la même Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 21

À partir de l’œuvre cinématographique du Bogdahn, Gerrit: Neue Welten, neue Klänge. réalisateur espagnol Carlos Saura, cet ouvrage Zum Konzept einer „Neuen Filmmusik“ am s’intéresse aux rôles narratifs et esthétiques Beispiel von Jerry Goldsmiths Musik zu Lo- de la musique vocale dans les films de fic- gan’s Run (1976). In: Seiltanz: Zeitschrift für ak- tions. Les fonctions de la musique vocale (pa- tuelle Musik 17, 2018, S. 4–13 . roles et musique) au sein du film sont analy- sées sous différents aspects: ordre, temps et espace du récit, caractérisation des person- Bohlman, Philip V. / Bohlmann, Andrea F.: nages, révélation de leurs points de vue et de (Un)Covering Hanns Eisler’s Hollywood Song- celui de l’énonciateur filmique. La notion de book. In: Danish Yearbook of Musicology 35, resémantisation est au cœur des analyses pro- 2007, S. 13–29. posées car l’interrelation constante entre paroles, musiques et les autres matières sonores et visuelles produit toujours un glissement sé- Bohn, James Matthew: Music in Disney’s Ani- mantique de la chanson qui influence elle- mated Features: “Snow White and the Seven même la compréhension des autres éléments Dwarfs” to “The Jungle Book”. Foreword by Jeff filmiques. L’œuvre polysémique du cinéaste Kurtti. Jackson: University Press of Mississippi espagnol, très grand mélomane et maître de 2017, xviii, 294 S. l’« œuvre ouverte », permet de mettre en évi- Inhalt: Introduction / 3 – 1. Mickeys / 9 – 2. dence ces rôles de la chanson, car la musique The Silly Symphonies / 29 – 3. Snow White vocale se prête parfaitement à une révélation and the Seven Dwarfs / 56 – 4. Pinocchio / 79 – détournée du sens, caractéristique chez l’au- 5. Dumbo and Bambi / 94 – 6. Cinderella / 117 teur de Cria Cuervos. – 7. Alice in Wonderland and Peter Pan / 138 – 8. Disney Animated Features, 1955–1961 / 157 – 9. The Sword in the Stone and The Jungle Boczkowska, Ewelina: “Chopin meant every- Book / 175 – Appendix / 203 – Notes / 241 – thing to us then”: Chopin nostalgia in Polish Bibliography / 267 – Index / 281. – Mit Noten- cinema, 1944–91. In: Music, Collective Memory, beispielen. Trauma, and Nostalgia in European Cinema After the Second World War. New York: Rout- ledge 2020, S. 253–275. Bolivar, Valerie J. / Cohen, Annabel J. / Fen- This chapter traces the shifting meanings of tress, John C.: Semantic and Formal Congru- Chopin’s music in Polish biopics, documen- ency in Music Motion Pictures: Effects on the taries, and experimental films. Chopin’s his- Interpretation of Visual Action. In: Psychomu- torical status was reinvented repeatedly by sicology [= Special vol. on film music] 13,1–2, Polish filmmakers during periods of political 1994, S. 28–59. instability in Poland: by the end of Second World War (1944–1945), at the height of the Bombola, Gina: From There’s Magic in Music to Stalinist period (1949–1952), and after the The Hard-Boiled Canary: Promoting “Good transition to democracy (1990–1991). Chopin Music” in Prewar Musical Films. In: Journal of served different cultural ends in these films: 12,2, 2018, S. as an emblem of societal trauma, as an epit- the Society for American Music ome of social progress, and later, as a symp- 151–178. tom of collective melancholia. Each reconfig- In 1941, Paramount released There’s Magic in uration, this chapter argues, was rooted in Music, a film about a soprano who sings nostalgia of a nation struggling to rebuild it- opera in burlesque and wins a scholarship to self after the war and communism. With these attend Interlochen. The movie’s utopian view evolutionary threads, a largely unexplored of art music, however, caused difficulties for cultural history of Chopin’s music during the the studio in regard to marketing, leading to a German occupation, the Stalinist period, and studio-wide debate over the film’s title. the early 1990s, Poland can be traced. (Vor- Archival documents position There’s Magic in lage) Music as a valuable case study for investigating the transitional period of musical film Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 22

production between the Great Depression and cally professed. Understood in this context, the onset of World War II, particularly with Copland’s scoring decisions in The Heiress re- respect to operatic musicals. Just prior to the flect a turn away from the Americana of United States’ entry into the war, Hollywood “Rodeo” (1942) and “Appalachian Spring” moved away from the escapist fantasy of (1944) and the Russian-themed score of “The 1930s cinema toward the realism that would North Star” (1943), as he sought to refashion mark the 1940s. To reboot fading interest in his identity as a composer in the post-war musicals, studios toyed with the formula of years. the backstage musical to focus more on dramatic narratives and star power. There’s Magic in Music thus serves as a lens through Booth, Gregory D./ Shope, Bradley (eds.): More which we might examine changes both in than Bollywood: Studies in Indian Popular Mu- musical film production and in notions of sic. New York/Oxford: Oxford University Press “good music” at the eve of World War II. 2014, xvi, 358 S. Darin u.a.: Gregory D. Booth and Bradley Bombola, Gina: Searching for a fresh point of Shope: Introduction—Popular Music in India / view: Aaron Copland, identity, and The Heiress 2. – PART ONE: Perspectives on Film Song: – 1. Gregory D. Booth: A Moment of Historical (1949). In: The Journal of Musicology 35,3 2018, Conjuncture in Mumbai: Playback Singers, S. 368–396. Music Directors, and Arrangers and the Cre- In the early 1940s Aaron Copland cultivated ation of Hindi Song (1948–1952) / 21. – 2. Na- an identity as an authority on film composi- talie Sarrazin: Global Masala: Digital Identi- tion through public lectures, interviews, and ties and Aesthetic Trajectories in Post-Liber- his own film scores. Championing film mu- alized Indian Film Music / 38. – 3. Joseph sic’s potential as a serious art form, Copland Getter: Kollywood Goes Global: New Sounds sought to show Hollywood that film com- and Contexts for Tamil Film Music in the 21st posers could branch out from the romantic Century / 60. – 4. Kaley Mason: On Nightin- and post-romantic aesthetics that infused gales and Moonlight: Songcrafting Femininity contemporary soundtracks and write in a in Malluwood / 75. – PART TWO: Audio Cul- more modern, even American, style. During tures, Music Videos, and Film Music: – 5. the 1940s the film industry was already em- Jayson Beaster-Jones: Film Song and Its bracing an abundance of new production Other: Stylistic Mediation and the Hindi Film styles, techniques, and genres that fostered Song Genre / 97. – 7. Anjali Gera Roy: Filming innovation in the development of cinematic the Bhangra Music Video / 142. – 8. Peter musical codes. When Copland returned to Kvetko: Mimesis and Authenticity: The Case Hollywood in 1948 to score William Wyler’s of Thanda Thanda Pani and Questions of Ver- psychological melodrama “The Heiress” sioning in North Indian Popular Music / 260. (1949), he chose to take on a set of new chal- – PART THREE: Live Music, Performance Cul- lenges. Copland attempted to discover a new tures, and Re-mediation: – 10. Bradley Shope: idiom for love music, on the one hand, and Latin American Music in Moving Pictures and began to use leitmotifs as a structural device, Jazzy Cabarets in Mumbai, 1930s to 1950s / on the other. Copland’s experience with “The 201. – 15. Paul D. Greene: Bollywood in the Heiress” opens a space in which to reassess Era of Film song Avatars: DJing, Remixing, his opinions about appropriate film-scoring and Change in the Film Music Industry of techniques as well as his public endorsement North India / 300. – References / 321 – Films, of film composition. His perspectives on film Videos, and Music Cited / 335 – Index / 343. composition – as demonstrated in his writings, correspondence, and film scores as well as in interviews and reviews of his film music Borelli, Melissa Blanco (ed.): The Oxford Hand- – reveal a tension between the composer’s book of Dance and the Popular Screen. artistic sensibilities and his attitude toward Oxford/New York: Oxford University Press the commercialism of film music. Indeed he 2014, x, 476 S. (Oxford Handbooks in Music.). maintained a more ambivalent attitude to- ... sets the agenda for the study of dance in ward cinematic composition than he publi- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 23 popular moving images – films, television Dance / 320. – Kathaleen Boche: Hatchets and shows, commercials, music videos, and You- Hairbrushes: Dance, Gender, and Improvisa- Tube – and offers new ways to understand tional Ingenuity in Cold War Western Musi- the multi-layered meanings of the dancing cals / 337. – Victor Fowler / Tom Phillips: body by engaging with methodologies from Some Dance Scenes from Cuban Cinema, critical dance studies, performance studies, 1959–2012 / 351. – Rosemary Candelario: and film/media analysis. “Shine Your Light on the World”: The Utopian Inhalt: Melissa Blanco Borelli: Introduction: Bodies of Dave Chappelle’s Block Party / 365. Dance on Screen / 1. – Clare Parfitt-Brown: – Amita Nijhawan: Of Snake Dances, Over- An Australian in Paris: Techno-Choreo- seas Brides, and Miss World Pageants: Frol- graphic Bohemianism in Moulin Rouge! / 21. icking through Gurinder Chadha’s Bride and – Mary Simonson: A Different Kind of Ballet: Prejudice / 378. – Harmony Bench: Monstrous Rereading Dorothy Arzner’s Dance, Girl, Belonging: Performing “Thriller” after 9/11 / Dance / 41. – Harlig, Alexandra: Dance on the 393. – Karyn T.D. Recollet: Dancing “between Popular Screen / 57. – Ariel Osterweis: Disci- the Break Beats”: Contemporary Indigenous plining Black Swan, Animalizing Ambition / Thought and Cultural Expression through 68. – Mary Fogarty: Gene Kelly: The Original, Hip-Hop / 412. – Melissa Blanco Borelli, Updated / 83. – Susie Trenka: Appreciation, Derek A. Burrell: Dancing with Myself: Dance Appropriation, Assimilation: Stormy Weather Central, Choreography, and Embodiment / and the Hollywood History of Black Dance / 429. – Sherrill Dodds: Values in Motion: Re- 98. – Thomas F. DeFrantz: Hip-Hop in Holly- flections on Popular Screen Dance / 445. wood: Encounter, Community, Resistance / 113. – Colleen Dunagan / Roxane Fenton: Borgelt, Hans: Der ideale Musikfilm und seine Dirty Dancing: Dance, Class, and Race in the Pursuit of Womanhood / 135. – Cindy Garcia: bisherigen Erscheinungsformen. In: Theater Displace and Be Queen: Gender and Intercul- der Zeit, 7, 1951, S. 36–40. turalism in Dirty Dancing: Havana Nights (2004) / 155. – Inna Arzumanova: It’s Sort of Borodin, Boris B[orisovič]: «Zatravlennoe for- “‘Members Only’”: Transgression and Body tepiano» i «velikij nemoj» [Бородину, Борис Politics in Save the Last Dance / 166. – Raquel Б[орисович]: «Затравленное фортепиано» L. Munroe: “The White Girl in the Middle”: и «великий немой»]. In: Nauka televidenija / The Performativity of Race, Class, and Gender The Art and Science of Television 16,2, 2020, S. in Step Up 2: The Streets / 182. – Batiste, 161–187; [URL]. Stephanie L.: Affect-ive Moves: Space, Vio- lence, and the Body in Rize’s Krump Dancing / “The Racked Pianoforte” and “The Great Silent 199. – Melissa Blanco Borelli: A Taste of Cinema.” Honey: Choreographing Mulatta in the Holly- In kyrill. Schrift. – Abstract: The article con- wood Dance Film / 225. – Derek A. Burrill: siders the activities of pianists accompanying “He’s Doing His Superman Thing Again”: silent cinema. They can be equally related to Moving Bodies in The Matrix / 240. – Takiyah the history of cinema, the history of music, Nur Amin: Girl Power, Real Politics: Dis/Re- and piano performance. Musical accompani- spectability, Post-Raciality, and the Politics of ment was an important additional means of Inclusion / 255. – Chih-Chieh Liu: Denatural- influencing the viewers and a variable compo- izing Coco’s “Sexy” Hips: Contradictions and nent of the historical film show. This practice Reversals of the Dancing Body of a Chinese is a thing of the past now, along with silent American Superstar in Mandarin Pop / 268. – cinema, and attempts to revive it in modern Philippa Thomas: Single Ladies, Plural: conditions are a mere reconstruction. The au- Racism, Scandal, and “Authenticity” within thor suggests that it was not the invention of the Multiplication and Circulation of Online technical capabilities for synchronizing sound Dance Discourses / 289. – Laura Robinson: and images that determined the aesthetic The Dance Factor: Hip-Hop, Spectacle, and boundary between the silent and sound era; it Reality Television / 304. – Alexus A. Weis- was the renunciation of pianists as direct mu- brod: Defining Dance, Creating Commodity: sical accompaniment of the films, the removal The Rhetoric of So You Think You Can of the “human factor”. The most authentic Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 24

materials for studying the activities of illus- both quickly and inexpensively. Featuring in- trator pianists are interviews and archival sights from 20 professional composers, this filming of musicians who had actual experi- handbook encompasses the entire film scor- ence in silent film scoring. Of the printed ing process including education, preparation, sources, photoplay music-sheet music collec- writing and recording a score, editing, mixing tions for tappers are very informative. There and mastering, finding work, career develop- could be one or many authors to such collec- ment, and sample contracts. tions. The article analyzes the photoplay music by John Stepan Zamecnik and Ernö Rapée. The conclusion is that the plays included in Bottomore, Stephen: An International Survey one-author collections are distinguished by of Sound Effects in Early Cinema. In: Film His- the simplicity of form, genre definiteness, and tory 11,4, 1999, S. 485–498. recurrence of musical language. By contrast, compiled collections including works from Bovi, Michele: different eras composed by different authors, Cinebox vs. Scopitone: Songs to systematized by themes, are stylistically di- See. / Canzoni da guardare. Edizione italiana e verse. Using pieces from photoplay music col- inglese. Milano: Arcana 2013, 197 S. lections, as well as from popular classical Ausstellungskatalog. Zuerst 2011. – The first melodies and contemporary dance music, il- music videos in color, the true ancestors of lustrators compiled their “soundtracks”, link- modern day video clips. They were imple- ing them by composed or improvised parts. mented in Italy during the late fifties and As time passed by, “taper culture” revealed its marketed from 1961 onwards, exactly fifty patterns, which later became the basis of cin- years ago, in symbioses with the inspired ema music in the sound era and was clearly birth of the revolutionary Cinebox which in- manifested in the work of Shostakovich. The troduced the new concept of push button key- author draws several parallels between the board selection of one music video at a time. recommendations of the photoplay music The Cinebox provoked fierce international compilers and the artistic practices of film- competition between Italy and France. Artis- makers of the second half of the twentieth tic creative commercial battles were fought in century. Speaking about the revival of silent Europe and later in the United States. The film illustrators as a profession in the modern competitive commercial war, spanned a cultural space, the author emphasizes that pi- decade in which many internationally famous ano helps to preserve the artistic integrity of artists, producers and film directors of the silent pictures for modern viewers. This activ- nineteen sixties were at loggerheads. Among ity of pianists is interpreted as one of the these, were Claude Lelouch, Francis Ford branches of historically informed perfor- Coppola, Robert Altman, the italian film di- mance. The article offers examples of similar rector Vito Molinari, the italian tv director specific art projects. In conclusion, it is em- Enzo Trapani, and many large influential ital- phasized that modern cinema, by the way it ian industries such as Ottico Meccanica Ital- preserves and reproduces reality, has become iana, Innocenti, Lepetit-Ledoga, the Beretta a totally technical art. In mass cinema, record- Group, the Microstampa and Cinestabili- ings of live symphony orchestras are being mento Donato. In conclusion, all the excite- replaced by less expensive computer phono- ment aroused the interest of the mafia and grams. The author sees this as the next aes- consequently that of Robert Kennedy, who as thetic boundary beyond which the cinema chairman of the Federal Grand Jury, spear- will enter its digital age. headed the fight against the mafia. Michele Bovi, a journalist and author, has dili- gently gathered all the historical facts per- Borum, Jeremy: Guerrilla Film Scoring: Practi- taining to these events and the birth of the cal Advice from Hollywood Composers. Lanham, Cinebox. He has extensively interviewed the Mad.: Rowman & Littlefield Publishers 2015, protagonists, participants and witnesses of xx, 250 S. this fascinating history and of the artistic and In this book, Jeremy Borum provides valuable commercial rivalry between the italian guidance on how to make a good film score Cinebox and its french counterpart, the Scopi- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 25

tone. In this book, besides the story and testi- sense, I investigate some of the ways music monials, it lists all the short films and music can be "heard" differently when we acknowl- videos filmed throughout the world and cap- edge its particular social, cultural and ideo- tures the reader’s interest with documenta- logical contexts – within and outside the film. tion and original photos taken on the film In the spirit of the multidisciplinary approach sets, that binds together in this book, a snap- necessitated by the subject matter, this project shot of many famous artists of that era with brings together interpretive strategies in- its unrepeatable artistic creativity with the formed by cultural and anthropological stud- legendary and innovative italian invention, ies, film music theory, postmodernism and the Cinebox. gender theory, among others. Using cultural studies and ethnographic methods as the backbone for examination of the music’s “ex- Bowman, Durrell: Dark Mirrors and Dead trafilmic” contexts, while applying detailed Ringers: Music for Suspense Films about musical analyses in consideration of music’s Twins. Intersections: Canadian Journal of Music “extrafilmic” roles, the second and third chap- 27,1, 2006, S. 54–74. ters provide layered and multi-variable discussions of the music and music makers of five Canadian films. Egoyan’s films, Family Bozynski, Michelle Carole: Music in Canadian Viewing (1987) and Exotica (1994), and Visual Narrative: Musical Collaborations in Five Rozema’s films, I’ve Heard the Mermaids Films of Atom Egoyan and Patricia Rozema. Singing (1987), White Room (1991), and When Ph.D. thesis, University of Toronto, Musicol- Night is Falling (1995) fuel the discussion. ogy, 2004, 401 S. The goal of this project is to promote an Brackett, David: Banjos, Biopics, and Compila- awareness of some important recent contributors to Canadian film music, and draw attention Scores: The Movies Go Country. In: Amer- tion to the collaborative process between ican Music: A Quarterly Journal Devoted to All composers and filmmakers in Canada. My in- Aspects of American Music and Music in Amer- vestigation of film music through a multi- ica 19,3, 2001, S. 247–290. contextual framework engages the larger question of how music adds layers of mean- Braun, Angelika / Christa M. Heilmann: Iden- ing to film. Music is an agent of narrativity in tität und Imitation. Konstruktion von Emotio- film, and the case studies benefit our under- nen im synchronisierten Film. In: Das Phäno- standing of Canadian film music’s potential to men Stimme: Imitation und Identität. Hrsg. v. inform the multiple narratives through which Thomas Kopfermann. [5. Internationale Stutt- it passes. This project examines the work of two Canadian independent feature filmmak- garter Stimmtage. / Hellmut K. Geissner zum ers, Atom Egoyan and Patricia Rozema, and 80. Geburtstag.] St. Ingbert: Röhrig 2004, S. the film composers – Mychael Danna, and 111–122. Lesley Barber and Mark Korven, respectively – with whom they have collaborated since Braun, Michael: Franz Grothe als Filmkompo- their emergence in the 1980s. Their works nist in der Zeit des Nationalsozialismus. In: serve as case studies for an understanding of Banter, H[arald] / Brandhorst, J[ürgen] / the ways film music can engage visual narra- Braun, M[ichael] [u.a.]: Franz Grothe. Mün- tive and how the convergence of music and chen: Allitera Verlag 2019, S. 73–92 (Kompo- story can inform broader and Canadian con- nisten in Bayern: Dokumente musikalischen siderations. In the first chapter, I discuss film as social text and as personal and cultural ex- Schaffens im 20. und 21. Jahrhundert. 64.). pression within a context of national cultural policies. I consider how music, in its ability to Bregman, Albert S.: Scene Analysis: Hearing in mediate and interpret film, and as the product Complex Environments. In: Thinking in Sound: of creative interactivity, becomes a site The Cognitive Psychology of Human Audition. through which individual and national identi- Ed. by S. McAdams & E. Bigand. Oxford: Ox- ties can be negotiated. In a national and social Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 26 ford University Press 1993, S. 10–36. Brown, Julie: Listening to Ravel, Watching Un Cœur en Hiver: Cinematic Subjectivity and the Music-Film. In: Twentieth Century Music 1,2, Bribitzer-Stull, Matthew: Understanding the 2004, S. 253–275. Leitmotif: From Wagner to Hollywood Film Mu- sic. Cambridge/New York: Cambridge Univer- sity Press 2015, xxiv, 331 S. Brown, Julie, / Davidson, Annette (eds.): The . New York: Ox- The musical leitmotif, having reached a point Sounds of the Silents in Britain of particular forcefulness in the music of ford University Press 2013, xiv, 334 S. Richard Wagner, has remained a popular Inhalt: Overture / Julie Brown, Annette Davi- compositional device up to the present day. In son – Professional lecturing in Early British this book, Matthew Bribitzer-Stull explores Film shows / Joe Kember – “Now, where were the background and development of the leit- we?” ideal and actual early cinema lecturing motif, from Wagner to the Hollywood adapta- practices in Britain, Germany and the United tions of The Lord of the Rings and the Harry States / Judith Buchanan – Eric Williams: Potter series. Analyzing both concert music speaking to pictures / Stephen Bottomore – and film music, Bribitzer-Stull explains what Sounding Scottish: sound practices and silent the leitmotif is and establishes it as the union cinema in Scotland / Trevor Griffiths – “Suit- of two aspects: the thematic and the associa- able music”: accompaniment practice in early tive. He goes on to show that Wagner’s Ring London screen exhibition from R.W. Paul to cycle provides a leitmotivic paradigm, a the Picture Palaces / Ian Christie – The art of model from which we can learn to better un- not “playing to pictures” in British cinemas, derstand the leitmotif across style periods. 1906–1914 / Jon Burrows – “The efforts of the Arguing for a renewed interest in the artistic wretched pianist”: learning to play to the pic- merit of the leitmotif, Bribitzer-Stull reveals tures in Britain, 1911–1913 / Andrew Higson how uniting meaning, memory, and emotion – The reception of British exhibition practices in music can lead to a richer listening experi- in moving picture world, 1907–1914 / James ence and a better understanding of dramatic Buhler – Selsior dancing films, 1912–1917 / music’s enduring appeal. Stephen Bottomore – Song of performance in the early sound shorts British pathé / Derek B. Scott – Framing the atmospheric film pro- Bridges, Rose: Yoko Kanno’s “Cowboy Bebop” logue in Britain, 1919–1926 / Julie Brown – Soundtrack. New York, NY/London/Oxford/ Animating the audience: singalong films in New Delhi/Sydney: Bloomsbury Academic Britain in the 1920s / Malcolm Cook – Work- 2017, 134 S. ers’ rights and performing rights: cinema music and musicians prior to synchronized Zur Musik in der TV-Animationsserie Cow- sound / Annette Davison – Sound at the film boy Bebop (Japan 1998–99). society / John Riley – Edmund Meisel’s “visual sound” in The crimson circle (1929): the Brooks, Rosetta: Seeing with Our Ears: Music case of the vanishing part-talkie / Fiona Ford. for TV. In: The Arts for Television. [Katalog zur gleichnamigen Ausstellung.] Ed. by Kathy Rae Brown, Kristi A.: The Troll Among Us. In: Huffman & Dorine Mignot. Amsterdam: Changing Tunes: The Use of Pre-existing Music Stedelijk Museum 1987, S. 66–82. in Film. Ed. by Phil Powrie & Robynn Stilwell. Aldershot: Ashgate 2006, 74–87. Brosius, Hans-Bernd / Kepplinger, Hans Math- Nachdr. London: Routledge 2017. ias: Der Einfluss von Musik auf die Wahrnehmung und Interpretation einer sym- bolisierten Filmhandlung. In: Rundfunk und Brown, Nicholas G.: Electroacoustic composi- Fernsehen 39,4, 1991, S. 487–505. tion and silent film. In: Music and Sound in Silent Film: From the Nickelodeon to “The Artist“. Ed. by Simon Trezise & Ruth Barton. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 27

London: Routledge 2019, S. 187–197. Brown, Royal S.: Eine neue musikalische Form schaffen. Bernard Herrmann und der Holly- wood-Filmscore. In: Regina Schlagnitweit / Brown, Richard H.: Breaking the Sound Bar- Gottfried Schlemmer [Hrsg.]: . rier: Transparency and Cinematic Space in Film und Musik Wien: Synema 2001, S. 85–98. Works of Calder (1950) and Jackson Pollock 51’. In: Contemporary Music Review 33,5–6, 2014, S. 512–538. Brown-Montesano, Kristi: Pathétique noir. Beethoven and the man who wasn’t there. In: In the early 1950s John Cage and Morton Feldman were commissioned to score docu- Beethoven Forum 10,2, 2003, S. 139–161. mentary films on two significant American artists: Cage for the Herbert Matter documen- Brown-Montesano, Kristi: Terminal Bach. tary on sculptor Alexander Calder, and Feld- Technology, media, and the “Goldberg varia- man for the Hans Namuth and Paul Falken- tions” in postwar American culture. In: Bach. berg documentary on Abstract Expressionist The Journal of the Riemenschneider Bach Insti- painter Jackson Pollock. Both artists saw tute, Baldwin-Wallace College 50,1, 2019, S. 81– these commissions as opportunities to formal- 117. ize connections between their compositional approaches to sound and the visual approach The curious link between Bach’s music and to space, kinetic movement, and ground re- psychopaths in English-language film can be vealed in the time-based poetics of the mov- traced back to at least Dr. Jekyll and Mr. Hyde ing image. Examination of archival docu- (1931) and The Black Cat (1934), but this cine- ments from these film commissions, including matic trope regained horror credibility in the original scores and correspondence, reveals late twentieth century with Dr. Hannibal numerous parallels between the New York Lecter in The Silence of the Lambs (1991). schools of music and visual arts. Both films Lecter’s creator, author Thomas Harris, gave predate the radical shift in Cagean esthetics his cannibalistic serial killer preternatural in- by only a year, and the commissions provided telligence and a taste for fine culture, includ- a self-conscious examination of the artistic ing the keyboard works of Bach, most notably ‘intermedia’ connections between auditory the Goldberg Variations. Scholars and fans and visual approaches to a work of art. alike have investigated almost every aspect of Lecter’s persona, including his musical prefer- ences, yet a broader question arises: how ex- Brown, Richard H.: Through the Looking Glass: actly did we get to Lecter’s Bach? What cul- John Cage and Avant-garde Film. New York: tural factors – musical and otherwise – might Oxford University Press 2019, x, 240 S. have influenced Harris to fix on Bach, Gould, and the Goldberg Variations specifically for Inhalt: Introduction: Audiovisu(ality)(ology) / his supervillain? This investigation considers 1. – The Spirit Inside Each Object: Oskar significant events of the postwar period that Fischinger, Sound Phonography, and the “In- likely played a role in the evolution of the ner Eye” / 15. – Dreams That Money Can Buy: Lecterian Bach: (1) the modernist turn in Trance, Myth, and Expression, 1941–1948 / Bach reception, performance practice, and 49. – Losing the Ground: Chance, Trans- recording in the United States between 1945 parency, and Cinematic Space, 1948–1958 / 91. and 1968, especially as evidenced in the sen- – “Cinema Delimina”: Post-Cagean Aesthet- sational albums of Glenn Gould and Wendy ics, Medium Specificity, and Expanded Cin- Carlos; (2) the twentieth-century cinematic emap / 139. – Conclusion: “Through the Look- association between Bach’s music and de- ing Glass”: Poetics and Chance in John Cage’s structive drives, particularly as redefined One” / 173. from the early 1970s via the use of Variation 25 in Slaughterhouse-Five (1972) and The Ter- Brown, Royal S.: Film Music: The Good, the minal Man (1974); and (3) the postwar boom Bad, and the Ugly. In: Cineaste 21,1–2, 1995, S. in computer science and the significance of 62–67. Bach’s music to related discourses such as the development of artificial intelligence. All of Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 28

these threads intersect with a phenomenon of S. modern, industrialized American culture that Zur Geschichte der Filmmusik. Mit einem Re- Mark Seltzer describes in his Serial Killers: gister der erwähnten Filme und TV-Serien. – Death and Life in America’s Wound Culture [URL]. (1998) as “techno-primitive.” The life process Inhaltsverzeichnis: and machine process are integrated “such that the call of the wild represents not the antidote Buhler, James: Star Wars, Music and Myth. In: to machine culture but its realization.” As a Music and Cinema. Ed. by James Buhler, Caryl superhuman genius who kills like a machine, Flinn & David Neumeyer. Hanover, NH: Wes- Lecter undeniably represents the techno- leyan University Press 2000, S. 33–57. primitive. Yet, his cultured intellectualism (including his love of Bach’s music) taps into postwar popular understanding of the com- Buhler, James: Analytical and Interpretive Ap- poser’s work as the highest expression of mu- proaches to Film Music (II): Interpreting Inter- sical logic, ideally suited to the technological actions of Music and Film. In: Film Music: An age. (Vorlage) Anthology of Critical Essays. Ed. by Kevin J. Donnelly. Edinburgh: Edinburgh University Press 2001, S, 39–61. Brügge, Joachim / Grosch, Nils (Hrsg.): Singin’ in the Rain: Kulturgeschichte eines Hollywood- Musical-Klassikers. Münster/New York: Wax- Buhler, James: Enchantments of The Lord of mann 2014, 173 S. (Populäre Kultur und Mu- the Rings: Soundtrack, Myth, Language, and sik. 12.). Modernity. In: From Hobbits to Hollywood: Es- Ed. Inhalt: Nils Grosch, Jonas Menze: Anmerkun- says on Peter Jackson’s Lord of the Rings. gen zur musikalischen Dramaturgie und by Murray Pomerance & Ernest Mathijs. Am- Struktur von Singin’ in the Rain / 11. – Olaf sterdam: Editions Rodopi 2006, S. 231–248 Jubin: Singin’ in the Rain als Klassiker des amerikanischen Filmmusicals / 27. – Frederic Buhler, James: Music and the Adult Ideal in A Döhl: »From Arthur Freed Down«: Über den Nightmare on Elm Street. In: Music in the Hor- Produzenten als Teil kooperativer Autorschaft ror Film: Listening to Fear. Ed. by Neil Lerner im amerikanischen Musical am Beispiel der New York: Routledge, 2009, S. 168–186. »Arthur Freed Unit« / 57. – Ivana Dragila: Das Hollywood-Musical. Umriss seiner Geschichte 1900–1950 / 77. – Wolfgang Buhler, James: Wagnerian Motives. Narrative Jansen: Singin’ in the Rain auf der Bühne. Zur Integration and the Development of Silent internationalen Rezeption des Musicals / 91. – Film Accompaniment, 1908–1913. In: Wagner Renaud Lagabrielle: Ein Pariser in Hollywood. and Cinema. Ed. by Sander L. Gilman & Intermediale Bezüge und reflexive Praxis in Jeongwon Joe. Bloomington: Indiana Univer- Etoile sans lumiere und Singin’ in the Rain / sity Press 2010, S. 27–45. 103. – Claudia Jeschke: Gene Kelly – Chore- ographing Ballet(s). Eine (eurozentrische) Spurensuche in An American in Paris (1951), Buhler, James: ‘Everybody Sing’: Family and Singin’ in the Rain (1952), Imitation to the Social Harmony in the Hollywood Musical. Dance (1952/56) / 119. – Ralph J. Poole: »I In: A Family Affair: Cinema Calls Home. Ed. cayn’t make love to a bush!« Lina Lamont by Murray Pomerance. London: Wallflower und die Austreibung weiblicher Komik in Sin- Press 2008, S. 29–44. gin’ in the Rain / 133. – Joachim Brügge: Dra- maturgische und formale Aspekte zu ausge- suchten Songs zu Singin’ in the Rain / 157. Buhler, James: Theories of the Soundtrack. New York: Oxford University Press 2019, xlv, 318 S. (The Oxford Music/Media Series.). Bryngelsson, Peter: Filmmusik: det komponer- This book summarizes and critiques major ade miraklet. Under medverkan av Joakim theories of the soundtrack from roughly 1929 Tillman. [Möklinta:] Gidlunds förlag 2015, 244 Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 29

until today. Rather than providing an exhaus- 1980s Teen Films / Cari McDonnell (108). – 7. tive historical survey, it sketches out the Girls’ Voices, Boys’ Stories, and Self-Determi- range of theoretical approaches that have nation in Animated Films since 2012 / Robynn been applied to the soundtrack since the com- J. Stilwell (127). – 8. The Trouble with On- mercial introduction of the sound film. The screen Orchestrators: Progeny and Composi- basic theoretical framework of each approach tional Crisis in the Four Daughters Film / is presented, taking into account the explicit Nathan Platte (151). – 9. Some Thoughts on and implicit claims about the soundtrack and Genre, the Vococentric Cinema, and “Stella by its relation to other theories. The organization Starlight” / David Neumeyer (171). – 10. Lis- is both chronological and topical, the former tening to Soundscapes in Kurosawa’s Dersu in that the chapters move steadily from early Uzala (1975) / Brooke McCorkle (190). – 11. film theory through models of the classical Peter Weir and the Piano Concerto / Erik system to more recent critical theories; the Heine (207). – 12. Monocentrism, or Sound- latter in that the chapters highlight central is- tracks in Space: Rediscovering Forbidden sues for each generation: the problem of film Planet’s Multi-Speaker Release / Eric Dienst- itself, then of image and sound, of adequate frey (229). – 13. Sound and the Comic/Horror analytical-descriptive models, and finally of Romance Film: Formula, Affect, and Inflection critical-interpretative models. / Janet Staiger (245). – 14. Once More into the Breach: Interrogating Ben Winters’s Nondiegetic Fallacy / Jeff Smith (260). – 15. Buhler, James / Lewis, Hannah (eds.): Voicing The End(s) of Vococentrism / James Buhler the Cinema: Film Music and the Integrated (278). Soundtrack. Urbana, Ill.: University of Illinois Press 2020 x, 309 S. Buhler, James / Neumeyer, David: Analytical The collection is divided into four sections. and Interpretive Approaches to Film Music (I): The first explores historical approaches to Analyzing the Music. In: Film Music: An An- technology in the silent film, French cinema thology of Critical Essays. Ed. by Kevin J. Don- during the transition era, the films of the so- nelly. Edinburgh: Edinburgh University Press called New Hollywood, and the post-production sound business. The second investigates 2001, S. 16–38. the practice of the singing voice in diverse repertories such as Bergman’s films, Eighties Buhler, James / Neumeyer, David: Music – teen films, and girls’ voices in Brave and Sound – Narrative: Analyzing Casablanca. In: Frozen. The third considers the auteuristic Interdisciplinary Studies in Musicology 5. Ed. voice of the soundtrack in works by Kuro- by Maciej Jablonski & Michael Klein. Poznan: sawa, Weir, and others. A last section on nar- Rhytmos 2005, S. 277–291. rative and vococentrism moves from The Martian and horror film to the importance of background music and the state of the sound- Buhler, James / Neumeyer, David: Composing track at the end of vococentrism. for the Films, Modern Soundtrack Theory, and Inhalt: James Buhler & Hannah Lewis: Intro- the Difficult Case of A Scandal in Paris. In: duction. Voices in, of, and on the Cinema (1). Eisler-Studien 3, 2008, S. 123–141. – 1. Apprehending Human Voice in the “Silent Cinema” / Julie Brown (17). – 2. Silenc- Buhler, James / Neumeyer, David: Music and ing and Sounding the Voice in Transition-Era the ontology of the sound film: the classical French Cinema / Hannah Lewis (34). – 3. FM Radio and the New Hollywood Soundtrack / Hollywood system. In: The Oxford Handbook Julie Hubbert (54). – 4. Pinewood’s Fiddler of Film Music Studies. Oxford/New York: Ox- Fans Goldwyn’s Folly: London’s Battle for ford University Press 2014, S. 17–43. Postproduction Sound Business / Katherine Quanz (73). – 5. Vococentrism and Sound in Bullerjahn, Claudia: Carmen – eine Projekti- Ingmar Bergman’s The Magic Flute / Marcia J. onsfläche. Vergleichende Untersuchung von Citron (91). 6. Breaking into Soundtrack in ausgewählten Verfilmungen. In: Bullerjahn, Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 30

Claudia / Löffler, Wolfgang (Hrsg.): Musiker- was created to resemble part of a real feature mythen – Alltagstheorien, Legenden und Medi- film with various interpretations. Three pro- eninszenierungen. Hildesheim / Zürich / New fessional film music composers produced mu- York: Olms 2004, S. 313–351 (Musik – Kultur sic soundtracks for the film in the style of a – Wissenschaft. 2.). thriller, a melodrama and one other version. For the study, five versions were selected differing in style, orchestration, use of motifs, Bullerjahn, Claudia: Ein begriffliches Babylon. and the place and length of the music in rela- Von den Schwierigkeiten einer einheitlichen tion to the film. Using both rating scales and Filmmusiknomenklatur. In: Academia.edu open-ended questions, over 400 subjects pro- [2016], [URL]. vided information about the relationships between the characters and about the history and outcome of the events depicted by the Bullerjahn, Claudia: Facing the Past as Well as film excerpt. Results indicated that filmmusic the Future: Music and Sound in Hitchcock’s polarizes the emotional atmosphere and influ- Early British Sound Films. In: Reassessing the ences the understanding of the plot. Hitchcock Touch: Industry, Collaboration, and Filmmaking. Ed. by Wieland Schwanebeck. Cham, Switzerland: Palgrave Macmillan 2018, Burke, Patrick Lawrence: Rock, race, and radi- S. 21–40. calism in the 1960s: the Rolling Stones, black power, and Godard’s One plus One. In: The Journal of Musicological Research 29,4, 2010, S. Bullerjahn, Claudia: Grundlagen der Wirkung 275–294. von Filmmusik. 4., unv. Aufl. Augsburg: Wiß- ner-Verlag 2019, 362 S. (Forum Musikpädago- Jean-Luc Godard’s 1968 film One Plus One is gik. 43./Wißner-Lehrbuch. 5.). of musicological significance because, unlike most music scholars, Godard directly con- Inhaltsüberblick: 1. Einleitung / 11. – 2. Kate- fronts racial issues in 1960s rock. By juxtapos- gorisierung von akustischen Ereignissen im ing studio footage of the Rolling Stones with Film / 19. – 3. Beziehungen zwischen Filmmu- staged tableaux of black militants, Godard sik und Bildinhalten / 31. – 4. Beschreibung both highlights white appropriation of black und Kategorisierung der Funktionen von music and suggests that any cultural expres- Filmmusik / 53. – 5. Filmmusiktechniken / 75. sion that seems transparently authentic is ac- – 6. Physiologische Grundlagen der audiovi- tually constructed rhetorically. “One Plus suellen Wahrnehmung / 101. – 7. Entwurf ei- One” undermines the romantic notion of the nes übergreifenden Modells zur Wirkung von ‘rock revolution’ that continues to inform Filmmusik / 123. – 8. Wirkungen von Filmmu- popular accounts of 1960s rock, suggesting sik / 157. – 9. Zusammenfassung und Schluß- instead that rock was part of a complex and betrachtung / 297. – 10. Summary and conclu- often contradictory political culture. (Vorlage) sion / 303. – 11. Literaturverzeichnis / 309. – 12.3 Filmverzeichnis / 335. – 13. Register / 337. – 13.1 Sachregister / 337. – 13.2 Perso- Bushard, Anthony: Leonard Bernstein’s “On nenregister / 356. the Waterfront”: A Film Score Guide. Lanham, Md.: Scarecrow 2013, xviii, 214 S. (Scarecrow Bullerjahn, Claudia / Güldenring, Markus: An Film Score Guides. 14.). empirical investigation of effects of film music Inhaltsübersicht: Leonard Bernstein’s musi- using qualitative content analysis. In: Psy- cal and dramatic background to 1954 – chomusicology: A Journal of Research in Music Leonard Bernstein’s compositional method Cognition 13,1–2, 1994, S. 99–118. in On the waterfront – The film and its con- This study investigated the effects of film mu- text I – The film and its context II – Analy- sic by using both standardized methods (rat- sis of the score. ing scales) and qualitative research methods. An experimental film of about10 min duration Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 31

Butler, David: The days do not end: Film mu- (579–598). – Peter Moormann: Music and sic, time and Bernard Herrmann. In: Film sound as counterpoint? Aesthetic discussions Studies 9,1, 2006, S. 51–63. about film music in Germany triggered by the advent of sound film in the late 1920s (599– 606). – Umberto Fasolato: Balázs e la problematica attesa del film sonoro del futuro (607– 622). – Sergio Miceli: Da Kurt London (1936) a Theodor W. Adorno (1947): due miti da ridi- – C – mensionare (623–636). – Giovanni De Mezzo: Teoria e prassi negli scritti cinematografici di Vittorio Gelmetti (637–678). – Marco Targa: Calabretto, Roberto: La musica per film al La prassi della compilazione musicale nel ci- Convegno Internazionale dei Centri Speri- nema muto italiano (679–700). – Günter mentali di Musica Elettronica di Firenze del Krenn: ”From the silver rose to the silver 1968: alcuni segnali provenienti dall’Est. In: screen.” Richard Strauss’ Filmmusik für den Musica/Tecnologia 9, 2015, S. 157-180. österreichischen Stummfilm “Der Rosenkava- lier” (1926) (701–720). – Marco Cosci: Alle ori- The International Conference of the Experi- gini del modernismo. Questioni e dibattiti in- mental Centres of Electronic Music was held torno alla “nuova musica” di Hollywood (721– in Florence from 9 to 14 July 1968, during the 738). – Anna Katharina Windisch: Pressing XXXI Maggio Musicale Fiorentino, thanks to the Trade Press. Sources for Silent Film Music Pietro Grossi’s effort. Many musicians and re- Research in the American Trade Magazine searchers attended, coming from different Eu- Moving Picture World (739–755). ropean nations. Among them were Ivan Stadtrucker (Bratislava Television Experimen- tal Studio), who illustrated the use of elec- Calella, Michele: Jazz, Sex und Filmmusik. tronic musical devices in film practice, and Musik und Gender in Hollywoods Filmdra- Evgenij A. Murzin (Moscow Studio), who pre- men der 1950er Jahre. In: Musiktheorie: Zeit- sented the ANS synthesizer – a device made 27,3, 2012, S. by 720 oscillators that covered a range of schrift für Musikwissenschaft seven octaves and that was used also by An- 247–265. drej Tarkovskij in Solaris. The essay deals The famous sequence depicting the sexually with these two presentations relating them to allusive reconciliation of Stanley and Stella in the universe of European film music in the Elia Kazan’s A Streetcar Named Desire (1951) second half of the 20th century. was heavily censored before the film was released. The motion picture production code forced the producers to remove also Alex Calabretto, Roberto (a cura di): Musica per North’s jazz-inflected cue, which was re- film: riflessioni storico-teoriche. Numero mono- placed by a “symphonic” one. This article tries grafico dal Seminario della Fondazione Ugo e to reconstruct the musical and social dis- Olga Levi “La storia musicale e la musica per course of jazz music which lies behind this film” (Venezia, Palazzo Giustinian Lolin, 15-16 singular case of musical censorship. A cul- marzo 2013). Venezia: Fondazione Ugo e Olga tural and musical analysis of film scores until Levi / Bologna: Il Mulino 2016, S. 509–755 [= the early 1960s shows the importance of jazz- 247 S.] (Musica e storia. XVII/3, 2009 [Nov inflected music as a powerful instrument for 2016].). the construction of sexual female behaviour in Hollywood films. The frequent use of jazz- Inhalt: A Sergio Miceli (509–510). – Roberto inflected musical topoi as a sign of promiscu- Calabretto: Appunti per una possibile teoria ity and prostitution in these movies shows della musica per film (511–566). – Gianni only apparently a change of mentality and re- Rondolino: La musica cinematografica: teoria veals actually the same discoursive back- e storia (567–578). – Irene Comisso: L’“Allge- ground of the censorship of North’s score in meines Handbuch der Film-Musik” di Erd- 1951. mann-Becce-Brav e il dibattito teorico-esteti- co nella pubblicistica del primo Novecento Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 32

Callaghan, Andrew: Realism and the “inaudi- Campanella, Andrea (a cura di): Piero Umilia- ble” score for Spotlight. In: Context: A Journal ni: in parole e musica. Milano: Haze / Audito- of Music Research 42, 2017, S. 53–66. rium 2014, 125 S. (Rumori. 33.). Reality poses a problem for film composers. Essays und Interviews zum italienischen For decades, filmmakers in Hollywood have Komponisten Piero Umiliani (1926–2001); leaned towards an avoidance of non-diegetic [Filmographie: URL]. music in films that seek a realistic aesthetic. Piero Umiliami era un grande musicista, tra i The post-millennial examples of this phenom- padri del moderno jazz italiano. Era un com- enon are perhaps most recognisable in the positore di musiche per il cinema: oltre a “I found footage genre, which includes such soliti ignoti”, ne ha firmate altre 150 almeno. films as Quarantine and Cloverfield. However, Piero Umiliani ha scritto “mah-nà mah-nà”, there have been a number of film productions sigla del Muppet Show, e “Il valzer della in the last ten years that bear many hallmarks toppa”, col testo di Pasolini. Ha scritto anche of illusory realism yet include the use of mu- sigle televisive per 90° minuto, la Domenica sical scores. It appears that this contradiction Sportiva, La Corrida... Piero Umiliani era un of realist aims with practices that include artista di talento, ma anche un artigiano inter- non-diegetic music results in film scores that essato all’elettronica e alle nuove tecnologie. feature distinctive designs and occasionally È stato il pioniere della cocktail generation e compromise the scope of their functions. One della lounge music. Di quelli come lui si dice of the most recent of these films is Spotlight, a che “erano avanti”, “erano geniali”, “precorre- docudrama directed by Tom McCarthy and vano i tempi”. Piero Umiliani era così... Le co-written with Josh Singer. This film’s rela- musiche di Piero Umiliani le conosciamo tutti. tionship with truth and realism can be de- Questo libro racconta anche il resto. Con in- scribed in terms of its subject, social position terventi e testimonianze di Franco D’Andrea, and craft. The score was written by Howard Paolo Fresu, Enrico Intra, Dino Piana, Enrico Shore. Having previously worked on produc- Pieranunzi... (Verlag) tions by David Cronenberg and the The Lord of the Rings franchise, Shore is not widely known for creating scores that go unnoticed. Carayol, Cécile / Castanet, Pierre Albert / Pis- Nevertheless, the score for Spotlight contains tone, Pascal (sous la dir. de): Le fantastique many features that make it a textbook case of dans les musiques des XXe et XXIe siècles: mu- unobtrusiveness, drawing on old traditions of siques actuelles, musique contemporaine et mu- Hollywood while adding a number of new sique de film. Préface d’Hervé Lacombe; post- features. These features can also be observed face de François Rahier. Sampzon: Éditions in other recently produced film scores, repre- Delatour France, 2017, 390 S. (Pensée musi- senting a style that is frequently employed by cale.). significant composers working on serious dramatic settings. Darin u.a.: Cécile Carayol, Pierre Albert Cas- tanet, Pascal Pistone, Antoine Santamaria / 9: Introduction: Fantastique, fantastique, fantas- Callaway, Kutter:Scoring Transcendence: Con- tique... – Entre expérience mystique et tech- temporary Film Music as Religious Experience. nique: du fantastique musical comme moyen Waco, Texas: Baylor University Press 2013, x, de compréhension d’une époque – Du Fantas- 253 S. tique dans la musique contemporaine: retour vers le futur et au-delà – Musique du cinéma By engaging scores from the last decade of fantastique: requiem pour une humanité en popular cinema, Callaway reveals how a mu- décomposition – Musiques actuelles et fantas- sically aware approach to film can yield novel tique,... est-ce bien sérieux ? – Les fleurs du insights into the presence and activity of God fantastique dans les musiques des XXe et in contemporary culture. And, through con- XXIe siècles. – Résumés des articles et biogra- versations with these films and their filmmak- phies des auteurs / 26. – Emmanuelle Bobee: ers, viewers can gain a new understanding of Expressions sonores et musicales du fantas- how God may be speaking to modern society tique dans les films de David Lynch / 45. – through film and its transcendent melodies. Hubert Bolduc-Cloutier: Suggérer le rêve en Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 33

musique: la technique du « son à l’envers » donner aux musiques de séries une part im- dans Rapt (1934) [aka The Kidnapping; dt. portante dans l’expérience du spectateur. – En Frauenraub, Schweiz/Frankreich 1934, Dimitri se fondant sur un corpus varié de séries amé- Kirsanoff] / 62. – Nicolas Planchard: The ricaines et françaises – de Twilight Zone Phantom Carriage: les spectres cinématogra- (1959) aux Revenants (2012) – le présent ou- phiques de KTL [Körkarlen; dt. Der Fuhrmann vrage s’attache à étudier ces musiques sous des Todes, Schweden 1921, Victor Sjöström] / les angles successifs de la spécificité de la mu- 109. – Cécile Carayol: La Figure du vampire: sique de série – singularités esthétiques et codes récurrents dans la musique sympho- mémoire spectatorielle –, des rapports des nique de film de la Hammer à Twilight (New partitions de séries avec celles proposées par Moon) / 145. – Chloé Huvet: Ouvrir la neu- le cinéma, et de la possibilité de compositions vième porte: musique et sorcellerie dans le hybrides mélangeant les genres. film de Roman Polanski (1999) [The Ninth Inhalt: Jean-Pierre Esquenazi: Préface / 7. – Gate; dt. Die neun Pforten, Frankreich/Spanien Jérôme Rossi et Cécile Carayol: Introduction / 1999, Roman Polanski] / 204. – Gilles Mene- 9 – 1. Spécificités d’une musique de série: sin- galdo: La musique au service de l’effet fantas- gularités esthétiques et mémoire spectatorielle: tique dans le cinéma hollywoodien: de Fran- – Julie Mansion-Vaquié: The X-Files: une série kenstein (James Whale, 1931) à The Shining et son tube / 21. – Anaïs Le Févre-Berthelot: (Stanley Kubrick, 1980) / 222. – Pascal Piston: Voix de chœur/voix du coeur: musique et pa- Les principes harmoniques du cinéma fantas- roles dans Ally McBeal / 35. – Sarah Hatchuel: tique / 233. – Jérémy Michot: Aux frontières Lost ou la musique retrouvée / 53. – Ariane du fantastique et de l’illusion dans les films Hudelet: La texture musicale de Treme / 71 – hollywoodiens contemporains: « ce dont on 2. Série vs cinéma: correspondances et réinven- ne peut parler... », faut-il le taire ou l’écouter? tions des codes: – Cécile Carayol: Correspon- / 304. – Jérôme Rossi: Le fantastique musical dances musicales série – cinéma: Bernard dans la série Real Humans: un dispositif élec- Herrmann et les reflets fantastiques de Twi- troacoustique pour une « musique cassée » light Zone / 91. – Clara Brenier: Convergences [Äkta människor, TV-Serie, Schweden 2012– et divergences de la démarche composition- 2014] / 315. nelle d’Antoine Duhamel dans Belphégor et Pierrot le Fou / 109. – Chloé Huvet: The Tudors de Trevor Morris: l’importation du « style Carayol, Cécile / Rossi, Jérôme (sous la dir. Media Ventures » dans une série télévisée? / de): Musiques de séries télévisées. Préface de 119. – Cécile Carayol: True Blood de Nathan Jean-Pierre Esquenazi. Rennes: Presses uni- Barr: réappropriation de la figure musicale du versitaires de Rennes 2015, 275 S (Le specta- vampire du cinéma à la série / 139 – 3. La mu- culaire.). sique de séries: vers une hybridation des genres: Longtemps considérée comme un avatar es- – Philippe Gonin: Serge Gainsbourg et la télé- thétiquement dégradé et moralement sim- vision dans les années 1960: l’expérience Ma- pliste de la fiction cinématographique, la série rie-Mathématique / 163. – Mathieu Pierre: Des télévisée s’est pourtant peu à peu autonomi- liens étroits entre narration et musique dans sée au sein des études culturelles jusqu’à de- Buffy the Vampire Slayer de Joss Whedon / venir un objet digne des recherches universi- 183. – Florent Fayard: It’s in the frakkin’ ship! taires, tant pour la manière dont elle met en La réflexivité musicale au service du récit scène les phénomènes sociaux que pour la di- dans Battlestar Galactica / 201. – Jérôme Ros- versité des codes et des stratégies narratives si: Musique et temporalité dans la série Pi- qu’elle mobilise. Mors que la musique de film galle la nuit / 219. – Jérémy Michot: Analyse constitue dorénavant un important champ comparative des représentations musicales de d’investigation en France, on ne peut en dire la mort dans les génériques de séries télévi- autant en ce qui concerne son étude dans le sées (Six Feet Under, Dexter, The Walking Dead cadre de la télévision. Mépris ? Condescen- et Les Revenants) / 237. dance? Absence de spécialistes ? Les équipe- ments audiovisuels domestiques – télévision Cardinal, Serge: et projecteur numériques, son 5.1, lecteur Blu- Profondeurs de l’écoute de la ray – ont pourtant largement contribué à re- musicalité du cinéma. Strasbourg: Presses uni- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 34 versitaires de Strasbourg 2018, 244 S. (Formes theories of authorship in relation to music Cinématographiques.). video. This article moves the debate forward through a case study of the work of acclaimed Que peut-on gagner à faire de John Wayne un music video director, Jamie Thraves. It focuses ornithologue ? Que peut-on découvrir dans le on three examples of his work: Jake Bugg’s chant élégiaque des vaqueiros du Sertào qui ‘Two Fingers’ (2012), Coldplay’s ‘The Scien- concernerait le cinéma ? Quelle peut être la tist’ (2002), and Radiohead’s ‘Just’ (1995). Evi- motivation d’un chercheur faisant du co- dence of Thraves’s close collaboration with mique phono-musico-visuel de Jerry Lewis the musicians in the scripting, shooting, and l’efficace reprise de la théorie critique prati- editing of each of these videos is used to in- quée par T. W. Adorno ? Et qui, à l’exception vestigate authorship in both domains of mu- de Stanley Cavell peut-être, peut prendre au sic and film production. The central argument sérieux la proposition suivante : par sa puis- of the analysis is about the conflicting expec- sance propre d’articulation de la musique et tations of power and control participants hold de l’espace filmique, Gene Kelly pose le in the production process. These are based on double problème du scepticisme cognitif et a collision between historically distinct pro- éthique ? Qui encore peut découvrir dans les duction cultures and intellectual property utopies musicales de l’art radiophonique les regimes. The article contributes to ongoing lieux d’une réflexion sur l’expérience esthé- debates in the UK about moral rights, value, tique, éthique et politique au cinéma ? Que labour, and intellectual property in moving veut-il celui qui attend de l’analyse d’un film image production and argues that a paradigm qu’elle tire des leçons de l’interprétation mu- shift for analysing creative production in musicale et devienne épellation mimétique ? – sic video is long overdue. En mobilisant tour à tour un film d’Howard Hawks, un documentaire de Marilia Rocha, le corps de Jerry Lewis, Brigadoon de Vincente Čehovin, Martin Björkman / Ditlevsen, Chris- Minelli, le paysage sonore de la radio, la mu- toffer Moe: Den dramatiska kraften i filmmu- sique dans Mauvais sang de Leos Carax, enfin sik: Filmmusikens dramatiska vikt i modern La mort de Molière de Robert Wilson, Serge media. Kandidatarbete i Medieteknik [M.A.- Cardinal élabore le concept de musicalité du Arbeit], Karlshamn/Karlskrona: Blekinge Tek- cinéma. niska Högskola, Institutionen för teknik och estetik 2014, 32, (1) S.; [URL]. Carroll, Brendan G.: Filmmusik als Kunstform. Abstract: When and why is music imple- Korngolds Musik zu ›A Midsummer Night’s mented to a specific scene in a film? With in- Dream‹. In: Österreichische Musikzeitschrift formational resources and theories from established media-abstractionists like Michel (ÖMZ) 62 (2007) 7, S. 15–25. Chion, Oliver Sacks and Johnny Wingstedt, Über den Film (1935) von William Dieterle we’re on a hunt for the ultimate answer. With (1893–1972) und Max Reinhardt (1873–1943) well proven analytic methods we break down mit der Musik von Erich Wolfgang Korngold critically acclaimed movies in search of how (1897–1957). music has characterized them. The outcome of the analyses has been put together to identify their common dramatic core. In the dis- Caston, Emily: Not Another Article on the cussion we state that there are many tools Author! God and Auteurs in Moving Image available when one wishes to accentuate the Analysis: Last Call for a Long Overdue Para- expressionistic and emotional effects of a digm Shift. In: Music, Sound, and the Moving piece, and why one would use these pieces for Image 9,2, 2015 (Special Issue: “Musical film. The reason being that of wishing to em- Screens: Musical Inventions, Digital Transi- phasize a message or feeling show in picture, tions, Cultural Critique”. Guest ed.: James To- or induce a feeling of something not visible bias), S. 145–161. on screen. The results were then used for the framework which we work within when pro- Many scholars in popular music and film ducing sound and music material for Emil. studies accept the limitations of current film (2014), a modern, darker interpretation of Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 35

Emil i Lönneberga (1971). « audio-vision » – fait apparaître, loin des professions de foi abstraites, la richesse des scènes, des effets, des situations. Le cinéma Chattopadhyay, Budhaditya: The Auditory Set- est, étymologiquement, ce mouvement que le ting: Environmental Sounds in Film and Media mouvement de la musique tantôt entraîne et Arts. Edinburgh: Edinburgh University Press soutient, et tantôt immobilise et charme. De- 2020, 208 S. puis la première édition de cette somme, le quart de siècle écoulé a vu apparaître de nou- The Auditory Setting introduces and investi- velles formules de présence de la musique au gates how narrative and a sense of place are cinéma et de nouveaux auteurs ; l’intérêt pour constructed in film and media arts through le thème n’a cessé de croître, en même temps the reproduction and mediation of site-spe- que l’accès aux œuvres musicales et cinéma- cific environmental sounds, or ‘ambience.’ Al- tographiques – par câble, tablettes, « bala- though this sonic backdrop acts as the acous- deurs » internet, vidéo à la demande – s’est tically mediated space where a story or event diversifié. Cette nouvelle édition de La Mu- can take place, there has been little academic sique au cinéma, refondue et complétée, en study of sound’s undervalued role in cine- tient compte et en montre l’impact dans les matic setting and production. Drawing on films eux-mêmes. Elle propose aussi une theories of narrative, diegesis, mimesis and chronologie réactualisée, se concentrant no- presence, and following a varied number of tamment sur soixante films marquants parmi relevant audio-visual works, this book is a des milliers. Une ronde internationale de ground-breaking exploration of human agen- noms et de films, de chansons et de danses, cy in mediating environmental sounds and d’images et de sons tourbillonne dans ces the nature of the sonic experience in the An- pages, du cinéma expérimental aux films-opé- thropocene. ras, de Claude Debussy au Kasai Allstars du Inhalt: Part I: Introduction. – 1. The first sound Congo, en passant par Ennio Morricone, Arvo and the curiosity – 2. The auditory context Pärt et Hans Zimmer, de Bernard Herrmann à and signification – 3. Key concepts and defini- Michel Legrand, du Chanteur de jazz à Bird- tions – 4. Approach and method – Part II: man, de Jean-Luc Godard à Jia Zhangke, et de Sonic trajectories. – 5. Monaural soundtracks Nino Rota à Federico Fellini. Compositeur de and recording (sonic) reality – 6. Stereo sound musique concrète, réalisateur de films et and the expanded space – 7. Digital surround d’œuvres audiovisuelles, cofondateur de l’as- sound and the mimetic site – Part III: On loca- sociation Acoulogia qui se consacre à des for- tion and other stories. – 8. Land, field, meadow mations, Michel Chion a publié une trentaine – 9. Forest, jungle – 10. Village, rural environ- d’essais, dont plusieurs sur le son et le lan- ment – 11. Indoors – 12. Riverback, beach, is- gage au cinéma, et, chez Fayard, sur l’œuvre land – 13. Street, public squares, urban neigh- de Pierre Henry, la symphonie romantique et bourhood – 14. Public transport – 15. Airport la musique à programme. La première édition – 16. Underwater, outer space. – Part IV: Crit- de cet ouvrage a reçu en 1995 le Prix du Syn- ical listening. – 17. Mapping the aesthetic dicat français de la Critique de cinéma. choices in sound production – 18. Auditory presence and better practice – 19. The God of small sounds – 20. Emerging trends and fu- Chrysostomu [Chrysostomou], Panos: Sound- ture directions. track: Synenteuxeis me dēmiurgus tēs musikēs tōn eikonōn [Χρυσοστόμου, Πάνος: Sound- track: Συνεντεύξεις με δημιουργούς της μουσι- Chion, Michel: 2e éd. La musique au cinéma. κής των εικόνων]. Papagu: Ekdoseis Philntisi revue et augm., Paris: Fayard 2019, 535 S. (Les 2019, 301 S. (Musike.). chemins de la musique.). In griech. Schrift. – Inhalt: Trevor Jones / 21 – Le titre de l’ouvrage le dit: une musique dans Alan Menken / 33 – James Newton Howard / un film ne s’y dissout pas, mais elle en est 45 – Γιάννος Αιόλου [Giannos Aiolou = Gian- modifiée tout en le modifiant. C’est dans le nis Aiolou = Jannos Eolou] / 55 – Hans Zim- film même qu’il faut l’étudier. Ce retour aux mer / 73 – Michael Kamen / 85 – Νίκος œuvres, à leur vision et à leur écoute – à leur Κυπουργός [Nikos Kypourgos] / 99 – Nicola Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 36

Piovani / 117 – Alexandre Desplat / 127 – Storytelling in Australian Film. In: Jazz Re- Μίκης Θεοδωράκης [Mikis Theodorakis] / search Journal 8,1–2, 2015, S. 144–162. 141 – Elliot Goldenthal / 155 – Νίκος Μαμαγκάκης [Níkos Mamankákis] / 165 – Recent research on jazz presence in Aus- Philip Glass / 183 – Goran Bregovic / 195 – tralian film has demonstrated how the genre Παναγιώτης Καλαντζόπουλος [Panagiotis was once used to enhance narratives about Kalantzopoulos] / 205 – Yann Tiersen / 217 – both the threats and the perceived benefits of Δημήτρης Παπαδημητριού [Dimitris Pa- impending modernisation during the 1920s padimitriou] / 227 – Gabriel Yared / 243 – and 1930s. This article charts out the way in David Arnold / 257 – Mychael Danna / 265 – which the musical trope of the bluesy solo Wim Mertens / 277 – Ευανθία Ρεμπούτσικα horn – established in American and Aus- [Evanthia Reboutsika] / 289. tralian film noir productions of the 1970s and 1980s – was used in contrast to conjure a sense of nostalgia in Australian films pro- Chua, Daniel K. L.: Listening to the Self: The duced during the early 1990s. Despite pivot- Shawshank Redemption and the Technology of ing a period of 60 years, analysis undertaken Music. In: 19th Century Music 34,3, 2010/11, S. in this article of Gillian Armstrong’s The Last 341–355. Days of Chez Nous (1992) and Paul Harmon’s Shotgun Wedding (1993) reveals the continued deployment of jazz sounds to rhetorical ends Cizmic, Maria: Empathy and Tintinnabuli Mu- within Australian films bent on exploring sic in Film. In: Dolp, Laura (ed.): Arvo Pärt’s competing societal visions. In turn, its identi- White Light: Media, Culture, Politics. Cam- fication of a shift from the sound of jazz in bridge/New York: Cambridge University Press general as a marker of the modern to the 2017, S. 20–46. sound of the bluesy solo horn as a nostalgic trope reinforces the need to read the semi- ‚Tintinnabuli‛ ist die Bezeichnung für einen otics of jazz presence in Australian film Kompositionsstil des estnischen Komponisten against particular historical frames. Arvo Pärt.

Cochran, Alfred W.: Leith Stevens and the Claydon, E. Anna: Film music, musicology Jazz Film Score: The Wild One and Private Hell and semiotics: Analysing The Draughtsman’s 36. In: Jazz Research Papers 10, 1990, S. 24–31. Contract. In: Journal of British Cinema and Television 8,1, 2011, S. 62–80. Cockshott, Gerald: Incidental Music in the Sound Film. London: British Film Institute Clifton, Kevin: “We all go a little mad some- 1946, 8 S. times. Haven’t you?” Musical empathy in Hitchcock’s Psycho. In: Music Analysis 37,1, Rev. (Lawrence Morton): “Rule, Britannia!”. 2018, S. 47–67. In: Hollywood Quarterly 3,2, Winter 1947– 1948, S. 211–214. This essay explores a web of cognised and embodied empathies that emerge while watching Hitchcock’s Psycho, focusing on the Code, David J.: Don Juan in Nadsat: Kubrick’s role of musical empathy as it relates to Mar- Music for A Clockwork Orange. In: Journal of ion Crane’s story. Drawing on work on empa- the Royal Musical Association 139,2, 2014, S. thetic music in film music studies, I explore 339–386. how the actors, the characters, the musical score and the filmic audience are drawn together by a ‘sigh’ figure, a symbolic gesture Code, David J.: Real Feelings: Music as Path to that unifies the soundtrack. Philosophy in 2001: A Space Odyssey. In: Twentieth-Century Music 7,2, 2010, S. 195–217.

Coady, Christopher: Shotgun Weddings and Bohemian Dreams: Jazz, Family Values and Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 37

Coleman, Lindsay / Tillman, Joakim (eds.): 236, Audissino, Emilio). – Musical Syntax in Contemporary Film Music: Investigating Cin- John Williams’s Film Music Themes (237–262, ema Narratives and Composition. London: Pal- Zacharopoulos, Konstantinos). grave Macmillan 2017, xvi, 272 S. The purpose of this book, through its very Collombin, Jean-Blaise: Ennio Morricone: pers- creation, is to strengthen the dialogue be- pective d’une œuvre. Paris: L’Harmattan 2016, tween practitioner and theorist. To that end, a 212 S. (Univers musical.). film academic, a composer, and a composer/ musicologist have collaborated as editors on « Cinq cents films sinon rien », ainsi pourrait this book, which is in turn comprised of inter- se résumer la riche carrière du maître italien views with composers alongside complemen- de la musique de cinéma. Par-delà les cin- tary chapters that focus on a particular fea- quante années de cet étonnant parcours s’est ture of the composer’s approach or style, profilée peu à peu l’une des plus fascinantes written by a musicologist or film academic créations artistiques du monde contemporain. who specializes in that particular element of Souvent imitées, jamais égalées, les composi- the composer’s output. In the interview por- tions du maestro se veulent surtout une for- tions of this book, eight major film composers midable leçon d’art humaniste traversant les discuss their work from the early 1980s to the épreuves du temps avec brio. Cet ouvrage present day. The focus is on the practical con- constitue un panorama clair et précis de l’œu- siderations of film composition, the relation- vre du compositeur. ship each composer has with the moving im- Inhaltsübersicht: I. Le cinéma de genre / 17. – age, technical considerations, personal moti- II. Le cinéma de l’esprit / 85. – III. Derrière le vations in composing, the relationships com- cinéma / 141. – Conclusion / 203. – Bibliogra- posers have with their directors, and their phie / 207. own creative processes. Contemporary Film Music also explores the contemporary influence of electronic music, issues surrounding Combs, C. Scott: The Jazz Singer or the corpse. the mixing of soundtracks, music theory, and Al Jolson, diegetic music, and the moment of the evolution of composers’ musical voices. death. In: Music and the Moving Image 5,3, Inhalt: Introduction (1–15, Coleman, Lindsay / 2012, S. 46–55. Joakim Tillman). – A.R. Rahman Interview Online. – This article looks at Alan Crosland’s (17–25, Coleman, Lindsay). – The ‘Alternate The Jazz Singer (1929), the first talking film to Space’ of A.R. Rahman’s Film Music (27–55, employ recorded sound for a death scene, in Wilcox, Felicity). – Zbigniew Preisner Inter- order to determine how it compensates for view (57–62, Godsall, Jonathan). – Music by the absence of a visible depiction of death. Zbigniew Preisner? Fictional Composers and Diegetic music places the terminal sign of Compositions in the Kieslowski Collabora- death further outside the screen body and tions (63–86). – Carter Burwell Interview (87– closer to the body of the spectator. (Vorlage) 96, Coleman, Lindsay). – Burwell and Space: Inner, Outer, Environmental and Acoustical (97–118, Waggoner, Andrew). – Rachel Port- Conway, Kelley: Popular Songs in Renoir’s man Interview (119–124,Coleman, Lindsay). – Films of the 1930s. In: Phillips, Alastair / Vin- Eero Tarasti and the Narratological Construc- cendeau, Ginette (eds.): A Companion to Jean tion of Rachel Portman’s Emma (125–138, Renoir. Oxford: Blackwell 2013, S. 199–218. Coleman, Lindsay). – Dario Marianelli Inter- view (139–153, Coleman, Lindsay). – Solo In- This chapter focuses on Jean Renoir’s La Chi- struments and Internal Focalization in Dario enne (1931), Le Crime de Monsieur Lange Marianelli’s Pride & Prejudice and Atonement (1936), and La Bête humaine (1938), films (155–186, Tillman, Joakim). – Mychael Danna made within a seven-year period and during Interview (187–193, Coleman, Lindsay). – an era of relative stability in terms of French Michael Danna: Music as Metaphor (195–219, filmmaking norms – after the coming of Golub, Peter / Katy Jarzebowski). – John Wil- sound, but well before the thematic, material, liams and Contemporary Film Music (221– and ideological constraints imposed by the Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 38

German occupation. Thematically, the films Colton. – Music in fantasy pasts: neome- have much in common. Each film is a realist dievalism and Game of Thrones / James Cook, drama that tells a story about people of mod- Alexander Kolassa and Adam Whittaker. est means and each film culminates in a mur- Rev. (Binns, Alexander) in: Music & Letters der. Despite these similarities, the films em- 100,1, 2019, S. 165–168. ploy music in diverse ways, reflecting Renoir’s ongoing interest in soundtrack experimentation. Although Renoir’s use of ex- Cooke, Mervyn / Ford, Fiona (eds.): The Cam- ternal, or nondiegetic, music certainly de- bridge Companion to Film Music. Cambridge: serves attention, I shall focus on his use of Cambridge University Press 2016, xxi, 411 S. diegetic music in an effort to demonstrate (Cambridge Companions to Music.). Renoir’s multiple approaches to the use of popular songs in his 1930s films. This wide-ranging and thought-provoking collection of specially-commissioned essays provides a uniquely comprehensive overview Conway, Kelley: Demy et au-delà: Expérimen- of the many and various ways in which music tation esthétique dans les film musicaux functions in film soundtracks. Citing exam- français récents. In: La chanson dans le film ples from a variety of historical periods, gen- français et francophone depuis la Nouvelle res and film industries – including those of Vague. Ed. par Renaud Lagabrielle & Timo the USA, UK, France, Italy, India and Japan – Obergöker. Würzburg: Königshausen & Neu- the book’s contributors are all leading schol- mann 2016, S. 23–36. ars and practitioners in the field. They engage, sometimes provocatively, with numerous stimulating aspects of the history, theory and Cook, James / Kolassa, Alexander / Whittaker, practice of film music in a series of lively dis- Adam (eds.): Recomposing the Past: Represen- cussions which will appeal as much to new- tations of Early Music on Stage and Screen. comers to this fascinating subject as to sea- London/New York: Routledge 2018, xii, 259 S. soned film music aficionados. Innovative re- (Ashgate Screen Music Series.). search and fresh interpretative perspectives are offered alongside practice-based accounts Inhalt: Representing Renaissance Rome: be- of the film composer’s distinctive art, with ex- yond anachronism in Showtime’s The Borgias amples cited from genres as contrasting as (2011) / James Cook. – Baroque áa la Hitch- animation, the screen musical, film noir, Hol- cock: the music of Dangerous Liaisons (1988) / lywood melodrama, the pop music and jazz Mervyn Cooke. – “Frame not my lute”: the film, documentary, period drama, horror, sci- musical Tudor Court on the big screen / ence fiction and the Western. Daniela Fountain. – It ain’t over ’til King Evolving Arthur sings: English dramatick opera on the Inhalt: Part one: Making film music. practices for film music and sound, 1925–1935 modern stage / Katherina Lindekens. – Musi- / James Buhler and Hannah Lewis – “Pictures cal divisions of the sacred and secular in The that talk and sing”: sound history and tech- Hunchback of Notre Dame / Adam Whittaker. nology / David Cooper – The composer and – Celtic music and Hollywood cinema: repre- the studio: Korngold and Warner Bros. / Ben sentation, stereotype, and affect / Simon Nu- Winters – Can’t buy me love?: economic im- gent. – David Munrow’s “Turkish nightclub peratives and artistic achievements in the piece” / Edward Breen. – Little harmonic British pop-music film / Stephen Glynn – “A labyrinths: baroque musical style on the Nin- film’s first audience”: the composer’s role in tendo Entertainment System / William Gib- film and television / George Fenton in conver- bons. – Presentness and the past in contem- sation with Mervyn Cooke. – porary British opera / Alexander Kolassa. – Part two: Ap- Film-music theory / Angels in the archive: animating the past in proaching film music. Guido Heldt – Studying film scores: working Written on Skin / Maria Ryan. – Werner Her- in archives and with living composers / Kate zog and the filmic dark arts: myth, truth, mu- Daubney – Returning to / Peter sic, and the life of Carlo Gesualdo (1566–1613) Casablanca Franklin – Parental guidance advised?: mash- / Philip Weller. – Medievalism, music, and ups and mating penguins in Happy Feet / agency in The Wicker Man (1973) / Lisa Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 39

Fiona Ford – Materializing film music / From a narrative perspective, the folk chants Miguel Mera. – Part three: Genre and idiom. act as a manifestation of the mondine’s collec- Film noir and music / David Butler – Another tive identity while the erotically charged boo- other history of jazz in the movies / Krin Gab- gie-woogie dance scenes convey the main bard – Horror and science fiction / Stan Link character’s embodied urge for self-determina- – The Western / Robynn J. Stilwell – The mu- tion and her illusive and tragic attempt to es- sic of screen musicals / Caryl Flinn – “Britan- cape her socioeconomic condition. Finally, nia–The Musical”: scores, songs and sound- Goffredo Petrassi’s revisiting of folk and jazz tracks in British animation / Paul Wells. – tunes in his symphonic score can be seen as Part four: Music in world cinemas. Leone, Mor- an attempt to rehabilitate the popular music ricone and the Italian way to Revisionist register within a modernist framework – a re- Westerns / Sergio Miceli – Music, noise and sponse to the rhetorical overuse of folklore silence in the late cinema of Jean-Luc and to the censorship of jazz during the fas- Godard / Danae Stefanou – Hans Werner cist era. This chapter examines the interac- Henze and The Lost Honour of Katharina Blum tions and clashes of these musical layers by / Annette Davison – Tōru Takemitsu’s collab- highlighting Riso amaro’s multi-authorial and orations with Masahiro Shinoda: the music even contradictory musical testimony. (Vor- for Pale Flower, Samurai Spy and Ballad of lage) Orin / Timothy Koozin – Welcome to Kolly- wood: Tamil film music and popular culture in South India / Mekala Padmanabhan. Coulter, John: Electroacoustic Music with Rev. (Godsall, Jonathan) in: Popular Music: A Moving Images: The Art of Media Pairing. In: Yearbook 37,2, 2018, S. 323–326. Organised Sound 15,1, 2010, S. 26–34. Composers working with sounds and moving images are immediately confronted with a Cooper, David / Sapiro, Ian / Anderson Bar- paradox. On one hand, audiovisual materials bata, Laura: TheS creen Music of Trevor Jones: appear to offer the possibility of complement- Technology, Process, Production. London/New ing one another – of forming a highly effec- York: Routledge 2020, xvii, 246 S. (Ashgate tive means of communicating artistic ideas – Screen Music Series.). and on the other, they appear to carry the risk of detracting from one another – of deform- Corbella, Maurizio: Which people’s music? ing the musical language that he or she has worked so hard to create. Durk Talsma and Witnessing the popular in the musicscape of Max Mathews succinctly state the opposing Giuseppe De Santis’s (1949, Riso amaro Bitter principles. ‘Many behavioural studies have Rice). In: Music, Collective Memory, Trauma, provided evidence for the hypothesis that in- and Nostalgia in European Cinema after the tegrating visual and auditory stimuli serves Second World War. Ed. by Michael Baumgart- the purpose of enhancing perceptual clarity … ner & Ewelina Boczkowska. New York: Rout- These results suggest that communication be- ledge 2020, S. 45–69. tween the visual and auditory brain areas is a Focusing on Giuseppe De Santis’s Riso amaro highly effective and relatively automatic (1949), this chapter investigates Italian neore- process’. This article seeks to transcend this alism as an archive of mediatized musical paradox through the identification of audiovi- memory with special reference to the multi- sual materials that function in different ways. faceted subject of popular music during the Examples of creative work are offered to illus- immediate post-war years in Italy. The musi- trate more general points of ‘language’, a cal texture of Riso amaro can thus be charac- model for classifying media pairs is put for- terized by the neorealist duality between ward, and practical methods of audiovisual diegetic musical numbers and a non-diegetic composition are proposed. The narrow find- film score. The diegetic music is dialectically ings of the study offer a vocabulary for dis- layered by juxtaposing field-recorded folk cussing the functionality of audiovisual mate- tunes of the female paddy workers – mondine rials, detailed methods of media pairing, and – with American-influenced boogie-woogie. techniques of parametric alignment, while the wider findings extend to associated domains Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 40

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

De Coninck, Marc: The Music of Laurel & Har- dy: Music and Songs in the Films of the World’s Most Beloved Comedians. Foreword by MER- HO. [Blaricum:] EZbook.nl 2019, 177 S- – D – Inhalt: Foreword 5 – Introduction 7 – Stan Laurel 12 – Oliver Hardy 17 – Hal Roach 21 – Dagle, Joan / Kalinak, Kathryn: The Represen- T. Marvin Hatley and Leroy Shield 27 – The tation of Race and Sexuality: Visual and Musi- Music of Laurel & Hardy 32 – Call Of The cal Construction in Gone With the Wind. In: Cuckoo 37 – Should Married Men Go Home? PostScript 13,2, Winter/Spring 1994, S. 14–27. 39 – Unaccustomed As We Are 42 – Night Owls 44 – Blotto 46 – Brats 48 – Below Zero Dapena, Gerard: Rumbas, tangos, boleros and 50 – The Laurel-Hardy Murder Case 52 – An- cuplés: Performing and crossing musical bor- other Fine Mess 54 – Pardon Us 56 – Be Big 60 – Chickens Come Home 62 – Laughing ders in ›Una cubana en España‹ (1951). In: Gravy 65 – Our Wife 67 – Come Clean 69 – Studies in Hispanic cinemas 7 (2010) 1, S. 9– Beau Hunks 72 – The Music Box 74 – The 21. Chimp 77 – Pack Up Your Troubles 80 – Über den Film von Luis Bayón Herrera. Scram! 85 – Fra Diavolo 88 – Me And My Pal 91 – Busy Bodies 93 – Sons Of The Desert 95 – Oliver The Eighth 99 – Them Thar Hills 101 Darby, William: Musical Links in Young Mr. – Babes In Toyland 103 – The Live Ghost 107 Lincoln, My Darling Clementine, and The Man – Tit For Tat 109 – Bonnie Scotland 111 – The Who Shot Liberty Valance. In: Cinema Journal Bohemian Girl 114 – Our Relations 120 – Way 31,1, 1991, S. 22–36. Out West 124 – Pick A Star 129 – Swiss Miss Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 41

131 – A Chump At Oxford 134 – The Flying une forme qui échappe à la représentation? Deuces 138 – Saps At Sea 141 – Great Guns 144 – Air Raid Wardens 147 – Jitterbugs 150 – The Dancing Masters 154 – The Big Noise 158 Demory, Pamela: Hedwig queers Hollywood – Nothing But Trouble 162 – The Bullfighters romance. In: The Journal of Popular Culture 165 – Atoll К 170 – Sons Of The Desert 174 – 49,2, 2016, S. 271–288. Sources. Über das Musical Hedwig and the Angry Inch (1999) und den gleichnamigen Film von John Decker, Todd: Filmmaker as DJ: Martin Scors- Cameron Mitchell mit der Musik von Stephen Trask (2001). ese’s Compiled Score for Casino (1995). In: The Journal of Musicology 34,2, 2017, S. 281–317. D’Errico, Michael: Worlds of Sound: Indie Decker, Todd R.: Hymns for the Fallen: Combat Games, Proceduralism, and the Aesthetics of Movie Music and Sound after Vietnam. Oak- Emergence. In: Music, Sound, and the Moving land, Cal.: University of California Press Image 9,2, 2015 (Special Issue: “Musical [2017], 304 S. Screens: Musical Inventions, Digital Transi- tions, Cultural Critique”. Guest ed.: James To- Rez. (Wedel, Michael): Medienwissenschaft: Re- bias), S. 191–206. zensionen, 1, 2018, S. 77–78. In the first decades of the twenty-first century, ‘indie’ became a widespread descriptor Decobert, Lydie: La corde musicale d’Alfred for a gaming culture comprising developers, Hitchcock. Paris: L’Harmattan 2015, 214 S. (Ci- players, and distributors interested in creating néma(s).). an alternative to what was seen as a glutted, uninspired, and corporatised game market. Musique et crime ne se dissocient pas dans le While the indie movement is often argued to cinéma hitchcockien. La musique joue un rôle have facilitated a new, ‘DIY’ mentality in the déterminant dans la narration: elle déclenche design and practice of games and interactive le soupçon, trahit un meurtrier, place une hé- media, the aesthetics and technical practices roïne en danger de mort, révèle un repaire de behind the culture share strong affinities to bandits ou attise la furie d’oiseaux ravageurs. computational forms of art and music Comment „la corde musicale“ d’Alfred Hitch- throughout the late twentieth century. This cock se manifeste-t-elle ? La musique mise en essay aligns the aesthetics and creative prac- scène scande la montée de la tension, dyna- tices of indie game designers with traditions mise les images, découpe les séquences. Les of ‘generative’ art and music from the late lèches décochées par l’archer musicien font twentieth century. In doing so, I outline a vibrer les images en traversant l’écran et le broader musical turn that has occurred within cœur du spectateur. Musique et crime ne se gaming culture–one in which sound becomes dissocient pas dans le cinéma hitchcockien. a primary mechanic in the shaping of ‘proce- La musique joue un rôle déterminant dans la dural’ and generative aesthetics at the heart narration: elle déclenche le soupçon, trahit un of various forms of digital art. Ultimately, I meurtrier, place une héroïne en danger de provide not only an account of the ways in mort, révèle un repaire de bandits ou attise la which sound and musical design have helped furie d’oiseaux ravageurs. Elle se fait aussi to characterise the ludic interests of the indie métaphore de l’innocence ou incarnation de game movement in the first decades of the l’inini. Comment «la corde musicale» d’Alfred twenty-first century, but also a theoretical Hitchcock se manifeste-t-elle ? La musique model adequate to understand the relation- mise en scène scande la montée de la tension, ship between interactive systems, musical and dynamise les images, découpe les séquences; sonic meaning, and user experience both in elle inspire des processus de développement. games and digital platforms more broadly. La «mesure» placée à la clé... de l’énigme permet-elle de «déchifrer» un ilm comme on dé- chifre une partition ? Est-ce parce que la musique imprègne les images qu’elle leur confère Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 42 d’Escriván, Julio: Electronic music and the [Korol Lir, Sowjetunion 1970] / 171. – Doro- moving image. In: The Cambridge Companion thea Redepenning: Die Musik Schostako- to Electronic Music. Ed. by Nick Collins & Julio witschs zum Film Der Fall von Berlin – Pade- d’Escriván. Cambridge: Cambridge University nie Berlina [Sowjetunion 1950, Micheil Tschi- Press 2007, S. 156–170. aureli] / 185. d’Escriván, Julio: Sound Art (?) on/in Film. In: Díaz Yerro, Gonzalo: El análisis de la música Organised Sound 14,1, 2009, S. 65–73. cinematográfica como modelo para la propia creación musical en el entorno audiovisual. Te- sis doctoral, Las Palmas de Gran Canaria: Uni- d’Escriván, Julio: Live Cinema? A composer’s versidad de Las Palmas de Gran Canaria 2011, thoughts about a musical new media ap- 479, XII S. + 2 discos compactos (1 CD-ROM, 1 proach to the performing of audiovisuals. In: DVD); [URL]. Seminário Música Ciência Tecnologia, 4, 2012, S. 17–24. Mit Analysen zu den US-Spielfilmen Casa- blanca (USA 1942, Michael Curtiz), Psycho (USA 1960, Alfred Hitchcock) und Hatari Desrichard, Yves: Mauricio Dupuis. Jerry (USA 1962, Howard Hawks) sowie zu den Goldsmith: music scoring for American spanischen Kurzfilmen Peliculeros (2009, José movies. In: Mise au Point, 7, 2015, [URL]. Lobillo), Vic (2011, Diana Saavedra y Clara) Pour beaucoup de réalisateurs, pour beaucoup und Clara. El mar (2009, Dany Campos). d’autres compositeurs, Jerry Goldsmith et En esta investigación se profundiza en el pa- John Williams furent à n’en pas douter les pel del análisis de la música cinematográfica compositeurs de musiques de films les plus como modelo en el que basar la propia crea- originaux des années 70 et 80 dans le cinéma ción musical de bandas sonoras (este término américain. Le second est mondialement connu lo utilizaremos en adelante en su acepción par sa collaboration avec Steven Spielberg, más extendida, como sinónimo de música de dont il a signé la musique de tous les films de una película). Para ello se ha llevado a cabo cinéma, à l’exception du premier, Duel, et un estudio en el que se combinan diferentes d’un épisode de The Twilight Zone. metodologías: analítico-descriptiva, herme- néutica y creativo-performativa. En este trabajo estudiaremos la importancia del análisis Deutsche Schostakowitsch-Gesellschaft (Hg.): de la música de cine tanto a nivel teórico Schostakowitsch-Aspekte: Analysen und Studi- como por su potencial de herramienta para la en. Berlin: Kuhn 2014, IX, 389 S. (Studia slavi- creación. Para ello comenzaremos con un ca musicologica. 54. / Schostakowitsch-Studi- acercamiento previo al concepto de música de en. 10.). cine, sus clasificaciones tipológicas, las funciones que puede desempeñar como elemento Darin: b) Die Filmmusik: – Ekkehard Ochs: activo de un film, la historia de esta disciplina Die Musik Schostakowitschs zum Film „Al- artística y el complejo proceso de creación de lein” [Odna, Sowjetunion 1931, Grigorij Ko- una banda sonora musical, con los diferentes zincev] / 97. – Friedbert Streller: Schostako- factores humanos y técnicos que intervienen. witsch und die Anfänge sowjetischer Film- kunst / 111. – Olga Dombrowskaja: Die vokale Filmmusik Schostakowitschs. Einige Aspekte / Dienstfrey, Eric: Synch Holes and Patchwork 129. – Wladimir Gurewitsch: Mit Musik und in Early Feature-Film Scores. In: Music and ohne Musik – die Verhältnisse zwischen Ge- the Moving Image 7,1, 2014, S. 40–53. samtzeit und Musik in Filmen mit der Musik Schostakowitschs / 139. – Olga Dombrowska- ja: Die Musik Schostakowitschs in den Filmen Donnelly, Kevin J.: Occult Aesthetics: Synchro- der Fabrik des exzentrischen Schauspielers nization in Sound Film. New York/Oxford: Ox- (FES) und Kosinzews / 149. – Gottfried Eberle: ford University Press 2014, xii, 260 S. (The Ox- „Lauf der Zeit – Ruf des Todes“. Schostako- ford Music / Media Series.). witschs Musik zu Kosinzews Film „King Lear“ Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 43

This book offers the first sustained theoriza- Donnelly, Kevin J.: British and Irish Film Mu- tion of synchronization in sound film. The au- sic. In: A Companion to British and Irish Cin- thor addresses the manner in which the lock ema. Ed. by John Hill. Hoboken, N.J./Chich- of audio and the visual exerts a synergetic ef- ester, West Sussex: Wiley-Blackwell 2019, S. fect, an aesthetic he dubs occult: a secret and 217–233 (CNCZ – The Wiley-Blackwell Com- esoteric effect that can dissipate in the face of panions to National Cinemas.). an awareness of its existence. Drawing upon theories of sound from Sergei Eisenstein to Pierre Schaeffer to Michel Chion, the book Donnelly, Kevin J. / Hayward, Philip (eds.): approaches and investigates points of syn- Music in Science Fiction Television: Tuned to chronization as something like repose, pro- the Future. New York/London: Routledge 2013, viding moments of comfort in a potentially xviii, 228 S. (Routledge Music and Screen Me- threatening environment that can be fraught dia Series.). with sound and image stimuli. Correspond- ingly, lack of synchrony between sound and Inhalt: Music in The Twilight Zone / James images is characterized as potentially disturb- Wierzbicki. – Time warp: sonic retro-futurism ing for the audience, signaling moments of in The Jetsons / Rebecca Coyle and Alex danger. From this perspective, the interplay Mesker. – John Williams’ music to Lost in between the two becomes the central dy- Space: the monumental, the profound, and the namic of audio-visual culture more generally hyperbolic / Ron Rodman. – Hearing the which provides a starting point for a new un- boldly goings: tracking the title themes of the derstanding of audio/visual interactions. This Star Trek television franchise, 1966–2005 / fresh approach to the topic will be discussed Neil Lerner. – Whimsical complexity: music in theoretical and historical terms as well as and sound design in The Clangers / Philip elaborated through analysis of and reference Hayward. – Schizophrenic chords and warm to a broad selection of films and their sound- shivers in the stomach: the “new astronautic tracks sound” of Raumpatrouille / Guido Heldt. – Television’s musical imagination: Space: 1999 / K. J. Donnelly. The sound of civilization: mu- Donnelly, Kevin J. (ed.): Magical Musical Tour: sic in Terry Nation’s Survivors / Derek John- Rock and Pop in Film Soundtracks. London: ston. – Rematerialization: musical engage- Bloomsbury 2015, vii, 207 S. ments with the British TV series Doctor Who / Philip Hayward and Jon Fitzgerald. – Babylon Inhalt: 1. Introduction. – 2. Beat Boom Beat- 5: science fiction, melodrama and musical les: A Hard Day’s Night and Help! – 3. The style / Louis Niebur. – The work of music in Psychedelic Screen. – 4. Obscured by Pink TheA ge of Steel: themes, leitmotifs and stock Floyd. – 5. ‘The Film Should Be Played Loud’: music in the new Doctor Who / David Butler. Rockumentary Films. – 6. Blaxploitation: – Lost in music: Heidegger, the glissando and Singing Across 110th Street. – 7. Falling To otherness / Isabella van Elferen. – Visual ef- Earth: Bowie’s Failed Film Soundtrack. – 8. fects in Sanctuary: the reparative function of Cohabitation? The Resurgent Classical Film sound in low budget science fiction series / Score and Songs in the Batman Films. – 9. Lisa Schmidt. New Careers in New Towns: Rock Musicians Become Film Composers. – 10. Golden Years: 80s and 90s Hip Song Compilation Films. – 11. Donnelly, Kevin J. / Wallengren, Ann-Kristin: Copyright and Musical Censorship: Gangsta Today’s Sounds for Yesterday’s Films: Making Rap and Bad Lieutenant. Music for Silent Cinema. Basingstoke/New Rev. (Justice, Andrew) in: Notes: Quarterly York: Palgrave Macmillan 2016, xi, 225 (Pal- Journal of the Music Library Association 73,4, grave Studies in Audio-Visual Culture.). 2017, S. 735–737. – Rev. (Grochowski, In recent years, there has been something of Thomas) in: 41,4, Popular Music and Society an explosion in the performance of live music 2018, S. 464–465. to silent films. There is a wide range of films with live and new scores that run from the historically accurate orchestral scores to con- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 44

temporary sounds by groups such as Pet Shop Struktur und Genre in Lars von Triers Dancer Boys or by experimental composers and in the Dark (2000) (125–148). – Dorschel, An- gothic heavy metal bands. It is no exaggera- dreas: Was hat Musik im Film zu suchen? tion to claim that music constitutes a bridge (12–21). – Rußegger, Arno: Zwischen Hom- between the old silent film and the modern mage und Persiflage: Alexander Zlamals audience; music is also a channel for non- Musik und Sounddesign für Virgil Widrichs scholarly audiences to gain an appreciation of Copy shop (2001) (149–162). silent films. Music has become a means both for musicians and audiences to understand this bygone film art anew. This book is the Drees, Stefan: „...das, was hinter den Bildern first of its kind in that it aims to bring to- gemeint ist“. Johannes Kalitzkes Musik zum gether writings and interviews to delineate StummfilmSchatten von Arthur Robison. In: the culture of providing music for silent films. Neue Zeitschrift für Musik 178,1, 2017, S. 36– It not only has the character of a scholarly 39. work but is also something of a manual in that it discusses how to make music for silent films. Drees, Stefan: Erschütterung des Urvertrauens und Einbruch des Unheimlichen. Zur Funk- tion der Liedmelodien in der filmischen Nar- D’Onofrio, Emanuele: Film Music, nazione e ration von »Ich seh Ich seh« (AUT 2014, identità narrativa: Il cinema italiano contempo- Veronika Franz und Severin Fiala) und in Olga raneo rivisita gli anni Settanta. Reggio Cala- Neuwirths Filmmusik, in: Kieler Beiträge zur bria: Città del Sole 2013, 313 S. (Lo specchio Filmmusikforschung (14.01.2019), S. 9–33. scuro. 9.). Als klanggewordene Signaturen eines noch Analysen zu den italienischen Spielfilmen La- unerschütterten Vertrauensverhältnisses vorare con lentezza (2004, Guido Chiesa), Paz! zwischen Eltern und Kind gehören Schlaf- (2002, Renato De Maria), Radiofreccia (1998, und Wiegenlieder zu den intimsten Gesängen Luciano Ligabue), I cento passi (2000, Marco überhaupt. Im österreichischen Film ‘Ich seh Tullio Giordana) und Buongiorno, notte (2003, Ich seh’ (2014) von Veronika Franz und Sev- Marco Bellocchio). erin Fiala spielen zwei dieser Lieder – das Brahms’sche Wiegenlied „Guten Abend, gut’ Nacht“ und das Schlaflied „Weißt du wie viel Dorschel, Andreas / Brown, Julie (Hrsg.): Ton- Sternlein stehen?“ – eine zentrale Rolle. Der spuren: Musik im Film: Fallstudien 1994–2001. Autor setzt sich einerseits mit der dramatur- Wien [...]: Universal-Ed. 2005, 204 S. (Studien gischen Funktion der beiden Liedmelodien in- zur Wertungsforschung. 46.). nerhalb der filmischen Narration auseinander. Andererseits wird untersucht, auf welche Inhalt: Hubbert, Julia Bess: Bach and the Weise die Lieder in der Filmmusik von Olga Rolling Stones. Scorsese and the post-modern Neuwirth Verwendung finden. Anhand einer soundtrack in Casino (43–69). – Brown, Julie: Produktionsversion des Films lässt sich Haneke’s La pianiste (2001), parody, and the zeigen, wie die Komponistin die Melodien in limits of film music satire (163–190). – Szabó- ihre Filmmusik eingearbeitet hat und dadurch Knotik, Cornelia: Klangkulissen: Film als Mu- eine enge Verknüpfung zwischen Diegese und seumsshop klassischer Musik (22–42). – musikalischem Kommentar herstellt. Die Pollerus, Christine: Konstruktion des Barock: endgültige Filmversion wiederum verdeut- Ennio Morricone, Vatel (2000) und die licht, wie die beiden Regisseure diese musikalische Ästhetik des Historienfilms Verknüpfungen durch Neuabmischung und (106–124). – Riethmüller, Albrecht: Kubricks partielle Eliminierung der Musik wieder letztes Wunschkonzert: Beobachtungen an aufgelöst haben. (Autor) der Musik zu Eyes Wide Shut (1999) (82–105). – Haslmayr, Harald: Mythos, Musik und Erin- nerung in Die Ewigkeit und einen Tag (1998) Drees, Stefan: What remains of the past ...: von Theo Angelopoulos (70–81). – Heldt, diegetic music in the Star Trek series as refer- Guido: Das vorletzte Lied: Musik, narrative ence to the cultural heritage of humanity. In: Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 45

Lied und populäre Kultur: Jahrbuch des Zen- fal« / 130. – Dialog 4: Gespräch mit Werner trums für Populäre Kultur und Musik 64, 2019, Herzog / 136. –Thomas Macho: Wagner im S. 141–154. All. Bemerkungen zur Genealogie der space opera / 144. – Marcus Stiglegger: »Napalm am The paper focuses on the use of diegetic or Morgen«. Richard Wagners Walkürenritt im source music in the Star Trek universe. Its Film / 152. – Stefanie Krust: Fallen und fallen main purpose is to investigate which refer- und sterben und sterben. Richard Wagner bei ences are used in Star Trek: The Original Series Lars von Trier / 158. – Jörg van der Horst: »In (1966–1969), Star Trek: The Next Generation Sachen Wagner bin ich ein Suchender«. Ver- (1987–1994), Star Trek: Deep Space Nine wandlungsszenen mit Christoph Schlingen- (1993–1999), Star Trek: Voyager (1995–2001), sief / 168. – Dialog 5: Gespräch mit Philipp Star Trek: Enterprise (2001–2005), and Star Stölzl / 178. – Jesko Jockenhövel: Postmoder- Trek: Discovery (2017ff.) to construct a partic- nes Recycling. Wagners Spuren in der filmi- ular prospect of music as one of the most im- schen Popkultur / 188. portant parts of our cultural heritage from the future’s point of view. (Autor) Dubowsky, Jack Curtis: Intersecting Film, Mu- sic, and Queerness. Basingstoke/New York: Drehmel, Jan, Kristina Jaspers / Steffen Vogt Palgrave Macmillan 2016, viii, 266 S. (Palgrave (Hrsg.): Wagner Kino: Spuren und Wirkungen Studies in Audio-visual Culture.). Richard Wagners in der Filmkunst. [Film- und Veranstaltungsreihe „Wagner-Kino“ im Zeug- [U]ses musicology and queer theory to un- hauskino am Deutschen Historischen Muse- cover meaning and message in canonical um, Berlin, 25. April bis 31. Mai 2013.] Ham- American cinema. This study considers how burg: Junius-Verlag 2013, 207 S. queer readings are reinforced or nuanced through analysis of musical score. Taking a Rez. (Frank Piontek) in: Rez.: Wagnerspectrum broad approach to queerness that questions 9,2, 2013, S. 229–235. heteronormative and homonormative patriar- Inhalt: Peter Jammerthal: Genie und Monster. chal structures, binary relationships, gender Richard Wagner als Filmfigur / 12. – Bildstre- assumptions and anxieties, this book chal- cke »Magic Fire« / 20. – Dialog 1: Gespräch lenges existing interpretations of what is pro- mit Edgar Selge / 26. – Laurent Guido: »Was gressive and what is retrogressive in cinema. ist fotogener als seine Musik?«. Der Einfluss Examined films include Bride of Frankenstein, Richard Wagners auf die frühe französische Louisiana Story, Rudolph the Red-Nosed Rein- Filmtheorie / 34. – Bildstrecke »Die Nibelun- deer, Blazing Saddles, Edward Scissorhands, gen« / 42. – Daniel Kothenschulte: Der nicht Brokeback Mountain, Boys Don’t Cry, Trans- ganz absolute Film. Richard Wagner in der america, Thelma & Louise, Go Fish and The klassischen Filmavantgarde / 48. – Dieter Living End, with special attention given to Thomä: Der durchkreuzte Drang nach Ganz- films that subvert or complicate genre. Music heit. Von Richard Wagners Gesamtkunstvverk is analyzed with concern for composition, in- zu Sergej Eisensteins Filmkunst / 56. – Reimar tertextual references, absolute musical struc- Volker: Verfilmet mir den Meister nicht. Wag- tures, song lyrics, recording, arrangement, ner im NS-Film / 62. – Dialog 2: Gespräch mit and performance issues. This multidisciplin- Frank Stiobel / 72. – Christian Müller: Wag- ary work, featuring groundbreaking research, ner-Sound im >Golden Age<. Einflüsse auf analysis, and theory, offers new close read- die Filmmusik des klassischen Hollywoodki- ings and a model for future scholarship. nos / 82. – Steffen Vogt: Weltschmerzmann und Traumfrau. Filmische Variationen über den Fliegenden Holländer / 90. – Maria Rober- Dubowsky, Jack Curtis: “Submerged queer ta Novielli: Die Kunst des Übergangs. Japani- spaces”: Audio poiesis and documentary film. sche Avantgarde und die Idee des Gesamt- In: Radical Musicology 7, 2019, 51 Par., Online. kunstwerks / 100. – Kristina Jaspers: Das Kino der Dekadenz. Nietzsches Kritik als filmische Dufays, Sophie / Nasta, Dominique / Cadala- Analyse / 110. – Dialog 3: Gespräch mit Hans nu, Marie (éds.): Jürgen Syberberg / 120. – Bildstrecke »Parsi- Connaît-on la chanson? Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 46

Usages de la chanson dans les cinémas d’Eu- mélodrame et cabaret dans Bellas de noche rope et d’Amérique Latine depuis 1960. Bruxel- (1975) et El pez que fuma (1977) / 133. – Co- les / Bern / Berlin / New York / Oxford / War- lette Lucidarme: Bossa nova, et cinéma novo / sawa / Wien: Peter Lang 2019, 340 S. (Repen- 155. – Raluca Jacob: Mélodies de l’affect / 167. ser le Cinéma. / Rethinking Cinema. 9.). – III. Approches textuelles: – Roberto Cala- bretto: La chanson dans l’œuvre cinématogra- Les chansons, liées au cinéma depuis ses ori- phique de Pier Paolo Pasolini / 185. – Marie gines, ont acquis une force nouvelle et singu- Cadalanu: La chanson populaire dans le ciné- lière tant dans les productions commerciales ma de François Ozon / 203. – Alain Hertay: que dans les films d’auteur récents, notam- Sur Sébastien Erms, parolier d’Éric Rohmer / ment en Europe et en Amérique latine. Mais 215. – Raphaël Szöllösy: Ode à la mélancolie si les études consacrées aux rôles de la chan- prolétaire: À propos des chansons du cinéma son et de la musique populaire dans le cinéma d’Aki Kaurismäki / 231. – Stéphane Hirschi: se sont multipliées, peu de travaux ont consi- Les chansons qui font groupe au cinéma: an- déré leur place dans les cinémas européens et crage dans l’espace-temps populaire – entre latino-américains au-delà de la période clas- les Corons, la Commune et Le Havre, de Ta- sique. C’est sur un corpus de films à chansons vernier à Kaurismäki / 247. – Celia Martínez parus à partir des années 1960 que se concen- García: L’énonciation et la focalisation dans le tre le présent ouvrage. Les différentes contri- récit musical cinématographique: analyse des butions proposent un panel d’approches no- chansons de Cría cuervos / 259. – Agnès Pelle- vatrices et complémentaires, esthétiques mais rin: La chanson, charnière entre réel et fiction aussi culturelles, historiques et musicolo- dans Ce cher mois d’août de Miguel Gomes giques, qui offrent un éclairage inédit sur (Portugal, 2008) / 273. – IV. Approches musico- cette production. L’ambition de ce volume est logiques: – Jérôme Rossi: Un homme et une- de participer au développement d’une analyse femme de Claude Lelouch: la chanson dans esthétique et théorique du film à chansons dé- tous ses états / 289. – Catherine Rudent: gagée du modèle hollywoodien mais aussi, Abrasion stylistique et transigeance musicale plus largement, de tout modèle générique. des chansons de « variété »: Le cas exem- Penser la place qu’occupe la chanson dans des plaire de La Famille Bélier / 305. – Hubert Bol- cinématographies très variées géographique- duc-Cloutier: La chanson médiévale dans Per- ment et historiquement, du cinéma français ceval le Gallois (Éric Rohmer, 1978): Corres- au cinéma brésilien en passant par les ciné- pondances et divergences entre réalité et au- matographies d’Europe de l’Est, permet de thenticité / 321. susciter de nombreux rapprochements inédits, susceptibles d’ouvrir la voie à de nouvelles approches. Dupuis, Mauricio: Jerry Goldsmith e la musica Inhalt: Marie Cadalanu, Sophie Dufays, Domi- nel cinema americano. [s.l.:] Il mio libro 2011, nique Nasta: Introduction / 13. – I. Approches 177 S. – Phil Powrie: La chanson-cristal théoriques: Neuaufl.: Roma: Robin Edizioni 2012, 278 S. (I et la répétition / 33. – Laurent Guido: Entre libri saggi. 56.). appropriation et aliénation: usages ambiva- lents de la chanson au cinéma (à partir de Engl. Übers. u.d.T.: Jerry Goldsmith: Music Bande de filles, Céline Sciamma, 2014) / 49. – Scoring for American Movies. Transl. by Ce- Dominique Nasta: Chanson et signification au cilia Martini. Roma: Robin Edizioni 2013, 265 cinéma: un demi-siècle de parcours croisés S. (Robin essays.). (1964-2014) / 63. – Maria Luisa Ortega: Les 2nd ed., [s.l. (Raleigh, NC)]: DMG / Lulu.com paysages affectifs de la chanson dans le ciné- 2014, 167 S. ma espagnol du XXIe siècle / 81. – II. Ap- This essay represents the first organic study proches culturelles / historiques: – Martin Bar- about Jerry Goldsmith (1929–2004), an em- nier: Le film avec chanson au début des an- blematic American film composer from the nées 1960 et le cas de Cléo de 5 à 7 / 107. – Re- second half of the 20th century. His personal- naud Lagabrielle: Le film en chanté, un genre ity is examined within the cinematic produc- en devenir du cinéma français ? / 121. – Pablo tion system in which he operated for about Piedras & Sophie Dufays: Chanson populaire, fifty years, collaborating with directors like Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 47

John Huston, John Frankenheimer, Franklin J. ing on The Medicine Ball Caravan – No wave Schaffner, Roman Polanski, Joe Dante, film and the music documentary: from no Richard Donner, Paul Verhoeven and many wave cinema “documents” to retrospective others. documentaries – The anxiety of authenticity: post-punk in the 2000s – “Every tongue brings in a several tale”: TheF ilth and the Dwyer, Michael D.: Back to the Fifties: Nostal- Fury’s counterhistorical transgressions – The gia, Hollywood Film, and Popular Music of the Circus Is in Town: rock mockumentaries and RE-Generation. New York: Oxford University the carnivalesque – Visualizing live albums: Press 2015, xi, 216 S. (Oxford Music/Media Se- progressive rock and the British concert film ries.). in the 1970s – Moogie Wonderland: technology, modernity and the music documentary – Dass. auch u.d.T.: Back to the Fifties: Nostalgia, An ethnographic video project for the music Hollywood Film, and Popular Music of the Sev- classroom – Mediating TheA gony and the Ec- enties and Eighties. stasy of Phil Spector: documenting monstros- Inhalt: Fixing the Fifties: Reaganism, Nostal- ity? – Desperately seeking Kylie!: critical re- gia, and Back to the Future – Re-Reading flections on William Baker’s White diamond. American Graffiti – “Old Time Rock and Roll” on Re-Generation Soundtracks – Michael Jackson, MTV, and Crossover Nostal- Eicke, Stephen: The Struggle Behind the Sound- gia – Star Legacies: James Dean and Sandra track: Inside the Discordant New World of Film Dee in the Re-Generation Epilogue: The Fu- Scoring. Jefferson, N.C.: McFarland 2019, vii, tures of Nostalgia. 219 S. From the Westerns of the 1960s to current blockbusters, composers for both film and television have faced new challenges – ever- more elaborate sound design, temp tracks, – E – test audiences and working with companies that invest in film score recordings all have led to creative sparks, as well as frustrations. Eder, Barbara: Ein ver-rückter Ort des Films: Drawing on interviews with more than 40 no- ›Alice in Wonderland‹ und das queere Nach- table composers, this book gives an in-depth leben des Porno-Musicals. In: Frauen und Film analysis of the industry and reveals the cre- 66, 2011, S. 39–58. ative process behind such artists as Klaus Ba- delt, Mychael Danna, Abel Korzeniowski, Über Bud Townsends (1921–1997) Film von Walter Murch, Rachel Portman, Alan Silvestri, 1976. Randy Thom and others.

Edgar, Robert / Halligan, Benjamin / Fair- Engländer, Richard: Das musikalische Plagiat clough-Isaacs (eds.): The Music Documentary als ästhetisches Problem. In: Archiv für Urhe- in Film: Acid Rock to Electropop. New York: ber-, Film- und Theaterrecht 3, 1930, S. 33–44. Routledge 2013, xvi, 244 S. Inhalt: Music seen: the formats and functions Erdmann, Hans / Becce, Giuseppe: of the music documentary – Tony Palmer’s Allgemei- Unter Mitarbeit All You Need Is Love: television’s first pop his- nes Handbuch der Film-Musik. tory – Retrospective compilations: (re)defin- von Ludwig Brav. Mit einem Vorwort verse- ing the music documentary – “Sound and vi- hen von Hans Brandner. Erstveröffentlichung sion”: radio documentary, fandom and new 1927 Schlesinger Verlag Berlin-Lichterfelde. I. participatory cultures – The good, the bad Musik und Film, Verzeichnisse. II. Themati- and the ugly ’60s: the opposing gazes of sches Skalenregister. Berlin: Ries & Erler 2020, Woodstock and Gimme Shelter – “Let your bul- XI, 155, VII, 226 S. lets fly, my friend”: Jimi Hendrix at Berkeley Inhalt: Erster Teil. Musik und Film: – An- – “You can’t always get what you want”: rid- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 48 statt der Vorrede. – Inhalt zu I / V. – Inhalt zu tische Skalenregister: – Gruppenaufzäh- II / VII. – Einleitung / IX. – 1. Der Film im lung nach der Tabelle / V. – Ständige Signatu- Rahmen der Zeitkünste / 1. – 2. Wie kam die ren / VI. – Abkürzungen / VII. – Dramatische Musik zum Film? / 3. – 3. Kann der stumme Expression [...] – Dramatische Scenen [...] – Film ohne Musik sein? / 4. – 4. Von der musi- Lyrische Expression [...] – Lyrische Incidenz kalischen Illustration / 5. – 5. Illustration, Au- [...] – Incidenz [...]. torenillustration, Komposition? / 6. – 6. Ist eine künstlerische Bindung zwischen Film und Musik möglich? / 8. – 7. Lehrfilm, Kultur- Etcharry, Stéphan / Rossi, Jérôme (sous la dir. film, Tagesschau / 10. – 8. Der künstlerische de): Du concert à l’écran: La musique classique Spielfilm und die Musik. Seine Gattungen / 11. au cinéma. Rennes: Presses universitaires de – 9. Vom Atelier zum Theater / 15. – A. Ate- Rennes 2019, 459 S. (PUR-Cinéma.). lier: Handlung, Inscenierung und Musik (15). En s’associant a un film, toute musique pre- — Dichter, Musiker und Regisseur (17). — existante apporte non seulement son atmos- Musik im Film (17). — Bildhafter Musikrhyth- phere sonore particuliere mais egalement un mus (19). — Drehbuch und Musikscenarium reseau de significations liees a son histoire. (20). – B. Verleih: Musikorganisation (23). — En se concentrant sur la « musique classique Musikscenarium und Copie (23). — Mitliefe- » expression designant ici une certaine mani- rung des Notenmaterials (23). — Musiktheater ere « savante » d’elaborer une œuvre, cet ou- (24). – C. Theater: Sozial – künstlerische Lage vrage s’empare de morceaux riches d’une tra- der Film – Musiker (24). — Musik-Autoren – dition interpretative et d’une reception qui Autorenschutz (26). Orchester im Lichtspiel- ont parfois plusieurs siecles. Outre une charge theater – „Salonorchester“ (26). – Repertoire semantique nouvelle, le passage d’un media a und Bearbeitung (27). – Kapellmeister und un autre induit une perte d’autonomie, de Nachwuchs (29). — Uraufführung (31). — Re- profonds changements dans les contextes pertoirewechsel – Bibliothek (32). Theater- d’execution et les conditions d’ecoute, le pas- haus und Technik (32). – Spielplan (34). – Pro- sage d’une temporalite de la moyenne ou de paganda – Musikschrifttum (35). – 10. Zur la longue duree permettant le developpement Musikdramaturgie des Film: Filmdramaturgie de la forme musicale a des formats souvent – Musik und Form (39). — Expression und In- tres reduits qui trahissent d’inevitables cou- cidenz (40). — Stil (42). Einheit und Gegensatz pures. Les cinq thematiques de ce livre « To- (45). — Neutrale Musik – Intensitätsgrade poï de la musique classique au cinema », « (47). — Scenischmusikalischer Aufbau – Die Musique et verite historique », « Musique et „Musiknummer“ (49). Das Leitmotiv (51). — narration », « Musique et identite » et « Mu- Bewegung – Dynamik – Stimmung (52). — sique et structure » croisent d’autres ques- Musikwechsel (53). — Das Nebeneinander tionnements concernant les choix d’extraits zweier Handlungen (54). — Vorspiel – Finale – operes, les interpretations retenues, la ma- Zwischenspiel (54). — Geräuschbegleitung – niere dont la musique classique dialogue avec Geräuschmusik (55). — Komische Musik – d’autres musiques preexistantes et la musique Das Lustspiel (56). – Zur Methodik der kom- originale, les arrangements et les reecritures pilatorischen Illustration (Das thematische pour s’adapter au propos filmique. Skalenregister) / 58: Inhalt und Umfang – Das „Werkeverzeichnis“ (59). — Musik: mehrdeu- Inhalt: Introduction. – 1. Topoï de la musique tig –„Thematische Skalenregister“ (W). — „Die classique au cinéma. Delphine Vincent: A Tabelle“ (64). — Dramatische Expression (66). Night at the Opera: la visite à l’opéra dans le — Lyrische Expression (67). — Incidenz (68). – cinéma américain contemporain. – Gérard Verzeichnis nicht allgemein gebräuchlicher Dastugue: La Chevauchée des Walkyries au Fremdwörter / 71. – Verzeichnis der Namen cinéma: une citation en palimpseste. – Gré- und Schlagworte / 72. – Ständige Signaturen / goire Tosser: Vicissitudes cinématographiques 83. – Abkürzungen / 84. – Anzeigenteil / 85. – du « Cold Song » de Purcell – 2. Musique et Verzeichnisse zum thematischen Skalenregister: vérité historique. Thierry Grandemange: Verzeichnis der Werke / 108. – Verzeichnis Jeanne d’Arc selon Jacques Rivette et Philippe der Schlagworte / 142. – Druckfehler und Ramos: la musique de film entre vérité et vrai- Nachtrag / 155. – Zweiter Teil. Das thema- semblance. – Isabelle Ragnard: Résonances Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 49

musicales de la Renaissance dans un film des to reveal how the orientation and disposition années 1930: The Private Life of Henry VIII of the hermaphrodite Tintomaras is under- (Alexander Korda, 1933). – Bertrand Porot: mined by the power disparities between male Tous les matins du monde: la leçon de mu- subjects and female objects as they are tradi- sique baroque d’Alain Corneau. – 3. Musique tionally represented in romances, porn and et narration. Lionel Pons: La musique clas- horror films. (Vorlage) sique dans A Room With a View de James Ivo- ry: l’interpolation comme construction d’un personnage. – Chloé Huvet: « Live as a mon- Etscheit, Ulrich: „Ich habe die Oper mein ster, or die as a good man ? » Musique clas- ganzes Leben gehaßt“: Zur Rezeption von sique, hantise et distorsion du réel dans Shut- Musik im literarischen und filmischen Schaf- ter Island (Martin Scorsese, 2010). – Jérôme fen Pier Paolo Pasolinis. In: Musica 42, 1988, S. Rossi: Poétique de la musique répétitive au 246–254. cinéma: le recours aux œuvres de John Adams dans Io sono l’Amore (Luca Guadagnino, 2009). – 4. Musique et identité. Laurent Olivier Mar- Evans, Mark: Sounding Funny: Sound and ty: Bach au cinéma: la Toccata de l’hubris. – Comedy Cinema. Sheffield/Bristol: Equinox Laurence Le Diagon-Jacquin: Le barbier/ Publishing 2016, vi, 259 S. (Genre, Music and Brahms vs Hynkel/Wagner vs le barbier/Wag- Sound.). ner dans Le Dictateur (Charlie Chaplin, 1945). Comedy has been a feature of cinema since its – Amal Guermazi: L’intermusicalité dans les inception. From mickey-moused accompani- comédies musicales de Youssef Chahine: l’a- ments to slapstick scenes, ironic musical daptation de Carmen dans Alexandrie … New statements, clever musical allusions and York. – 5. Musique et structure. Stéphan Et- jokes, well-worn sound effects, and even charry: Britten et le monde de l’enfance au laugh tracks, sound has been integral to the prisme de la musique du film Moonrise King- development of the comedy on screen. This dom (Wes Anderson, 2012). – Benjamin Las- volume covers all aspects of sound (including sauzet: 2001: l’Odyssée du spectre. – Florian dialogue) and music as they have been Guilloux: Once upon a music adaptation:un utilised in comedy film. The volume looks at aperçu du travail de George Bruns dans Sleep- various subsets of the ‘comedy film’ from the ing Beauty (La Belle au bois dormant, 1959) post-War period, including black comedy, ro- des studios Disney. – Stéphan Etcharry et Jé- mantic comedy, slapstick, dialogue comedy, rôme Rossi: Conclusion. parody and spoofs. This volume aims to explore the way in which music and sound articulate humour, create comedic situations Ethnersson Pontara, Johanna: Musical narra- and direct comedic identifications for viewer/ tion, performance and excess: the creation of listeners. horror in the Swedish opera Tintomara by Lars Johan Werle. In: Act: Zeitschrift für Musik & Performance 7, 2017, 22 S.; [URL]. Evans, Mark / Hughes, Diane (eds.): The Sing- [E]xamines the different layers in the opera ing Voice in Contemporary Cinema. Sheffield: Tintomara by Lars Johan Werle and Leif Equinox 2017 [2019], 256 S. (Genre, Music and Söderström (Stockholm 1973), based on the Sound.). short story “The Queen’s Jewel” by Carl Johan This volume focuses on the singing voice in Love Almqvist. Pontara’s thesis claims that contemporary cinema from 1945 to the the opera’s message is expanded by the com- present day, and rather than being restricted position technique. By assembling the differ- to one particular genre, considers how the ent styles Werle brings the relationship be- singing voice has helped define and/or con- tween narration and performance to oscilla- fuse genre classification. Typically heard in tion. He uses his experience as a film music song, the singing voice is arguably the most composer to create shock effects, such as expressive of all musical instruments. This those caused by the music in horror films, in volume celebrates the ways in which singing order to perform them on the listeners’ bod- features in film. This includes the singing ies. Ethnersson Pontara applies film theories Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 50

voice as protagonist, as narrator, as communi- Inhalt: Glass, postminimalism and the media: cator, as entertainer, and as comedic inter- initial questions and contexts – The satisfac- lude. Whether the singing voice in film is per- tion of a drive: postminimal music and the ad- sonally expressive, reflexive and distant, or vertising media – Postmodern unfoldings: synchronized for entertainment, there is typi- narrative, temporality and repetition in post- cally interplay between the voice and visual minimal music – Notes on a soundtrack: read- elements. Extending beyond the body of liter- ing Glass’s recent film scores – Metamorphic ature on ‘the musical’, the volume is not meanings in Glass’s intertextual soundtracks about musicals per se. Rather, The Singing – This is (not) a soundtrack: Dracula the Voice in Contemporary Cinema discusses the movie or music drama? – Existential conflict singing voice as a distinct genre that focuses in Naqoyqatsi, book of longing and watch- on the conceptualization and synchronization men. of the singing voice in the post-War era. It explores the relationship between screen, singing, singer and song; it celebrates the in- Everingham, Matthew: Orchestrating Film: tersection of the singing voice and popular The contrasting orchestral-compositional ap- culture. In doing so, the volume will cross proaches of Bernard Herrmann and John multiple disciplines including vocal studies, Williams and their modern legacy. In: Pura- film studies, film sound studies, and music toke: Journal of Undergraduate Research in the production (vocal processing). Creative Arts and Industries 1, 2017, S. 110– Inhalt: 1. The Singing Voice in Contemporary 138; [URL]. Cinema / Diane Hughes & Mark Evans. – 2. Music is one of the most powerful forces in Singing, Sonic Authenticity and Stardom in film, and composers’ varied use of orchestra- Dancer in the Dark / Nessa Johnston. – 3. Find tion and sound is fundamental to the impact Your Voice: Narratives of Women’s Voice Loss of music in this medium. From the live ac- in American Cinema / Katherine Meizel. – 4. companiments of the earliest silent film, to Singing a Life in Bondage: Black Vocality and the lush orchestrations of the ‘golden age’, to Subjectivity in 12 Years a Slave / Gianpaolo the electronic and experimental scores of the Chiriacò. – 5. Ghost Singers: The Singing twenty-first century, the role of orchestration, Voice in Korean Pop Cinema / Sarah Keith & timbre and sound has been pivotal to the Alex Mesker. – 6. Voices of Sheila: Re-signifi- function of music in film and its ability to cation in Bollywood Filmic and Non-filmic shape and inform narrative, character and Contexts / Nina Menezes. – 7. Before #MeToo: theme (Gorbman, 1987). In an increasingly Hearing Vulnerability / Diane Hughes & vast and constantly evolving body of film mu- Mark Evans. – 8. Trailer Trash or Inspired Vo- sic, two figures stand out as proponents of cality? Song as Promotion and Aesthetic Ob- contrasting compositional approaches to or- ject in Cinematic Previews / James Deaville & chestration in film: Bernard Herrmann and Agnes Malkinson. – 9. ‘You’ve Got a Friend in John Williams (Cooke, 2004). Their work re- Me’: Singing Voices in the Toy Story Films / veals orchestration and compositional consid- Natalie Lewandowski & Penny Spirou. – 10. erations as powerful tools that contribute to The Singing Voice and its Use to Evoke Un- dramatic elements of narrative, character and ease, Discomfort and Violence / Mark Thorley theme. To understand these approaches their & Liz Giuffre. – 11. The Female Singing Voice: influences and contexts must be discussed Gospel, Blues, Epic Stories and Animation / (Part I). Analysing the contrasting orchestral Anne Power. – 12. From Despicable to Happy: approaches of Herrmann and Williams in Animated Vocality in the Evolution of Felo- their respective films The Day the Earth Stood nius Gru / Diane Hughes & Veronica Stewart. Still (1951) and Close Encounters of the Third Kind (1977) sheds light on the contrasting ways orchestration is approached to influence Evans, Tristian: Shared Meanings in the Film dramatic elements in film (Part II). It is impor- Music of Philip Glass: Music, Multimedia and tant to examine the legacy of Herrmann and . Farnham, Surrey/Burlington: Postminimalism Williams’ contrasting approaches in more re- Ashgate 2015, xvii, 221 S. cent film music such as the representative scores of Thomas Newman (Wall-E, Stanton, Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 51

2008)) and Stephen Price (Gravity, Cuarun, List.“ Faulkner develops a framework for dis- 2013)) to fully examine the role of orchestra- covering and exploring how rapidly changing tion in film today (Part III). and demanding freelance work induces status hierarchies, sustains and updates collegial reputations, tightens social networks between contractors, and musicians, and restricts access to upward career paths. This volume is a gem, a masterpiece of field research combined – F – with probing, theoretically informed analysis. Aside from the value of its own findings, the volume offers students of sociology, film, and Faltermeyer, Harold / Herre, Janneck: Grüß other creative industries a prime example of Gott, Hollywood: Mein Leben zwischen Heimat how to do good social science research. In und Rock ’n’ Roll. [Mitarb.: Birgitt Wolff; Übers short, it is a model for investigators to turn to a. d. Engl. v. Bernhard Josef unter Mitarb. v. when their own research needs help, an ex- Birgitt Wolff.] Köln: Bastei Lübbe 2016, 270 S., emplar of how research is done when it is 16 ungez. S. done well.

Fasshauer, Tobias: Hanns Eislers »Kammer- Feiten, Benedikt: Jim Jarmusch: Musik und symphonie« als Filmmusik zu ›White Flood‹ Narration: Transnationalität und alternative (1940). In: Musik und Ästhetik 8 (2004) 31, S. filmische Erzählformen. Bielefeld: transcript 30–48. 2017, 208 S. Über die Musik von Eisler (1898–1962) zu Feiten nutzt Filmwissenschaft, Musikwis- einem Lehrfilm. senschaft und transnational orientierte Amerikanistik, um deren narrative Funktio- nen zu ergründen. Er zeigt, wie die Musik ein Faulkner, Robert R.: Hollywood Studio Musi- Erzählsystem stützt, das nicht auf Entwick- cians: Their Work and Careers in the Recording lung, sondern auf Wiederholung und Varia- . With a new preface by Howard S. Industry tionen aufbaut. Becker. New Brunswick, NJ: Aldine Transac- tion 2013, xiv, 218 S. Zuerst: Chicago, Ill.: Aldine-Atherton 1971, ix, Felsmann, Klaus-Dieter (Hrsg.): Klang der Zei- 218 S. (Observations.). ten: Musik im DEFA-Spielfilm. Eine Annähe- . Berlin: Bertz+Fischer 2013, 270 S. When originally published in 1971, Holly- rung wood Studio Musicians was the first detailed Rez. (Laura Böhm) in: Medienwissenschaft: analysis of the work and careers of produc- Rezensionen, 2016, S. 27–28. tion personnel in an industry devoted to mass Etwa 145 Komponisten waren zwischen 1946 culture. Previously, most researchers over- und 1990 im DEFA-Spielfilmstudio in Babels- looked mass-culture industries as work set- berg an der Produktion der rund 950 dort ent- tings, preferring to focus on content rather standenen Filme beteiligt. Auch wenn sie alle than the artists who created it. This lucid and einem Auftraggeber verpflichtet waren – der insightful book looks under the hood of the ihnen recht komfortable Arbeitsbedingungen Hollywood film scoring and recording indus- bot – führte das nicht zu einem einheitlichen try, focusing upon the careers and work of DEFA-Sound. Die individuellen kompositori- top-flight musicians. A new preface by schen Handschriften spiegeln über den gesell- Howard S. Becker highlights the study’s his- schaftlichen Entstehungskontext hinaus so- torical context and importance.Based upon wohl die musikästhetischen als auch die zeit- in-depth interviews with freelance musicians, politischen Strömungen der zweiten Hälfte Faulkner provides original insights into how des 20. Jahrhunderts wider. – Durch Gesprä- we conceptualize occupations as well as the che mit Komponisten wie Peter Rabenalt, highly stratified system of professional pres- Wolfgang Thiel, Bernd Wefelmeyer und tige that results in what we now call the “A- Christian Steyer und durch Analysen von Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 52

DEFA-Filmen wie u.a. EHE IM SCHATTEN Felsmann, Klaus-Dieter (Hrsg.): Peter M. Got- (Musik: Wolfgang Zeller), DER FALL GLEIWITZ thardt – 50 Jahre Filmmusik: Aufsätze – Inter- (Musik: Kurt Schwaen), DIE LEIDEN DES JUN- views – Analysen. 2. Aufl. Berlin: Ries & Erler GEN WERTHERS (Musik: Siegfried Matthus), 2016, 324 S. TECUMSEH (Musik: Günther Fischer) nähert sich der vorliegende Band dem komplexen Inhalt: Vorwort des Herausgebers / 13. – Filme kulturhistorischen Thema an. Dabei geht es und Musiken: – Wolfgang Thiel: Jenseits von sowohl um zeitgeschichtliche Aspekte als Paul und Paula oder: Auf der Suche nach dem auch um grundsätzliche Fragen einer Ästhetik filmgemäßen Klang. Anmerkungen zu Peter der Filmmusik. M. Gotthardts Kompositionen für Film und Fernsehen / 19. – Peter Rabenalt: Filmmusik Klaus-Dieter Felsmann: So könnte es Inhalt: ohne Klischees. Zur Arbeit des Komponisten gewesen sein – Möglichkeiten und Grenzen Peter M. Gotthardt für den DEFA-Film INSEL einer Annäherung / 11. – Wolfgang Thiel: DER SCHWÄNE (1983) / 29. – Peter M. Gott- Klänge aus Babelsberg – eine kurze Geschich- hardt: Dank für Deine Arbeit, Peter. Antwort- te der Musik zu DEFA-Spielfilmen / 19. – brief von Peter M. Gotthardt an Peter Raben- – Peter Rabenalt: Komponisten im Gespräch: alt / 33. – Denis Newiak: „Wer sagt, er wäre Die jazzige Art gefiel den jungen Regisseu- nie geflogen, lügt.“ Peter M. Gotthardts Musik ren / 49. – Bernd Wefelmeyer: Für mich ist zum DEFA-Film IKARUS (1975) / 37. – Peter M. Filmmusik mit großer Orchestermusik ver- Gotthardt: Wie die Musiken für IKARUS (1975) bunden / 71. – Peter Michael Gotthardt: Eine entstanden / 46. – Wege und Partner: – Klaus- Filmmischung ist für mich immer eine heilige Dieter Felsmann im Gespräch mit Peter M. Handlung / 91. – Christian Steyer: Was keine Gotthardt: Eine Filmmischung ist für mich Sinnlichkeit hat, hat keinen Sinn / 115. – immer eine heilige Handlung / 53. – Winfried Wolfgang Thiel: »Schreiben Sie für den Film Junge: Der macht was draus. Für Peter M. einfacher, junger Mann« / 136. – Andre Asri- Gotthardt zum 70. Geburtstag / 78. – Horst el: Die beste Filmmusik ist die, die überhaupt Claus im Gespräch mit Peter M. Gotthardt: Fra- nicht kommt / 160. – Reiner Bredemeyer: gen an den Stummfilmpianisten Peter M. Oberstes Prinzip: Dramaturgie / 176. – Film- Gotthardt / 80. – Rainer Rother: Als die schie- musikalische Analysen ausgewählter DEFA-Fil- fen Töne erfunden wurden. Für Peter M. me: – Wolfgang Thiel: Ernst Roters. Die Mör- Gotthardt / 92. – Dieter B. Herrmann im Ge- der sind unter uns / 183. – Wolfgang Thiel: spräch mit Peter M. Gotthardt: AVE – Mythos Wolfgang Zeller. / 187. – Gui- Ehe im Schatten voller Aktualität. Peter M. Gotthardts Anima- do Heldt: Hanns Eisler. / Der Rat der Götter tionsfilm AVE (1991) / 98. – Ingo Langner: Pe- 192. – Jean Martin: Paul Dessau. Du und man- ter Gotthardt und die Basilica San Pietro in / 198. – Denis Newiak: Joachim cher Kamerad Vaticano. Für Peter M. Gotthardt / 106. – Werzlau. / 202. – Jean Martin: Günter Lissy Gunter Friedrich: Lieber Peter! Brief von Klück. / 207. – Berlin – Ecke Schönhauser Gunter Friedrich an Peter M. Gotthardt / 109. Wolfgang Thiel: Kurt Schwaen. Der Fall Glei- – Ron Schlesinger im Gespräch mit Peter M. witz / 211. – Dieter Wiedemann: Andre Asriel. Gotthardt:„Solche Knoppaugen hatten die / 215. – Ruben Fischer: Der verlorene Engel Kinder!“ Über die Arbeit zu SCHNEEWEISS- Karl-Ernst Sasse. Signale – ein Weltraumaben- CHEN UND ROSENROT (1979) / 111. – Klausjörg / 219. – Jean Martin: Reiner Bredemeyer. teuer Herrmann: Denkwürdiges einer Freundschaft: / 223. – Denis Newiak: Gün- Bye-Bye Wheelus Peter und Jörg / 115. – Jochen Meusel: „Wol- ther Fischer. / 227. – Dieter Wie- Tecumseh len wir uns wieder vertragen?“ / 140. – Klaus- demann: Peter Michael Gotthardt. Die Legen- Dieter Felsmann im Gespräch mit Konrad / 232. – Dieter Wie- de von Paul und Paula Herrmann: „Es gab eine Zeit, da waren wir demann: Gerhard Rosenfeld. / Leben mit Uwe Brüder im Geiste.“ / 146. – Der Filmkomponist 238. – Ruben Fischer: Friedrich Goldmann. Peter M. Gotthardt – Bildimpressionen / 157. Till Eulenspiegel / 242. – Robert Rabenalt: – Gedanken und Einwürfe – Texte von Peter M. Siegfried Matthus. Die Leiden des jungen Wer- Gotthardt: – Ich mag Filme – oder: Sagt mal, / 246. – Guido Heldt: Andreas Aigmüller. thers wie geht’s n euch? Über deutsche Filmmusik / 251. Junge Leute in der Stadt 2008 / 174. – Über Filmmusik bei den 41. In- ternationalen Filmfestspielen Berlin / 188. – Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 53

THE HIGH COMMAND (USA/D 1994) / 200. – buch-Expose für einen Puppen- oder Tanzfilm „Wenn es in Moskau regnet, spannen wir hier (1988) (234—244). doch auch nicht gleich den Schirm auf ...“ / 202. – Helmut Schiemann – AUF DER SUCHE NACH GATT (1975) und DIE VERFÜHRBAREN Fialko, Olesja Vladimirovna: Klavesinnaja mu- (1977) / 210. – Filmmusik für KÄTHE KOLL- zyka XX veka: istoričeskie ėtapy i osnovnye na- WITZ – BILDER EINES LEBENS (1987) / 221. – pravlenija razvitija [Фиалко, Олеся Влади- Der TV-Film GABRIEL, KOMM ZURÜCK (1988) / мировна: Клавесинная музыка XX века: ис- 234. – Musik zum Film HITLERKANTATE (2005) торические этапы и основные направления / 237. – Musik im wissenschaftlichen Film / развития]. Diss. Kazan’: FGBOU VO Kazan- 248. – Filmmusik aus der Sicht eines DDR- skaja gosudarstvennaja konservatorija imeni Komponisten, Teil 1 / 255. – Filmmusik aus N. G. Žiganova 2017, 309 S. der Sicht eines DDR-Komponisten, Teil 2 – DIE LEGENDE VON PAUL UND PAULA (1973) / „Cembalomusik des 20. Jahrhunderts: histori- 263. – Notate: – Wolfram Heicking: Das be- sche Bühnen und Hauptrichtungen der Ent- sondere Konzert in der Berliner Hochschule wicklung.“ für Musik „Hanns Eisler“ 1964 / 283. – Angel Darin: 3.3.3. Klavesin v otečestvennoj kino- Parra: Was bleibt, ist die Erinnerung. Brief muzyke [Das Cembalo in der heimischen [= von Angel Parra an Peter M. Gotthardt / 284. russ.] Filmmusik] / 141–147. – Philipp Stiasny: Der Stummfilmpianist Peter In kyrill. Schrift. M. Gotthardt / 285. – Jürgen Haase: Ein Kom- ponist und seine Filmmusik / 286. – Aus dem Leben gegriffen: Miniaturen von Peter M. Gott- Finocchiaro, Francesco (a cura di): Musica e hardt: – Ein junger Musikberater beim DEFA- cinema nella repubblica di Weimar. Roma: Synchronstudio / 290. – Blaue Fahnen / 291. – Aracne 2012, 149 S. (Aracne. 10. / Scienze Mein kurzer Kontakt zum Armeefilmstudio / dell’antichità, filologico-letterarie e storico- 293. – Gänsehaut / 294. – Ein ernstes Leben / artistiche. 803.). 296. – Wie Filmmusik auch entstehen kann / 298. – Das Regal / 299. – Gib mal n Kostenlo- Il volume intende offrire un contributo pre- ses! / 301. – Für Karl / 302. – Ein genialer Dia- liminare in direzione di un’indagine storica log / 304. – Du schreibst eine Scheißmusik... / sistematica, vòlta a documentare le relazioni 304. – Leise Musik / 306. – THE LODGER / 307. fra musica d’avanguardia e cinema, nel sec- – CONVERSATION WITH THE BEAST / 309. – ondo e terzo decennio del Novecento. Per una Tango Carmen / 310. – Musik für den Perga- ricerca storica sulla componente musicale monaltar / 312. – Filmographie / 315. nell’era del „muto‟, la stagione del cinema tedesco compresa fra il 1913 e il 1929 costitu- isce un caso di studio esemplare, poiché rapp- Fenske, Uta: „Normalität, was für ein schreck- resenta, nella sua complessità, uno snodo di liches Wort“. Mine Vaganti (Männer al dente, assoluta importanza nella storia dell’arte cine- 2010) als queerer Film. In: “Sounds like a real matografica e musicale. Tanto complesso e man to me“: Populäre Kultur, Musik und poliedrico è l’oggetto di studio, tanto sfac- Männlichkeit. Hrsg. v. Laura Patrizia Fleischer cettato e vario è l’approccio che i cinque saggi & Florian Heesch. Wiesbaden: Springer VS propongono ad altrettanti temi paradigmatici: 2019, S. 187–203 (Geschlecht und Gesellschaft. dalle convergenze tra arte cinematografica e 69.). musicale nel cinema astratto di Hans Richter e Viking Eggeling, alla collaborazione fra Hugo von Hofmannsthal, Richard Strauss e Feuchtner, Bernd: Not, List und Lust: Schosta- Robert Wiene per la versione cinematografica kowitsch in seinem Jahrhundert. Hofheim am del Cavaliere della rosa, dalle presenze jazzis- Taunus: Wolke 2017, 278 S. tiche nella musica di Gottfried Huppertz per Metropolis di Fritz Lang, alla recezione della Darin: Filmmusik von Dimitri Schostako- musica per film e del cinema come arte witsch (143–149); – Fünf Tage – Fünf Nächte – nell’opera e nel pensiero di Arnold Schönberg Die Struktur von Schostakowitschs Filmmusik e Alban Berg. (225—230); – Der große Zampano – Dreh- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 54

Inhalt: Gaia Varon: Sinfonie visive. Musica e musik oder Filmmusik» ? – 2. Arnold Schön- cinema astratto nella Germania degli anni berg e il cinema: fase seconda – 3. La ‘Beglei- Venti. / 15. – Anna Ficarella: Der Rosenkava- tungsmusik’ op. 34 – 4. Franz Schreker e i lier dall’opera al film: un controverso adatta- ‘Vier kleine Stucke’ – 5. La ‘Musik-Film’ di Jo- mento / 33. – Francesco Finocchiaro: Arnold sef Matthias Hauer. – Epilogo. Gli albori del Schönberg e il cinema tedesco: dalla Glückli- cinema sonoro / 175. – 1. L’uomo parlante – 2. che Hand alla Begleitungsmusik / 51. – Grazi- Straniamento del cinema sonoro – 3. Kurt ella Seminara: II montaggio e il tempo nel tea- Weill, Hanns Eisler e il montaggio musicale – tro musicale di Berg / 75. – Leo Izzo: Metropo- 4. La musica e il cinema: una vicendevole ere- lis di Fritz Lang: la città del futuro nell’Età del dità. – Bibliografia / 193. – Indice degli esempi jazz / 109. – Appendice fotografica / 127. musicali / 211. – Indice delle figure / 213.

Finocchiaro, Francesco: Modernismo musicale Finocchiaro, Francesco: Musical Modernism e cinema tedesco nel primo Novecento. Lucca: and German Cinema from 1913 to 1933. Cham, LIM 2017, 16, 213 S. ( Biblioteca musicale LIM: Switzerland: Palgrave Macmillan 2017, xix, Saggi.). 259 S. Inhaltsverzeichnis: Introduzione. Il paradigma This book investigates the relationship be- cinematografico / VII. – Prologo. Il cinemato- tween musical Modernism and German cin- grafo e le arti / 3. – 1. Vienna 1913: agli albori ema. It paves the way for an unorthodox path dell’Autorenfilm – 2. Il cinema letterario – 3. I of research, one which has been little ex- grandi letterati vanno al cinema – 4. L’influ- plored up until now. The main figures of mu- enza della cinematografia sul teatro di parola. sical Modernism, from Alban Berg to Paul – 1. Il cinema e il dramma espressionista / 15. – Hindemith, and from Richard Strauss to Kurt 1. Arnold Schönberg e il cinema: fase prima – Weill, actually had a significant relationship 2. Alban Berg: l’abbozzo per ‘Nacht (Nok- with cinema. True, it was a complex and con- turn)’. – 2. Paul Hindemith e l’universo cine- tradictory relationship in which cinema often matografico / 27. – 1. L’incontro con Arnold emerged more as an aesthetic point of refer- Fanck – 2. ‘Im Kampf mit dem Berge’: «Eine ence than an objective reality; nonetheless, Alpensymphonie in Bildern». – 3. Edmund the reception of the language and aesthetic of Meisel: il compositore cinematografico / 47. – 1. cinema had significant influence on the do- Fra compilazione e composizione – 2. Per una main of music. Between 1913 and 1933, Mod- riforma della musica per film – 3. Il ‘Potëm- ernist composers’ exploration of cinema kin’: un film sonoro ante litteram. – 4. Der Ro- reached such a degree of pervasiveness and senkavalier: una problematica rimediazione / consistency as to become a true aesthetic par- 63. – 1. Problemi di drammaturgia – 2. Da adigm, a paradigm that sat at the very heart “Dresda 1911” a “Dresda 1926” – 3. Richard of the Modernist project. In this insightful Strauss e la musica per film. – 5. Il cinema e il volume, Finocchiaro shows that the creative teatro musicale / 79. – 1. L’invecchiamento confrontation with the avant-garde medium dell’opera – 2. Kurt Weill: la musica nel teatro par excellence can be regarded as a vector of epico – 3. La Filmmusik in ‘Royal Palace’. – 6. musical Modernism: a new aesthetic para- Alban Berg, Lulu e il cinema come artificio / 95. digm for the very process – of deliberate mis- – 1. L’Interludio della ‘Lulu’ – 2. Il principio interpretation, creative revisionism, and di simmetria: dalla forma al dramma – 3. Lo sometimes even intentional subversion of the scenario – 4. Il linguaggio musicale e il rap- Classic-Romantic tradition – which realized porto con l’immagine – 5. Il cinema come ar- the “dream of Otherness” of the Modernist tificio. – 7. Nuova Oggettività e cinema astrat- generation. to / 115. – 1. Vie nuove – 2. L’idea di cinema Inhalt: 1. Introduction: the cinematic para- assoluto – 3. La musica nel cinema assoluto: digm – 2. Prologue: cinema and the arts – 3. ’Lichtspiel Opusi’ – 4. Musica e cinema a Ba- Cinema and expressionist drama – 4. Paul den-Baden – 5. “Film und Musik” 1927 – 6. Hindemith and the cinematic universe – 5. “Experimentalvorführung Film und Musik” Edmund Meisel: the cinematic composer – 6. 1928 – 7. “Tonfilme” 1929. – 8. Tra musica per Der Rosenkavalier: a problematic remediation film e musica da camera / 153. – 1. «Kammer- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 55

– 7. Cinema and musical theatre: Kurt Weill ford University Press 2014, X, 220 S. (The Ox- and the Filmmusik in Royal Palace – 8. Alban ford Music / Media Series.). Berg, Lulu, and Cinema as artifice – 9. New objectivity and abstract cinema – 10. Between Inhalt: Archiving America: sound technology film music and chamber music – 11. Epilogue: and musical representation – Opera cut short: the dawn of sound cinema. from the castrato to the film fragment – Sell- ing jazz short: Hollywood and the fantasy of musical agency – Opera and jazz in the score: Finocchiaro, Francesco / Izzo, Leo: The Sound toward a new spectatorship – Conclusion. of the Nightmares: On the Jazz Music in Fritz Rev. (Spring, Katherine) in: Journal of the So- Lang’s Metropolis. In: Cinema Changes: Incor- ciety for American Music 10,4, 2016, S. 508– porations of Jazz in the Film Soundtrack. Ed. 511. – Rev. (Hollenbach, Katie Beisel) in: Jour- by Emile Wennekes & Emilio Audissino. nal of Film and Video 69,3, 2017, S. 63–64. Turnhout: Brepols 2019, S. 203–218. Flinn, Caryl: “The Sound of Music“. London: FitzGerald, Louise / Williams, Melanie (eds.): British Film Institute 2015, 112 S. (BFI film “Mamma Mia!” The Movie: Exploring a Cul- classics.). tural Phenomenon. London: I.B. Tauris 2013, A half-century after its release, The Sound of xii, 248 S. Music remains the most profitable and recog- Inhalt: Facing our Waterloo: Evaluating nisable film musical ever made. Foreground- Mamma mia! the Movie / Louise FitzGerald ing the film’s iconic musical numbers as key and Melanie Williams – Everyone listens to its global longevity and appeal, Caryl when I start to sing: gender and ventrilo- Flinn’s fresh new study traces the film’s pre- quism in the songs of Mamma mia! on stage histories, its place amongst the events of the and screen / Malcolm Womack – Mamma 1960s, and its afterlife amongst fans. mia!’s female authorship / Melanie Williams – ‘See that girl, watch that scene’: notes on the star persona and presence of Meryl Streep in Ford, Andrew: The Sound of Pictures: Listening Mamma mia! / Deborah Mellamphy – ‘Know- to the Movies, from Hitchcock to “High Fi- ing me, knowing you’: reading Mamma mia! delity“. Melbourne: Schwartz Publishing / Ann as feminine object / Caroline Bainbridge. Arbor, Mich.: ProQuest 2010, 185 S. Mama mia! The Movie (2008) was one of the Dass.: The Sound of Pictures. Collingwood, top international box-office hits of its year Vic.: Black Inc. 2010, 312 S. and the fastest selling DVD in British history. The Sound of Pictures is an illuminating jour- Responses were passionate but polarized: ney through the soundtracks of more than while legions of fans participated in celebra- 400 films. How do filmmakers play with tory sing-along screenings, critics dismissed it sound? And how does that affect the way we as a „Super Pooper“. The critical split often watch their movies? Whether pop or classical, ran along the fault line of gender, with male sweeping or sparse, music plays a crucial role critics initially unimpressed by the uninhib- in our cinematic experience. Other sounds ited, tongue in cheek frivolity of this rare can be even more evocative: the sounds of na- film, produced and directed by women. This ture, of cities and of voices. In The Sound of welcome first book on a twenty-first century Pictures, Andrew Ford speaks to acclaimed di- cultural phenomenon explores these diverse rectors and composers, discovering radically responses to , along with key is- Mama mia! different views about how much music to use sues such as the film’s representation of fe- and when. And he explores some of cinema’s male friendship and its focus on the older fe- most curious sonic moments. How did Alfred male protagonist, as well as its status as queer Hitchcock use music to plant clues in his text. films? Why do some ‘mix-tape’ soundtracks work brilliantly and others fall flat? How do Fleeger, Jennifer: Sounding American: Holly- classics from A Clockwork Orange to The God- , to , use wood, Opera, and Jazz. New York/Oxford: Ox- father Cinema Paradiso High Noon Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 56

music and sound effects to enhance what we Fraile, Teresa / Viñuela, Eduardo (eds.): La see on screen? música en el lenguaje audiovisual: Aproxima- Inhalt: Introduction – The role of music – Five ciones multidisciplinares a una comunicación composers: Ennio Morricone; Richard Rodney mediática. Sevilla: ArCiBel Editores 2012, 604 Bennett; Dick Hyman; Lalo Schifrin; Howard S.; online. Shore – Listening to the music: Classical mu- Inhalt: Prólogo / 9. – Música y cine en Espa- sic in films; Pop goes the score; Pictures of 1. ña: reconstruyendo nuestra historias: – Julio sound; Listening for clues in Hitchcock; The Arce: Singin’ in Spain. Música y músicos en el sound of voices; The sounds of silence (and Hollywood multilingüe (1929–1934) / 15. – Bumps in the night) – Five directors: Bruce Joaquín López González: Entre el casticismo y Beresford; Sally Potter; Wim Wenders; Peter el sinfonismo: música cinematográfica en la Greenaway; Peter Weir – Epilogue: The España de los años centrales del siglo XX / 41. shared experience of sound. – Iván Iglesias: ¿Melodías prohibidas?: El jazz en el cine del primer franquismo (1939– Ford, Fiona: Edmund Meisel’s Potemkin score. 1945) / 61. – Leopoldo Neri de Caso: La banda A close reading. In: Maske und Kothurn 61,1, sonora musical de Ernesto Halffter para Viaje 2015, S. 29–54. romántico a granada (1955) / 75. – Francisco Peña Sánchez: La música de Antón García Vgl. dazu das Themenheft: Potemkin – Abril y las adaptaciones de literatura española Meisel: Edmund Meisel und die „Wiener Fas- en los medios audiovisuales / 95. – Manuel sung“ des „Panzerkreuzer Potemkin“ von Martínez Nieto / Juan Francisco de Dios Her- Sergej M. Eisenstein. Hg. Martin Reinhart, nández: Val del Omar y el edén de los visiona- Thomas Tode. In: Maske und Kothurn 61,1, rios / 111. – Esteban Martínez González / Ja- 2015, S. 7–110. vier Mateo Hidalgo: Habitando el ruido: la dialéctica de los sonidos no musicales en el cine español / 121. – 2. Música y lenguaje au- Ford, Fiona: Edmund Meisel’s score to Der diovisual en España: perspectivas metodológi- heilige Berg (1926) – prefiguring Hollywood’s cas: – Miguel Mera: La banda sonora sale del “golden age” narrative-scoring practices in armario: música, narración y proceso de cola- live performance. In: Music and Sound in boración en sin límites (2009) / 137. – Alejan- Silent Film: From the Nickelodeon to “The dro González Villalibre: La voluntad del com- Artist“. Ed. by Simon Trezise & Ruth Barton. positor desechada. La reutilización de la músi- London: Routledge 2019, S. 124–145. ca de Libertarias en Los fantasmas de Goya / 153. – Alejandro Román: Análisis musivisual: una propuesta metodológica para el estudio Fox, Albertine: Godard and Sound: Acoustic In- de la música en Los otros, de Alejandro Ame- novation in the Late Films of Jean-Luc Godard. nábar / 165. – Matilde Chaves de Tobar: Santa London/New York: I.B. Tauris 2018, xiii, 274 S. Teresa de Jesús: historia, música y arte cine- matográfico / 185. – Marcos Sapró Babiloni: By detailing the production contexts and phi- Voces del infierno: la composición coral en el losophy behind Godard’s idiosyncratic sound ideario sonoro de lo demoníaco y el preceden- design, it provides an accessible route to un- te español de la tetralogía templaria / 193. – derstanding his complex use of music, speech Juan Pedro Escudero Díaz: El flamenco en los and environmental sound, alongside the dis- medios audiovisuales. Apuntes para una apro- torting effects of speed alteration and audi- ximación metodológica a su estudio / 207. – 3. tory excess. The book is framed by the con- Géneros musicales y cultura audiovisual: músi- cept of ‘acoustic spectatorship’: a way of cul- ca, cine y autores: – Jaume Radigales: Visiones tivating active listening in the viewer.It also contemporáneas de la ópera en el audiovi- draws on ideas by leading sound theorists, sual / 223. – Rebeca Ríos Fresno: Apuntes so- philosophers, musicians, and poets, giving bre la “música visual” de la ópera D.Q. (Don particular emphasis to the pioneering thought Quijote en Barcelona) / 245. – José M. García of French sound engineer and theorist, Pierre Laborda: Dos versiones cinematográficas del Schaeffer. mito de Salomé desde el teatro (O. Wilde-K. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 57

Russell) y desde el ballet (A. Gómez-C.Saura) / didácticas de la música en el audiovisual: – Vi- 257. – Carlos de Pontes-Leça: El cine musical cente Galbis López: La música de concierto en en el siglo XXI: los años cero / 273. – Joan Pa- el cine de Woody Allen: Análisis y aplicacio- drol: Cine documental italiano años 50: ¿cine nes didácticas / 525. – Juan Carlos Montoya perdido? ¿músicas perdidas? / 289. – Víctor Rubio: ¿Por qué le gusta Shrek a mi papá? Solanas Díaz: La música en el cine neorrealis- Comprensión y trabajo didáctico sobre los re- ta de Luchino Visconti: de Ossessione a Le not- ferentes sonoros en el cine infantil / 547. – Mª ti bianche / 307. – María Ayllón Barasoain / Elena Hidalgo Sánchez: Tecnoaula audiovi- Antonio Notario Ruiz: El sonido de la Teoría sual: un nuevo espacio educativo en la impro- Crítica: Alexander Kluge / 315. – Marcos Az- visación musical / 573. – María Esperanza zam Gómez: Saraband de Ingmar Bergman, Jambrina Leal: Buenas prácticas docentes en un testamento músico-cinematográfico / 333. educación musical: la banda sonora como re- – 4. Músicas populares en los medios audiovi- curso melódico para el aprendizaje de la flauta suales: – Matilde Olarte: La descripción musi- de pico con alumnos en formación de las titu- cal del héroe: realzando los temas populares laciones de maestro / 583. – María Pardavila desde la creación incidental / 347. – Mauricio Neira: La música en publicidad como herra- Durán Serrano: La reinterpretación del pachu- mienta educativa en la ESO / 593. co a través del humor: el caso de Tin Tan. Una aproximación desde las dimensiones auditiva y visual / 359. – Téo Massignan Ruiz / Estrela Fraile, Teresa / Viñuela, Eduardo (eds.): Rela- Ruiz Leminski: El desarrollo del fonograma: ciones música e imagen en los medios audiovi- cambios de la música en Brasil / 371. – David suales. Oviedo: Ediciones de la Universidad de García Freile: Swing: visiones etnográficas de Oviedo 2015, 449 S. la comunidad Manouche / 385. – Elena Bos- Este libro engloba diferentes campos de la in- chi: ‘Canción Prohibida’. Simulacros musicales vestigación actual sobre música y medios au- y otros mundos en Barrio de Fernando Léon diovisuales. El objetivo de esta publicación es de Aranoa / 399. – Lola San Martín Arbide: ofrecer al lector una visión multidisciplinar de Hip-hop, medicina contra la inmoralidad. las líneas de trabajo que se están desarrollan- Ghost Dog: El Camino del Samurai, una pelícu- do en el campo de estudio que se ocupa de las la de Jim Jarmusch / 407. – Yaiza Bermúdez relaciones entre la música y la imagen. De Cubas: María Antonieta (2006): conversacio- esta manera, el volumen se divide en diferen- nes entre el contrapunto clásico visual y la tes bloques: comienza con un apartado dedi- música contemporánea. Aproximaciones para cado a cuestiones metodológicas, en el que se el entendimiento del eclecticismo sonoro / abordan debates fundamentales para el análi- 419. – César Rivadeneyra: La llegada del pop sis de la música en el audiovisual, como las a la música cinematográfica: el caso de El gra- funciones de la música en el cine. Un segundo duado / 435. – Estudios interdisciplinares en 5. bloque se centra en la música del cine español la música para audiovisual: música, publicidad en diferentes periodos de la historia. A conti- y videojuegos: – Judith Helvia García Martín: nuación se examina la obra de diversos com- Nuevos códigos identitarios en la música pu- positores para el cine (Alan Menken, José Nie- blicitaria actual: estrategias comerciales / 449. to, Alberto Iglesias) y la presencia de la músi- – Virginia Sánchez Rodríguez: Más allá del ca en la filmografía de directores como Von film. La reutilización de la música de cine en Trier o Visconti. Otro apartado se dedica al la publicidad española / 463. – Cristina Gon- análisis pormenorizado de la música de pe- zález Díaz: La música como reclamo publicita- lículas concretas con ejemplos que van desde rio: aproximación al estudio de la música en el periodo del cine ‘mudo’ hasta la actualidad. los spots de publicidad / 475. – Daniel Torras i Tras los bloques dedicados específicamente al Segura: Modelos de música y silencio en la cine, recogemos otro tipo de investigaciones, persuasión electoral / 489. – Julio Montero: comenzando con las que utilizan la relación Características compositivas de la música sin- música-imagen como herramienta pedagógi- fónica en los videojuegos / 503. – Israel V. ca. A continuación, incluimos un apartado so- Márquez: La influencia de los videojuegos en bre la presencia de las músicas populares ur- la música popular / 511. – Música y medios 6. banas en los medios audiovisuales (cine, vi- audiovisuales para la educación: aplicaciones deoclip, videocjuego), así como el uso que ha- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 58 cen diversos géneros musicales, como el ska o melancolía / 209. – Alejandro González Villa- el heavy, del lenguaje audiovisual. Para finali- libre: El «sonido Nieto». Marcas de estilo del zar, dedicamos un apartado especial a la músi- compositor a lo largo de 40 años de carrera / ca en las series de televisión, con ejemplos tan 219. – Francisco Jiménez Criado: Las bandas populares como Pretty Little Liars o Cómo co- sonoras de Alberto Iglesias aplicadas en las nocí a vuestra madre. películas de género dramático de Pedro Almo- Inhalt: Teresa Fraile y Eduardo Viñuela: Intro- dóvar / 231. – Víctor Solanas- Díaz: Luchino ducción / 7. – I. Reflexiones metodológicas y Visconti: los últimos ritos. Estrategias en la perspectivas de análisis / 13: – Marco Alunno: banda sonora de Confidencias y El inocente / Reflexiones alrededor de la diégesis del sonido 243. – IV. Estudio de casos / 249: – Marcos Az- en el cine / 15. – Virginia Sánchez: Las obras zam Gómez: La musicalización de Matti Bye y literarias como fuente de conocimiento de la KTL para La carreta fantasma de Victor Sjö- música de cine: el caso de los vanguardistas ström / 251. – Zaida Hernández Rodríguez: españoles (1920–1930) / 25. – Daniel Torras y Música, comida e imagen: la transterritoriali- Alicia Álvarez: Parámetros, conceptos y ámbi- zación en Polítiki Cusina / 263. – Marco Bel- tos para una redefinición del cine musical lano: Painted orchestras. Orchestration and como género / 39. – Yaiza Bermúdez: Tópicos, musical adaptation in Fantasia and Fantasia usos estéticos y relaciones de montaje en la 2000 / 277. – Mauricio Alejandro Durán Se- música del cine «histórico» / 55. – Sergio La- rrano: Hacia la unidad nacional. La construc- suén: La armonía como elemento de comuni- ción de un imaginario a través del himno na- cación en el cine español de los noventa. Apli- cional mexicano en tres filmes de principios cación práctica a la música de José Nieto y Al- de siglo xx / 289. – Matilde Chaves de Tovar: berto Iglesias / 67. – II. Música en el cine espa- El lenguaje musical y audiovisual en la trans- ñol / 77: – M.ª José Ramos: En los orígenes de misión de sentimientos: el asunto de la banda la música para largometrajes de animación en sonora de Gladiador / 301. – V. Didáctica y España: la secuencia como unidad de acción. medios audiovisuales / 315: – M.ª Jesús Ca- El caso de la «Canción de los cipreses». / 79. – mino Rentería: Aprendizaje Musical con TIC / Lidia López Gómez: Música y propaganda en 317. – Olalla Martín Vaquero: Propuestas pe- el cine de la Guerra Civil española. El film na- dagógicas para el uso del medio audiovisual cional Ya viene el cortejo / 93. – Laura Miran- en el aula de música de secundaria / 325. – da: Suspenso en comunismo o el cambio de dé- Marcela González: La canción como recurso cada en el cine español: un acercamiento al expresivo en el cine: apuntes y propuestas di- estudio de la comedia española de los años dácticas para la asignatura Música / 333. – VI. cincuenta / 109. – Jaume Radigales / Isabel Vi- Músicas populares urbanas y otros medios au- llanueva / Yaiza Bermúdez: El papel de la ópe- diovisuales / 345: – Gonzalo Fernández Monte: ra en el cine español / 121. – Josep Lluís i Fal- Músicas negras y estética sixties como inspi- có: Migraciones y música pop en la España de ración sonora y visual en videoclips del siglo los sesenta: el cine a ambos lados del espejo / xxi / 347. – Julia M.ª Martínez-Lombó Testa: 133. – Diego García Peinazo: Manuela o la El videoclip en el heavy metal asturiano: el disputa del estereotipo andaluz. Rock, baile caso de Malefic Time: Apocalypse de Avalan- flamenco, feminidad y políticas del cuerpo en ch / 359. – Israel V. Márquez: Traducciones el cine de la transición / 147. – Magdalena Se- mediáticas: cuando el videoclip se convierte llés Quintana: Una introducción al estudio del en videojuego / 379. – Elena Monzón Pertejo: documental musical en España / 163. – III. Britney Spears y la poesía o la disolución de Autores: compositores y directores / 175: – Lu- fronteras entre «cultura popular» y «alta cul- cía Donoso Madrid: La elaboración de ideas tura» / 393. – VII. La música en la ficción tele- musicales en el cine: Análisis de una banda visiva / 403: – Judith Helvia García Martín: sonora musical del compositor Ángel Arteaga «Melodías tortuosas» en la recreación musical de la Guía / 177. – Alba Montoya Rubio: Alan del género negro en las series de televisión / Menken y la evolución de los números musi- 405. – Victoria Bernad López: Lo siniestro en cales en las películas Disney: Comparación Pretty Little Liars. La música entre lo vivo y lo entre La Sirenita (1989) y Enredados (2010) / muerto / 421. – Consuelo Pérez Colodrero: 191. – Magdalena Polo Pujadas: Estética y «Celebrémoslo cantando y bailando»: la mú- música en Lars von Trier. De la nostalgia a la sica en las siete primeras temporadas de la si- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 59

tcom Cómo conocí a vuestra madre (How I met low Submarine; King Features and the Beatles your mother) / 433. cartoon series; Yellow Submarine-film form and style; The narrative/number relationship; “Eleanor Rigby”; “Only a Northern Song”; Franke, Lars: Godfather Part III: Film, Opera, “Sea of Holes”; “Lucy in the Sky with Dia- and the Generation of Meaning. In: Changing monds”; Conclusion. – 5. The end of an era, Tunes: The Use of Pre-existing Music in Film. the end of the Beatles – Let It Be; Observa- Ed. by Phil Powrie & Robynn Stilwell. Alder- tional documentary, form, and function in Let shot: Ashgate 2006, S. 31–45. It Be; The Beatles as social actors; A fifth Bea- tle?; George Harrison: The “quiet one” speaks; Nachdr. London: Routledge 2017. Ringo Starr: The lovable drummer writes a song; Paul McCartney; (Reluctant?) leader Franklin, Peter: Reger and film music. In: John Lennon: The enigma; The viewer as voyeur; The Beatles take a final bow: “Revolu- Musikgeschichte in Mittel- und Osteuropa [= tion, “Hey Jude,” and the rooftop perfor- Mitteilungen der internationalen Arbeitsge- mance; Conclusion; Conclusion. meinschaft an der Universität Leipzig in Zusammenarbeit mit den Mitgliedern der internationalen Arbeitsgemeinschaft für die Frishkopf, Michael: Mood Music. In: Screen Musikgeschichte in Mittel- und Osteuropa an 25,3, 1984, S. 78–88. der Universität Leipzig] 18, 2017, S. 407–420. Fryer, Paul: The Composer on Screen: Essays on Fremaux, Stephanie: The Beatles on Screen: Classical Music Biopics. Jefferson, N.C.: McFar- From Pop Stars to Musicians. New York: land 2018. 228 S. Bloomsbury Academic 2018. 170 S. Inhalt: Introduction; Theoretical frameworks Fuchs, Henning: Der Film- und Medienkom- and literature survey; Chapter summaries. – ponist als Unternehmer. Konstanz: UVK 2015, 1. A Hard Day’s Night: Beatlemania hits the 202 S. (Praxis Film. 87.). big screen; Context and musical sequence analysis; “A Hard Day’s Night” (opening credits); “I Should Have Known Better”; “If I Fell”; Fuchs, Maria: The hermeneutic framing of “Can’t Buy Me Love”; “And I Love Her”/ “I’m film illustration practice. The Allgemeine Happy Just to Dance with You”; The final live Handbuch der Film-Musik in the context of a concert sequence (”Tell Me Why”/“If I Fell”/”I historico-musicological tradition. In: Claus Should Have Known Better”/“She Loves Tieber & Anna Windisch (eds.): The Sounds of You”); Conclusion. – 2. Help! Beatlemania is Silent Films: New Perspectives on History, The- out of control; “Help!” (opening credits); ory and Practice. Hampshire: Palgrave “You’re Going to Lose that Girl”; “You’ve Got Macmillian 2014, S. 156–171. to Hide Your Love Away”; “Ticket to Ride”; “I Need You”; “The Night Before”; “She’s a Wo- man”; “Another Girl”; Conclusion. – 3. Roll up Fuchs, Maria: Kunst oder Nichtkunst. Zur Kri- for the Magical Mystery Tour; Producing and tik der Musik für den Stummfilm im Deutsch- promoting Magical Mystery Tour; Perception, land der 1920er Jahre. In: Fritz Trümpi & Si- performance, liberation-psychedelia’s influ- mon Obert (Hrsg.): Musikkritik: Historische ence on the Beatles; The Beatles’ psychedelic Zugänge und systematische Perspektiven. promotional films; “Rain” and “Paperback Wien: Mille Tre 2015, S. 111–113 (Anklänge Writer”; “Strawberry Fields Forever”; Magical 2015. Wiener Jahrbuch für Musikwis- Mystery Tour as a psychedelic trip; “Magical senschaft.). Mystery Tour”; “The Fool on the Hill” and “Flying”; “I am the Walrus”; “Blue Jay Way” and “Death Cab for Cutie”; “Your Mother Fuchs, Maria: Stummfilmmusik: Theorie und Should Know” Conclusion. – 4. From seaside Praxis im „Allgemeinen Handbuch der Film- mystery trips to Pepperland: Aboard the Yel- Musik“ (1927). Marburg: Schüren 2017, 288 S. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 60

(Marburger Schriften zur Medienforschung. contemporary critics, composers and conduc- 68.). tors. The techique of musical illustration was criticised from various aesthetic and ideologi- Zuerst als Diss., Universität Wien 2015. cal viewpoints. However, the value of music Die Verfasserin referiert zunächst den Stand illustration was discussed widely by many in- der Forschung zur Filmmusikgeschichte. Die cluding representative modern composers Herausgeber des Handbuchs, Giuseppe Becce, such as Paul Hindemith and Kurt Weill. They Hans Erdmann und Ludwig Brav, werden evaluated original film scores as well as “me- vorgestellt. Ein eigenes Kapitel ist dem chanical music“, an aspect, which is to be un- „Entstehungskontext der musikalischen derstood against the background of the so Hermeneutik“ gewidmet; große Bedeutung called ‘Neue Sachlichkeit’ movement, during hat hier der Musikwissenschaftler Hermann the Weimar Republic. By using a wide and Kretzschmar. Sehr differenziert werden dann variegated set of publications from the film zeitgenössische Schriften zur Stummfilm- trade press, contemporary music press and musik in Deutschland dargestellt. Der Blick daily papers of the 1920s, this article exam- richtet sich schließlich auf das „Allgemeine ines the artistic and aesthetic value of the pre- Handbuch der Film-Musik“, auf dessen Reper- vailing practices of musical illustration from a toireauswahl des „Thematischen Skalenregis- new perspective and demonstrates the ideo- ters“ und seine Gliederung. Ein spezielles logical resentment shown in the journalism Kapitel ist schließlich dem Komponisten Ernö against this practice. (Vorlage) Rapée vorbehalten, der von Hans Erdmann unangemessen scharf kritisiert wurde, was man aus heutiger Sicht als Antiamerikanis- Fuchs, Maria: Hermann Kretzschmar’s for- mus bezeichnen kann. gotten heirs: ‘Silent’ Film Music as Applied Rev. (Martins, Eunice) in: Filmblatt 22,64–65, Musical Hermeneutics. In: Music and the Mov- 2018, S. 151–153. ing Image 12,3, 2019, S. 3–24. TheAllgemeines Handbuch der Film-Musik Fuchs, Maria: Silent Film Music in the Weimar was published by Hans Erdmann, Ludwig Brav, and Giuseppe Becce in 1927 by the Republic: Reception by the Contemporary Berlin-based publisher Schlesinger. It repre- Criticism and Modernist Composers. In: Jordi sents the most comprehensive and undoubt- Ballester & Hérman Gan Quesada (eds.): Mu- edly most significant document pertaining to sic Criticism 1900–1950. Turnhout: Prepols the practice of “silent“-film accompaniment Publishers 2018, S. 399–421 (Music, Criticism, during the 1920s in Germany. The four hun- & Politics.). dred-page work is divided into two volumes: This chapter discusses the criticism of silent The first one delivers an elaborate aesthetic film music in Germany’s trade press through- and theoretical debate about the prevalent out the 1920s. Not only the new film media it- and ideal methods of film accompaniment, self but also the sounds accompanying silent and the second volume contains a cinema films quickly gained a bad reputation in Ger- music catalog, the so-called Thematisches many. Using musical illustrations, especially Skalenregister (Thematic Music Index), with musical compilations, was one of the most over three thousand musical incipits. While common methods for producing silent-film the Handbuch was firmly grounded in the accompaniments during those years. So-called musical practice of cinema musicians, the two “Kinomusikbibliotheken” (cinema music li- parts were not solely intended as a manual to braries) consisted of pre-existing composi- facilitate the fast-paced working routine of tions, mostly from traditional European art practitioners, like the numerous cinema mu- music, and especially that from the late nine- sic catalogs that were published in Germany teenth century together with newly comin the wake of Becce’s Kinotheken (1919– posed musical pieces to suit specific moods 1929). In these catalogs, music pieces of vari- and recurring scenes. Composing original ous origins were organized according to cer- music for a specific film was not economical tain parameters in order to satisfy the musi- nor easy but it was considered as superior by co-dramatic demands of day-to-day “silent“- film accompaniment. The pieces were inter- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 61

preted for their extramusical associations and Fujiwara, Masao: Akutagawa Yasushi no eiga labeled under specific semantic categories in ongaku gohō no hensen: Tēma ongaku no order to be used for specific and recurrent kyōchō to motīfu no ryūyō ni chakumoku shi- types of film scenes. This labeling of music te [藤原征生: 芥川也寸志の映画音楽語法の変 was based on the tradition of “musical 遷: テーマ音楽の強調とモティーフの流用に着 hermeneutics,” and it inspired the conception 目して]. In: Ningen kankyō-gaku [人間・環境 of the Handbuch’s second volume, the The- 学] 26, 2017, S. 91–106. matic Music Index, which is a complex and multilayered classification system for cinema “The Transition of Musical Expression in Ya- music. Thus, in addition to providing a precise sushi Akutagawa’s Film Music: Paying Atten- method for film accompaniment, the Hand- tion to Emphasis on Theme Music and Con- buch contains a theory and an aesthetics that version of Motifs. applies the music-hermeneutical ideas of Ger- In japan. Schrift. – Abstract: This essay devel- man musicologist Hermann Kretzschmar to ops a basis for exploring the musical strategy the practice of film accompaniment. Kret- of Yasushi Akutagawa’s film music. The au- zschmar (1848–1924) located the core problem thor divides Akutagawa’s career of film music of musical hermeneutics?a discipline of music into two periods: one (period I) is from 1951 analysis that essentially studies musical to 1970, the other (period II) is from 1974 to meaning and interpretation?in the nomencla- 1982. In an interview held in 1978, he referred ture of musical expression, which formed the to the change of his ideal in composing film basis of the musical accompaniment method music: in the earlier era, he prioritized the in “silent” cinema. This essay focuses on the synchronicity between music and picture, influence of Kretzschmar’s theory of musical while he gradually came to deemphasize the hermeneutics on the indexing system of the idea and put stress on what he called “theme Handbuch as well as on the author’s inten- music.” To verify his statement, this essay ex- tions to ground their work in academic the- amines three of his film scores chronologi- ory. (Vorlage) cally: A Cat, a Man and Two Women ( 猫と庄造 , 1956), Hana Noren (花のれん, と二人のをんな 1959) and Portrait of Hell (地獄変, 1969). Fur- Fujak, Július: Influence of Musical Semiotics thermore, this essay links this analysis to and Aesthetics on Music-Intermedia Arts (Ex- “conversion of motifs,” a characteristic that amples from Personal Practice). In: p-e-r-f-o-r- previous researches such as Kuniharu Akiya- m-a-n-c-e 1,1, Oct. 2014, [URL]. ma and Hisao Nishikawa have singled out as Akutagawa’s signature. The paper deals with the phenomena of music semiosis from the perspective of Slovak theo- reticians Peter Faltin; his original semiotic Fujiwara, Masao: Sengonihon eiga sangyō to theories in the 1970s, including his last work ongakuka: Akutagawa Yasushi to ‘3-ri no kai’ Signification of Aesthetic Signs – Music and no katsudō o rei ni [藤原征生: 戦後日本映画産 Language (to be specific, its second part 業と音楽家: 芥川也寸志と「3 人の会」の活動 ), and post-structuralist aes- Meaning in Music を例に]. In: Ningen kankyō-gaku [ thetician Jozef Cseres at the break of 1990s/ 学] 27, 2018, S. 77–88. 人間・環境 2000s. Following this, the author devotes his attention to the aesthetic interpretation of his “Musicians in Post-War Japanese Film Indus- various contemporary, experimental music- try: The Work of Yasushi Akutagawa and the intermedia projects from the beginning of Three-Composer Group.” 21st century – created in cooperation with In japan. Schrift. – Abstract: Recent film stud- artists from musical ensembles thEoRy Of ies tend to focus on cinema as an industry. In Shake (SK/CZ), The California EAR Unit the field of Japanese film studies, some schol- (USA), and fine artist Ludivine Allegue (F), ars such as Masao Inoue and Takafusa Hatori among others –, and influenced by his experi- have published important researches which ence with the semiotic theoretical compre- discuss studio system including Five-/Six- hension of music. Company Agreement, the agreement which restricted actors and staffs’ free movement Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 62

between companies and formed the basis of lization of motifs and the similarity of the- the studio system in post-war Japanese cin- matic. Prima Sinfonia was premiered at the ema. However, a field that these previous first concert by Sannin no Kai (「3 人の会」). studies hardly explored surely exists ; that is, Sannin no Kai, a collective formed by three the relationship between film industry and composers, Akutagawa, Ikuma Dan, and To- musicians. This essay aims to elucidate how shiro Mayuzumi in 1953, left big marks on musicians were engaged in the film industry post war Japanese music culture. What’s in- in post-war Japan. To this goal, the author teresting is that both Prima Sinfonia and the firstly outlines the connection between musi- music of Gate of Hell, composed around al- cians and the film industry at that time ac- most same time, use the same motif. Thus this cording to Seitaro Omori’s Western Music in essay reevaluates Gate of Hell from a view- Japan, Volume Two and evaluates musicians, point of the connection with the history of especially composers, as “super-studio sys- music in post war Japan which has been tematic” existence. After that, the author ex- scarcely mentioned by former studies. amines the work of Yasushi Akutagawa and Three-Composer Group, the group which Akutagawa formed with Ikuma Dan and Toshiro Mayuzumi in 1953. Specifically, the author points out that the group had a function as cooperative association for film music – G – which allows the members to behave free from The Agreement. Furthermore, Akuta- Gabbard, Krin: Signifyin(g) the phallus: Mo’ gawa repeatedly used the motif called “Theme and representations of the jazz from Ako Roshi” as a result of his “super-stu- Better Blues dio systematic” behavior. The author con- trumpet. In: Cinema Journal 32,1, 1992, S. 43– cludes that Akutagawa’s works were quite 62. unique in the history of film music in Japan. Gabbiani, Claudio: Trame sonore: Musica, voce, rumori e silenzio nel cinema. Ogliastro Fujiwara, Masao: Akutagawa Yasushi no on- Cilento (SA): Licosia 2018, 254 S. gaku kara miru “Jigoku-mon” no eiga/ongaku-shi-teki igi [藤原征生: 芥川也寸志の音楽 Inhalt: Introduzione – Perché amiamo la mu- からみる『地獄門』の映画/音楽史的意義]. In: sica? – La musica è fatta di melodie e armonia Ningen kankyō-gaku [人間・環境学] 28, 2019, – Tutti cantiamo la melodia, ma il ritmo e il- S. 81–92. timbro? – Musica e linguaggio – il potere e motivo della musica – Non c’è cinema senza “The Significance of Gate of Hell on Film/Mu- suono – La musica e le immagini: la sinestesia sic History inferred from its Music by Yasushi – Voci, rumori e silenzio – I diversi gradi di Akutagawa.” intervento della componente sonora nel film In japan. Schrift. – Abstract: As a landmark in – Le funzioni della musica – Nuove idee, Japanese cinema’s overseas advance or as one nuova musica – Le produzioni marvel e la of the earliest successful color motion pic- temp music – Conclusioni. tures in Japan, Gate of Hell (dir. Teinosuke Kinugasa, 1953) has received a certain appreciation in the film history. However, its music Gadzinski, Anna: Appropriated music – an al- composed by Yasushi Akutagawa has been tered system of relationships between music overlooked. This essay firstly points out the and image. In: New Sound: International Mag- characteristics of the music of Gate of Hell in azine for Music (Belgrade: Union) 36,2, 2010, S. both ‘synchronic’ features, that is, influences 91–100. from other film music of the times, and ‘di- It is noticeable that the relationship between achronic’ features which can be found in his music and image has been considerably al- later film music. Then I show how the music tered since a few decades ago. But what is the of Gate of Hell is strongly connected to his nature of it? If we persistently stick to analyz- Prima Sinfonia (1954/55) in terms of the reuti- ing the scores, we are prone to miss it, and if Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 63

we assign the innovations in film music to Kommunikationsstorungen. – 2. Eislers Buch: technological developments alone, the final Adornos Buch. – 3. Darlegungen: Thesen – assumption will not be the one of a musical Der Film als „das charakteristischste Medium nature, or a musicological one, respectively. gegenwartiger Massenkultur“ – Kulturindus- This article is looking into alternative ap- trielle Filmmusik – Unarten und schlechte proaches that have emerged within the fields Gewohnheiten von Hollywoods Filmmusik- of sound theory and the aesthetics of popular Praxis – Aspekte einer Filmmusik-Asthetik – music in the last decades. Aside from this, the Eigenschaften sachgerechter Filmmusik – II. modern art concepts require the implementa- Hangmen Also Die – Eislers erster Hollywood- tion of the specialized vocabulary. The aim is film. – 1. Geschichtlicher Hintergrund: das to gain a closer look at characteristics of both Attentat auf Heydrich. – 2. Brechts Mitarbeit. “sides” and suggest a new place for film mu- – 3. Eislers Mitarbeit – Finanzieller Engpass – sic, preferably beyond the common commerce Arbeitssuche in Hollywood – Endlich Arbeit versus art frontier. (Vorlage) in Hollywood: die Filmmusik zu Hangmen Also Die – Bedingungen bei Eislers erster Hol- lywood-Arbeit – An der kalifornischen Kuste Gadzinski, Anna Christina: James Newton gestrandet. – 4. Analyse – Ubersicht – Howards Soundtrack zu „Michael Clayton“ Praexistente Musik – Song of the Hostages – (2007): Filmmusik auf der Höhe ihrer Zeit. Main Title; Foreword and Landscapes and Diss., Universität Wien, Institut für Musik- Hradčin: Hitler Picture – Heydrich Hospital; wissenchaft 2017, 361 S. Street: till bell rings in rooming house – Ten- sion music during dinner (doorbell rings); De- dič Scene – Bell Sequence – Restaurant music Gaines, Jason M.: Composing for Moving Pictu- No.II – Mass Grave; Finale – Andante – Die res: The Essential Guide. Oxford/New York: Filmmusik der DDR-Fernsehfassung Henker Oxford University Press 2015 sterben auch. – III. Komposition für den Holly- Inhalt: Part I. A brief history of film – The dig- woodfilm. –Anhang I: Materialien zum Film- ital audio workstation – Recording and edit- musikbuch von Adorno und Eisler. – Anhang ing audio – Recording and editing MIDI – To II: Filmpartitur zu Hangmen Also Die. loop or not to loop: an exploration of loops, beds and foley – Working with videos – Mu- sic creation on mobile devices and an intro- Garcia, Desirée J.: Sounds: Ethnic Spectator- duction to basic mixing – Delivery, collabora- ship and Boston’s Nickelodeon Theatres, tion and archiving – Best practices and trou- 1907–1914. In: Film History: An International bleshooting. – Part II. Terence Blanchard – Journal 19,3, 2007, S. 213–227. Marc Shaiman – Steve Horowitz – Nathan Barr – Trevor Morris. Garcia, Desirée J.: The Migration of Musical Film: From Ethnic Margins to American Main- Gall, Johannes C.: Hanns Eisler goes Holly- stream. New Brunswick, NJ/London: Rutgers University Press 2014, x, 260 S. wood: Das Buch „Komposition für den Film“ und die Filmmusik zu „Hangmen Also Die“. Abstract: [E]xamines one of the unsung influ- Wiesbaden: Breitkopf & Härtel 2015, 325 S. ences on the Hollywood musical–the lower (Eisler-Studien. 5.). budget folk musicals produced by Mexican, Yiddish, and African-American filmmakers. Zugl.: Diss., Hamburg: Universität Hamburg, Far from mere escapist entertainments, these FB Kulturgeschichte – Kulturkunde, 2011. films expressed both the struggles and dreams Inhalt: Vorwort – Einleitung – I. Komposition of immigrants and minorities in America. fur den Film: – 1. Textgeschichte – Anlass, Offering a revised history of the American Pramissen – Eisler und Adorno als Koautoren musical, The Migration of Musical Film pro- – Arbeit am Text und Drucklegung der eng- vides a window into the ways in which Amer- lischsprachigen Erstausgabe – Publikation ei- icans and immigrants have negotiated the ner deutschen Fassung im Henschel-Verlag – boundaries of belonging in our society.. “Erstdruck der Originalfassung” – Rezeption, Inhalt: Introduction – 1. The Shtetls, Shund, Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 64

and Shows of Musicals – 2. The Musicals of Immer das Gleiche, aber nicht in gleicher Black Folk – 3. “Not a Musical in Any Sense Weise. Musik und Narration im Westernfilm of the Word” – 4. “Our Home Town” – 5. (205–230). – Julia Heimerdinger, “I sing the “Tahiti, Rome, and Mason City, Iowa” – 6. body electric“. Elektroakustik im Film (231– “Ease on Down the Road” – 7. Home Is Where 248). the Audience Is – Conclusion – Notes – Bibli- ography – Index. Giacovelli, Enrico: Mozart e il cinema: I film su Mozart, i film da Mozart, i film con musiche di Garner, Ken: ‘Would You Like to Hear Some Mozart. Roma: Gremese 2017, 222 S. (La Music?’ Music In-and-Out-of-Control in the cineteca degli immortali.). Films of Quentin Tarantino. In: Film Music: 1. Vita cinematografica di Mozart / 9. – 2. Il Critical Approaches. Ed. by K. J. Donnelly. teatro di Mozart a l cinema / 43. – 3. La mu- New York: The Continuum 2001, S. 188–205. sica di Mozart nel cinema / 89.

Gengaro, Christine Lee: Listening to Stanley Kubrick: The Music in His Films. Lanham, Md: Giampietro, Manfred: Ruoli e funzioni della Scarecrow Press 2013, x, 305 S. musica nel cinema: quasi un dialogo. Ghezzano San Giuliano Terme [Roma]: Felici Editore Rev. (Thompson, Brian C.) in: Journal of the 2013, 312 S. Society for American Music 10,1, 2016, S. 85– 89. La musica per film e, in senso più lato, l’inter- azione audiovisiva rappresentano, allo stato attuale della nostra contemporaneità, un fat- Gervink, Manuel / Rabenalt, Robert (Hrsg.): tore mediatico di importanza cruciale nella Filmmusik und Narration: Über Musik im ricezione quotidiana delle informazioni es- filmischen Erzählen. Marburg: Tectum 2017, tetiche. Nella prima parte del libro si esami- 253 S. (Dresdner Schriften zur Musik. 6.). nano quali sono, a livello inferenziale e com- binatorio, i livelli comunicativi di un dato mu- Inhalt: Manuel Gervink, Zur Einführung (9– sicale rispetto ad un’opera filmica. Nella sec- 15). – Panja Mücke, Narrativität und Stumm- onda parte, ampio spazio è dedicato all’analisi film. Die Originalkompositionen Giuseppe di un singolo film (Espiazione, oscar come Becces zu Tartüff (1925) (17–33). – Robert miglior colonna sonora a Dario Marianelli) Rabenalt, Zwischen Text, Klang und Drama. per verificare in corpore vili come la musica Über den Zusammenhang von Narration und agisca su, dentro, per mezzo o a dispetto ap- Musik im Film (35–61). – Willem Strank, parente delle immagini. Überlegungen zur Intertextualität von Film- musik (63–81). – Josef Kloppenburg, Filmsyn- tax und Filmmusik (83–97). – Guido Heidt, Gil-Curiel, Germán (ed.): Film Music in ‘Mi- Stimmen hören. Film, Musik und die Sprache nor’ National Cinemas. New York: Bloomsbury der Erzähltheorie (99–126). – Markus Bandur, Academic 2016, xii, 249 S. (Topics and Issues Zeit, Fiktion und das Unsichtbare. Grundüber- in National Cinema.4.). legungen zur Bedeutung der Musik für das filmische Erzählen (127–137). – Wolfgang Inhalt: 1. Introduction: Modalities of Music in Thiel, Narrative Filmmusik als dramaturgis- ‘Minor Cinema’ / Jonathan P. J. Stock; – 2. che Metafunktion. Möglichkeiten und Gren- Aural Dialectics and Revolutionary Media in zen „sprechender“ Orchesterklänge in Berlin- Cuba / Nicholas Balaisis; – 3. Sobre las Olas, Spielfilmen zwischen 1945 und 1975 (139– Waltz and Films: Classical Music and Mexican 155). – Federico Celestini, Narration aus Sicht Identity / Armida de la Garza; – 4. Black Or- der Musik- und Literaturwissenschaft – pheus / Hans Hess; – 5. Chinese Identity: Po- Michail M. Bachtin und Gustav Mahler (157– etics of Cinema and Music in Hero / Germán 177), – Hans J. Wulff, Suprasegmentale Funk- Gil-Curiel; – 6. ‘The Continental Melody’ – tionen der Filmmusik: Summaries und Reka- Soldiers and Japan’s Imperial Screen / pitulationen (179–203). – Claudia Bullerjahn, Chikako Nagayama; – 7. Collective Nostalgia and Anxiety in Korean Film Music: Im Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 65

Kwont’aek’s Use of P’ansori in Sop’yonje / Giuffre, Liz: The lost history of jazz on early Jooyeon Rhe; – 8. Music and the ‘Minor’: Mu- Australian popular music television. In: Jazz sical Expression as Oral Testimony in the Research Journal 8,1–2, 2014, S. 126–143. Films of Bahman Ghobadi / Rowena Santos Aquino; – 9. Subtle Idiosyncracy: Sound and Music in the Australian Animated Short Film Giuffre, Liz / Hayward, Philip (eds.): Music in The Lost Thing (2010) / Rebecca Coyle, Jon Comedy Television: Notes on Laughs. New Fitzgerald and / Philip Hayward; – 10. Minor York: Routledge 2017, viii, 204 S. (Routledge Cinema and Major Music in New Zealand: Music and Screen Media Series.). No. 2 and Don McGlashan / Henry Johnson; – Inhalt: Introduction: music in comedy televi- 11. Between the Text and the Sub-text: a sion / Liz Giuffre – Sesame Street as a musical Reading of Selected Benin Musical Video- comedy-variety show / Kathryn A. Ostrofsky Films from Nigeria / Osakue S. Omoera and – And now for something completely differ- Charles O. Aluede; – 12. Music and African ent (sounding): Monty Python’s musical cir- Identity in the Films of Flora Gomes / Carolin cus / Liz Giuffre and Demetrius Romeo – That Overhoff Ferreira. junky funky folk vibe: Quincy Jones’s title theme for Sanford and Son / Amedeo D’Adamo – Once in a Lifetime: music, parody Gimello-Mesplomb, Frédéric: Analyser la and comical incongruity in The Young Ones / musique de film. Paris: Books on Demand Phillip Hayward and Matt Hill – The mocku- 2010, 188 S. mentary sitcom: the discomfort of fake real- L’objet de cet ouvrage est d’offrir aux en- ism / Carlo Nardi – “Must hear TV”: Scrubs seignants quelques outils afin d’aborder la and the pop soundtrack / Alexander Koch – musique de film de manière simple et intu- Music in comedy television from the com- itive dans un cadre pédagogique, que ce soit poser’s perspective: getting “the answers dans l’enseignement traditionnel ou en con- you’re not looking for” in an interview with servatoire. Évitant de préconiser des «pistes David Schwartz / Liz Giuffre – “I told you I pédagogiques», issues du savoir de quelques was freaky”: gender, genre and parody in the initiés, nous avons préféré rassembler sous la songs of Flight of the Conchords / Kirsten forme d’un ouvrage collectif les retours d’ex- Zemke – The Lonely island’s “SNL digital périences d’un certain nombre éducateurs et short” as music video parody: building on Sat- de professionnels de la musique ayant eu à urday night live’s legacy / Penny Spirou – mener, à des niveaux d’enseignement divers Sketching out Portlandia’s musical layers / (du primaire à l’université), des analyses de Emma Driver and Sarah Attfield – Inverting musiques de film auprès de leurs élèves ou expectations: Mozart in the jungle and humor étudiants. with classical musicians / Stan Beeler – Pure and simple: music as a personal and comedic resource in Car Share / Brett Mills and Mark Gimpel, Othmar: Schostakowitschs Filmmusik Rimmer. zu ›Der Fall von Berlin‹. In: Archiv für Musik- wissenschaft65 (2008) 2, S. 61–83. Glynn, Stephen: The British Pop Music Film: Über die Musik von Dmitri Shostakovich The Beatles and Beyond. Basingstoke/New (1906–1975) für den Film Padenije Berlina von York: Palgrave Macmillan, 2013, viii, 258 S. Mikhail Chiaureli (1894–1974) 1950. Inhalt: Introduction: Genre, Academia and the British Pop Music Film; – 1. Generic focus; Giuffre, Liz: Making “A mall movie about a Genre terminology and empirical parameters; man with a 13–inch penis”: popular music Genre and the problems of definition; Genre representations of pornographic intention. In: and life-cycles; Genre and academia; – 2. The Earogenous Zones: Sound, Sexuality and Cin- Primitive Pop Music Film: Coffee Bars, Cosh ema. Ed. by Bruce Johnson. London/Oakville, Boys and Cliff; Introduction: evasions and im- CT: Equinox 2010, S. 158–173. itations; Coffee bar pop idols; Coffee bar cosh boys; Cliff Richard; – 3. The Mature Pop Mu- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 66

sic Film: Bombs, Beatlemania and Boorman; riencing that music through film, as signifi- Introduction: rockets and rehearsals; The pop cant processes within present-day culture, music film as political allegory: It’s Trad, Dad! while more generally providing an illuminat- (1962); The canonical pop music film: A Hard ing case study of the kinds of borrowings, Day’s Night (1964); The colonial pop music adaptations, and reinventions that character- film: Help! (1965); The Chekhovian pop music ize much of today’s art and entertainment. film:Catch Us If You Can (1965); Coda; – 4. Inhalt: 1. Production contexts and considera- The Decadent Pop Music Film: Politics, tions. – 2. Intention and interpretation. – 3. Psychedelia and Performance; Introduction: Functions of musical reference. – 4. Post-ex- Blow Up and the backlash; The pop music isting music film as personal polemic: Privilege (1967); The pop music film as underground parable: Yel- low Submarine (1968); The pop music film as Goldmark, Daniel: Before Willie: Reconsider- political diptych: One Plus One/Sympathy for ing Music and the Animated Cartoon of the the Devil (1968); The pop music film as finale: 1920s. In: Goldmark, Daniel; Lawrence Kra- Performance (1970); Coda; – 5. Afterlife: The mer; Richard Leppert (eds.): Beyond the Sound- Historical Pop Music Film; The grit and the track: Representing Music in Cinema. Berkeley: glam; The punk and the Pink; The postmod- University of California Press 2007, S. 225– ern and Plan B; – 6. Conclusion: Music Mat- 245. ters; An affective genre. Rev. (Tim McNelis) in: Music, Sound, and the Moving Image 9,2, 2015 (Special Issue: “Musi- Goldmark, Daniel: Drawing a New Narrative cal Screens: Musical Inventions, Digital Tran- from Cartoon Music. In: Neumeyer, Daniel sitions, Cultural Critique”. Guest ed.: James (ed.): The Oxford Handbook of Film Music Stud- Tobias), S. 225–230. ies. New York/London: Oxford University Press 2014, S. 229–244. Godsall, Jonathan: Reeled in...: Pre-existing Music in Narrative Film. London/New York: Goldmark, Daniel: Adapting The Jazz Singer: Routledge 2019, xii, 189 S. (Ashgate Screen From Short Story to Screen: A Musical Profile. Music.). In: Journal of the American Musicological Soci- ety 70,3, 2017, S. 767–817. How and why is pre-existing music used in films? What effects can its use have on films The Jazz Singer grew from a moment of inspi- and their audiences? And what lasting impact ration when author Samson Raphaelson saw can appropriation have on the music? Reeled Al Jolson perform in 1917. Raphaelson’s idea In is a comprehensive exploration of these of a rising singer, Jack Robin, torn between questions, considering the cinematic quota- sacred and secular, became in turn a short tion of Beethoven symphonies, Beatles songs, story, a play, a feature film, a novelization, and Herrmann scores alike in films ranging and a radio play. With each new adaptation, from the early sound era to the present day, the music evolved; the thread that binds to- and in every role from ‘main title theme’ to gether all of these stories is the jazz singer’s ‘music playing in bar’. Incorporating a discus- stock in trade – his songs. For Jolson and The sion of such factors as copyright and com- Jazz Singer, these songs serve several func- merce alongside examination of texts and tions: besides providing a unique snapshot of their effects, this broad study is a significant popular vaudeville melodies in the 1920s and contribution to the scholarship on music in beyond, the songs used in the various tellings screen media, demonstrating that pre-existing of The Jazz Singer have a specific connection music possesses unique attributes that can to Jolson, providing numerous opportunities affect both how filmmakers construct their to retell his (largely fictionalized) origin story works and how audiences receive them, to an with the very songs he had used to make it on extent regardless of the music’s style, genre, Broadway in the first place. We might then and so on. This book also situates the recep- consider The Jazz Singer a proto-jukebox mu- tion of music by film, and by audiences expe- sical, in which preexisting songs with a com- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 67

mon thread or history become the basis for a pression (Donald Crafton / 69). – “We’re new story. Making extensive use of archival Happy When We’re Sad”: Comedy, Gags, and documentation and addressing previously un- 1930s Cartoon Narration (Richard Neupert / examined adaptations of the story, this article 93). – Laughter by Numbers: The Science of shows how each version of The Jazz Singer Comedy at the Walt Disney Studio (Susan came to be a musical summary of Jolson’s life Ohmer / 109). – “Who Dat Say Who Dat?: as a performer. Racial Masquerade, Humor, and the Rise of American Animation (Nicholas Sammond / 129). – “I Like to Sock Myself in the Face”: Re- Goldmark, Daniel / Graff, Peter (eds.): The considering “Vulgar Modernism” (Henry Grove Music Guide to American Film Music. Jenkins / 153). – Auralis Sexualis: How Car- New York/Oxford: Oxford University Press toons Conduct Paraphilia (Philip Brophy / 2019, xxxii, 444 S. (Grove Music Guides.). 175). – The Art of Diddling: Slapstick, Science, and Antimodernism in the Films of Charley Inhaltsüberblick: Concepts / 1: – Film music / Bowers (Rob King / 191). – Tex Avery’s Prison 3 – Musicalfilm / 25 – Music in video games / House of Animation, or Humor and Boredom 32 – Production music / 39 – Television music in Studio Cartoons (Scott Curtis / 211). – Tish- / 41 – Television musical / 57 – Video [music Tash in Cartoonland (Ethan de Seife / 228). – video] / 61. – Biographies / 69. Sounds Funny/Funny Sounds: Theorizing Cartoon Music (Daniel Goldmark / 257). – Goldmark, Daniel / Keil, Charles (eds.): Funny The Revival of the Studio-Era Cartoon in the Pictures: Animation and Comedy in Studio-Era 1990s (Linda Simensky / 272). Hollywood. Berkeley: University of California Press 2011, viii, 331 S. Goldmark, Daniel / McKnight, Utz: Locating This collection of essays explores the link be- America: Revisiting Disney’s Lady and the tween comedy and animation in studio-era Tramp. In: Journal for the Study of Race, Na- cartoons, from filmdom’s earliest days tion and Culture 14,1, 2008, S. 101–120. through the twentieth century. Written by a By studying the diegesis and music of the film who’s who of animation authorities, Funny Lady and the Tramp, the authors describe a Pictures offers a stimulating range of views specific form of American social membership on why animation became associated with that continues to define social politics today. comedy so early and so indelibly, and illus- In the film, dogs, cats and rats represent hu- trates how animation and humor came to- man archetypes, their needs, desires and ac- gether at a pivotal stage in the development tivities, and provide a narrative that secures of the motion picture industry. To examine an American ideal about the place of race and some of the central assumptions about com- nation. The argument is put forth that this edy and cartoons and to explore the key fac- representation defines a politics of whiteness tors that promoted their fusion, the book ana- that not only uses the threat of formal exclu- lyzes many of the key filmic texts from the sion and elimination from society to define studio years that exemplify animated comedy. ethnicity and race, but also seeks to eliminate Funny Pictures also looks ahead to show how the likelihood of a successful radicalization of this vital American entertainment tradition the border. This is a nation where even the still thrives today in works ranging from The idea of difference is defeated and domestica- Simpsons to the output of Pixar. tion is total. Against this narrative, the au- Inhalt: Introduction: What Makes These Pic- thors contend that the absence of an adequate tures So Funny? (Charlie Keil and Daniel description in the film of the class politics and Goldmark / 1). – The Chaplin Effect: Ghosts in racial practices that support this vision raises the Machine and Animated Gags (Paul Wells / serious questions as to the social coherence of 15). – Polyphony and Heterogeneity in Early Disney’s America. Fleischer Films: Comic Strips, Vaudeville, and the New York Style (Mark Langer / 29). – The Heir Apparent (J.B. Kaufman / 51). – Infec- Gopal, Sangita / Moorti, Sujata (eds.): Global tious Laughter: Cartoons’ Cure for the De- Bollywood: Travels of Hindi Song and Dance. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 68

Minneapolis, Minn.: University of Minnesota author on a tangent addresses movies of S. Press 2008, 340 S. Kubrick (Clockwork Orange), A. Tarkovsky (Nostalgia) and other directors, proposing the Inhalt: Tapping the mass market: the commer- version of the response to the question raised cial life of Hindi film songs / Anna Morcom – by the director. The sounds of modernity: the evolution of Bollywood film song / Biswarup Sen – From Bombay to Bollywood: tracking cinematic Gordon, Robert / Jubin, Olaf (ed.): The Oxford and musical tours / Nilanjana Bhattacharjya handbook of the British musical. New York: & Monika Mehta – Bollywood and beyond: Oxford University Press 2018, xviii, 754 S. the transnational economy of film production in Ramoji film city, Hyderbad / Shanti Kumar Inhalt: Ballad opera: commercial song in en- – The music of intolerable love: political con- lightenment garb / Berta Joncus – Between jugality in Mani Ratnam’s Dil se / Anustup opera and musical: theatre music in early Basu – Intimate neighbors: Bollywood, dang- nineteenth-century London / Christine Fuhr- dut music, and globalizing modernities in In- mann – Comic opera: English society in Gil- donesia / Bettina David – The ubiquitous non- bert and Sullivan / Carolyn Wiliams – English presence of India: peripheral visions from musical comedy, 1890–1924 / Stephen Ban- Egyptian popular culture / Walter Armbrust – field – English West End revue: the First Appropriating the uncodable: Hindi song and World War and after / David Linton – Musical dance sequences in Israeli state promotional comedy in the 1920s and 1930s: Mister Cin- commercials / Ronie Parciack – Dancing to an ders and Me and my girl as class-conscious Indian beat: “Dola” goes my diasporic heart / carnival / George Burrows – West End royal- Sangita Shresthova – Food and cassettes: en- ty: Ivor Novello and English operetta, 1917– counters with Indian filmsong / Edward K. 1951 / Stewart Nicholls – The American inva- Chan – Queer as desis: secret politics of gen- sion: the impact of Oklahoma! and Annie get der and sexuality in Bollywood films in dias- your gun / Dominic Symonds – ‘Ordinary poric urban ethnoscapes / Rajinder Dudrah – people’ and British musicals of the post-war Bollywood gets funky: American hip-hop, decade / John Snelson – After Anger: the basement bhangra, and the racial politics of British musical of the late 1950s / Elizabeth A. music / Richard Zumkhawala-Cook. Wells – ‘I’m common and I like ’em’: represe- nations of class in the period musical after Oliver! / Ben Francis – Towards a British con- Gorbatova, O[lesja] V[asil’evna]: Betchoven v cept musical: the shows of Anthony Newley prostranstve kinoteksta: «Lekcija 21» A. Ba- and Leslie Bricusse / David Cottis – The pop- rikko [Горбатова, О[леся] В[асильевна]: music industry and the British musical / Ian Бетховен в пространстве кинотекста: «Лек- Sapiro – ‘Everybody’s free to fail’: subsidized ция 21» А. Барикко]. In: Ežekvartal’nyj re- British revivals of the American canon / Sarah cenziruemyj, referiruemyj naučnyj žurnal Browne – Les misâerables: from epic novel to «Vestnik AGU», Vypusk 1 (174), 2016, S. 178– epic musical / Kathryn M. Grossman and 183; [URL]. Bradley Stephens – ‘Humming the sets’: sce- nography and the spectacular musical from “Beethoven in Film Text Space: Lecture 21 of Cats to The Lord of the Rings / Christine A. Baricco.” White – Billy Elliot and its lineage: the poli- In kyrill. Schrift. – Abstract: The paper focuses tics of class and sexual identity in British mu- on the feature film of Alessandro Baricco Lec- sicals since 1953 / Robert Gordon – Noèel ture 21 [Lezione 21, Italien/Großbritannien Coward: sui generis / Dominic McHugh – 2008]. Addressing the Symphony No. 9 of L. Joan Littlewood: collaboration and vision / van Beethoven, the director tries to give the Ben Macpherson – Lionel Bart: British verna- answer to a question of what the choral sym- cular musical theatre / Millie Taylor – Time phony of the composer is today: unsurpassed Rice: the pop star scenario / Olaf Jubin – Ca- example of classical heritage of the master or meron Mackintosh: control, collaboration, “an exaggerated masterpiece”? Analyzing the and the creative producer / Miranda Lund- film music, in particular the Symphony No. 9 skaer-Nielsen – Andrew Lloyd Webber: of L. van Beethoven used by A. Baricco, the haunted by the Phantom / David Chandler – Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 69

The beggar’s legacy: playing with music and Greene, Liz / Kulezic-Wilson, Danijela (eds.): drama, 1920–2003 / Robert Lawson-Peebles – The Palgrave Handbook of Sound Design and Mamma mia! and the aesthetics of the twen- Music in Screen Media: Integrated Soundtracks. ty-first century jukebox musical / George Ro- London: Palgrave Macmillan 2016, xix, 468 S. dosthenous – Attracting the family market: shows with cross-generational appeal / Re- Inhalt: 1. Introduction, Liz Greene and Dani- becca Warner – Genre counterpoints: chal- jela Kulezic-Wilson. – Part I BOUNDARIES lenges to the mainstream musical / David AND THEIR DISINTEGRATION. – 2. From Roesner – Some yesterdays always remain: Noise: Blurring the Boundaries of the Sound- Black British and Anglo-Asian musical the- track, Liz Greene. – 3. Interview 1: Sound atre / Ben Macpherson. Recording, Sound Design and Collaboration: An interview with Ann Kroeber, Liz Greene. – 4. Organizing Sound: Labour Organizations Gotto, Lisa: ‚Trans / formieren‘. Zum Verhält- and Power Struggles that Helped Define Mu- nis von Bild und Ton in The Jazz Singer (Alan sic and Sound in Hollywood, Gianluca Sergi. Crosland, USA 1927). In: Jazzforschung / Jazz – 5. Mixing as a Hyperorchestration Tool, Research 41, 2009, S. 119–134. Sergi Casanelles. – 6. Emotional Sound Effects and Metal Machine Music: Soundworlds in Silent Hill Games and Films, K. J. Donnelly. – Graff, Peter: Re-evaluating the silent-film mu- Part II PRESENCE, IMMERSION, SPACE. – 7. sic holdings at the Library of Congress. In: Towards 3–D Sound: Spatial Presence and the Notes: Quarterly Journal of the Music Library Space Vacuum, Miguel Mera. – 8. Inner and Association 73,1, 2016, S. 33–76. Outer Worlds in the Film Gravity: A Multidis- ciplinary Approach, Gilbert Gabriel and David Sonnenschein. – 9. Intertwining Sound Gratzer, Wolfgang: Schauplätze der Erregung. and Music in Film, Martine Huvenne. – 10. In- Zykans ›Staatsoperette‹ und die verdrängten terview 2: Reality and Representation: An In- Siebzigerjahre. In: Österreichische Musikzeit- terview with Dario Marianelli, Miguel Mera. schrift (ÖMZ) 57 (2002) 10, S. 16–21. – Part III LISTENING: AFFECT AND BODY. – Über den Film von Franz Novotny (geb. 1949) 11. Sound Effects / Sound Affects: ‘Meaning- 1977 mit der Musik von Otto M. Zykan. ful’ Noise in the Cinema, James Wierzbicki. – 12. Listening to Violence: Point-of-Audition Sound, Aural Interpellation, and the Rupture Green, Jessica: Understanding the score: Film of Hearing, Tony Grajeda. – Acoustic Disgust: music communicating to and influencing the Sound, Affect, and Cinematic Violence, Lisa audience. In: Journal of Aesthetic Education Coulthard. – Part IV TIME AND MEMORY. – 44,4, 2010, S. 81–94. 14. Mad Sound and the Crystal-Image: The Soundtrack of Rivette’s L’Amour Fou, Byron When most people sit down to watch a film, Almén and James Buhler. – 15. The Sonic their focus usually stays on the very dynamic Realm in The Quatermass Experiment: Medium images that move onscreen. The dialogue, as a and Genre and Sound, Robynn Stilwell. – form of diegetic sound, is probably the next Sound, Music and Memory in Jia Zhangke’s piece of the film they concentrate on, but this ‘Hometown Trilogy’, Robynn Stilwell. – 16. only imitates actual experience, since most Sound, Music and Memory in Jia Zhangke’s people understand communication by both ‘Hometown Trilogy’, Philippa Lovatt. – 17. watching and listening. Christian Metz, in his Vinyl Noise and Narrative in CD-era In- influential text Film Language: A Semiotics of diewood, Ian Garwood. – 18. Interview 3: the Cinema, describes film as “Born of the fu- Mixing Punk Rock, Classical, and New sion of several pre-existing forms of expres- Sounds in Film Music: An Interview with sion, which retain some of their own laws Brian Reitzell, Meghan Joyce Tozer. – Part V (image, speech, music, and noise),” to which BREAKING CONVENTIONS. – 19. From Ana- he later adds “written materials” as a fifth logue to Digital: Synthesizers and Discourses component. Of these five channels of infor- of Film Sound in the 1980s, Katherine Spring. mation included in film, music is the most ar- – 20. Unlearning Film School: The ‘lo-fi’ tificial. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 70

Soundtracks of Joe Swanberg, Nessa John- A Night at the Opera demonstrates how, as a ston. – 21. The Janus Project: Cristobal Tapia response to opera’s infatuation with death, de Veer’s Utopia, Anempathetic Empathy and cinema comically acts out a correction of the Radicalization of Convention, Annette opera’s fate. Grover-Friedlander argues that Davison and Nicholas Reyland. – 22. Inter- filmed operas such as Zeffirelli’s Otello and view 4: Building Bridges – Sound Design as Friedrich’s Falstaff show the impossibility of a Collaboration, as Style and as Music in The direct transformation of the operatic into the Bridge: An Interview with Carl Edström, An- cinematic. Paradoxically, cinema at times can nette Davison and Martin Parker. – Part VI be more operatic than opera itself, thus cap- THE SOUND OF MACHINES AND NON-HU- turing something essential that escapes MANS. – 23. The Sound of an Android’s Soul: opera’s self-understanding. Music, MIDI and Muzak in Time Of Eve, Philip Brophy. – The Sounds in the Machine: Hi- rokazu Tanaka’s Cybernetic Soundscape for Gschwendtner, Petra: Song Scoring „Juno“: Die Metroid, William Gibbons. – 25. Redundancy Rolle der Popmusik im Film „Juno“ – von Kim- and Information in Explanatory Voice-Ins and ya Dawson bis Sonic Youth. Diplomarbeit, Voice-Offs, Cormac Deane. – 26. Interview 5: Wien: Universität Wien, Philologisch-Kultur- Under the Skin of Film Sound: An Interview wissenschaftliche Fakultät 2015, 121 S.; [URL]. with Johnnie Burn, John Hough. – Part VII Zu Jason Reitmans Spielfilm (USA 2007). THE MUSICALITY OF SOUNDTRACK. – 27. Juno Electroacoustic Composition and the British Zusammenfassung: Die Verwendung von Pop- Documentary Tradition, Andy Birtwistle. – musik im Kino kann bis in die Stummfilmzeit 28. Renegotiating the Overture: The Use of zurückverfolgt werden. In den 1960er Jahren Sound and Music in the Opening Sequences hielt die Popmusik als Song Score in Filmen of A Single Man (2009) and Shame (2011), wie Easy Rider oder The Graduate Einzug und Adam Melvin. – 29. Interview 6: Orchestra- ist heute nicht mehr als Filmmusik wegzuden- tion, Collaboration, and the Integrated Sound- ken. In dieser Arbeit wird dieses Phänomen track: An Interview with Matt Dunkley, Ian zunächst theoretisch beschrieben, um die ver- Sapiro. – 30. Musically Conceived Sound De- schiedenen Funktionen und Elemente von sign, Musicalization of Speech and the Break- Song Scores anschließend am Filmbeispiel down of Film Soundtrack Hierarchy, Danijela Juno analytisch festzumachen und die Ent- Kulezic-Wilson. wicklungen in einen neuen Diskurs zu stellen. Juno vereint bestehende Popularmusik verschiedener Jahrzehnte mit extra für den Film Greenwald, Ted: The Self-Destructing Mod- komponierten Songs. Die Analyse zeigt, dass ules behind the Revolutionary 1956 Sound- die verschiedenartige Musik in Juno auf den track of Forbidden Planet. In: Keyboard Maga- ersten Blick sehr ähnlich wirkt, bei genauerer zine, Febr. 1986, S. 54–65. Betrachtung jedoch ganz unterschiedliche Funktionen erfüllt. Popsongs können somit, richtig eingesetzt, auch Funktionen anneh- Grover-Friedlander, Michal: Vocal Apparitions: men, die man theoretisch nur extra für den The Attraction of Cinema to Opera. Princeton, Film komponierter Musik zuweist. In der Pra- N.J.: Princeton University Press 2005, xii, 186 xis gibt es bereits eine Weiterentwicklung, S. denn immer öfter komponieren bekannte Pop-Interpreten Musik extra für Filme. One of the guiding questions of this book is what occurs when what is aesthetically essential about one medium is transposed into the Guarracino, Serena: Musical “contact zones” aesthetic field of the other. For example, in Gurinder Chadha’s cinema. In: European Grover-Friedlander’s comparison of an opera Journal of Women’s Studies 16,4, 2009, S. 373– by Poulenc and a Rossellini film, both based 390; [URL]. on Cocteau’s play The Human Voice, shows the relation of the vocal and the visual to be This article explores strategies of cultural rep- surprisingly affected by the choice of the resentation in the production of Gurinder medium. Her analysis of the Marx Brothers’ Chadha, a British director of Sikh origin. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 71

Chadha’s work is located in what Marie retrouve tant dans les métaphores visuelles Louise Pratt defines as ‘contactzones’, negoti- employées par les biographes de Beethoven ating between US, European and Indian audi- que dans Alexandre Nevski et Ivan le terrible. ences. The resultis a directing style that puts Pourtant, élément de mémoire et de mystifica- together’ East’ and ‘West’, Bollywood and tion émotionnelle du film, au cœur de la prob- Hollywood, in an in-between space that has lématique du rythme et de la temporalité in- been radically reconfigured through hy- trinsèque de l’œuvre, la musique peut tant se bridization. This happens in particular rattacher à la vie intérieure des personnages, through her use of music and soundtrack, à la diégèse et à l’intrigue que s’accorder from the documentary I’m British but... (1990), toute latitude par rapport aux images. Cinéas- up to the recent Bend It Like Beckham (2002) tes et compositeurs gagnent même à l’exclure and Bride and Prejudice (2004). Here, many de cette dichotomie et à lui préférer un carac- and diverse musical languages are put to- tère omniscient basé sur le scénario, ce qui gether through the representational strategies nous interroge sur l’autonomie du composi- of parody and kitsch, deconstructing the idea teur face aux attentes du réalisateur et sur le of cultural identity in the very gesture that cas particulier des réalisateurs-compositeurs: creates it. écrivent-ils une musique fonctionnelle ou in- dépendante?

Guglielmetti, Yohann: Musique et cinéma, l’union libre. Paris: L’Harmattan 2020, 120 S. Guglielmetti, Yohann: Silence, bruit, et mu- (Champs visuels.). sique au cinéma. Paris: L’Harmattan 2020, 111 S. (Ouverture Philosophique – Esthétique.). La musique doit vous dire quelque chose que vous ne savez pas encore, qu’on ne peut pas Peut-on encore croire aux frontières entre deviner en regardant uniquement les images. musique, bruit et silence au cinéma? Dans ce Cette vision exprimée par le compositeur livre, vous explorerez les ressorts esthétiques Carter Burwell se retrouve chez son homo- du silence et les enjeux de son application. logue Bruno Coulais qui donne à la musique Vous naviguerez le long de la frontière pola mission de „capter les choses invisibles du reuse entre bruit et musique, croisant les film“. Comme le résume le réalisateur-com- considérations usuelles sur le bruit, et serez positeur Tom Tykwer: „Lorsque vous écrivez transportés aux racines de la musique occi- un script, vous étudiez la structure, alors que dentale qui tracent les prémisses de cette dé- quand vous écrivez de la musique, c’est beau- marcation. Vous sonderez la part de bruit coup plus porté sur l’émotion abstraite.“ Cette dans la musique et, afin de prendre con- problématique des „deux histoires en une“, science de la perméabilité de ces frontières et l’une visuelle, „matérielle“, qui „étudie la de mettre en relief les potentialités drama- structure“, l’autre sonore, „spirituelle“ et tiques du bruit au cinéma, l’origine de la mys- „beaucoup plus porté[e] sur l’émotion ab- térieuse „règle des trois“ vous sera dévoilée. straite“, suppose indéniablement une complé- Son „naturel“ et son „artificiel“ afficheront mentarité, au même titre que la conscience et leur étonnante complicité que nous démas- le cérébral pour Bergson ou l’esprit et le corps querons dans Les oiseaux d’Hitchcock, à tra- pour Descartes, qui pose la question des vers l’observation de représentations sonores théories reposant sur les principes de concor- du feu ou l’archétype du tonnerre dont dance ou de non-concordance entre musique l’usage comme ponctuation dramatique ou et images. comme signifiant au cinéma est pour le moins ... subjuguant.

Guglielmetti, Yohann: L’indépendance de la musique de film. Paris: L’Harmattan 2020, 138 S. (Champs visuels.). La musique navigue entre fonctionnalité et indépendance au cinéma comme dans l’opéra. L’idée d’une musique au service de l’image se Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 72

Haggith, Toby: Reconstructing the musical arrangement for ›The Battle of the Somme‹ (1916). In: Film History 14 (2002) 1, S. 11–24. Über den anonymen Dokumentarfilm des – H – British Topical Committee for War Film.

Haegele, Vincent: Bernard Herrmann: un génie Haines, John: Music in Films on the Middle Paris: Minerve 2016, 196 de la musique de film. Ages: Authenticity vs. Fantasy. New York: S., 6 ungez. S. Bildtafeln. Routledge 2013, xvii, 229 S. (Routledge Re- search in Music Series.). Hagen, Earle: Scoring for Films: A Complete This book explores the role of music in the Text. Los Angeles: E.D.J. Music / New York: some five hundred feature-length films on the Criterion Music 1971, iv, 253 S. Middle Ages produced between the late 1890s and the present day. Haines focuses on the Hagen, Earle: Advanced Techniques for Film tension in these films between the surviving Scoring: A Complete Text. Los Angeles: Alfred evidence for medieval music and the id- Music 1990, 172 S. iomatic tradition of cinematic music. The latter is taken broadly as any musical sound occurring in a film, from the clang of a bell off- Hager, Laura-Christine: „The Jazz Singer“ screen to a minstrel singing his song. Me- (1927): Die Musik im ersten Tonfilm. Masterar- dieval film music must be considered in the beit, Wien: Universität Wien, Philologisch- broader historical context of pre-cinematic Kulturwissenschaftliche Fakultät 2015, 116 S.; medievalisms and of medievalist cinema’s main development in the course of the twen- [URL]. tieth century as an American appropriation of Zusammenfassung: Diese Masterarbeit befasst European culture. The book treats six perva- sich mit dem Film „The Jazz Singer“ aus dem sive moments that define the genre of me- Jahr 1927, welcher als erster Tonfilm in die dieval film: the church-tower bell, the trum- Filmgeschichte einging. Dabei liegt das pet fanfare or horn call, the music of banquets Hauptaugenmerk auf der Musik im Film und and courts, the singing minstrel, perfor- ihren Funktionen. Zunächst wird die Entste- mances of Gregorian chant, and the music hung des Films beschrieben und ein Bild des that accompanies horse-riding knights, with Amerikas um 1927 vermittelt, damit die each chapter visiting representative films as Handlung und die Musik in den gesellschaftli- case studies. These six signal musical mo- chen Kontext gebracht werden kann. Der In- ments, that create a fundamental visual-aural halt, der einen Generationenkonflikt in einer core central to making a film feel medieval to jüdischen Emigrantenfamilie schildert, wird modern audiences, originate in medievalist mit der Musik in einen szenischen und dra- works predating cinema by some three cen- maturgischen Kontext gesetzt. Dazu werden turies. (Verlag) die einzelnen Musikgenres aus „The Jazz Sin- Rev. (Elizabeth Aubrey) in: Notes: Second Se- ger“, wie etwa der Jazz, (vorwiegend romanti- ries 62,2, Dec. 2005, S. 387–389. – Rev (Kevin J. sche) Kunstmusik oder jüdische Musik auf Harty) in: From: Arthuriana 25,1, Spring 2015, ihre Funktionen untersucht und im Detail S. 173–175. – Rev. (Lisa Colton) in: H-Net Re- analysiert. Das Resümee ergibt, dass der Film views, Aug. 2017, [URL]. sich einerseits bekannter Hits der Popularkul- tur der 1920er Jahre bedient, um ein breites Publikum anzusprechen und andererseits Hainge, Greg: Airport music: Muzak, »non- Kunstmusik verwendet, um ihn auf ein an- lieux« and film sound in Stéphanik’s ›Stand- spruchsvolleres Niveau zu heben und ihn dra- by‹ and Lioret’s ›Tombés du ciel‹. In: Studies maturgisch zu unterstützen. in French Cinema 9 (2009) 3, S. 201–214. Über die Filme von Roch Stéphanik (2000) Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 73

und Philippe Lioret (1993). forms, sometimes benign, sometimes not. This volume examines music in fantasy cinema across a broad historical perspective, from Halfyard, Janet K.: Music of Fantasy Cinema. Bernard Herrmann’s scores for Ray Harry- Sheffield: Equinox Publishers 2012, viii, 244 S. hausen, through the popular music scores of (Genre, Music and Sound.). the 1980s to contemporary scores for films such as The Mummy and the Harry Potter se- Fantasy has had a modern resurgence in cin- ries, allowing the reader to see not only the ema due largely to the success of superhero way that the musical strategies of fantasy narratives and the two major fantasy series, scoring have changed over time but also to the Lord of the Rings and Harry Potter. Often appreciate the inventiveness of composers regarded as mere escapism, works of both lit- such as Bernard Herrmann, John Williams, erature and cinema wishing to be taken seri- Jerry Goldsmith, Danny Elfman and Elliot ously by the public, by critics and by aca- Goldenthal, and popular musicians such as demics have tended to shelter under the eu- Queen and David Bowie in evoking the phemistic umbrella of Magic Realism and, un- mythic, the magical and the monstrous in til very recently, there has been a general lack their music for fantasy film. of serious academic work concerned with fan- Rev. (Scoggin, Lisa) in: tasy as a genre. This volume explores the way Notes: Quarterly Jour- 70,1, 2013, in which music and sound articulate the fan- nal of the Music Library Association S. 111–113. – Rev. (Rambarran, Shara) in: tastic in cinema and contribute to the creation Pop- 33,2, 2014, S. 348–350. of fantasy narratives. Apart from the accusa- ular Music tion of frivolous escapism that attaches itself to the fantasy genre, another issue is the lack Halfyard, Janet K.: Sounds of Fear and Wonder: of a single and simple definition of what fan- Music in Cult TV. London/New York: I.B. Tau- tasy is: the consensus of academic opinion ap- ris 2016, xi, 215 S. pears to be that fantasy invokes the magical within its narratives as the means by which to How does music enrich and define cult televi- achieve what would be impossible in our own sion series? This book analyzes theme tunes reality, as compared to sci-fi’s as-yet un- and scoring on television to reveal how com- known technologies and horror’s dark and posers construct a series’ identity using musi- deadly supernatural forces. Fantasy remains cal idioms and instruments. Characters and problematic, however, because it defies many plot developments, similarly, are enhanced by of the conventional mechanisms by which their musical accompaniment. The different genre is defined such as setting, mood and au- scoring strategies employed in science fiction dience. In a way quite unlike its co-genres, and horror-based genres, comprising for ex- fantasy moves with infinite flexibility be- ample Star Trek or Dr. Who, are considered tween locations – the world (almost) as we alongside cult shows set in our reality, such as know it, historical, futuristic or mythic loca- Dexter, The Sopranos and Queer as Folk. These tions; between moods – heroic, epic, magical; discussions are complimented by in-depth and between audiences – children, teens, case studies of musical approaches in three adults. In English-language cinema, it encom- high-profile series: Buffy the Vampire Slayer, passes the grand mythic narratives of Lord of Battlestar Galactica and Lost. Written from a the Rings, Legend and The Seventh Voyage of musicological standpoint but fully accessible Sinbad, the heroic narratives of Superman, to non-musicologists, the book significantly Flash Gordon and Indiana Jones and the mag- advances television and music studies. (Um- ical narratives of Labyrinth, Edward Scis- schlag) sorhands and the Harry Potter series, to name Inhalt: Introduction / 1 – 1. Music and its just some of films that typify the variety that Means of Production: Film versus TV / 10 – 2. the genre offers. What these films all have in Early Cult Television Scoring Strategies / 24 – common is a requirement that the audience 3. Intros and Outros: the Changing Nature of accepts the a fundamental break with reality Opening Titles and End Credits in Cult TV / within the diegesis of the filmic narrative, and 44 – 4. Listening to Buffy the Vampire Slayer / embraces magic in its many and various 73 – 5. Scoring Television Vampires / 93 – 6. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 74

The Bells of Hell go Tingalingaling: Diabolical Depeche Mode: 101 (1988) – 5. Cinematic dub Genre Games in Supernatural TV / 114 – 7. and the multitude: Jem Cohen and Fugazi, In- Music, Fantasy and Subjectivity in ‘Real strument (1999) – Epilogue: toward a ciné-eth- World’ Dramas / 135 – 8. The Rest is Noise: nomusicology. Music and Sound in Hannibal / 162 – Conclu- sion / 185 – Notes / 188 – Works Cited / 195 – TV and Filmography / 203 – Index 209. – Mit Harner, Devin: Memory, Metatextuality and Notenbeispielen. the Music of War. In: Revue LISA/LISA e-jour- Rev. (Paul Kauppila) in: Historical Journal of nal 10,1, 2012, S. 319–336. Film, Radio and Television 37,4 Jul 2017, S. Auch online: [URL]. 753–754. – Rev. (Derek Johnston) in: Journal Dans le cadre de cette étude, nous explorons of Popular Television 6,1 Mar 2018, S. 140–142. la structure du film animé Valse avec Bashir, son esthétique et sa musique. Cette œuvre, Hanley, Jason: Natural Born Killers, music and qui traite des mêmes thèmes que ceux des re- image in postmodern film. In: Judith Irene portages sur la guerre du Vietnam rédigés par Michael Herr pour le magazine Esquire (plus Lochhead & Joseph Henry Auner (eds.): Post- tard recueillis dans Dispatches), explore les . NewYork/ modern Music/Postmodern Thought limites du genre et montre les difficultés de london: Routledge 2002, S. 335–359. présenter la guerre de façon conventionnelle. Zum Spielfilm von Oliver Stone (USA 1994). Cette représentation subjective et consciente de la guerre, cette esthétique peu conventionnelle aident l’artiste à mettre en avant la rela- Hara, Kunio: Joe Hisaishi’s Soundtrack for “My tion complexe entre la représentation lit- Neighbor Totoro”. New York/London/Oxford/ téraire et la réalité. (Vorlage) New Delhi/Sydney: Bloomsbury Academic 2020, xiii, 164 S. Harris, Michael W.: A score full of grief: Fu- Abstract: Miyazaki Hayao’s beloved animated mio Hayasaka’s music for Sanshō the Bailif film, My Neighbor Totoro (1988), expresses (1954). In: Asian Music: Journal of the Society nostalgia for both an innocent past and a dis- for Asian Music 46,2, 2015, S. 25–54. tant home, sentiments greatly enhanced by Joe Hisaishi’s music. When Fumio Hayasaka began work on the Inhalt: Miyazaki, Hisaishi, and their collabora- music for Kenji Mizoguchi’s 1954 cinematic tion – Two songs from the image album – To- adaptation of the Japanese legend Sanshō the toro in music and sound – The wind and the Bailif, he found a film that had turned the tale forest – Satsuki and Mei – Forgotten sounds – into an allegory of postwar Japan’s struggle Conclusion: Forgetting and remembering. for a national identity following the American occupation. To depict this, Hayasaka wrote a sound track that mixed traditional Japanese Harbert, Benjamin J.: American Music Docu- and European instruments, making them au- mentary: Five Case Studies of Ciné-Ethnomusi- ral stand-ins for Mizoguchi’s narrative theme cology. Middletown, Conn.: Wesleyan Univer- of conflict between new (Western) and old sity Press 2018, xiv, [ii], 300, [2] S. (Music/In- (Japanese) values. This article focuses on the terview.). music’s three main elements and discusses how they articulate Mizoguchi’s narrative in- Inhalt: Introduction – 1. Where is the music? terrogation of Japan’s postwar struggle. (Vor- what is the music? Albert Maysles, Gimme lage) Shelter (1970) – 2. Representing the margins and underrepresenting the real: Jill God- milow, Antonia: A Portrait of the Woman Hasegawa, Machizō: Sa-n-to rando: Saundo to- (1974) – 3. The use and abuse of musicological rakku de miru eiga [長谷川町蔵著: サ・ン・ト concepts: Shirley Clarke, Ornette: Made in ・ランド: サウンドトラックで観る映画]. Tōk- America (1985) – 4. The theater of mass cul- yō: Yōsensha 2017, 229 S. (Eiga hihō koreku- ture: D. A. Pennebaker and Chris Hegedus, shon.). Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 75

[„Sa-n-to Land: Filme, die auf dem Soundtrack acters in analysed films and novels. Hitch- zu sehen sind“] cock, Burgess and Kubrick see in Beethoven’s In japan. Schrift. – Inhalt: 1. Soundtrack-Fil- music, that entails the myth of his life as well, memacher – 2. Geschichte des Aufstiegs und an important instrument to portray genius, Niedergangs der amerikanischen Animation sensibility and morbid violence. Lang makes anhand des Soundtracks – 3. Auch Schauspie- use of one well-known whistled melody by ler legen besonderen Wert auf Musik – 4. Das Grieg to point out the inherent evil powers of Franchise passt zu den Klängen der Zeit – 5. man and current maladities of society, as all Professionelle Soundtrack-Stile – 6. Popmu- investigated artists. And Ellis considers the sikgeschichte im Soundtrack zum Anhören kitsch and fake sentimentaly of the 80s pop- Teil 1 – 7. Musikalische Filmideen des 21. music accurate and apt in presenting his fic- Jahrhunderts – 8. Popmusikgeschichte im tional hero and society as compusively and Soundtrack zum Anhören Teil 2 – 9. Was Sie obsessively holding up a façade that hides ter- im Musiker-Biopic sehen können – 10. Die rible illnesses. Soundtrack-Nebengeschichte, die ich dir er- zählen möchte – 100 Must-Listen-Soundtrack des 21. Jahrhunderts. Hauze, Emily: Keyed fantasies: Music, the ac- cordion and the American dream in Stroszek and Schultze Gets the Blues. In: German Life Haunschmidt, Elisabeth: Wo man singt, da laß and Letters 62,2, 2009, S. 84–95. dich nieder – Böse Menschen kennen keine Über die Filme von Werner Herzog (1976) und Lieder: Musik in Film und Roman über psy- Michael Schorr (2003). chopathische Gewalttäter. Diss., Universität Wien, Institut für Musikwissenschaft 2005, 262 S. Hazelwood, Zachary: Music, Action, and Nar- The focal point of discussion is the seemingly rative in Film: An Energetic and Gestural Ap- paradox interrelation of music and psy- proach to Film Score Analysis. Ph.D. Thesis, chopaths in literature and film. Music deno- Louisiana State University 2014, xi, 206 S. tates the best, human being is capable of pro- (LSU Doctoral Dissertations. 327.); [URL]. ducing, and the violent murderer is the most Music theorists and philosophers, such as horrid facette of humanity. Fritz Lang, Alfred Mark Johnson, Janna Saslaw, Robert Hatten, Hitchcock, Anthony Burgess, Stanley Kubrick and Steve Larson, have commented on the and Bret Easton Ellis critically stated that evil value of considering music through one’s em- is part of humanity and subtly challenged hu- bodied experiences. Film and music are inher- manity’s predominantly positive self-reflec- ently energetic, as both contain perceivable tion. All artists use the combination of music energies and forces. Analyzing the common and the psychopath to present man as a dou- energetic qualities of film and music provides ble-edged creature, to illustrate the wide an approach for connecting film music to cer- range of mankind’s facilities and to point to tain filmic and narrative attributes and events. contemporary social problems (not without This dissertation uses models based in physics being severely attacked by critics and the au- to reveal the latent constructs that connect dience). Music has the advantage of introduc- music to extramusical associations. Building ing a great spectrum of meaning, almost off of established concepts and models in the without any limitations. Music can produce a work of composers and theorists such as wide range of emotions, give precise links to Ernst Kurth, Steve Larson, and Arnold creation and creator, yet remains per se un- Schoenberg, this dissertation reconsiders sev- fathomable, its meaning infinite. Even more eral energetic models based in motion and ap- so, it can denotate contradicting ideas at the plies them to film music analysis. This study same time. Music is therefore the most suc- also proposes several original models based in cessful medium potraying mankind in its di- the related branch of continuum mechanics chotomy, fragmentariness and ambiguity and by considering the internal structure and therefore plays an essential, self-sufficient changes of musical concepts and gestures as role in portraying the fictional extreme char- objects. These concepts and models create a Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 76

system of analysis that considers and ac- Heile, Björn / Elsdon, Peter / Doctor, Jennifer counts for the connections between film mu- R. (eds.): Watching Jazz: Encounters with Jazz sic, onscreen actions, and narrative events. Performance on Screen. New York: Oxford Uni- versity Press 2016, xiii, 289 S. Heiland, Konrad / Piegler, Theo (Hrsg.): Der Inhalt: Shaping screen media. Framing jazz: Soundtrack unserer Träume: Filmmusik und thoughts on representation and embodiment / Psychoanalyse. Mit Beitrr. von Stepan Peter Elsdon – “All aboard!”: soundies and Vi- Brüggenthies [...]. Gießen: Psychosozial-Ver- taphone shorts / Emile Wennekes – Assimilat- lag 2013, 271 S. ing and domesticating jazz in 1950s American variety television: Nat King Cole’s transfor- Inhalt: Mathias Hirsch: Einige Gedanken zur mation from guest star to national host / Wirkung und Funktion von Musik im Film / Kristin McGee – “Jazz is where you find it”: 17 – Sebastian Leikert: Von der Musik der encountering jazz on BBC television, 1946– Bilder, Versuch zur ästhetischen Form der 66 / Jenny Doctor – Gesture and mediatiza- Filmkunst / 35 – Johannes Hirsch: Musik und tion. “All sights were perceived as sounds”: Stille im Film / 53 – Helga de la Motte-Haber: Pat Metheny and the instrumental image / Stummfilm – ein audiovisuelles Medium. Jonathan de Souza – Jazz performance on Notwendigkeit musikalischer Begleitung zum screen: mediatization of gesture, bodily empa- bewegten Bild / 69 – Hannes König: Mit thy, and the viewing experience / Paul McIn- Hingabe zum Schaudern. Über das Unheim- tyre – “Playing the clown”: Charles Mingus, liche in der Musik von Die neun Pforten (1999) Jimmy Knepper, and Jerry Maguire / Krin / 81 – Matthias Hornschuh: Why So Serious? Gabbard – Ontologies of media. Seeking reso- Filmmusik als Miterzähler in Christopher lution: John Coltrane, myth, and the audio- Nolans The Dark Knight (2008) / 95 – Willem visual / Tony Whyton – Screening the event: Strank: Markierungen des Irrealen. Zur An- watching Miles Davis’s “My funny deutung alternativer Realitätszustände durch Valentine” / Nicholas Gebhardt – Play it Filmmusik / 115 – Andreas Jacke: Todes- again, Duke: jazz performance, improvisation, Rezeptionen. Händel und Wagner in Lars von and the construction of spontaneity / Björn Triers Antichrist (2009) und Melancholia Heile. (2011) / 127 – Konrad Heiland: Die Hochzeit Rev. (Williams, Katherine) in: Notes: Quarterly von Ton und Bild bei David Lynch, die Ton- Journal of the Music Library Association 74,4, spur als eigenständiges Kunstwerk bei Jean- 2018, S. 460–463. Luc Godard / 143 – Konrad Heiland: Ton- spuren im Schnee. Zur Filmmusik von Stanley Kubricks The Shining (1980) / 165 – Theo Heiligenthal, Britta: Zeichentrickmusik: Funk- Piegler / Konrad Heiland: Rettungsfantasien tionen der Filmmusik in Zeichentrickfilmen in Bild und Ton. Psychoanalytische Betrach- Walt Disneys. Baden-Baden: Nomos 2016, 205 tungen über die Filme Vertigo (Hitchcock S. (Filmstudien. 72.). 1958) und The Artist (Hazanavicius 2011) / 171 – Irene Kletschke: Gemalte Träume. Walt Dis- Zuerst als Diss., Johannes Gutenberg Univer- neys Fantasia (1940) / 211 – Stephan Brüggen- sität Mainz, 2015. thies: Schicksal und Zufall, Schuld und Reue. Mit scharfsichtig-analytischem Sinn für die Die Musikdramaturgie von Magnolia (1999) / Bild-Gestaltung und profundem musikalis- 225 – Enjott Schneider: Filmmusik-Traumar- chen Verständnis widmet sich die Autorin beit in surrealer Welt. Ein persönlicher drei exemplarisch ausgewählten Filmen, die Bericht aus der Komponistenwerkstatt / 231 – jeweils als Stellvertreter für eine bestimmte Auf der Transsib. Zur Vertonung eines Doku- „Epoche“ an Disney-Filmen gelten können: mentarfilms über die Transsibirische Eisen- Snow White and the Seven Dwarfs (1937), The bahn. Interview mit der Musikerin und Kom- Jungle Book (1967) und Beauty and the Beast ponistin Christina Fuchs (Mai 2012) / 245 – (1991). Detailliert-einleuchtend beschrieben Andreas Jacke: „Mimique“ – durch den Kör- und sprachkräftig kommentiert legt sie die per versinnbildlichte Musik im Film: David Struktur dar, auf deren Grundlage die ver- Bowie und Marilyn Monroe / 249. schiedenen Funktionen von „Zeichentrick- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 77

musik“ in Erscheinung treten. Die Dis- 2018, S. 103–132. ney’sche Zeichentrickmusik ist eine Film- This article examines specific narrative con- musik, die der erzählten Geschichte zu mehr notations associated with chromatic mediant Tiefe und den gezeigten Bildern zu größerer motions in film music. Following the neo-Rie- Schärfe verhilft. (Verlag) mannian work of theorists such as David Rez. (Frédéric Döhl) in: r:k:m – rezensionen: Kopp and Richard Cohn, and film-music theo- kommunikation:medien, 2.2.2017, [URL]. rists such as Scott Murphy and Frank Leh- man, I propose a lexicon of harmonic motions and associative connotations. The article pro- Heimerdinger, Julia: Music and sound in the vides a survey of both major-mode and mi- horror film & why some modern and avant- nor-mode chromatic mediant relationships in garde music lends itself to it so well. In: Seil- as many different genres of film as possible, tanz: Beiträge zur Musik der Gegenwart 4, with science-fiction and fantasy films being April 2012, S. 4–19. most common. Through this survey I aim to demonstrate not only the extent to which Heimerdinger, Julia: Populäre Adaptionen. chromatic mediants have become staple de- György Ligetis Musik in Stanley Kubricks vices of film-scoring harmonic practice, with meanings so consistent that they can be sub- Film 2001: A Space Odyssey. In: Re-Set: Rück- verted for ironic and satirical purposes, but griffe und Fortschreibungen in der Musik seit also to lay out a speculative path for future 1900. Hrsg. v. Simon Obert & Heidy Zimmer- film-music theorists to use these connotations mann. Mainz: Schott 2018, S. 302–309. in additional film contexts.

Heimerdinger, Julia: Franz Schuberts „Er- Heiner, Stefan: Musik in Spielfilmen mit lkönig‟ als Filmmusik. In: musik | kultur | the- Epilepsie. In: 29,1, orie. Festschrift für Marie-Agnes Dittrich. Hrsg. Zeitschrift für Epileptologie v. Christian Glanz, Anita Mayer-Hirzberger, 2016, S. 25–30. Nikolaus Urbanek. Wien: Hollitzer Verlag Epilepsie spielt vergleichsweise häufig eine 2019, S. 339–350. Rolle im internationalen Spielfilm. Anfälle werden oft zur Dramatisierung des Geschehens eingesetzt. Filmmusik im Heimerdinger, Julia: Mendelssohn im Film. In: weitesten Sinne kann dabei mehr als nur „Be- Mendelssohn Handbuch. Hrsg. v. Christiane gleitmusik“ sein. Mit der „Tonspur“ verfügt Wiesenfeldt. Kassel: Bärenreiter / Berlin: der Spielfilm über ein hervorragendes Mittel, Metzler 2020, S. 463–466. Außen- und Innensicht epileptischen Inhalt: Mendelssohns Musik als Filmmusik / Geschehens wiederzugeben. Das lässt sich an 463. – Die Figur Mendelssohn im Film / 466. den beiden Filmen „The exploding girl“ und „The exorcist“ zeigen, die ein extrem gegen- sätzliches Bild der Epilepsie zeichnen. Let- Heine, Erik: James Newton Howard’s “Signs”: zterer nutzt raffinierte Klangcollagen dazu, A Film Score Guide. Lanham, Md.: Rowman & den Zuschauer in eine Welt anhaltenden Littlefield 2016, xvi, 211 S. (Scarecrow Film Schreckens zu versetzen. „The exploding girl“ Score Guides. 17.). mischt effektvoll szenische und außerszenis- che Tonfolgen, um Sinneseindrücke der Be- Inhalt: Howard’s musical background / How- troffenen und Erfahrungen ihres miterleben- ard’s film scoring technique / Historical and den Freundes dem Zuschauer nahezubringen. critical context of Signs / Sounds of science Die Botschaft der beiden Filme umfasst den fiction and Shyamalan / Sketching and scor- weiten Erwartungshorizont – von Abscheu ing Signs / Analysis of the score. bis Empathie –, den noch heute die Begeg- nung mit Epilepsiekranken auszeichnet. Heine, Erik: Chromatic mediants and narrative context in film. In: Music Analysis 37,1, Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 78

Heinze, Carsten / Niebling, Laura (Hrsg.): Po- SCHREIEN“ (DDR 1988) und „flüstern & puläre Musikkulturen im Film: Inter- und SCHREIEN – 2. Teil“ (BRD 1994) / 353–369. – transdisziplinäre Perspektiven auf Formen, In- Willem Strank: Glückliche Fügung – die Ent- halte und Rezeptionen des fiktionalen und do- stehung einer Subkultur in Cameron Crowes kumentarischen Musikfilms. Wiesbaden: Sprin- Singles / 371. – Thomas F. Cohen: Documenta- ger VS 2016, XV, 482 S. (Film und Bewegtbild ry Value in the Concert Film: Metallica in Kultur und Gesellschaft.). Through the Never / 385. – V. Musikvideos: Praktiken, Ästhetiken, Kommerzialisierung. – Inhalt: Editorial / V. – I. Populäre Musikkultu- Benjamin Halligan: “A promo video is simply ren im Film: Allgemeine Zugänge. – Carsten an advertisement for a song”? Music Video as Heinze: Populäre Jugend- und Musikkulturen Music Documentary / 399. – Ivo Ritzer: „Meet im Film: Konzeptionen und Perspektiven / 3. Africa’s Most Deadly Punk Rock Band“: – Laura Niebling: The Category of Music Film Medienimmanenz Mediensimulacra und die / 29. – Georg Maas & Susanne Maas: Zwi- Musikvideoclips von The Mochines / 429. – schen Zeitdokument, Erinnerungskultur und Mirjam Kappes: Zur (multimodalen) Gestal- Utopie. Jugend und populäre Musik im Spie- tungsästhetik medialer Gewalt im Musikfern- gel des Spielfilms / 47. – Christian Hißnauer: sehen· Exemplarische Untersuchung von Der Traum vom Superstar: Castingshows als „L.E.S.Artistes“ von Santigold / 453. neue Form des Musikfilms? / 77. – Ramón Reichert: Musikvideos im Social Web. Zur Äs- thetik und Praxis kultureller Appropriation in Heirapetian, Marc: Ein Filmkomponist erster partizipatorischen Medien / 91. – II. Rocku- Klasse. Über den legendären Filmkomponisten mentaries: Exploring the Scene. – Laura Nieb- Ernest Gold und dessen Kooperation mit Hol- ling: Defining Rockumentaries. A Mode and lywoods größtem Independent-Filmemacher its History / 113. – Keith Beattie: Reworking Stanley Kramer. Das Golden Age der Film- Direct Cinema: Performative Display in musik. In: Cinema musica (2009) 16, S. 38–42 Rockumentary / 131. – Carsten Heinze: Per- spektiven des Musikdokumentarfilms / 153. – III. Musikfilme in ihren soziokulturellen Bezü- Helbing, Volker: Pastorale, zwölftönig. An- gen. – Markus Stiglegger: Laibach – Sieg un- merkungen zu einer Filmpartitur Hanns ter der Sonne. Eine Rockumentary als politi- Eislers. In: Musik und Ästhetik 4 (2000) 14, S. sches Manifest? / 191. – Anke Steinborn: Sing, 25–39. Cowboy, sing. Wie der Osten den Westen Über die Musik von Eisler (1898–1962) zum rockt / 213. – Clemens Langer: Konzert(Film)- anonymen Lehrfilm ›The Living Land‹ 1939. Erlebnisse: The Prodigy VS. The Chemical Brothers / 231. – Ulrike Wohler: Madonna- Musikfilme als soziales Gedächtnis. Musikkul- Heldt, Guido: “... Breaking the Sequence tur als Bestandteil feministischer und queerer Down by Beat”: Michael Nymans Musik zu Emanzipationsbewegungen / 247. – Senta Sie- den Filmen von Peter Greenaway. In: Hans J. wert: Musik, Affektivitä, Erinnerung und Ver- Wulff, Norbert Grob & Karl Prümm [Hrsg.]: 2. marktung bei Trainspotting / 267. – IV. Musik- kulturen in ihren filmischen Texten. – Hans J. Film- und fernsehwissenschaftliches Kollo- Wulff: Medialisierung der Musik und Medien- quium/ Berlin 1989. Münster: MakS Publika- kritik im Schlagerfilm der 1950er Jahre / 291– tionen 1990, S. 177–188. 308. – Thomas Wilke: Soul Brother, Soul Man, Soulboy? Die filmische Inszenierung subkul- Heldt, Guido: Music and Levels of Narration in tureller Eigendynamiken am Beispiel des Nor- Film: Steps across the Border. Bristol: Intellect thern Soul in Großbritannien / 309. – Mischa 2013, x, 290 S. Esch: Swindle, Rude Boys, Highschool: über drei zeitgenössische filmische Kontextualisie- The first book-length study of the narratology rungen von Punk / 331. – Andreas Wagen- of film music and is an indispensable resource knecht: Die Suche bleibt. Die ostdeutsche for anyone researching or studying film mu- Punk- und Independent.Szene vor und nach sic or film narratology. It surveys the so far der Wende in den Rockumentaries „flüstern & piecemeal discussion of narratological con- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 79

cepts in film music studies and tries to (cau- aller Filmregisseure in den Blick, mit Beiträ- tiously) systematize, expand and refine them gen zu Scorsese und Oper, zu präexistenter with reference to ideas from general narratol- Musik als Autorensignatur, zu Musik und ogy and film narratology (including contribu- Stadt in New York, New York, zur Schizophre- tions from German-language literature less nie der Musik in Taxi Driver und zu Scorseses widely known in Anglophone scholarship). Arbeit mit seinem „music editor“ Robbie The book goes beyond the current focus of Robertson. (Verlag) film music studies on the distinction between diegetic and non-diegetic music (music understood to be or not to be part of the story- Heldt, Guido / Krohn, Tarek / Moormann, Pe- world of a film) and takes into account differ- ter / Strank, Willem (Hrsg.): Musik in der ent levels of narration: from the extrafictional Filmkomödie. München: edition text + kritik to ‘focalizations’ of subjectivity and music’s 2017, 199 S. (FilmMusik. 3.). many and complex movements between Der dritte Band der Reihe „FilmMusik“ unter- them. The conceptual toolkit proposed in the sucht filmmusikalische Gags, Jazz als Idiom first part of the book is put to the text in a se- für Satire und Parodie in Film und Fernsehen, ries of case studies: of numbers in film musi- Musik und Komödie im stalinistischen Kino, cals; of music and sound in horror films; and Frank Zappas 200 Motels sowie Musik in Hor- of music and narrative structures in, among rorkomödien. others, films by Sergio Leone, The Truman Show, Breakfast at Tiffany’s and Far from Inhalt: Vorwort 7. – Tarek Krohn: Überlegun- Heaven. gen zum filmmusikalischen Gag / 11. – Lind- say Carter: Das Leben ist freudiger geworden. Musik und Komödie im stalinistischen Kino / Heldt, Guido / Krohn, Tarek / Moormann, Pe- 43. – Konstantin Jahn: »Who put the wit in ter / Strank, Willem (Hrsg.): Martin Scorsese: syncopation?«. Jazz als Signum von Satire, die Musikalität der Bilder. München: Ed. text + Parodie und Humor in Vaudeville-Film, Car- kritik 2015, 128 S. (FilmMusik.). toon und TV-Comedy / 73. – Jörg Heuser: Frank Zappa, 200 Motels: Weltenkollision / Bereits in Mean Streets im Jahre 1973 gelang 109. – Guido Heldt: Furchtbar lustig. Musik in Martin Scorsese eine Szene, deren Kombina- Horrorkomödien / 130. tion von Bild und Musik Kultstatus erlangte: Der Auftritt Robert De Niros zum Song „Jumpin’ Jack Flash“ der Rolling Stones sollte Heldt, Guido / Krohn, Tarek / Moormann, Pe- nur der erste Wurf eines Regisseurs sein, der ter / Strank, Willem (Hrsg.): Musik im Vor- es wie kaum ein anderer verstand, Musik und spann. München: edition text + kritik 2020, Film zur Einheit zu verschmelzen. Martin 142 S. (FilmMusik. 4.). Scorseses Werke zeigen eine Fülle von Facetten der Komposition von Bild und Ton Die Musik im Vorspann stimmt die Zuschaue- und zeugen von einer Musikkenntnis jenseits rinnen und Zuschauer, ähnlich den Ouvertü- stilistischer und zeitgeschichtlicher Befangen- ren vieler Opern und Operetten vor allem des heit. Ob in Bernard Herrmanns Soundtrack zu 19. Jahrhunderts, auf das Bevorstehende ein, Taxi Driver (1975), ob als Hommage an die begleitet sie als „Ohrwurm“ nach Ende der Ki- goldenen Zeiten des Jazz in New York, New novorführung oder Fernsehausstrahlung und York (1977) und Raging Bull (1980), ob in Peter bleibt im Gedächtnis als Pars pro Toto für die Gabriels Originalkomposition zu The Last Gesamtheit des Scores. Doch trotz ihrer prä- Temptation of Christ (1987), in zahlreichen genden Wirkung und zentralen Position wur- Reminiszenzen an die Oper oder in Konzert- de der Rolle der Musik im Vorspann bisher dokumentationen wie The Last Waltz (1978), nur äußerst wenig Beachtung geschenkt. Der Feel Like Going Home (2003), No Direction neue Band der Reihe „FilmMusik“ versucht Home (2005) oder Shine a Light (2008) – im- diese Lücke mit vier Beiträgen zu schließen: mer wieder ist es Scorsese gelungen, den zum Hollywood-Kino und Erich Wolfgang Zuschauer zum Zuhörer zu machen. Der Korngold, zum Quality-TV, zum wechselhaf- zweite Band der Reihe „FilmMusik“ nimmt ten Werdegang Hanns Eislers und zur Wie- daher das Werk eines der musikalischsten derverwendung einer bekannten Vorspann- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 80

musik in zahlreichen anderen Produktionen. Henderson, Clara: »When hearts beat like na- Beiträger des Bandes sind Felix Kirschbacher, tive drums:« Music and sexual dimensions of Frank Lehman, Wolfgang Thiel und Andreas the notions of »savage« and »civilized« in Wagenknecht. ›Tarzan and His Mate‹, 1934. In: Africa Today Inhalt: Vorwort. – Frank Lehman: Form und 48 (2001) 4, S. 91–124. thematische Struktur in Vorspannmusiken Über den Film von Cedric Gibbons. Erich Wolfgang Korngolds (11–52). – Wolf- gang Thiel: Hanns Eislers Vorspannmusiken zu Spielfilmen aus drei Jahrzehnten (53–77). – Henderson, Scott: Viewing with Your Ears, Felix Kirschbacher: Das Beste kommt zum Listening With Your Eyes: Synching Popular Anfang. Episodenbeginn und Vorspann in The Music and Cinema. In: The SAGE Handbook of Good Wife (78 – 103). – Andreas Wagen- Popular Music. Ed. by Andy Bennett & Steve knecht: Immer wenn die Duduk spielt. Zur Waksman. Los Angeles/London/New Delhi/ Wiederverwendung der Musik aus dem Vor- Singapore/Washington, DC: SAGE 2015, S. spann des Films The Last Temptation Of Christ in Fernsehdokumentationen und Dokumen- 475–492. tarfilmen (104 – 127). Henke, Matthias / Beimdieke, Sara (Hrsg.): Das Wohnzimmer als Loge: Von der Fernseho- Hellégouarch, Solenn: Musique, cinéma, pro- per zum medialen Musiktheater. Würzburg: cessus créateur: Norman McLaren – Maurice Königshausen & Neumann 2016, 235 S. (Thur- Blackburn, David Cronenberg – Howard Shore. nauer Schriften zum Musiktheater. 32.). Paris: Vrin 2020, 295 S. (MusicologieS.). Inhalt: Vorwort der Herausgeber / 7. – Matthi- Norman McLaren œuvre dans le domaine as Henke: Kunst der Stunde Null? Zu den An- onirique de l’animation. David Cronenberg fängen der Fernsehoper / 11. – Barbara Diet- est maitre du genre de l’horreur interieure. linger: Die Anfänge der Fernsehoper in den Que peuvent donc partager ces deux cineastes USA am Beispiel des NBC Opera Theatre / 23. canadiens aux univers si distincts ? Chacun a – Rainer J. Schwob: Zur Geschichte des Salz- construit une relation a long terme avec un burger Fernsehopernpreises / 43. – Sara Beim- compositeur – respectivement Maurice Black- dieke: Innovation und Rückgriff: Die Paßkon- burn et Howard Shore. D’un duo a l’autre, le trolle (ORF, 1958) – eine Fernsehoper von Paul musicien occupe une place centrale au sein de Angerer und Hans Friedrich Kühnelt / 75. – la creation collective ; sa musique se revele Kazusa Haii: Fernsehoper in Japan / 93. – comme une composante fondamentale. Quels Bianca Michaels: Die Fernsehoper: Me- processus creatifs lui permettent de se de- thodisch-theoretische Annäherungen an ei- ployer ? Le livre fait la lumiere sur les mecan- nen weißen Fleck der Forschung / 115. – Knut ismes collaboratifs et la pensee de ces duos. Hickethier: Fernsehspiel und Fernsehoper – Plus generalement, il etablit une poietique de Von der Bühne zum Studio / 133. – Ulrike la creation musico-filmique, decrit et com- Hartung: Imaginäres Musiktheater: Oper in prend les processus createurs filmique et mu- Janet Cardiffs und Georg Bures Millers Opera sical qui determinent la composition d’une for a Small Room (2005) und Playhouse musique de film et, plus encore, une musi- (1997) / 147. – Matthias Weiß: Money for calite de tout le complexe audiovisuel. Du nothing and your chicks for free? Videoclips cinema d’animation experimental ( A Phan- als Werbung, visuelle Musik und televisuelles ) au long-metrage de fiction ( tasy Crash, A Musiktheater / 161. – Jelena Novak: Televisual ) en passant par le docu- Dangerous Method Opera After TV / 179. – Ludger Brümmer: mentaire engage ( ), l’auteure Jour apres jour Beispiele medialer Technologie im zeitgenös- offre un portait inedit de pratiques musico- sischen Medientheater / 197. filmiques novatrices tout en proposant de nouvelles approches analytiques pour la musique de film. Hentschel, Frank: „Der Tod ist ein Meister aus Deutschland“. Nationalsozialismus als musikalisch vermittelter Subtext filmischer Ge- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 81 waltdarstellungen. In: Die Musiktheorie 27,12, Henzel, Christoph: »A Jazz singer – singing to 2012, S. 266–279. his god«. ›The Jazz Singer‹ (1927): Musik im »ersten Tonfilm«. In: In many movies the depiction of violence exe- Archiv für Musikwis- cuted by a male character is accompanied by senschaft 63 (2006) 1, S. 47–62. German classical music. In this article such Über den Film von Alan Crosland. film scenes are interpreted arguing that the German music is central for establishing a subtext on Nazism. The musical torture prac- Herget, Ann-Kristin: On music’s potential to tices of the films are related to actual torture convey meaning in film: A systematic review practices of the concentration camps. The of empirical evidence. In: Psychology of Music filmsdiscussed are Reservoir Dogs, James [Online first] (26.3.2019); [DOI]. Bond: The Spy Who Loved Me, The Silence of With its schema-activating potential to influ- the Lambs, Death and the Maiden, Brute Force ence an audience’s perception and interpreta- and Apocalypse Now. tion of film plot and protagonists, film music goes far beyond the role of an emotionalizing Hentschel, Frank: Musik im Horrorfilm 2010– accessory in film contexts. For this review, 24 2017. In: Horror-Kultfilme. Hrsg. v. Angela German and English empirical studies that Fabris, Jörg Helbig u. Arno Rußegger. Mar- tested music’s potential to convey meaning burg: Schüren 2017, S. 153–174 (Marburger were identified to be compared in their re- Schriften zur Medienforschung. 78.). search questions, the characteristics of their methods, designs, samples, and stimulus materials, as well as main results. Depending on Hentschel, Frank / Moormann, Peter (Hrsg.): the degree of realism and the abstraction level Filmmusik: Ein alternatives Kompendium. of the audio-visual stimulus material, differ- Wiesbaden: Springer VS 2018, VII, 356 S. ently connoted music or music of different genres trigger supra-individual associations, Dieses Handbuch nimmt eine komplementäre which make the recipients’ perceptual pat- Akzentsetzung zu den in jüngster Zeit er- terns and evaluations of film plot and protag- schienenen Büchern zur Filmmusik vor. In onists predictable. The review provides a sys- den einzelnen Beiträgen wird die Praxis der tematization of music’s effects as well as Filmmusik so dargestellt, dass auch Filmkom- methodological and content-related indica- ponisten, Dramaturgen und Redakteure zu tions for future research. Wort kommen. Andere Aspekte werden kritisch unter die Lupe genommen und Themen wie die Filmouvertüre, Personalstile von Herzfeld, Gregor: Disney psychedelisch: Komponisten eigens beleuchtet. Musik und Rausch im Zeichentrickfilm. In: Inhalt: Technische Verfahren in der Film- Acta musicologica 86, 2014, S. 125–146. musik – Akteure und Einflussfaktoren bei der Realisierung von Filmmusik – Filmmusik und die multimedialen Künste des 19. Jh. – Zur Herzog, Amy: Discordant Visions: The Pecu- Rekonstruktion von Stummfilm-Musik – liar Musical Images of the Soundies Jukebox Musik und Zwischentitel im Stummfilm – Die Film. In: American Music: A Quarterly Journal Filmmusikouvertüre – Narratologie und Film- Devoted to All Aspects of American Music and musik – Besonderheiten der Musik von US- Music in America 22,1, 2004, S. 27–39. Fernsehserien – Psychologie der Filmmusik – Filmstimme – Sound Design – Die audiovisu- Hess, Carol A.: Competing Utopias? Musical elle Gestaltung digitaler Spiele – Musik, So- Ideologies in the 1930s and Two Spanish Civil undscapes und Soundmix in afrikanischen Fil- War Films. In: men – Filmmusik jenseits des Films – Film- Journal of the Society for Amer- musik-Recherche im Internet. ican Music 2,3, 2008, S. 319–354.

van Heuckelom, Kris / Guść, Iwona: Songs of home (and away): Ethnically-coded diegetic Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 82 music and multidirectional nostalgia in fiction making – 7. Breaking the Sound Barrier – 8. films about Polish migrants. In: NECSUS: Eu- Europe after World War I – Part Three: The ropean Journal of Media Studies 5,2 Autumn Golden Age of Sound, 1929–1943. – 9. The Clas- 2016, 171–191; [URL]. sical Hollywood Film Score – 10. Lighter Mu- sical Scores – 11. Hollywood and World War This article offers a textual and contextual II – 12. International Filmmaking: A Golden analysis of ethnically-coded musical perfor- Age Interrupted – Part Four: New Challenges mances in migration-themed fiction film, with for Hollywood, 1944–1959. – 13. The Postwar a particular focus on productions featuring Years – 14. Expanding Modern Music, 1951– expatriate characters from Poland. As we ar- 1959 – 15. Country, Rock, and All That Jazz, gue, the Polish sample substantially differs 1951–1959 – 16. The Revitalization of Interna- from soundtrack-related approaches prevalent tional Filmmaking – Part Five: The New Cin- in films about postcolonial migrants and eth- ema, 1960–1974. – 17. The Tumultuous 60s – nics. In the hands of the filmmakers and ac- 18. The Rockin’ 60s – 19. Emerging from the tors involved, traditional Polish songs that Crisis Years – 20. The New Wave and World typically revolve around protective domestic- Cinema – Part Six: Synthesizing the Past and ity and bonding (especially lullabies) hint at Exploring the New, 1975–1988. – 21. The Re- the possibility of reinstalling a sense of inter- turn of the Classical Score – 22. Alternatives generational affinity at the core of the local to the Symphonic Score – 23. Box Office vs. household. Therefore, rather than evoking an Critics – 24. Global Views of the Past and aura of multicultural hybridity or exotic Oth- Present, 1975–1988 – Part Seven: Fin de Siècle, erness, the foreign-language musical perfor- 1989–2000. – 25. Historical Films – 26. Life in mances featured in the films involved create a America – 27. Animations, Comedies, Ro- soundscape in which nostalgia ceases to be mances, and Fantasies – 28. World Cinema the exclusive property of the displaced new- after the Cold War – Part Eight: The New Mil- comer. lennium, 2001–2015. – 29. Blockbuster Fan- tasies and Adventures – 30. Seeking Heroes – 31. Animations, Musicals, and Dramas – 32. Hexel, Vasco: Hans Zimmer and James Newton International Films Achieve Parity. Howard’s “The Dark Knight”: A Film Score Guide. Lanham/Boulder/New York/London: Rowman & Littlefield 2016, xxi, 211 S. (Film Hill, Andrew Warren: Scoring the Screen: The Score Guides. 18.). Secret Language of Film Music. Montclair, NJ: Inhalt: 1. Musical Background of the Com- Hal Leonard Books 2017, xxxi, 391 S. posers / 1; – 2. Critical, Textual, and Historical Inhalt: Foreword: The Greatest Gig in the Context of The Dark Knight / 13; – 3. The World / xiii; – Introduction: Ancient & Mod- Technical Approach of the Composers / 31; – ern: An Appreciation of James Newton 4. Analysis of the Score as Musical Text / 53; – Howard’s The Sixth Sense / xvii; – 1. From 5. Analysis of the Score as Part of the Sound- Among the Dead: Bernard Herrmann’s Ver- scape / 111; – Conclusion / 133; – Notes / 135; tigo / 1; – 2. Boo Radley’s Porch: Elmer Bern- – Appendix I: Spotting / 149; – Appendix II: stein’s To Kill a Mockingbird / 23; – 3. Signs Orchestrations / 173. and Meaning: From Spellbound to Inception / 46; – 4. Perfume: The Scent of Murder / 78; – 5. Carmen in Hell: David Newman’s The War Hickman, Roger: Reel Music: Exploring 100 of the Roses / 101; – 6. Waltz for a Dead Girl: Years of Film Music. 2nd ed. New York / Lon- Christopher Young’s Jennifer 8 / 130; – 7. Feed don: W. W. Norton 2017, xxviii, 628 S. Your Head: Don Davis’s The Matrix / 160; – 8. Inhaltsübersicht: Part One: Exploring Film and Such a Long, Long Way to Fall: Danny Elf- Music. – 1. Exploring Film and Music – 2. Ele- man’s Alice in Wonderland / 195; – 9. Surgical ments of Music – 3. Listening to Film Music – Precision: Alberto Iglesias’s La piel que habito 4. Forerunners of Film Music – Part Two: The / 228; – 10. The Strength of the Righteous: En- Silent Film Era, 1895–1929. – 5. A New Art nio Morricone’s The Untouchables / 262; – 11. Form – 6. The Foundations of Modern Film- Toward a New Aesthetic of Music for the Screen / 300; – 12. Through a Glass, and Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 83

Darkly: Anatomy of a Cue from Jerry Gold- Memory reveals that this change has rested in smith’s Patton / 322; – 13. Stand Up! Two no small measure on the mnemonic powers of Cues from Elliot Goldenthal’s Michael Collins music. As films were consumed by growing / 334; – 14. John Powell Slays a Dragon / 350; American and European audiences, their – Against the Odds: The Road to Kraków / soundtracks became an integral part of indi- 382; – Afterword / 387. vidual and collective memory. Berthold Hoeckner analyzes three critical processes through which music influenced this new cul- Hischak, Thomas S.: The Encyclopedia of Film ture of memory: storage, retrieval, and affect. Composers. Lanham, Md.: Rowman & Little- Films store memory through an archive of field, 2015, 836 S. cinematic scores. In turn, a few bars from a soundtrack instantly recall the image that ac- Rev. (Palmer, Landon) In: Music, Sound, and companied them, and along with it, the affec- the Moving Image 11,1, 2017, S. 119–123. – tive experience of the movie. Hoeckner exam- Rez. (Jewanski, Jörg) in: Kieler Beiträge zur ines films that reflect directly on memory, Filmmusikforschung, 13, 2017, S. 151–156. whether by featuring an amnesic character, a traumatic event, or a surge of nostalgia. As Hiyama, Sachiko: Sengo eiga-shi ni miru wa- the history of cinema unfolded, movies even sei ‘surirā eiga’ no hōga to sono ongaku: “No- began to recall their own history through rainu” ni okeru ‘taiihō’ no yakuwari [肥山紗 quotations, remakes, and stories about how 智子: 戦後映画史にみる和製「スリラー映画」 cinema contributed to the soundtrack of peo- の萌芽とその音楽:『野良犬』における「対位 ple’s lives. Ultimately, Film, Music, Memory 法」の役割]. In: Kōbedaigaku daigakuin nin- demonstrates that music has transformed not gen hattatsu kankyō-gaku kenkyū-ka kenkyū only what we remember about the cinematic experience, but also how we relate to memory kiyō [神戸大学大学院人間発達環境学研究科研 itself. 究紀要] 11,2, 2018, S. 1–12. “The birth of Japan-made thriller film and music in the history of the postwar Japanese Hoffmann, Bernd: Und der Duke weinte. Afro- film: The role of counterpoint in A Stray Dog Amerikanische Musik im Film. Zu Arbeiten [Nora inu, dt. Ein streunender Hund, Japan des Regisseurs Dudley Murphy (1929). In: Jaz- 1949, Akira Kurosawa].” zforschung / Jazz Research 39, 2007, S. 119– In japan. Schrift. 152.

Hoffmann, Bernd: Way down upon the Hoeckner, Berthold [...]: Film music influences Suwannee River: ‚Jazz‘-Adaptionen im frühen how viewers relate to movie characters. In: experimentellen Tonfilm der USA. In: Musik – Psychology of Aesthetics, Creativity, and the Pädagogik – Dialoge. Festschrift für Thomas Arts 5,2, 2011, S. 146–153. Ott. Hrsg. v. Andreas Eichhorn u. Reinhard The study providesevidence that film music Schneider. München: Allitera Verlag 2011, S. can influence character likability and the cer- 86–103 (Musik – Kontexte – Perspektive. 1.). tainty of knowing the character’sthoughts, which are antecedents of empathetic concern and emphatic accuracy. Thus film music may Hoffmann, Bernd: Lindy Hop und Cotton beregarded as modulating antecedents of em- Club: Tanz im frühen US-amerikanischen pathic concern and empathic accuracy. Film. In: Bewegungen zwischen Hören und Se- hen: Denkbewegungen über Bewegungskünste. Hrsg. v. Stephanie Schroedter. Würzburg: Hoeckner, Berthold: Film, Music, Memory. Königshausen & Neumann 2012, S. 501–518. Chicago, Ill.: The University of Chicago Press 2019, 278 S. (Cinema and Modernity.). Hoffmann, Bernd: Ruß im Gesicht. Zur Insze- Film has shaped modern society in part by nierung US-amerikanischer Musical Shorts. changing its cultures of memory. Film, Music, In: Franz Kerschbaumer / Franz Krieger Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 84

(Hrsg.): Jazzforschung / Jazz Research (Graz: can Musical Phase: The Films of Elvis Presley Adeva Musik) 44, 2012 [2013], S. 159–184. – 3. The British Invasion Phase: A Hard Day’s Night – 4. The New Hollywood Alienation In leicht geänderter Form in: Kieler Beiträge Phase: The Graduate – 5. The Disco Phase: , 11, Sept. 2014, S. zur Filmmusikforschung Saturday Night Fever – 6. The Conservative 380–427 (online). Post-Disco Phase: Footloose and Flashdance – 7. Afterword. Hoffmann, Bernd: Alltag im Jazz-Himmel: Die Musical Shorts der 1930er Jahre. In: Musikpä- Hois, Eva Maria: (Volks)Musik im österre- dagogik und Musikkulturen. Festschrift für ichischen Heimatfilm. In: Jahrbuch des Öster- Reinhard Schneider. Hrsg. v. Andreas Eich- reichischen Volksliedwerkes 60, 2011, S. 200– horn u. Helmke Jan Keden. München: Allitera 204. Verlag 2013, S. 103–125 (Musik-Kontexte-Per- spektiven. 4.). Holbrook Morris B.: Ambi-diegetic Music in the Movies: The Crosby Duets in High Society. Hoffmann, Bernd: Musical Shorts (Einleitung). In: Consumption, Markets and Culture 8,2, June In Willem Strank / Claus Tieber (Hrsg.): Jazz 2005, S. 153–182. im Film. Beiträge zu Geschichte und Theorie eines intermedialen Phänomens. Münster: Lit- One key element in the product design of a Verlag 2014, S. 14–16 (Reihe Film. 16.). motion picture, ambi-diegetic music – that is, cinemusical material that appears on-screen (like “diegetic” music) that advances the dra- Hoffmann, Bernd: „Eisgekühlter Hot“. Visual- matic development of plot, character, or other isierungen im Westdeutschen Jazz der 1950er important cinematic themes (like “non- Jahre. In: Jazz Research News, 47, 2015, S. diegetic” music) – helps to shape the mean- 2216–2240. ings conveyed to a film’s viewing audience. By way of illustration, the present paper ex- In leicht geändert Form in: Kieler Beiträge zur amines the role of a pivotal cinemusical duet , 12, April 2016, S. 395– Filmmusikforschung (“Now You Has Jazz”) by two stellar perform- 431 (Online). ers (Bing Crosby and Louis Armstrong) in the MGM musical High Society (1956). By pairing Hoffmann, Bernd: „Jazz – Gestern und Heute“. off a middle-aged Bing Crosby with a much Anmerkungen zu einem Kurzfilm von younger Grace Kelly, this film faces the challenge of rehabilitating the image of Bing in Joachim Ernst Berendt. In: Kieler Beiträge zur time to let him plausibly win the hand of the 13, 2017, S. 103–128 (On- Filmmusikforschung, youthful Grace in the end. The mechanism for line). this recuperation appears in the symbolically central role played by the ambi-diegetic duet Hoffmann, Bernd: „Abfallprodukte des Jazz- entitled “Now You Has Jazz.” Via his visual, idioms“. Schlager als Gegenwelten improvi- musical, and historical connection with Arm- sierter Musik. In: Michael Fischer / Hans J. strong and thereby with a walking embodi- Wulff (Hrsg.): Musik gehört dazu: Der deutsch- ment of jazz iconography, Crosby attains a re- österreichische Schlagerfilm im Kontext seiner juvenated vitality to emerge as Kelly’s viable suitor of choice. Zeit. Münster: Waxmann 2019, 137–152.

Hogg, Anthony: The Development of Popular Holbrook, Morris B.: Cinemusical meanings in Music Function in Film: From the Birth of Rock motion pictures: commerce, art, and Brando ’n’ Roll to the Death of Disco. Cham, Switzer- loyalty … or … De Niro, My God, To Thee. In: land: Palgrave Macmillan 2019, ix, 174 S. (Pal- Journal of Consumer Behaviour Volume 6,6, grave Studies in Audio-Visual Culture.). Nov./Dec. 2007, S. 398–418. Inhalt: 1. Introduction – 2. The Classic Ameri- The theme of art-versus-commerce has sur- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 85

faced in many motion pictures but serves here Casablanca bis zu Spielbergs Schindlers Liste. to juxtapose three otherwise disparate films Das Ergebnis ist ein sehr persönliches Buch that draw upon the power of jazz as a force mit bewegenden Eindrücken und Erkenntnis- toward the dramatic development of charac- sen. ein überraschender Blick auf ein ter, plot, central themes, and other cinemusi- wichtiges Kapitel unserer Kulturgeschichte. cal meanings. Specifically, via the significance (Verlag) of its ambi-diegetic music, New York, New York (1977) shows the elevation of artistic integrity (Robert De Niro as Jimmy Doyle) over Hörisch, Jochen: Pop und Papageno: Über das commercialism (Liza Minnelli as Francine Spannungsverhältnis zwischen U- und E-Mu- Evans). In Heart Beat (1980), the raw honesty sik. Paderborn: Wilhelm Fink 2016, 119 S. of a committed-but-doomed creative genius Darin: 4. Zeitkünste: Der Film und die Musik (Art Pepper) provides nondiegetic music that – Das Kino als Sphäre für U- und E-Musik (S. signifies the self-destructive degradation of a 83–102). key protagonist (Nick Nolte as Neal Cassady). Finally, in The Score (2001), the appealing nature of diegetic jazz in a cinemusically-en- Hörner, Michael: Filmmusik und Musikvideo riched nightclub environment helps to ex- im Aufmerksamkeitshorizont des FFK. In: plain why a soon-to-be- reformed criminal Fest|Stellungen: Dokumentation des 25. Film- (Robert De Niro, again, as Nick Wells) would und Fernsehwissenschaftlichen Kolloquiums. risk everything in collaboration with two Hrsg. v. Thomas Nachreiner & Peter Podrez. bizarre partners (Marlon Brando as Max Marburg: Schüren 2014, S. 40–47 (Film- und Baron and Ed Norton as Jack Teller) in hopes of a payoff big enough to allow him to retire Fernsehwissenschaftliches Kolloquium. 25.). from a lucrative career in crime in order to run his legitimate jazz venue and to settle Horowitz, Michael: Leonard Bernstein: Magier down with his true love (Angela Bassett as der Musik – die Biografie. Wien: Amalthea Diane Boesman). Verlag 2017, 239, 32 ungez. S.

Hope, Daniel / Knauer, Wolfgang: Sounds of Hosono, Haruomi: Eiga o kikimashō [細野晴臣: Hollywood: Wie Emigranten aus Europa die 映画を聴きましょう ]. Tōkyō: Kinema Jun- amerikanische Filmmusik erfanden. Reinbek: pōsha 2017, 317 S. Rowohlt 2015, 319 S., 8 Bl. [„Hören wir uns den Film an“.] Daniel Hope ist als Geiger ein Weltstar. Mit In japan. Schrift. – Inhalt: Meine erste filmi- seinem Buch «Familienstücke» über die sche Erinnerung – Der erste japanische Film- Geschichte seiner jüdischen Vorfahren hat er soundtrack! – Deep SF Filmmusik – Ein be- Aufsehen erregt. Jetzt macht er sich auf die sonderer Musiker für mich – Die Auswirkun- Suche nach den Spuren deutscher und öster- gen von Science-Fiction-Filmen in der psy- reichischer Emigranten in Hollywood. Und er chedelischen Ära – Die Zeit des amerikani- entdeckt, dass der schwelgerische Sound und schen New Cinema – Germi-typische Rusti- der opulente Orchesterklang, von denen die celli-Musik [zu Pietro Germi und Carlo Rusti- Filmmusik der amerikanischen Studios bis chelli] – Die Magie der Filmmusik – Inspirie- heute geprägt ist, zum großen Teil von Kom- rende Musik von Nino Rota – Ideale andere ponisten geschaffen wurden, die vor den Kombinationen. Nazis in die USA geflohen waren. Hope trifft die Nachfahren vieler Musiker. Er zeigt, wie sehr die Traumfabrik von Los Angeles ein Ort Housh, Rich: Minimalismus und das bewegte war, an dem Gestrandete ihre Hoffnungen aus Bild. Filme und Musik von Phill Niblock. In: den Koffern kramten und ihre Träume in Musik-Texte: Zeitschrift für neue Musik 132, Musik verwandelten. Von Erich Wolfgang Ko- 2012, S. 55–61. rngold über Kurt Weill bis zu Ennio Morri- cone geht die Spurensuche des Autors, von Hitchcocks Spellbound über Michael Curtiz’ Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 86

Howell, Amanda: Popular Film Music and tion the place of film music study within mu- Masculinity in Action – A Different Tune. New sicological research, so as to understand the York/London: Routledge 2015, 175 S. (Rout- disavowal it has been subjected to. Disparities ledge Advances in Film Studies. 38.). still exist between North American and French approaches, but we will demonstrate that the progressive institutionalization of Hsu Greta: Jacks of All Trades and Masters of film music and its inclusion within musicol- None: Audiences’ Reactions to Spanning Gen- ogy are set on an encouraging path. The is- res in Feature Film Production. In: Adminis- sues specific to film music study will be ex- trative Science Quarterly 51,3, 2006, S. 420– amined in order to highlight what method- 450. ological challenges such a research object entails. We will also show how they relate to and reengage a number of reflections taking Hsu, Greta / Negro, Giacomo / Perretti, Fab- place within musicology itself. rizio: Hybrids in Hollywood: A Study of the Production and Performance of Genre Span- ning Films. In: Industrial and Corporate Change 21, 2012, S. 1427–1450.

– I – Hubbert, Julie: Modernism at the Movies: The Cabinet of Dr. Caligari and a Film Score Revis- ited. In: The Musical Quarterly 88,1, 2005, S. Imort, Peter: Rockklassiker in Filmklassikern: 63–94. ein soziokultureller Streifzug durch 50 Jahre populäre Musik im Film. In: When the film premiered in Berlin in Febru- Zwischen Rock- ary 1920, it was an enormous success with klassikern und Eintagsfliegen. 50 Jahre pop- German audiences and also with critics, who uläre Musik in der Schule. Hrsg. v. Georg were impressed by Caligari’s innovative nar- Maas. Oldershausen: Lugert 2010, S. 177–191. rative and production design. A good deal of the attention the film generated centered on Insdorf, Annette: Maurice Jaubert and its unusual scenario, which mixed elements of François Truffaut: Musical Continuities from the mystery... L’Atalante to L’Histoire d’Adèle H. In: Yale French Studies 60, 1980, S. 204–218. Hust, Christoph: Übergangsriten: Musik und Ton in Hitlerjunge Quex (1933). In: Die Indraganti, Kiranmayi: Her Majestic Voice: Tonkunst: Magazin für klassische Musik und South Indian Female Playback Singers and Musikwissenschaft 3,4, 2009, S. 443–455. Stardom, 1945–1955. New Delhi: Oxford Uni- Über den Film von Hans Steinhoff. versity Press 2016, xl, 186 S., 16 ungez. S. This work brings to light the previously un- charted history of female playback singers in Huvet, Chloé: La musicologie du cinéma. En- the South-Indian (Telugu) film industry be- jeux disciplinaires et problèmes méthodolo- tween 1945 and 1955. Playback singers such giques. In: Intersections: Canadian Journal of as R. Balasaraswati Devi, K. Jamuna Rani, Music 36,1, 2016, S. 53–84. Jikki Krishnaveni, P. Leela, and the singing Film music has been neglected for a long time actress P. Bhanumati’s contribution to play- in scholarly literature, especially in French- back singing have been studied in order to ar- speaking countries. This shortcoming is ad- rive at a more cohesive history of Indian cin- dressed since a few decades by the blossom- ema. ing of musicological and specialized analysis devoted to film music. By casting a retrospec- Ireland, David: tive glance over this young academic field Identifying and Interpreting In- called “film musicology”, we will first ques- congruent Film Music. Cham, Switzerland: Pal- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 87 grave Macmillan 2018, xii, 248 S. (Palgrave 2012, xxviii, 285 S. Studies in Audio-Visual Culture.). Contemplating Shostakovich marks an impor- Based on the autor’s PhD diss.: The Influence tant new stage in the understanding of of Incongruence on Perceived Emotional mean- Shostakovich and his working environment. ing in the Film Sound. University of Leeds Each chapter covers aspects of the composer’s 2012. output in the context of his life and cultural milieu. The contributions uncover ‘outside’ stimuli behind Shostakovich’s works, allow- Itō, Tōru: Terayama Shūji “sho o suteyo, ma- ing the reader to perceive the motivations be- chi e deyou” eiga ni okeru ongaku no kinō [伊 hind his artistic choices; at the same time, the 藤徹: 寺山修司《書を捨てよ、町へ出よう》 nature of those choices offers insights into the ・映画における音楽の機能]. In: Kyōtokōgei- workings of the larger world – cultural, so- sen'idaigaku gakujutsu hōkoku-sho [京都工芸 cial, political – that he inhabited. Thus his of- 繊維大学学術報告書] = Bulletin of Kyoto Insti- ten ostensibly quirky choices are revealed as tute of Technology 10, 2017, S. 1-21. responses – by turns sentimental, moving, sardonic and angry – to the particular condi- “The functions of music in film and Terayama tions, with all their absurdities and contradic- Shūji’s Throw Away Your Books and Rally in tions, that he had to negotiate. Here we see the Streets.” the composer emerging from the role of tor- In japan. Schrift. – Zur Musik in Shūji Teraya- tured loner of older narratives into that of the mas experimentellem Spielfilm Werft die Bü- gregarious and engaged member of his soci- cher weg und geht auf die Straße (Japan 1971). ety that, for better and worse, characterized – Abstract: Dieses Paper ist ein Versuch, die the everyday reality of his life. This invaluable Funktion von Musik in einem Film zu be- collection offers remarkable new insight, in trachten, wobei der Film Werft die Bücher weg both depth and range, into the nature of und geht auf die Straße (1971) von Shūji Tera- Shostakovich’s working circumstances and of yama als Hinweis verwendet wird. Zuerst his response to them. The collection contains werden Terayamas grundlegende Absichten the seeds for a wide range of new directions in Bezug auf die Beziehung zwischen dem in the study of Shostakovich’s works and the Subjekt der ästhetischen Erfahrung und dem larger contexts of their creation and recep- Objekt und der Dekonstruktion der Handlung tion. bestimmt, und dann wird die Diskontinuität oder Desorganisation dieses Films extrahiert. Es wird jedoch klargestellt, dass diese Schwä- Iversen, Gunnar / Tiller, Asbjørn: Lydbilder: chen in der Dramaturgie das sind, was Tera- mediene og det akustiske. Oslo: Universitetsfor- yama selbst beabsichtigt hat, indem er das ur- laget 2014, 203 S. sprüngliche Drehbuch und die Spuren seiner Wir haben eine starke Tradition darin, die vi- Umschreibung nachzeichnet. Nachdem in vier suelle Seite von Film und Fernsehen zu analy- Fällen bestätigt wurde, dass eine eng mit sieren, aber die Tonstudien sind weniger ent- Musik verwandte Szene in Form des Aus- wickelt. «Lydbilder» ["Tonbilder"] ist eine schneidens der Grundhandlung in diesen Film Einführung in Ton in Film, Fernsehen und eingefügt wurde, wird die Funktion der Musik moderner Kunst. – Die Autoren geben zu- in diesem Film zwangsläufig generiert. [...] Im nächst eine allgemeine Einführung in Klang letzten Kapitel wird in diesem Beitrag mit Hil- und Theorien über Klang in den Medien und fe von Siegfried Krakauers Filmtheorie die wie Klang in verschiedenen Genres und spezi- Funktion der Musik in diesen Filmen gegen fischen Texten funktioniert. Sie diskutieren, die tragische kreative Position dargestellt, die was Ton ist, welche Funktionen er in ver- Aristoteles der Musik in der Poesie zugewie- schiedenen Erzählungen hat, die Beziehung sen hat. [...] zwischen Ton und Bild und die technologische Entwicklung auf dem Gebiet des Tons. – Ivaškin, Aleksandr V. / Kirkman, Andrew Teil Zwei besteht aus der Analyse von (eds.): Contemplating Shostakovich: Life, Music Medientexten, bei denen der Schwerpunkt auf der Funktion des Klangs liegt. Die Analysen and Film. Burlington, VT/Farnham: Ashgate Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 88 konzentrieren sich auf Filme (Oslo, 31. August und die Alien-Filme), Fernsehserien (Mad Men und Boardwalk Empire), Dokumentarserien (Madagaskar und Kingdom of Plants) und auf Klang in der modernen Kunst (z. B. die Ton- – J – skulptur Flyndre). Inhalt: DEL 1. LYD OG AUDIO VISUELLE MEDIER (Gunnar Iversen/Asbjørn Tiller) / 15: Jacobs, Lea: Film Rhythm after Sound: Tech- – Innledning – Hva er lyd? – Lyd og teknolo- nology, Music, and Performance. Oakland, Cal.: gi – Lydfilmen – Målbar og opplevd lyd – University of California Press 2015, XII, 266 S. Opplevelse av rom – Sammenstilling av lyd Inhalt: Introduction: film rhythm and the og bilde – Merverdi – Postsynkronisering – problem of sound. A lesson with Eisenstein: Lydgjengivelse – Lydens grunnleggende rhythm and pacing in Ivan the Terrible, Part I / funksjoner – Fire typer lyd – Lydanslaget i Mickey Mousing reconsidered / Lubitsch and Apocalypse Now – Tre helikopterlyder – Die- Mamoulian / Dialogue timing and perfor- getisk og ikke-diegetisk lyd – Subjektiv og mance in Hawks. objektiv lyd – Dynamikk – Dynamiske skifter – Lyd og musikk – Å bygge broer – Stemmer The seemingly effortless integration of sound, og dialog – Lyd og følelser – Lydm edier. – movement, and editing in films of the late DEL 2. SEKS LYDANALYSER: – Lyden av Os- 1930s stands in vivid contrast to the awk- lo den 31. august (Gunnar Iversen) / 101: – En wardness of the first talkies. Film Rhythm af- mann og en by – Norsk film med fransk for- ter Sound analyzes this evolution via close ex- bilde – Lyddesignerens rolle – Lydens per- amination of important prototypes of early sepsjonspunkt og subjektivitet – Byens lyder sound filmmaking, as well as contemporary – Musikk og stemning – Livets ekkopunkt. – I discussions of rhythm, tempo, and pacing. Ja- verdensrommet kan ingen høre deg skrike cobs looks at the rhythmic dimensions of per- (Asbjørn Tiller) / 118: – Lyden i verdensrom- formance and sound in a diverse set of case met – Filmlydens dynam ikk – Klaustrofobisk studies: the Eisenstein-Prokofiev collabora- stillhet og lyd – Betydningen av offscreen-lyd tion Ivan the Terrible, Disney’s Silly Sym- – Et lydfylt filmatisk verdensrom. – Lyden av phonies and early Mickey Mouse cartoons, fortiden (Gunnar Iversen) / 129: – Fjernsynet musicals by Lubitsch and Mamoulian, and the impeccably timed dialogue in Hawks’s films. som lydmedium – Mad Men – Fortidens lyd- landskap – Stemningsskapende musikk – Jacobs argues that the new range of sound technologies made possible a much tighter Boardwalk Empire – Musikalsk dobbeltekspo- nering – Lyden av 1920-årene – Lyden av for- synchronization of music, speech, and move- tiden. – Naturens lyder (Gunnar Iversen) / ment than had been the norm with the live 151: – Tre lydkategorier – Lydteknologi, san- accompaniment of silent films. Filmmakers in selighet og naturfølelse – Fjernsynsstemmene the early years of the transition to sound ex- – I villmarken – Lyden av planter – Naturens perimented with different technical means of lyder. – Kunstens lydrom (Asbjørn Tiller) / achieving synchronization and employed a 165: – Kunstens lyd – Rommets lyd – Forestil- variety of formal strategies for creating linger av rom. – Flyndras sang (Asbjørn Til- rhythmically unified scenes and sequences. Music often served as a blueprint for rhythm ler) / 177: – Møtet med Flyndra – Lydbilder i and pacing, as was the case in mickey mous- lydmiljø – Lagvislyd – Flyndras rom – Tekno- logibasert lydkunst – Skulpturen skaper et ing, the close integration of music and move- nytt lydrom. – Etterord / 191 – Litteratur / 193 ment in animation. However, by the mid- – Stikkord / 198. 1930s, filmmakers had also gained enough control over dialogue recording and editing to utilize dialogue to pace scenes independently of the music track. Jacobs’s highly original study of early sound-film practices provides significant new contributions to the fields of film music and sound studies. Rev. (Shpolberg, Masha) in: Film Quarterly Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 89

68,4, 2015, S. 101 – 102. – Rev. (Jones, Kent) James, David E.: Rock ’n’ Film: Cinema’s in: Film Comment 51,3, 2015, S. 78. – Rev. Dance with Popular Music. New York/Oxford: (Pipolo, Tony) in: Cineaste 41,3, 2016, S. 76 – Oxford University Press 2016, 470 S. 77. – Rev. (Wang, George Chun Han) in: Jour- nal of Film and Video 69,2, 2017, 58 –59. Inhalt: Introduction: rock ’n’ film – Absolute beginnings: Blackboard Jungle – Jukebox musicals – Dirty stars: Jayne Mansfield and Ken- Jaglarz, Barbara / Bemmerlein, Georg: Film- neth Anger – Rock ’n’ roll noir: Elvis before musik im Musikunterricht: 38 originelle Ar- the army – Sunshine Elvis: The devil in dis- beitsblätter zu „Madagascar“, „Star Wars“, guise (inc morphology of the Elvis movie) – „Herr der Ringe“ & Co. Hamburg: Persen 2020, Back in the UK: the English Elvises – Beatles 48 S. (Bergedorfer Unterrichtsideen.). I: Richard Lester and A Hard Day’s Night – Beatles II: next morning – Bringing it all back home: toward the folk documentary – D.A. Jahn, Konstantin: Hipster, Gangster, Femmes Pennebaker: documentary from folk to folk Fatales: Eine cineastische Kulturgeschichte des rock and rock – Utopia and its discontents: Jazz. München: et+k, edition text + kritik Woodstock – The Rolling Stones I: the great- 2016, 304 S. est rock ’n’ film band in the world – Mick Jag- ger, demon brother – The Rolling Stones II: Zuerst: Diss., Dresden: Hochschule für Musik the U.S. tours, from concert film to film con- „Carl Maria von Weber“, u.d.T.: Die semanti- cert: Back to black: soul – And white: country schen Wandlungen des Jazz in der Filmmusik. – Retrospection and reflexivity: rock ’n’ film Inhaltsüberblick: I. Theorie und Methodik / 13. suicide. – II. Jazz und früher Stummfilm / 30. – III. Exzess, Emanzipation und Kunst im Jazz Age / 60. – IV. Jazz und der frühe amerikanis- Janz, Tobias: Soundtrack des Mythos. Zum che Tonfilm / 77. – V. Das jazzige Hollywood- musikalischen Design der James Bond-Filme. Musical / 96. – VI. Der Swing Craze / 111. – In: Astrid Böger, Marc Föcking (Hrsg.): James VII. Deutscher Exkurs: Jazz und Ideologie im Bond. Die Anatomie eines Mythos. Heidelberg: swingenden Schlagerfilm / 123. – VIII. Die Winter 2012, S. 185–222. Stadt, der Sex und der Rausch: Film noir, sozialer Problemfilm und der »Hollywood Jazz« der 1950er Jahre / 131. – IX. Die Etablie- Janz, Tobias: Filmmusik ohne Film? Charles rung des Jazz in der Filmmusikkomposition / Koechlins „The seven star’s symphony“. In: 157. – X. Action, Horror, Porno und Science- Klang und Semantik in der Musik des 20. und Fiction: Jazz im Genre-Kino / 179. – XI. Jazz- 21. Jahrhunderts. Hrsg. v. Jörn-Peter Hiekel & Cartoons: Carl Stalling, Raymond Scott und Wolfgang Mende. Bielefeld: transcript 2016, S. Jazz als postmodernes Konzept / 207. – XII. 97–116. Abstraktion und absolute Nähe: Experimen- talfilm und Dokumentation / 214. – XIII. Be- deutungsverlust und Verdichtung der Klis- Jaszoltowski, Saskia: Warum Wagner? chees: Jazz im Film seit den 1980er Jahren / Musikalische Grenzüberschreitungen in (Ze- 227. – XIV. Conclusio: Jazz in Film und Film- ichentrick-)Filmen. In: Archiv für Musikwis- musik als Spiegel sozialer und ästhetischer senschaft 69,2, 2012, S. 154–164. Entwicklungen / 239. – Quellenverzeichnis / 251 – Literaturliste (inkl. Noten und Online- Jaszoltowski, Saskia: Animierte Musik – Be- Dokumente) / 251 – Internetquellen (Websei- seelte Zeichen. Tonspuren anthropomorpher ten, Webvideos, Webforen etc.) / 276 – Sonsti- Tiere in Animated Cartoons. Stuttgart: Steiner ges / 277 – Gemälde / 278 – Diskografie / 278 2013, 206 S. (Archiv für Musikwissenschaft. – Songs / 279 – Glossar / 280 – Abbildungs- Beihefte. 74.]. verzeichnis / 285 – Filmografie (inkl. TV-Seri- en und Serienepisoden) / 291. Zugl.: Freie Universität Berlin, Diss., 2012. Zeichentrickfilme mit Mickey Mouse, Tom und Jerry oder Bugs Bunny waren in Holly- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 90

woods Goldenem Zeitalter integraler Be- Jaszoltowski, Saskia: Zur audiovisuellen Ana- standteil des Kinoprogramms und erfreuten lyse von Musik im Film. In: Gabrielle Busch- sich größter Beliebtheit. Mit Anbruch des meier, Klaus Pietschmann (Hrsg.): Tonfilms konnten sich die Cartoonfiguren Beitragsarchiv des Internationalen Kongresses nicht nur visuell gebärden, sondern auch der Gesellschaft für Musikforschung, Mainz durch Musik, Geräusche und Stimme unmit- 2016 – „Wege der Musikwissenschaft“. Mainz: telbar akustisch äußern, um beim Publikum Schott Campus 2017, S. 1–12. eine der menschlichsten emotionalen Reaktio- nen auszulösen: das Lachen. Das Buch untersucht das konstitutive Zusammenspiel von Jaszoltowski, Saskia: On the Impact of Voids: Bild und Ton in jenen Filmen, die bis heute Musical Silence and Visual Absence in Film. nichts an Durchschlagkraft verloren haben. In: Werner Wolf, Nassim Balestrini, Walter Aus historischer, technischer und analytischer Bernhart (eds.): Meaningful Absence Across Perspektive wird in dieser Studie das Genre Arts and Media. The Significance of Missing der animierten Kurzfilme erschlossen und Signifiers. Leiden/Boston: Brill/Rodopi 2019, S. dabei die Besonderheit des Soundtracks her- 87–100. ausgearbeitet, der die Glaubwürdigkeit der id- iosynkratischen Mensch-Tier-Hybride maßge- blich befördert. Mit weitreichenden Bezügen Jaszoltowski, Saskia: Disturbing Silences and zur Ästhetik und Emotionsforschung erklärt Open Narratives: Musical Gaps in Fictive and Saskia Jaszoltowski anschaulich, wie Film- Documentary Moving Images. In: Walter musik die gezeichneten Karikaturen lebendig Bernhart, David Francis Urrows (eds.): Music, und menschlich werden lässt. (Verlag) Narrative and the Moving Image: Varieties of Plurimedial Interrelations. Leiden/Boston: Brill/Rodopi 2019, S. 17–28. Jaszoltowski, Saskia: Langohrige Helden und gefiederte Diven. Reflexionen über Opern und Animated Cartoons in vier Akten. In: Kieler Jaszoltowski, Saskia / Riethmüller, Albrecht: Beiträge zur Filmmusikforschung 11, 2014, S. Musik im Film. In: Holger Schramm (Hrsg.): 57–77. Handbuch Musik und Medien. Konstanz. Kon- stanz: UVK 2009, S. 149–175. Jaszoltowski, Saskia: Capturing Music as a Repr.: Handbuch Musik und Medien: Interdiszi- Protagonist. Audiovisual Narration in Films plinärer Überblick über die Mediengeschichte by Jim Jarmusch. In: Enrique Encabo Fernán- der Musik. Wiesbaden: Springer VS 2019 dez (ed.): (Re)inventig Sound: Music and Audio- [2018], S. 95–122. visual Culture. Newcastle upon Tyne: Cam- bridge Scholars 2015, S. 175–187. Joe, Jeongwon: Reconsidering Amadeus: Mozart as Film Music. In Changing Tunes: The Jaszoltowski, Saskia: Belebende Musik: Zur Use of Pre-existing Music in Film. Ed. by Phil Akustik der animierten Welt um 1930. In: Powrie & Robynn Stilwell. Aldershot: Ashgate Franziska Bruckner, Erwin Feyersinger, 2006, S. 57–73. Markus Kuhn, Maike Sarah Reinerth (Hrsg.): Nachdr. London: Routledge 2017. In Bewegung setzen …: Beiträge zur deutschsprachigen Animationsforschung. Hamburg: Springer 2016, S. 57–70. Joe, Jeongwon: Opera as Soundtrack. Surrey: Ashgate 2013, xv, 207 S. Jaszoltowski, Saskia: Memory, Spectacle, and Inhalt: Opera as geno-song – Opera in cine- the Image of Songs. In: Ivana Perkovic & matic death – Opera in Woody Allen’s Match Franco Fabbri (eds.): Musical Identities and Eu- Point – Is cinema’s anxiety opera’s envy? – ropean Perspective: An Interdisciplinary Ap- Film divas: the problem and the power of the proach. Frankfurt: Peter Lang 2017, S. 145– singing women – Behind the discourse on the 160. opera-cinema encounter. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 91

Filmmakers’ fascination with opera dates proach that spans ethnomusicology and cul- back to the silent era but it was not until the tural studies, he reveals this body of work to late 1980s that critical enquiries into the in- be a product of a musical and cultural cos- tersection of opera and cinema began to mopolitanism in the service of a nation-mak- emerge. Jeongwon Joe focusses primarily on ing process based on ideas of Malay ethnona- the role of opera as soundtrack by exploring tionalism, initially fluid but increasingly ho- the distinct effects opera produces in film, ef- mogenized over time. Malay film music of the fects which differ from other types of sound- period covertly expressed radical sentiments track music, such as jazz or symphony. These despite being produced within a commercial- effects are examined from three perspectives: ized film industry. peculiar qualities of the operatic voice; various properties commonly associated with opera, such as excess, otherness or death; and Johnson, Bruce (ed.): Earogenous Zones: Sound, multifaceted tensions between opera and cin- Sexuality and Cinema. London/Oakville: ema – for instance, opera as live, embodied, Equinox 2010, x, 246 S. high art and cinema as technologically medi- Auch: [Ann Arbor, MN]: ProQuest 2010. ated, popular entertainment. Joe argues that when opera excerpts are employed on sound- This collection exemplifies a variety of ap- tracks they tend to appear at critical moments proaches to the sonic representation of sexu- of the film, usually associated with the pro- ality in cinema. It draws on a range of sexual tagonists, and the author explores why it is scenarios from pornography to sci-fi to art- opera, not symphony or jazz, that accompa- house and includes cinema from various cul- nies poignant scenes like these. Joe’s film tures and countries. Among the topics ad- analysis focuses on the time period of the dressed are how the deployment of sound is post-1970s, which is distinguished by an in- implicated in gender politics in the represen- crease of opera excerpts on soundtracks to tation of sexuality and how sounds are able to blockbuster titles, the commercial recognition radically colour and even override the visual of which promoted the production of numer- and lexical content of a film. ous opera soundtrack CDs in the following Inhalt: S. 12–37: Sound decisions: Interviews years. Joe incorporates an empirical method- with Ole Ege / Bruce Johnson. – S. 38–53: Be- ology by examining primary sources such as yond the Valley of the ultra cliche: Erotic production files, cue-sheets and unpublished plentitude in the films of Russ Meyer / Mark interviews with film directors and composers Evans & Matt Burgess. – S. 54–65: The dy- to enhance the traditional hermeneutic ap- namics of sound in Bertolucci’s Last Tango in proach. The films analysed in her book in- Paris, The Last Emperor and The Sheltering clude Woody Allen’s Match Point, David Cro- Sky / Lesley Chow. – S. 66–88: Depraved de- nenberg’s M. Butterfly, and Wong Kar-wai’s sire: Sadomasochism, sexuality and sound in 2046. the mid-1970s cinema / Clarice Butkus. – S. 89–101: The peculiar ‘love’ music in Oshima’s Ai no korida / James Wierzbicki. – S. 102–124: Johan, Adil: Scoring Tradition, Making Na- Lust in space: Science fiction themes and sex tion: Zubir Said’s Traditionalised Film Music cinema (1960–82) / Philip Hayward. – S. 125– for Dang Anom. In: Malaysian Journal of Mu- 139: Science fiction themed porn cinema and sic 6,1, 2017, S. 50–72. its soundtracks 1990–2010 / Philip Hayward & Emil Stoichkov. – S. 140–157: Music in New Zur Musik in Hussain Haniffs Film von 1962. wave hookers carries the joke / Laura Wiebe Taylor. – S. 158–173: Making “a mall movie Johan, Adil: Cosmopolitan Intimacies: Malay about a man with a 13–inch penis”: Popular music representations of pornographic inten- Film Music of the Independence Era. Singapore: tion / Liz Giuffre. – S. 174–189: Musical loops: NUS Press 2018, xxvii, 387 S. Eyes Wide Shut ... Ears wide open / Kevin Clif- Drawing on analyses of lyrics and music, in- ton. – S. 190–202: Sound, sex and aural domi- terviews with musicians, and the content of nance in 9 Songs / Andrea Warren. – S. 203– Malay entertainment magazines, in an ap- 216: Music, image, orgasm: Getting off on the Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 92

Shortbus / Marianne Tatom Letts. – S. 217– ten die Beiträger die intermedialen Verflech- 233: In extremis: The roots, soundscapes and tungen sowie die internationale Dimension significations of twenty-first-century zombie seines Œuvre, das grenzüberschreitend zwi- porn / Ralph G. Marsh. schen Fin de Siècle und Moderne angesiedelt ist. Inhalt: Arne Stollberg: Das fröhliche Herz. Johnston, Nessa: The Voiceless Acousmêtre: Korngolds Leitmetapher zwischen Ideologie, Paranormal Activity’s Digital Surround Sound Ästhetik und kompositorischer Funktion / 1. Demon. In: Music, Sound, and the Moving Im- – Claudia Breitfeld: Was der Wald erzählt – age 9,2, 2015 (Special Issue: “Musical Screens: ein früher Klavierzyklus des 12-jährigen Musical Inventions, Digital Transitions, Cul- Korngold / 27. – Stephan Diedrich: „Und wenn tural Critique”. Guest ed.: James Tobias), S. sie nicht gestorben sind ...“ Zur Charakterisie- 131–144. rungskunst des jungen Korngold in seinen op. 3 / 49. – Ute Jung-Kaiser: Paranormal Activity’s (2007) ‘found footage’ Märchenbildern horror conceit hinges upon the efforts of yup- Korngolds Ballettpantomime Der Schneemann pie Micah to use his digital video camera to (1908) – das vielversprechende Werk eines capture proof of his girlfriend’s supernatural „Wunderkindes“ / 67. – Clemens Höslinger: visitations. Micah concentrates on capturing „Der arme Junge hat gestern bitterlich visual evidence but the demon remains elu- geweint ...“. Zur ersten Aufführung der Ballett- sive. Only ephemeral effects of its presence pantomime Der Schneemann an der Wiener are captured visually – instead, the invisible Staatsoper am 4. Oktober 1910 / 109. – Clau- demon is embodied sonically. This article will dia Maria Korsmeier: Zu Korngolds frühem concentrate on this sonic embodiment within Liedschaffen / 125. – Annette Simonis: Korn- the broader context of found footage horror’s golds Violanta im kulturgeschichtlichen Kon- text des Fin de Siècle — eine Femme forte im cultural significance. Though Paranormal Ac- Zeichen der Venus Verticordia / 149. – Arne tivity mainly employs a screen-centred 2.0 stereo sound mix in keeping with its ‘home Stollberg: „Wirkung ohne Ursache“ oder movie’ sound aesthetic, it later uses the sur- „Oper pur“? Erich Wolfgang Korngolds Die round channels so that the eerie, demonic tote Stadt hinter den Klischees ihrer Rezeption sound ‘creeps’ into the full 5.1 surround / 173. – Kerstin Schüssler-Bach: Der „Traum sound field. Referring to Michel Chion’s and der Wiederkehr“ als Versuchsanordnung. Zu Randolph Jordan’s theorisations of the acous- Karoline Grubers Hamburger Inszenierung mêtre as an unseen diegetic character whose der Toten Stadt (2015) / 189. audible voice is imbued with mysterious power, and Mark Kerins’ work on digital sur- Jünger, Hans: Unpopuläre Filmmusik. In: Bil- round sound, this article argues that Paranor- dung, Musik, Kultur – Horizonte öffnen: [BMU, mal Activity opens up a space beyond the Bundesverband Musikunterricht, 2. Bundes- screen for the digital surround sound demon to ‘haunt’ the exhibition space sonically as a kongress Musikunterricht, Leipzig 2014]. voiceless acousmêtre beyond its ‘home movie’ Hrsg. v. Dorothee Barth, Ortwin Nimczik, Mi- digital screen. chael Pabst-Krueger. Kassel/Mainz: BMU, Bundesverband für Musikunterricht 2015, S. 185–191 (Musikunterricht. 2.). Jung-Kaiser, Ute / Simonis, Annette (Hrsg.): Erich Wolfgang Korngold, „der kleine Mozart“. Justus, Timothy: Toward a Naturalized Aes- Das Frühwerk eines Genies zwischen Tradition thetics of Film Music: An Interdisciplinary Ex- . Hildesheim/Zürich/New York: und Fortschritt ploration of Intramusical and Extramusical Georg Olms 2017, xiii, 211 S. (Wegzeichen Meaning. In: Projections 13,3, 2019, S. 1–22; Musik. 12.). [URL]. Der Sammelband widmet sich schwerpunkt- In this article, I first address the question of mäßig Korngolds Frühwerk, in dem die Fun- how musical forms come to represent mean- damente seiner späteren epochemachenden ing – that is, the semantics of music – and il- Filmmusiken liegen. Darüber hinaus beleuch- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 93

lustrate an important conceptual distinction the use of silence in early Soviet sound film / articulated by Leonard Meyer in Emotion and Emma Widdis. – The problem of heteroglossia Meaning in Music between absolute or intra- in early Soviet sound cinema (1930-35) / musical meaning and referential or extramu- Evgeny Margolit. – Challenging the voice of sical meaning through a critical analysis of God in World War II-era Soviet documen- two recent films. Second, building examples taries / Jeremy Hicks. – Vocal changes: Mar- of scholarship around a single piece of music lon Brando, Innokenty Smoktunovsky, and frequently used in film – Samuel Barber’s the sound of the 1950s / Oksana Bulgakowa. – Adagio for Strings – I follow the example set Listening to the inaudible foreign: simultane- by Murray Smith in Film, Art, and the Third ous translators and Soviet experience of for- Culture and discuss the complementary ap- eign cinema / Elena Razlogova. – Kino- proaches of the humanities, the behavioral muzyka: theorizing Soviet film music in the sciences, and the natural sciences to under- 1930s / Kevin Bartig. – Listening to Muzykalʹ- standing music and its use in film. naia istoriia (1940) / Anna Nisnevich. – The music of landscape: Eisenstein, Prokofiev, and the uses of music in Ivan the Terrible / Joan Neuberger. – The full illusion of reality: re- pentance, polystylism, and the late Soviet soundscape / Peter Schmelz. – Russian rock – K – on Soviet bones / Lilya Kaganovsky. Rev. (Cavendish, Philip) in: Studies in Russian Kaganovsky, Lilya / Masha Salazkina (eds.): and Soviet Cinema 8,3, 2014, S. 250–251. – Rev. Sound, Speech, Music in Soviet and Post-Soviet (Paranyuk, Vika) in: Film Quarterly 67,4, 2014, Cinema. Bloomington, IN/Indianapolis: Indi- S. 84–85. – Rev. (Rowin, Michael Joshua) in: ana University Press 2014, viii, 299 S. Cineaste 40,2, 2015, S. 78–79. – Rev. (Young- blood, Denise J.) in: Slavic Review 74,2, 2015, Challenges the ways we look at both cinema S. 424–425. – Rev. (Jacq, Jasmine) in: Russian and cultural history by shifting the focus from Journal of Communication 8,2, 2016, S. 202– the centrality of the visual and the literary to- 205. ward the recognition of acoustic culture as formative of the Soviet and post-Soviet experience. Leading experts and emerging schol- Kajii, Naochika: Monogatari-nai no BGM to ars from film studies, musicology, music the- jōkyō no henka wa animēshon rikai katei ni ory, history, and cultural studies examine the dono yō ni eikyō suru ka [梶井直親: 物語内の importance of sound in Russian, Soviet, and BGM と状況の変化はアニメーション理解過程 post-Soviet cinema from a wide range of in- にどのように影響するか ]. In: The Japanese terdisciplinary perspectives. Addressing the Journal of Cognitive Psychology 15,1, 2017, 1– little-known theoretical and artistic experi- 12. mentation with sound in Soviet cinema, changing practices of voice delivery and “How changes in background music and situ- translation, and issues of aesthetic ideology ations influence the processes of animation and music theory, this book explores the cul- comprehension.” tural and historical factors that influenced the In japan. Schrift. – Abstract: This study exam- use of voice, music, and sound on Soviet and ines the factors that influence the processes of post-Soviet screens. animation comprehension. To that aim, the Inhalt: From the history of graphic sound in study both applies the Event-Indexing Model, the Soviet Union, or, Media without a medium which is a model of textual comprehension, to / Nikolai Izvolov. – Silents, sound, and mod- elucidating the factors that influence the com- ernism in Dmitry Shostakovich’s score to The prehension of animations and examines New Babylon / Joan Titus. – To catch up and whether those factors differ according the an- overtake Hollywood: early talking pictures in imation genre by contrasting two genres. The the Soviet Union / Valerie Pozner. – ARRK factors investigated are the five situational di- and the Soviet transition to sound / Natalie mensions proposed by the Event-Indexing Ryabchikova. – Making sense without speech: Model, as well as both the introductions and Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 94

endings of background music (BGM). The re- Kalinak, Kathryn [Marie]: Performance prac- sults of multiple regression analysis, con- tices and music in early cinema outside Holly- ducted on shot-by-shot reaction times as the wood. In: The Oxford Handbook of Film Music dependent variable, indicate that the situa- Studies. Oxford/New York: Oxford University tional dimensions that influence animation Press 2014, S. 611–619. comprehension vary for different genres. In contrast, the results also indicate that the BGM endings influence comprehension pro- Kalinak, Kathryn [Marie] (ed.): Sound: Dia- cesses irrespective of the genre. In addition to logue, Music, and Effects. New Brunswick, N.J.: indicating that BGM can potential enhance Rutgers University Press 2015, 224 S. (Behind the updating of situational model, these find- the Silver Screen.). ings also provide hints for animation produc- Sound has always been an integral compo- tion that can potentially facilitate audience nent of the moviegoing experience. Even dur- comprehension. ing the so-called “silent era,” motion pictures were regularly accompanied by live music, Kalinak, Kathryn (ed.): Music in the Western: lectures, and sound effects. Today, whether Notes from the Frontier. New York [...]: Rout- we listen to movies in booming Dolby the- ledge, 2012, ix, 237 S. (The Routledge Music aters or on tiny laptop speakers, sonic elements hold our attention and guide our emo- and Screen Media Series.). tional responses. Yet few of us are fully aware Presents essays from both film studies schol- of the tremendous collaborative work, involv- ars and musicologists on core issues in west- ing both artistry and technical wizardry, re- ern film scores: their history, their generic quired to create that cinematic soundscape. conventions, their operation as part of a nar- Sound, the latest book in the Behind the Sil- rative system, their functioning within indi- ver Screen series, introduces key concepts, vidual filmic texts and their ideological im- seminal moments, and pivotal figures in the port, especially in terms of the western’s con- development of cinematic sound. Each of the struction of gender, sexuality, race and ethnic- book’s six chapters cover a different era in the ity. The Hollywood western is marked as history of Hollywood, from silent films to the uniquely American by its geographic setting, digital age, and each is written by an expert in prototypical male protagonist and core Amer- that period. Together, the book’s contributors ican values. Music in the Western examines are able to explore a remarkable range of past these conventions and the scores that have and present film industry practices, from the shaped them. But the western also had a re- hiring of elocution coaches to the marketing sounding international impact, from Europe of soundtrack records. to Asia, and this volume distinguishes itself Inhalt: Introduction / Kathryn Kalinak – 1. by its careful consideration of music in non- The silent screen, 1894–1927 / James Hollywood westerns, such as Ravenous and Wierzbicki – 2. Classical Hollywood, 1928– The Good, the Bad, and the Ugly and in the 1946 / Kathryn Kalinak – 3. Postwar Holly- “easterns” which influenced them, such as Yo- wood, 1947–1967 / Nathan Platte – 4. The au- jimbo. teur renaissance, 1968–1980 / Jeff Smith – 5. Other films discussed include Wagon Master, The new Hollywood, 1981–1999 / Jay Beck High Noon, Calamity Jane, The Big Country, with Vanessa Theme Ament – 6. The modern The Unforgiven, Dead Man, Wild Bill, There entertainment marketplace, (2000–present) / Will Be Blood and No Country for Old Men. Mark Kerins. Contributors: Ross Care – Corey K. Creekmur – Yuna de Lannoy – K. J. Donnelly – Caryl Flinn – Claudia Gorbman – Kathryn Kalinak Kalinak: Kathryn / Neumeyer, David: Settling – Charles Leinberger – Matthew McDonald – the Score. [Rev. Art. of: Strains of Utopia, by Peter Stanfield – Mariana Whitmer – Ben Caryl Flinn; and Settling the Score, by Kathryn Winters. Kalinak.] In: Journal of the American Musico- logical Society 47,2, 1994, S. 364–385. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 95

Kampe, Gordon: »Die Musik ist wie die Ka- Inhalt: Lars Oberhaus: Jazz erzählt – Narrativ- mera ...«: Beobachtungen zu filmischen Ver- ität zwischen Konstruktion und Improvisation fahren in Adriana Hölszkys Oper Giuseppe e in Jazzfilmmusik der 1950er Jahre / 205. – An- Sylvia (1998–2000). In: Seiltanz: Beiträge zur dreas Blödorn: Bild/Ton/Text. Narrative Ko- Musik der Gegenwart 17, Oktober 2018, S, 18– härenzbildung im Musikvideo, am Beispiel 34. von Rosenstolz: Ich bin ich (Wir sind wir) / 223. – Oliver Krämer: Erzählstrategien im Vi- deoclip am Beispiel des Songs Savin’ Me der Kaneko, Katsushi: Hikaku kōka-on kō: Jiburi kanadischen Rockband Nickelback / 243. – eiga no hi-mai-ban no hikaku kara [兼古勝史: Laura Sulzbacher, Monika Socha: Forschungs- 比較効果音考: ジブリ映画の日・米版の比較か übersicht zum unzuverlässigen, audiovi- ら]. In: Ongaku kyōiku media kenkyū [音楽教 suellen und musikalischen Erzählen im Film / 育メディア研究] = Music Education Media 4, 255. 2018, S. 27-35. “Comparative Study of Sound Effects: The Kawaguchi, Miki: Ongaku ga eiga ni ataeru Difference between Japanese and North Ame- kōka: Harī Pottā to Rōdo obuza Ringu to no rican Versions in GHIBLI’s Film.” hikaku [実希: 音楽が映画に与える効果: ハリー In japan. Schrift. ポッターとロードオブザリングとの比較]. In: Ningen bunka [ 人間文化 ] = Humanities and Sciences (H&S) 38, 2015, S. 95–105. Kassabian, Anahid: Ubiquitous Listening: Af- fect, Attention, and Distributed Listening. „Die Wirkung von Musik auf Filme: Ein Ver- Berkeley: University of California Press 2013, gleich zwischen Harry Potter und Lord of the xxx, 151 S. Rings“. In japan. Schrift. From the conclusions of the book: This book may have seemed an idiosyncratic journey. From music at home to experimental video Kazarian, Alina Robertivna: Kinomuzyka art to sensory films to TV musical episodes to ukrayinskykh kompozytoriv u doslidzhen- Armenian jazz to Putumayo albums, what nyakh vitchyznyanykh mystetstvoznavtsiv holds these items together is far from obvi- [Казарян, Аліна Робертівна: Кіномузика ous, when inventoried by object. But that is, as I hope has become clear along the way, my українських композиторів у дослідженнях point. There are very few kinds of music that вітчизняних мистецтвознавців]. In: Visnyk are not listened to as ubiquitous music, and in NAKKKiM 2, 2014, S. 243–247; [URL]. fact listened to frequently in that way. From „Die Filmmusik ukrainischer Komponisten in classical music in restaurants and cars to der Forschung einheimischer Kunstkritiker.“ techno in clubs and on condo websites, very In kyrill. Schrift. – Abstract: Der Artikel ana- little music escapes this... lysiert die Werke einheimischer Kunstkritiker, die sich ukrainischen Komponisten und ihrer Kassabian, Anahid: Sound and the Moving Arbeit für das Kino widmen. Basierend auf dem musikalischen Material bekannter ukrai- Image: The Present and a Future? In: The Ash- nischer Komponisten wie B. Lyatoshynsky, I. gate Research Companion to Popular Musicol- Shamo und M. Skoryk werden die Besonder- . Ed. by Derek B. Scott. Farnham/Burling- ogy heiten der ukrainischen Filmmusik berück- ton, CT: Ashgate 2009 [E-Book: 2016], S. 61– sichtigt. 76.

Kaul, Susanne / Palmier, Jean-Pierre Palmier / Kellerbauer, Johanna: Kurt Schwaens Film- Skrandies, Timo (Hrsg.): Erzählen im Film. musik zu „Der Fall Gleiwitz“. [Berlin:] Kurt- Schwaen-Archiv 2014, 56, XIX S. Unzuverlässigkeit – Audiovisualität – Musik. Bielefeld: transcript 2009 [E-Books: 2015], 276 Vollständige Fassung zugl.: Magisterarbeit, S. (Medien – Kultur – Analyse. 6.). Berlin: Technische Universität Berlin, 2010. – Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 96

Zu Schwaens Film (DDR 1961). cal literacy to political geography’s methodological toolkit.

Kelley, Andrea J.: Soundies: Jukebox Films and the Shift to Small-Screen Culture. New Bruns- Kjazimova, L[ala] T[ofik]: «Kinematogra- wick, N.J.: Rutgers University Press 2018, 194 fičeskie intencii» v simfonizme K. Karaeva: ot S. (Techniques of the Moving Image.). «Don Kichota» k «Goje» [Кязимова, Л. Т.: «Кинематографические интенции» в сим- Rev. (Hans J. Wulff) in: Medienwissenschaft: фонизме К. Караева: от «Дон Кихота» к Rezensionen, 1, 2019, S. 64–66. «Гойе»]. In: Muzyka v mire iskusstv / Music in the World of Arts [Rostov-na-Donu] 2014, S. Keown, Daniel J.: A descriptive analysis of 82–86; [URL]. film music enthusiasts’ purchasing and con- “«Cinematographic Intentions» in the Sym- sumption behaviors of soundtrack albums: An phonism by Qara Qaraev: From «Don Qui- exploratory study. In: Psychology of Music jote» to «Goya».” 44,3, May 2016, S. 428–442. In kyrill. Schrift. – Abstract: The most important features of artistic conceptions and musi- Khanjani, Ramin S.: Musical Peace-Pact: cal dramaturgy in symphonic engravings Sound and Music in Heinosuke Gosho’s The «Don Quijote» and the Fourth symphony Neighbour’s Wife and Mine (1931). In: Off- «Goya» by Q. Qaraev are elucidated in the ar- screen 19,8, Aug 2015, [URL]. ticle. The researcher characterizes program- music specificity of this works which is depended on its connection with the literary Kibby, Marj / Neuenfeldt, Karl: Sound, Cinema origins by M. Cervantes and L. Feuchtwanger. and Aboriginality. In: Screen Scores: Studies in The ways of realization of soundtracks’ music Contemporary Australian Film Music. Ed. by material (from movies by G. Kozintsev and K. Rebecca Cole. Sydney: Australian Film Televi- Wolf) in «Don Quijote» and «Goya» are ex- sion and Radio School 1998, S. 66–77. amined. The role of pictorialism and abstract plotness as basic types of program-music thinking in symphonic works by Q. Qaraev is Kirby, Philip: Sound and fury? Film score and marked. the geopolitics of instrumental music. In: Po- litical Geography 75, 2019, online. Kletschke, Irene: Gemalte Träume – Walt Dis- Political geography has devoted substantial neys (USA 1940). In: Konrad Heiland attention to visual popular culture. Where the Fantasia aural has been considered, this has generally und Theo Piegler (Hrsg.): Der Soundtrack un- been through the spoken-word (e.g. radio) or serer Träume. Gießen: Psychosozialverlag lyrics (e.g. popular music). The geopolitics of 2013, S. 211–223. instrumental music – music without words – is yet to be considered in depth. This article Kletschke, Irene: „Quintessentially German“? provides an outline of how such media might Der deutsche Musik- und Schlagerfilm nach be approached, building on affectual analyses 1945. In: Kieler Beiträge zur Filmmusik- of sound in human geography. In particular, it forschung 10, 2013, S. 128–143. examines the example of instrumental film score. It suggests that, rather than just providing background to the visual component of Kletschke, Irene: Cult of Inexpressiveness – film, score provides a key mode through Strawinskys Verhältnis zur Filmmusik. In: which geopolitical knowledges are communi- Archiv für Musikwissenschaft 71,32, 2014, S. cated. Through case studies of musical con- 135–145. structions of identity/difference from three geopolitical periods – World War Two, the Cold War, and the War on Terror – this article Kloppenburg, Josef: Musik im Film. In: Hand- makes the case for adding instrumental musi- buch Funktionale Musik. Psychologie – Technik Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 97

– Anwendungsgebiete. Hrsg. v. Günther Rötter (1914–2006). & Jan Bauer. Wiesbaden: Springer Fachme- Inhalt: 1. Akira Ifukube und die Filmmusik – dien 2016, S. 1–28. 2. Toho und Ifukubes Filmmusik – 3. Daiei und Ifukubes Filmmusik – 4. Toei Film und Ifukubes Filmmusik – 5. Nikkatsu und Ifuku- Knight, Arthur: Disintegrating the Musical: bes Filmmusik – 6. Shochiku Movie und Ifu- . Black Performance and American Musical Film kubes Filmmusik – 7. Unabhängige Filmpro- Durham, NC/London: Duke University Press duktion und und Ifukubes Filmmusik – 8. Do- 2002, xii, 338 S. kumentar- / Kulturfilme und und Ifukubes Inhalt: Acknowledgments; Introduction: Dis- Filmmusik. integrating the Musical; 1: Wearing and Tear- ing the Mask: Blacks on and in Blackface, Live; 2: “Fool Acts”: Cinematic Conjunctions Kobayashi, Atsushi: Gojira eiga ongaku hisu- of White Blackface and Black Performance; 3: toria: 1954–2016 [小林淳: ゴジラ映画音楽ヒス Indefinite Talk: Blacks in Blackface, Filmed; 4: トリア: 1954–2016]. Tōkyō: αβ Books [alpha- Black Folk Sold: Hollywood‘s Black-Cast Mu- beta Books] 2016, 294 S. sicals; 5: “Aping” “Hollywood: Deformation [„Geschichte der Musik im Godzilla-Film“.] and Mastery in The Duke is Tops and Swing!; 6: In japan. Schrift. – Die Geschichte von 11 Jammin’ the Blues: The Sight of Jazz, 1944; Coda: Bamboozled? Komponisten, die gegen Godzilla kämpfen. Eine Godzilla-Filmgeschichte mit dem Rev. (Mahar, William J.) in: The Journal of Schwerpunkt Musik bis zu „Shin Godzilla“ American History 90,3, 2003, S. 1087–1088. – [2016]. Mit Berücksichtigung der Film- Rev. (Regester, Charlene) in: Screen 45,4, 2004, musiktheorie. S. 452. Inhalt: 1. Die Geburt der Godzilla-Filmmusik – 2. Akira Ifukube: Das Erglühen der God- Kobayashi, Atsushi: Ifukube Akira kataru: Ifu- zilla-Filmmusik – 3. Godzilla-Filmmusik in kube Akira eiga ongaku kaikoroku [小林淳: 伊 den Händen der beiden großen Meister – 4. 福部昭語る: 伊福部昭映画音楽回顧録]. Tōkyō: Godzilla-Filmmusik mit dem Duft der 1970er Wise Publishing 2014, 399 S. Jahre – 5. Die Morgendämmerung von God- zilla-Filmmusik in der neuen Ära – 6. Heisei- [„Akira Ifukube spricht: Akira Ifukube-Film- Godzilla: Die Dämmerung der Godzilla-Film- musik-Retrospektive“.] musik – 7. Godzilla-Filmmusik: Aspekte der In japan. Schrift. – Interviews mit Ifukube 2000er Jahre – 8. Der Klang, der Godzilla in Akira (1914–2006), dem Komponisten der „Shin Godzilla“ [2016] weckt. Godzilla-Filmmusiken. Inhalt: Vorwort: Ifukubes Filmmusikstil; 1. Kohara, Shinichi: Geki ongaku no kyōzai ken- 1940er Jahre (1947–1949); 2. 1950er Jahre kyū ni tsuite: Eiga-ban no tokuchō ni chaku- (1950–1959); 3. 1960er Jahre (1960–1969); 4. moku shite [小原伸一: 劇音楽の教材研究につ 1970er Jahre (1970–1978); 5. 1990er Jahre (1991–1995). いて: 映画版の特徴に着目して]. In: Bulletin of the Faculty of Education, Utsunomiya Universi- ty, Section 1, 64, 2014, S. 119–139. Kobayashi, Atsushi: Ifukube Akira to sengo ni- “About the Study of Teaching Materials for hon eiga [小林淳: 伊福部昭と戦後日本映画]. Drama Music: From the Viewpoint of the Fea- Tōkyō: ab Books [alpha-beta Books] 2014, ture Film Version.” 396, 10 S. (Sōsho 20 seiki no geijutsu to In japan. Schrift. bungaku.). [„Ifukube Akira (1914–2006) und der japanische Nachkriegsfilm“.] Köhle, Katharina: Musik ist Stenographie der In japan. Schrift. – Japan. Filmgeschichte der Gefühle: Ein Versuch der Untersuchung der Nachkriegszeit aus der Perspektive des be- durch Musik und musikalischer Untermalung kannten Filmkomponisten Akira Ifukube hervorgerufenen bzw. gestützten emotionalen Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 98

Kommunikation in Filmen. Magisterarb. Wien: Koldau, Linda Maria: Musik zum Krieg: Universität Wien, Fakultät für Sozialwissen- Klangliche Mittel zur emotionalen Steigerung schaften 2019, 174 S.; [URL]. in U-Boot-Filmen. In: Historische Mitteilungen der Ranke-Gesellschaft 22, 2009, S. 170–187. Abstract: Das Ziel dieser Arbeit ist es, aus kommunikationswissenschaftlicher Sicht, die I.W. über den Film Das Boot (1981) von Wolf- Beziehung und Funktion von Filmmusik in- gang Petersen (geb. 1941) mit der Musik von nerhalb des medialen Systems Film zu unter- Klaus Doldinger. suchen. Die zentrale Fragestellung befasste sich mit dem kommunikativen Charakter von Filmmusik, außerdem wurde besonderes Au- Koldau, Linda Maria: Musik zum Krieg: Klan- genmerk auf den Aspekt der narrativ-emotio- gliche Mittel zur emotionalen Steigerung in nalisierenden Funktion von Musik im filmis- U-Boot-Filmen. In: Militär, Musik und Krieg. chen Kontext gelegt. Um diese Thematik in- Kolloquium anlässlich des 70. Geburtstags duktiv-qualitativ zu untersuchen, wurden, vor von Michael Salewski. Hrsg. v. Linda Maria dem Hintergrund einer ausführlichen Theori- Koldau. Stuttgart: Steiner 2010, S. 170–187 erecherche in den Bereichen der Musik- und (Historische Mitteilungen. 22, 2009.). Filmwissenschaft, der Emotionspsychologie und Kommunikationswissenschaft, Praktiker- Interviews mit vier Film-schaffenden der Koldau, Linda Maria: Sound Effects as Genre- österreichischen Filmbranche geführt. Ausge- Defining Factor in Submarine Films. In: Me- hend von den Erkenntnissen aus diesen Inter- dieKultur 48, 2010, S. 18–30. views wurden zwölf Sequenzen aus insgesamt vier Filmen des Regisseurs Jim Jarmusch qual- Koldau, Linda Maria: Frauen – Militär – Mu- itativ-inhaltsanalytisch auf die musikalischen sik. Darstellung und Interpretationen im Funktionen hin untersucht. Die Ergebnisse zeigen eine narrativ-kommunikative Rolle Spielfilm. In: Paradestück Militärmusik. Beiträ- von Filmmusik innerhalb des Filmsystems, ge zum Wandel staatlicher Repräsentation sowie eine starke Tendenz der emotional- durch Musik. Hrsg. v. Peter Moormann, Al- isierenden Funktion. brecht Riethmueller u. Rebecca Wolf. Biele- feld: transcript 2012, S. 151–164.

Koldau, Linda Maria: Filmmusik als Bedeu- Koldau, Linda Maria: tungsträger. Die musikalische Schicht von The Soundtrack Album as Text and Medium to Re-Experience a Movie. K19 – The Widowmaker. In: Kieler Beiträge zur [S.l.: Selbstvlg. (Amazon)], 2014, 23 S. Filmmusikforschung, 2, 2008, S. 89–134. [Text first presented as a key note lecture on a large-scale film conference in Seoul, South Koldau, Linda Maria: U-Boot à la Hollywood. Korea, in 2010.] Atom-U-Boote im Spielfilm. In: Schiff & Zeit 67, 2008, S. 32–39. A movie soundtrack album makes it possible to “take the movie home”: By listening to the Erw. Fassung von: Von U-Booten, U-Boot-Fil- music over and over again, you re-experience men und ihrer Musik. In: MarineForum 82, key scenes from the movie – and the emo- 2007, S. 48–51. tions you felt the first time you saw these scenes. How does this process work? How does music evoke film scenes and emotions, Koldau, Linda Maria: Die Arbeit mit komposi- and how does it interact with film sound and torischen Topoi – ? Eine Diskussion. In: Kieler speech on soundtrack albums? Beiträge zur Filmmusikforschung, 3, 2009, S. 22–33. Kollinger, Franziska: Von der Bühne zum Film: Fortgef.: Kompositorische Topoi als Kategorie Georges Aurics Musik der 1930er Jahre. Stutt- in der Analyse von Filmmusik. In: Archiv für gart: Steiner 2019, 185 S. (Beihefte zum Archiv Musikwissenschaft 65,4, 2008, S. 247–271. für Musikwissenschaft. 82.). Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 99

Der Name des französischen Komponisten dures that have been noted in dramatic music Georges Auric ist zwar geläufig, sein Werk by Debussy, Stravinsky, and Messiaen, com- und Wirken jenseits einer Verortung inner- posers Takemitsu is known to have admired. halb der Pariser Künstler-Avantgarde der At the same time, Takemitsu references tradi- 1920er Jahre jedoch kaum erschlossen. tional Japanese music, American jazz, and Franziska Kollinger untersucht erstmals sys- musical genres of the crime drama and film tematisch Aurics Bühnen- und Filmmusiken noir to construct a musical narrative of evoca- der 1930er Jahre und entschlüsselt das dichte tive color, irony, and dark humor. Rising Sun Geflecht aus strukturellen, ästhetischen und is based on a Michael Crichton novel that was medialen Einflussfaktoren, welche die erneute criticized as a reactionary statement against Wende in der Debatte um die ästhetischen Japanese economic aggression. This study und kulturellen Werte der Musik im Frankre- shows how Takemitsu’s compelling music ich der 1930er Jahre prägten. Auric figuriert ironically projects the themes of economic hierbei als Seismograph für die disparaten warfare and cultural division in the film while Entwicklungen seiner Zeit, indem er die ver- also providing resistance through a subtle schiedenen Diskurse zum einen als Beobach- projection of his own humanistic worldview. ter registrierte und dokumentierte und zum The considerable changes that director and anderen grundlegende Strukturveränderun- screen co-writer, Philip Kaufman made in gen für seine Kompositionspraxis und die adapting the novel dramatically alter the un- Vermittlung seiner Werke nutzte. Diese bilden derlying social/political implications in the damit zugleich eine Topographie der Pariser story. The analysis examines how this trans- Kulturlandschaft der 1930er Jahre, die den formation from the original story is commu- Horizont der oftmals verkürzten Darstellung nicated through cultural codes embodied in des Jahrzehnts in der Musikgeschichte erweit- preexisting music layered in the soundtrack ert. Aurics Werke erscheinen auf diese Weise along with Takemitsu’s originally composed aber nicht nur im Spiegel ihrer Zeit: Es treten textures, by artists including Cole Porter, auch die Grenzen und Möglichkeiten ihrer Duke Ellington, Latino rappers Cypress Hill, besonderen Medialität hervor. and the seventies New Wave band, the B-52s.

Kompanek, Sonny: From Score to Screen: Se- Kregor, Jonathan: Understanding the Leitmo- quencers, Scores, & Second Thoughts – The New tif: From Wagner to Hollywood Film Music. Film Scoring Process. New York: Schirmer In: Notes: Quarterly Journal of the Music Library 2004, xviii, 174 S. Association 73,3, 2017, S. 547–550. Scoring for film has changed dramatically over the past twenty years. With the advent Krehl, Sebastian: Musik als Genrekritik in of MIDI, sequencers and low-cost recording Jean-Luc Godards Prénom Carmen. In: Rabbit gear, just about any composer anywhere can Eye: Zeitschrift für Filmforschung, 6, 2014, S. score a film. 172–184; [URL].

Koozin, Timothy: Parody and ironic juxtapo- Kubaczek, Marianne / Pircher, Wolfgang: Fad- sition in Toru Takemitsu’s music for the film, ing: über das Verschwinden der Musik im Rising Sun (1993). In: TheJ ournal of Film Mu- Tonfilm. In: 1929. Beiträge zur Archäologie der sic 3,1, 2010, S. 65–78. Medien. Hrsg. v. Stefan Andriopoulos & Bern- hard J. Dotzler. Frankfurt: Suhrkamp 2002, S. Toru Takemitsu created music for more than a hundred films, but only one was for a major 350–369 (Suhrkamp-Taschenbuch Wissen- Hollywood studio, Rising Sun (1993) with schaft. 1579.). Sean Connery and Wesley Snipes. In his mu- Der Tonfilmpionier Oskar Messter stellt im sic for Rising Sun, Toru Takemitsu contrasts Jahr 1903 ein System vor, das eine annähern- and juxtaposes exotic, popular, and modernist de Synchronisation von Filmvorführapparat musical elements to depict the cinematic und Schallquelle ermöglicht. Dieses Verfahren drama in ways that are analogous to proce- wird in der Folge zur Herstellung von Ki- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 100

noclips verwendet, in denen bekannte Musik- Kulezic-Wilson, Danijela: A Musical Ap- stücke nachträglich „verfilmt“ werden. Das proach to Filmmaking: Hip Hop and Techno Interesse Arnold Schönbergs für den Tonfilm Composing Techniques and Models of Struc- schließt das Bewusstsein ein, dass es sich bei turing in Darren Aronofsky’s Pi. In: Music diesem Medium um ein „selbständiges Instru- and the Moving Image 1,1, 2008, S. 19–34. ment zu neuartigem künstlerischem Aus- druck“ (Schönberg) handle. An der Zusam- menarbeit von Sergej Eisenstein und Sergej Kulezic-Wilson, Danijela: Sound Design is the Prokof’ev (Aleksandr Newskij, 1938) sowie an New Score. In: Music, Sound and the Moving Hanns Eislers Nachvertonung von Joris Ivens’ Image 2,2, 2008, S. 127–131. Stummfilm Regen (1941) werden unterschiedliche Zugänge zur Filmmusik diskutiert. Die Kulezic-Wilson, Danijela: The Music of Film ästhetischen Erwartungen der genannten Künstler werden dadurch negiert, dass im Silence. In: Music and the Moving Image 2,3, Zuge der tontechnischen Verbesserungen die 2009, S. 1–10. Filmmusik tendenziell zur Begleitmusik her- abgestuft wird. Der Tonfilm wandelt nicht nur Kulezic-Wilson, Danijela: Soundscapes of den Stummfilm per se in ein Kunstprodukt Trauma and the Silence of Revenge in Peter um, er macht auch den Film zum Gesamt- Strickland’s Katalin Varga. In: The New Sound- kunstwerk, in dem Bild und Ton in gleicher track 1,1, 2011, S. 57–71. Weise formbestimmend sind. (Wendelin Bitz- an) Kulezic-Wilson, Danijela: Gus Van Sant’s Soundwalks and Audio-visual Musique Con- Kuhn, Bernhard: Film Melodrama and Opera: crète. In: Wierzbicki, James Eugene (ed.): Mu- La Tosca in Italian Cinema. In: The Italianist sic, Sound, and Filmmakers: Sonic Style in Cin- 37,2, 2017, S. 135–148. ema. New York: Routledge 2012, S. 76–88.

Kulezic-Wilson, Danijela: The Audio-visual Kulezic-Wilson, Danijela: Tango for a Dream: Structure of Film and the Influence of the Po- Narrative Liminality and Musical Sensuality etics of Myth on its Maturing. In: New Sound, in Richard Linklater’s Waking Life. In: Al- 9, 1997, S. 59–64. phaville: Journal of Film and Screen Media, 8, Winter 2014, online. Kulezic-Wilson, Danijela: The Musicality of Film Rhythm. In: National Cinema and Be- Kulezic-Wilson, Danijela: The Musicality of yond. Ed. by John Hill & Kevin Rockett. Narrative Film. Basingstoke/New York: Pal- Dublin: Four Courts Press 2004, S. 115–124. grave Macmillan [2015], x, 218 S. (Palgrave Studies in Audio-Visual Culture.). Kulezic-Wilson, Danijela: Musical and Mythi- The musicality of narrative film is the first cal Patterns in Paul Thomas Anderson’s Mag- book to examine in depth the film/music anal- nolia. In: Film History and National Cinema. ogy. Using comparative analysis, Kulezic-Wil- Ed. by John Hill & Kevin Rockett Dublin: Four son explores film’s musical potential, arguing Courts Press 2005, S. 57–68. that film’s musicality can be achieved through various cinematic devices, with or without music. Kulezic-Wilson, Danijela: The Musicality of Film and Jim Jarmusch’s Dead Man. In: Film Inhalt: 1. Introduction. 2. Music as Model and Metaphor. 3. The Musicality of Film Rhythm. and Film Culture 4, 2007, S. 8–20. 4. The Rhythm of Rhythms. 5. Musical and Film Kinesis. 6. The Symbolic Nature of Musi- Kulezic-Wilson, Danijela: Musical and Film cal and Film Time. 7. Jim Jarmusch’s Dead Time. In: Journal of Musicology, 8, 2008, S. Man and the Rhythm of Musical Form. 8. Hip 253–271. Hop and Techno Composing Techniques and Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 101

Models of Structuring in Darren Aronofsky’s Kupfer, Peter: “Good hands”: The music of J. S. Pi. 9. Audio-Visual Musicality and Reflexivity Bach in television commercials. In: Bach 50,2, in Joe Wright’s Anna Karenina. Conclusion. 2019, S. 275–302. Despite Mervyn Cooke’s assertion that the Kulezic-Wilson, Danijela: Musically Con- use of Bach’s music in film is, among classical ceived Sound Design, Musicalization of composers, “perhaps the most susceptible to Speech and the Breakdown of Film Sound- contrasting interpretations,” “I argue in this track Hierarchy. In: Kulezic-Wilson, Danijela article that in the case of recent television & Liz Greene (eds): The Palgrave Handbook of commercials, Bach has more or less taken on a single function: reassurance. It is no coinci- Sound Design and Music in Screen Media: Inte- dence that most companies that use Bach in grated Soundtracks. London: Palgrave Macmil- their commercials offer financial or insurance lan 2016, S. 429–444. services (including American Express, Kulezic-Wilson explores the growing trend of MetLife, and Allstate), thus requiring a mes- disrupting the traditional hierarchical rela- sage of trust. But even commercials for non- tionships between speech and music in film finance products, like Wix.com, Healthy soundtracks manifested in the musical use of Choice Café Steamers, and Papa Murphy’s the spoken word. By using examples from Pizza, have used Bach as the sound of reassur- several recent films with strong musical un- ance. Furthermore, it is a particular subset of derpinnings – Drake Doremus’ Breathe In works that continually reappears in such con- (2013), Harmony Korine’s Spring Breakers texts, particularly the Prelude from the Vio- (2012) and Shane Carruth’s Upstream Color loncello Suite No. 1 in G Major BWV 1007 (2013) –, Kulezic-Wilson identifies the main and the Prelude in C Major from the Well- strategies involved in the musicalization of Tempered Clavier Book I. Drawing on Bach film speech and argues that undermining the scholarship, screen music scholarship, my narrative sovereignty of the spoken word and own empirical studies on the reception of endorsing the interchangeability of speech classical music in television commercials, and and music promote modes of perception interviews with advertising creative directors, which can change our expectations of narra- I demonstrate how and why Bach’s music has tive film and emphasize its musical and sen- in commercials come to represent the sound suous qualities. of “good hands” “(to invoke Allstate Insur- ance’s motto). In the process, I reveal that what might seem on the surface to be an ob- Kulezic-Wilson, Danijela: Sound Design and vious association is actually the result of ne- Its Interactions with Music: Changing Histori- gotiations among aesthetic, semiotic, and so- cal Perspectives. In: Mera Miguel, Ron Sadoff cio-demographic factors, and especially the & Ben Winters (eds): The Routledge Compan- evolution of television advertising in recent ion to Screen Music and Sound. New York: decades. (Vorlage) Routledge 2017, S. 127–138. Kurata, Marie: Ruguran no geijutsu sōsaku ni Kulezic-Wilson, Danijela: Sound Design is the okeru oto to eizō: Ongaku to heiwa no in'yu New Score: Theory, Aesthetics, and Erotics of to shite no ‘tori’ [倉田麻里絵: ルグランの芸術 the Integrated Soundtrack. New York/Oxford: 創作における音と映像: 音楽と平和の隠喩とし Oxford University Press 2020, viii, 170 S. ての「鳥」]. In: Gei-jutsu kenkyū [藝術研究] 31, 2018, S. 19–33. Enthält: Introduction – “The most beautiful area”: soundtrack’s liminal spaces – Scoring “Sound and Image in Michel Legrand’s Art with sound, the aesthetics of reticence, and Works: “Birds” as a Metaphor of Music and films and Peter Strickland – Musicalized Peace.” sound design and the erotics of cinema; The In japan. Schrift. – Abstract: The most re- musicalization of speech and the breakdown markable point of the feature film, Cinq jours of the film soundtrack hierarchy – Conclud- en juin (1989), directed by Michel Legrand ing thoughts. (1932–), is that only two of the music origi- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 102

nally composed by Legrand in the film. What Dave (USA 1993, Ivan Reitman) werden Kom- is more, the ambient sounds of birdsong in positionstechniken des US-amerikanischen the film is distinctively choreographed. In Filmkomponisten und Produzenten James different works of Legrand (film music, pic- Newton Howard (*1951) im Zusammenhang ture book, novel), the use of “birds” as musical mit Hintergrundmusik von der Seite der Har- elements can be easily found. This paper monie untersucht. seeks to show the significance of the bird in his works through an analysis of metaphor as a mode of expression and of the experiences Kutscher, Jan: Paul Lincke: Sein Leben in Bil- of Legrand himself. The Legrand’s use of dern und Dokumenten. [Mitarb.: Sabine West- “birds” as musical elements reveals not only phal u. Heinrich Dreyhaupt; m. e. Vorwort v. his intention to connect birds and music but Albrecht Dümling.] Mainz: Schott 2016, 327 S. also his antipathy to war. Thus, if it represents Darin: Vorkriegsjahre: Filmmusik (S. 116– Legrand’s belief that “the music (musical ele- 118). ments) in the film must surpass the political unreasonableness,” the expression of “birds” is not simply a symbol of peace in general but is Kuwabara, Yoshihiro: Eizō to oto no dōki also a mirror to reflect Legrand’s aspiration ―‘dōga senkō no gensoku’ no konkyo to ōyō for peace. [桑原圭裕: 映像と音の同期―「動画先行の原則」の根拠と応用]. In: Eizogaku 102, 2019, S. Kurihara, Utako: Monogataranai animēshon: 54-74. Nōman Makuraren no fushigina sekai [栗原詩 “Synchronization of Screen Images and 子著: 物語らないアニメーション: ノーマン・ Sound: The Basis and Application of the Prin- マクラレンの不思議な世界 ]. Yokohama: ciple of the “Picture Leading Sound”.” Shumpusha 2016, 157 S. In japan. Schrift. – Abstract: The principle of [„Non-Story-Animation: Norman McLarens the “picture leading sound” is widely applied geheimnisvolle Welt.“] in animation production with regard to the In japan. Schrift. – Über die Rolle des Musik synchronization of screen images and audio bei Norman McLaren (1914–1987), einem Pio- inputs, it is believed that the final product is nier des experimentellen Animations- superior when the picture leads the sound by (kurz-)films. two frames. For example, Disney’s short animation movie series The Silly Symphony was Inhalt: Neighbours [1952] – die einzige Story- produced for 10 years from 1929, and initially, Animation – Zwei Techniken, die unter dem the rule of maintaining the unity of moving Namen McLaren erfunden wurden – Kanadi- pictures and music was followed. However, sches Volksliedprojekt – Humor ohne Ge- computer analyses confirm that with time, schichte – Eine rein geometrisch geschaffene pictures began leading the sounds. While the Welt – Vertiefung des musikalischen Wissens principle of the “picture leading sound” is – Anstatt zu schließen – Nachwort – Liste der simply a rule of thumb for filmmakers, and Werke McLarens – Transkriptionsbeispiele: the scientific rationale for this practical stan- Neighbours [1952], Canon [1964], Synchromy dard has not yet been sufficiently investi- [1971]. – Verweise. gated. It is said that human beings perceive “deviations” with screen images when their corresponding sounds are three frames or 0.1 Kuriyama, Kazuki: Eiga ongaku ni okeru Jē- second or more apart regardless of whether muzu Nyūton Hawādo no sakkyoku gihō [栗 they are viewing a live- action or an anima- 山和樹: 映画音楽におけるジェームズ・ニュー tion film. Therefore, it is necessary to refer to トン・ハワードの作曲技法]. / An Analysis of theories of perceptual psychology to ade- James Newton Howard’s Film Scoring Techni- quately understand the principle of the “pic- que. In: Kunitachi ongaku daigaku kenkyū ture leading sound” to develop a hypothesis kiyō [国立音楽大学研究紀要]. / Kunitachi Col- about film production norms concerning lege of Music Journal 50, 2015, 69–78. stimuli reaching the human brain. This paper In japan. Schrift. – Am Beispiel des Spielfilms aims to present a theoretical explanation for Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 103

the adoption of the above manner of frame from France, its focus – as suggested by the processing in filmmaking. It further intends title – is the music of mainstream Hollywood to analyze specific examples from cinema to films. reveal that the method of image preceding sound brings about artistic dynamism in all motion pictures and not in animated films Laderman, David: Slip-Sync. Punk Rock Nar- alone. rative Film and Postmodern Musical Perfor- mance. In: Beck, Jay / Grajeda, Tony (eds): Lowering the Boom: Critical Studies in Film Kuykendall, James Brooks: William Walton’s Sound. Urbana, Ill/Chicago: University of Illi- film scores: New evidence in the autograph nois Press 2008, S. 269–288 (=ch. 16). manuscripts. In: Notes: Quarterly Journal of the Music Library Association 68,1, 2011/12, S. 9–32. Ladic, Branko: Music by Frantisek Skvor for the Karol Plicka’s Film The Earth Sings – the Über den Filmkomponisten William Walton. Beginning of Slovak National Music? In: Mu- sicologica Brunensia 52,1, 2017, S. 79–87. Kyriakides, Yannis: Imagined Voices: A Poetics of Music-Text-Film. Diss. Leiden, Leiden Uni- LaFave, Kenneth: Experiencing Film Music: A versity 2017, 283 S. Listener’s Companion. Lanham/Boulder/New York/London: Rowman & Littlefield 2017, xxii, Imagined Voices deals with a form of composition, music with on-screen text, in which 191 S. (The Listener’s Companion.). the dynamic between sound, words and visu- Rev. (Poulakis, Nick) in: Music & Letters 100,1, als is explored. The research explores the 2019, S.163–165. ideas around these ‘music-text-films’, and at- Inhalt: Timeline – Introduction – The not-so- tempts to explain how meaning is constructed silent era – Max Steiner and the first genera- in the interplay between the different layers tion – Spotlight: spotting and the click track – of media. Issues that initially arose out of the Mysteries, thrillers, and film noir – Spotlight: research, were directly related to the question orchestrators – The epic, the exotic, and war of ‘voice’: Who is narrating? And where is the – Cowboys and superheroes – Drama – Spot- voice located? These questions became more light: jazz in film music – Theme songs, come- pertinent after noticing a phenomenon occur- dies, and romantic comedies – Spotlight: ani- ring during performances of these works: that mation – Science fiction and fantasy – Ambi- when we read text synchronised to music, we ent music, no music, and ready-mades – become very aware of an inner voice silently Trends, forecasts, and innovations. reading along. This effect of hearing one’s own voice in the music, was a discovery that had many consequences for the ways in Laing, Heather: The Gendered Score: Music in which the ideas about listening and the role 1940s Melodrama and the Woman’s Film. of multimedia could function within music. Aldershot/Burlington, VT: Ashgate 2007, xiv, 196 S. (Ashgate Popular and Folk Music.). Heather Laing examines, for the first time, the issues of gender and emotion that underpin the classical style of film scoring, but that – L – have until now remained unquestioned and untheorized, thus providing a benchmark for thinking on more recent and alternative styles Lacombe, Alain: Hollywood Rhapsody: L’âge of scoring. Many theorists have discussed this d’or de la musique de film à Hollywood. Paris: type of music in film as a signifier of emotion Jobert 1983, 292 S. (Transatlantiques.). and ‘the feminine’, a capacity in which it is This is an “appreciation” of film music geared frequently associated with female characters. toward the general public. Although it stems The full effect of such an association on either Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 104

female or male characterization, however, has global y tras una primera parte en la que nos not been examined. This book considers the explica y deja traslucir el alcance de su pro- effects of this association by progress through puesta, la pone en práctica sirviéndose de una three stages: cultural-historical precedents, amplia muestra del cine español de los noven- the generic parameters of melodrama and the ta, formada por 26 largometrajes, dirigidos woman’s film, and the narrativization of mu- por 21 realizadores distintos y con música de sic in film through diegetic performance and 12 compositores diferentes. Para contrastar the presence of musicians as characters. Case sus resultados, hace referencia a más de 200 studies of specific films provide textual and secuencias en las que el lector puede profun- musical analyses, and the genres of melo- dizar discrecionalmente. Este libro es una drama and the woman’s film have been cho- obra indispensable para cualquier alumno de sen as representative not only of the epitome composición atraído por los proyectos inter- of the Hollywood scoring style, but also of the disciplinares, así como para cualquier persona narrative association of women, emotion and interesada en el análisis musical. Es también music. Laing leads to the conclusion that mu- útil para intérpretes, ya que probablemente sic functions as more than merely a signifier participarán en alguna obra interdisciplinar a of emotion. Rather, it takes a crucial role in lo largo de su carrera profesional. Por otro la- both indicating and determining how emotion do y a pesar de que se utiliza terminología es- is actually understood as part of the construc- pecífica, tanto aficionados a las bandas sono- tion of gender and its representation in film. ras sin formación musical como profesionales del mundo del cine han manifestado su inte- rés por los resultados aquí obtenidos. – Mit Laird, Paul R. / Lin, Hsun (eds.): Historical Dic- Notenbeispielen. – Inhaltsverzeichnis: [URL]. tionary of Leonard Bernstein. Lanham/Boul- der/New York/London: Rowman & Littlefield 2019, xxix, 333 S. (Historical Dictionaries of Lau, Matthew: Sounds Like Helicopters: Classi- Literature and the Arts.). cal Music in Modernist Cinema. Albany: State University of New York Press 2019, xiii, 169 S. (SUNY Series Horizons of Cinema.). Lamberts-Piel, Christa: Filmmusik und ihre Bedeutung für die Musikpädagogik. 3., unv. Enthält: Introduction: a fundamental conti- Aufl. Augsburg: Wißner-Verlag 2018, 206 S. nuity – What happens to an apocalypse de- (Forum Musikpädagogik. 69. / Wißner Musik- ferred: Coppola, Herzog, and Schwarzeneg- buch.). ger as readers of Wagner’s Ring – The im- perfect Wagnerite: Luis Buñuel and romantic surrealism – “A film should be like mu- Larsen, Peter [Leonard]: Filmmusikk: Historie, sic”: Stanley Kubrick and the condition of analyse, teori. Oslo: Universitetsforlag 2013, music – Too soon, too late, and still to 280 S. come: Jean-Luc Godard and the ruins of classical music – Before a winter’s journey: Lasuén, Sergio: La armonía en las bandas so- Michael Handke’s critique of film music in noras del cine español de los noventa. Prólogo TheP iano Teacher – Conclusion: Modernist de Pascal Gaigne. Alicante: Investigación y cinema’s family tree. Publicación 2018, 228 S. Utilizando una propuesta metodológica origi- Laubholt, Lars: Ein ‚bombastischer Abgesang‘. nal, personal e inductiva, Sergio Lasuén siste- Musik und nationalsozialistische Ideologie im matiza distintos tipos de herramientas armó- Tobis-Film Philharmoniker (D 1944). In: Die nicas que aparecen asociadas de forma recu- Musikforschung 68,4, 2015, 386–416. rrente a secuencias cinematográficas con unas expectativas expresivas similares. Partiendo de un enfoque aplicable a distintos tipos de Laudadio, Nicholas Christian: Singing Ma- obras interdisciplinares que surgen como re- chines: Musical Intelligences and Human In- sultado de lo que denomina proceso creativo struments in Science Fiction and Film. Ph.D. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 105

Thesis, Buffalo, NY: State University of New Casablanca – Chariots of Fire – Chinatown – York 2005, vi, 186 S. Cinema Paradiso – Citizen Kane – City Lights – Close Encounters of the Third Kind – Co- nan the Barbarian – Dances with Wolves – Laver, Mark: Gender, genius and rock and roll The Day the Earth Stood Still – Doctor in Roy Orbison and Friends: A Black and White Zhivago – East of Eden – Edward Scis- Night. In: Popular Music: A Yearbook 30,3, sorhands – Empire of the Sun – E.T. – The Ex- 2011, S. 433–453. tra-Terrestrial – Fargo – Forrest Gump – The To a considerable extent, the mythology of Ghost and Mrs. Muir – Giant – Gladiator – rock and roll rebellion is predicated upon a The Godfather I and II (1972-74) – Gone With similarly mythologised male sexual potency the Wind – The Great Escape – The Green that Simon Frith and Angela McRobbie have Mile – Henry V – High Noon – How the West characterised as “aggressive, dominating, and Was Won – Interstellar – Jaws – Jurassic Park boastful, ... [constantly seeking] to remind the – King Kong – King of Kings – Kings Row – audience of [its] prowess, [its] control” (Frith The Last of the Mohicans – Laura – Lawrence and McRobbie 1990, p. 319). In this article, I of Arabia – The Lion in Winter – The Lord of look to Roy Orbison – a musician who was a the Rings: The Fellowship of the Ring – Lost key figure in the genesis of rock and roll, but Horizon – The Magnificent Seven – The Man who nevertheless subverts this phallocentric With the Golden Arm – The Mission – The meta-narrative. Focusing on the 1987 concert Natural – North by Northwest – Now, Voy- film,Roy Orbison and Friends: A Black and ager – The Omen – On Golden Pond – On the White Night, I argue that Orbison’s staid per- Waterfront – Once Upon a Time in the West formance style, unusual voice and unconven- – Out of Africa – The Piano – The Pink Pan- tional songwriting as evidenced (and ampli- ther – Pirates of the Caribbean: The Curse of fied) by that film trouble the purportedly the Black Pearl – Planet of the Apes – The monolithic rock and roll masculinity, and the Prisoner of Zenda – Psycho – Quo vadis – concomitant mythology of rebellion. At the Raiders of the Lost Ark – The Red Pony – The same time, however, I propose that even as Red Violin – The Robe – Schindler’s List – normative masculinity appears to be desta- Scott of the Antarctic – The Sea Hawk – The bilised, a close reading of the film reveals that 7th Voyage of Sinbad – The Shawshank Re- the performance situates Orbison within a demption – Somewhere in Time – The Song different masculinist discourse: the 19th-cen- of Bernadette – Spartacus – Spellbound – The tury Romantic discourse of masculine genius Spirit of St. Louis – Star Trek, the Motion Pic- that continues to inflect 21st century notions ture – Star Wars – A Streetcar Named Desire about artists and art music. Thus, in Black and – Sunset Blvd. – Superman – The Third Man – White Night, normative and non-normative Titanic – To Kill a Mockingbird – Tom Jones masculinities are thoroughly imbricated, each – Unbreakable – Up – Vertigo – Appendix A. simultaneously destabilising and reaffirming The Next 100 Film Scores – Appendix B. Pro- the other. (Vorlage) files of Composers.

Lawson, Matt / MacDonald, Laurence E.: 100 Lee, Hyunseon: Metamorphosen der Madame Greatest Film Scores. Lanham/Boulder/New Butterfly. Interkulturelle Liebschaften zwischen York/London: Rowman & Littlefield 2018, xii, Literatur, Oper und Film. Heidelberg: Winter 323 S. 2020, 445 S. (Reihe Siegen. Beiträge zur Liter- atur-, Sprach- und Medienwissenschaft. 181.). Inhalt: The Adventures of Robin Hood – Alexander Nevsky – Around the World in 80 Aus Pierre Lotis ‚Madame Chrysanthème‘ Days – Avalon – Back to the Future – Batman (1887) entwickelt sich am ‚Fin de Siècle‘ das – A Beautiful Mind – Becket – Ben-Hur – The globale Narrativ der ‚Madame Butterfly‘. Im Best Years of our Lives – The Big Country – Laufe des 20. Jahrhunderts werden so west- Blade Runner – Born Free – Braveheart – lich-asiatische Liebesbeziehungen in diversen Breakfast at Tiffany’s – The Bride of Franken- medialen Spielarten und Kulturen trans- stein – The Bridge on the River Kwai – formiert. Das kulturell ‚Andere‘ wird als diskursives Objekt produziert und zirkuliert Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 106

in einem global-medialen Kontext. Die Studie Comedy / 217 – Concert Films / 222 – Docu- zeigt auf, wie die modernen Kulturen und mentaries / 229 – Experimental Film / 244 – Diskurse miteinander verflochten sind und Film Musicals / 255 – Film Noir / 295 – wie Stereotype die wechselseitige Bezug- Heimatfilm / 298 – Historical Films / 298 – nahme prägen. Die diskurstheoretische und Horror and Thriller / 299 – Martial Arts komparative Medienanalyse legt auch die in- Films / 308 – Melodrama / 309 – Opera termediale Ästhetik zwischen Literatur, Film/Opera and Film / 309 – Pornography and Musiktheater und Film von Künstlern wie Gi- Erotica / 351 – Road Movies / 353 – Sci-Fi and acomo Puccini, Fritz Lang, Franz Lehár, Fantasy / 353 – Shorts / 365 – Sports Films / François Truffaut, Alain Resnais, David Kro- 365 – Titles and Trailers / 366 – War and nenberg u.a. kritisch reflektierend offen. Die Combat Films / 367 – Westerns / 368 – (De-)Konstruktion des Butterfly-Mythos kul- Woman’s Film / 372. – V. Case Studies of Indi- miniert in seiner postkolonialen, sogar tran- vidual Films / 373: – Note on the Indexes / skulturellen Überformung jenseits europäis- 569. – Names Index / 571. – Film Titles Index / cher Opernbühnen wie in den japanischen 637. – Bd. 2. People, Cultures, and Con- Butterflys von Mori Ôgai und Saegusa Shige- texts: – VI. People / 1: – Composers / 1 – aki oder den subalternen GI-Bräuten des ko- Conductors / 134 – Directors and Filmmak- reanischen Kinos. ers / 135 – Musicians and Bands on Screen / 179 – Orchestrators and Arrangers / 188 – Other / 189 – Studio Musicians / 192. – VII. Lee, Jonathan Rhodes: Film Music in the Sound Social and Cultural Studies / 194: – Film, Mu- Era: A Research and Information Guide. 2 Bde., sic, Politics, and Society / 194 – Gender / 198 New York/London: Routledge 2020: 1. Histo- – National and Cultural Studies / 203 – Race ries, Theories, and Genres, xi, 663 S.; 2. People, and Other Identity / 269 – Religion / 270 – Cultures, and Contexts, xi, 463 S. (Routledge Sexuality / 270 – Depictions of Music Making, Music Bibliographies.). Teaching, Instruments, and Listening / 271. – VIII. Musical Genre / 275: – Film Music in Inhalt: Bd. 1. Histories, Theories, and Gen- Concert/Film Music and Concert Music / 275 res: – I. Film Music Research: Overviews and – Jazz and Film / 277 – New Music, Modernist Resources / 1: – State of the Field of Film Mu- Techniques, and Electronic Music in Cinema / sic Research / 1 – Bibliographies, Discogra- 288 – Popular Music in Film / 290 – Use of phies, and Other Reference Sources / 5 – Film Pre-Existing Classical and World Music in Music Journals and Other Specialized Sources Film / 321. – IX. Pedagogy / 330: – Film Music / 16 – Special Issues of Journals from Other Analysis / 330 – Film Music and General Edu- Disciplines / 18 – Websites / 19 – Anthologies cation / 333 – Film Music Composition and of Primary Source Documents / 19 – Archives Preparation / 334 – Movies and Music Educa- of Primary Source Materials / 20 – Studies of tion / 338. – X. The Industry / 342: – Film Busi- Archives and Repositories / 34 – II. Histories ness Marketing, Copyright, and “the Indus- and Other Surveys / 38: – Broad Historical try” / 342 – Technology Studies and Studies of Overviews / 38 – Historical Surveys: 1900– the Recording Process / 353. – Note on the In- 1932 / 45 – Historical Surveys: 1933–1949 / 52 dexes / 369. – Names Index / 371. – Film Titles – Historical Surveys: 1950–1979 / 57 – Histor- Index / 437. ical Surveys: 1980–2000 / 59 – Historical Sur- veys: 2000—Present / 60 – Broadly Defined Collected Essays/Conference and Symposium Leeper, Jill: Crossing Musical Borders: The Reports / 61 – Other Surveys / 65. – III. The- Soundtrack for Touch of Evil. In: Soundtrack ory and Criticism / 69: – Theories and Aes- Available: Essays on Film and Popular Music. thetics of Film Music and Sound / 69 – Empir- Ed by Pamela Robertson Wojcik & Arthur ical and Experimental Approaches / 158 – Re- Knight. Durham: Duke University Press 2001, ception Studies / 169 – Film Music Criticism S. 226–243. through 1960 / 172. – IV. Genre / 181: – Genre Theory / 181 – Action-Adventure / 182 – Adaptations of Stage Works and Literature / Lefàvre, Raymond: La cinéphilie chantante 182 – Animation / 185 – Biopics / 203 – Blax- des années 30. In: CinemAction, 95 [= /95], ploitation / 216 – Comedy and Romantic Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 107

2000, S. 149–155. to shifting scoring practices and generic expectations. I showcase four such cadential genres. The mixed plagal cadence imports Lehman, Frank: Transformational analysis transcendent harmonic associations from the and the representation of genius in film mu- Romantic era. Phrasal “mickey mousing” sic. In: Music Theory Spectrum: The Journal of arises through cadential synchronization, as the Society for Music Theory 35,1, 2013, S. 1–22. shown in an analysis of Korngold’s Robin Neo-Riemannian theory offers an auspicious Hood. The subtonic half cadence is strongly toolkit for analyzing film music – a repertoire linked with a specific film genre: the Western. in which dramatic exigency takes precedence Through analysis of Jerome Moross’s over functional tonal logic. The ability of neo- subtonic-saturated scores and subsequent Riemannian theory to model harmonic pro- adapted and abstracted usages, I show the gressions as dynamic and contextually deter- value of the generic approach to style-based mined, particularly with association-laden analysis. Lastly, I inspect the chromatically chromatic motions, suits it eminently to Hol- modulating cadential resolution (CMCR): the lywood scoring practice. This transforma- strategy of initiating a diatonic cadence in tional approach is tested on James Horner’s one key only for the dominant to discharge music for the film A Beautiful Mind. In this onto the tonic of a chromatically related key. score, Horner illustrates the mental life of the Through a variety of intrinsic and contextual mathematician John Nash with wildly chro- traits describable by linear, transformational, matic but firmly triadic music. A group gener- and cognitive models, I explain the strong as- ated by the operators L, R, and S provides the sociation of CMCRs with cinematic evoca- transformational fount for a “Genius com- tions of wonderment. This is illustrated plex” “that represents intense intellection. through a case study of Williams’s Jurassic Three cues from A Beautiful Mind are ana- Park. (Vorlage) lyzed. Collectively, their tonal spaces reveal a distinctly transformational contribution to Lehman, Frank: Scoring the President. Myth narrative and characterization. These readings further evince a tension between the logical and politics in John Williams’s JFK and teleology of sequential patterning with the Nixon. In: Journal of the Society for American radically contingent, even game-like quality Music 9,4, 2015, S. 409–444. of Horner’s triadic manipulations. (Vorlage) Throughout his career, John Williams has set the musical tone for the American presidency, most elaborately with his scores for Oliver Lehman, Frank: Hollywood cadences. Music Stone’s controversial films JFK (1991) and and the structure of cinematic expectation. In: Nixon (1995). While invested in capturing the Music Theory Online (MTO) – A Journal of character of these commanders in chief Criticism, Commentary, Research, and Scholar- through musical codes, Williams’s sound- ship 19,4, 2013, [URL]. tracks are equally engaged in the act of the Cadences are one of the most powerful tools evocation and telling of “history.” Specifically, at a film composer’s disposal. The structure they construct a tragic myth of 1960s America and placement of a cadence can shape the in which the promise represented by JFK is emotional arc of a scene, accentuate narrati- destroyed from without, and Nixon from val information, and manipulate generic ex- within, both by the malevolent forces of the pectations. Drawing from theories of film military-industrial complex. In considering genre and cadential definition from Altman the thematic and dramatic means by which (1999) and Caplin (2002), I explore several cin- Williams paints his orchestral portraits, I re- ematically significant “cadential genres” – veal the extent to which music supports harmonic routines arising through the con- Stone’s paranoiac narratives, especially in vergence of independent musical phenomena cases where the director’s collage-like visual that together project a punctuative function. aesthetic puts pressure on the otherwise nos- Through processes of attribute substitution talgic traits of Williams’s default tonal style. I and subtraction, a cadential genre can adapt offer a music-analytical approach to JFK and Nixon informed by interviews, studies of po- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 108

litical mythology and paranoia, and musico- cally different ways of hearing the work logical appraisals of Williams’s music. Stone’s tonally and expressively across multiple ver- 1960s-as-lapsarian-metanarrative positions sions. A larger-scale case study of ‘The Aster- Kennedy as a romanticized absence, an image oid Field’ from The Empire Strikes Back serves of the fabular fallen King, and Williams ren- to demonstrate the tonal, sectional and narra- ders him as a public recollection rather than a tival transformations that occur between human being with interiority. Nixon, by con- movie theatre and concert hall. To conclude, I trast, is a tragic antihero, consumed by dark propose that the film-as-concert mindset can forces of history and an abundance of am- be transferred to filmgoing itself, as a new bivalent thematic material. Particular atten- mode of cinematic listening. (Vorlage) tion is paid to the dismantling of Kennedy’s noble leitmotif during JFK’s prologue and mo- torcade sequence and to the near-fascistic Lehmann, Frank: Hollywood Harmony: Musi- musical accompaniment of Nixon’s speeches. cal Wonder and the Sound of Cinema. New Having demonstrated the active role these York: Oxford University Press 2018, xvii, 292 scores play, I conclude that Williams’s music S. (Oxford Music/Media Series.). constitutes an authoring of history in a Film music often tells us how to feel, but it strong, albeit postmodern, sense, consistent also guides us how to hear. Filmgoing is an with but independent from Stone’s screen- intensely musical experience, one in which play. (Vorlage) the soundtrack structures our interpretations and steers our emotions. Hollywood Har- Lehman, Frank: Film-as-Concert music and mony explores the inner workings of film the formal implications of ‘cinematic listen- music, bringing together tools from music theory, musicology, and music psychology in ing’. In: Music Analysis 37,1, 2018, S. 7–46. this first ever book-length analytical study of What does it mean for film music – subordi- this culturally central repertoire. Harmony, nated, contingent, ‘unheard’ – to be plucked and especially chromaticism, is emblematic of from its intended context and placed at the the “film music sound,” and it is often used to forefront of the listener’s attention? The tradi- evoke that most cinematic of feelings-wonder. tion of excerpting and arranging movie scores To help parse this familiar but complex musi- for the concert hall poses this question cal style, Hollywood Harmony offers a first- sharply. While scholarship on ‘cinematic lis- of-its kind introduction to neo-Riemannian tening’ has picked up in recent years, the theory, a recently developed and versatile specifically music-theoretical issues raised by method of understanding music as a dynamic this repertoire have been largely unaddressed. and transformational process, rather than a In this article, I argue that film-as-concert series of inert notes on a page. This applica- music presents hearing ‘cinematically’ as a tion of neo-Riemannian theory to film music valid alternative to structural modes of listen- is perfect way in for curious newcomers, ing, a form of hearing that subverts both while also constituting significant scholarly naive formalism and reflexive anti-formalism. contribution to the larger discipline of music Following a discussion of theoretical and in- theory. Author Frank Lehman draws from his terpretative priorities for analysing film-as- extensive knowledge of cinematic history concert music, I begin investigation of a sub- with case-studies that range from classics of set of the film-as-concert corpus: stand-alone Golden Age Hollywood to massive contempo- scherzi originating from action set pieces. rary franchises to obscure cult-films. Special More than any other type of underscore, ac- emphasis is placed on scores for major block- tion cues answer to dramatic, editorial and busters such as Lord of the Rings, Star Wars, visual imperatives rather than to ‘absolute’ and Inception. With over a hundred meticu- logic. My core data emerges from a detailed lously transcribed music examples and more study of John Williams’s film and concert than two hundred individual movies discus- scherzi, with short analyses of cues/pieces sed, Hollywood Harmony will fascinate any from E.T., the Indiana Jones movies and Star fan of film and music. Wars. My approach emphasises the way in which formal alterations bring about drasti- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 109

Lehnert, Sigrun: Ursprung und Entwicklung Autor einen umfassenden Einblick in die For- der Musik in der Neuen Deutschen Wochen- schung zu musikalischem Tempo in audiovi- schau. Muster, Funktionen und Kontinuitäten suellen Medien und daran angrenzende Ge- vom Stummfilm bis zur Tagesschau. In: Nach biete. Die drei explizit untersuchten Aspekte dem Film, 14, 2015, [URL]. betreffen erstens die gegenseitige Beeinflus- sung der visuellen Geschwindigkeit durch das musikalische Tempo und die umgekehrte Lejeune, Vivien / Dasnoy, Romain: Le guide Richtung, zweitens den Einfluss des musikali- des compositeurs de musique de films. Paris: schen Tempos und der visuellen Geschwin- Ynnis Éditions 2017, 251 S. digkeit auf die Wahrnehmung der Schätzung der Gesamtdauer sowie drittens die emotiona- Au cinéma, la musique est très vite devenue le Beeinflussung durch das musikalische Tem- indissociable de l’image, lui apportant une po. nouvelle dimension à part entière. Derrière les thèmes cultes que le public connaît par Inhalt: Psychologische Grundlagen zur audio- cœur œuvrent des compositeurs amoureux visuellen Wahrnehmung, zur Wahrnehmung d’un art aux formes multiples. Chacun d’entre von Zeit, audiovisuellen Medien, Filmmusik eux apporte ses couleurs et ses inspirations und dem Themenkomplex Emotion. – Empiri- dans des styles qui parcourent tous les genres sche Überprüfung von drei Forschungshypo- musicaux, et parfois même les plus expéri- thesen. – Methodische Zugänge und statisti- mentaux. Cet ouvrage rédigé par deux pas- sche Auswertungsverfahren. sionnés de cinéma et de musique retrace le parcours de la musique de film, des compositeurs les plus prolifiques à des noms plus con- Leonard, Kendra Preston: Shakespeare, Mad- fidentiels, des films qu’on ne présente plus à ness, and Music: Scoring Insanity in Cinematic ceux qu’il faut absolument découvrir: grands Adaptations. Lanham/Toronto/Plymouth, UK: classiques, musicals, science-fiction, action, Scarecrow Press 2009, ix, 153 S. aventure, romance... Le Guide des composi- Shakespeare’s three political tragedies – teurs de musique de film vous guidera sur les Hamlet, Macbeth, and King Lear – have nu- sentiers d’un univers auditif riche dont merously been presented or adapted on film. chaque note est une image. John Williams, These three plays all involve the recurring Hans Zimmer, Howard Shore, James Horner, trope of madness, which, as constructed by Bernard Herrmann, Lalo Schifrin, Ennio Mor- Shakespeare, provided a wider canvas on ricone, Michel Legrand, Joe Hisaishi, Jerry which to detail those materials that could not Goldsmith, Maurice Jarre, Alan Silvestri, be otherwise expressed: sexual desire and ex- Henry Mancini, Alexandre Desplat, Nino Rota pectation, political unrest, and, ultimately, et bien d’autres. truth, as excavated by characters so afflicted. Music has long been associated with madness, and was often used as an audible symptom of Lensing, Jörg U.: Sound-Design, Sound-Mon- a victim’s disassociation from their surround- tage, Soundtrack-Komposition. Über die Gestal- ings and societal rules, as well as their loss of tung von Filmton. 3. Aufl. Berlin: Schiele & self-control. Schön 2018. 286 S.

Leonard, Kendra Preston: Lenz, Friedemann: Musikalisches Tempoemp- Buffy, Ballads, and finden in audiovisuellen Medien: empirische Bad Guys Who Sing. Music in the Worlds of . Lanham/Toronto/Plymouth, UK: Untersuchung zur intermodalen Wahrnehmung Joss Whedon Scarecrow Press 2011, xxi, 308 S. mit präsentativen Forschungsmethoden. Wies- baden: Springer 2020, XIII, 241 S. Über die TV-Serie Buffy, the Vampire Slayer. Diss. Bremen: Universität Bremen 2017. Auch zur Filmmusik. –[U]ntersucht die Wir- Leonard, Kendra Preston: Topsy-Turvy Victo- kung des musikalischen Tempos im Kontext riana: Locating Life and Death in Corpse audiovisueller Medien. Im Vorfeld gibt der Bride. In: Aether 7, Jan. 2011, S. 27–41. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 110

In the 2005 film Corpse Bride, director Tim Leonard, Kendra Preston: The Use of Early Burton and composer Danny Elfman collabo- Modern Music in Film Scoring for Elizabeth I. rate using both musical and visual signifiers In: Gender and Song in Early Modern England. to create two very different realms that the Ed. By Leslie C. Dunn & Katherine R. Larson. main characters must traverse: the land of the Farnham, Surrey: Ashgate 2014, S. 169–183. living, and the land of the dead.

Leonard, Kendra Preston: Music for Richard Leonard, Kendra Preston: The Lady Vanishes: III: Cinematic Scoring for the Early Modern Vocality and Agency in Cinematic Ophelias. Monstrous. In: The Oxford Handbook of Music In: The Afterlife of Ophelia. Ed. by Deanne and Disability Studies. Ed. by Blake Howe, Williams & Kaara L. Peterson. New York: Stephanie Jensen-Moulton, Neil Lerner & Routledge 2012, S. 101–117. Joseph Straus New York: Oxford University Press 2015, S. 836–855. Leonard, Kendra Preston: Rosalind’s Musical Iconicity in Branagh’s and Doyle’s As You Leonard, Kendra Preston: Music for Silent Like It. In: Upstart Crow, 31, Jan. 2013 [= An- Film: A Guide to North American Resources. nual 2012], S. 1–9. Middleton, Wisc.: A-R Editions and the Music Library Association Index and Bibliography Leonard, Kendra Preston: From ‘Angel of Mu- Series, 2016, xvii, 277 S. (Music Library Asso- sic’ to ‘that Monster’: Music for the Human ciation Index and Bibliography Series. 39.). Uncanny in Phantom of the Opera (1925/1929). Part 1: Primary Sources: – 1. Archives / 3. – 2. In: Studies in Gothic Fiction 3,1, Spring 2014, S. Rental and Lending Libraries / 17. – 3. In- 13–23. struction Books / 19. – 4. Photoplay Albums / 25. – 5. Interviews and Biographies / 31. – 6. Books / 41. – 7. Articles / 43: – Periodicals / 43 Leonard, Kendra Preston: Sounds of India in – General / 45 – Advice, Cues, and Sugges- Supple’s Twelfth Night. In: Bollywood Shake- tions / 58 – Opinion, Editorials, and Philoso- speares. Ed. by Craig Dionne & Parmita Kapa- phies of Accompaniment / 134 – Reviews / dia. New York: Palgrave Macmillan 2014, S. 142 – Ensembles / 152 – Theater Organs and 147–163. Other Instruments / 153 – Jazz / 160 – The The concept of “Bollywood Shakespeare” al- Coming of Sound / 161. – Part 2: Secondary most invariably suggests adaptations of Sources: – 8. Scholarly Books / 167 – Research Shakespeare’s works into which traditional and Reference Guides / 167 – Source Readings large-scale song and dance numbers have / 170 – Collections of Essays / 171 – Mono- been interpolated, a hybrid film of dramatic graphs / 174 – Theses and Dissertations / 179. and musical performance that appeals to mul- – 9. Scholarly Articles / 183. – Name Index / tiple audiences. Two recent examples include 211. – Title Index / 221: – Articles and Chap- director/writer/composer Vishal Bhardwaj’s ters / 221 – Books / 237. – Film Title Index / 241. – Subject Index / 272. Omkara (2006) and Maqbool (2003), adaptations of Othello and Macbeth set in the Indian criminal underworld. While these two films Leonard, Kendra Preston: Resources for Silent follow the plots of Shakespeare’s plays fairly Film Music. In: Fontes Artis Musicae 63, Oct.- closely, they also each contain the several Dec. 2016, S. 259–276. song and dance spectaculars that would be startling to unsuspecting audiences but are expected by fans and serve as universal signi- Leonard, Kendra Preston: Using Resources for fiers of a Bollywood production. Indeed, San- Silent Film Music. In: Fontes Artis Musicae gita Gopal and Sujata Moorti claim that for a 63,4, Oct.–Dec. 2016, S. 259–276. movie to be a true “Bollywood film,” “the song-dance sequence is the dealmaker.” Der Beitrag stellt zwei Fallstudien vor, die darstellen, wie sowohl gedruckte als auch On- linematerialien benutzt werden können, um Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 111

spezielle Formen von Stummfilmmusik zu er- Leonard, Kendra Preston / Whitmer, Mariana forschen. Der erste Fall untersucht Musik für (eds.): Re-locating the Sounds of the Western. „Spukgeschichten” (Filme, die übernatürliche London/New York: Routledge 2019, xi, 149 S. Dinge behandeln), die in der Spezialsamm- lung der Musikbibliothek der University of Inhalt: The wild west meets the wives of North Texas existieren, der zweite führt die Windsor: Shakespeare and music in the Rezeptionsgeschichte der Noten für den 1916 mythological American West / Kendra Pre- entstandenen Spielfilm Joan the Woman von ston Leonard. – The commodification of the Cecil B. DeMille aus. western soundscape / Mariana Whitmer. – High-senberg noon: Breaking Bad and the sounds of the West / Jeffrey Bullins. – Some Leonard, Kendra Preston: Musical Mimesis in people call me the space cowboy: sonic mark- Orphans of the Storm. In: Music Theory Online ers of the science fiction western / S. Andrew 24,2, June 2018, online. Granade. – You can’t build an empire without getting a mite unscrupulous: music, morality, “In this essay I explore the use of musical and Cold War criticism in Doctor Who’s The mimesis in the score for D. W. Griffith’s 1921 Gunfighters (1966) / Stanley C. Pelkey II. – film Orphans of the Storm.” From the old west to the new future: Stoney Burke, The Outer Limits, and The Daystar stock music library / Reba Wissner. – Reinterpret- Leonard, Kendra Preston: Performing Spiritu- ing the American western in Ry Cooder’s alism in the Silent Cinema. In: Performance, soundtrack to Paris, Texas (1984) / Erin Bauer. Religion, and Spirituality 1,2, October 2018, S. – The soundscape of the East German indian- 1153–188. erfilme / Joanna Yunker. The silent film era coincided with a revival of belief in spiritualism in America. Desperate to Levin, Ėlizabeta: Selestial’nye bliznecy u isto- find meaning in the deaths of the Great War and the 1918 Spanish Flu epidemic, the be- kov muzyki i kino [Левин, Элизабета: Се- reaved sought contact with the dead and evi- лестиальные близнецы у истоков музыки dence of an afterlife. Given this fascination и кино]. In: Tsikly kul’tury: Filosofskaja škola with spiritualism, it is not surprising that the 4, 2018, S. 51–58; [URL]. topic quickly became a favorite for filmmak- „Die Himmlischen Zwillinge zu den Ursprün- ers. This resulted in numerous moving pic- gen von Musik und Kino.“ tures that featured the presence of spirits, In kyrill. Schrift. – [...] The present article, which in turn required musical accompani- based on the author’s presentation at the ment suited to the subject. Cinema musicians House of Scientists in Haifa and devoted to borrowed from the aural atmosphere of the the 90th anniversary of the talkies, discusses Spiritualist Church, private and public the history of music in cinematography and séances, and other entertainments and experi- the key role played in it by the composers Irv- ences involving the supernatural. Both pro- ing Berlin and Max Steiner — a couple of ce- fessions were ones in which women could not lestial twins born during the Phoenix Hour only fully participate, but were thought by between 1885–1900. Significantly, the follow- many to be better suited than men for the ing story of the legendary pair of the film mu- work at hand. The highly gendered musical sic fathers makes it possible to unite all three and moral educations and expectations for groups in a single historical example. Due to women in the nineteenth century, which were them, we may learn in parallel about the con- intended to prepare women for domesticity, fluent major events in their historical period; were exactly the training they needed to suc- we may also discover the consonance of their ceed as professional mediums and cinema ac- personal leitmotifs with the underscoring ma- companists. The code of morals that held up jor theme of their epoch as well as the reso- accomplished women as respectable models nance that their music evoked in the society. provided mediums and accompanists with considerable power in determining the aesthetics and practices of their workplaces Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 112

Lewis, Hannah: The realm of serious art. (1934) – Conclusion: Alternative Paths for Henry Hadley’s involvement in early sound Sound Film film. In: Journal of the Society for American Rev. (Rossi, Jérôme) in: Revue de Musicologie Music 8,3, 2014, S.285–310. 105, 2019, S, 466–469.

Lewis, Hannah: The music has something to Lilkendey, Martin: 100 Jahre Musikvideo: Eine say. The musical revisions of L’Atalante Genregeschichte vom frühen Kino bis YouTube. (1934). In: Journal of the American Musicologi- Bielefeld: transcript, 2017, 193 S. (Reihe Film.). cal Society 68,3, 2015, S. 559–603. Rev. (Christoph Jacke) in: H-Soz-Kult, 6.1. 2020, [URL]. Lewis, Hannah: Love Me Tonight (1932) and the development of the integrated film musical. In: The Musical Quarterly 100,1, 2017, S. 3– Limbacher, James L. / Wright, H. Stephen: 32. Keeping Score: Film and Television Music, 1980–1988. [With additional coverage of 1921– 1979.] Metuchen/London: The Scarecrow Lewis, Hannah: French Musical Culture and Press 1991, xi, 916 S. the Coming of Sound Cinema. New York: Ox- ford University Press 2019, xii, 245 S. Lin, Samantha: ‘How Silver-Sweet Sound Hannah Lewis argues that the debates about Lovers’ Tongues’: The Music of Love and sound film resonated deeply within French Death in Franco Zeffirelli’s Romeo and Juliet. musical culture of the early 1930s, and con- In: 7,1, April 2014, S. 39–46. versely, that discourses surrounding a range The Soundtrack of French musical styles and genres shaped audiovisual cinematic experiments during the Lindstedt, Iwona: Roman Palester jako pionier transition to sound. Lewis’ book focuses on polskiej muzyki filmowej. In: Muzyka 64,1, many of the most prominent directors and 2019, S. 84–105. screenwriters of the period, from Luis Buñuel to Jean Vigo, as well as experiments found in [“Roman Palester as a pioneer of Polish film lesser-known films. Additionally, Lewis exam- music”.] ines how early sound film portrayed the di- Roman Palester’s film music has left a lasting verse soundscape of early 1930s France, as trace on Polish cinematography, even though filmmakers drew from the music hall, popular the composer himself did not attach much im- chanson, modernist composition, opera and portance to this aspect of his work. The pre- operetta, and explored the importance of mu- sent paper is dedicated to the first stage of his sical machines to depict and to shape French work for the film industry (until 1939). On the audiovisual culture. In this light, the author basis of surviving audio-visual materials and discusses the contributions of well-known indirect sources, I aim to sketch a panorama composers for film alongside more popular of the reception of Palester’s film music in the music hall styles, all of which had a voice cultural environment between the two world within the heterogeneous soundtrack of wars, to analyse the principles of his collabo- French sound cinema. ration with other composers in the case of co- Inhalt: Introduction – Imagining Sound Film: authorship, and briefly to characterise the Debates in the Press – Surrealist Sounds: Film function, significance and qualities of Pales- Music and the Avant-Garde – “An achieve- ter’s soundtracks, with particular reference to ment that reflects its native soil”: Songs, the film Zabawka (Toy). Palester’s most pro- Stages, Cameras, and the Opérette Filmée – ductive collaboration was that with film di- Théâtre filmé, Opera, and Cinematic Poetry: rector Józef Lejtes (1901–83). The composer The Clair/Pagnol Debate – Source Music and wrote music for five of Lejtes’s films: Dzikie Cinematic Realism: Jean Renoir and the Early pola (Wild Fields, 1932), Młody las (The Young Poetic Realists – “The Music Has Something Forest, 1934), Dzień wielkiej przygody (The Day to Say”: The Musical Revisions of L’Atalante of Great Adventure, 1935), Róża (Red Rose, Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 113

1936), and Dziewczęta z Nowolipek (Girls of Lochner, Jim: The Music of Charlie Chaplin. Nowolipki, 1937). Jefferson, NC: McFarland 2018, xi, 438 S. Charlie Chaplin the actor is universally syn- Lindstedt, Iwona: Polska refleksja o muzyce w onymous with his beloved Tramp character. kinie dźwiękowym w latach trzydziestych XX Chaplin the director is considered one of the wieku: główne idee i perspektywy badawcze great auteurs and innovators of cinema his- w muzykologii. In: Muzyka 63,2, 2018, S. 3–26. tory. Less well known is Chaplin the composer, whose instrumental theme for Modern [“Polish reflections on music in sound film in Times (1936) later became the popular stan- the 1930s: Major ideas and perspectives of dard “Smile,” “a Billboard hit for Nat King musicological research”.] Cole in 1954. In Poland, the first evidence of reflections concerning music sounding directly from the screen precedes the premiere of the first Pol- Lock, Graham / David Murray (eds.): Thriving ish sound film Moralność pani Dulskiej ([The on a Riff: Jazz & Blues Influences in African Morality of Mrs Dulska], 1930). As early as in American Literature and Film. Oxford/New the late 1920s, researchers such as Kamieński York: Oxford University Press 2009, XIII, 296 and Dembiński noticed the vast potential of S. ‘cinematic music’ and the need to synchro- Inhalt: Introduction: You’ve got to be jazzistic nize the music setting with the plot of a film. – I. So black and blue: music, image, identity. After the presentation of film music at the You ain’t got to be black to be black”: music, Music Festival in Baden-Baden (1929), an at- race, consciousness, and identity in The auto- tempt was made to introduce a systematic biography of an ex-colored man and Mojo categorization of the pioneering sound films hand / Nick Heffernan. – Blackface minstrelsy (Stromenger). In the 1930s, Mateusz Gliński and jazz signification in Hollywood’s early addressed the subject of sound film several sound era / Corin Willis – II. Paging the devil: times. The issue of the acoustic layer of a film jazz and blues poetics. “Thanks, Jack, for that”: perceived holistically was also discussed by the strange legacies of Sterling A. Brown / other journalists (Zahorska, Fryd, Braun), Steven C. Tracy. – Phraseology: an interview filmmakers (Bohdziewicz) and composers with Michael S. Harper. – Paul Beatty’s White (Rathaus). They usually identified an ideal boy shuffle blues: jazz poetry, John Coltrane, model for such a synthesis in animated films and the post-soul aesthetic / Bertram D. Ashe. and Rene Claire’s movies. In addition, in the – Giving voice: an interview with Jayne reflections on sound film in Poland psycho- Cortez. – “Out of this world”: music and spirit logical themes were also present (e.g. Czer- in the writings of Nathaniel Mackey and miński and Furmanik), and concerned the role Amiri Baraka / David Murray – III. Until the of music in the viewer-listener’s experience of real thing: biography, autobiography, and other the film. The most comprehensive and in- fictions. Blaxploitation Bird: Ross Russell’s sightful approaches to film music were ex- pulp addiction / John Gennari. – How many pressed by Marian Neuteich and Zofia Lissa miles? Alternate takes on the jazz life / Krin in 1937. All the sources quoted above are un- Gabbard – IV. Second balcony jump: unsettling doubtedly valuable material for film-related the score. “A rebus of democratic slants and musicological research, focused on such sub- angles”: to have and have not, racial represen- jects as style, genre and function, ‘film biogra- tation and musical performance in a democ- phies’ of Polish composers, or studies into racy at war / Ian Brookes. – “No brotherly Polish film music perceived as ‘modern mu- love”: Hollywood jazz, racial prejudice and sic’. John Lewis’s score for Odds against tomorrow / David Butler. – Anatomy of a movie: Duke Littlefield, Richard: The Silence of the Frames. Ellington and 1950s film scoring / Mervyn Cooke – V. Criss cross: jazzisticologics. Jump- In: Music Theory Online (MTO) 2,1, 1996, ing tracks: the path of conduction / Michael [URL]. Jarrett. Rev. (Coyle, Michael) in: Cadence 36, 2010, S. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 114

66–67. outstanding. Quintero is also used as an example to study the work system and musical production mechanisms of Spanish cinema of Lopez, Ana: Early Cinema and Modernity in the time. Latin America. In: Cinema Journal 40,1, 2000, S. 48–78. Losseff, Nicky / Doctor, Jenny (eds.): Silence, Music, Silent Music. Aldershot, Hants: Ashgate López Hernández, Sofía: The contributions of 2007, xii, 253 S. the music of George Fenton to the films of Ken Loach. In: Anuario Musical 72, 2017, S. The contributions in this volume focus on the 277–292. ways in which silence and music relate, con- template each other and provide new avenues Ken Loach is a high profile British film direc- for addressing and gaining understanding of tor. Since the mid 1960’s, he has made numer- various realms of human endeavour. The book ous films for cinema and television. There is maps out this little-explored aspect of the already a lot written about his way of filming sonic arena with the intention of defining the and yet very little is written about the music breadth of scope and to introduce interdisci- for his films. To be able to get inside the mu- plinary paths of exploration as a way forward sic of Ken Loach’s films, we must first talk for future discourse. Topics addressed include about George Fenton as he has been Loach’s the idea of ‘silent music’ in the work of Eng- usual composer since 1994. The object of this lish philosopher Peter Sterry and Spanish Je- article is to fill this gap: to discover what mu- suit St John of the Cross; the apparently para- sical characteristics Fenton contributes to doxical contemplation of silence through the Loach’s cinema. medium of music by Messiaen and the relationship between silence and faith; the aesthetics of Susan Sontag applied to Cage’s idea López González, Joaquín: Música y cine en la of silence; silence as a different means of un- España del Franquismo. El compositor Juan derstanding musical texture; ways of thinking Quintero Muñoz (1903–1980). In: Revista de about silences in music produced during ther- musicología 33,1–2, 2010, S. 573–601. apy sessions as a form of communication; This article presents the Spanish musicologi- music and silence in film, including the idea cal community with the work carried out over that music can function as silence; and the the last five years, which resulted in the PhD function of silence in early chant. Perhaps the thesis “Music and Film in Spain during the most all-pervasive theme of the book is that Franco Regime: the Composer Juan Quintero of silence and nothingness, music and spiritu- Muñoz (1903–1980)”. Although based on a ality: a theme that has appeared in writings particular composer, this thesis was written on John Cage but not, in a broader sense, in with the aim of tackling art, music and film scholarly writing. The book reveals that unex- culture during a decisive period in the recent pected concepts and ways of thinking emerge history of the culture of our country. In the from looking at sound in relation to its an- post-war context, cinema and music theatre, tithesis, encompassing not just Western art in particular the operetta and revue genres, traditions, but the relationship between mu- attracted audiences’ interest. Juan Quintero sic, silence, the human psyche and sociologi- composed his works over nearly three cal trends – ultimately, providing deeper un- decades, dividing his time between the suc- derstanding of the elemental places both mu- cess of his compositions for the theatre and sic and silence hold within world philoso- his increasingly prolific musical creation for phies and fundamental states of being. Si- film. This thesis aims to discuss all ofthe lence, Music, Silent Music will appeal to those composer’s facets in a broad and exhaustive working in the fields of musicology, psychol- manner: the composition of light music dur- ogy of religion, gender studies, aesthetics and ing the twenties and thirties, his activity as a philosophy. (Publisher) theatrical composer, and especially his work Inhalt: The texture of silence / Jenny Doctor. – in the field of film music, in which he was Faith, silence and darkness entwined in Mes- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 115

siaen’s ‘Regard du silence’ / Matthew Hill. – In the introduction, Ma lays out the historical Sounding silence, moving stillness: Olivier and theoretical underpinnings for the analy- Messiaen’s Le banquet celeste / Jan Christi- ses she pursues in the following chapters. The aens. – Going gently: contemplating silences five chapters, then, follow in a more or less and cinematic death / Stan Link. – Film chronological order the origins of the sound, music and the art of silence / Ed songstress in the Shanghai film industry of Hughes. – Pragmatics of silence / William the 1920s and 1930s, the migration of much of Brooks. – Some noisy ruminations on Susan this industry to Hong Kong beginning in the Sontag’s ‘Aesthetics of silence’ / Darla M. Second World War and continuing through Crispin. – Preliminary thoughts about silence the communist revolution, the further itera- in early Western chant / Emma Hornby. – The tions of the songstress in Hong Kong Man- communicative rest / John Potter. – The air darin cinema as wildcat and then mambo girl, between two hands: silence, music and com- and finally, the unraveling of the songstress munication / Julie P. Sutton. – ‘Meditation is image in a return to the stereotype of the per- the musick of souls’: the silent music of Peter forming woman undone by love. The coda Sterry (1613-1672) / Tom Dixon. – Silent mu- wraps things up with a quick reference to the sic and the eternal silence / Nicky Losseff. go-go girl of the late 1960s, discussion of the displacement of the songstress by the martial arts hero, and mention of the few revivals of Luko, Alexis: Sonatas, Screams, and Silence: the songstress in later Hong Kong cinema. Music and Sound in the Films of Ingmar Rev. (Andrew Stuckey) in: H-Asia, Sept. 2015. Bergman. New York/London: Routledge 2016, xxxii, 290 S. Maas, Georg (Hrsg.): Inhalt: Aural close-up: music in Bergman’s Zwischen Rockklassikern life – A language of love: Ingmar Bergman, und Eintagsfliegen. 50 Jahre populäre Musik in Käbi Laretei, and music – Bergman’s film mu- der Schule. Oldershausen: Lugert 2010, 400 S. sic: music as film and film as music – Ingmar (Musikunterricht heute. 8. / AFS-Jahrbuch, Bergman’s musicians – Bergman’s musical 2010.). clones and character doubles – Listening to Darin u.a.: Georg Maas: Populäre Musik und Bergman’s monsters: horror music, mutes, die Macht der BilderPodiumsdiskussion / 165. and acoustical beings – Music lessons with – Peter Imort: Rockklassiker in Filmklassiker. August Strindberg: A dream play – Mixing Ein soziokultureller Streifzug durch 50 Jahre with Bergman: at work in the sound studio – Populäre Musik im Film / 177. – Olaf Mehl: Bergman, Bach, Berlioz, and murder: From Sound Design: Die Klangwelt des Films / 192. the life of the marionettes. – Georg Maas: Beatles und Film. A splendid time is guaranteed for all / 198. Lumby, Catherine: Music and Camp: Popular Music Performance in Priscilla and Muriel’s McCann, Ben: »(Under)scoring poetic real- Wedding. In: Screen Scores: Studies in Contem- ism«. Maurice Jaubert and 1930s’ French cin- porary Australian Film Music. Ed. by Rebecca ema. In: Studies in French Cinema 9 (2009) 1, S. Cole. Sydney: Australian Film Television and 37–48. Radio School 1998, S. 78–88. Über 3 Filme mit der Filmmusik von Jaubert.

McClelland, Clive: Gods and Monsters: Signi- fication in Franz Waxman’s film score Bride of – M – Frankenstein. In: Journal of Film Music 7,1, 2014 [2017], S. 5–19.

Ma, Jean: Sounding the Modern Woman: The Songstress in Chinese Cinema. Durham, N.C.: MacDonald, Hugh: Saint-Saëns and the Stage: Duke University Press 2015, 296 S. Operas, Plays, Pageants, a Ballet and a Film. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 116

Cambridge/New York/Port Melbourne/New eth-century concert works that abandon the Delhi/Singapore: Cambridge University Press common practice. In contrast, music associ- 2019, xv, 432 S. (Cambridge Studies in Opera.). ated with the protagonists is generally more accessible, often using common practice har- Mit Bemerkungen zu Saint-Saëns Musik für monies and traditional instrumentation. – den Film L’Assassinat du Duc de Guise von These films appeared during a period referred André Calmettes (Frankreich 1908). to as the “New Hollywood,” which saw younger American filmmakers responding to developments in European cinema, notably MacDonald, Laurence E.: The Invisible Art of the French New Wave. New Hollywood film- . Exp. ed. Film Music: A Comprehensive History makers treated their films as cinematic “state- Lanham, Md.: Scarecrow Press 2013, xvii, 605 ments” reflecting the filmmaker’s artistic vi- S. sion. Often, this encouraged an idiosyncratic Arranged chronologically from the silent era use of music to enhance the perceived artistic to the present day, this volume provides in- nature of their films. – This study examines sight into the evolution of music in cinema the scores of ten science fiction films pro- and analyzes the vital contributions of scores duced between 1966 and 1976: Fahrenheit 451, to hundreds of films. MacDonald reviews key Planet of the Apes, 2001: A Space Odyssey, developments in film music and discusses THX-1138, A Clockwork Orange, Silent Run- many of the most important and influential ning, Soylent Green, Zardoz, Rollerball, and scores of the last nine decades. Logan’s Run. Each is set in a dystopian environment of the future and each reflects the Rev. (Davison, Annette) in: Music, Sound, and New Hollywood’s aspirations to artistic seri- the Moving Image 9,2 , 2015 (Special Issue: “Musical Screens: Musical Inventions, Digital ousness and social relevance. – The music ac- Transitions, Cultural Critique”. Guest ed.: companying these films connoted an image of James Tobias), S. 237–238. technological and human progress at odds with the critical notions informing similar music for the concert hall. These film scores McDonald, Matthew: Death and the Donkey: emphasized the extrapolated consequences of Schubert at Random in Au Hasard, Balthazar. developments occurring during the 1950s and In: The Musical Quarterly 90, Fall/Winter 2007, 1960s that social activists, science fiction writ- S. 446–468. ers, and even filmmakers regarded as worri- some trends. Filmmakers drew on the popular perceptions of these musical sounds to rein- McGinney, William Lawrence: The Sounds of force pessimistic visions of the future, thereby the Dystopian Future: Music for Science Fiction imbuing these sounds with new meanings for Films of the New Hollywood Era, 1966–1976. listeners of the contemporaneous present. Ann Arbor, Mich.: UMI [2009], IV, 221 S. Zuerst: Ph.D. Diss., Denton, TX: University of MacGowan, Kenneth: The Coming of Sound to North Texas, 2009. the Screen. In: The Quarterly of Film Radio and From 1966 to1976, science fiction films tended Television 10,2, 1955, S. 136–145. to depict civilizations of the future that had become intrinsically antagonistic to their in- habitants as a result of some internal or exter- MacGowan, Kenneth: When the Talkies Came nal cataclysm. This dystopian turn in science to Hollywood. In: The Quarterly of Film Radio fiction films, following a similar move in sci- and Television 10,3, 1956, S. 288–301. ence fiction literature, reflected concerns about social and ecological changes occurring McLean, Adrienne L.: ‘It’s Only That I Do during the late 1960s and early 1970s and What I Love and Love What I Do’: ‘Film Noir’ their future implications. – In these films, and the Musical Woman. In: Cinema Journal “dystopian” conditions are indicated as such 33,1, 1993, S. 3–16. by music incorporating distinctly modernist sounds and techniques reminiscent of twenti- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 117

MacMahon, Orlene Denice: Listening to the music as a tool in interpreting the films of French New Wave: The Film Music and Com- Stanley Kubrick, primarily through close posers of Postwar French Art Cinema. Bern: Pe- analyses of Lolita, 2001: A Space Odyssey, and ter Lang 2014, 320 S. (New Studies in Euro- A Clockwork Orange. While Lolita’s music pean Cinema. 16.). seems to fit within Hollywood scoring practices, predicated upon what I term ‘associa- [...] offers the first detailed study of the music tive listening,’ close inspection reveals and composers of French New Wave cinema, Kubrick’s mastery in combining music (on the arguing for the need to re-hear and thus re- basis of structure, style, or both) with the nar- assess this important period in film history. rative in subtle ways which inform the film. Combining an ethnographic approach with The use of diegetic and nondiegetic realms in textual and score-based analysis, the author Lolita forecasts Kubrick’s famous use of pre- challenges the idea of the New Wave as revo- existing music in later films. I will focus on lutionary in all its facets by revealing tradi- moments in Kubrick’s films that feature the tional approaches to music in many canonical most well-known preexisting pieces of music, New Wave films. However, musical innova- such as the Blue Danube Waltzes of Johann tion does have its place in the New Wave, Strauss, Jr., in 2001: A Space Odyssey, and particularly in the films of the marginalised Beethoven’s Ninth Symphony in A Clockwork Left Bank group. The author ultimately brings Orange. Paying special attention to the recep- to light those few collaborations that engaged tion histories and dynamic bodies of associa- with the ideology of adopting contemporary tions with which these pieces conjure, I will music practices for a contemporary medium. identify ways in which the pieces interpret Drawing on archival material and interviews the films and the ways in which the films with New Wave composers, this book re-tells confer meaning upon the music. Musical the story of the French New Wave from the recognition will pertain to music that recurs perspective of its music. within a film as well as to music the spectator is likely to have encountered before seeing the film. In addition to making a case for in- McQuinn, Julie: Listening Again to Barber’s terpretations that take musical recognition as Adagio for Strings as Film Music. In: American a central component in offering fresh read- Music: A Quarterly Journal Devoted to All As- ings of the films and situating the films as pects of American Music and Music in America commentary on music, I identify four cate- 27, Winter 2009, S. 461–499. gories of musical techniques across Kubrick’s oeuvre. These describe the distinctive roles McQuiston, Kate: The Stanley Kubrick experi- played by (1) diegetic music that is heard be- ence. Music, nuclear bombs, disorientation, fore its source is seen; (2) monophonic music signaling danger or isolation for a character; and you. In: Music, Sound and Filmmakers: (3) a piece that follows dialogue or narrative . Ed. by James Eugene Sonic Style in Cinema events in moment-to-moment correspon- Wierzbicki. New York/London: Routledge dence and recurs in the same capacity across 2012, S. 138–150. the film; and (4) music in the diegetic and nondiegetic realms to articulate relationships MacQuiston, Katherine [Kate]: Recognizing among characters and between characters Music in the Films of Stanley Kubrick. Ph.D. and spectators. A concurrent aim of this Thesis, New York: Columbia University 2005, study that has arisen through my exploration 326 pp. of musical recognition is to situate Kubrick’s oeuvre as stylistically influenced by the film- Gedr. als: We’ll Meet Again: Musical Design in maker Max Ophuls. Themes and techniques in the Films of Stanley Kubrick. New York: Ox- Kubrick have direct antecedents in Ophuls, ford University Press 2013, xiv, 235 S. musical usage chief among these. I compare Rev. (Thompson, Brian C.) in: Journal of the numerous scenes from the two directors’ Society for American Music 10,1, 2016, S. 85– films as evidence, and offer an analysis of 89. Eyes Wide Shut as Kubrick’s greatest homage This study examines the idea of recognizing to Ophuls. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 118

Magee, Gayle Sherwood: Robert Altman’s Indiewood and Improvisation – 8. The Perfect Soundtracks: Film, Music, and Sound from Servant – 9: Midwestern Musicals – Conclu- “M*A*S*H” to “A Prairie Home Companion”. sion: Altman Today. New York/Oxford: Oxford University Press 2014, xiii, 296 S. (The Oxford Music / Media Series.). Magee, Gayle: Songwriting, Advertising, and Mythmaking in the New Hollywood: The Case American director Robert Altman (1925-2006) of Nashville (1975). In: Music and the Moving first came to national attention with the sur- Image 5,3, 2012, S. 28–45. prise blockbuster M*A*S*H (1970), and he directed more than thirty feature films in the subsequent decades. Critics and scholars have Mainardi, Michele: Silenzio, lasciatelo parlare: noted that music is central to Altman’s films, Il cinema in Puglia tra arte muta e sonoro. Pre- and in addition to his feature films, Altman sentazione di Salvatore Colazzo. Lecce: Edizio- worked in theater, opera, and the emerging ni Grifo 2019, 487 S. field of cable television. His treatment of Inhalt: [URL]. sound is a hallmark of his films, alongside overlapping dialogue, improvisation, and large ensemble casts. Several of his best- Malina, Lis: „Dear Papa: how is you?“: Das Le- known films integrate musical performances ben Erich Wolfgang Korngolds in Briefen. Wien: into the central plot, including Nashville Mandelbaum 2017, 327 S. (1975), Popeye (1980), Short Cuts (1993), Kan- sas City (1996), The Company (2003) and A Darin u.a.: Original-Filmmusik [von Erich Prairie Home Companion (2006), his final film. Wolfgang Korngold, 1897–1957] / 297. Even such non-musicals as McCabe and Mrs. Miller (1971) have been described as, in fellow director and protege Paul Thomas Anderson’s Marion, Philippe: Confusion sensorielle et evocative phrase, as “musicals without people musicalité virtuelle. Représentation de l’ivres- singing.” Robert Altman’s Soundtracks conse au cinéma muet. In: Cinema & Cie: Interna- siders Altman’s celebrated, innovative uses of tional Film Studies Journal (2005) 7, S. 133–141. music and sound in several of his most ac- Über den Film ›Der Letzte Mann‹ (1924) von claimed and lesser-known works. In so doing, Friedrich Wilhelm Murnau (1888–1930). these case studies serve as a window not only into Altman’s considerable and varied output, but also the changing film industry over Marks, Martin: Screwball fantasia: Classical nearly four decades, from the heyday of the music in ›Unfaithfully Yours‹. In: 19th Cen- New Hollywood in the late 1960s through the tury Music 34 (2010/2011) 3, S. 237–271. “Indiewood” boom of the 1990s and its bust in the early 2000s. As its frame, the book will Über den Film (1948) von Preston Sturges consider the continuing attractions of au- (1898–1959). teurism inside and outside of scholarly discourse, by considering Altman’s career in terms of the director’s own self-promotion as Martella, Daniele: Filmmusik zu „Die Aben- a visionary and artist; the film industry’s pro- teuer des Prinzen Achmed“: Filmmusiktechni- motion of Altman the auteur; the emphasis on sche und diegetisch-musikalische Aspekte. In: Altman’s individual style, including his use of Animation und Avantgarde: Lotte Reiniger und music, by the director, critics, scholars, and der absolute Film. / Animation and Avant-gar- within the industry; and the processes, ten- de: Lotte Reiniger and Absolute Film. Hrsg. v. sions, and boundaries of collaboration. Evamarie Blattner, Bernd Desinger, Matthias Inhalt: Introduction: Listening to Robert Alt- Knop & Wiebke Ratzeburg. Tübingen: Univer- man – 1. The Sweet Music of Kansas City – 2. sitätsstadt Tübingen 2015, S. 137 ff. (Tübinger New Hollywood Song Tracks – 3. Nostalgia Kataloge. 101.). Trips – 4. A New Hollywood Musical – 5. Engl. Fassung ebd. u.d.T.: The Score for the Battling the Empire – 6. The Wilderness – 7. Film “The Adventures of Prince Achmed”: Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 119

Technical and Diegetic Aspects in the Music, tion. S. 140 ff. Zu Reinigers Silhouettenfilm von 1926. Mazierska, Ewa / Gyori, Zsolt (eds.): Popular Music and the Moving Image in Eastern Europe. Matthews, Simon: Psychedelic Celluloid: British New York/London: Bloomsbury Academic Pop Music in Film and TV 1965–1974. Harpen- 2019, vi, 250 S. den: Oldcastle Books / No Exit 2016, 224 S. Inhalt: Introduction: Popular Music and the [C]overs over 300 British and European films Moving Image in Eastern Europe / Ewa and TV shows from the Beatles via Bond Mazierska and Zsolt Gyori (1–24). – 1968 spinoffs to crazy personal follies de grandeur, Leftist Utopianism in The Young Girls of Blow Up and its imitators, concert movies, Rochefort and Hot Summer / Evan Tomer (25– documentaries, stylish horror films and many 44). – Representing Modern Romania in the more. Carefully researched and drawing on Musical of State Socialist Period / Gabriela interviews with some of the survivors of the Filippi (45–62). – Worlds that Never Were: era, it provides a witty and detailed account Contemporary Eastern European Musical of each major production, listing its stars, di- Comedies and the Memory of Socialism / rectors, producers and music and showing Baldzs Varga (63–82). – Pop Music, Nostalgia how they were linked to the fashion and and Melancholia in Dollybirds and Liza, the trends of the period. (Wheelers.co.nz) Fox Fairy / Hajnal Kirdly (83–98). – When the Golden Kids Met the Bright Young Men and Women: Rebellion, Innovation and Cultural Mazey, Paul: Restrained airs: The diegetic sur- Tradition in the Czech 1960s Music Film / face and nondiegetic depth of British film mu- Jonathan Owen (99–116). – ‘Music isn’t Mu- sic. In: Journal of British Cinema and Televi- sic, Words aren’t Words’: Underground Music sion 16,4, 2019, S. 429–443. in the Hungarian Cinema of the New Sensi- bility / Zsolt Gyori (117–138). – Socialist Über Musik in den Filmen Kind Hearts and Night Fever: Yugoslav Disco on Film and Tele- Coronets von Robert Hamer (1949) und The vision / Marko Zubak (139–154). – Disco Polo Importance of Being Earnest von Anthony and Techno According to Maria Zmarz- Asquith (1952). Koczanowicz / Ewa Mazierska (155–170). – Musical Variations in Karpo Godina’s Alter- native Cinema / Andrej Sprah (171–186). – Mazey, Paul: British Film Music: Musical Tradi- Polish Music Videos: Between Parochialism tions in British Cinema, 1930s–1950s. Cham, and Universalism / Ewa Mazierska (187–204). Switzerland: Palgrave Macmillan 2020, xii, 213 – ‘She Stole it from Beyoncé!’: Transnational S. (Palgrave Studies in Audio-Visual Culture.). Borrowingin Bulgarian Pop-folk Music From the celebration of landscape and com- Videos and Audience Reaction to the munity encompassed by pastoral music and Practice / Maya Nedyalkova (205–224). – folk song, and the connection of both with Postsocialist Social Reality in Hungarian Rap the English Musical Renaissance, to the mys- Music Videos / Anna Baton (225–240). tical strains of choral sonorities and the stir- ring effects of the march, this study explores the significance of music in British film cul- Ménard, Sylvain: Musiques de films fantas- ture. With detailed analyses of the work of tiques et de science-fiction. [Rosières-en-Haye]: such key filmmakers as Michael Powell and Camion blanc 2017 (Camion Blanc. 358. u. Emeric Pressburger, Laurence Olivier and 366.). Carol Reed, and composers including Ralph 1. Les compositeurs de A à M, 871 S. Vaughan Williams, William Walton and Brian 2. 773 S. Easdale, this systematic and in-depth study Les compositeurs de N à Z, explores the connotations these musical styles impart to the films and considers how each Mera, Miguel / Sadoff, Ronald / Winters, Ben marks them with a particularly British inflec- (eds.): The Routledge Companion to Screen Mu- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 120 sic and Sound. New York/London: Routledge Knowledge in Foley Artistry. – 28. Direct 2017, xxiii, 633 S. Sounds, Language Swaps, and Directors’ Cuts: The Quest for Fidelity in the Film Soundtrack. Framing Screen Music and Sound. – Inhalt: – Part 4: Cultural and Aesthetic Perspectives. – Part 1: Issues in the Study of Screen Music and 29. From Disney to Dystopia: Transforming Sound. – 1 The Ghostly Effect Revisited. – 2. “Brazil” for a US Audience. – 30. Birth and Mystical Intimations, the Scenic Sublime, and Death of the Cool: The Glorious Afflictions of the Opening of the Vault: De-classicizing the Jazz on Screen. – 31. Home Theater(s): Tech- Late-romantic Revival in the Scoring of ‘New nology, Culture, and Style. – 32. Drive, Speed, Hollywood’ Blockbusters c. 1977–1993. – 3. and Narrative in the Soundscapes of Racing Screen Music and the Question of Originality. Games. – 33. Music, Genre, and Nationality in – 4. Affect, Intensities, and Empathy: Sound the Postmillennial Fantasy Role-Playing and Contemporary Screen Violence. – 5. Bali- Game. – 34. ‘Sounding’ Japanese: Traditions nese Music, an Italian Film, and an Ethnomu- of Music in Japanese Cinema. – 35. Sounding sicological Approach to Screen Music and Transculturation: Western Opera in Korea Sound. – 6. Emphatic and Ecological Sounds during the Japanese Occupation (1910–1945). in Gameworld Interfaces. – 7. “You Have to – 36. Christopher Plummer Learns to Sing: Feel a Sound for It to Be Effective”: Sonic Sur- The Torn Masculinities of Mid-Century US faces in Film and Television. – 8. Screen Mu- Musicals. – 37. Music, Whiteness, and Mas- sic, Narrative, and/or Affect: Kieślowski’s Mu- culinity in Michael Mann’s The Last of the sical Bodies. – 9. Roundtable: Current Per- Mohicans. – 38. Some Assembly Required: Hy- spectives on Music, Sound, and Narrative in brid Scores in Moonrise Kingdom and The Screen Media. – Part 2: Historical Approaches. Grand Budapest Hotel. – Part 5: Analyses and – 10. Sound Design and Its Interactions with Methodologies. – 39. Methods and Challenges Music: Changing Historical Perspectives. – of Analyzing Screen Media. – 40. From Intu- 11. Dimensions of Game Music History. – 12. ition to Evidence: The Experimental Psychol- The Changing Audio, Visual, and Narrative ogy of Film Music. – 41. Idolizing the Syn- Parameters of Hindi Film Songs. – 13. From chronized Score: Studying Indiana Jones Hy- Radio to Television: Sound Style and Audio pertexts. – 42. Fearful Symmetries: Music as Technique in Early TV Anthology Dramas. – Metaphor in Doppelgänger Films. – 43. Musi- 14. Manifest Destiny, the Space Race, and cal Dreams and Nightmares: An Analysis of 1960s Television. – 15. The Early Cinema Flower. – 44. Reverb, Acousmata, and the Soundscape. – 16. The Shock of the Old: The Backstage Musical. – 45. Unsettling the Restoration, Reconstruction, or Creation of Soundtrack: Acoustic Profiling and the Docu- ‘Mute’-Film Accompaniments. – 17. Music mentation of Community and Place – 46. The That Works: Listening to Prestige British In- Sound of Slime-ness: Telling Children’s Sto- dustrial Films. – 18. The Fine Art of Repurpos- ries on the Nickelodeon. ing: A Look at Scores for Hollywood B Films in the 1930s. – 19. Trailer or Leader? The Role of Music and Sound in Cinematic Previews. – Merritt, Russell: Recharging Alexander Nev- Part 3: Production and Process. – 20. A Star is sky: Tracking the Eisenstein-Prokofiev War Born: Max Steiner in the Studios, 1929–1939. Horse. In: Prokofiev’s Music for the Silent Film – 21. Sound Standings: A Brief History of the 48,2, 1994, S. 34–47. Impact of Labor and Professional Representa- tion on the Place of Early Sound Workers in the Industry (1927–1937). – 22. In Sync? Mu- Meyer, Stephen C.: Epic Sound: Music in Post- sic Supervisors, Music Placement Practices, war Hollywood Biblical Films. Bloomington/In- and Industrial Change. – 23. Shaping the dianapolis: Indiana University Press 2014, X, Soundtrack? Hollywood Preview Audiences. 272 S. – 24. Craft, Art, or Process: The Question of Creativity in Orchestration for Screen. – 25. Lavish musical soundtracks contributed a Post-Apartheid Cinema. – 26. Simulation: special grandeur to the new widescreen, Squaring the Immersion, Realism, and Game- stereophonic sound movie experience of post- play Circle. – 27. The Voice Delivers the war biblical epics such as Samson and Delilah, Threats, Foley Delivers the Punch: Embodied Ben-Hur, and Quo Vadis. In Epic Sound, Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 121

Stephen C. Meyer shows how music was uti- mances Casablanca, Doctor Zhivago, and The lized for various effects, sometimes serving as English Patient / Todd Decker. – Inverting the a vehicle for narrative plot and at times com- epic: the music of Ridley Scott’s Kingdom of plicating biblical and cinematic interpretation. Heaven / Kirsten Yri. – The western as na- In this way, the soundscapes of these films re- tional epic: musical persona and narrative dis- flected the ideological and aesthetic tensions tance in High Noon / Jordan Carmalt Stokes. within the genre, and more generally, within postwar American society. By examining key biblical films, Meyer adeptly engages musicol- Meyer, Stephen C.: Dystopia and transcen- ogy with film studies to explore cinematic in- dence. Tavener’s music for Children of Men. terpretations of the Bible during the 1940s In: Music and the Moving Image 13,1, 2020, S. through the 1960s. 43–61. Inhalt: Introduction – 1. A Biblical Story, for Online. – Among the selections used for the the Post-World-War II Generation?: Victor score to Alfonso Cuarón’s Children of Men are Young’s Music for DeMille’s Samson and two works by John Tavener: Eternity’s Sunrise Delilah – 2. Turning Away from “Concocted (1997) and Fragments of a Prayer, written, as Spectacle”: Alfred Newman’s Score for David the composer says, “in response” “to the film. and Bathsheba – 3. Spectacle and Authenticity The pairing of Tavener’s music with scenes of in Miklós Rózsa’s Quo Vadis Score – 4. Novel dystopian violence articulates spiritual pro- and Film, Music and Miracle: Alfred New- cesses of witness and grief, processes which man’s Score to The Robe – 5. Spirit and Em- find fulfillment in the final scene of the film. pire: Elmer Bernstein’s Score to The Ten Com- (Vorlage) mandments – 6. The Law of Genre and the Music for Ben-Hur – 7. King of Kings and the Problem of Repetition – 8. Suoni nuovi, suoni Miceli, Sergio: Analizzare la musica per film. antichi: The Soundscapes of Barabbas – 9. Una riproposta della teoria dei livelli. In: Riv- Universality, Transcendence, and Collapse: ista italiana di musicologia 29,2, 1994, S. 517– Music and The Greatest Story Ever Told – Epi- 544. logue.

Miceli, Sergio: Petrassi tra musica per film e Meyer, Stephen C. (ed.): Music in Epic Film: musica nel film. In: Nuova rivista musicale Listening to Spectacle. New York/London: italiana 9,4, ott.-dic. 2005, S. 549–556. Routledge 2017, xii, 244 S (Routledge Music and Screen Media Series.). Miceli, Sergio: Film Music: History, Aesthetic- Inhalt: Branding the franchise: music, opening Analysis, Typologies. Ed. and transl. by Marco credits, and the (corporate) myth of origin / Alunno & Braunwin Sheldrick. Milano: Ri- James Buhler. – Manufacturing the epic score: cordi/LIM, 2013, xxxvi, 835 S. Hans Zimmer and the sounds of significance / Frank Lehman. – Topoi and intertextuality: A history and analysis of film music from the narrative function in Hans Zimmer’s and Lisa silent era into the late 20th century. Music Gerrard’s music to Gladiator / Joakim Till- and film from many countries and styles are man. – The politics of authenticity in Miklos examined. Rozsa’s score to El Cid / Stephen C. Meyer. – From authenticity to anachronism: pre-exist- Michaylov, Marcus / Hindi, Mohammed / ing music and “epic Englishness” in Elizabeth and Master and Commander / Alexandra Wil- Eriksson, Edward: “More Than a Feeling”: En son. – Records, repertoire and rollerball: mu- kvalitativ studie om hur synkronisering kan sic and the auteur epic / Julie Hubbert. – “The stärka en artists varumärke. Kanditatuppsats epic and intimately human”: contemplating [B.A.-Arbeit], Kalmar/Växjö: Linnéuniversite- Tara’s theme in Gone with the Wind / Nathan tet, Institutionen för marknadsföring (MF) Platte. – “We’re the real countries”: songs as 2016, 68 S.; [URL]. private musical territories in the epic ro- The purpose of this study is through a quali- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 122

tative study understand how artists and their Films charakterisieren, sondern auch die ideo- representatives in the Swedish music industry logischen und künstlerischen Tendenzen ihrer can strengthen an artist brand by synchroniz- Zeit widerspiegeln. Stilisierungen werden im ing music, and what aspects should be taken Kontext des audiovisuellen Kontrapunkts, in into account in the synchronization. This der polysemantischen Rahmenstruktur, in der study is based on a qualitative research ap- Ästhetik der visuellen Absurdität untersucht. proach with a primary deductive approach, Der Autor verwendete: die hermeneutische with some elements of inductive approach. Methode zur Interpretation und zum Ver- These approaches of methods became obvious ständnis eines Kunstwerks, den historischen for us because we had an interest and desire und kulturellen Ansatz, die Methode zur ver- to look more closely at the subject and going gleichenden Analyse von Genres und Stilen into depth. The empirical data consisted of der Musikkunst und des Kinos. Musikalische eight people with insight and extensive expe- Stilisierungen in der Kinematographie werden rience of the swedish music industry. All the erstmals auf der Grundlage des hermeneuti- interviews were semi-structured interviews. schen Spielkonzepts sowie der hermeneuti- Through our theory and literature, we have schen Konzepte des ästhetischen Gefühls, der created a stability based on marketing theo- ästhetischen Erfahrung, Interpretation, des ries, such as branding and relations. We have Verständnisses und der Schaffung eines theo- even used theories, which are directly col- retischen Modells eines Kunstwerks unter- lected from the music business about syn- sucht. Das Verständnis von musikalischen Sti- chronization. Throughout our analysis and fi- lisierungen in einem Film als Spiel in einem nal discussion we concluded that artist must Spielraum wird begründet. Die Schlussfolge- take into account many aspects of the place- rung wird über den Beginn der Globalisierung ment of their music when synchronizing. We im künstlerischen Weltprozess gezogen, was have referred to and discussed these aspects sich insbesondere in der multikulturellen Na- in the conclusions wich are; Image, congru- tur moderner Musikstilisierungen in der Ki- ence aesthetics and capitalize the possibility. nematographie äußert. The artists brand can become stronger, if these aspects are done right. Micheeva, Julija Vsevolodovna: Tipologizacija audiovizual’nych rešenij v kinematografe: (na Micheeva, Ju[lija] V[sevolodovna]: Igra v igre: materiale igrovych fil’mov 1950-ch – 2010-ch muzykal’nye stilizacii v kinematografe [Ми- gg.) [Михеева, Юлия Всеволодовна: Типоло- хеева, Ю[лия] В[севолодовна]: Игра в игре: гизация аудиовизуальных решений в кинема- музыкальные стилизации в кинематогра- тографе: (на материале игровых фильмов фе]. In: Filosofia i Kultura 11 (83), 2014, S. 1950-х – 2010-х гг.)]. Diss. Moskva: Vserossij- 1684–1689; [URL]. skij gosudarstvennyj institut kinematografii “Spielen Sie im Spiel: Musikstile in der Kine- imeni S. A. Gerasimova] 2016, 377 S.; [URL]. matographie.” Dazu: Avtoreferat diss., Moskva 2016, 53 S.; In kyrill. Schrift. – Abstract: Gegenstand der [URL]. Forschung in diesem Artikel sind musikali- "Typologie der audiovisuellen Lösungen im sche Stilisierungen in der Kinematographie Kino: (am Material der Spielfilme der 1950er am Beispiel russischer Kultfilme der 1960er bis 2010er Jahre). bis 1980er Jahre. Die Entwicklung von Metho- In kyrill. Schrift. – Aus der Einleitung: Die For- den, Formen und Bedeutungen der Verwen- schungsarbeit konzentriert sich auf audiovi- dung von Musikstilisierungen in der Ge- suelle Lösungen im Kino im allgemeinen Kon- schichte des Kinos wird verfolgt. Basierend text des Russischen und in der Westeuropäi- auf dem hermeneutischen Konzept des Spiels schen und nordamerikanischen Kultur von enthüllt der Autor die Stilisierungsmerkmale der zweiten Hälfte des 20. bis zu den ersten von Dmitri Schostakowitsch, Alfred Schnitt- Jahrzehnten des 21. Jahrhunderts. Film Bild ke, Sergej Kuryochin und anderen Filmkom- und Ton werden nicht nur als Bestandteile ponisten, die nicht nur den Stil des Kompo- der klangvisuellen Synthese betrachtet, son- nisten und das Konzept des Regisseurs des dern auch als Ausdruckselemente und Indika- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 123 toren verschiedener problematischer Aspekte 275. – Kapitel 5. Verfremdeter Typ: – 5.1. Geis- moderner Kultur, darunter: das Verhältnis von teszustände als Formen des gesunden Den- Masse und Elite, klassische und nicht-klassi- kens und Wahrnehmens / 282 – 5.2 Klangver- sche Kulturen, Assimilation von für das Euro- fremdung und meditative Klangzonen in Fil- zentrisches Modell nicht-traditionellen kultu- men / 288 – 5.3 Musikalischer Minimalismus rellen Werte von anderen Ländern – ehemali- als besondere Art des künstlerischen Denkens ge Kolonien, Fragen der Globalisierung, des / 302 – 5.4. Musikalischer Minimalismus in Transkulturalismus und des Schutzes der na- der Kinematographie / 308. – Schlussfolge- tionalen Kulturen, kultureller Dialog usw. rung / 323. – Bibliographie / 332. – Filmo- Inhaltsverzeichnis [in dt. Übers.]: Kapitel 1. graphie. Definition des audiovisuellen Raums des Films im künstlerischen und historischen Kontext: – 1.1. Bildung klang-visueller Beziehungen im Michelone, Guido: Jazz-film: Rapporti tra cin- Raum des Stummkinos / 26 – 1.2. Die sinnlich ema e musica afroamericana. Nuova edizione isomorphe Art audiovisueller Lösungen im ampliata e aggiornata, I edizione. Roma: Ar- Kino: vom Stummfilm bis zu den neuesten cana 2016, 349 S. (Arcana jazz.). Tonfilmen / 33 – 1.3. Audiovisueller Kontra- Inhalt: 1. Il cantante di jazz: un percorso punkt: Die Manifestation der Klangsubjektivi- storico / 11 – 2. Classici / 60 – 3. Kitsch biopic tät / 42 – 1.4. Der Ursprung und die Entwick- / 80 – 4. Modern Hollywood / 103 – 5. New lung des audiovisuellen Kontrapunkts / 48 – biopic / 126 – 6. Effetto nostalgia / 147 – 7. 1.5. Die Struktur des audiovisuellen Raums ei- Effetti collaterali / 175 – 8. Drama & comedy / nes Tonfilms. Die relativen und absoluten 191 – 9. Fiction in Italy / 210 – 10. Docu in Aspekte des Klangs in Film / 66 – 1.6. Ästheti- Italy / 225 – 11. Europa 01 / 237 – 12. Docu- sche Lokalisierung des Autors als Grundlage menta / 250 – 13. Story & history / 265 – 14. für die Typologisierung audiovisueller Lösun- Series (e cofanetti) / 275 – 15. Clip & soundies gen im Kino / 73. – Kapitel 2. Reflexiver Typ: – / 282 – 16. Jazztoon / 295 – 17. Experimenta / 2.1. Ton als Methode und Reflexionsrichtung 310 – 18. Cinico jazz / 326 – Bibliografia es- in der Intraframe-Zeit eines Films / 79 – 2.2. senziale / 340 – Filmografia cronologica / 344. Existenzielle Reflexion im Klang / 90 – 2.3. Filme über die "menschliche Grenze" und die klangliche Ekstase / 110 – 2.4. Spekulation in Michot, Julie: Billy Wilder et la musique Klängen: Erfahrungen mit spirituellen Suchen d’écran: filmer l’invisible. [Préface de Christian und Reflexionen von Direktoren / 131 – Kapi- Viviani.] Reims: Épure, Éditions et presses tel 3. Phänomenologischer Typ: – 3.1. Ideen der universitaires de Reims 2017, 200 S. (Studia philosophischen Phänomenologie und der Ki- Remensia. 5.). notheorie / 157 – 3.2. Schallreduzierung als phänomenologisches Mittel im Kino / 162 – [R]elève le défi d’aborder Billy Wilder par le 3.3. Ton und Nicht-Ton als Mittel, um die Es- biais de la musique et nous ouvre une pers- senz eines visuellen Ereignisses zu erfassen / pective passionnante en nous faisant réaliser 185 – Kapitel 4. Spieltyp: – 4.1. Der Spielbe- à la fois l’abondance et la diversité de cette di- griff in der Geschichte des philosophischen mension dans l’œuvre du cinéaste. De plus, Denkens und der Kultur des 20. Jahrhunderts. dans cette analyse, la musique, parce qu’elle Die Struktur des Spielraums / 213 – 4.2 Ele- sous-tend le dialogue et le son, devient à la mente von Soundspielen im Bildschirmbe- fois un outil d’investigation original et un ins- reich: Musikzitate, automatische Zitate, trument de création considérable et, jusqu’ici, Quasi-Zitate, Meta-Zitate, Stilisierungen / 219 négligé. Car, par le biais de la musique, c’est la – 4.3. Klangunfälle und Improvisationen / 237 maîtrise chorégraphique qui est étudiée (l’hô- – 4.4 Theatralisierung und Mystifizierung der tel-cabaret de Berlin-Est dans Un, deux, trois, Realität im Kino mit audiovisuellen Techni- qui culmine dans les trémoussements de Lise- ken / 244 – 4.5 Intonationsspiele im Bild- lotte Pulver au son de La Danse du sabre ; la schirmbereich / 267 – 4.6. Sound Ironie als die ronde effrénée des danseurs autour de Watson Einstellung des Autors zur Bildschirmaktion / dans La Vie privée de Sherlock Holmes) ; puis 270 - 4.7. Audiovisuelle Collage: Kunstform, la gestion de la mécanique des corps devient Spielaktivität, Weltanschauung des Autors / naturellement celle des voix et des répliques, Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 124

voire des détails faciaux (il y a chez Wilder Minnick, Jonathan: Cyborgs and cybernetics. une chorégraphie du visage de Jack Lemmon). Electroacoustic characterization and ecology Bref, en un remarquable équilibre de rigueur in Forbidden Planet, In: Lied und populäre Kul- analytique et de gourmandise cinéphile, Julie tur: Jahrbuch des Zentrums für Populäre Kultur Michot célèbre un art complet, souverain, und Musik 64, 2019, S. 49–66. bien plus profond et complexe que ses appa- rences enivrantes le laissent supposer. – Ent- Forbidden Planet’s (1956) premiere electrified hält Filmografie, Diskografie und Indexe. the burgeoning Sci-Fi genre, which drama- tized the international exploration efforts of the Space Race, allowing audiences to witness Miley, Mike: David Lynch at the crossroads. and hear imagined cosmic landscapes. Louis Deconstructing rock, reconstructing Wild at and Bebe Barron’s fully electronic film score, Heart. In: Music and the Moving Image 7,3, the first of its kind, sparked the imagination 2014, S. 41–60. of generations of Sci-Fi directors, composers, and enthusiasts to come. During the early This paper examines the use of rock music in stages of the Barrons’ electronic music exper- David Lynch’s Wild at Heart (1990) to chal- imentation, Louis read Norbert Wiener’s Cy- lenge the film’s reputation as a vapid mess of bernetics, or Control and Communication in postmodern irony and show how the film’s the Animal and the Machine (1948), which the- references to rock ’n’ roll forms, iconography, orizes the relationship between human-gener- and history assert a Romantic conception of ated mechanics and electronics and structures art as a generative force in the American of animals and other beings. Rather than us- spirit. ing the then-available synthesizers or the theremin in their orchestration, the Barrons engineered their own electronic oscillators Millard, Russell: Telling Tales: A Survey of and circuits, applying the same mathematics Narratological Approaches to Music. In: Cur- and schematics found in Wiener’s book. This rent Musicology, 103, Fall 2018, online. foundational connection to Wiener’s inquiries Of the various hermeneutic approaches to the encourages us to consider an ecomusicologi- study of music developed in the last half cen- cal analysis, exploring the complex relation- tury or so, narratological analysis has gone ship between the natural and the non-natural further than many in navigating a path that present in the soundtrack as well as the film. draws on both cultural and structural con- Although the sound machines were designed texts. This overview of the development of to mimic animals, their electroacoustic ties to narrative theory in music charts the course of characters both human and non-human trans- three “waves” of narratological engagement ports the listener to a non-earth setting. The with music: (1) the scholars of the 1980s, such binary of these sound machines mirrors ele- as Anthony Newcomb, Susan McClary, and ments in the film, like the humanoid Robby Patrick McCreless, whose work focused on the Robot and the Krell monster, a creation of narrative in instrumental tonal music; (2) a Dr. Morbius’s subconscious. Furthermore, period of critical reappraisal of musical narra- Forbidden Planet’s reworking of Shakespeare’s tive in the 1990s by writers such as Jean- The Tempest, and numerous ecocritical read- Jacques Nattiez and Carolyn Abbate; (3) the ings of this play, elucidates post-colonial the- opening up of narrative theory to broader ories of imperialism. Themes of conquest are musical repertories–e.g. film and popular mu- common in Sci-Fi movies, in which unsustain- sic–with scholars such as Nicholas Reyland. able lifestyles on Earth have forced humans to Important strands of narrative thinking are search for new planets to settle. Ecomusicol- highlighted, demonstrating the significance of ogy has traditionally focused on Earth-based balancing structural and “humanistic” ap- landscapes, but my research on Forbidden proaches to the study of music through narra- Planetexpands the boundaries to the realms of tive, encouraging close theoretical links be- outer space. An ecological reading of the mu- tween cultural and analytical readings. sic associated with Forbidden Planet’s humans, non-humans, and alien landscapes demonstrates how the cyborg sound machines ani- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 125

mate the complex elements of the forbidden music for Talankin’’s movies is emphasized. It planet Altair IV. From the invisible, dangerous was found out that music of Schnittke in the Krell, to the harmless “Shangri-La In The Talankin’s movies is always meaningful; it Desert,” this paper shows how the sound ma- gives additional information, reveals deep chines of the soundtrack curate a cosmic en- psychological motives and complex emotional vironment filled with objects and beings that feelings of the characters. The work of Alfred exhibit the shared human/non-human binary. Schnittke in the cinema is shown to be impor- (Vorlage) tant for the formation of polystylistic writing method, peculiar to master, as well as testing of many imaginative, timbre and harmonic Miroškina, A[l’fija] F[aritovna]: Vojna i «Tri solutions being implemented into the maj or cveta vremeni žizni» (o fil’mach I. Talankina s academic genres (for example, «Faustian muzykoj A. Šnitke) [Мирошкина, А[льфия] theme»). Ф[аритовна]: Война и «Три цвета времени жизни» (о фильмах И. Таланкина с музы- кой А. Шнитке)]. In: Ežekvartal’nyj recenziru- Miroškina, Al’fija Faritovna: Kinomuzyka Al’- emyj, referiruemyj naučnyj žurnal «Vestnik freda Šnitke: opyt issledovanija [Мирошкина, AGU», Vypusk 3 (164), 2015, S. 136–141; Альфия Фаритовна: Киномузыка Альфреда [URL]. Шнитке: опыт исследования]. Diss. Oren- burg: GBOU VO «Orenburgskij gosudarstven- “The war and «3 colors of a lifetime» (about I. nyj institut iskusstv im. L. i M. Rostropovičej» Talankin’s movies with A. Schnittke’s music).” 2017, 256 S. In kyrill. Schrift. – Zu Schnittkes Musik für drei Filme von Igor Talankin: Vstuplenie Dazu: Avtoreferat, Magnitogorsk 2017, 27 S.; (Вступление, Entry aka Introduction, 1963), [URL]. Dnevnye zvëzdy (Дневные звёзды, Tagesster- „Alfred Schnittkes Filmmusik: Eine For- ne, 1968) und Zvezdopad (Звездопад, Sternen- schungserfahrung.“ regen aka Sternschnuppe (DDR) aka Wenn die Zur Filmmusik der russ.-dt. Komponisten Al- Sternschnuppen fallen ... (DDR), 1981). fred Schnittke (Al’fred Garri’evič Šnitke, Abstract: The paper deals with a kind of «war 1934–1998). – In kyrill. Schrift. trilogy» directed by I. Talankin with the music of a composer Alfred Schnittke and, as a separate musical text, the composer partition Mitchell, Helen: Against all odds: The decline to the following movies: «Entry», «Daytime and resurgence of the symphonic film score in Stars» and «Star Fall». The work identifies the Hollywood. In: The Journal of Film Music 2,2– basic principles how the director and the 4, 2009), S 175–200. composer reveal deeply moral issues in the With the birth of sound film, the symphonic context of war and peace. For the first time on film score would begin a journey which the basis of archival materials and unexplored would firmly entrench the symphonic score partitions the composer’s method of work in in Hollywood practice and parlance. On the movie is cleared up: the principles of route, the symphonic film score would experi- monothematicism, the system of leitmotifs ence many highs and lows, reflecting changes (leit-theme of war, fate, hope, dreams and within the film and music industries and also farewell), the ratio of music in shot and be- within society at large; changes compounded hind-the-scenes and conjugations of different by the impact of new technologies. styles in partitions. During the analysis of movies and partitions their genre and stylistic features and the peculiarities of composition Mogl, Verena: Musik in Bewegung. Mieczys- solutions are revealed. The methods and tech- law Weinbergs Kompositionen für den Film. niques of the composer developing deep psy- In: Osteuropa 60 (2010) 7, S. 123–137. chological problems, implied realities, symphonic pairings of sharply contrasting musical images are highlighted. The importance of Möller, Hartmut: Dis-sonare – Auseinander- lyrical-psychological and tragic spheres of klingen in der Musik / Dis-sonare – Sounding Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 126 apart in music. In: Musiktherapeutische Um- und Kritik 2008, S. 447–469. schau: Forschung und Praxis der Musiktherapie 36,4 2015, S. 294-308. Moormann, Peter: Komponieren mit flexiblen Zusammenfassung: Der Dissonanzbegriff wird Modulen: Zur Filmmusik von John Williams. in allen europäischen Sprachen auf das Zu- In: Archiv für Musikwissenschaft 67 (2010) 2, sammenklingen unterschiedlicher Tonhöhen S. 104–119. angewandt. Dabei führte die unterschiedliche Gewichtung von physikalischen, wahrneh- mungspsychologischen und ästhetischen As- Moormann, Peter: Lisztomania – Starkult um pekten vom Mittelalter bis heute zu unter- den Virtuosen. In: Kieler Beiträge zur Film- schiedlichsten Begründungen der Grenze zwi- musikforschung 7, 2011, S. 45–54, [URL]. schen konsonanten und dissonanten Zusam- menklängen und der musikgeschichtlichen Moormann, Peter: Composing with Types and Rolle der Dissonanz. Seit dem 20. Jahrhundert Flexible Modules. In: Journal of Film Music stehen dem Selbstverständnis der Neuen Mu- 5,1–2, 2012, S. 165–168. sik, dass mit Schönbergs Emanzipation der Dissonanz die Tonalität gestorben sei, der davon unbeeindruckte ausdrucksvolle Disso- Moormann, Peter: Musik und Geräusch im nanzgebrauch in weitgehend tonaler Pop- frühen Tonfilm. In: Ivana Rentsch u. Arne und Filmmusik gegenüber. Stollberg (Hrsg.): Tonspuren aus der Alten Welt: Europäische Filmmusik bis 1945. Mün- chen: Edition Text + Kritik 2013, S. 55–65. Monaghan, Terry: Rock around the clock. The record, the film, and the last historic dance re- volt. In: Popular Music History 3,2, 2008, S. Moormann, Peter: Wagners Klangwelten im 123–148. Fantasyfilm, In: Jan Drehmel, Kristina Jaspers u. Steffen Vogt (Hrsg.): The unruly surge of enthusiastic mass danc- Richard Wagner und ing to rock ’n’ roll music became a defining das Kino der Dekadenz. Wien: Turia + Kant event of 1956, a year packed with memorable 2014, S. 36–43. political and cultural changes. Through detailed analysis of key films from Rock Around Moormann, Peter / Lüschow, Stefan / Wulff, the Clock to Jailhouse Rock, this article locates Hans J. (Komp.): Beethovens Musik im Film. In: 1950s rock’n’roll on the cusp between the Medienwissenschaft: Berichte und Papiere 189, remnants of the swing era, and the subse- 2020, 25 S. quent period of music industry control. After the shock administered by mid-1956 rock ’n’ Wege ins populäre Wissen: Beethoven als roll music and mass dancing to the then pre- Filmmusiker / Hans J. Wulff [1]. – Beethovens vailing racially segregated social norms, Hol- Musik im Film: ein Verzeichnis / Peter Moor- lywood films downplayed the role of dance mann & Stefan Lüschow [4]. – Fidelio-Filme / and refocused creative audience interest on Fidelio-TV-Aufzeichnungen / Hans J. Wulff the “rock’n’roll” “vocal stars. [21].

Monchick, Alexandra: Paul Hindemith and the Moormann, Peter / Wünschel, Ulrich: John Cinematic Imagination. In: The Musical Quar- Williams’ Filmmusik zu Krieg der Sterne. In: terly 95,4, 2012, S. 510–548. Gerhard Paul u. Ralph Schock (Hrsg.): Sound des Jahrhunderts. Geräusche, Töne, Stimmen 1889 bis heute. Bonn: Bundeszentrale für poli- Moormann, Peter: Nino Rota und Ennio Mor- tische Bildung 2013, S. 492–495. ricone. Musik im italienischen Film der 1960er Jahre. In: Thomas Koebner u. Irmbert Schenk (Hrsg.): Das goldene Zeitalter des italienischen Morat, Daniel / Ziemer, Hansjakob / Rutz, Films. Die 1960er Jahre. München: Edition Text Rainer (Hrsg.): Handbuch Sound: Geschichte – Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 127

Begriffe – Ansätze. Stuttgart: Metzler 2018, XI, Routledge 2014, S. 352–358. 437 S. Überblick über Sound in den Kultur-, Geistes- Moreux, Serge: La Partition musicale mi- und Sozialwissenschaften. Ausgehend von der crogénique. Reflexions et conseils pratiques. Beobachtung, dass Sound ein soziales und da- In: Polyphonic 2,6, 1950, S. 7–18. mit auch ein historisches Phänomen ist, greifen die Autorinnen und Autoren die Vielfalt von Sound in unterschiedlichen Erschei- Morricone, Ennio: Inseguendo quel suono: In nungs- und Darstellungsformen auf und ver- His Own Words. Ennio Morricone in conversa- folgen ihre Spuren in Geschichte und Gegen- tion with Alessandro De Rosa. Translated wart. Sie skizzieren methodisch-theoretische from the Italian by Maurizio Corbella. New Zugänge und Begriffe der Soundforschung York: Oxford University Press 2019, xxii, 341 und gehen auf disziplinäre Perspektiven und S. Traditionen ebenso ein wie auf einzelne akus- Werkverzeichnis Ennio Morricone: S. 265– tische Phänomene. Dabei werden spezifische 299. Räumlichkeiten genauso berücksichtigt wie die medialen und politischen Kontexte, in denen Sound produziert und erfasst, angeeignet Morricone, Ennio / Miceli, Sergio: Composing und genutzt wird. for the Cinema: The Theory and Praxis of Music Inhaltsübersicht: I. Methodisch-theoretische in Film. Translated by Gillian B. Anderson. Zugänge – II. Begriffe – III. Disziplinäre Per- Lessons transcribed by Rita Pagani and edited spektiven – IV. Akustische Phänomene – V. by Laura Gallenga. Lanham, Md.: Scarecrow Räume – VI. Medien – VII. Politik. Press 2013, XIV, 295 S. Zuerst ital.: Componere per il cinema. Teoria Mörchen, Roland: »Das große Ganze«: Franz e prassi della musica nel film. Venezia: Mar- Grothes Filmschaffen nach 1945. In: Banter, silio 2001, 316 S. H[arald] / Brandhorst, J[ürgen] / Braun, M[i- Inhalt: Introduction: the composer in the cin- chael] [u.a.]: Franz Grothe. München: Allitera ema – Audiovisual analysis, part I – Produc- Verlag 2019, S. 93–102 (Komponisten in Bay- tion procedures – Audiovisual analysis, part II ern: Dokumente musikalischen Schaffens im – The recording and sound design – Composi- 20. und 21. Jahrhundert. 64.). tional elements – Questions and answers.

Morcom, Anna: Hindi Film Songs and the Cin- Morricone, Ennio / Tornatore, Giuseppe: En- ema. Aldershot, Hampshire/Burlington, VT: nio: un maestro. Milano: HarperCollins 2018, Ashgate 2007, xii, 281 S. (SOAS Musicology 334 S. Series.). Due amici si incontrano e discutono. Discuto- Neuaufl.: Oxford/New York: Routledge 2016, no del mondo e del loro lavoro, perché non xviii, 287 (SOAS Musicology Series.). sono soltanto amici, si muovono anche nello Inhalt: The cinematic study of Hindi film stesso universo artistico. Uno realizza cinema, songs – The production process of Hindi film l’altro realizza musiche per il cinema. È così songs – The musical style of Hindi film songs che nascono queste pagine densissime, ani- – Music, narrative and meaning in Hindi films mate dalle domande di Giuseppe Tornatore, – The commercial life of Hindi film songs – che riportano i suoi lunghi colloqui con Ennio The audience reception of Hindi film songs in Morricone. Pagine nelle quali il cinema è un and beyond the parent film. tema ed è un pretesto, qualche volta in primo piano, qualche altra sullo sfondo dei loro in- contri. Ne parlano, lo affrontano, lo rigirano Morcom, Anna: Film I: Bollywood-Music and da ogni parte per capire cosa sia stato, cosa Multimedia. In: The Routledge Companion to sia oggi e che futuro abbia, lo osservano da ci- Music and Visual Culture. Ed. by Tim Shep- neasti, lo osservano da appassionati, lo osser- hard & Anne Leonard. New York/London: vano anche da spettatori. Intrecciano le loro Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 128

opinioni, i loro racconti, le loro sensazioni. Darin u.a.: §15. Der Filmmusikverlag (Rolf Ogni tanto sembra che i loro ruoli si inverta- Moser) / 134–145. – §68. Filmkomponisten- no. Tornatore cerca una sua musica delle im- und Soundtrackverträge (Georg Höss) / 881– magini, Morricone una misteriosa visibilità 900. – §69. Werbemusikverträge (Peter F. dei suoni. Schulz) / – 901–925. – §70. Filmmusik-Lizenz- verträge (Peter F. Schulz) / 926–989(?).

Morris, John: Culture and Propaganda in World War II: Music, Film and the Battle for Motazedian, Tahirih.: To Key or Not to Key: National Identity. London / New York: I.B. Tonal Design in Film Music. Diss. Ph.D. Thesis, Tauris, 2014, vii, 248 S. (International Library Yale University 2016. of Twentieth Century History. 64.). Dazu: Dissertation Abstracts International Rev. (David Clampin) in: Contemporary DAI-A 78/07(E). British History 31,1, March 2017, S. 136–137. Scholars have long been dismissive of the via- The Nazi Party stressed the superiority of bility of long-range tonal organization in film Germanic culture, and the promotion of music. Controversy over questions of autho- Richard Wagner and Carl Orff was central to rial intent, aural perception and tonal mem- Hitler’s cultural program. In Britain, the War ory, and the ability of a sound track to func- Office under Winston Churchill chose to pro- tion as a cohesive “work” “have led scholars mote Edward Elgar and Hubert Parry, but also to steer dear of (or reject) the concept of tonal to appropriate and ‘de-Nazify’ Ludwig van design in film. To date, filmic tonal design has Beethoven – whose Fifth Symphony was used been explored by only a few scholars in the extensively in wartime broadcasts and has context of a few films. Having analyzed over since become synonymous with VE Day. sixty films, my work addresses this lacuna, Meanwhile, the work of Ralph Vaughan and establishes a systematic methodology for Williams, whose music was commissioned by tonally analyzing film sound tracks. My Powell and Pressburger for use in 49th Paral- analyses reveal overarching tonal organiza- lel, reclaimed a particularly English past tion and elaborate networks of harmonic rela- stretching back to the Tudors. A cultural his- tionships, in which specific keys serve explicit tory of music in wartime based on detailed functions within the filmic narrative and archival research, Culture and Propaganda in structure. In addition to overturning preva- World War II analyses the use of music in the lent assumptions about the feasibility of work of British and German film-makers and large-scale tonality in film, my findings foster will be essential reading for historians, musi- a fascinating new level of engagement be- cians, film scholars and propaganda analysts. tween a film’s music and narrative, and challenge the sedimented notion that key is an ir- relevant parameter in the study of film music. Morton, Lawrence: Rule, Britannia! British The following films will be analyzed: The Tal- Film Music. In: Hollywood Quarterly 3,2, 1947, ented Mr. Ripley (1999), The English Patient S. 211–214. (1996), Breaking and Entering (2006), The Grand Budapest Hotel (2014), The Royal Tenen- baums (2001), Fantastic Mr. Fox (2009), Moon- Moseley, Roger: Music, Visual Culture, and rise Kingdom (2012), The Darjeeling Limited Digital Games. In: The Routledge Companion to (2007), Persuasion (1995), Emma (1996), and Music and Visual Culture. Ed. by Tim Shep- Amadeus (1984). hard & Anne Leonard. New York/London: Routledge 2014, S. 376–384. Müller, Antje: Cinematographische Verfahrens- weisen in den Orchesterwerken von Charles Moser, Rolf / Scheuermann, Andreas / Drücke, Koechlin. Hofheim am Taunus: Wolke 2015, Florian / Albiez, Christiane (Hrsg.): Handbuch 257 S. (Sinefonia.). der Musikwirtschaft. Völlig neu bearb. 7. Aufl. München: Beck 2018, XLV, 1009 S. Zugl.: Diss. Berlin: Technische Universität 2010. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 129

Darin: „Filmmusik und durch den Film inspi- zkymarsch (1932) was adapted for the screen rierte Musik“ / 175. with an original score by Rolf Wilhelm. Com- pared to escapist monarchy films from the 1950s, Radetzkymarsch shifts the perspective Müller, Janina: Musik im klassischen Film noir. to the dark sides of the Habsburg era. In- Würzburg: Königshausen & Neumann 2019, depth analysis of the autograph score demon- 276 S. (Klangfiguren. 5.). strates a similar tendency of the music. A progressive decay of the march determines its Zuerst als Diss., Humboldt-Universität Berlin Mahlerian trajectory . Wil- 2018. per astra ad inferi helm employs a variety of traditional and Die Studie beleuchtet die Rolle der Musik in modernist techniques including plain quota- Hollywoodfilmen der 1940er und 1950er tions, subtle allusions, caricature, fragmenta- Jahre, die französische Filmkritiker nach dem tion, rhythmic manipulation, and cluster Ende des Zweiten Weltkriegs Film noir chords. His music thus exhibits an anti-sub- tauften. Gegenüber dem klassischen Erzäh- lime attitude in accord with prevalent post- lkino prägt der Film noir eine Reihe von war sentiments in Austria and Germany. (Vor- Besonderheiten aus. Dazu gehört seine the- lage) matische Vorliebe für die Schattenseiten zwis- chenmenschlicher und gesellschaftlicher Beziehungen, der Einsatz von subjektivierten Müller, Sabine: Eduard Künneke: Leben und Erzählverfahren und eine expressive Werk. Emmerich am Rhein: Verlag des Emme- Raumgestaltung. Seine Musik, die mit Kom- richer Geschichtsvereins e. V. 2018, XIII, 409 S. ponisten wie Miklós Rózsa, Roy Webb, + 1 Audio-CD. (Emmericher Forschungen. George Antheil, Adolph Deutsch, Max Steiner 36.). und Henry Mancini verbunden ist, greift sowohl harmonische Stilmittel aus dem Zuerst: Diss. Bremen: Universität Bremen Epochenfeld zwischen Spätromantik, Impres- 2016. sionismus und Moderne als auch Einflüsse der Darin u.a.: S. 217–311: 5. FILMMUSIK-KOM- populären Musik und des Jazz auf. Das stereo- POSITIONEN: 5.1 Stummfilm-Musiken – 5.1.1 type Bild von Hollywoods Filmmusik der Anfänge – 5.1.2 Das Weib des Pharao op. 15 – „goldenen Ära“ als einer spätromantisch ver- 5.1.3 Das Blumenwunder [op. 20] – 5.1.4 hafteten Praxis ist mit Blick auf diesen stilis- Ausklang – 5.1.5 Resümee – 5.2 Tonfilm- tischen Eklektizismus revisionsbedürftig. Hier Musiken – 5.2.1 Übergang vom Stumm- zum setzt die Arbeit an, um auf der Basis von film- Tonfilm – 5.2.2 Filmmusiken 1932–1938 – musikalischen Quellenstudien einen Einblick 5.2.3 Eduard Künneke im Zweiten Weltkrieg – in die facettenreiche musikalische Charakter- 5.2.4 Resümee – 5.3 Exkurs: Mythos Sucht. – istik des Film noir zu geben. Im Fokus steht Mit Notenbeispielen. eine Auswahl von filmgeschichtlich ausgeze- ichneten Produktionen, darunter John Hus- tons The Maltese Falcon (1941), Howard Mungen, Anno: Theatermusik als Filmmusik. Hawks’ The Big Sleep (1946), Robert Siodmaks Kurt Weills „Dreigroschen“-Musik als Adap- The Killers (1946) und Nicholas Rays In a tion für den Film von G.W. Papst. In: Filmexil Lonely Place (1950) bis hin zu Billy Wilders 14, 2001, S. 9–24. Hollywoodsatire Sunset Boulevard (1950) und Orson Welles’ Touch of Evil (1958). Mungen, Anno: Film-Theater. Malerei, Musik und Tanz in Vincente Minellis An American in Müller, Janina / Plebuch, Tobias:Decomposing Paris (1951). In: Betzwieser, Thomas / Münz- heroism. Rolf Wilhelm’s music for Radetzky- may, Thomas / Mungen, Anno / Schroedter, marsch (1965). In: Music, Collective Memory, Stephanie (Hrsg.): Tanz im Musiktheater – Trauma, and Nostalgia in European Cinema Tanz als Musiktheater. Bericht eines interna- After the Second World War. New York: Rout- tionalen Symposions über Beziehungen von ledge 2020, S. 209–234. Tanz und Musik im Theater. Würzburg: Königshausen & Neumann 2009, S. 123–133 In 1965, Joseph Roth’s famous novel Radet- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 130

(Thurnauer Schriften zum Musiktheater. 22.). mary shot of the titular orb with an undula- tion between two major triads a tritone apart. I offer three approaches to understanding the Münzmay, Andreas: Bird, Blues, Broadway. appropriateness of this image/music pairing. Gestalt und Funktion der Musik in Shadows First, I present several scenes from recent von John Cassavetes. In: Willem Strank/Claus Hollywood films that conspicuously combine Tieber (Hg.): Jazz im Film: Beiträge zu Ge- this triadic progression with settings of, or schichte und Theorie eines intermedialen Phäno- objects from, outer space. Second, I relay mens. Wien/Berlin: Lit 2014, S. 133–158. ways in which the intrinsic harmonic and voice-leading characteristics of this triadic John Cassavetes’ Shadows (USA 1959) mit dem von Charles Mingus’ Jazz Workshop progression invoke the concepts of great dis- eingespielten Soundtrack gilt als Paradigma tance, ambiguity, and unfamiliarity. Third, I des improvisierten Films. Eine differenziertere conclude with a more thorough study of Lektüre gerade auch der musikalischen Kom- Howard’s harmonic language in the score for ponente des Films ergibt eine präzisere Bes- Treasure Planet, suggesting that this progres- timmung des Verhältnisses von Improvisation sion and the scene it accompanies represents zu kompositorischen Verfahrensschritten wie the culmination of musical and visual/narra- Materialauswahl, Arrangement, Schnitt und tive processes, respectively. Synchronisation. Erarbeitet wird – nicht zuletzt mit höranalytischen Verfahren – ein Musegades, Paula: Aaron Copland’s Hollywood Gesamtüberblick über die Verwendung von Film Scores. Rochester: University of Rochester Musik in Shadows. Davon ausgehend zielen Press 2020, 201 S. (Eastman Studies in Music. die beiden zentralen Fragen des Beitrages auf das künstlerische Handeln, die künstlerischen 169.). Entscheidungen von Cassavetes und Mingus: Inhalt: Setting the Standard: Hollywood’s Stu- Welche Musik kommt zum Einsatz? In dio System – Breaking with Tradition: Cop- welcher Weise kommt Musik zum Einsatz? land’s Theories on Film Music – Scoring Zitathafte Verbindungen ergeben sich zu ver- Morality: Of Mice and Men (1939) – Keeping It schiedensten kulturellen Ausdrucksformen Simple: Our Town (1940) – “Doing His Bit”: wie Rock’n’Roll (Elvis Presley), Bebop (Char- The North Star (1943) – Sophisticated Simplic- lie Parker), Blues (Earl Hines/Billie Eckstine), ity: The Red Pony (1949) – Silence and Sound: Musical und Film (The Ziegfeld Follies, USA The Heiress (1949) – Hearing the Shift: Cop- 1936;), so dass die insgesamt 21 verschiedenen land’s Lasting Impact on Hollywood. Musiken, die an 37 Stellen im Film eingesetzt werden, jeweils in beredter Weise unmittelbar mit Inhalt und Bildlichkeit des Films inter- agieren. In drei nach phänomenonlogischen Kriterien unterschiedenen Durchgängen wird die gesamte Shadows-Musik in den Blick – N – genommen: solistische Jazzimprovisation; En- semblearrangements aus der Feder von Charles Mingus; zitierte Musik. Zu lesen sind Nagari, Benjamin: Music as Image: Analytical Film und Musik nicht zuletzt als emphatisches Psychology and Music in Film. London/New Statement für eine gegenseitige Öffnung York: Routledge 2016, xix, 157 S. afroamerikanischer und weißer populärer Through a theoretical and practical explo- (Musik-)Kulturen. (Autor) ration of Jungian and post-Jungian concepts surrounding image, this book moves beyond the visual scope of imagery to consider the Murphy, Scott: The Major Tritone Progression presence and expression of music and sound, in Recent Hollywood Science Fiction Films. In: as well as how the psyche encounters ex- Music Theory Online (MTO) 12,2, 2006, [URL]. panded images – archetypal, personal or cul- In the 2002 film Treasure Planet, composer tural – on both conscious and unconscious James Newton Howard accompanies the pri- levels. By closely examining music in film, Nagari considers music’s complementary, en- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 131

hancing, meaningful, and sometimes disrup- Legende vom Meister der Rollbilder und Die tive, contribution to expressive images. Chap- Straße der Schande. Es wird eine filmakusti- ters present a Jungian approach to music in sche Theorie entwickelt, die nicht nur Fil- film, highlighting how ‘music-image’ func- memacher und Musikwissenschaftler einbe- tions both independently and in conjunction zieht, sondern auch technologische, ge- with the visual image, and suggesting further schlechtsspezifische und postkoloniale theo- directions in areas of research including mu- retische Perspektiven umfasst. sic therapy and autism. Divided into three cu- Inhalt: 1. Tonorte – Grundlegende Gedanken mulative parts, Part I explores the Jungian zur Klassifizierung von Filmtönen. – 2. Tōkyō psychological account of the music-image; kōshinkyoku [Tokyo Symphony aka Tokyo Part II combines theory with practice in March] (1929) – Versuch eines Talkie. – 3. Fu- analysing how the auditory image works with rusato (1930) – die Morgendämmerung der the visual to create the ‘film as a whole’ expe- Talkie-Ära. – 4. Naniwa erejî [Elegie in Nani- rience; and Part III implements a specific un- wa aka Osaka Elegy] (1936) – das Fehlen von derstanding of three individual film cases of Begleitmusik und der Realismus. – 5. Zangiku different genres, eras and styles as psycholog- monogatari [Erzählung von den späten ically scrutinised ‘case histories’. Chrysanthemen] (1939) – Stimme, Stille, Phan- tomgeschichte. – 6. Chikamatsu monogatari [Die Legende vom Meister der Rollbilder aka Nagato, Yōhei: Eiga onkyōron: Mizoguchi Kenji Eine Erzählung nach Chikamatsu] (1954) – Die kiga o kiku [長門洋平: 映画音響論: 溝口健二映 Ästhetik der „unvollständigen“ Musik. – 7. 画を聴く]. Tōkyō: Misuzu Shobō 2014, vi, 391, Akasen chitai [Die Straße der Schande] (1956) 19 S. – Nachkriegs- und zeitgenössische Musik im [„Theorie des Filmtons: Kenji Mizoguchis Fil- japanischen Film. me hören“.] In japan. Schrift. – Kenji Mizoguchi (1898– Navitski, Rielle: The Tango on Broadway: Car- 1956) war kreativ in einer Vielzahl von Gen- los Gardel’s International Stardom and the res, Stilen und Technologien, einschließlich Transition to Sound in Argentina. In: Cinema Pionierversuchen zu Beginn der Talkies und Journal 51,1, 2011, S. 26–49. seiner Beschäftigung mit neuer und zeitge- nössischer Avantgarde-Kunst. Analysiert wird die Klangerzeugung in japanischen Filmen Nelson, Robert U. / Rubsamen, Walter H.: Bib- vom frühen Talkie bis zum goldenen Zeitalter liography of books and articles on music in der 1950er Jahre. In diesem Buch wird die film and radio. In: Hinrichsen’s Musical Year Nützlichkeit von Ton in Mizoguchis Filmen in Book 6, 1949/50, S. 318–331. Bezug auf Bilder und Geschichten betrachtet. Darüber hinaus wird die Klangerzeugung im Produktionsprozess anhand der Partitur und Ness, Richard R.: Non-Visual Pleasures: Music, des Manuskripts des Komponisten selbst ana- Gender, and Narrative Cinema. Ph.D. Thesis, lysiert. Wichtige Literatur zum Filmklang Detroit, Mich., Wayne State University 2002, wird eingeführt. Es ergibt sich ein theoreti- III, 292 S.. schen Rahmen für die Analyse von Filmen Mikrofiche-Ausg.: Ann Arbor, Mich.: Pro- von der auditorischen Seite her, der eine Me- Quest, 4 Mikrofiches. thodik bietet, die von Experten auf verschiedenen Gebieten wie der audiovisuellen Kultur und der Medienforschung verwendet werden Nettelbeck, Colin: A Cycle of Freedom: Louis kann. Im Anhang ein langes Interview mit Malle’s Jazz Films. In: Nottingham French Iwao Otani, dem verantwortlichen Toninge- Studies 43,1, 2004, S. 156–164. nieur für alle Mizoguchi-Filme, die in den 1950er Jahren in Daiei Kyoto produziert wurden. Mit sorgfältigen Analysen von Tokyo Neumeyer, David: Film II. In: The Routledge Symphony, Furusato, Elegie in Naniwa, Er- Companion to Music and Visual Culture. Ed. by zählung von den späten Chrysanthemen, Die Tim Shephard & Anne Leonard. New York/ Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 132

London: Routledge 2014, S. 359–366. Newsom, Jon: ‘A Sound Idea’: Music for Ani- mated Films. In: The Quarterly Journal of the Summer 1984, S. 279–308. Neumeyer, David: Studying Music and Screen Library of Congress, Media. In: The Routledge Companion to Music and Visual Culture. Ed. by Tim Shephard & Nicholls, Mark: Scythian rhapsody: The Red Anne Leonard. New York/London: Routledge Shoes, Le Sacre du Printemps, creative youth 2014, S. and regenerative rage. In: Quarterly Review of Film and Video 34,5, 2017, S. 425–444. Neumeyer, David: Meaning and Interpretation Über den Film von Michael Powell und of Music in Cinema. With contributions by Emeric Pressburger (1948) zum Ballett von James Buhler. Bloomington: Indiana Univer- Sergei Diaghilev mit der Musik von Igor sity Press 2015, xv 317 S. (Musical Meaning Stravinsky von (1913). and Interpretation.). By exploring the relationship between music Niebling, Laura: Rockumentary: Theorie, Ge- and the moving image in film narrative, schichte und Industrie. Marburg: Schüren, David Neumeyer shows that film music is not 2018, 412 S. (Marburger Schriften zur Medien- conceptually separate from sound or dialogue, forschung. 79.). but that all three are manipulated and continually interact in the larger acoustical world of Zugl.: Diss. Universität Bayreuth 2017. the sound track. In a medium in which the Inhalt: 1. «Video Revives The Radio Star» – image has traditionally trumped sound, Einleitung / 7 – 2. Die Rockumentary – Annä- Neumeyer turns our attention to the voice as herung und intermedialer Kontext / 35 – 3. the mechanism through which narrative (dia- Musik im Film, Musik als Film – Eine Sche- log, speech) and sound (sound effects, music) matisierung des Musikfilms / 65 – 4. Gegen- come together. Complemented by music ex- kultur, Subkultur, Massenkultur – Die Ge- amples, illustrations, and contributions by schichte der Rockumentary / 173 – 5. Beigabe, James Buhler, Meaning and Interpretation of B-Movie, Blockbuster – Die Industrie der Mo- Music in Cinema is the capstone of dernen Rockumentary / 257 – 6. Rockumenta- Neumeyer’s 25–year project in the analysis ry – Movens und Dokument der Musikge- and interpretation of music in film. schichte / 341. Inhalt: Part 1: Meaning and interpretation – Rez. (Klos, Stefanie) in: MEDIENwissenschaft: Music in the vococentric cinema – Tools for Rezensionen, 3, 2019, S. 307–309. – Rev. (Weid- analysis and interpretation. – Part 2: Music in hase, Nathalie) in: Popular Music History 12,2, the mix: Casablanca – Acoustic stylization: 2019, S. 243–246. the film’s sound world – Music and utopia: a reading of the reunion scene – The reunion scene’s contexts. – Part 3: Topics and tropes: Niedermüller, Peter: »Make it loud! This is a two preludes by Bach Performers onscreen – Romeo foxtrott. Shall we dance?«: Richard Underscore four studies of the C major pre- Wagner und die Filmmusik. In: Wagner-Per- lude. spektiven: Referate der Mainzer Ringvorlesung zum Richard-Wagner-Jahr 2013. Hrsg. v. Axel Beer & Ursula Kramer. Mainz: Are Edition Newiak, Denis: „Wer sagt, er wäre geflogen, 2015, S. 149–178 (Schriften zur Musikwissen- lügt“. Peter Gotthardts Musik zum DEFA-Film schaft.). Ikarus (1975). In: Klaus-Dieter Felsmann (Hrsg.): Peter Gotthardt – 50 Jahre Filmmusik. Berlin: Ries & Erler 2016, S. 37–45. Nitsche, Jessica: »Wild, White Horses« – Film- musik und Tod in Wim Wenders’ Palermo Shooting. In: “Dancing with Mr. D” – Tod in Newlin, Dika: Music for the Flickering Image: Popmusik und Kunst. Hrsg. v. Jörg Vögele, An- American Film Scores. In: Music Educators na Schiller, Luisa Rittershaus & Kelly G. Waap. Journal 64,114, Sept. 1977, S. 24–35. Köln: Wienand 2019, S. 66–71. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 133

Noeske, Nina: Musik und Imagination. J.S. Noeske, Nina: Zukunftsmusik. Musikpraxis im Bach in Tarkovskijs Solaris. In: Filmmusik: Science-Fiction-Film. In: Musik in der Science- Beiträge zu ihrer Theorie und Vermittlung. Fiction / Music in Science fiction. Hrsg. v. Knut Hrsg. v. Knut Holtsträter, Oliver Huck & Vic- Holtsträter, Tarek Krohn, Nina Noeske u. toria Piel. Hildesheim/Zürich/New York: Olms Willem Strank. Freiburg: Waxmann 2019, 364 2008, S. 25–42. S. (= Jahrbuch „Lied und Populäre Kultur / Song and Popular Culture“. 64.). Noeske, Nina: „In allen Opern, die von Erlö- sung handeln, wird im 5. Akt eine Frau geopfert“. Film, Musik und Oper bei Alexan- der Kluge. In: Kieler Beiträge zur Filmmusik- forschung 3, 2009, S. 84–95. – O –

Noeske, Nina: Violeta Dinescus Musik zu Obana, Takashi: Eiga ongaku kara gēmu ōdio Friedrich Murnaus Stummfilm Tabu: Eine mu- e: Eizō onkyō kenkyū no chihei [尾鼻崇: 映画音 sikalische Topographie des ‚Blicks‘. In: Blick- 楽からゲームオーディオへ: 映像音響研究の地 wechsel Ost/West: Gender-Topographien. Hrsg. 平]. Kyōto: Kōyō Shobō 2016, x, 187 S. v. Nina Noeske & Melanie Unseld. Hildesheim: In japan. Schrift. – Zeigt, wie sich die in frü- Olms 2009, S. 27–36 (Jahrbuch Musik und hen Hollywood-Filmen etablierte klassische Gender. 2.). Musiksprache mit der anschließenden Ent- wicklung von Videomedien verändert hat und Noeske, Nina: Gläserne Harmonien hinter wie sie sich auf unser Musikhören auswirken dem Eisernen Vorhang: Eine sur-realistische könnte. Zeichentrickfilmmusik von Alfred Schnittke. Inhalt: 1. Der Filmmusikkomponist Max Stei- In: Postmoderne hinter dem Eisernen Vorhang: ner und sein Umfeld – 2. Max Steiners Film- Werk und Rezeption Alfred Schnittkes im Kon- musik und das „Lichtmotiv“ – 3. Synchroni- text ost- und mitteleuropäischer Musikdiskurse. sieren von Video und Ton in Max Steiners Hrsg. v. Amrei Flechsig & Stefan Weiss. Hil- Filmmusik – 4. Aspekte von Game Audio in desheim: Olms 2013, S. 77–92 (Ligaturen. Mu- der Frühzeit des Videospiels – 5. Familien- sikwissenschaftliches Jahrbuch der HMTH. 6.). computer und „Spielemusik“ – 6. Die akustische Theorie von Super Mario Brothers – 7. Essay zur Designstudie von Game Audio – Noeske, Nina: Mit Wagner über Wagner hin- Geschichte, Bewegung, Zeit. aus: Hans-Jürgen Syberbergs Parsifal-Film (1982). In: Parsifals Rituale: Religiöse Präfigura- tionen und ästhetische Transformationen. Bei- O’Brien, Charles: Movies, Songs, and Electric träge der Ostersymposion Salzburg 2013. Sound: Transatlantic Trends. Bloomington: In- Hrsg. v. Jürgen Kühnel & Siegrid Schmidt. diana University Press 2019, xi, 212 S. Anif/Salzburg: Müller-Speiser 2014, S. 110–124 How did the introduction of recorded music (Wort und Musik. 77.). affect the production, viewing experience, and global export of movies? In Movies, Songs, Noeske, Nina: Zur filmmusikalischen Reprä- and Electric Sound, Charles O’Brien examines American and European musical films created sentation männlicher Homosexualität. In: Mu- circa 1930, when the world’s sound-equipped sik und Homosexualität – Homosexualität und theaters screened movies featuring recorded Musik. Hrsg. v. Kadja Grönke u. Michael Zy- songs and filmmakers in the United States wietz. Hildesheim/Zürich/New York: Olms and Europe struggled to meet the artistic and 2017, S. 61–75 (Jahrbuch Musik und Gender. technical challenges of sound production and 10.). distribution. The presence of singers in films exerted special pressures on film technique, lending a distinct look and sound to the films’ Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 134

musical sequences. Rather than advancing a diegetically controlled music to be an impor- film’s plot, songs in these films were staged, tant tool for the development of, and audience filmed, and cut to facilitate the singer’s en- identification with, characters. The technique gagement with her or his public. Through an is also connected to selected findings from so- examination of the export market for sound cio-musicology, whereby character DJs can be films in the early 1930s, when German and seen to represent the way that, in everyday American companies used musical films as a life, individuals use music to develop their so- vehicle for competing to control the world cial identity. film trade, this book delineates a new transnational context for understanding the Hollywood musical. Combining archival re- Ottenheym, Konrad: Film und Musik bis zur search with the cinemetric analysis of hun- Einführung des Tonfilms: Beiträge zu einer dreds of American, German, French, and Geschichte der Filmmusik. Diss., Friedrich-Wil- British films made between 1927 and 1934, helms-Universtät zu Berlin 1944, (4], 154 S. O’Brien provides the historical context necessary for making sense of the aesthetic impact of changes in film technology from the past to Ovsyannikova-Тrеll, Aleksandra: Film Music the present. in the Works of Contemporary Ukrainian Composers. In: Visnyk Natsionalnoi akademii kerivnykh kadriv kultury i mystetstv [Kyïv] 2, O’Meara, Jennifer: Character as DJ: Melomania 2016, S. 91–94; [URL]. and Diegetically Controlled Music. In: The New Abstract: The purpose of the article. The re- Soundtrack 5,2, 2015, S. 133–151. search is related to the study of film music of Despite a wealth of literature on the narrative contemporary Ukrainian composers. It is a and emotional implications of film music, lit- specific genre layer in Ukrainian music cul- tle has been written on the relationship be- ture of today. The author tries to define the tween musical choices and characterisation. problem field of cultural studies of film music When character is discussed in relation to of Ukrainian composers and identify some as- music, the focus tends to be on how directors pects of its understanding (film music as a and sound designers use non-diegetic music – sound reality of culture, communicative func- either a score or pre-existing songs – to com- tion of music and sound image, etc.). Research ment on a character’s psyche. This article methodology lies in the use of comparative considers possible implications of, and bene- methodological principles as well as system fits to, characters shown to choose and play and musical-historical methods. The above music for themselves. In Auteur Music, Clau- methodological approach allows to study the dia Gorbman uses the term mélomane to de- applied (by its origin) composing sphere in scribe ‘music-loving directors’ who treat mu- perspective of representation of contempo- sic ‘as a key thematic element and a marker rary culture and reveal national and cultural of authorial style’ (2007: 149). Just as Gorb- identity of film music of Ukrainian com- man suggests that melomania allows an au- posers. The scientific novelty of this study teur to express individuality through musical consists in the expansion of notions of the choices, I argue for the significance of charac- “secondary” field of Ukrainian composers’ ter melomania in granting these fictional con- works, which is a significant part of our cul- structs individuality through music. As can be ture and often reflects the major trends of its demonstrated through a series of case studies development. “Music for Films” is a constant from the films of – among others – Sofia Cop- of the works of Ukrainian authors, but this is- pola, Hal Hartley and Jim Jarmusch, this trend sue has not yet become the subject of a spe- for a character to serve as DJ is particularly cial scientific discussion. Conclusions. Film strong in American independent cinema. music of Ukrainian composers of the second Through engagement with theories of charac- half of the XX century and today represents a ter construction and identification (Dyer 1998; specific phenomenon, characterized by het- Smith 1995), as well as literature on indie cin- erogeneity of functional and stylistic manifes- ema as character rather than plot-based (King tations. If, in some cases, music created for a 2005; Newman 2011), this article reveals film, is only a special case of manifestation of Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 135

the creative talent of the composer (as Boris Palmer, Christopher: Miklós Rózsa: A Sketch of Liatoshynsky, Miroslav Skoryk, Valentin Sil- His Life and Work. London: Breitkopf und Här- vestrov), in others – we are dealing with real tel 1975, 78 S. experts in this area, whose works in their bulk are connected to the “production” of music for films (Vladimir Guba, Oleg Kiva). Palmer, Landon: ‘And Introducing Elvis Pres- ley’: Industrial Convergence and Transmedia Stardom in the Rock ’n’ Roll Movie. In: Music, Ozsvárt, Viktória: Interactions between sym- Sound, and the Moving Image 9,2, 2015 (Special phonies and film music in the œuvre of László Issue: “Musical Screens: Musical Inventions, Lajtha. In: Studia musicologica: An Interna- Digital Transitions, Cultural Critique”. Guest tional Journal of Musicology 58,2, 2017, S. 239– ed.: James Tobias), S. 177–190. 253. Recent cinema music scholarship has demon- In the case of Hungarian composer and eth- strated that the correspondence between nomusicologist László Lajtha (1892–1963) dis- commercial music production and Hollywood covering the manifold potentials in a sym- filmmaking has rarely operated according to a phonic orchestra linked strongly with the stable or fixed formula, but has instead taken composition of works for stage and screen. place as an ever-shifting negotiation between Nevertheless, it clearly makes sense to exam- media industries. Through a case study that ine the long-term relations Lajtha had with examines the production histories and promo- the film as a genre, by searching for common tional efforts of Elvis Presley’s first two films, features in the structure of his music com- this essay builds upon existing scholarship to posed for films and his symphonies. Much of propose a political economy of film music the musical material in Lajtha’s Third Sym- stardom as a means to historicise the intersec- phony is similar to those he used in his 1948 tions between media industries. By applying film music for Murder in the Cathedral. The the methodologies and concepts of compara- similarity gains more complexity if one takes tive media studies to a history of postwar into consideration that the Third Symphony Hollywood that found itself challenged by a was marked by the composer as the starting proliferation of ‘new’ media, particularly in point in a monumental, five-fold symphonic the emergence of a youth-oriented consumer cycle composed through the 1950s. The article culture and the increasingly popular compet- makes an attempt to explore the thematic and ing screen of television, this article demon- motivic relationship between the Third Sym- strates how transmedia stardom indexes the phony, the Variations and the film score Mur- ways in which production cultures have under in the Cathedral by analysing the musical derstood the development of media industries material and the structure, and by searching and commodities in relation to one another. for correlation between the audible and visual effects of the music Lajtha used in the movie scenes. This kind of examination may offer a Patka, Marcus G. / Stalzer, Alfred (Hrsg.): Stars new perspective on the sources of inspiration of David: Der Sound des 20. Jahrhunderts. Hrsg. that shaped Lajtha’s workmanship and it also im Auftrag des Jüdischen Museums Wien. Ber- gives some important information about his lin: Hentrich & Hentrich 2016, 349 S. way of thinking about music. Darin: Sheldon Harnick: Der Mann. der die Songs für Fiddler on the Roof schrieb / The Man Who Created the Songs of Fiddler on the Roof. Interview: Alfred Stalzer / 78. – Günter Krenn: Europäische Emigranten als Filmkom- – P – ponisten in Hollywood / European Emigrants as Film Composers in Hollywood / 82. – Gün- ter Krenn: Stars of David am Firmament Hol- Pagan, Nicholas O.: Tous les matins du monde: lywoods / Stars of David in the Hollywood Roland Barthes and the Culture of Musician- Skies / 90. ship. In: PostScript 22,1, Fall 2002, S. 35–44. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 136

Pauli, Hansjörg: Filmmusik – ein historisch- (2002) / Mariana Whitmer – The very essence kritischer Abriss, in: Hans Christian Schmidt of tragic reality: Aaron Copland and Thomas [Hrsg.]: Musik in den Massenmedien Rundfunk Newman’s suburban scoring / Anthony und Fernsehen: Perspektiven und Materialen. Bushard. Mainz: Schott 1976, S. 91–119. Pflüger, Dana: Musik und Handlung: Die Funk- Paulus, Irena: Music in Krzysztof Kieslowski’s tionen der Musik in Oper, Film und Schauspiel film Three Colors: Blue. A rhapsodie in shades mit einer exemplarischen Betrachtung von Al- of blue: The reflections of a musician. In: Inter- bert Lortzings Werken. Bern/Berlin/Bruxelles/ national Review of the Aesthetics and Sociology New York/Oxford/Warszawa/Wien: Peter Lang of Music 30,1, 1999, S. 65–91. 2018, VII, 267 S. (Perspektiven der Opernfor- Über die Musik von Zbignew Preisner (geb. schung. 26.). 1955) für den Film von Kieslowski (1993). Diss. Paderborn: Universität Paderborn 2016. Die Verbindung von Handlung und Musik ist ein zentrales Merkmal in Oper, Film und an- Payri, Blas: ‘Moon River and Me’: The film- deren theatralen Formen. Doch welche Funk- song as leitmotiv in . In: Breakfast at Tiffany’s tionen erfüllt die Musik für die Handlung? The Soundtrack 4,2, 2011, S. 137–152. Mit welchem Zweck wird sie eingesetzt und von wem? Ist sie Ausdruck der Gefühle der Pelkey, Stanley C. / Bushardt, Andy (eds.): An- Figuren oder ein Kommentar des Komponis- xiety Muted: American Film Music in a Subur- ten ans Publikum? «Hören» die Figuren selbst ban Age. Oxford/New York: Oxford University die Musik? Antworten auf diese Fragen sam- Press 2015, xviii, 298 S. melt die Autorin aus allen relevanten Fachge- bieten und nutzt die Betrachtung von Leitmo- Inhalt: A survey of history, themes, and tivik, Kommunikationsmodellen, Theaterse- trends / Stanley C. Pelkey II – Music and miotik, Schauspielmusik und Filmmusik zur mimicry in Sunset Boulevard (1950) / Christina Entwicklung eines eigenen umfassenden und Gier – Who’s who in Hadleyville: the civic für alle musiktheatralen Gattungen gültigen voice in High Noon (1952) / Anthony Bushard Funktionssystems. In Beispielen aus Werken – Anxieties of accuracy: Miklós Rózsa’s score Albert Lortzings zeigt sich paradigmatisch for Quo vadis (1951) / Linda K. Schubert – das virtuose Spiel des Komponisten mit den “Whatever will be, will be”: gender equality unterschiedlichen Funktionen der Musik. and the music of Alfred Hitchcock’s The Man Darin u.a.: E. Filmmusik (81–118): I. Fünf Who Knew Too Much (1956) / Joshua Neu- Funktionen von Filmmusik – 1. Bildton und mann – Music, maturity, and the moral geog- Fremdton – 2. Diegetische und extradiegeti- raphy in Leave It to Beaver (1957–1963) / Stan- sche Musik – 3. Drei »livelli« und die »epifa- ley C. Pelkey II – The whole truth: music as nia degli artefici« (Miceli) – 4. Der »degree of truth in TheT wilight Zone (1959–1964) / Reba musical reality« (Van der Lek) – II. Filmmusik Wissner – “Living in harmony” ?: American und Narratologie – III. Funktionssysteme – 1. music and individualism in The prisoner La Motte-Haber/Emons – 2. Pauli – 3. Maas/ (1967–1968) / Joanna Smolko and Tim Smolko Schudack – 4. Bullerjahn – 5. Retter – 6. Klop- – The sound of disability: music, the Obses- penburg – IV. Weitere Modelle. sive avenger, and eugenics in America / Meghan Schrader – Masculinity, race, and the Rez. (Michael Berger) in: [rezens.tfm], 15.5. blues in the Bizpic Cadillac records (2008) / 2019; [URL] u. [URL]. Jesse Schlotterbeck – Comin’ back to the sixties: mobilizing music and performing poli- Phillipot, Michel: ‘Musique à ne pas voir’. In: tics, 1988–1990 / Christopher D. Stone – Late- , 4, 1987, S. 58–64. adolescence in the American sixties: “The Vibrations twist” “and the twentysomethings in AMC’s Mad men (2007–) / Samantha London – Musi- Phinney, Nicole Dawn: The Influence of Music cally recreating the fifties in Far from Heaven in Transportation and Character Identification. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 137

Diss., Santa Barbara, CA: Fielding Graduate 271 S. University 2017. Erst in den letzten Jahrzehnten begann die This paper seeks to answer if music has an in- psychoanalytische Auseinandersetzung mit fluence on the level of transportation and Film und Musik. Insbesondere Soundtracks character identification in a fictional narra- von Filmen wurde bisher wenig Beachtung tive. Two groups were asked to watch nine geschenkt. Dabei ist die Gestaltung der Ton- videos each and rate the level of transporta- spur wesentlich für die emotionale und ästhe- tion (how invested in the narrative they were) tische Wirkung eines Films.Im vorliegenden and the level of character identification, in- Band untersuchen renommierte Musikwissen- cluding if they wished to watch more of the schaftler und Psychoanalytiker Filmmusik film. It was found that music as an emotional von ihrer Komposition über deren Wirkung – variant produced significant results in both auch der von Stille oder Geräuschen – bis hin levels of transportation and character identifi- zu ihrer Rezeption im Rahmen des audiovisu- cation. Significant results were found in both ellen Gesamtkunstwerks. Zur Veranschauli- between-group and pairwise comparison. chung werden zahlreiche Filmbeispiele, wie Furthermore, when gender was examined as a Disneys Fantasia (1940), The Shining (1980) condition, it was found that music as an emo- oder The Artist (2011), herangezogen. tional valancehad a significant impact in Inhalt: Vorwort 7. – Mathias Hirsch: Einige some, but not all, videos. One video in partic- Gedanken zur Wirkung und Funktion von ular, Vanilla Sky, produced significant results Musik im Film / 17. – Sebastian Leikert: Von in gender, independent from music as an der Musik der Bilder. Versuch zur ästheti- emotional variant. schen Form der Filmkunst / 35. – Johannes Hirsch: Musik und Stille im Film / 53. – Helga de la Motte-Haber: Stummfilm – ein audiovi- Piccardi, Carlo / Anderson, Gillian B. / Bagnoli, suelles Medium. Notwendigkeit musikalischer Lidia: Pierrot at the cinema. The musical com- Begleitung zum bewegten Bild / 69. – Hannes mon denominator from pantomime to film, pt. König: Mit Hingabe zum Schaudern. Über das 2. In: Music and the Moving Image 2,2, 2009, S. Unheimliche in der Musik von Die neun Pfor- 7–23. ten (1999) / 81. – Matthias Hornschuh: Why Having noted similar theoretical issues and So Serious? Filmmusik als Miterzähler in challenges in the setting of music for pan- Christopher Nolans The Dark Knight (2008) / tomime and for film, Carlo Piccardi collected 95. – Willem Strank: Markierungen des Irrea- an exhaustive list of early theoretical com- len. Zur Andeutung alternativer Realitätszu- ments, reactions, and descriptions about the stände durch Filmmusik / 115. – Andreas Ja- issue. In part I, in Music and the Moving Im- cke: Todes-Rezeptionen. Händel und Wagner age, volume 1, number 2, extensive quotes by in Lars von Triers Antichrist (2009) und Me- Jacques de Baroncelli, Paul Huguonet, Alice lancholia (2011) / 127. – Konrad Heiland: Die Orient, Jeanne Ronsay, and Émile Jaques-Dal- Hochzeit von Ton und Bild bei David Lynch, croze (among many others) demonstrated the die Tonspur als eigenständiges Kunstwerk bei similarities between the development of mu- Jean-Luc Godard / 143. – Konrad Heiland: sic for pantomime and that for dance and cin- Tonspuren im Schnee. Zur Filmmusik von ema, and cinema music’s connection to the Stanley Kubricks The Shining (1980) / 165. – futurist movement. In part II, we have obser- Theo Piegler & Konrad Heiland: Rettungsfan- vations and ruminations by Ricciotto Canudo tasien in Bild und Ton. Psychoanalytische Be- and Sebastiano Arturo Luciani. It is astonish- trachtungen über die Filme Vertigo (Hitchcock ing to read comments written almost a hun- 1958) und The Artist (Hazanavicius 2011) / dred years ago that reflect on issues that are 171. – Irene Kletschke: Gemalte Träume. Walt still very much with us today. (Vorlage) Disneys Fantasia (1940) / 211 – Stephan Brüg- genthies: Schicksal und Zufall, Schuld und Reue. Die Musikdramaturgie von Magnolia Piegler, Theo / Konrad Heiland (Hrsg.): Der So- (1999) / 225. – Enjott Schneider: Filmmusik- undtrack unserer Träume: Filmmusik und Psy- Traumarbeit in surrealer Welt. Ein persönli- choanalyse. Gießen: Psychosozial-Verlag 2013, cher Bericht aus der Komponistenwerkstatt / Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 138

231. – Auf der Transsib. Zur Vertonung eines 365. Dokumentarfilms über die Transsibirische Ei- senbahn. Interview mit der Musikerin und Komponistin Christina Fuchs (Mai 2012) / Piontek, Frank: Eine Walküre der Wissen- 245. – Andreas Jacke: »Mimique« – durch den schaft. Zur Filmmusik von A Dangerous Mind. Körper versinnbildlichte Musik im Film: Da- In: Piontek, Frank / Schultz, Joachim: Zu Wag- vid Bowie und Marilyn Monroe / 249. ner gibt es immer noch was zu sagen: Aufsätze und Notizen. Bayreuth: Universität Bayreuth 2015, S. 29–41 (HAGEL. 28.). Pilewski, Marcelo: Film music. Interactive audio-visual approaches. In: Min-Ad: Israel Stud- ies in Musicology Online (Ramat-Gan: Bar-Ilan Piotrowska, Anna G.: O muzyce i filmie: wpro- University) 15, 2018, S. 228–239. wadzenie do muzykologii filmowej. Kraków: Musica Iagellonica 2014, 380 S. (Acta musicolo- This work deals with the analysis and compo- gica Universitatis Cracoviensis. 25.). sition of film music. After presenting the prin- cipal approaches in musical multimedia re- Mit engl. Abstract: “On music and film: An in- search, the work proposes a general music troduction to film musicology (377–380)”; analysis tool that considers extra-musical as- [URL]. – Inhaltsverzeichnis: [URL]. pects of a movie. The tool examines film-music from points of view related to the narrative of the film. It presents categories that Platte, Nathan R.: Musical Collaboration in the point to functions of the music in an audio- Films of David O. Selznick, 1932–1957. Diss., visual context. The categories are non-exclu- University of Michigan, Ann Arbor 2010, xvii, sive. Each film requires the selection of the 486 S.; [URL]. categories for analysis which are relevant to Abstract: This dissertation investigates the it. The goal is to avoid granting superiority to collaborative process of film scoring as prac- the visual plane, and to remark the analog in- ticed in the films of David O. Selznick, a pro- fluence of the two channels, sound and image, ducer whose close attention to music distin- on the creation of the meaning. Afterwards, a guished him from Hollywood competitors. few ideas for the application of the tool in Drawing from extensive archival research, I learning music composition will be suggested. examine the producer’s memos, composers’ scores, and various correspondences to trace streams of influence that shaped the musical Piñera, Antonio: Miklós Rózsa: una vida, dos rhetoric of Selznick’s most significant films. Madrid: T & B Ed. 2015, 366 S. pasiones. Close study reveals that interpretive argu- Inhaltsverzeichnis: Prólogo / 9 – Introducci- ments concerning these films are best ón / 13 – Biografía / 21. – PRIMERA PARTE. grounded in a thorough knowledge of the MÚSICA CINEMATOGRÁFICA: – 1. 1837– film scores’ collaborative construction. Rather 1948 / 29 – 2. 1948–1961 / 103 – 3. 1961– than depicting Selznick as a producer-auteur 1981 / 231. – SECUNDA PARTE. MUSICA DE who merely imposed his ideas on composers, CONCIERTO: – 4. Música de cámara / 281 – this dissertation views the scores from his 5. Trabajos para orquesta / 293 – 6. Obras pa- films as sites of artistic contestation in which ra solo de instrumento y orquesta / 305 – 7. musical decisions made before, during, and Trabajos para solo de instrumento / 317 – 8. after composition alternately reflect instances Trabajos para voces / 325 – 9. Obras para pia- of negotiation and resistance. Selznick’s col- no solo / 329 – 10. Música sinfónica con varia- laboration with composers Miklós Rózsa, Max ciones de música de cine a música de concier- Steiner, Dimitri Tiomkin, and Franz Waxman to / 335. – ANEXOS. DISCOGRAFÍA COM- forms the centerpiece of this study, with se- PLETA DE LA MÚSICA BE CONCIERTO: – lect scores receiving special emphasis. Analy- Discografía completa de la música de cine / sis of King Kong (1933), The Young in Heart 345 – Catálogo completo de scores / 353 – Ca- (1938), Gone with the Wind (1939), and Re- tálogo completo do obras de concierto / 357 – becca (1940) shows Selznick’s growing in- Epílogo. El mito Rózsa / 363. – Bibliografía / volvement in the film scoring process and Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 139

also highlights the savvy mediation of com- Platte, Nathan [R.]: Kong Was King: Compet- posers and music directors. Inspection of ing Methods in Hollywood Underscore. In: Symphony of Six Million (1932), Little Lord Journal of the Society for American Music 8,3, Fauntleroy (1936), and Since You Went Away 2014, S. 311–337. (1944) further reveals Selznick’s indebtedness to musical practices of the silent cinema.The scores for Spellbound (1945), The Paradine Platte, Nathan [R.]: “The Epic and Intimately Case (1947), and Portrait of Jennie (1948) bear Human”: Contemplating the Tara Theme in intricate collaborative tensions—often involv- Gone With the Wind. In: Music in Epic Film: ing director Alfred Hitchcock—and receive a Listening to Spectacle. Ed. by Stephen C. Meyer. chapter each, allowing ample space to explore New York/London: Routledge 2017, S. 163–183. the aesthetic controversies surrounding each score’s production, promotion, and reception. In these chapters theoretical concerns, such Platte, Nathan [R.]: Making Music in Selznick’s as the relationship between music, subjectiv- Hollywood. New York: Oxford University Press ity, and gender, gain nuance when set against 2019, ix, 398 S. (The Oxford Music/Media Se- the backdrop of creative collaboration. By ries.). considering issues of authorship and artistic Through the rise and fall of the Hollywood control, this dissertation demonstrates that studio system, David O. Selznick reigned as the scores for Selznick’s films convey a dense Hollywood’s preeminent producer. His repu- polyphony of ideas, revisions, and interpola- tation depended in large part on music. The tions effected by composers, music editors, di- orchestral cacophony of King Kong, the puls- rectors, and producer. Scrutiny of these scores ing electronic sonorities of Spellbound, and and the process of their construction illumi- the Tara theme from Gone with the Wind nates rarely glimpsed facets of film music made music a distinguishing feature of the production, encouraging the scholar to recon- Selznick experience. By flaunting music’s role sider the social dynamics that constitute artis- in film and overseeing its distribution through tic collaboration in multimedia. sheet music, concerts, radio broadcasts, and soundtrack albums, Selznick cultivated a fascination with film scores. But he did not do it Platte, Nathan [R.]: Dream analysis: Korngold, alone. In Making Music in Selznick’s Holly- Mendelssohn, and musical adaptations in wood, Nathan Platte brings to light the men Warner. Bros.’ ›A Midsommer Night’s Dream‹ and women whose work sounds throughout (1935). In: 19th Century Music 34,3, 2010/11, S. Selznick’s many films. The cast includes fa- 211–236. miliar composers like Max Steiner, Franz Über den Film von William Dieterle (1893– Waxman, and Dimitri Tiomkin, but extends to 1972) und Max Reinhardt (1873–1943) mit der overlooked contributors, including music edi- Musik von Erich Wolfgang Korngold. tor Audray Granville, orchestrator Hugo Friedhofer, harpist Louise Klos, choral director Jester Hairston, publicist Ted Wick, and Platte, Nathan [R.]: Nostalgia, the Silent Cin- many others. Novelists, studio writers, and di- ema, and the Art of Quotation in Herbert Stot- rectors like Alfred Hitchcock also influenced hart’s Score for The Wizard of Oz (1939). In: the soundscapes of Selznick’s films. Whether Journal of Film Music 4,1, 2012, S. 45–64. working with the producer directly or managing his presence from a distance, all had to reckon with Selznick’s musical preoccupa- Platte, Nathan [R.]: Conducting the composer. tions. Rarely was it easy. Rewritten scores, David O. Selznick and the Hollywood film fired personnel, and other skirmishes reflect score. In: Music, Sound and Filmmakers: Sonic the troubles-and uneven compromises-that Style in Cinema. Ed. by James Wierzbicki. New shaped music for films like Gone with the York/London: Routledge 2012, S. 122–137. Wind, Duel in the Sun, and Rebecca. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 140

Plebuch, Tobias: Der dunkle Spiegel. Bachs Plebuch, Tobias: Richard Wagner im Film bis Musik in den Filmen Ingmar Bergmans. In: Jo- 1945. In: Wagnerspectrum 4,2, 2008, S. 123–140. hann Sebastian Bach und die Gegenwart: Beiträ- Hrsg. v. Mi- ge zur Bach-Rezeption 1945–2005. Plebuch, Tobias: Ergötzlich entsetzlich. Ent- chael Heinemann u. Hans-Joachim Hinrichsen stellte Musik im Spielfilm. In: Kieler Beiträge in Zusammenarb. mit Andreas Krause. Köln: zur Filmmusikforschung 3, 2009, S. 123–129 Dohr 2007, S. 167–199. (online). Bergman verwendet in zwölf seiner Filme Kompositionen Bachs, fast ausschließlich langsame Instrumentalsätze. Vor dem Hinter- Plebuch, Tobias: Zeitarbeit. Das Zusammen- grund der Vielzahl an Filmen mit Bachscher spiel von Menschen, Maschinen und Musik in Musik werden am Beispiel von Bergmans Fil- der Entwicklung von Tonfilmtechniken. In: men Szenen mit Bachs Musik analysiert und Spiel (mit) der Maschine: Musikalische Medien- wiederkehrende Konstellationen von Proble- praxis in der Frühzeit von Phonographie, Selbst- men und Personen bestimmt. Der Analyse des spielklavier, Film und Radio. Hrsg. v. Marion frühesten Beispiels (Wilde Erdbeeren [Smul- Saxer; redakt. Mitarb.: Leonie Storz. Bielefeld: tronstället], 1957) folgt zunächst die Unter- transcript 2016, S. 177–210 (Musik und Klang- suchung derjenigen Filme, in denen die Musik kultur. 11.). Momente der Hoffnung und Heilung aus- drückt (Wie in einem dunklen Spiegel [Sasom i Plebuch, Tobias / Panning, Moritz: Wie man en spegel], 1961, Das Schweigen [Tystnaden], 1963, Ach, diese Frauen [För att inte tala om al- durch die vierte Wand singt. Opernszenen im la dessa Kvinnor], 1963, Persona, 1966, Schreie Musikerfilm. In: Kieler Beiträge zur Filmmusik- und Flüstern [Viskningar ich rop], 1972), forschung 10, 2013, S. 101–127 (online). Herbstsonate [Höstsonaten], 1978, Sarabande, 2003), anschließend folgen diejenigen Szenen, Pokorny, Johannes: Stilmittel und Kompositi- in denen Momente der Angst und Bedrohung onstechniken zur Suggestion von Emotionen im musikalisch umgesetzt werden ( Die Stunde Film: Dargestellt anhand von „Inception“ und des Wolfes [Varstimmen], 1968, Schande „The Curious Case of Benjamin Button“. Master- [Skammen], 1968, Passion [En Passion], 1969, arbeit, Wien: Universität Wien. Philologisch- Fanny und Alexander, 1982). Im Vergleich der behandelten Szenen werden drei Thesen her- Kulturwissenschaftliche Fakultät 2014, 131 S.; ausgearbeitet: 1. Bergman vollzieht mit Bachs [URL]. Musik einen moralisch und ästhetisch prekä- Zusammenfassung: Die Filmmusik ist oftmals ren Balanceakt in Bezug auf Sentimentalität; mit dem Vorurteil konfrontiert, lediglich be- 2. Filmszenen mit Bachscher Musik rücken gleitende Funktionen des Bildes zu überneh- bei Bergman ein existentielles Problem, einen men, und wird fernab jeglicher Kunstmusik Krisenmoment in den Vordergrund; 3. Ver- kategorisiert. In der vorliegenden Arbeit wird gleichbare Charakterkonstellationen prägen diesem Vorurteil durch genaue Szenenanalyse diese Szenen. – Trotz unterschiedlicher Hand- sowie Sequenzprotokolle zu den Filmen In- lungsdetails werden eine unverwechselbare ception und The Curious Case of Benjamin Handschrift und ähnliche Rollenkonstellatio- Button nachgegangen. Untersucht wird dabei nen, Grundstimmungen und handlungstrei- der in der Handlung sowie in den Szenen an- bende Probleme erkennbar: Bach erklingt hand von Kompositionstechniken. Im Ver- häufig in (latent) religiösen Situationen, in de- gleich der Kompositionen von Hans Zimmer nen die Kommunikation zwischen Familien- und Alexandre Desplat wird an einigen Bei- mitgliedern zutiefst gestört ist. Gleichwohl spielen bewiesen, dass der Filmmusikkompo- geht von der Musik meist eine heilende, Hoff- nist als Teil eines Produktionsteams eines nung verleihende oder Trost spendende Kraft Films seine kreativen Ideen mit bestimmten aus. (Beatrix Obal) Techniken in seinen Kompositionen entwi- ckeln kann. Es zeigt sich, dass der Komponist jedes Mal aufs Neue vor einer komplexen Aufgabe steht, diese mit seinem Ideenreich- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 141

tum und handwerklichen Geschick bewältigt Stalker (1979), Nostalghia (1983) and The Sac- und eine zum Bild korrelierenden Filmmusik- rifice (1986) and in turn deeply enriches criti- komposition schafft. cal understanding of Tarkovsky’s films and their relation to the broader traditions of Eu- ropean art cinema. An excellent resource for Pollerus, Christine: Konstruktion des Barock: scholars, researchers and students interested Ennio Morricone, Vatel (2000) und die musika- in European art cinema and the role of music lische Ästhetik des Historienfilms. In: Tonspu- in film, as well as for film aficionados inter- ren: Musik im Film: Fallstudien 1994–2001. ested in Tarkovsky’s work. [Symposion zwischen dem 24. und 26. Oktober Inhalt: Interpreting Tarkovsky’s Cinema 2004 an der Universität für Musik und darstel- through its Music – Bach at the Space Station: lende Kunst Graz]. Hrsg. v. Andreas Dorschel. Diegetic Ambiguities and Multiplying Gaps in Wien: Universal Edition 2005, S. 106–124 (Stu- Solaris – Memories, Dreams and Mysteries: dien zur Wertungsforschung. 46). Music and Dimensions of Human Experience in Mirror – Beethoven Overcome: Transcen- dence and Utopia in Stalker – Musical Offer- Pomerance, Murray: ‘The Future’s Not Ours to ings, Soothing Sounds and Sacrificial Acts: See’: Song, Singer, Labyrinth in Hitchcock’s Managing the Nostalgia of Nostalghia – The The Man Who Knew Too Much. In: Soundtrack Voice of Truth: Liminal Music, Spiritual Au- Available: Essays on Film and Popular Music. thenticity and Gradual Awakening in The Sac- Ed. by Pamela Robertson Wojcik & Arthur rifice – Music, Meaning and Troubled Utopias Knight. Durham: Duke University Press 2001, in Tarkovsky’s Cinema – Appendix: The S. 53–73. Structure of Mirror.

Pontara, Tobias: Beethoven overcome: Roman- Potamkin, Harry Alan: Music and the Movies. tic and existentialist utopia in Andrei Tarkov- In: The Musical Quarterly 15,2, 1929, S. 281– sky’s ›Stalker‹. In: 19th Century Music 34 296. (2010/2011) 3, S. 302–315.

Powell, Andrew S.: The Interconnectivity of Pontara, Tobias: Andrei Tarkovsky’s Sounding Elfman’s Film Scoring and Burton’s Narrative. Cinema: Music and Meaning from “Solaris” to In: A Critical Companion to Tim Burton. Ed. by “The Sacrifice”. New York/London: Routledge Adam Barkman & Antonio Sanna. Lanham/ 2020, xi, 193 S. (Music and Sound on the Inter- Boulder/New York/London: Lexington Books national Screen.). 2017, S. 57–70. Abstract: Andrei Tarkovsky’s Sounding Cin- ema adds a new dimension to our under- Powrie, Phil: Soundscapes of loss: Songs in standing and appreciation of the work of Rus- contemporary French cinema. In: A Compan- sian director Andrei Tarkovsky (1932–1986) . Ed. by A. through an exploration of the presence of mu- ion to Contemporary French Cinema sic and sound in his films. The first compre- Fox, M. Marie, R. Moine & H. Radner. Oxford: hensive study in English concentrating on the Blackwell Publishing 2015, S. 527–546. soundtrack in Tarkovsky’s cinema, this book reveals how Tarkovsky’s use of electronic Powrie, Phil: Music in Contemporary French music, electronically manipulated sound, tra- Cinema: The Crystal-Song. Cham, Switzerland: ditional folk songs and fragments of canon- Palgrave Macmillan 2017, xv, 273 S. ized works of Western art music plays into the philosophical, existential and ethical Inhalt: Introduction / 1. – Space / 37. – Gender themes recurring throughout his work. Ex- / 71. – Performance / 97. – Time / 129. – ploring the multilayered relationship between Hearing / 165. – Seeing / 197. – Conclusion / music, sound, film image and narrative space, 229. – Filmography / 245. Pontara provides penetrating and innovative Rev. (Claus Tieber) in: rezens/tfm, 2, 2017, on- close readings of Solaris (1972), Mirror (1975), line. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 142

Powrie, Phil: Looking Back at the (French) gendered a strange ambiguity in the film’s Opera-Film. In: Open Screens 1,1,5 (2018), 39 S.; sonic ontology. In this article, I examine how [URL]. the practical and aesthetic issues arising from this ambiguity forced the Barrons to confront This article considers the early development in their score a complex of intertwined musi- of the opera film and focuses on the final few cal and cultural messages: how electronic mu- opera films made in France – Boris Godounov sic evokes notions of the exotic Other; how (Andrzej Zulawski, 1989), Madame Butterfly conceptions of vocality and embodiment in (Frédéric Mitterrand, 1995) and Tosca (Benoît their music intersect with other visual and Jacquot, 2001) – placing them in the context narrative elements to illuminate a gendered of the challenges faced by the subgenre. divide among envoiced bodies in the film; and how music in the film evolves to illustrate and posit a threat to the male body and, thus, Priewe, Marc: The Power of Conformity: Mu- masculinity itself – only in order, ultimately, sic, Sound, and Vision in . In: Back to the Future to restore and reassert conventional patri- European Journal of American Studies 12,4, archy and the primacy of male subjectivity. 2017, [URL]. As I argue, by using modernist methods and This essay investigates the aesthetic and polit- materials to serve a conventionally populist ical functions of the choice and placement of representational form, the Barrons effectively music in Back to the Future (1985; dir. Robert exposed some of the deep underlying tensions Zemeckis). After an overview of the movie’s and contradictions within modernism itself, cultural contexts, the focus shifts to the inter- even while revisioning fundamental aspects plays between sound and cinematic mise-en- of the Hollywood film score. scène, with a particular emphasis on popular music. I argue that the film employs music strategically in order to convey a nostalgic Provost, Sarah: The Dance Hall, Nazi Germany, view of American culture and society in the and Hell: Accruing Meaning through Filmic 1950s by including certain songs and exclud- Uses of Benny Goodman’s ‘Sing Sing Sing.’ In: ing others, as well as by a score that is deeply Music and the Moving Image 10,2, Summer rooted in the traditions of Hollywood film 2017, S. 33–45. music. The intermedial use and remediation of music not only amplifies the movie’s quasi- Prox, Lothar: Konvergenzen von Minimal Mu- philosophical treatment of time and history in sic und Film. In: Helga de la Motte-Haber intricate ways, it also resonates with the contemporary sense of American exceptionalism. (Hrsg.): Film und Musik: Fünf Kongreßbeiträge und zwei Seminarberichte. Mainz/London/ Madrid/New York/Paris/Tokyo/Toronto: Schott Prock, Stephan: Strange voices. Subjectivity 1993, S. 18–24. and gender in Forbidden Planet’s soundscape of tomorrow. In: Journal of the Society for Ameri- Psujek, Jennifer L.: The Composite Score: In- can Music 8,3, 2014, S. 371–400. diewood Film Music at the Turn of the Twenty- As the first Hollywood film to employ an all- First Century. Ph.D. Thesis, Washington Uni- electronic score, Forbidden Planet (1956) help- versity in St. Louis, 2016, VI, 268 S. ed cement the association of science-fiction Inhalt: Indiewood, Composite Scores, and the films with electronically produced sounds and Mélomanes – Molding the Composite Score in music. While sounds lacking real-world refer- Eyes Wide Shut (1999) – Collaboration and ents were crucial for representing sonically Quirkiness in Magnolia (1999) – Blurred the nature of fantastic objects and beings, Boundaries in Fight Club (1999) – Moulin Louis and Bebe Barron’s soundscape also had Rouge! (2001) and the Blended Composite to serve the more conventional musical de- Score. mands of narrative cinema where music sets mood and atmosphere and creates the illusion of character subjectivity. This double function of their ‘electronic tonalities’, however, en- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 143

Pulakēs, Nikos: Musikologia kai kinēmatogra- phos: kritikes prosengiseis stē musikē tōn syn- chronōn ellēnikōn tainiōn. / Musicology and Cinema: Critical Approaches to the Music of Modern Greek Films [Πουλάκης, Νίκος: Μου- – R – σικολογία και κινηματογράφος: κριτικές προσεγ- γίσεις στη μουσική των σύγχρονων ελληνικών Rabenalt, Peter: Der Klang des Films: Dra- ταινιών]. Athēna: Edition Orpheus 2015, 149 S. maturgie und Geschichte des Filmtons. Berlin: In griech. Schrift. – Inhalt (in dt. Übers. – Alexander 2014, 272 S. L.K.): Vorwort / 7 – Einführung: Sounds und Rez. (Magdalena Fürnkranz) in: [rezens.tfm], Animationen. Modelle zur Analyse filmischer 2, 2014, [URL]. Musik / 11 – 1. Die Musik auf dem Bild- schirm. Auf dem Weg zu einer Musikwissen- schaft des Kinos / 23 – 2. Ethnomusikologie, Rabenalt, Robert: Musikdramaturgie im Film: Anthropologie und Kino. Anlässlich zweier Wie Filmmusik Erzählformen und Filmwirkung Filmdarstellungen von rebetiko / 37 – 3. Fau- beeinflusst. München: edition text + kritik 2020, lenzen und Tarnen. Die Musik in der Satire 420 S. des New Greek Cinema / 69 – 4. Akropolis. Eine musikwissenschaftliche Lesung / 85 – 5. Die auditive Gestaltung im Kino lädt zum auf- Ethnizität, Identität und Musik. Die kinemato- merksamen Zuhören ein, um eine Geschichte grafische Konstruktion der Vergangenheit / interessant und unterhaltsam zu erzählen. 103. Musik im Film ist ein dramaturgisches Mittel und beeinflusst dabei sowohl Form als auch Wirkung des Films. Der schillernde Begriff Purcell, Fernando / González, Juan Pablo: Am- „Dramaturgie“, der sich stets zwischen Theo- enizar, sincronizar, signicar: Música y cine rie und Praxis behaupten muss, erfährt in die- silente en Chile, 1910–1930. In: Latin American sem Buch eine für die Beschäftigung mit Music Review 35,1, Spring/Summer 2014, S. 88– Filmmusik notwendige Konkretisierung. – 114; [URL]. Mit zahlreichen Beispielen und auf unterschiedlichen Wegen der Filmmusikanalyse, This article deals with discussions and debates die vom Allgemeinen zum filmmusikalischen about the relationship between music and Detail führen oder umgekehrt von einem Teil- silent cinema in Chile. During the 1910s and moment ausgehen und auf dessen Bedeutung 1920s music altered cinema’s functionality. It für das Ganze schließen lassen, werden shifted from the role of enlivening cinematic Grundformen und Ausnahmen des filmischen spectacles to a more complex one in which Erzählens thematisiert und die Rolle, die der the challenge was synchronizing the content Filmmusik dabei zukommt, illustriert. – Mit of images with appropriate mu-sic. The analy- Blick auf das Verwenden und Komponieren sis here makes clear that this was part of a von Musik sowie auf deren Wahrnehmung im global phenomenon that included Chile. This Kontext einer Geschichte wird die oft benann- becomes evident through analysis of Erno te, aber bisher weder ausführlich noch syste- Rapée’s 1924 compilation that synthe- tized matisch untersuchte Bedeutung der Drama- cinematic musical practices that are possible turgie von Grund auf überdacht. – Das dra- to trace not just in the United States but in maturgisch Verbindende der verschiedenen different Chilean cities. eingenommenen Perspektiven, die Querver- bindungen zwischen Musiktheorie, filmischer Pustay, Steven: Love’s Old Song Will Be New: Montage, Erzählformen und Filmrezeption führen schließlich zu einem neuen, auf die Deleuze, Busby Berkeley and Becoming-Music. dramaturgische Wirkungsweise von Musik In: 19, 2015, S. 172–189; [URL]. Film-Philosophy spezialisierten Modell der auditiven Ebenen im Film. In Verbindung mit einer Systematik von dramaturgisch wirksamen Musik-Bild- Kopplungen und dem Konzept vom Fabelzu- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 144

sammenhang der Filmmusik wird ein univer- Gesamtkunstwerkes Film ist. Dass die selles und zeitgemäßes Analysemodell für Stummfilmmusik zu Beginn aus rein pragma- Filmmusik offeriert, das sich auch über die be- tischen Gründen genutzt wurde, schafft eine sprochenen Genres und Formen hinaus an- grundsätzliche Abhängigkeit des Films von wenden lässt. Ein ausführliches Glossar musikalischer Begleitung. Allerdings zeigte schließt das Buch ab, das damit für Medien- sich schon bei der frühen Nutzung dieser schaffende und Forschende gleichermaßen Funktion eine Bedeutung für die emotionelle von Interesse sein wird. Ebene des Filmerlebens durch Realitätsschaf- Inhalt: Einleitung. – Teil I: Grundlagen und in- fung mit „Ich-Nähe“ der Zuschauers(-hörers). terdisziplinäre Umgebung: – 1. Dramaturgie In der parallelen Entwicklung von Film und und Musik – 1.1 Dramaturgie – 1.2 Musikäs- Musik zeigte sich außerdem, dass von den thetische Perspektiven auf Musik und Erzäh- Film- und Musikschaffenden bewusst auf len – 1.3 Zusammenfassung Kapitel 1. – 2. Äs- kompositorische Elemente zur Emotionsin- thetik und Affekt – 2.1 Filmästhetische Über- duktion zurückgegriffen wurde. (Aus dem legungen zur Einheit von Klang und Bild – 2.2 letzten Abschnitt). Einfühlung und Distanz – 2.3 Filmmusik und Emotion – 2.4 Zusammenfassung Kapitel 2. – 3. Was ist Musikdramaturgie im Film? – 3.1 Rásky, Béla / Pawlowsky, Verena (Hrsg./eds.): Praxisorientierte und theoretische Ansätze – Partituren der Erinnerung: Der Holocaust in der 3.2 Abgrenzung zur Musiktheater-Dramatur- Musik. / Scores of Commemoration: The Holo- gie – 3.3 Zusammenfassung konkreter Aspek- caust in Music. Wien: new academic press 2015, te der Musikdramaturgie im Film. – Teil II: 388 S. (Beiträge zur Holocaustforschung des Methoden und Anwendung der musikdrama- Wiener Wiesenthal Instituts für Holocaust- turgischen Analyse: – 4. Filmmusik und Ana- Studien (VWI). 1.). lyse – 4.1. Vorüberlegungen zum Themenbe- Darin: Stefan Schmidl: “Different than any- reich Filmmusik und Analyse – 4.2 Kritik der thing”: Filmmusik und Holocaust (S. 349–352). Modelle und Kataloge filmmusikalischer – Johannes Hofinger: Die Unbeachtete: Zur Funktionen – 4.3 Möglichkeiten und Grenzen Rezeption von Filmmusik im ‘Holocaust- der musikalischen Analyse von Filmmusik – Spielfilm’ (S. 353–366). 4.4 Fabelzusammenhang der Filmmusik – 4.5 Sujetbezug der Filmmusik – 4.6 Die dramaturgische Dimension von Musik-Bild-Kopplun- Rathert, Wolfgang / Ostendorf, Berndt: Musik gen – 4.7 Die auditiven Gestaltungs- und der USA: Kultur- und musikgeschichtliche Streif- Wahrnehmungsebenen – 4.8 Zusammenfas- züge. Hofheim am Taunus: Wolke 2018, 740 S. sung Kapitel 4. – 5. Zusammenfassung und Ausblick. – 6. Anhang – 6.1 Verzeichnis der Darin: 2.3 Filmmusik / 371. Filme – 6.2 Verzeichnis der Abbildungen und Noten – 6.3 Verzeichnis der Personen – 6.4 Verzeichnis der Musikstücke und literarischen Raveleau, Alexandre: Musiques de films: une Werke – 6.5 Internetquellen – 6.6 Literatur- autre histoire du cinéma. Paris: Chronique édi- verzeichnis – 6.7 Glossar. tions 2018, 227 S. Deux notes suffisent parfois pour suggerer l’angoisse ... Il n’est pas rare non plus que des Rainer, Svenja Maria: Emotionsinduktion durch trompettes se melent aux vaisseaux spatiaux Stummfilmmusik.Masterarbeit, Wien: Univer- dans le vide sideral d’une galaxie lointaine ... sität Wien, Philologisch-Kulturwissenschaftli- L’histoire de la musique de film a debute des che Fakultät 2017, 82 S.; [URL]. l’apparition du cinema. Meme muet, il a tou- Zusammenfassung: Generell hat sich in der jours ete sonore! Comment est nee la musique vorliegenden Arbeit gezeigt, dass Musik je- de Star Wars? Quels blockbusters ont permis a denfalls emotionsverstärkend wirkt, auch Hans Zimmer d’imposer sa marque de fa- wenn sie zumeist nicht als Induktor jener im brique a Hollywood? Qui a compose la pre- Alleingang fungiert und somit vor allem auf miere partition originale pour le cinema? künstlerischer Ebene ein wichtiger Teil des Combien de themes a concu Ennio Morricone durant sa carriere? Comment Howard Shore Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 145

a-t-il ecrit Le Seigneur des anneaux? Qui est Charles Ban: Hitchcock, music and the math- l’auteur du theme de James Bond? Des ori- ematics of editing / 24. – 3. Kevin Clifton: The gines jusqu’a l’Âge d’or des studios hollywoo- anatomy of aural suspense in Rope and Ver- diens, de la Nouvelle Vague aux premieres ex- tigo / 37. – 4. Sidney Gottlieb: The therapeutic periences electroniques, Musiques de films, power of music in Hitchcock’s films / 50. – 5. une autre histoire du cinema raconte plus de Royal S. Brown: A Lacanian take on Herr- cent-vingt ans de mariage dans les salles obs- mann/Hitchcock / 62. – 6. Murray Pomerance: cures, avec (par ordre d’apparition) Max Stei- Portentous arrangements: Bernard Herrmann ner, Erich Wolfgang Korngold, Maurice Jau- and The Man Who Knew Too Much / 75. – 7. bert, Alfred Newman, Georges Auric, Miklos Pasquale Iannone: On the road with Hitch- Rozsa, Bernard Herrmann, Elmer Bernstein, cock and Herrmann: sound, music and the car Henry Mancini, Georges Delerue, Maurice journey in Vertigo (1958) and Psycho (1960) / Jarre, Michel Legrand, Vladimir Cosma, Nino 89. – 8. David Cooper: A dance to the music Rota, Jerry Goldsmith, Ennio Morricone, Lalo of Herrmann: a figurative dance suite / 100. – Shifrin, John Barry, John Williams, Vangelis, 9. Richard Allen: The sound of The Birds / 113. James Horner, Hans Zimmer, Danny Elfman, – 10. K. J. Donnelly: Musical romanticism v. Éric Serra, Michael Kamen, James Newton the sexual aberrations of the criminal female: Howard, Howard Shore, Alexandre Desplat et Mamie (1964) / 135. – 11. Tomas Williams: Michael Giacchino parmi les roles principaux. The murder of Gromek: theme and variations / 150. – 12. Gergely Hubai: Mending the Torn Curtain: a rejected score’s place in a Rawle, Steven / Donnelly, Kevin J. (eds.): Part- discography / 165. – 13. William H. Rosar: The ners in Suspense: Critical Essays on Bernard Herrmann-Hitchcock murder mysteries: post- Herrmann and Alfred Hitchcock. Manchester: mortem / 174. – 14. Steven Rawle: How could Manchester University Press: 2017, xii, 223 S. you possibly be a Hitchcocko-Herrmannian?: Digitally re-narrativising collaborative au- This volume of new, spellbinding essays ex- thorship / 197. plores the tense relationship between Alfred Hitchcock and Bernard Herrmann, featuring new perspectives on their collaboration. Fea- Raybould, Clarence: Music and the Synchro- turing essays by leading scholars of Hitch- nized Film. In: Sight and Sound 2,7, Autumn cock’s work, including Richard Allen, Charles 1933, S. 80–81. Barr, Murray Pomerance, Sidney Gottlieb and Jack Sullivan, the collection examines the working relationship between the pair and Reddell, Trace: The Sound of Things to Come: the contribution that Herrmann’s work brings An Audible History of the Science Fiction Film. to Hitchcock’s idiom. Examining key works, Minneapolis/London: University of Minnesota including The Man Who Knew Too Much, Psy- Press 2018, 478 S. cho, Marnie and Vertigo, the essays explore approaches to sound, music, collaborative au- Reddell assembles a staggering array of thorship and the distinctive contribution that movies from sixty years of film history–in- Herrmann’s work with Hitchcock brought to cluding classics, blockbusters, B-movies, and this body of films, examining the significance, documentaries from the United States, meanings, histories and enduring legacies of Britain, France, Germany, Japan, and the So- one of film history’s most important partner- viet Union–all in service to his powerful con- ships. By engaging with the collaborative ception of sound making as a speculative ac- work of Hitchcock and Herrmann, the book tivity in its own right. Reddell recasts debates explores the ways in which film directors and about noise and music, while arguing that composers collaborate, how this collaboration sound in the science fiction film provides a is experienced in the film text, and the ways medium for alien, unknown, and posthuman in which such partnerships inspire later work. sound objects that transform what and how we hear. Inhalt: K. J. Donnelly & Steven Rawle: Intro- duction / 1. – 1. Jack Sullivan: Bernard Her- Inhalt: Introduction: New sounds in science rmann: Hitchcock’s secret sharer / 10. – 2. fiction – The origins of sonic science fiction (1924–50) – Ambient novum, alien novum Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 146

(1950–68) – Cosmos philosophy and thought wise queen and a delinquent rock star – New synthesizers (1959–1968) – Sonic alienation directions: the democratic revolution and the and the psytech at war (1971–77) – Sonorous aftermath of the socialist era – Tradition, rev- object-oriented ontologies (1979–89) – Con- olution, propaganda and consolidation: a brief clusion: Sonic science fiction into the twenty- conclusion. first century.

Reinsch, Paul N.: Music over words and sound Redner, Gregg: Deleuzian sensation and Mau- over image: Rock Around the Clock and the rice Jaubert’s score for ›L’Atalante‹ (Vigo, centrality of music in post-classical film narra- 1934). In: Studies in French Cinema 9,2 2009, S. tion. In: Music and the Moving Image 6,3, 2013, 97–110. S. 3–22. This article argues for the centrality of the Bill Redner, Gregg: Scoring East of Eden: The divi- Haley and His Comets song Rock Around the sion of the ‘One’: Leonard Rosenman and the Clock in creating post-classical sound through score for East of Eden. In: Sound and Music in its appearance in Blackboard Jungle and Rock Film and Visual Media. A Critical Overview. Ed. Around the Clock. The song turns the cinema by Graeme Harper. New York: Continuum into a music delivery system and relegates the 2009, S. 692–724. image to perhaps only accompanying the sound. The audience for each film also repur- poses the cinema space for active response in Redner, Gregg: Deleuze and Film Music: Build- the form of dancing and thereby challenges ing a Methodological Bridge between Film The- theorizations of the cinema as a series of im- ory and Music. Bristol: Intellect 2011, 194 S. ages meant to be received by a passive audience. Drawing on the philosophy of Gilles Deleuze, film studies scholar Gregg Redner provides a much-needed analysis of the problem which Reinsch, Paul N. / Westrup, Laurel (eds.): The then forms the basis of his exploration of the Soundtrack Album: Listening to Media. New function of the film score and its relation to York/London: Routledge 2020, xvi, 259 S. film’s other elements. Not just a groundbreak- (Routledge Music and Screen Media Series.). ing examination of persistent difficulties in this new area of study, Deleuze and Film Mu- Inhalt: Introduction: Listening to Media / Paul sic also offers a solution–a methodological N. Reinsch and Laurel Westrup. – Part 1: Case bridge–that will take film music analysis to a Studies. 1. The Soundtrack in Transition: The new level. Many Objects of Paul Simon’s One-Trick Pony / Landon Palmer. – 2. It’s a Kind of Sound- track: Queen, Highlander, and the “Unofficial Reed, Philip: Britten in the Cinema: Coal Face. Soundtrack Album” / Ross Melnick. – 3. Super In: The Cambridge Companion to Britten. Ed. by Fly and the Sound of Seventies Blaxploitation Mervyn Cooke. Cambridge: Cambridge Uni- Cinema / Matthew Tchepikova-Treon. – 4. versity Press 1999, S. 54–77. Signifyin(g) on the Soundtrack Album? Out- Kast’s Idlewild Project / Laurel Westrup. – Part 2: Brands. 5. Learning from Sesame Street Rees, Lucy M.: Mongolian Film Music: Tradi- Soundtrack Albums / Kathryn A. Ostrofsky. – tion, Revolution and Propaganda. Farnham, Sur- 6. Creazioni Artistiche Musicali and Italian rey/Burlington, VT: Ashgate 2015, vi, 192 S. Cinema after World War II / Roberto Cal- Inhalt: Tradition, politics and film music – abretto. – 7. King of the Whole Wide World: Tradition and transition in Mongolian music Elvis, RCA Camden, and the Non-Filmic – New beginnings: patriotism, propaganda “Budget” Soundtrack Album / Justin Morris. – and professional music – Socialist cinema 8. Sing Along with Hitch: Musically Market- from conception to dissemination – A stan- ing the Master of Suspense / Richard R. Ness. dard of socialist cinema: The Clear River Tamir – Part 3: Formats. 9. Fixing the Brand: The (Tungalag Tamir, 1970-1973) – Perestroika, a Sonic Branding of Adult Swim / David Gur- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 147

ney. – 10. Video Game Soundtrack Albums Inhalt: Vorwort / 7. – I. Systematische Aspekte: and the Digital Revolution / Robert Cavanagh. – Iakovos Steinhauer: Notizen zur Ästhetik – 11. Tracking Hypernostalgia: Soundtrack der Filmmusik / 13. – Christoph Hust: Per- Albums and the Return of the Cassette in spektiven auf das Fremde. Orientalismus in American Film and Television / Kristen der deutschen und amerikanischen Kino- Galvin. – Part 4: New Directions. 12. Now-For musik der Stummfilmzeit und sein Echo im Even Greater Enjoyment...The Home Movie Videospiel / 27. – Peter Moormann: Musik Soundtrack Album / Liz Czach. – 13. A Brief und Geräusch im frühen Tonfilm / 55. – Clau- Hearing for the Unified Soundtrack Album / dia Bullerjahn: Zwischen Patina und High- Paul N. Reinsch. Tech. Zur Problematik der Rekonstruktion von Stummfilm-Originalkompositionen der 1920er Jahre / 66. – II. Ein europäisches Pan- Rentsch, Ivana / Stollberg, Arne (Hrsg.): Ton- orama in Fallstudien: – Arne Stollberg: Illus- Spuren aus der alten Welt: Europäische Film- tration oder Komposition? Camille Saint- musik bis 1945. München: Edition Text + Kritik Saens’ Musik zu L’Assassinat du Duc de Guise 2013, 319 S. (1908) im Licht späterer Gattungskonventio- nen / 93. – Sinem Derya Kiliç: Die Musik als Als „beste“ Filmmusik gilt gemeinhin jene, die >des Pudels Kern<. Mascagnis Werk und Teu- nicht bewusst wahrgenommen wird – und fels Beitrag zum italienischen Stummfilm doch ist Filmmusik auf einzigartige Weise Rapsodia Satanica (1917) / 125. – Ivana dazu imstande, eine Handlung klanglich zu Rentsch: Opernfilmmusik. Bohuslav Martinüs intensivieren und ihr neue Bedeutungsebenen cineastische Kompositionen zwischen Illusion zu erschließen. „Ton-Spuren aus der Alten und Realismus / 152. – Felix Lenz: Stabilität Welt“ will das nur unbewusst Bekannte ins durch Subtilität Audiovisueller Rhythmus in Zentrum der Aufmerksamkeit rücken und da- Eisensteins Alexander Newski (1938) / 169. – bei zugleich ein bisher wenig erkundetes Ter- Josef Kloppenburg: Klischee und Kunst. Ei- rain beleuchten: die europäische Filmmusik senstein/Prokofjew: Iwan der Schreckliche bis 1945. Während sich das Forschungsinter- (1944) / 186. – Robert Schäfer: Der Einsatz des esse auch heute noch primär auf die So- »Dies irae« in Carl Theodor Dreyers Vredens undtracks der „goldenen Ära“ Hollywoods ab dag (1943) / 201. – Cristina Urchueguía: den 1930er Jahren richtet, bleiben die „Ton- Musik für eine Diktatur. Manuel Paradas Spuren“ der Alten Welt häufig im Schatten. Musik zu Francos Kriegsepos Raza (1941) / Erst recht fühlbar werden die Lücken in der 210. – Panja Mücke: »Trennung der Elemen- Filmmusik-Forschung mit der Erweiterung te«. Eislers Musik zu Kuhle Wampe (1932) im der Perspektive über das Kino der Weimarer Umfeld avancierter Kompositionskonzepte / Republik und den nationalsozialistischen Pro- 230. – Christoph Henzel: Sinfonische Film- pagandafilm hinaus. So stellt sich die Frage, musik in Veit Harlans Opfergang (1944) / 248. ob sich innerhalb der europäischen Filmin- – Alexandra Vinzenz: Auditive und visuelle dustrien bis zur Zäsur des Jahres 1945 ver- Propagandastrategien im NS-Film. Jud Süß schiedene „nationale“ Traditionsstränge ent- (1940) und Der ewige Jude (1940) im Ver- wickelten oder ob das musikalische Vokabular gleich / 266. – Stefan Schmidl: »... vom Deut- rückblickend als ein dezidiert „gesamteuro- schen Reich bewußt zu distanzieren«. Film- päisches“ anzusehen ist. Das Buch trägt dieser musik in Osterreich 1933 bis 1938 / 285. – Ausgangslage Rechnung, indem es die Film- Anna Katharina Hewer: Schweizer Filmmusik musik-Traditionen einzelner europäischer im Zeichen der »Geistigen Landesverteidi- Länder anhand ausgewählter Beispiele zum gung«. Robert Blums Füsilier Wipf (1938) und Thema macht: von Deutschland, Österreich Gilberte de Courgenay (1941) / 295. und der Schweiz über Frankreich, Italien und Spanien bis hin zu Dänemark, der Tschecho- slowakei und der Sowjetunion. Ergänzt wer- Reyland, Nicholas: Zbigniew Preisner’s Three den die Fallstudien durch systematisch ausge- Colors Trilogy: Blue, White, Red: A Film Score richtete Beiträge zu Theorie und Ästhetik der Guide. Lanham, Mad.: Scarecrow Press 2012, Filmmusik allgemein sowie zu Fragen ihrer xix, 459 S. (Scarecrow Film Score Guides. 11.). heutigen Rekonstruktion. Inhalt: Preisner’s musical background – Preis- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 148

ner’s presence – Kieslowski: concepts and co- ing the film score and identify the features of workers – The Three Colors trilogy: critical using the song in films of different genres. contexts – The ode to Agape: Blue – Last The research methodology consisted in the Tango in Warsaw: White – The bloom of life: application of audiovisual analysis of Ukrain- Red. ian motion pictures, which provided for understanding the main functions of the song in film music. The scientific novelty of the re- Reyland, Nicholas: Corporate Classicism and search lies in the fact that the basic principles the Metaphysical Style: Affects, Effects, and of using the song in the film were formed for Contexts of Two Recent Trends in Screen Scor- the first time, revealing its influence on the ing. In: Music, Sound, and the Moving Image 9,2, film score. Conclusions. The song can be the 2015 (Special Issue: “Musical Screens: Musical leitmotif of the whole film, an audiovisual Inventions, Digital Transitions, Cultural Cri- counterpoint, or a comment on the film. It can tique”. Guest ed.: James Tobias), S. 115–130. unite and move forward the action, enhance the dramatic nature of the situation, and ac- Situating the aesthetic practices of recent nar- curately describe the time setting of the film. rative film scoring within debates on ‘intensi- In the film, the song is addressed to the on- fied’ or ‘post-continuity’ style, as well as ac- screen “listeners”; it affects their feelings, counts of reception in terms of post-cinematic emotional experience, behavior, that is, par- affect or distributed subjectivity, this paper ticipates in the development of the plot. The identifies two significant stylistic tendencies song in the film, most notably a solo, repre- in film scoring: ‘corporate classicism’ and ‘the sents not only itself but a certain type of per- metaphysical style’. Examples are drawn from formance at the same time. Sometimes the film and a wider range of musical media, with song functions as a symphonic coda in the fi- an analytical focus on representative cues nal scene of the film. from Hans Zimmer and James Newton Howard’s score to The Dark Knight (2008) and Thomas Newman’s score to American Beauty Ribac, François (sous la dir. de): Rock et Ciné- (1999). The two styles of screen music scoring, ma. = Volume! La revue des musiques populaires orchestration, production, and post-produc- / The French Journal of Popular Music Studies, tion beg reminders not only of the problem- Hors-série 1, 2004, 138 S. atic ‘utopian’ call of classical Hollywood film scoring (Flinn 1992), but also suggest that the The articles analyze the use of rock ’n’ roll in powerful affective work performed by these various films: Phantom of Paradise by Brian scores raises the question of ‘unheard De Palma, Exploding Plastic Inevitable by An- melodies’ (Gorbman 1987) anew. dy Warhol with The Velvet Underground’s music, A Hard Day’s Night by Richard Lester, David Lynch movies, as well as Frank Zappa, Reyland, Nicholas / Thumpston, Rebecca: In- Aphex Twin and “kinok”. troduction. In: dies. (eds.): Music, Analysis and the Body: Experiments, Explorations, and Em- bodiments. Leuven/Paris/Bristol, Conn.: Peeters Richards, Mark: Film Music Themes: Analysis 2018, S. 1–14 (Analysis in context.). and Corpus Study. In: Music Theory Online (MTO) 22,1, 2016, [URL].

Riazantsev, Lev Vasylovych: Rol pesny v The phrase structure of film music themes re- ukraynskom fylme [Рязанцев, Лев Васильо- mains virtually unexplored in scholarly litera- вич: Роль песни в украинском фильме]. In: ture. This article proposes an analytical system that expands and adapts Caplin 1998 in Visnyk KNUKiM, Seriia «Mystetstvoznavstvo» order to categorize the gamut of film music 37 (2017), S. 89–98; [URL]. themes insome detail. This system is then ap- “The role of the song in the Ukrainian film.” plied to a cross-section of 482 themes from In kyrill. Schrift. – Abstract: The purpose of Oscar-nominated scores ranging from the the article is to analyze the role of the song in early 1930s to the present day. In doing so, the Ukrainian film in the process of organiz- notable divisions appear around 1960 and Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 149

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Riethmüller, Albrecht / Jaszoltowski, Saskia: Riethmüller, Albrecht: Mahler im Film. In: Musik im Film. In: Handbuch Musik und Me- Mahler-Handbuch. Hrsg. v. Bernd Sponheuer u. dien. Hrsg. v. Holger Schramm. Konstanz: UVK Wolfram Steinbeck. Stuttgart/Weimar: Metz- 2009, S. 149–175. ler / Kassel: Bärenreiter 2010, S. 472–484. Auch in: Handbuch Musik und Medien: In- terdisziplinärer Überblick über die Medi- Riethmüller, Albrecht: Korngolds Mendels- engeschichte der Musik. Hrsg. v. Holger sohn. Zur Musik für Max Reinhardts Sommer- Schramm, 2. überarb. u. erw. Aufl. Wies- nachtstraum-Verfilmung (1935). In: Archiv für baden: Springer VS 2019 [2018], S. 95–122. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 151

Riley, John: Dmitri Shostakovich: A Life in Film. and Boys in High School Musical (2006) / Do- London/New York: Tauris 2005, 150 S. (KI- minic Symonds. – 11. ‘I wanna be like you’: NOfiles Filmmakers’ Companions. 3.). Negotiating race, racism and Orientalism in The Jungle Book on stage / Stefanie Jones, Do- natella Galella, Catherine Young, and Emily Rindauer, Gerhard / Gelbmann, Monika (eds. in Clark. – 12. Ashman’s Aladdin Archive: Queer charge): Music in Film and Television: An Inter- Orientalism in the Disney Renaissance / Sam national Selective Catalogue, 1964–1974: Opera, Baltimore. – 13. “For the first time in forever”: Concert, Documentation. Comp. & ed. by the Locating Frozen as a Feminist Disney Musi- International Music Centre, Vienna. English cal / Sarah Whitfield. version: Erika Obermayer, Silvia Kampas. Pa- ris/Wien/München: Unesco Press, Jugend und Volk 1975, 197 S. Rodman, Ronald: The Popular Song as Leitmo- tif in 1990s Film. In: Changing Tunes: The Use of Pre-existing Music in Film. Ed. Phil Powrie & Roche, David: Quentin Tarantino: Poetics and Robynn Stilwell. Aldershot: Ashgate 2006, S. Politics of Cinematic Metafiction. Jackson, Miss.: 119–136. University Press of Mississippi 2018, 352 S. Nachdr. London: Routledge 2017. Darin: “Lookin’ Back on the Track, Gonna Do It My Way”: The Use of Preexisting Music (224–243). Rogers, Holly: Fitzcarraldo’s search for Aguirre. Music and text in the amazonian films of Wer- ner Herzog. In: Journal of the Royal Musical Rodosthenous, George: The Disney Musical on Association 129,1, 2004, S. 77–99. Stage and Screen: Critical Approaches from ‘Snow White’ to ‘Frozen’. London: Bloomsbury Methuen Drama 2017, ix, 257 S. Rogers, Holly: Audio-Visual Biography: Music and Image in Derek Jarman’s Caravaggio. In: PART A: DISNEY MUSICALS: ON Inhalt: The Journal of Musicological Research 27,2, FILM. – 1. Music and the Aura of Reality in 2008, S. 134–168. Walt Disney’s Show White and the Seven Dwarfs / Elizabeth Randekk Upton. – 2. Me- Working beyond mainstream practice, Derek dieval Beauty and Romantic Song in Ani- Jarman creates films that are unusually musi- mated Technirama: Pageantry, Tableau and cal. Caravaggio, a biography of the artist, is a Action in Disney’s Sleeping Beauty / Raymond case in point. Jarman’s collaboration with Knapp. – 3. Mary Poppins: A Precursor of the composer Simon Fischer Turner from the Matriarchal Musical / Tim Stephensen. – 4. start of the filmmaking process enables music Musicals in the Mirror: Enchanted, Self-reflex- to assume a structural role, a procedure that ivity and Disney’s Sudden Boldness / Paul R. turns common music-image interaction on its Laird. – PART B: DISNEY ADAPTATIONS: head in two ways. First, rather than strive for ON STAGE AND BEYOND. – 5. Disney as the audio-visual fusion common to many Broadway Auteur: The Disney Versions of mainstream films, music and image are here Broadway Musicals for Television in the Late juxtaposed. Second, as music becomes audi- 1990s and Early 2000s / Geoffrey Block. – 6. ble, the film’s illusion of realism is destroyed. The Hunchback of Notre Dame (1996): Too Far This article explores how Jarman’s challenge “Out There”? / Olaf Jubin. – 7. The Lion King: to conventional filmmaking procedure can ex- A Blockbuster Feline on Broadway and Be- pose the fragility of reception history by com- yond / Barbara Wallace Grossman. – 8. Not paring visual, literary, and musical versions of Only on Broadway: Disney Junior Across the Caravaggio’s biography. (Vorlage) United States / Stacy E. Wolf. – PART C: DIS- NEY MUSICALS: GENDER AND RACE. – 9. Dancing toward Masculinity: Newsies and Ho- Rogers, Holly: “Noises, Sounds and Sweet mosocial Choreography / Aaron C. Thomas. – Airs”: Singing the Film Space in Prospero’s 10. We’re All in This Together: Being Girls Books. In: Cinemusic: Constructing the Film Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 152

Score. Ed. by David Cooper. Cambridge: Cam- Rogers, Holly: The Musical Script: Norman bridge Scholar’s Publishing 2008, S. 141–164. McLaren, Animated Sound and Audiovisuality. In: Animation Journal 22, 2014, S. 68–84. Rogers, Holly: Visualising Music: Audio-Visual Relationships in Avant-Garde Film and Video Rogers, Holly: Beethoven’s Myth Sympathy: Art. Saarbrücken: Lambert 2010, iv, 235 S. Hollywood’s Reconstruction. In: Beethoven. Ed. by Michael Spitzer. Farnham: Ashgate 2015, S. Inhalt: Ears wide shut: the historiography of an inaudible criticism – Fitzcarraldo’s search 509–521 (The Early Romantic Composers.) for Aguirre: music and text in the Amazonian films of Werner Herzog – Painted time: music Rogers, Holly [Claire] (ed.): Music and Sound and image in Derek Jarman’s Caravaggio – in Documentary Film. Preface by Bill Nichols. Beyond Diegesis: music and space in the New York,/ Abingdon, Oxon: Routledge 2015, video installations of Bill Viola. xi, 210 S. (Routledge Music and Screen Media Series.). Rogers, Holly: The unification of the senses. In- This collection of fourteen essays provides a termediality in video art-music. In: Journal of rich and detailed history of the relationship the Royal Musical Association 136,2, 2011, S. between and music and image in documen- 399–428. tary films, exploring the often overlooked role of music in the genre and its subsequent impact on an audience’s perception of reality Rogers, Holly: “Betwixt and between” worlds. and fiction. Exploring examples of documen- Spatial and temporal liminality in video art- tary films which make use of soundtrack mu- music. In: Oxford Handbook of New Audiovi- sic, from an interdisciplinary perspective, Mu- sual Aesthetics. Ed. by John Richardson, Clau- sic and Sound in Documentary Film is the first dia Gorbman & Carol Vernallis. Oxford/New in-depth treatment on the use of music in the York: Oxford University Press 2013, S. 525–542. nonfiction film and will appeal to scholars and students working in the intersection of music and film and media studies. Rogers, Holly: Sounding the Gallery: Video and the Rise of Art-Music. Oxford: Oxford Univer- Inhalt: Preface / Bill Nichols. – 1. Introduc- sity Press 2013, xi, 231 S. (The Oxford Music / tion: Music, Sound, and the Nonfiction Aes- Media Series.). thetic / Holly Rogers (1–19). – 2. Resounding City Films: Vertov, Ruttmann and Early Ex- Inhalt: Composing with technology: the art- periments with Documentary Sound Aesthet- ist-composer – Silent music and static motion: ics / Carolyn Birdsall. – 3. Sounding the the audio-visual history of video – Towards World: The Role of Music and Sound in Early the spatial: music, art and the audiovisual en- “Talking” Newsreels / James Deaville. – 4. vironment – The rise of video art-music: Race, War, Music and The Problem of One 1963–1970 – Interactivity, mirrored spaces Tenth of Our Nation (1940) / Julie Hubbert. – and the closed-circuit feed: performing video. 5. Music, Science, and Educational Film in Rev. (Stephen Graham) in: Music, Sound, and Post-War Britain / Thomas F. Cohen. – 6. the Moving Image 9,2, 2015 (Special Issue: Reinventing the Documentary: The Early Es- “Musical Screens: Musical Inventions, Digital say Film Soundtracks of Chris Marker / Or- Transitions, Cultural Critique”. Guest ed.: lene Denice McMahon. – 7. Water Music: James Tobias), S. 219–224. Scoring the Silent World / Mervyn Cooke. – 8. Music and the Aesthetics of the Recorded World: Time, Event and Meaning in Feature Rogers, Holly: Multimedia Art: Video Art-Mu- Documentary / John Corner. – 9. Irish Sea sic. In: The Routledge Companion to Music and Power: A New Version of Man of Aran Visual Culture. Ed. by Tim Shephard & Anne (2009/1934) / K. J. Donnelly. – 10. Excavating Leonard. New York/London: Routledge 2014, S. Authenticity: Surveying the Indie Rock-Doc / 367–375. Jamie Sexton. – 11. More Than Background: Ambience and Sound-Design in Contempo- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 153

rary Art Documentary Film / Marion Leonard ral innovation in the films of Norman and Robert Strachan. – 12. Sonic Ethnogra- McLaren / Terence Dobson. – Sights and phies: Leviathan and New Materialisms in sounds of the moving mind: the visionary Documentary / Selmin Kara and Alanna sountracks of Stan Brakhage / Eric Smigel. – Thain. – Afterword / Anahid Kassabian. Discontinuities and resynchronisations: the [Preview: URL; online: URL.] use of sound in Polish experimental cinema from the 1930s to the 1980s / Daniel Muzy- czuk. – Grid intensities: hearing structures in Rogers, Holly / Barham, Jeremy (eds.): The Mu- Chantal Akerman’s films of the 1970s / Paul sic and Sound of Experimental Film. New York: Hegarty. – Meaning and musicality: sound- Oxford University Press 2017, xvi, 320 S. image relations in the films of John Smith / Andy Birtwistle. – Audiovisual dissonance in This book explores music/sound-image rela- found-footage film / Holly Rogers. – Rebal- tionships in non-mainstream screen reper- ancing the picture-sound relationship: the au- toire from the earliest examples of experi- diovisual compositions of Lis Rhodes / Aimee mental audiovisuality to the most recent Mollaghan. – Sounding decay in the digital forms of expanded and digital technology. It age: “audio-visions” of Decasia (2002) and challenges presumptions of visual primacy in Lyrical Nitrate (1991). – The sound of queer experimental cinema and rethinks screen mu- experimental film / Juan A. Suaarez. – Avant- sic discourse in light of the aesthetics of non- gardists and the lure of pop music / Carol commercial imperatives. Several themes run Vernallis. – The music of Gustav Mahler in through the book, connecting with and sig- experimental film contexts: questions of vis- nificantly enlarging upon current critical dis- ual music and intermedial theory / Jeremy course surrounding realism and audibility in Barham. the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investi- Roginska, Agnieszka / Geluso, Paul (eds.): Im- gate repertoires and artists from Europe and mersive Sound: The Art and Science of Binaural the USA through the critical lenses of syn- and Multi-Channel Audio. New York/London: chronicity and animated sound, interrelations Routledge 2018, xi, 363 S. (Audio Engineering of experimentation in image and sound, au- Society Presents. / A Focal Press Book.) diovisual synchresis and dissonance, experimental soundscape traditions, found-footage Darin: Considerations in Mixing for Film and film, re-mediation of pre-existent music and Games / 346. sound, popular and queer sound cultures, and a diversity of radical technological, aesthetic, tropes in film media traversing the work of Röhring, Klaus: Ulrich Gasser: Die aufgehobene early pioneers such as Walther Ruttmann and Zeit. Eine Monographie in Essays zu Leben und Len Lye, through the mid-century innova- Werk des Komponisten. Hofheim am Taunus: tions of Norman McLaren, Stan Brakhage, Lis Wolke 2015, Rhodes, Kenneth Anger, Andy Warhol, and Zum schweizerischen Komponisten Ulrich studio collectives in Poland, to latter-day ex- Gasser (*1950). – Darin: Filmmusik / 124. perimentalists John Smith and Bill Morrison, as well as the contemporary practices of Vjing. Román, Alejandro (ed. por): C.I.N.E.M.A.: Com- Inhalt: Absolute sounding images: abstract posición e investigación en la música audiovi- film and radio drama of the 1920s as comple- sual. Madrid: Visión Libros 2014, 363 S. mentary forms of a media-specific art / Dieter Este libro da testimonio del trabajo investiga- Daniels. – A primitivism of the senses: the role of music in Len Lye’s experimental ani- tivo de un grupo de jóvenes compositores con una completa formación teórica, técnica y mation / Malcolm Cook. – An education avant-garde: sound and music in Julien musical que culminó un proceso formativo de muchos años de intenso estudio. Para la elab- Bryan’s OIAA films on Latin America, 1942- 1949 / James Tobias. – “bump...bup...bup”: au- oración de cada uno de los artículos los autores han seleccionado aquellos aspectos más Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 154

relevantes de cada uno de sus trabajos de in- tion of musical techniques used in Romantic vestigación fin de carrera dentro del ámbito opera, especially his predilection for Wagner- de los estudios de „Composición para Medios ian leitmotifs. Yet Shore scores Middle-earth Audiovisuales“ realizados en el Real Conser- in a far more nuanced manner than just the vatorio Superior de Música de Madrid y diri- adoption of the leitmotif. He distinguishes en- gidos por el compositor y profesor Alejandro tire peoples of Middle-earth through entire Román. Los nueve ensayos que en este volu- systems of harmony. In fact, Shore’s score men se presentan abordan diferentes aspectos parallels an ordered triple of races (Hobbits, de la música aplicada al cine, tanto desde pun- Men, and Elves) with an ordered triple of har- tos de vista psicológicos, instrumentales y monic accompaniment (major-minor diatonic, técnicos, pasando por los distintos usos de- modal diatonic, and nondiatonic [chromatic pendiendo de los géneros cinematográficos, mediants]). Moreover, analysis of each race in ya sean el „thriller“, la „ciencia ficción“ o el this series places them on a continuum of fa- cine „místico“, e incluso el uso de músicas cul- miliar to unfamiliar, from ordinary to fantas- tas preexistentes que aportan nuevos signifi- tical, derived from associativity codified in cados entrando a formar parte de las pelícu- the Romantic era. I first trace the associativity las. El texto, por tanto, constituye una buena of each harmonic system to developments in muestra de la excelencia de las nuevas gen- the nineteenth century and then locate their eraciones de músicos, que va más allá de la correlates in the textual and cinematic depic- práctica musical, tanto en su faceta interpre- tions of each race, as well as their leitmotifs. tativa como compositiva, en la cual el pensa- For example, tonality’s association with nor- miento a través de la investigación va a apor- mativity parallels the Hobbits, the familiar. tar, en este caso a la teoría musical cinemato- Next, the revitalization of modes as expres- gráfica, nuevos puntos de vista desde la pro- sive deviations from tonality and as markers pia práctica musical, nuevas perspectivas que of the past suggests how Men reflect both fa- ahondarán en las intrincadas mazmorras de la miliarity and unfamiliarity. Finally, composers comprensión de la música desde la propia often have used mediant progressions to sum- música entendida y explicada por los propios mon the fantastical, which parallels music of músicos. the Elves, the unfamiliar. Howard Shore’s compartmentalization of harmony in The Lord of the Rings invites close investigation as to Rona, Jeff: Making Soundtracks, Part 1: Those how film scores can continue several nine- Pesky Songs that Show Up in Between Your teenth-century traditions and can assist in Cues – Who Puts ’em There, Anyway?. Part 2: our understanding of entire peoples in the More On the Differences between the Score fantasy genre. (Vorlage) and the Soundtrack. In: The Routledge Film Mu- sic Sourcebook. Ed. by James Wierzbicki, Nathan Platte & Colin Roust. New York: Rout- Rosar, William H.: Film music and Heinz Wer- ledge 2012, S. 259–264. ner’s theory of physiognomic perception. In: Psychomusicology: A Journal of Research in Mu- sic Cognition 13,1–2, 1994, S. 154–165. Rone, Vincent: Scoring the familiar and unfamiliar in Howard Shore’s The Lord of the Rings. In: Music and the Moving Image 11,2, 2018, S. Rosar, William H.: Music for Martians. 37–66. Schillinger’s two tonics and harmony of fourths in Leith Stevens’ score for War of the Each December between 2001 and 2003, Worlds (1953). In: The Journal of Film Music 1,4, Tolkien fans and film lovers alike flocked to 2006, S. 395–438. theaters to see The Lord of the Rings films. Pe- ter Jackson’s interpretation of Tolkien’s work After seeing Steven Spielberg’s remake of invited audiences to immerse themselves in “War of the Worlds” “on the 4th of July week- the landscapes and peoples of Middle-earth. end 2005, an old friend who sat with me dur- Howard Shore’s film music became integral to ing the screening commented on how effec- that process and consequently garnered criti- tive John Williams’ score for it was, and that cal attention. Many have noted Shore’s adop- it reminded her of film noir scores. An inter- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 155

esting coincidence, I thought, as many years terpretation of a scene. (Vorlage) earlier I had been struck by how passages in Leith Stevens’ score for Paramount’s “War of the Worlds” “(1953) reminded me of “crime Rösser, Thomas: Bilder zum Hören: Die Zusam- drama music,” music for gangster or detective menarbeit von Alfred Hitchcock mit dem Kom- movies. Why should Stevens and Williams ponisten Bernard Herrmann. Hamburg: Kovač write music for a science fiction film in a style 2013, 445 S. (Schriften zur Medienwissenschaft. evocative of another film genre? 37.) Zuerst: Diss. Marburg: Universität Marburg Rosenfeld, Ninett / Steffens, Jochen: Effects of 2012. audiovisual congruency on perceived emotions Rez. (Uli Jung) in: Medienwissenschaft: Rezen- in film. In: Psychomusicology: A Journal of Re- sionen 30,4, 2014, S. 421–423. search in Music Cognition 29,4, 2019, S. 200– 208. Rossi, Jérôme: The use of songs in films by This study examined the influence of film mu- Claude Lelouch. A comprehensive typology. In: sic on the emotional perception of unambigu- Kieler Beiträge zur Filmmusikforschung, 12, ous semantically (in)congruent audiovisual 2016, S. 258–273. film scenes. We predicted that the visual stimulus would dominate the emotional perception of the combined audiovisual stimuli and Rossi, Jérôme: La Musique de film en France: that a sarcastic or melancholic effect would be courants, spécificités, évolutions. Ouvrage coord. conveyed when the visual and musical stimuli par Jérôme Rossi. Préface de Gilles Mouëllic. are semantically incongruent. Therefore, one Lyon: Symétrie 2016, 470 S. (Symétrie Re- visual stimulus and one musical stimulus cherche, série 20–21.). clearly representing one of the four emotions (anger, fear, happiness, and sadness) were Inhalt: Jérôme Rossi: Introduction (11–32). – Stéphane Chanudaud: La musique de film chosen and combined in a congruent and incongruent way with each other. Utilizing an d’Arthur Honegger: du cinéma à l’écriture de concert (35–52). – Audrée Descheneaux: Mu- online experimental methodology, participants watched 16 stimulus combinations, rat- sique et idées dans La Grande Illusion (1937– 1958) (53–74). – Michela Niccolai: De l’opéra ing them in terms of the perceived emotions (anger, fear, happiness, and sadness) and the au grand écran: Louise de Gustave Charpen- tier dans la réalisation d’Abel Gance (75–96). emotional effects (melancholy and sarcasm) on a unipolar 5–point Likert scale. In addi- – Cédrine Zwein-Chouard: Yves Baudrier: le cinéma comme nouveau „terrain d’entente“ tion, participants rated the perceived congru- ence between image and music for each stim- de la musique française (97–107). – Frédéric Gimello-Mesplomb: Tendances et spécificités ulus. The results showed that the perceived audiovisual emotion was determined by the de la musique dans le cinéma de la Nouvelle Vague (109–132). – Chloé Huvet: visual emotion, and semantically incongruent Vivement music was able to decrease the visually per- Dimanche! de Georges Delerue (1983): un hommage distancié aux films classiques amé- ceived emotions, compared to the congruent condition. Furthermore, a sarcastic effect was ricains (133–160). – Orlene Mcmahon: Jacques Rivette: un cinéaste à la sensibilité musicale perceived when happy music accompanied negatively valent visual content. The results moderne (161–182). – Nicolas Viel: Pierre Bar- baud et le cinéma: question de méthode (183– also showed that the perception of a melancholic effect was influenced by sad film music. 200). – Philippe Gonin: Antoine Duhamel: portrait en (201–226). – The study provides further empirical founda- 24 images par seconde tions for the interaction of visual and audi- Jérôme Rossi: La musique dans le cinéma de Claude Lelouch: la chanson, cœur battant du tory sensory channels, and its effect on the emotional perception of film scenes. Thus, it film (229–270). – Gérard Dastugue: Sarde by side: profils d’un scénariste musical (271–286). contributes to the understanding of audiovisual perception and highlights the importance – Michaël Andrieu: La chanson française au cinéma: l’idole Johnny (287–298). – Cécile Ca- of both film content and film music on the in- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 156

rayol: Une nouvelle forme de symphonisme: femme where, under the impetus of the film- le cas de Swimming Pool (315–330). – Ale- maker and composer Jean Grémillon, he com- xandre Poncet: La musique de film en France: posed a music that is both less symphonic and vers un modèle américain? (331–342). – Séve- less thematic (with only one recurring rine Abhervé: Compositeur de musiques de theme). This economy of means, combined films: un métier spécifique de l’œuvre ciné- with the sparse presence of the music, finally matographique française? (343–356).– Sté- links Dutilleux to Maurice Jaubert, a com- phane Chanudaud: Entretien avec Madeleine poser whose film approach he admired. Milhaud (361–376). – Stéphane Chanudaud: Entretien avec Henri Dutilleux (377–388). – Gérard Dastugue: Entretien avec Éric Demar- Rossi, Jérôme: Composers and “microgénie”. A san (389–392). – Gérard Dastugue, Alexandre study of the symphonic sound of French cin- Tylski: Entretien avec Antoine Duhamel (393– ema in the thirties. In: Music and the Moving 396). – Gérard Dastugue: Entretien avec Mi- Image 12,2, 2019, S. 15–39. chel Colombier (397–404). – Gérard Dastugue, During the thirties, French cinema was Arnaud Damian, Nicolas Kannengiesser: En- mostly accompanied by small symphonic or- tretien avec Vladimir Cosma (405–408). – chestras. Through the theoretical writings on Mara Lacchè: Ennio Morricone et le cinéma “microgénie” “(i.e., quality of a composition français (1969–1985) (409–412). – Alain Garel: well-written for the microphone) and the Hommage à Maurice Jarre (413–418). scores of Arthur Honegger, we will try to define a conception of cinematic orchestral Rossi, Jérôme: Recherches formelles et émo- sound of this neoclassical composer and his tions populaires. L’Art de la „chanson de film“ contemporaries. While studying the number of musicians and the orchestral parts, the mi- selon Claude Lelouch. In: La chanson dans le crophone positioning, the diversity of orches- film français et francophone depuis la Nouvelle tral devices, and some musical writing princi- . Würzburg: Königshausen & Neumann Vague ples, we will distinguish a “French film music 2016, S. 209–224. sound” “from the Hollywood orchestral sound of the same period. (Vorlage) Rossi, Jérôme: Henri Dutilleux et la tradition française de la musique de film. In: Revue de Roth, Raphaël: Musicologie 105,1, 2019, S. 111–144. À l’écoute de Disney: Une soci- ologie de la réception de la musique au cinéma. In the 1930s, as the opera gave signs of slow- Préface d’Emmanuel Ethis et Damien Malinas. down, composers went into the new media Paris: L’Harmattan 2017, 256 S. (Champs vi- such as radio and film. Initially commissioned suels.). to compose music for documentaries, the young Dutilleux also wrote, at the age of Zuerst als Diss.: Bande originale de film, thirty years, the score of Henri Decoin’s fea- bande originale de vie. Université Avignon, ture film La fille du diable (1945), followed by 2013. four other films, Le café du cadran (1946), Six Comment Disney nous a-t-il dotés des oreilles heures à perdre (1946), Le crime des justes de Mickey ? Des Trois Petits Cochons (1933) à (1950) and L’amour d’une femme (1953), La Reine des Neiges (2013), le succès des films which confirmed the composer’s appetite and et des chansons des studios Disney est inter- talent for film dramaturgy. The last film he national et traverse plusieurs générations. Le was involved in, Sous le soleil de Satan (1986), cinéma est l’un des médias qui a le plus inves- shows the strength of his music with images, ti nos vies, tant parce qu’il les traduit par la even if it’s based on a previous work. The fil- fiction que parce qu’il nous réunit collective- mography of Dutilleux presents a very per- ment dans les salles ou dans nos foyers. Cet ceptible evolution since La fille du diable ouvrage décrit les modalités de la constitution where he dogged Arthur Honegger’s foot- du voir et de l’entendre cinématographiques steps – aiming at an autonomous musical au travers du « cas » Disney. Univers qualifié form, a particular thematism, the musical de merveilleux, magique ou enchanté, le stylization of noises – to L’amour d’une monde musical de Disney se laisse saisir par Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 157

les discours des spectateurs de cinéma. Ils ont (19.09.2016): Theme: “Movement”, [URL]. grandi avec ces musiques emblématiques qui sont devenues des tubes qui précèdent ou prolongent leur expérience devant le film. Par Rupp, Ciara / Wulff, Hans Jürgen: “Love You le biais d’une enquête sociologique, À l’écoute ’till the end”: Musik und Subjektivität in der de Disney présente une analyse des ressorts romantischen Komödie P.S. I Love You (2007), sémiotiques de la réception de la musique de In: Samples: Notizen, Projekte und Kurzbeiträge films et tente de dépasser, par le cinéma qui zur Popularmusikforschung 17, 2019, online. lui donne un ancrage, l’ineffabilité de cette P.S. I Love You (2007) is a romantic comedy musique que l’on ressent toujours sans ne ja- that deals with a man’s early death by cancer mais pouvoir la matérialiser. and his wife’s grief. Before he died, the man Inhaltsüberblick: 1. La naissance des musiques wrote her a series of letters that will guide emblématiques : description des modalités du her, not only through her sorrow, but also in voir et de l’entendre cinématographiques par rediscovering herself.The soundtrack mainly la synchronisation / 25. – 2. Alice on The Wall draws upon a pop song, “Love You ’Till The : les structures culturelles de la synchronisa- End” ,which takes on a very crucial role in tion audiovisuelle / 61. – 3. Qu’y a-t-il d’origi- many ways. The song functions as a reminder nal dans une bande originale ? Précautions to the wife of her deceased husband when she théoriques et méthodologiques pour l’analyse dreams or hallucinates. It also encourages her des significativités musicales au cinéma / 107. to express herself in public, disguising her in- – 4. La bande originale comme emblème de dividual emotions in a collective mood. The l’univers filmique : résultats d’enquête sur la sound-track uses stylistic means that refer to réception de Quand on prie la bonne étoile Irish folk music (evoking an impression of par la méthode du portrait chinois / 141. – 5. Irishness), especially in scenes that take place Esthétiser le réel par l’emblème : l’expérience in Ireland. Finally, the pop score displays a musicale, de la théorie au terrain / 193. particular realm of pop culture and its soundscapes. (Vorlage) Rothbart, Peter: The Synergy of Film and Music: Sight and Sound in Five Hollywood Ryčkov, Konstantin Nikolaevič (Red.): Zakadro- Films. Lanham, Md./London: The Scarecrow voe iskusstvo: istorija i teorija kinomuzyki: ma- Press 2013, xx, 159 S. terialy meždunarodnoj naučnoj konferencii Although writers on film music frequently al- [Рычков, К(онстантин) Н(иколаевич) (ред.): lude to specific parts of scores, comprehen- Закадровое искусство: история и теория ки- sive examinations of entire scores are rare. In номузыки. Материалы международной науч- addition, most analyses of scores composed ной конференции]. Moskva: Naučno-izdatelʹ- for the screen are discussed outside their cin- skij centr »Moskovskaja konservatorija« 2014, ematic context. To best understand the role 198 S. music plays in the production of a motion picture, however, it benefits the viewer to Die Sammlung enthält Materialien der Inter- consider all of the elements that comprise the nationalen Wissenschaftskonferenz „Offs- film experience. InThe Synergy of Film and creen Art: Geschichte und Theorie der Kino- Music: Sight and Sound in Five Hollywood musik“, die im November 2012 am Moskauer Films, Peter Rothbart considers the aural and Staatlichen Tschaikowsky-Konservatorium visual aspects of five representative films: stattfand. Die Forscher stellen einige Aspekte West Side Story, Psycho, Empire of the Sun, Al- der Theorie der Filmmusik, die Traditionen tered States, and American Beauty. For each verschiedener Filmschulen, die Arbeit einzel- film, the author demonstrates how a variety ner Filmkomponisten und die musikalischen of elements work together to create a singular Ansichten der Regisseure vor. experience. Inhalt: Sovremennaja ėstetika kinomuzyki [современная эстетика киномузыки]: – Tat’jana Egorova: Novye vozzrenija na muzy- Rundell, Sarah: Illusion of Motion: Music and ku kino [Татьяна Егорова: Новые воззре- Animation. In: Animation Studies 2.0 [blog] ния на музыку кино] / 9. – Tat’jana Šak: Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 158

Metodologija analiza muzyki kino (k posta- kal’nye metamorfozy žanrovogo kinemato- novke problemy) [Татьяна Шак: Методоло- grafa [Музыкальные метаморфозы жанро- гия анализа музыки кино (к постановке вого кинематографа]: – Svetlana Sevast’ja- проблемы) / 21. – Julija Micheeva: Audiovi- nova: Partitura muzykal’no-biografičeskogo zual’nyj kontrapunkt v kinofil’me: ėvoljucija i fil’ma [Светлана Севастьянова: Партитура perspektivy [Юлия Михеева: Аудиовизу- музыкально-биографического фильма] / альный контрапункт в кинофильме: эво- 173. – Dar’ja Žurkova: Obajatel’nye zlodei i люция и перспективы] / 33. – Džejms V’ež- kovarnye genii: muzicirujuščie geroi otečest- bicki: Zvukovoj rjad kak muzyka: o novych vennogo kinematografa 1990-2000-ch godov putjach v izučenii kinoiskusstva Джеймс [Дарья Журкова: Обаятельные злодеи и Вьежбицки: Звуковой ряд как музыка: о коварные гении: музицирующие герои новых путях в изучении киноискусства / отечественного кинематографа 1990-2000-х 46. – TRADICII I TENDENCII V MIROVOJ годов] / 184. KINOMUZYKE [ТРАДИЦИИ И ТЕНДЕН- ЦИИ В МИРОВОЙ КИНОМУЗЫКЕ]: – Kon- stantin Ryčkov: 40-model’ gollivudskoj kinomuzyki [Константин Рычков: 40-модель голливудской киномузыки] / 67. – Irina Skvorcova: Gavriil Popoviego muzyka k le- – S – gendarnomu fil’mu «Čapaev» [Ирина Скво- рцова: Гавриил Поповиего музыка к ле- Salamone, Frank A.: Jazz and Film Noir. In: An- гендарному фильму «Чапаев»] / 94. – Irina thropos: Časopis za psihologijo in filozofijo ter Viskova: «Tainstvennyj sad» Zbigneva Praj- za dodelovanje humanističnih ved 49, 2017, S. snera [Ирина Вискова: «Таинственный 143–157. сад» Збигнева Прайснера] / 101. – Violetta Junusova: Nacional’nyj material v kinomuzy- Jazz became the music most associated with ke kompozitorov Azii (zametki k issledovani- film noir. The key movie was The Wild One, ju) [Виолетта Юнусова: Национальный ма- starring Marlon Brando who personified the териал в киномузыке композиторов Азии noir hero, or anti-hero. He was looking for (заметки к исследованию)] / 106. – Muzyka trouble, any trouble. Great jazz figures were v interpretacii režissera [Музыка в интер- drawn to the noir form, and there was a noir претации режиссера]: – Ekaterina Kalinina: style of music. West Coast trumpeter Shorty Muzyka Bacha v tvorčestve Ingmara Bergma- Rogers had 4 tunes in Leith Stevens great na [Екатерина Калинина: Музыка Баха в score. Great jazz stars Bud Shank, Jimmy творчестве Ингмара Бергмана] / 117. – Ma- Giuffre, Shelley Manne and Henry Mancini rina Karasëva: O ložnych marker-pojnterach: followed. The TV show Peter Gunn soon ap- muzykal’no-zvukovye strategii v fil’mach Ta- peared and kept great jazz musicians work- rantino [Марина Карасёва: О ложных мар- ing. Jazz became the sound of the hard-boiled кер-пойнтерах: музыкально-звуковые detective and the noir film. стратегии в фильмах Тарантино] / 123. – Aleksandr Dobrochot ov: Konvokacija vizual’- nogo i muzykal’nogo v fil’me Al’freda Chič- Samigullina, Dar’ja Robertovna: Kinomuzyka: koka «Ubijstvo!» [Александр Доброхот ов: formirovanie obrazov v sovremennom kinemato- Конвокация визуального и музыкального grafe pri pomošči zvukovych sredstv vyrazitel’- в фильме Альфреда Хичкока «Убийство!»] nosti (na primere analiza tvorčestva Chansa Flo- / 143. – Tat’jana Sergeeva: Problema sotvor- riana Cimmera i Dėnni Roberta Ėl’fmana) [Са- čestva režissera i kompozitora na primere fil’- мигуллина, Дарья Робертовна: Киномузы- mov Akiry Kurosavy [Татьяна Сергеева: ка: формирование образов в современном ки- Проблема сотворчества режиссера и ком- нематографе при помощи звуковых средств позитора на примере фильмов Акиры Ку- выразительности (на примере анализа росавы] / 151. – Sergej Uvarov: Mifičeskij творчества Ханса Флориана Циммера и Дэн- Rustam Chamdamov: ego muzyka i muzy ни Роберта Эльфмана)]. Vypusknaja kvalifi- [Сергей Уваров: Мифический Рустам Хам- kacionnaja rabota bakalavra [B.A.-Thesis], дамов: его музыка и музы] / 159. – Muzy- Krasnojarsk: Sibirskij Federal’nyj Universitet Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 159

(SFU), Gumanitarnyj Institut, Kafedra kul’tur- ment in a film-scoring project – Working ologii 2018, 81 S.; [URL]. practices – Local differences in a global industry – The role of the orchestrator in the con- „Filmmusik: Bildgestaltung im modernen Ki- temporary film industry – Appendix A: out- no mit klanglichen Ausdrucksmitteln (am Bei- line interview schedules – Appendix B: inter- spiel der Analyse der Arbeit von Hans Florian viewee details – Appendix C: information on Zimmer und Danny Robert Elfman).“ software packages. In kyrill. Schrift. Rev. (Heine, Erik) in: Music, Sound, and the Moving Image 13,1, 2019, S. 87–91. Sánchez López, Roberto: Jazz de película: such sweet thunder. Zaragoza: Ed. Doce Robles 2015, Saran, Sathya: Sun mere bandhu re: The Musical 227 S. (Colección Cine.). World of S. D. Burman. Noida: HarperCollins El cine y el jazz nacieron poco antes del siglo India 2014, xii, 258 S. XX y se convirtieron en manifestaciones Über den indischen Filmkomponisten Sachin artísticas casi al mismo tiempo. No es casuali- Dev Burman (1906–1975). – Inhalt: 1. Begin- dad que la primera película sonora se llamara nings / 1; – 2. Calcutta; / 21; – 3. Bombay / 55. El cantor de jazz (1927). Sus caminos se han – Afterword: Moti Lalwani: Sachin Dev Bur- unido en numerosas ocasiones con resultados man: The Man behind the Legend / 235. – Ap- tan memorables como irregulares: algunas de pendix / 245. las obras maestras del cine llevan el sonido in- confundible de las apasionadas notas del jazz. Roberto Sánchez, crítico de cine y profesor de Saura, Norma: Julián Bautista en el cine ar- Historia del Arte en la Universidad de gentino. In: Cuadernos hispanoamericanos, 666, Zaragoza, ofrece en Jazz de película un ex- 2005, S. 7–20. haustivo y fascinante recorrido por la conflu- encia de ambas sendas artísticas. Desde los inicios del sonoro hasta la actualidad, el Saxer, Marion: Zeit der Oper, Zeit des Films. género musical de Duke Ellington, Billie Holi- Der ›Rosenkavalier‹ im Stummfilm. In: Musik day, Bird (Charlie Parker), Miles Davis, John und Ästhetik 15 (2011) 57, S. 42–61. Coltrane o Louis Armstrong ha cautivado a grandes maestros del cine. El jazz, como banda sonora, como presencia poderosa en la Scarpelli, Furio / Monicelli, Mario / Scarpelli, pantalla, como parte fundamental, pero Giacomo: Storia meravigliosa di Niccolò Pa- oculta, de películas que no se entenderían sin ganini: Un progetto per un film non fatto. A cu- su música. El jazz en los grandes musicales y ra di Giacomo Scarpelli. Prefazione di Frances- en documentales específicos y genéricos. ca Archibugi. Pisa: Ed. ETS, 2016, 100 S. (Dil- Todo ello convierte a este libro en un gran re- linger: Scrigni di cinema, 1.). galo para los amantes del cine y del jazz. Scemama, Céline: ›Histoire(s) du cinema‹ von Sapiro, Ian: Ilan Eshkeri’s “Stardust”: A Film Jean-Luc Godard. Die Auferstehung der Bilder. Score Guide. Lanham, Md.: Scarecrow Press In: Musik und Ästhetik 15 (2011) 60, S. 106–113. 2013, 163 S. (Scarecrow Film Score Guides. 15.). Schlichter, Ansgar / Wulff, Hans J. (Komp.): Sapiro, Ian: Scoring the Score: The Role of the Jazz-, Musical-, Schlager-, Rock- und andere Orchestrator in the Contemporary Film Industry. Stars der populären Musik im fiktionalen Film, New York/London: Routledge 2017, xxiv, 220 S. 1950–2018. In: Medienwissenschaft: Berichte und Papiere 182, 2018, 61 S. (online). Zuerst: PhD thesis, University of Leeds 2011. Vgl. auch in der gleichen Reihe: Inhalt: Interviews and interviewees – Orches- trating and arranging – Becoming an orches- 114, 2011: Rock zwischen Calypso und Twist: trator – The impact of technology – Involve- Musiker im Rock’n’Roll-Film, 1956–1963. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 160

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

Schmidt, Hans-Christian: Musikalische Titel Schwimmer, Helmut: Film und Musik. In: Me- von Serien des Fernsehens. Überlegungen zu los: Jahrbuch für zeitgenössische Musik 34, 1967, einer alltäglichen Erscheinung, in: Ders. S. 249–258 [Hrsg.]: Musik in den Massenmedien Rundfunk und Fernsehen: Perspektiven und Materialien. Schwind, Elisabeth: Im Lichttunnel: Ligetis Mainz: Schott 1976, S. 91–119. Musik in Stanley Kubricks 2001: A Space Odyssey. In: Neue Zeitschrift für Musik 164,3, Schneider, Enjott [= Norbert Jürgen]: Hand- 2003, S. 32–35. buch Filmmusik. Bd. 1–2. München: Ölschläger 1986–1989: 1. Musikdramaturgie im Neuen Sciannameo, Franco: Nino Rota’s “The Godfa- Deutschen Film, 1986, 361 S.; 2., überarb. Aufl., ther Trilogy”: A Film Score Guide. Lanham, 1990, 368 S.; [Neudr.] Konstanz: UVK [2006], MD/Toronto/Plymouth, UK: Scarecrow Press, 368 S. (Kommunikation audiovisuell. 13.); 2. 2010, xviii, 193 S. (Scarecrow Film Score Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 161

Guides. 9.). art and visuality, in its graphic depiction in Sclafer, Germain: 2001: A Pace Odyssey. The notation, in the theatre of performance, its Donau Sequence as an American Film Musical sights and sites. This book looks at music in its absolute guise as a model for art; at nota- Number. In: Quarterly Review of Film and Video tion and the conductor as the silent visual ful- 36,1, 2019, S. 26–41. cra around which music circulates; at the mu- For its singular use of the Johann Strauss Jr.’s sic and image of Erik Satie; at the concert hall “An der Schönen, Blauen Donau” “(“The Blue as white cube; at the symphonic film ‘2001: A Danube”) Viennese waltz, the spaceships se- Space Odyssey’; and at the liminality of John quence from Stanley Kubrick’s 2001: A Space Cage and Andy Warhol. Odyssey (1968) created a revolution in respect Rev. (Stuart-Smith, Mark): From “Mousike” to of film scoring, turning spectators into apes Synaesthesia: New Interdisciplinary Agendas facing a black monolith and generating reac- in Music and Visual Culture. In: Art History tions of reject. To fill such lack of understand- 39,1, Febr. 2016, S. 173–181. ing, the number of studies increased, generally focused on the semantic shock – between the old and respected Western classical music Scoggin, Lisa: The Music of “Animaniacs”: Post- on one hand, and the popular science fiction modern Nostalgia in a Cartoon World. Hillsdale, imagery on the other – and neglecting the NY: Pendragon Press 2016, xi, 158 S. (Music in syntactic analysis. However, it seems that this Media Series. 2.). aspect is essential to apprehend Kubrick’s un- precedented combination. This paper will Zur TV-Animationsserie Animaniacs (USA/Ja- point out how the real revolution came from pan 1993–98). – Mit Notenbeispielen. the structuration of the whole Donau sequence, built according to the parameters of the American film musical’s numbers as de- Sheer, Miriam: „The Godard/Beethoven Con- fined by Rick Altman, and the creation of a nection: On the Use of Beethoven’s Quartets in fusion between two film genres thought as to- Godard’s Films. In: The Journal of Musicology tally incompatibles until then – and still to- 18,1, 2001, S. 170–188. day. Shephard, Tim / Leonard, Anne (eds.): The Shaw-Miller, Simon: Eye hEar: The Visual in Routledge Companion to Music and Visual Cul- New York/London: Routledge, 2014, xviii, Music. Farnham, Surrey/Burlington, VT: Ash- ture. gate 2013, xvi, 207 S., 41 Abb. 391 S. Rev. (Stuart-Smith, Mark): From “Mousike” to Nachdr. London/New York: Routledge 2016. Synaesthesia: New Interdisciplinary Agendas ‘Eye hEar The Visual in Music’ employs the in Music and Visual Culture. In: Art History concept of the visual in proximate relation to 39,1, Febr. 2016, S. 173–181. music, producing a tension: ‘is it not the case Studying Music and Screen Me- that there is a gulf between painting and mu- Darin u.a.: dia / David Neumeyer (67–74). – Film I: Bolly- sic, between the visible and the audible? One wood–Music and Multimedia / Anna Morcom is full of colour and light yet silent; one is in- (352–358). – Film II / David Neumeyer (359– visible and marvellously noisy.’ Such a belief, 366). – Multimedia Art: Video Art-Music / this book argues, betrays an ideological con- Holly Rogers (367–375). – Music, Visual Cul- straint on music, desiccating it to sound, and ture, and Digital Games / Roger Moseley art to vision. The starting point of this study (376–384). is more hybrid (and hydrating): that music is never employed without numerous and complex intersections with the visual. By involv- Shibata, Kōtarō: Ichi kyū san rei-nendai kōhan ing the concept of synaesthesia, the book no Nihon eiga ni okeru ‘riarizumu’ to Fukai evokes music’s multi-sensory nature, stops it Shirō no eiga ongaku: Bansō ongaku muyō-ron from sounding alone, and offers music as a o megutte [柴田康太郎: 一九三〇年代後半の日 subject for art historians. Music bleeds into 本映画における「リアリズム」と深井史郎の映 Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 162

画音楽: 伴奏音楽無用論をめぐって]. In: Aesthe- kankei [柴田康太郎: サイレント期の東京にお tics 66,1, 2015, 173–184. ける映画館の音楽実践と観客の音楽受容:休憩奏楽と映画伴奏の関係]. In: Aesthetics 68,1, 2017, “‘Realism’” in late 1930s Japanese films and 109–120. Fukai Shiro’s film music: around anti-musical accompaniment arguments.” “Musical Practice and Reception in the Movie In japan. Schrift. – Abstract: In Japanese film Theaters in Tokyo during the Silent: The Rela- history, the late 1930s was known as a period tionship between Intermission Music and Ac- when interest in filmic “realism” rose. This companiment Music.” study examines how this interest in filmic re- In japan. Schrift. – Abstract: Movie theaters in alism influenced musical accompaniment in the silent era had a feature as a concert hall. narrative films in the late 1930s. It mainly fo- Especially in Japan inthe Taisho era, they cuses on two complementary aspects of filmic were central places where ordinary people realism: one based on naturalist/ socialist re- heard Western music.Though they are impor- alism in literature and the other based on a tant case for Japanese receptive study of new conception of filmic representation that Western music, howfilm audiences received it emphasized audiovisual realism. This study had scarcely been investigated. This study, fo- investigates the contrasting influences of cusing onsome theaters in Tokyo especially these two aspects. One influence was the de- around 1920 and 1927, tries to show their re- crease in the use of non-diegetic music, a ceptionsof Western music. First three sections practice reported in contemporary texts that consider on the audiences’ columns in thep- can be confirmed by existing realist films. The amphlets issued by one of the main movie first half of the paper analyzes contemporary theaters, Teikokukan in Asakusa. Theyshow discourse on filmic realism and anti-musical that audiences were so interested in Western accompaniment arguments and reveals that music which was frequently playedas inter- musical accompaniment was considered un- mission music that, when the same music was suitable for both the above-mentioned aspects used for film accompaniment, it sometimes of realism. This influence, however, was not gained audiences attention more than the film restricted to the decrease in use of non- it was used for. But until 1927, musical med- diegetic music. In fact musical accompani- leys had gradually gained popularity as a new ment was not completely abandoned, and form of intermissionmusic. The popularity some contemporary Japanese film composers was based on each tunes’ associative images sought an effective way of using it in realist which had beenformed in audience through films. The latter half of this paper shows the their repetitive use in film accompaniment. efforts of Fukai Shiro, one such leading Japa- The peculiarassociations formed in the movie nese composer, in this regard. theaters gave birth to a unique musical practice.

Shibata, Kōtarō: Nikkatsu sakkyoku-bu ni okeru Matsudaira Nobuhiro no musei eiga bansō: Shibata, Kōtarō: 1920-Nendai kōhan no jidaige- Jun eiga geki undō e no ongaku-teki ōtō [柴田 ki eiga ni okeru ongaku bansō no setchū-sei ― 康太郎: 日活作曲部における松平信博の無声映 wayō gassō senkyoku shinsaku-kyoku [柴田康画伴奏: 純映画劇運動への音楽的応答]. In: En- 太郎: 1920 年代後半の時代劇映画における音楽 geki kenkyū [演劇研究] 40, 2016, S. 131–151. 伴奏の折衷性 ─――和洋合奏・選曲・新作曲 ─]. “The Silent Film Accompaniment by Nobuhiro In: Ongakugaku: Journal of the Musicological Matsudaira in Nikkatsu Music Department: Society of Japan 64,1, 2018, S. 1–16. The Two Musical Responses to the Pure Film “The Syncretisms in Musical Accompaniment Movement.” of Jidaigeki Films in the late 1920s: Wayo In japan. Schrift. gasso, Musical Selection, New Composition.” In japan. Schrift. – Abstract: In the 1920s, music for Japanese silent films was undergoing Shibata, Kōtarō: Sairento-ki no Tōkyō ni okeru the process of reformation, whichwas a com- eigakan no ongaku jissen to kankyaku no on- plex outcome of localization of Western music gaku juyō: Kyūkei sōgaku to eiga bansō no Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 163

in Japan and of the contemporary conversion men no tame no bansō ongaku” no sakkyoku from stage to film. In the first place, the ac- katei to sono haikei: Mi happyō no kōsō memo companiment style of Japanese films in the to 1920-nendai no eiga no ongaku to no kanren 1910s was implicated in that of kabuki, Japa- [白井史人: シェーンベルク《映画の一場面のた nese traditional drama, because Japanese めの伴奏音楽》の作曲過程とその背景: 未発表 films at that time were a kind of cheap substi- の構想メモと 1920 年代の映画の音楽との関連]. tute for stage drama and were shot in long In: Ongakugaku: Journal of the Musicological fixed shots and long takes. They were usually Society of Japan 61,1, 2015, S. 1–15. accompanied with the Japanese traditional instruments, such as shamisen and taiko, so as “Compositional Process and Background of to imitate the soundscape of kabuki. Around Arnold Schoenberg’s Begleitungsmusik zu 1920, however, such stage-oriented films came einer Lichtspielszene: His Unpublished Memo to be criticized for being content with old- and Film Music in the Twenties.” fashioned stories and for not pursuing film In japan. Schrift. – Abstract: Arnold Schoen- techniques like close up and cross cutting, berg’s Begleitungsmusik zu einer Lichtspiel- which were considered to be central to cin- szene Op. 34 (1930) indicates the close relation ema. In the Pure Film Movement, which tried between Schoenberg’s work and film music. to pursue new Japanese films, the accompani- Although Schoenberg did not contribute to ment music also came to be substantially re- any films in his career, he had planned to ac- formed under the influence of Western music company the performance of his work Die and Western film accompaniment. Moreover, gluckliche Hand (1913) with a silent film. He this movement extended over period drama in emphasized the importance of sound film in Japan (Jidaigeki), which is under the tradition the 1920s in texts such as “Der sprechende of kabuki. Jidaigeki films began to be screen- Film,” 1927 (“The Talkie”). His relationship ed with classical Japanese music and im- with Guido Bagier, the head of the depart- ported Western music as well as newly comment in charge of sound films department of posed music, which were played with West- Universum Film AG (UFA), also indicates ern-style ensembleor syncretic-style ensemble Schoenberg’s interest in films during that of Japanese and Western Instruments. – This time. This paper explores Begleitungsmusik study tries to conceive how these accompani- both in terms of its musical structure and ment music of Japanese cinema was trans- with reference to the praxis of musical ac- formed through examining the contemporary companiment of silent films. First, the musical documents on the screening practices of Japa- character of Begleitungsmusik is analyzed nese movie theaters and on repertoires and from the perspective of its structure and the ensembles of Asakusa Fuji-kan and Kanda process of its composition. Discussion of an Nikkatsu-kan, premier theaters of Nikkatsu in unpublished memo indicating the program- Tokyo. The first section of the paper examines matic content of this piece and a detailed the try and errors of Iwao Miyake, the man- analysis of Schoenberg’s musical manuscripts ager of Fuji-kan, and the process of introduc- show that his revisions emphasized a dra- tion of Western ensembles and syncretic en- maturgical structure, partly corresponding to sembles into Jidaigeki films. Then, through the unpublished memo. Second, the relation examining the documents and contemporary between the film and Schoenberg’s activities, scores which survives, the last two sections based on the examination of related prelimi- scrutinize the repertoire of Jidaigeki accom- nary material including the diary of his sec- paniment around 1926 and the practice of the ond wife Gertrud and the unpublished autobi- composer Nobuhiro Matsudaira, one of the ography of Guido Bagier, will be surveyed. Fi- representative accompanist of Jidaigeki films nally, the contemporary situation and the aes- after 1927, which show how Japanese- and thetics of musical accompaniment of silent Western styles in the repertoire and ensemble film are discussed, focusing on the relation of were syncretized and transformed in the lat- the three subtitles Schoenberg used in his Be- ter half of the 1920s. gleitungsmusik, “threatening danger,” “anxiety,” and “catastrophe.” Musical scenarios published in Film-Ton-Kunst, a magazine that Shirai, Fumito: Shēnberuku “eiga no ichi ba- specialized in the film music praxis in the Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 164

1920s, are systematically explored. Conse- as a whole ‒ therefore the offer of tours and quently, this paper recontextualizes Be- concerts has multiplied. In the last 20 years, gleitungsmusik within Schoenberg’s own de- the presence of pop music on television has velopment and the historical background to intensified, forming itself as a genre in its clarify that although Schoenberg and contem- own right: the talent show. This phenomenon porary praxis of musical accompaniment at- produces a double movement of exchange and tached great importance to dramaturgical a mutual influence between television and the construction, nevertheless, their musical lan- pop concert: the two areas of that will be the guages and attitudes toward the excerpting of object of study of this contribution. After an musical pieces differed. introduction on the definition of “live” and “liveness” and after an overview of the relationship between music and TV and on the Shirai, Fumito: Ensō suru eiga/ utai oeru opera: analysis of the current state of the music in- 1910~20-nendai no shēnberuku no butai saku- dustry and its effects on music and media hin to eiga to no kankei [白井史人: 演奏する映 production, the paper will analyze some mod- 画/歌い終えるオペラ: 一九一〇~二〇年代のシェ els of these new forms of transmedia narra- ーンベルクの舞台作品と映画との関係 ]. In: tion of music and the new relationship be- Hyōshō [表象] 12, 2018, 151–168. tween concerts live and TV shows. These examples will be aimed at showing both the hy- “A Film Which Interprets the Music, an Opera bridization of the productive forms and televi- Which Ceases to Sing: The Relationship be- sion/spectacular narration in concerts, and tween Schoenberg’s Theater Pieces and the the presence of narrative and production Cinema from the 1910s to the 1920s.” forms derived from concerts in television In japan. Schrift. shows. These pages will show how, in the years two thousand, “live” pop-rock concerts and visual and television entertainment con- Shirai, Fumito: Eizō naki bansō ongaku no kei- verge on the re-discussion of what “live” fu: Mizoguchi Kenji, Maurishio Kāgeru, Saka- means. The goal is to show how the relation- moto Ryūichi [白井史人: 映像なき伴奏音楽の ship between these spaces has become a sort 系譜: 溝口健二、マウリシオ・カーゲル、坂本 of oxymoron: the “live” concert is more and 龍一]. In: Artes Mundi [Nagoya] 5, 2020, S. 49– more televised, and the musical television 64. show is more and more similar to the concert. “A Genealogy of Film Accompaniment Music without Visual Images: Kenji Mizoguchi, Mauricio Kagel, Ryuichi Sakamoto.” Silin, Magdalena: The Score “Test Drive” as a Narrative Element in the Animation Film “How In japan. Schrift. to Train Your Dragon”. Degree Thesis, Media Culture, [Helsinki:] Yrkeshögskolan Arcada Sibilla, Gianni: The Concert will be Televised: Il 2018, 49 S.; [URL]. “live” come modello narrativo e produttivo nel- Zusammenfassung: The purpose of this thesis la musica pop e nei media. In: comunicazioni is to analyse how the film music works as a sociali 2, 2020, 12 S. narrative element in the scene Test Drive, from the film The relationship between television and “live How to Train Your Dragon (2010). The film is produced by DreamWorks music” has been a weak one: the televisive di- Animation and the music is composed by mension of music was mainly absorbed by the John Powell. The reason for choosing this film music video model, or by single performances and scene is because the film music is an im- in TV shows. The arrival of digital technology portant part as an element both throughout has profoundly affected the dynamics of the the film. The aim of the thesis is to study how music industry: recorded music has under- music in action scenes in animated Holly- gone a sharp decline in sales while, at the wood mainstream children’s films is com- same time, the relevance of live concerts has posed. My purpose is to gain knowledge of increased. Live music has become the pivot of how to compose music for film. The analysis musicians’ careers and of the music industry is limited to only one children’s animation Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 165

film and one scene from that film. The mate- Hollywood Film Score, 1931–1933; 6. Re- rial that I used is the scene where the music assessing King Kong; or, The Hollywood Film piece Test Drive occurs, the sheet music of Score, 1933–1934; Conclusion; Appendix: the music piece, the film’s script and the mu- Chronological Filmography, 1926–1934; sic piece on Spotify. The method that I use is Notes; Bibliography; Index. case study, and for analysing the music piece Rev. (Bennett, Alexis) in: Music, Sound, and is done with music theory knowledge and is a the Moving Image 10,2, 2017, S. 215–219. qualitative model that I have developed on my own. There was not found a method that suited the music piece or the purpose of this Smiraglia, Richard / Henry, Joshua: Sounds of thesis. There have not been done previous Yesterday: Case Study Taxonomy of Topoi analysis about the film music in How to train from Dutch Silent Film Music. In: Proceedings your dragon, though small analyses about of the Annual Conference of CAIS./ Actes du film music composed by John Powell have congrès annuel de l’ACSI. Ottawa: Canadian As- been done. I discovered in the analysis that sociation for Information Science 2016, online. there are many elements that needs to be included in a composition. With recurring Taxonomy is the rigorous act of distinguish- themes and melodies that sound different ing differentiated concepts by naming and each time and with the help of the three act defining them with precision. A case of taxo- structure and the dramatic curve, the result of nomic research arises from film music history the music piece is extraordinary and out- with regard to musical cues, topoi, used to ac- standing. There is a list of definitions in the company silent film. The present case study introduction chapter where every musical uses the Eyl Collection of Dutch silent film term used in this analysis is explained. music

Simeon, Ennio: Programmi narrativi stratifi- Smith, Kenneth M.: Vertigo’s musical gaze. cazioni del senso nella musica per film. Il caso Neo-Riemannian symmetries and spirals. In: di Entr’acte. In: Secondo Convegno Europeo di Music Analysis 37,1, 2018, S. 68–102. Analisi Musicale: Atti. [European Conference of Laura Mulvey coined the term ‘male gaze’ Music Analysis. 2, 1991, Trient.] A cura di (1975), using Lacanian theory as a ‘political Rossana Dalmonte. Trento: Università degli weapon’ against the standard mode of view- Studi di Trento, Dipartimento di Storia della ing in which the viewing subject turns on- Civiltà Europea 1992, S. 389–399 (Studi i test. screen women into fantasy objects. While po- 1.). litically laudable, her article misconstrues La- can’s concept of ‘the gaze’, the power of which emanates from the object itself. We Simonton, Dean Keith: Film music: Are award- might better serve Lacanian theory by invert- winning scores and songs heard in successful ing Mulvey’s reading of Alfred Hitchcock’s motion pictures? In: Psychology of Aesthetics, Vertigo to suggest that Scottie (James Stewart) Creativity, and the Arts 1,2, 2007, S. 53–60. is himself objectified by the mystique of the ‘object’ he watches and follows: Madeleine Slowik, Michael: After the Silents: Hollywood (Kim Novak). The screen’s gaze reduces spec- Film Music in the Early Sound Era, 1926–1934. tators to objects too. From this perspective, New York: Columbia University Press 2014, XI, rather than watching the film, the film can be 40 3 S. (Film and Culture Series.). said to be watching us. This extends to Bernard Herrmann’s soundtrack, famously in- Inhalt: Introduction; 1. A Wide Array of fluenced by the yearning of Wagner’s “Tristan Choices: Musical Influences in the 1920s; 2. und Isolde”. Developing David Schwarz’s Music in Early Synchronized and Part-Talking (2006) musical gaze (in which repeated pedal Films, 1926–1929; 3. Toward a Sparse Music points of Schubert songs gaze at us), I analyse Style: Music in the 100 Percent Talkie, 1928– Vertigo’s frequent emphasis on the pitch class 1931; 4. Interlude: The Hollywood Musical, D. A pedal D is often repeated in alluring yet 1929–1932; 5. Music and Other Worlds: The sinister bare octaves as Scottie follows Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 166

Madeleine. But at key moments in the film, like John Williams and Danny Elfman use the the pitch becomes a sophisticated tool that same techniques that Steiner himself per- captivates us in unique ways. Around this fected in his iconic work for such classics as central pitch third-relationships circle. These Casablanca, King Kong, Gone with the Wind, resonate with neo-Riemannian theory, partic- The Searchers, Now, Voyager, the Astaire- ularly in their hexatonic ‘poles’, which Cohn Rogers musicals, and over 200 other titles. shows to be agents of the Freudian ‘uncanny’ And Steiner’s private life was a drama all its (2004) and which here also serve as an alter- own. Born into a legendary Austrian theatri- native gaze to the reiterated D. Other pitch cal dynasty, he became one of Hollywood’s constellations, in symmetries or spirals, form top-paid composers. But he was also con- similar obsessional musical ‘gazes’ that, using stantly in debt–the inevitable result of gam- Lacanian theory, prompt the question about bling, financial mismanagement, four mar- whether we are listening to the music or the riages, and the actions of his emotionally music is listening to us. (Vorlage) troubled son. Throughout his chaotic life, Steiner was buoyed by an innate optimism, a quick wit, and an instinctive gift for melody, Smith, Steven C.: A Heart at Fire’s Center: The all of which would come to the fore as he met Life and Music of Bernard Herrmann. Berke- and worked with luminaries like Richard ley/Los Angeles/London: University of Califor- Strauss, George Gershwin, Irving Berlin, the nia Press 1991, x, 415 S. Warner Bros., David O. Selznick, Bette Davis, Frank Sinatra, and Frank Capra. In Music by Repr. 2002, xiv, 415 S., [14] Bl. Max Steiner, the first full biography of From his first film (Citizen Kane) to his last Steiner, author Steven C. Smith interweaves (Taxi Driver), Herrmann was a master of the dramatic incidents of Steiner’s personal evoking psychological nuance and dramatic life with an accessible exploration of his com- tension through music, often using unheard- posing methods and experiences, bringing to of instrumental combinations to suit the dra- life the previously untold story of a musical matic needs of a film. His scores are among pioneer and master dramatist who helped cre- the most distinguished ever written, ranging ate a vital new art with some of the greatest from the fantastic (Fahrenheit 451, The Day film scores in cinema history. the Earth Stood Still) to the romantic (Obses- sion, The Ghost and Mrs. Muir) to the terrify- ing (Psycho). Film was not the only medium in Sokovikov, S[ergej] S[tepanovič]: Prostranstvo which Herrmann made a powerful mark. His kinomuzyki i kinomuzyka v kul’turnom pros- radio broadcasts included Orson Welles’s transtve: populjarnaja kul’tura kak kontekst Mercury Theatre of the Air and The War of [Соковиков, С[ергей] С[тепанович]: Про- the Worlds. His concert music was commis- странство киномузыки и киномузыка в sioned and performed by the New York Phil- культурном пространстве: популярная harmonic, and he was chief conductor of the культура как контекст]. In: Vestnik Čeljabins- CBS Symphony. koj gosudarstvennoj akademii kul’tury i iskusstv 4 (44), 2015, S. 36–43; [URL]. Smith, Steven C.: Music by Max Steiner: The “The space of film music and film music in the Epic Life of Hollywood’s Most Influential Com- cultural space: popular culture context.” poser. New York/Oxford: Oxford University In kyrill. Schrift. – Abstract: Analized phe- Press 2020, xvi, 480 S. (Oxford Cultural Biogra- nomens of film music in the cultural space phies.). and space of film music in their ratio as a rel- During a seven-decade career that spanned atively independent phenomenon in a mean- from 19th century Vienna to 1920s Broadway ingful, functional and procedural aspects. to the golden age of Hollywood, three-time Shows the importance of studying the prob- Academy Award winner Max Steiner did lems of film music in connection with the more than any other composer to introduce state art and culture, including music, and and establish the language of film music. In- other cultural phenomena non-fiction charac- deed, revered contemporary film composers ter. Describes specific features of different Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 167

forms of existence of texts of film music, as in the structure of the film itself, so when you include them in contexts broader scale. Marked by a long history of tradition to ad- Sonntag, Sabine: „Seht ihr’s Freunde?“: Wagners dress to the problems of music movies since Tristan und Isolde im Film. Würzburg: Königs- “silent” cinema. The connection and distinc- hausen & Neumann 2015, 176 S. tion of the space of film music and film music Lars von Trier rückte 2011 mit seinem Film in the cultural space is considered through Melancholia erneut die Frage ins Zentrum, the ratio of categories such as “genus – wie gut Wagners „Tristan“-Partitur zur Film- species”, “status – mode”. Shows contextual musik taugt und vor allem, wie sehr diese nature of such ratios for categorical phenom- Musik einen Film bestimmen kann. Schon an ena of film music. Reasoned grounds selection der Schwelle zum Tonfilm hatte Luis Buñuel of “film music in the cultural space” as in spe- 1930 Vorspiel und „Liebestod“ für seine sur- cific theoretical and substantive meanings of realen Filme verwendet. Danach entdeckte the concept of representing real, relatively in- das Hollywood-Kino der 1940er Jahre die dependent, structurally and functionally com- hochemotionale Musik Wagners für seine Lie- plex phenomenon. Particularly focuses on the bes- und Schicksalsdramen. Zwischen Lars situation of the nominal connection of film von Trier und Buñuel liegt die ganze Band- music and film in different ways. There are breite vom biographischen Wagner- und Lud- analyzed the typical situations of transforma- wig II.-Film über Fantasy-Filme, Filmkomödi- tion of musical texts in the transition from en und Pornofilme bis zu jener Gattung, wo one cultural space to another. Special atten- sich Wagners Musikdrama und der Film be- tion is given to the use of classical music in sonders nah sind: in den Filmen um Selbst- film, as well as the phenomenon of formation mord, Verklärung und Vision. Interessant ist of new classical music on the basis of film dabei auch die Frage, wie originalgetreu Wag- music. It is noted contextual significance of ners Musik verwendet wird. Hier reicht die popular culture, understood in the author’s Spannweite von der Tristan-Schallplatte als interpretation as the most organic and in tune Soundtrack in Melancholia über die Bearbei- with the film environment. The necessity of tung des „Liebestod“ zum Violinkonzert in more detailed and in-depth study of the phe- „Humoresque“ bis hin zur vollständigen Mu- nomenon of film music in the cultural space tation in Hitchcocks Vertigo. Dem Buch liegen as insufficiently studied phenomenon. In the Untersuchungen von etwa 100 Filmen zu- analysis of materials apply the principles of grunde, und es behandelt u.a. Werke von Al- contextual and categorical analysis. fred Hitchcock, Billy Wilder, Luchino Viscon- ti, Monty Python, Werner Herzog, Ken Rus- sell, Helmut Dietl, Claude Chabrol, Louis Mal- Sonnenschein, David: Sound Spheres: A Model le und Yukio Mishima. 2010 erschien ihr Buch of Psychoacoustic Space in Cinema. In: The “Richard Wagner im Kino”, 2013 “Der Opern- New Soundtrack 1, 2011, S. 13–27. besuch im Spielfilm”. (Verlag) The importance of localisation of sound in our real world is explored and compared with the use of diegetic sound in film, which has been Spadoni, Robert: The Uncanny Body of Early usefully codified by Michel Chion as onscreen Sound Film. In: The Velvet Light Trap 51,1, 2003, and offscreen. To further develop the theory S. 4–16. of filmic psychoacoustic space, the Sound The first synchronized sound films were Spheres model offers six levels of sonic expe- widely hailed as a forward leap in cinematic rience, beginning from the most inner per- realism. Many critics and other commentators sonal sphere and expanding toward the most noted that everything in the films and, most outer unknown sphere: I Think, I Am, I strikingly, the speaking human figures in Touch, I See, I Know and I Don’t Know. Real them now appeared to be more lifelike, world experiences and perceptual exercises of present, and three-dimensional. Today, silent these spheres inform us how they can be ap- films seem to viewers who are not accus- plied to the creation of filmic stories. tomed to watching them to be remote, bound Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 168

by conventions such as intertitles that are Musik im Film Wesen, Aufgabe und Entste- strange and unreal. The impression that hung / 155. – Julien-François Zbinden: La sound brought the cinema closer to reality, Suisse s’interroge: Cinq films d’Henry Brandt therefore, seems to have been one that stuck. pour Expo 64 / 164. – Bruno Spoerri: Musik This was not the only impression that sound für Werbespots – 1965 / 165. – Victor Togno- films made on their first audiences, however. la: Chi è stato Mario Robbiani – la nostra in- Sound also brought to the foreground certain credibile empatia / 171. – Jacques Guyonnet: uncanny qualities that had always been Film, musique, rencontre et chimie / 173. – Jo- present in the cinematic image. It complicated nas C. Haefeli: Suspense: Gedanken über mei- the general viewing sensation of the presence ne Filmmusik / 177. – Christoph Baumann: of the figures speaking and moving on the Stummfilm-Live-Musik / 179. – Christine Auf- screen. Sound changed the visual appearance derhaar: Filmkomposition. Überlegungen zur of these figures in ways that made them look Arbeitsweise / 183. – Fatima Dunn: Frauen to some viewers like ghosts. This widespread, und Filmkomposition / 185. – Training, insti- sporadic, uncontrolled, and temporary film tutions and prizes / Ausbildungen, Institutionen reception phenomenon possibly influenced und Preise / Formation, institutions et prix / Hollywood film production trends in ways Percorsi formativi, istituzioni e premi: – Daniel that long outlived the three and a half years Weissberg: Klänge, Bilder, Zahlen / 191. – An- of the sound transition period. dre Bellmont: Filmmusikausbildung an der Zürcher Hochschule der Künste / 196. – Vol- ker Böhm: Audiodesign an der Hochschule Spohr, Mathias (ed.): Swiss Film Music: Anthol- für Musik Basel / 199. – Frédéric Maire: La Ci- ogy 1923-2012. / Schweizer Filmmusik: Antholo- némathèque suisse et la musique de film / 201. gie 1923–2012. / Musique de film suisse: Antho- – Guy Bovet: L’orgue de cinéma et ses festi- logie 1923–2012. / Musica da film svizzera: anto- vals en Suisse / 202. – Swiss Media Compo- logia 1923–2012. Zürich: Chronos 2014, 396 S, 3 sers Association (SMECA) / 204. – Pierre CDs, 1 DVD-Video im Schuber. Funck und André Bellmont: Forum Filmmusik und Internationaler Filmmusikwettbewerb / Inhalt: Urs Schnell: Preface – Vorwort – Pré- 206. – Preis für die «Beste Filmmusik» face – Prefazione / 8. – Essays – Aufsätze – («Quartz») / 208. – Preise der FONDATION Etudes – Saggi: – Mathias Spohr: Musik im SUISA für Film- und Medienmusik / 209. – Kontext des Filmtons: Überlegungen zu dieser Works – Werke – Œuvres – Opere: – Intro. – Anthologie / 19. – Bruno Spoerri: Musik zum CD 1: 1923–1959 /214. – CD 2: 1960–1989 / Stummfilm in der Schweiz – Bruchstücke ei- 238. – CD 3: 1990–2012 / 266. – DVD: 1934– ner Geschichte / 33. – Reto Parolari: Die ver- 2011 /300. gessene Musik: Begleitmusik zu Stummfilmen – ihre Anwendung, ihre Qualität, ihr Charak- ter / 67. – Thomas Meyer: «Raté!!!»: Zur Film- Spring, Katherine: Saying It With Songs: Popu- musik Arthur Honeggers / 79. – Anna Katha- lar Music and the Coming of Sound to Holly- rina Hewer: «L’Art pour l’homme»: Robert wood Cinema. New York/London: Oxford Uni- Blum als Filmkomponist / 91. – Felix Aeppli: versity Press 2013, xi, 229 S. (Oxford Music/ Der Film an der Expo 64 in Lausanne oder: Media.). Das Jahr null des neuen Schweizer Films mit Ergänzungen von Bruno Spoerri zur Musik / Hollywood’s conversion from silent to syn- 109. – Gerrit Waidelich: Grenzenlose Freiheit chronized sound film production not only in- oder formales Korsett? Der Improvisator An- stigated the convergence of the film and mu- dré Desponds als Pianist vor der Leinwand / sic industries but also gave rise to an extraor- 119. – Bettina Spoerri: Auf der Suche nach dinary period of songs in American cinema. dem idealen Klang: Eine kleine Sounddesign- Saying It With Songs considers how the in- Geschichte im Schweizer Film / 129. – Source creasing interdependence of Hollywood stu- texts – Quellentexte – Temoignages – Testi ori- dios and Tin Pan Alley music publishing firms ginali: – Summary / 143. – Alexandre Mitnits- influenced the commercial and narrative ky: Le cinéma, son Evolution et la musique / functions of popular songs. While most schol- 145. – Arthur Honegger: Du cinéma sonore à arship on film music of the period focuses on la musique réelle / 149. – Robert Blum: Die adaptations of Broadway musicals, this book Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 169

examines the functions of songs in a variety sic’s elusive “reality”, but also to use music’s of non-musical genres, including melodramas, mimetic possibilities to influence our reading romantic comedies, Westerns, prison dramas, of ambiguous imagery. It also shows that mu- and action-adventure films, and shows how sic does not need to be in itself groundbreak- filmmakers tested and refined their approach ing in order to contribute to groundbreaking to songs in order to reconcile the spectacle of innovations in sound film. (Vorlage) song performance, the classical norms of storytelling, and the conventions of background orchestral scoring from the period of silent Stabodin, Kerstin: „Die Kinos brauchen die cinema. Written for film and music scholars Musik wirklich, brauchen sie dringend“: Über alike as well as for general readers, Saying It die narrative Funktion der Filmmusik in „The With Songs illuminates the origins of the Graduate“ und „Easy Rider“. Diplomarb. Wien: popular song score aesthetic of American cin- Universität Wien, Philologisch-Kulturwissen- ema. schaftliche Fakultät 2015, 113 S.; [URL]. Abstract: Bereits seit Anbeginn des Mediums Sprout, Leslie A.: Composing film music in Film war es die Musik, welche es vermochte theory and practice. Honegger’s contributions eine wunderliche Faszination zu entfachen, to Les misérables and Rapt. In: Journal of the wie sie wohl schon viele Zuschauerinnen und American Musicological Society 72,1, 2019, S. Zuschauer erleben durften. Was wäre das Fil- 43–113. merlebnis ohne die sanften Melodien einer Liebesgeschichte, die spannenden Klänge ei- Arthur Honegger composed his first sound ner Krimigeschichte oder die unheimlichen film scores in 1933–34. For Les misérables, Töne einer Horrorgeschichte? Und vielleicht Raymond Bernard, who was under contract at gerade deshalb ist die Musik seit jeher lär- Pathé-Natan to direct big-budget theatrical mender und doch stiller Begleiter des Filmbil- films that would compete with Paramount’s des. Sei es die Live-Musikbegleitung der French-language productions, expected Stummfilme über die Orchestersymphonien Honegger to provide intermittent orchestral des Klassischen Hollywood-Kinos bis hin zur underscoring for already filmed sequences kommerziell erfolgreichen Verwendung be- that privileged dialogue over music. For Rapt, reits veröffentlichter Songs bekannter Musik- the musically trained Dimitri Kirsanoff used gruppen- oder Interpreten, Musik und Film independent financing to collaborate from the sind untrennbar miteinander verbunden und start with Honegger and Arthur Hoérée on damit auch die wissenschaftliche Suche nach what the director called “a hybrid form … in dem Geheimnis der Faszination um die Film- which music, image, and dialogue work to- musik angeregt. Ende der 1960er Jahre, einer gether”. The innovative electroacoustic and Zeit in welcher die epochalen Orchestersinfo- sound editing techniques in the soundtrack nien großer Hollywood-Produktionen längst for Rapt have, I argue, overshadowed the veraltet schienen und die Jugendbewegung strikingly reciprocal relationship between the Rebellion und Opposition heraufbeschwor, soundtrack’s more conventional instrumental sollten es The Gaduate und Easy Rider mit be- underscoring and the images on screen. reits veröffentlichten Folk- und Rocksongs Honegger theorized in 1931 that, in sound schaffen, Publikum und Kritiker gleicherma- film, music’s “autonomy” “would free it from ßen zu faszinieren. Nun ist es die Filmmusik, the burden of mimesis. Instead, the images on welche Emotionen und Zeitgeist vermittelt, screen would teach listeners about music’s welche Kontinuität und Hintergrundatmo- abstract “reality”. In practice, however, in sphäre schafft sowie auch narrative Funktio- Rapt, mimetic music and musicalized sound nen übernehmen kann. Vom Wesen des Songs effects bridge the gap between aesthetic goals als Verbindung zwischen Sound und Lyrics of hybridity and practical demands for intelli- profitierend, vermag die Filmmusik beider Fil- gible dialogue. My analysis of the abduction, me jedoch noch einiges mehr zu erzählen, als washhouse, storm, and dream sequences in es etwa der Hintergrundmusik zu Zeiten des “Rapt” “demonstrates that a successful hybrid Klassischen Hollywood-Studio-Systems er- of sound and image ultimately has the poten- laubt war. Ob als Foreshadowing der folgen- tial not just to use images to pin down mu- den Geschichte, ob als Kommentar und Sub- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 170

text zu den Bildern, ob als Teil der Charakteri- Steiner, Fred: An Examination of Leith Stevens’ sierung der Protagonisten und damit als Aus- Use of Jazz in The Wild One. In: Film Music löser von Empathie sowie Identifikation, oder Notebook 2,2, 1976, S. 26–35. gar als Quelle der Mythenbildung, die Film- Steinhauer, Iakovos: Notizen zur Ästhetik der musik vermag in beiden Filmen auszu- Filmmusik. In: Ton-Spuren aus der Alten Welt: drücken, was über kein anderes filmisches Hrsg. v. Ivana Element vermittelt scheint. Ähnlich dem Chor Europäische Filmmusik bis 1945. der antiken Tragödie scheint die Filmmusik Rentsch & Arne Stollberg. München: edition nun als gleichberechtigtes, ja entscheidendes text + kritik 2013, S. 13–26. narratives Element im Film angekommen. Bens Sommer mit Mrs. Robinson in The Ga- Steinhauer, Iakovos: Das Musikalische im Film: duate sowie Easy Rider abenteuerliche Motor- Zur Grundlegung einer Ästhetik der Filmmusik. radtour quer durch die USA legen es offen – Hildesheim/Zürich: Georg Olms 2018, 271 S. was wäre der Film ohne Musik, was die Musik (Studien und Materialien zur Musikwis- ohne Film? senschaft. 102.). Unter welchen Voraussetzungen kann von ei- Stanfield, Peter: Crossover: Sam Katzman’s ner audiovisuellen Verbindung im Film ge- Switchblade Calypso Bop Reefer Madness sprochen werden, die Ton und Musik nicht als Swamp Girl or Bad Jazz, calypso, beatniks and akzidentelle, sondern als immanente Elemen- rock ’n’ roll in 1950s teenpix. In: Popular Mu- te des Films behandelt? Um diese Frage zu sic: A Yearbook 29,3, 2010, S. 437–455. klären, befasst sich die vorliegende Studie mit einem wenig beachteten Aspekt in der Theo- This essay challenges the received wisdom rie der Filmmusik, indem sie das Thema der that teenpix of the 1950s were dominated by a filmischen Bild-Ton-Beziehung aus philoso- soundtrack of rock ’n’ roll. I argue that this phischer Perspektive untersucht. Durch die cycle of film production was marked by a di- Auseinandersetzung mit wichtigen theoreti- versity of musical genres, styles and types. schen Quellen zur Ästhetik der Filmmusik Not only rock ’n’ roll, but rhythm ’n’ blues, und anhand ausgewählter Filmbeispiele wird folk, rockabilly, swing, West Coast jazz, be- ein hauptsächlich von der Phänomenologie bop, Latin music such as the mambo, the und der Filmphilosophie Gilles Deleuzes aus- rhumba, the cha cha chá, and Caribbean ca- gehendes theoretisches Konzept entworfen, lypsos were all heavily featured in these films. das die Prinzipien des Einsatzes von Ton und This study is carried out through a focus on Musik im Film auf ihre ästhetischen Grund- the temporal arrangements – fads, cycles, strukturen zurückführt. trends – that govern serial production and consumption of movies and popular music. Following Philip Ennis’ thesis that rock’n’roll Stenzl, Jürg: Dmitrij Kirsanov: Ein verschollener is best defined by its ability to “crossover” Filmregisseur. München: Edition Text + Kritik musical boundaries – to move, for example, 2013, 238 S. across the pop, country, and rhythm’n’blues charts – I argue that the film industry chose Als Marc David Kaplan in eine jüdische Kauf- not to overly limit the music it had on offer mannsfamilie hineingeboren, verließ der and instead provided a varied package, some Musiker und spätere Filmemacher Dmitrij of which, it expected, would crossover and Kirsanov (1899–1957) kurz vor dem Ende des appeal to diverse and capricious teenage Ersten Weltkriegs seine Geburtsstadt Dorpat tastes. (Tartu) in Estland und ging nach Paris, um dort sein Cellostudium fortzusetzen. Er spielte in Stummfilmorchestern und wurde ab 1921 Staudacher, Michael: The way of Film Scoring. selbst zu einem unabhängigen und herausra- In the case of my film score for the movie In- genden Filmregisseur, dessen Filme mittler- dian Summer. In: Asian Musicology 1, 2002, S. weile restauriert und teilweise auf DVD er- 111–120. schienen sind. Aufsehen erregte sein nach einem Pariser Arbeiterviertel benannter Film Ménilmontant (1926), danach das kurze Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 171

„Filmgedicht“ Brumes d’automne (Herbstnebel, ion, a dramaturgical structure through the 1928) und der 1933 im schweizerischen Wallis music. Pointing beyond the film itself, this in- gedrehte kühne Tonfilm Rapt (Frauenraub), zu dicates that the time of the silent film fea- dem Arthur Honegger und Arthur Hoérée tured widely varied approaches to musical ac- eine ganz ungewöhnliche Musik kom- companiment (“adaptations”). They can be re- ponierten. 1952 entstand ein weiteres searched and constructed using the record- „Filmgedicht“, Arrière saison (Spätherbst). Erst ings of music for over 1600 silent films for 20 Jahre nach seinem Tode wurde Ménil- which Paul Fosse “adapted” “the music at the montant in Frankreich und den USA als einer Gaumont Palace. der zentralen Stummfilme wiederentdeckt, doch im deutschen Sprachgebiet blieb Kir- sanov weiterhin unbekannt. Stenzl, Jürg: Musik für über 1500 Stummfilme: Das Inventar der Filmmusik im Pariser Gau- mont-Palace (1911–1928) von Paul Fosse. / Mu- Stenzl, Jürg: Musik / Film: Konstellationen zwis- sique pour plus de 1500 films muets: l’inventaire chen Claude Debussy / Dudley Murphy und de la musique de film dans le Gaumont-Palace Hans Werner Henze / Alain Resnais. München: parisien (1911–1928) de Paul Fosse. / Music for Text + Kritik 2016, 376 S. More than 1500 Silent Films: Music Inventory of Stenzl ist davon überzeugt, dass bedeutende the Films Shown at the Paris Gaumont-Palace Filme nicht nur anzusehen, sondern auch – (1911–1928) by Paul Fosse. Wien: LIT 2017, ii, mit „gespitzten Ohren“ – anzuhören sind. 198 S. (Filmwissenschaft. 18.). Dieser Überzeugung liegt die Einsicht zu- Inhalt: Einleitung: Die bedeutendste Quelle grunde, dass sich eine wissenschaftliche für die Stummfilmmusik: Das musikalische Beschäftigung mit dem Thema „Musik und Inventar von Paul Fosse des Gaumont-Palace Film“ lohnt – und zwar sowohl für die Musik- in Paris / 3 – Introduction: Une source de la und Filmgeschichte generell als auch ins- plus haute importance concernant la musique besondere für die Rezeptionsgeschichte der des films muets: L’inventaire musical de Paul Musik. Vom frühen Stummfilm und deutschen Fosse pour le Gaumont-Palace à Paris / 19 – „Bergfilm“ über die Nouvelle Vague bis zum Introduction: The Major Source for Silent Mo- Operettenfilm greifen Jürg Stenzls Studien vie Music: Paul Fosse’s Inventory for the Gau- einzelne konkrete Beispiele heraus und zeigen mont-Palace, Paris / 33. – Adaptations musi- auf methodisch kluge Art und Weise die cales des Films du Gaumont-Palace, 1911– vielfältigen wechselseitigen Konstellationen 1919: Volume 1/1 / 51 – Volume 1/2 / 85 – Vo- zwischen Film und Musik auf – mit immer lume 2 / 109 – Supplement: Ausgewählte Bei- wieder ganz überraschenden Erkenntnissen. spiele von 1909–1927 / 129. – 1. Etienne Ar- (Verlag) naud, LA MORT DE MOZART (1909) / 130 – 2. Louis Feuillade, LA TARE (1911) / 131 – 3. Jean Durand, LE RAILWAY DE LA MORT (1912) / 132 – 4. Stenzl, Jürg: Mozarts Filmdébut als Endspiel: Louis Feuillade, FANTOMÂS [I]: ĽOMBRE DE LA La Mort de Mozart (1909). In: Musik und Äs- GUILLOTINE (1913) / 133 – 5. Eleutero Rodolfi, 21 [= 82], April 2017, S. 39–50. thetik LES DERNIERS JOURS DE POMPEI (GLI ULTIMI GIORNI DI Mozart’s Film Debut as an Endgame: La Mort POMPEI, 1 1913) / 134 – 6. Léonce Perret, de Mozart (1909) – The earliest Mozart film, ĽEXPRESS MATRIMONIAL (1912) / 136 – 7. Marcel until now usually ascribed to Louis Feuillade, L’HERBIER, EL DORADO (1921) / 137 – 8. Scott which Étienne Arnaud made in 1909 for Gau- Sidney, LA MARRAINE DE CHARLEY (CHARLEY’S mond, deals with what later became a typical AUNT, USA 1925) / 139 – 9. Victor Sjöström, subject: Mozart’s final, incomplete Requiem. LARMES DE CLOWN (HE WHO GETS SLAPPED, USA The decisive aspect here is that the music for 1924) / 141 – 10. Hans Otto Löwenstein this film, arranged and recorded by Paul Fosse (Pseud.: Hans Otto), BEETHOVEN (auch DAS LEBEN (duration: 12–13 minutes) can be completely DES BEETHOVEN, A 1927) / 145. – Register: Titres reconstructed. Paul Fosse’s choice of music français de tous les films selon l’inventaire de gives the story of Mozart’s requiem and Paul Fosse / 153. – Identifizierte nicht franzö- death, filmed in a conventionally linear fash- sische Filme: Identified american and british Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 172

Films / 181. – Films italien / 188. – Films sué- da, galop / 204 – 5: Domenico Savino, Carni- dois / 190. – Deutsche und österreichische Fil- val Grotesque / 206 – 6: George A. Little, So- me / 191. – Restliche nicht französische Fil- mebody, Song One-Step (»I have been lost in me / 192. – Réalisateurs – Regisseure – Direc- dreams«) / 210 – 7: Cecil Macklin, Très Mou- tors / 193. tarde (Too Much Mustard), One or Two-Step or Tango / 214. – Anhang / 218: – Gesamtüber- sicht aller für die Chaplin-Filme im Gaumont- Stenzl, Jürg: Charlie Chaplin: Die Musik zu Palace verwendeten musikalischen Werke seinen Stummfilmen. München: edition text + und ihrer Komponisten / 218 – Verzeichnis kritik 2020, 244 S. der Komponisten und ihrer Werke in Chaplin- Filmen, die nicht im Gaumont-Palace musika- Stummfilme sind nie wirklich stumm gewe- lisch adaptiert worden sind / 225 – Chaplin- sen. Seit den Anfängen der Kunstgattung Film Filmografie / DVD (Stummfilme) / 231 – Res- wurden sie mit unterschiedlichen Musikbe- taurierte DVD-Editionen / 233 – Diskografie / gleitungen versehen. Nur in seltenen Fällen 237 – Bibliografie / 239. wurde Musik nur für einen bestimmten Film komponiert, stattdessen vorhandene präexis- tente Musik für ganz unterschiedliche Filme Stern, Dietrich: Ran (1985): Ein kultureller und und verschiedene Aufführung. emotionaler Grenzgang. Zur Musik in den Fil- Inhalt: Vorwort / 7. – Einleitung / 10. – I. men Akira Kurosawas. In: Akira Kurosawa: Die Charlie Chaplin in Frankreich / 17. – II. Chap- Konfrontation des Eigenen mit dem Fremden. lins Filme im Gaumont-Palace / 22. – III. Die Hrsg. v. Gerhard Schneider, Peter Bär, Andreas Musik zu den Chaplin-Filmen im Gaumont- Hamburger, Karin Nitzschmann, Timo Storck. Palace / 29. – IV. Filmische und musikalische Gießen: Psychosozial-Verlag 2018, S. 163–174 Dramaturgien von Paul Fosse in Chaplins Fil- (Im Dialog: Psychoanalyse und Filmtheorie. men / 79. – V. Die beiden Adaptierungen von 14.). CHARLOT AU MUSIC HALL (A NIGHT IN THE SHOW, 1915) / 85. – VI. Chaplin-Filme in Paris und anderswo / 93 – Das cue sheet für SHOULDER Stilwell, Robynn: Vinyl Communion: The ARMS von Eugene Conte und die Adaptierung Record as Ritual Object in Girls’ Rites-of-Pas- von Paul Fosse / 97 – Chaplins Neuedition sage Films. In: Changing Tunes: The Use of Pre- von SHOULDER ARMS mit seiner eigenen Musik existing Music in Film. Ed. by Phil Powrie & in THE CHAPLIN REVUE (1959) / 107 – Drei Adap- Robynn Stilwell. Aldershot: Ashgate 2006, S. tierungen von THE PILGRIM: James C. Bradford, 152–166. Edward Van Praag und Paul Fosse / 112 – Die Adaptierungen von A NIGHT IN THE SHOW und Nachdr. London: Routledge 2017. THE RINK durch Paul Fosse und Arthur Klei- ner / 129 – Restaurierungen und Neukompo- sitionen von THE RINK durch das Paragon Rag- Stock, Robert: Musik-filmische Teilhabekon- time Orchestra und Carl Davis / 141 – Eine stellationen als Partizipationsversprechen und Klavierbegleitung von Roger Coss für CITY situiertes Wissen in The Queen of Silence (2014) LIGHTS / 143 – Chaplins »Monodram« ONE A. und And-Ek Ghes… (2016). In: Paragrana 28,1, M. mit präexistener und neu komponierter 2019, S. 153–174. Musik / 148 – THE KID in Los Angeles und Pa- Der Beitrag geht der Frage nach, wie (illegit- ris / 152 – THE PAWNSHOP mit Adaptierungen ime) städtische Räume zu Schauplätzen einer von Paul Fosse, Arthur Kleiner und in restau- Reflexion von Teilhabe werden können, wenn rierten jüngeren Editionen / 157. – VII. Der sich Prozesse des Filmemachens, Tanzens und Musiker und Komponist Chaplin / 166. – VIII. Musik-Hörens miteinander verschränken. Es Carl Davis: / 195. – Musik-An- Charlie und Ich wird dafür argumentiert, Partizipation im hang / 197: – 1: James G. Ellis, Funny Charlie Kontext dokumentarischer Bewegtbild-Pro- (»Who is the Idol of the day?«) / 197 Chaplin duktionen als prozessual wie auch medial – 2: Emile Doloire, Il a des Moustaches à la hergestellte Teilhabe zu konzeptualisieren. / 201 – 3: Laurent Halet, Chariot Fringant Die Analyse audiovisueller Teilhabekonstella- / 203 – 4: Paul Fosse, (Munter Lebhaft) Al Co- tionen, durch die sonische Körper mit konsti- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 173

tuiert werden, konzentriert sich auf zwei day. München: edition text + kritik 2018, S. Filme: In The Queen of Silence (Agnieszka 186–205 (Musik-Konzepte. NF 12.).. Zwiefka) und And-Ek Ghes… (Philip Scheffner und Colorado Velcu) kommen Musikvideo- Zur Filmmusik in Scott of the Antarctic (Scotts Ästhetik und Referenzen auf Bollywood eine letzte Fahrt, Großbritannien 1948, Charles entscheidende Rolle zu. Dabei stellt sich die Frend). Frage, wie diese Produktionen Repräsenta- In Ralph Vaughan Williams’s music for the tionspolitiken hinsichtlich der Sinti und Roma filmScott of the Antarctic and the “Sinfonia in Polen und Deutschland durchdenken. Die antartica” “developed from it, the superficially Resonanzen zwischen Musik, Bewegtbild, exhibited heroism surrounding the expedition tanzenden/hörenden Körpern und urbanen team of Robert F. Scott is subtly undermined. Räumen werden mit Blick auf die Sound Stud- The exotically inflected vocalises of the wom- ies und Disability Studies kartiert und die ens’ voices – literally a siren’s song represent- Frage nach den Möglichkeiten einer situierten ing the strange and seductive realm of the Wissensproduktion (Haraway) erörtert. Antarctic – unveil an erotic obsession behind the ambitions of the South Pole explorers that ultimately leads them towards death. In con- Stokes, Jordan: Rock composition and recom- trast to this, the beginning of the film as well position in The Departed’s soundscape. In: Mu- as the fourth movement of the symphony sic and the Moving Image 6,2, 2013, S. 3–20. (“Intermezzo”) portray an equally feminized pastoral idyll connected to the English coun- Research on pop music in film has empha- tryside, which is destroyed by Scott’s adven- sized the transformative effect of the song on turous spirit revealing itself as an irrational the film. Using examples from Martin Scors- and compulsive drive. (Vorlage) ese’s The Departed, I argue that songs, too, are transformed by films, formally altered by a series of transformations I have labeled “Jux- Stollberg, Arne / Ahrens, Stephan / Königsdorf, taposition,” “Truncation,” “and “Extension.” Jörg / Willer, Stefan (Hrsg.): Oper und Film: Ge- (Vorlage) schichten einer Beziehung. München: edition text + kritik 2019, 254 S. Stollberg, Arne: Illustration oder Komposition? Inhalt: Janina Müller: Das Opernhafte im Film Camille Saint-Saëns’ Musik zu L’Assassinat du – eine intermediale Spurensuche (13–46). / Duc de Guise (1908) im Licht späterer Gat- Volker Mertens: „Im Kino gewesen“ – kom- tungskonventionen. In: Ton-Spuren aus der Al- poniert Puccini, der Film seiner Zeit und kine- ten Welt: Europäische Filmmusik bis 1945. Hrsg. matographische Operndramaturgie (47–68). / von Ivana Rentsch und Arne Stollberg. Norbert Abels: Die Fernsehoper. Lose An- München, text + kritik 2003, S. 93–124. merkungen zu einem Relikt aus der Welt von gestern (69–83). / Uta Felten: Mozart als TV- Serie? Überlegungen zu Peter Sellars’ Don Stollberg, Arne: Suspense und Sonatenform: Giovanni (84–97). / Immacolata Amodeo: Das Strategien der Filmmusik-Adaption in Miklós traurige Nashorn. Oper und Film bei Federico Rózsas »Spellbound Concerto«. In: Von Arosa Fellini (98–107). / Dirk Naguschewski: Ex- nach Leipzig: Hans Schaeuble und sein Komposi- portschlager. Carmen-Adaptionen im afrika- tionsstudium am Leipziger Konservatorium. nischen Kino (108–122). / Panja Mücke: „… je- Hrsg. v. Hans-Joachim Hinrichsen & Urs Fi- ne Öffentlichkeit erreicht, die Musik hören scher. Kassel: Bärenreiter 2016, S. 164–178 möchte“. Musiktheater und Film in den (Schweizer Beiträge zur Musikforschung. 23.). 1920er-Jahren (123–137). / Arne Stollberg: Mysterien – Mirakel – Marienspiele. Korn- golds Heliane und ihre filmischen Schwestern Stollberg, Arne: Die Stimme der Eissphinx. (138–163). / Stephan Ahrens: Opern für die Pastoralismus und Anti-Pastoralismus in Leinwand. Erich Wolfgang Korngolds Film- Vaughan Williams’ „Sinfonia antartica“ sowie musik im Hollywood-Melodrama (164–183). / der Filmmusik zu Scott of the Antarctic. In: David Roesner: Beyond the Screen. Die Eman- Ralph Vaughan Williams. Hrsg. v. Ulrich Tad- zipation der filmischen Bilder in zeitgenössis- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 174

chen Musiktheater-Produktionen (184–211). stage too. Film music had to struggle for a Rez. (Jahn, Konstantin) in: Die Musik- long time against the prejudice that saw it as forschung 73,2, 2020, S. 185–187. music not to be taken seriously; it was regarded as “neglected art”. Nevertheless, film- music concerts have experienced a blossom- Stoppe, Sebastian (Hrsg.): Film in Concert: Film ing in the recent years. There is a large vari- Scores and their Relation to Classical Concert ety, from programmes that only perform film Music. Glückstadt: Verlag Werner Hülsbusch music in concert halls without any additional 2014, 207 S. (AV-Medien.). element to large-scale events in multi-purpose halls where film music is accompanied This book wants to explore the nature of film by film clips or provides the live accompani- music and its relation to classical music. How ment to entire films. This chapter examines is film music perceived today? Does film mu- the role of John Williams’s film scores in this sic have its place on its own – uncoupled context. Are there any special features of from its original film – in the concert hall? Williams’s film music that make it particu- And how does film music relate to other mu- larly suitable to the concert hall? How does sical genres in the 19th and 20th century? the performance practice of his film music Inhalt: Sebastian Stoppe: Film Music in Con- differ in comparison to classical concerts? Are cert: Introduction / 7. – Sebastian Stoppe: there any pieces that are played more fre- Film Composing between Art and Business / quently than others, and if so, why? 11. – Emilio Audissino: Overruling a Roman- tic Prejudice: Film Music in Concert Programs / 25. – Jaume Radigales: Wagner’s Heritage in Strank, Willem: Jazz in Robert Altmans Kansas Cinema: The Bernard Herrmann Case / 45. – City. In: Kieler Beiträge zur Filmmusikfor- Irena Paulus: Williams versus Wagner – Or schung 1, 2008, S. 102–119. an Attempt at Linking Musical Epics / 63. – Emilio Audissino: Golden Age 2.0: John Strank, Willem: Die Verflechtung von Biogra- Williams and the Revival of the Symphonic Film Score / 109. – Gene Pritsker: On Film phie und musikalischer Diegese in Clint East- Music in the 21st Century / 125. – Kristjan woods Bird. In: Kieler Beiträge zur Filmmusik- Jarvi: “A Soundtrack to Our Lives...” / 131. – forschung 2, 2008, S. 68–75. Gene Pritsker: Composing Cloud Atlas Sym- phony / 145. – Lorenzo Sorbo: The Dramatic Strank, Willem: Van Morrisons Konzertfilme. Functions of Italian Spaghetti Western Sound- In: Rock and Pop in the Movies 1, 2011, S. 26–50. tracks: A Comparison between Ennio Morri- cone and Francesco De Masi / 161. – Marco Cosci: Musical Labyrinths in Time: Alain Strank, Willem: Dont Look Back. In: Rock and Resnais’ L’Annee derniere a Marienbad / 175. – Pop in the Movies 3, 2013, S. 43–59. Pascal Vandelanoitte: Ludwig: Consonant Mu- sic in a Dissonant Life / 191. Strank, Willem: Filmmusik im Deutschunter- richt. In: ide: Zeitschrift für den Deutschunter- Stoppe, Sebastian: John Williams’s Film Music richt, 2, 2013, S. 102–111. in the Concert Halls. In: John Williams: Music for Film, Television and the Concert Stage. Ed. Strank, Willem / Tieber, Claus (Hrsg.): Jazz im by Emilio Audissino. Turnhout: Brepols 2018, Film: Beiträge zu Geschichte und Theorie eines S. 95–116 (Contemporary composers. 1.). intermedialen Phänomens. Wien/Münster: Lit Film music has its roots in late-romantic con- Verlag 2014, 242, (3) S. (Filmwissenschaft. 16.). cert music. A number of composers of so- Inhalt: Vorwort (Willem Strank und Claus called “serious music” also composed for the Tieber) / Einleitung: Jazz im Film: Ein weites film. And some Golden Age film composers Feld (Willem Strank und Claus Tieber) / Im- came from the concert-music realm and, once provisation/improvisieren. Anmerkungen zu they started their association with Holly- einem missverständlichen Begriff und seiner wood, continued to pen works for the concert Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 175

Bedeutung in der filmischen Repräsentation itors of the impressively wide-ranging Rout- von Jazz (Claus Tieber) / AI Jolson und der ledge Companion to Music and Visual Culture, «jüdische Jazz» (Andrea Oberheiden-Brent) / cite the recent deregulation of methodologies Jazz und die Cartoons mit Betty Boop (Lena and materials, and the chronological and geo- Christolova) / Ideologie und Swingmusik. Zur graphical expansion of interests in the field. Deutungsproblematik von Unterhaltungsfilm- But they also underline the challenges pre- musiken aus der Zeit des Nationalsozialismus sented by deregulation and proliferation: “To (Moritz Panning) / Jazz im DEFA-Film (Wolf- what extent do the different parts maintain gang Thiel) / Swing in Schwarz-weiß. Zur distinct characteristics even as they converge dramaturgischen Funktion des Jazztanzes in or hybridise into new forms? How should Bonjour tristesse /(Hanna Walsdorf) / Zwis- such subjects be taught, within a disciplinary chen Harmonie und Hegemonie. Jazz in der structure that may not yet be sufficiently ? ex- Glenn Miller Story (Irene Kletschke) / Come ible to accommodate inter-arts enquiry? And, Back, Africa. Jazz im Hollywood der 1950er on a practical level, how many art historians Jahre und der weiße Hipster. Repräsentatio- can claim equal mastery in musicology, or nen von race im südafrikanischen und im US- vice versa? How can we ensure the produc- Kino (Max Annas) / Bird, Blues, Broadway. tion of worthwhile, responsible scholarship Gestalt und Funktion der Musik in Shadows that also remains intelligible, accessible, and von John Cassavetes (Andreas Münzmay) / (above all) useful to researchers in both fields Off-Beats und Jump-Cuts – zwei Formen ei- and beyond?” nes Ausdrucks. Jazz und Film im Lichte ihrer Ähnlichkeiten am Beispiel von Bebop und À bout de souffle (Frank-D. Neidel) / Space Is the Summers, Tim: Star Trek and the Musical De- Place (1974). Jazz als Methode des Films (Kon- piction of the Alien Other. In: Music, Sound, stantin Jahn) / Free Jazz Documentaries (Wil- and the Moving Image 7,1, Spring 2013, S. 19– lem Strank) / Schläft ein Lied in allen Dingen. 52. Step Across the Border und die Konstruktion des romantischen Künstlers (Guido Heidt) / Wenn Gesten und Melodien verschmelzen. Sylvanus, Emaeyak Peter: Prefiguring as an in- Jazz und Schauspiel in Woody Allens You Will digenous narrative tool in Nigerian cinema. An Meet a Tall Dark Stranger (Sarah Greifenstein) ethnomusicological reading. In: Ethnomusicol- / Verletzung einer Kultur. Repräsentation der ogy: Journal of the Society for Ethnomusicology Jazzmusikkultur von New Orleans in der US- 63,2, 2019, 2, S. 159–183. amerikanischen Serie Treme (Claudia Relota). Prefiguring entails the use of music to predict dialogue and scenes in film. It is prevalent in the cinematic productions of both the ethnic- Stuart-Smith, Mark: From “Mousike” to Syn- based film industries in Nigeria and main- aesthesia: New Interdisciplinary Agendas in stream Nollywood. Theoretically, prefiguring Music and Visual Culture. In: Art History 39,1, is a function of indigenous storytelling prac- Febr. 2016, S. 173–181. tices, the appropriation of which conjures up Review of: Shaw-Miller, Simon: Eye hEar the layers of meaning for the local practice, prac- Visual in Music. Farnham: Ashgate, 2013, xvi, titioners, and audiences. Relying on in-depth 207 S.; Albright, Daniel: Panaesthetics: On the textual analyses, composers’ accounts, and Unity and Diversity of the Arts. New Haven/ relevant literature, I argue that prefiguring is London: Yale University Press 2014, xi, 321 S. a concept of major theoretical importance to (Anthony Hecht Lectures in the Humanities.); the study of music in Nigerian cinema, not The Routledge Companion to Music and Visual least because its existence and efficacy Culture. Ed. by Tim Shephard & Anne Leon- strongly support notions of a localized film ard. New York/London: Routledge, 2014, xviii, music practice. (Vorlage) 391 S. [Excerpt:] Celebrating the current explosion Sylvanus, Emaeyak Peter / Eze-Emaeyak, Obi- of productivity in the field of music and visual ocha Purity: The business of film music in culture, Tim Shephard and Anne Leonard, ed- mainstream Nollywood: competing without Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 176 advantage. In: Journal of Cultural Economy schultes amerikanisches Publikum; von der 11,2, 2018, S. 141–153. Oper zur Filmmusik; Hollywood-Motiv). – 3. Filmmusik, die zu einer Kunstrepublik Wei- This article addresses the business of film mu- mar, Ostdeutschlands Hollywood, geworden sic in mainstream Nollywood. It does so by ist (filmmusikalische Studioexperimente in focusing on the materiality of the industry as Dessau; Hollywoods Filmindustrie und die an institution: its social organisation and sys- Komponisten im Asyl Adorno und Eisler; tems of film music production; markets; net- „Freie“ Filmmusikproduktion im Sozialismus). works; and power relations. Specifically, the – 4. Wohin geht Filmmusik? (Hollywood- arguments rely on social organisational theo- Motiv; Beruf als Komponist; Filmton). ries, and economic concepts such as vertical integration and market competition alongside inferences from interviews with insider-prac- Takeuchi, Seiko / Hamanaka, Masatoshi: Onga- titioners. Findings reveal that the Nollywood ku riron ni motodzuku eiga no kōzō-ka [ 竹内 film music industry is characterised by non- 星子 / 浜中雅俊: 音楽理論に基づく映画の構造 institutionalised vertical integration within a 化]. In: Jinkō chinō gakkai zenkoku taikai ron- perfectly competitive market in which its film bun-shū [人工知能学会全国大会論文集 ] 28, music composers are, essentially, competing 2014, S. 1–4; [= The 28th Annual Conference of without advantage. the Japanese Society for Artificial Intelligence, 2014]; [URL]. “Structure of the film based on the music theory.” In japan. Schrift. – T – Abstract: This document describes the structure of a movie based on the Generative The- Takaoka, Tomoko: Bōmei yudayajin no eiga on- ory of Tonal Music (GTTM). Various research gaku: 20 seiki doitsu ongaku kara Hariuddo, Hi- of summaries of a movie have been devel- gashidoitsu eno kiseki. [高岡智子: 亡命ユダヤ人 oped, it has not easy to representation a rela- の映画音楽: 20 世紀ドイツ音楽からハリウッド、 tionship of case and effect between scenes. 東ドイツへの軌跡]. Kyōto: Nakanishiya 2014, We propose the method to represent structure 325 S. of a movie by using Time-Span Tree of [„Jüdische Filmmusik im Asyl: Deutsche GTTM, and we design the rules for analyzing Musik des 20. Jahrhunderts in Hollywood und the structure of a movie. Ostdeutschland“.] In japan. Schrift. – Jüdische Komponisten, die Takeuchi, Seiko / Hamanaka, Masatoshi / Ho- nach dem Aufstieg der Nazis in die USA gin- shino, Junichi: Ongaku riron GTTM ni moto- gen, legten den Grundstein für die Filmmusik dzuku eiga no kōzō-ka shuhō [竹内星子 / 浜中 in Hollywood. Einige von ihnen machten in 雅俊 / 星野准一: 音楽理論 GTTM に基づく映画 der Nachkriegszeit in Ostdeutschland Anti- の構造化手法]. In: Information Processing Soci- Hollywood-Filmmusik. ety of Japan: IPSJ SIG Technical Reports 2015- Inhalt: Vorwort. Woher kam Filmmusik? (Ur- HCI-162,6, 2015, S. 1–8. sprung der Hollywood-Filmmusik, Ursprung der Anti-Hollywood-Filmmusik). – 1. Main- “Method of structuring a film based on the stream der klassischen Musik des 20. Jahrhun- Generative Theory of Tonal Music.” derts (Wiens Musikwelt zwischen den Krie- In japan. Schrift. gen und Schönberg; die Kontroverse um die Abstract: In this paper, we propose a movie „Neue Musik“, die die zeitgenössische Musik summarization system based on the Genera- hervorbrachte; Professor Schönbergs Holly- tive Theory of Tonal Music (GTTM). In this wood). – 2. Die Geburt der Hollywood-Film- system, we proposed a rule which reproduc- musik – Von der Oper zur Hollywood-Film- tion human’s cognitive analysis by grouping musik (Spätromantische „filmähnliche“ Oper; scenes and get a tree structure (time-span Korngolds Stadt des Todes und Bergs Lulu; ge- tree) of the entire movie. We propose a Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 177

method to summarize the movie by time-span Tarō, Iwashiro: Eiga ongaku Tarō shugi: saundo tree of the movie, and venified this system torakku no butaiura [岩代太郎: 映画音楽太郎主 can be created a summary of movie while 義: サウンドトラックの舞台ウラ]. Tōkyō: ZE- preserving the important scene to the under- N’ON Music Company 2016, 243, 11 S. standing of the contents. [„Filmmusik nach dem Taro-Prinzip: Sound- track Backstage.“] Tambling, Jeremy: Opera, Ideology, and Film. In japan. Schrift. – Wie wird Filmmusik ge- Manchester: Manchester University Press / macht? Der Filmmusik-Komponist Tarō Iwa- New York: St. Martin’s Press 1987, 223 S. shiro spricht mit 12 Filmkomponisten und - regisseuren, die an vorderster Front aktiv sind. Tambling, Jeremy (ed.): A Night in at the Opera: Media Representations of Opera. London: Inhalt: 1. Tarōistische Filmmusiktheorie (Ich John Libbey 1994, iii, 310 S. (The Arts Council und die Filmmusik. Was ist Filmmusik? Wie of England.). Filmmusik gemacht wird.). – 2. Dialoge mit 12 Komponisten und Filmregisseuren (Dialog 1: Offering an arresting range of accounts by Yuya Ishii [石井裕也] – Dialog 2: Shuichi Oki- specialists in music, media, and popular cul- ta [沖田修一] – Dialog 3: Yoichi Choi [崔洋一] ture on how the popular arts have repre- – Dialog 4: Kazuya Shiraishi [白石和彌] – Dia- sented opera, this book raises issues about the log 5: Yoshihiro Nakamura [中村義洋] – Dia- sociology of music and its implications for log 6: Izuru Narushima [ 成島出 ] – Dialog 7: television and video culture. It looks at the re- Hideyuki Hirayama [平山秀幸] – Dialog 8: Ko- lationships between serious and popular mu- ji Matsuoka [松岡錠司] – Dialog 9: Atsuhiro sic, the desire of some composers to work in Yamashita [山下敦弘] – Dialog 10: Isao Yuki- the latter while being engaged in more classi- sada [行定勲] – Dialog 11: Lee Soi [李相日] – cal composition, and the love-hate relation- Dialog: 12: John Woo [ジョン・ウー (chin.: 吳 ships between Hollywood and La Scala. 宇森)]).

Taniguchi, Akihiro: Dizunī myūjikku: Dizunī Tavrizjan, Aleksandr Vladimirovič: Poėtika ki- eiga ongaku no himitsu [谷口昭弘: Disney Mu- nomuzyki Tomasa N’jumana [Тавризян, Алек- sic / ディズニー・ミュージック: ディズニー映 сандр Владимирович: Поэтика киномузыки 画音楽の秘密]. Kokubunji: Stylenote 2016, 397 Томаса Ньюмана]. Diss. Moskva: Rossijskaja S. akademija muzyki imeni Gnesinych 2019, 277 S. Abweichender Titel: Dizunī eiga ongaku: tettei bunseki [ディズニー映画音楽徹底分析]. Dazu: Avtoreferat, Moskva 2019, 28 S.; [URL]. [„Disney-Musik: Das Geheimnis von Disneys „Die Poetik von Thomas Newmans Film- Filmmusik“ bzw. „Disney-Filmmusik: Eine musik.“ – Zum Werk des US-amerikanischen umfassende Untersuchung“.] Filmkomponisten Thomas Newman (*1955). In japan. Schrift. – Erläutert ausführlich die In kyrill. Schrift. Musik zu mehr als 70 Disney-Filmen, vom ersten Talkie-Anime-Film Steamboat Willie von Walt Disney bis zu Frozen und Monsters Taylor, Yuval / Ehrbar, Greg / Goldmark, Dani- University von Pixar. el: The Cartoon Music Book. Chicago, Ill.: Chica- Inhaltsübersicht: 1. Kurzfilmmusik. – 2. Klassi- go Review Press / A Cappella 2002, xvi, 320 S. sches Disney (1). – 3. Klassisches Disney (2). – Inhalt: Episodic history of cartoon music. Ani- 4. Die Ära der Erben von Walts Willen. – 5. mated cartoons and slap-stick comedy / Edith Flaggschiffe des neuen Disney-Films – 6. Dis- Lang and George West – Make Walt’s music: ney in der 3D-Ära. – 7. Pixar Movie Music. – music for Disney animation, 1928–1967 / Ross Personenindex. – Songtitelindex. Care – An interview with Carl Stalling / Mike Barrier – Hidey hidey hidey ho – boop-boop- a doop! the Fleischer studio and jazz car- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 178

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

Thiel, Wolfgang: Fetzers Flucht – vielumstrit- sischen Spielfilm. Marburg: Tectum Verlag 2017, ten, verboten, vergessen … In: Kieler Beiträge 132 S. 11, 2014, S. 222–234 zur Filmmusikforschung In meiner Montagepraxis kommt es oft vor, (online). dass ich eine Sequenz schneide und Musik darüber lege und die Geschichte funktioniert. Thiel, Wolfgang: Zwischen Chronik und Deu- Doch was genau „funktioniert“ denn da? tung. Anmerkungen zu einer Methodik der Kann man diese Relation oder diesen magi- Filmmusikhistoriographie. In: Kieler Beiträge schen Zusammenhang von Filmmusik und zur Filmmusikforschung, 12, 2016, S. 337–352 Montage im Film beschreiben und wie kommt (online). er zustande? Diese Arbeit betrachtet zur Be- antwortung ihrer Fragestellung drei aktuelle und preisgekrönte Spielfilmproduktionen, Thiel, Wolfgang: Filmmusik im Geiste Eislers: Mustang, Michael Kohlhaas und Timbuktu, die Andre Asriel und die DEFA. In: Eisler-Mit- sich in unterschiedlicher Form mit dem Wi- teilungen, 68, 2019, S. 20–22. derstand von Einzelindividuen gegen Un- menschlichkeit und Ungerechtigkeit ausein- Wolfgang Thiel explores Andre Asriel’s work andersetzen. Sie zeigt dabei auch auf, welche as a composer for the East German film com- verschiedenen Gestaltungsmöglichkeiten pany DEFA, which began in 1955 and span- Montage, Sound und Filmmusik für eine Fil- ned fourteen feature films and two dozen doc- merzählung bieten und möchte damit Film- umentaries. As Asriel himself admitted, a key studenten, Filmschaffenden und Filminteres- influence was the book Composing for the sierten einen Einblick in die musikbetonte Films by his teacher Eisler. Without copying Montagearbeit geben. Eisler, he adopted a number of his aesthetic devices such as “dramaturgical counterpoint” and the composition of film music in standard Thompson, William Forde / Russo, Frank A. / forms. Typical of Asriel’s film scores are a Sinclair, Don: Effects of Underscoring on the contrapuntual, quasi-Baroque structure, the Perception of Closure in Filmed Events. In: use of popular music styles, and bespoke, se- Psychomusicology 13,1–2 (= Special vol. on film lective instrumentation that avoids the stan- music), 1994, S. 9–27. dard sound of a film orchestra.

Thomsen, Kai: „Careless love“. Zur Filmmusik Thiel, Wolfgang: Misslungener Film, gute von Volker Schlöndorffs Homo Faber. In: Musik. Innovative Trends in der Filmmusik Diskussion Deutsch, 140, 1994, S. 401–410. und Günter Kochans Komposition für Italienis- ches Capriccio (DDR 1961). In: Filmblatt 24,69, 2019/20 S. 22–29. Tieber, Claus / Windisch, Anna Katharina (eds.): The Sounds of Silent Films: New Perspec- Über den Film von Glauco Pellegrini mit der tives on History, Theory and Practice. Basing- Musik von Kochan. stoke/New York: Palgrave Macmillan 2014, 288 S. (Palgrave Studies in Audio-Visual Culture.). Thiel, Wolfgang: Der Klang der Zukunftsstädte: Inhalt: Introduction: ‘The Birth of Cinema Zur musikalischen und akustischen Gestaltung from the Spirit of Music’ / Claus Tieber, Anna filmischer SciFi-Cities. In: Urbane Zukünfte im K. Windisch (1–9). – 1. Organizing a Music Science-Fiction-Film: Was wir vom Kino für die Library for Playing to Pictures in Britain: The- Stadt von morgen lernen können. Hrsg. v. Ferdi- ory vs. Practice / Julie Brown (13–35). – 2. The nando Terelle, Anke Steinborn & Denis Newi- Formation of a Swedish Cinema Music Prac- ak. Berlin: Springer Berlin – Springer Spek- tice, 1905–1915 / Christopher Natzén (36–48). trum 2020, S. 94–104. – 3. The Use of Cue Sheets in Italian Silent Cinema: Contexts, Repertoires, Praxis / Marco Targa (49–65). – 4. Music, Singing and Stage Thomas, Dessi: Zwischen Hören und Sehen: Practice in the Cinemas of Upper Silesia dur- Musik und Montage im zeitgenössischen franzö- ing the 1920s / Urszula Biel (66–83). – 5. The Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 180

Sound of Music in Vienna’s Cinemas, 1910– emerged as one of the first Soviet film com- 1930 / Claus Tieber and Anna K. Windisch posers. With his first score for the silent film (84–102). – 6. The Moving Picture World, W. New Babylon (1928–29) and the many sound Stephen Bush, and the American Reception of scores that followed, he was situated to ob- European Cinema Practices, 1907–13 / James serve and participate in the changing politics Buhler and Catrin Watts (103–122). – 7. Musi- of the film industry and negotiate the role of cal Beginnings and Trends in 1920s Indian the film composer. In The Early Film Music of Cinema / Olympia Bhatt (123–138). – 8. De- Dmitry Shostakovich, author Joan Titus exam- constructing the ‘Brutal Savage’ in John ines the relationship between musical narra- Ford’s The Iron Horse / Peter A. Graff (141– tion, audience, filmmaker, and composer in 155). – 9. The Hermeneutic Framing of Film Il- six of Shostakovich’s early film scores, from lustration Practice. The Allgemeines Handbuch 1928 through 1936. Titus engages with the der Film-Musik in the Context of Historico- construct of Soviet intelligibility, the filmmak- Musicological Traditions / Maria Fuchs (156– ing and scoring processes, and the cultural 171). – 10. Sergei Eisenstein and the Music of politics of scoring Soviet film music, asking Landscape: the ‘Mists’ of Potemkin between how listeners hear and see Shostakovich. The Metaphor and Illustration / Francesco Finoc- discussions of the scores are enriched by the chiaro (172–191). – 11. Paradoxes of Auton- composer’s own writing on film music, along omy. Bernd Thewes’ Compositions to the with archival materials and recently discov- Rhythmus-films of Hans Richter / Marion ered musical manuscripts that illuminate the Saxer (192–207). – 12. The Tradition of Nov- collaborative processes of the film teams, stu- elty – Comparative Studies of Silent Film dios, and composer. The Early Film Music of Scores: Perspectives, Challenges, Proposals / Dmitry Shostakovich commingles film/media Marco Bellano (208–220). – 13. Germaine Du- studies, musicology, and Russian studies , and lac’s Silent Film La Souriante Madame Beudet is sure to be of interest to a wide audience in- (1923) and Its Scores by Arthur Kleiner and cluding those in music studies, film/media Manfred Knaak / Jürg Stenzl (221–250). scholars, and Slavicists. Rev. (Taylor, Richard) in: Music, Sound, and the Moving Image 11,1, 2017, S. 124–127. – Timm, Eitel: Musik im Film. Möglichkeiten Rev. (Sheinberg, Esti) in: Slavic Review 76,4, und Grenzen der Transkription. In: Filmphilo- 2017, S. 1137–1139. logie: Studien zur englischsprachigen Literatur und Kultur in Buch und Film. Hrsg. v. Paul G. Buchloh, Jes-Peter Becker & Gottfried Schrö- Tobias, James: Isolated Tracks and Media der. Kiel: Universität Kiel 1982, S. 155–175 Clouds: Surveying Problems and Positions in (Kieler Beiträge zur Erweiterung der Engli- Music, Sound, and the Moving Image before schen Philologie. 2.). and after Digital ‘Convergence’. In: Music, Sound, and the Moving Image 9,2, 2015 (Special Tinker, Chris: Jacques Demy’s ›Les Demoi- Issue: “Musical Screens: Musical Inventions, selles de Rochefort‹ (1967): Beyond the Holly- Digital Transitions, Cultural Critique”. Guest ed.: James Tobias), S. 101–114. wood film musical. In: Australian Journal of French Studies 41,1 2004, S. 37–47. This special volume of Music, Sound, and the Moving Image collects seven broadly ranging essays in the interest of putting problems in, Titel, Jan: Der Architekt. David Raksin und das and orientations for, specific lines of research Golden Age. Das Golden Age der Filmmusik. in conversation. Beginning with Nicholas In: Cinema musica, 17, 2009, S. 38–43. Reyland’s work on screen scoring as style in Hollywood blockbusters, and ending with Titus, Joan: The Early Film Music of Dmitry Benjamin Robertson’s software studies-ori- Shostakovich. New York/Oxford: Oxford Uni- ented critique of media composition, the work versity Press 2016, xv, 253 S. collected here stresses the contemporary movement as particularly apposite for staking In the late 1920s, Dmitry Shostakovich out problematics, driving questions, and ten- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 181

tative answers across these lines of inquiry. development is the creation of art therapy On one hand, massive growth has occurred in practice on the basis of cinematic synthesis of scholarship across those fields typically repre- the arts. Theoretical basis of maintaining the sented in MSMI, while new journals and dis- various reflexive positions in the perception ciplinary approaches continue to appear; both of cinema is the functional role of music in problems and value proliferate in scholarly film. The authors examine in detail the forma- work where music and sound meet or inform tion of the main functions of music in film screen cultures. On the other, recent scholarly and the birth of an independent genre – film handbooks surveying these productively noi- music. As a result, the theoretical analysis and sy conversations on musicality, sound and au- experimental work for the first time in the lit- dition, and audiovisuality provide, if not a erature the authors argue that the special common reference framework, a highly con- functions of film music, such as illustrative figurable guide to navigating historical and and distancing, may contribute to the harmo- contemporary research at those epistemologi- nious development of mechanisms for per- cal inflection points where media studies and sonal reflection through the actualization of cultural and technocultural studies move to- identification and isolation. Testing the effec- wards or away from one another and where tiveness of the training was conducted on the music, sound, and audiovisual studies be- basis of the group of 2nd year students of the comes ever more vital work. Moscow State Pedagogical University and showed promising increased use of this technique in the age aspect, and in terms of Tode, Thomas: Töne stürmen gegen das Bild. changes in special orientation (for example, in Musikalische Strukturen im Werk von Dziga groups of psycho-correction) Vertov. In: Cinema. Unabhängige Schweizer Filmzeitschrift49, 2004, S. 21–35. Torras i Segura, Daniel: Los spots musicales. Diferencias con el género cinematográfico mu- Tode, Thomas: Un Film peut en cacher un sical. / Musika iragarkiak. Musika genero zine- autre: À propos des différentes versions du matografikoarekiko ezberdintasunak. / Musical ›Cuirassé Potemkine‹ et de la réapparaition de commercials. Differences with musical cine- la mise en musique de Meisel. In: 1895: Revue matographic genre. In: Zer 18,35, 2013, S. 215– de l’Association Française de Recherche sur 232. l’Histoire du Cinéma 47, 2005, S. 39–76. Musicals are currently used as mechanism of attraction and persuasion. The musical com- Toropova, A[lla] V[ladimirovna] / Ermakova, mercials feature iconic attributes and codes N[atal’ja] M[ichajlovna]: Kinomuzyka kak os- related to the musical film genre. But al- nova art-terapevtičeskogo treninga dlja razviti- though the main references of the musicals, ja ličnostnoj refleksii v junošeskom vozraste as well as their uses, are usually kept in com- [Торопова, А[лла] В[ладимировна] / Ерма- mercials, the semiotic interpretation and кова, Н[аталья] М[ихайловна]: Киномузыка structure vary considerably with respect to как основа арт-терапевтического тренинга films. These modifications are due to the in- для развития личностной рефлексии в ю- fluence of parameters such as the duration, ношеском возрасте]. In: Muzykal’naja psicho- the purpose, the form of reception, the origin logija, psichologija muzykal’nogo obrazovanija of the script and its structure. A qualitative 2, 2014, S. 70–81; [URL]. comparison between musical film and musical commercials is to argue this difference of in- „Filmmusik als Grundlage des kunsttherapeu- terpretation. tischen Trainings zur Entwicklung der per- sönlichen Reflexion im Jugendalter.“ In kyrill. Schrift. – Abstract: The article seeks Torras i Segura, Daniel: La esencia del silencio to find and test the psychological and peda- audiovisual. ‘El silencio’ de Bergman como gogical methods development mechanisms of ejemplo. In: Comunicación: Revista Interna- personal reflection in adolescence. Such tool cional de Comunicación Audiovisual, Publicidad Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 182 y Estudios Culturales 12, 2014, S. 82–93. selon René Clair et Georges Auric, ou la modernité ambivalente du phonographe Zu Ingmar Bergmans Spielfilm Tystnaden dans (1931) / 129. – Au- (Das Schweigen, Schweden 1963). À nous la liberté ! drée Descheneaux: Transcendance et apoli- Silence is an audiovisual expressive matter, tisme dans L’Idée (1934) d’Arthur Honeg- which is always significant. The essence of si- ger / 135. – Jérôme Rossi: De la musique de lence is contrast, which is needed to perceive scène à la musique de film: d’Or- it; ambiguity, because silence cannot make Macbeth reference to one particular object or concept; son Welles et Jacques Ibert, une écriture and communicative context-dependence. Au- musico-cinématographique / 151. – Cécile diovisual silence – silence located in an au- Carayol: La musique de film comme prolon- diovisual product – has three more features: gement de l’opéra: correspondances entre constant meaning, because it is the will of the The Wuthering Heights et The Ghost and Mrs filmmaker; multiple interaction, because it is Muir de Bernard Herrmann / 173. modulated by all audiovisual elements; and, finally, present anchored, because of the impossibility of relating to other film time than Trajkovski, Aleksandar: Muzikata vo makedon- the ‘here and now’. skiot igran film: od »Frosina« do »Lazar« [Трај- ковски, Александар: Музиката во македонс- киот игран филм: од »Фросина« до »Лазар«]. Torras i Segura, Daniel: La transformación del Skopje: Kinoteka na Makedonija 2018, 315 S. género audiovisual musical en la red: Los lip- In kyrill. Schrift. – Zur Filmmusik in der ma- dubs como vestigios del cine musical. In: Co- kedon. Filmgeschichte 1952–2015. – Inhalts- municación y Hombre: Revista Interdisciplinar verzeichnis: [URL]. – Mit Zusammenfassung de Ciencias de la Comunicación y Humanidades in englischer Sprache. 11, 2015, S. 115–128. This article determines what remains of the musical film as genre in the new musical for- Travn, Danni: Bent Fabricius-Bjerre: en biografi. mats of the 2.0 communication. The citizen København: Gyldendal Fakta 2014, 311 S. public / creator of the new communicative Biografie des dänischen Unterhaltungsmusi- paradigm produces and promotes the lipdubs ker und Komponisten Bent Fabricius-Bjerre with a semi-amateur perspective, an ideologi- (1924–2020); [Filmographie: URL]. cal or corporative promotion, familiar sur- roundings, an aesthetic of improvisation, and the anonymous and collective character of Tribble, Evelyn: ‘When Every Noise Appalls their participants. New musical formats rep- Me’: Sound and Fear in Macbeth and Akira resent a transition from the musical film to Kurosawa’s Throne of Blood. In: Shakespeare the network in which the essential attributes 1,1, June 2005, S. 75–90. of the former are maintained, but where its connotations and some relevant traits change, becoming a ludic presentation of the society Troelsen, Anders: Sans og Samling: Om itself. sammenligninger mellem musik og billede [“Connections and Correspondences between Visual Art and Music”]. In: K&K: Kultur og Toudoire-Surlapierre, Frédérique / Lécroart, Klasse 47,127, 2019, S. 91–110; [URL]. Pascal (sous la dir. de): Marges de l’opéra: mu- In dän. Sprache. – Mapping a span sique de scène, musique de film et musique ra- Abstract: of extrinsic and intrinsic relationships be- diophonique en France, en Suisse, en Allemagne tween music and visual arts (including film), Paris: Vrin 2015, et aux Etats-Unis, 1920–1950. the article discusses ways of comparative 282 S + 1 CD (MusicologieS.). analysis. It takes its starting point in concrete Darin u.a.: III. Les compositeurs face au cine- examples and proposes some provisional cate- ma: un palliatif du rêve opératique ?: – Mi- gories for this kind of aesthetic examination. chel Gribenski: L’opéra cinématographique Important for the comparative analysis is that Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 183

it includes the specific sensory substance of the visual and auditory elements and sticks to a similar analytic level for both art forms. On the other hand, identifications of historical and structural convergence can assume an embarrassing concrete form without taking – U – into account that often they should be located at a rather vague and overarching level. Ac- Uvarov, Sergej Alekseevič: Muzyka v režissure knowledging the necessity and usefulness of Aleksandra Sokurova [Уваров, Сергей Алексе- analogies, the article also warns against the евич: obvious pitfalls involved. Музыка в режиссуре Александра Соку- рова]. Diss. Moskva: Moskovskaja gosudarstvennaja konservatorija imeni P. I. Čajkovskogo Troickaja, G.: Muzyka v ital’janskom neorealis- 2014, 259 S. ticeskom kino. In: Sovetskaja muzyka, 9, 1959, Dazu: Avtoreferat diss., Moskva 2015, 30 S.; S. 110–117. [URL]. „Musik in der Regie von Aleksandr Sokurov Turk, Tisha: Transformation in a New Key: (*1951).“ Music in Vids and Vidding. In: Music, Sound, In kyrill. Schrift. and the Moving Image 9,2, 2015 (Special Issue: Inhalt: Vvedenie. – Glava I: Klassičeskaja mu- “Musical Screens: Musical Inventions, Digital zyka v fil’mach Sokurova / 16: – Tvorčeskaja Transitions, Cultural Critique”. Guest ed.: ėvoljucija A. Sokurova. K probleme periodiza- James Tobias), S. 163–176. cii / 16; – I period: Lejtmuzyka / 25 – «Avto- ‘Vids’, a genre of remix that began as mobil’ nabiraet nadežnost’» / 25 – «Odinokij slideshows and VHS tapes and is now a wide- golos čeloveka» / 27 – «Sonata dlja Gitlera» / spread digital practice, combine clips from 35 – « Marija» / 37; – II period: Muzykal’naja movies or television with carefully chosen mozaika / 44 – «I ničego bol’še» / 45 – «Žert- music (usually popular songs) to celebrate, inva večernjaja» / 53 – «Skorbnoe besčuvst- terpret, or critique the video source. Vids are vie» / 57 – «Ampir» / 65; – III period: Muzy- defined by music: vidders’ use of music helps kal’nyj vakuum / 68 – «Kamen’» / 69 – «Ti- to distinguish vids and the vidding tradition chie stranicy» / 72; – IV period: Muzykal’nyj from other forms of remix video. Yet most fan tuman / 76 – «Mat’ i syn» / 76 – «Vostočnaja studies scholarship on vidding has focused on ėlegija» / 77. – Glava 2: Sotrudničestvo s sovre- vids’ relationships with their visual source mennymi kompozitorami / 84: – Aleksandr texts and paid relatively little attention to mu- Michajlov / 85 – « Razžalovannyj» / 85 – Jurij sic. In contrast, I argue that music plays a key Chanin (Chanon) / 89 – «Dni zatmenija» / 90 role in both the creative processes of vidders – «Spasi i sochrani» / 96 – Sergej Evtušenko / and the rhetorical and emotional effects of 107 – «Rober. Sčastlivaja žizn’» / 107 – vids on their intended audiences. And, in ad- «Russkij kovčeg» / 109 – Andrej Sigle 111 « dition to contributing to vids’ transformations Telec» / 113 – «Otec i syn» / 114 – «Solnce» / of their visual source material, music is itself 116 – «Aleksandra» / 118 – «Faust» / 120 – transformed through integration into a vid. Murat Kabardokov / 130. – Glava III: This analysis suggests that – at least for their Muzykal’nyj teatr Aleksandra Sokurova / 132 – intended audiences – vids do constitute trans- Neosuščestvlennye zamysly i ėksperimenty / formative and thus fair use of copyrighted 133 – Peterburgskie koncertno-teatral’nye music. postanovki / 137 – Postanovki oper M. Musorgskogo / 142 – «Oresteja» S. Taneeva v Michajlovskom teatre / 150 – «Antigona» S. M. Slonimskogo v Kapelle im. Glinki / 162 – «Pokajanie» v Kapelle im. Glinki / 164. – Glava IV. Obrazy muzykantov v tvorčestve Sokurova / 168 – Dmitrij Šostakovič / 169 – «Al’tovaja sonata. Dmitrij Šostakovič» / 172 – Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 184

«Kompozitor Šo stakovič» / 182 – «Dmitrij Vernallis, Carol: Unruly Media: YouTube, Music Šostakovič» / 186 – Fedor Šaljapin / 190 – Video, and the New Digital Cinema. New York: «Ėlegija» / 190 – «Peterburgskaja ėlegija» / Oxford University Press 2013, ix, 354 S. 194 – Vitautas Landsbergis: «Prostaja ėlegija» / 195 – Mstislav Rostropovič i Galina Viš- Argues that we are the crest of a new interna- nevskaja: «Ėlegija žizni» / 197 – Sergej Slo- tional style in which sonic and visual parame- nimskij: «Intonacija» / 198 – «Jurij Temirka- ters become heightened and accelerated. This nov. Repeticija» / 200. – Zaključenie / 205. – audiovisual turn calls for new forms of atten- Literatura / 217. tion. Post-classical cinema, with its multi-plot narratives and flashy style, fragments under the influence of audiovisual numbers and music-video-like sync. Music video becomes more than a way of selling songs. YouTube’s brief, low-res clips encompass many forms and foreground reiteration, graphic values – V – and affective intensity. These three media are riven by one another: a trajectory from Valenzuela, Juan Ignacio: Georges Delerue: De YouTube through music video to the new dig- la Nouvelle Vague a Hollywood. Prólogo de ital cinema reveals commonalities, especially Bruce Beresford; proemio de Colette Delerue. in the realms of rhythm, texture and form. Murcia: Ediciones Rosetta, 2019, 304 S.

Vernallis, Carol / Herzog, Amy / Richardson, Välimäki, Susanna: Transgender hearing and John (eds.): The Oxford Handbook of Sound and healing. The musical processing of trauma in Image in Digital Media. Oxford/New York: Ox- Boys Don’t Cry and The Brandon Teena Story. ford University Press 2013, xii, 817 S. In: Radical Musicology 7, 2019, online. Inhalt: Introduction / 1 – Cinema in the Realm of the Digital: Foundational Approaches. Dig- Van Der Merwe, Ann: Music, the Musical, and ital Cinema: Convergence or Contradiction? / Postmodernism in Baz Luhrmann’s Moulin 13 – Angels of Light / 45 – Lost in Sensation: Rouge. In: Music and the Moving Image 3, Fall Reevaluating the Role of Cinematic Sound in 2010, S. 31–38. the Digital Age / 61 – Dialogue: Screens and Spaces. Large Screens, Third Screens, Virtual- ity, and Innovation / 77 – Public Screens and Verdi, Luigi: Franz Liszt e la sua musica nel ci- Urban Life / 92 – Glitches, Noise, and Inter- nema. Lucca: Libreria Musicale Italiana 2014, ruption: Materiality and Digital Media. A 520 S. Noisy Brush with the Infinite: Noise in En- Inhalt: Liszt personaggio cinematografico / 3: folding-Unfolding Aesthetics / 101 – Dirty Lisztiana / 7 – Liszt e Chopin / 85 – Liszt e Sound: Haptic Noise in New Extremism / 115 Schumann / 109 – Liszt e Wagner / 123 – Liszt – Going Gaga for Glitch: Digital Failure and e gli altri / 145 – Liszt deus ex-machina / 159 Feminist Spectacle in Twenty-First Century – Comparsate (in)verosimili / 175. – Franz Music Video / 127 – Discursive Accents in Liszt: musica e immagine / 183: – Cinema e Some Recent Digital Media Works / 140 – televisione / 199 – Cartoni animati / 431. – Bi- Doping the Voice / 154 – Uncanny Spaces and bliografia sintetica / 479. – Elenco dei film in Acousmatic Voices. Monstrous Noise: Silent ordine cronologico / 481: – Film con Franz Hill and the Aesthetic Economies of Fear / 173 Liszt / 482 – Film con musiche di Franz Liszt / – “Charm the Air to Give a Sound”: The Un- 484. – Abstract: Franz Liszt in the Movies / canny Soundscape of Punchdrunk’s Sleep No 495. – Indice delle composizioni nei film / 505 More / 191 – A Gash in the Portrait: Martin – Indice dei film con Franz Liszt / 515 – Indice Arnold’s Deanimated / 214 – The Acousmatic di episodi biografici salienti / 517. Voice and Metaleptic Narration in Inland Em- pire / 236 – Dialogue: Visualization and Soni- fication. Museum Without Walls, Art History Without Names: Methods and Concepts for Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 185

Media Visualization / 253 – Explorations in Vicente, Victor A.: Strange new worlds? Musi- Cultureson / 279 – Virtual Worlds, Paranoid cal instruments and cultural and temporal cod- Structures, and States of War. Music and the ing in Indian and Turkish science-fiction film. State of Exception in Alfonso Cuarón’s Chil- In: Musica humana 3,1, 2011, S. 41–59. dren of Men / 289 – Understanding the Plea- sures of War’s Audiovision / 310 – Outside Sci-fi’s extra-planetary scope has ensured it a the Law of Action: Music and Sound in the global audience, inspiring the rise of the Bourne Trilogy / 325 – Debating the Digital: genre in many unexpected places. This article Film and Reality in Barry Levinson’s Wag the explores the emergent worlds of science fic- Dog / 350 – Between Artifice and Authentic- tion cinema in India and Turkey, comparing ity: Music and Media in Wag the Dog / 369 – the local uses of music to those of the West Blockbusters! Franchises, Remakes, and Inter- and Japan. Specifically, it examines the way textual Practices. “I Am Beowulf! Now, Its indigenous timbres are used in the context of Your Turn”: Playing With (and As) the Digital symphonic and digitized sound to code tem- Convergence Character / 381 – Lion and poral and cultural otherness. Analyzing Lambs: Industry-Audience Negotiations in the scenes from “Stargate”, the Bollywood ro- Twilight Saga Franchise / 397 – Sonic Times mance “Love Story 2050”, and the Turkish in Watchmen and Inception / 417 – Inglo(u)ri- space comedy G.O.R.A. the essay investigates ous Basterdization? Tarantino and the War how musical instruments, orchestration, and Movie Mashup / 437 – Dialogue: De-Coding timbre are used to re-envision the past, con- Source Code. Sound Thinking: Looped Time, struct the present vis-à-vis other world pow- Duped Track / 465 – Source Code: Eco-Criti- ers, and not only imagine potential futures, cism and Subjectivity / 483 – Notes to the but indeed forge new trajectories in history. Soundtrack of Source Code / 502 – Rethinking Audiovisual Embodiment. Virtual and Vis- Viejo, Breixo: La libertad de la imaginación: ceral Experience in Music-Oriented Video Games / 517 – A Gaga-World Pageant: Chan- música y sonido en el cine de Luis Buñuel. In: neling Difference and the Performance of Bulletin of Spanish Studies: Hispanic Studies Networked Power / 534 – Coming to Mind: and Researches on Spain, Portugal and Latin Pornography and the Mediation of Intensity / America 93,4, 2016, S. 639–656. 551 – Sounds and Images of the New Digital Dependiendo de las condiciones socioecó- Documentary. The World in the Palm of Your nomicas en las que realizó su obra–ya fuera Hand: Agnes Varda, Trinh T. Minh-ha, and en Francia, España, México o Estados Unidos– the Digital Documentary / 567 – The Sonic Buñuel empleó composiciones originales es- Summons: Meditations on Nature and Anem- critas específicamente para sus películas, re- pathetic Sound in Digital Documentaries / 582 utilizó obras fundamentales de música clásica, – Workers Leaving the Factory: Witnessing o decidió prescindir de todo tipo de acom- industry in the Digital Age / 598 – Modes of pañamiento musical extradiegético. Este Composition: Digital Convergence and Sound artículo señala que fue precisamente esta de- Production. The Absent Image in Electronic cisión de rechazar un uso convencional de la Music / 623 – Hugues Dufourt’s Cinematic música ilustrativa lo que permitió al maestro Dynamism: Space, Timbre, and Time in español alcanzar un estilo plenamente surre- L’Afrique d’après Tiepolo / 642 – Scoring for alista en sus últimos largometrajes, desde Di- Film and Video Games: Collaborative Prac- ario de una camarera (1964) hasta Ese oscuro tices and Digital Post production / 663 – Visu- objeto del deseo (1977). alizing the App Album with Björks Biophilia / 682 – Digital Aesthetics Across Platform and Genre. Accelerated Aesthetics: A New Lexi- Viktória, Ozsvárt: Interactions between sym- con of Time, Space, and Rhythm / 707 – phonies and film music in the oeuvre of László Acoustic Auteurs and Transnational Cinema / Lajtha. In: Studia Musicologica 58,2, 2017, S. 732 – Instrumental Visions: Electronica, Mu- 239–253. sic Video, and the Environmental Interface / 752 – Index / 773. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 186

Villa, Sara: Practices and the Dawn of the New entstanden. Dabei wird die These vertreten, American Cinema. In: The Oxford Handbook of dass die Erschließung neuer Klangwelten Critical Improvisation Studies. Ed. by George E. durch die US-Filmindustrie insbesondere auf Lewis & Benjamin Piekut. Bd. 2. New York/Ox- Aneignungen ästhetischer Formen und medi- ford: Oxford University Press 2016, S. 322–337 aler Praktiken aus dem Bereich der musikalis- (Oxford Handbooks.). chen Avantgarden basierte und die Produk- tion auditiver Zukunftsvisionen damit der In 1960, cinema critic Jonas Mekas welcomed gleichen ideologischen Struktur folgte, die der the advent of the New American Cinema, frontier-Mythos auf der Handlungsebene im praising the wave of independent movies pro- Rahmen der fiktiven Eroberungen des Wel- duced in late 1950s for their casual and frag- traums einnahm. mentary nature. The key feature of these productions, which was particularly remarkable Vondrak, Antonia: Silvestre Revueltas: Innova- in the case of two major features—Shadows by tive Filmmusik. In: Österreichische Musikzeit- John Cassavetes and Pull My Daisy by Alfred schrift (ÖMZ) 59,10, 2004, S. 19–30. Leslie and Robert Frank—was an anti-Holly- S. auch unter Teibler-Vondrak. wood style that relied on improvisatory practices affecting all structural levels: from the acting to the montage, from the photography Vuoskoski, Jonna K. / Eerola, Tuomas: The to the soundtrack. The style of this “sponta- pleasure evoked by sad music is mediated by neous cinema” was a pastiche of multiple im- feelings of being moved. In: Frontiers in Psy- provisatory practices, borrowed from bebop, chology 8, 2017, S. 439ff, [URL]. beat poetry, and Stanislavsky’s acting techniques, which defied traditional cinematographic narratives. A close analysis of Shad- ows and Pull My Daisy reveals the multiple forms of improvisation that shaped these movies’ “spontaneous poetics” and the ways – W – in which they both managed to bring improvisation into film art. Wager, Jans B.: Jazz and Cocktails: Rethinking Race and the Sound of Film Noir. Austin: Uni- Volmar, Axel: Klanglandschaften der new fron- versity of Texas Press, 2017, x, 163 S. tier. Auditive Zukunftsvisionen und das Ver- Explores the use of jazz in film noir, from its hältnis zwischen Avantgarde und Kulturindis- early function as a signifier of danger, sexual- trie im US-amerikanischen Science-Fiction- ity, and otherness to the complex role it plays Film. In: Act: Zeitschrift für Musik & Perfor- in film scores in which jazz invites the specta- mance 6, 2015, 20 S.; [URL]. tor into the narrative while simultaneously transcending the film and reminding viewers Der Beitrag thematisiert produktionsästhetis- of the world outside the movie theater. Jans B. che Strategien zur Darstellung auditiver Wager looks at the work of jazz composers Zukunftsvisionen im US-amerikanischen Sci- such as Miles Davis, Duke Ellington and Billy ence-Fiction-Film. Diese werden speziell an- Strayhorn, Chico Hamilton, and John Lewis hand narrativer Wiederaufrufe des frontier- as she analyzes films including Topos behandelt, in denen insbesondere das Sweet Smell of Weltall zum Imaginationsraum einer letzten Success, Elevator to the Gallows, Anatomy of a , and consid- bzw. “New Frontier” “stilisiert wurde, denn Murder, Odds Against Tomorrow ers the neonoir . Wager der frontier-Mythos stellt bis heute das American Hustle demonstrates how the evolving role of jazz in maßgebliche Szenario dar, in dem wissen- film noir reflected cultural changes instigated schaftlich-technischer Fortschritt im öf- by black social activism during and after fentlichen Diskurs der USA verhandelt wird. World War II and altered Hollywood’s stan- Anhand von Filmbeispielen aus den 1950er dard representations of the social world. bis 1980er Jahren wird untersucht, auf welche Weise musikalische und akustische Signa- turen zur Markierung unbekannter Zukünfte Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 187

Walden, Joshua S.: Lip-sync in Lipstick. 1950s focuses on the sonic power of characters rep- popular songs in a television series by Dennis resenting those whose voices have all too of- Potter. In: The Journal of Musicological Research ten been drowned out. Understanding Sound 27,2, 2008, S. 169–195. Tracks Through Film Theory is both rigorous and accessible to all students and scholars In the 1993 television production Lipstick on with a grasp of cinematic and musical struc- Your Collar, screenwriter Dennis Potter fore- tures. Moreover, the book brings together film grounds popular 1950s rock-and-roll hit studies, musicology, history, politics, and cul- songs, creating what he has called a “home- ture and therefore resonates across the liberal made musical.” Characters break out in song – arts. but instead of singing, they move their General Introduction – Part mouths in synchrony with the voices of pop Inhaltsübersicht: One: Genre Studies – Part Two: Postcolonial- idols. A study of the effects of Potter’s tech- ism – Part Three: Feminism – Part Four: Psy- nique, with help from the literatures of opera choanalysis – Part Five: Queer Theory – Coda and film theory and the history of ventrilo- – Select Filmography – Further Perceiving – quism, shows that the songs in Lipstick on Select Glossary – Index. Your Collar gain fresh meaning in their new context through the medium of lip-syncing, becoming spontaneous expressions of the Walker, Elsie: Hearing Haneke: TheS ound characters’ psychologies. (Vorlage) Tracks of a Radical Auteur. New York: Oxford University Press 2018, x, 221 S. (The Oxford Walker, Alison Tara: Toward a theory of me- music/media series.). dieval film music. In: Medieval Film. Ed. by Inhalt: Introduction: Hearing Haneke through Anke Bernau & Bettina Bildhauer. Manchester/ the critical ruckus – The Seventh Continent: New York: Manchester University Press 2009, the noises of consumerism, the music of S. 137– 157. something more – Funny Games: amplifying violence, the violators, and the victims – Code Unknown: sonically representing social divi- Walker, Elsie: Understanding Sound Tracks sions, diversity, and hope – The Piano Teacher: Through Film Theory. New York/Oxford: Oxford musical beauty without transcendence – University Press 2015, ix, 435 S. Caché: the postcolonial resonance of silences [B]reaks new ground by redirecting the argu- and saying “nothing” “– The White Ribbon: ments of foundational texts within film the- hearing Symbolic oppression and the Real in ory to film sound tracks. Walker includes sus- rebellion – Amour: the screams of life an- tained analyses of particular films according swered with love. to a range of theoretical approaches: psycho- analysis, feminism, genre studies, post-colo- nialism, and queer theory. The films come Wallengren, Ann-Kristin/ Donnelly, Kevin J.: from disparate temporal and industrial con- Music and the Resurfacing of Silent Film: A texts: from Classical Hollywood Gothic melo- General Introduction. In: Today’s Sounds for drama (Rebecca) to contemporary, critically- Yesterday’s Films: Making Music for Silent Cin- acclaimed science fiction (Gravity). Along ema. Ed. by Donnelly & Wallengren. Basing- with sound tracks from canonical American stoke/New York: Palgrave Macmillan 2016, S. films including The Searchers and To Have and 1–9 (Palgrave Studies in Audio-Visual Cul- Have Not, Walker analyzes independent Aus- ture.). tralasian films: examples include Heavenly Creatures, a New Zealand film that uses music to empower its queer female protagonists; Wang, Shuang: Musicking the body. Dual cre- and Ten Canoes, the first Australian feature ativity in the score for King Hu’s Raining in film with a script entirely in Aboriginal lan- the Mountain (1979). In: Music and the Moving guages. Understanding Sound Tracks Through Image 11,3, 2018, S. 22–39. Film Theory thus not only calls new attention In 1979 Wu Dajiang wrote the score to King to the significance of sound tracks, but also Hu’s film Raining in the Mountain, which en- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 188

gages with the filmic presentation of the bod- theless his first appearances on-screen were ies embedded in the religious and cultural crucial to get nationwide attention. With the landscapes. This article seeks to explore the help of his impresario Irving Mills, he was the bodily rhythm and narrative of the film and first African American musician to be fea- the way they express Buddhist ideals. (Vor- tured in ‘white’ major Hollywood produc- lage) tions. Ellington was a visionary as a musician and as an entrepreneur. He also used his growing popularity to promote an image of Watanabe, Chumei: Sakkyokuka Watanabe African American culture and dignity that Chumei. Ed. Atsushi Kobayashi. [渡辺宙明: 作曲 was completely different from the racist 家渡辺宙明. 小林淳編]. Tōkyō: Waizu Shuppan clichés that were cultivated in minstrel or 2017, 379. blackface. Ellington managed to keep his band together even in the late 1940s when In japan. Schrift. – Autobiographie des japan. most other big bands had to give up. His sen- Filmkomponisten Chumei Watanabe (*1925; sational comeback concert in Newport 1956 [URL]). – Mit Liste seiner Video- und Musik- catapulted him into new stardom and with arbeiten. this he became interesting again for Holly- wood. In 1959 he was assigned by Otto Pre- Watts, Catrin: Blurred lines. The use of diegetic minger to score his courtroom drama and nondiegetic sound in Atonement (2007). In: Anatomy of a Murder (1959). With this, he was the first African American to write a non- Music and the Moving Image 11,2, 2018, S. 23– diegetic film score for a major Hollywood fea- 36. ture film. Some films such as Black and Tan Zu Joe Wrights Spielfilm Atonement [Abbitte]. Fantasy (Murphy, 1929) or Anatomy are dis- This paper will focus on Atonement and how cussed in detail. the sound world is so inexplicably linked to our interpretation of events. In particular, I will investigate how the typewriter acts as a Wegele, Peter: Max Steiner: Composing, “Casa- pivot between diegetic sound and nondiegetic blanca” and the Film Music of the Golden Age. music. What becomes clear in Atonement is Lanham/Boulder/New York: Rowman & Little- that the typewriter sound is indicative of an field 2014, x, 259 S. imagination running wild. It is initially con- Wegele unveils the man behind dozens of nected to Briony in the opening scene, but it memorable scores, offering a portrait of the is also used when Robbie types his explicit composer from a personal and professional letter to Cecilia, Briony’s older sister. To aid point of view. Beginning with background on his writing, Robbie puts Puccini’s “O Soave the history and techniques of film music, Fanciulla” “on the record player, but as he Wegele then examines Steiner’s musical inno- pours his desire onto the page, the sound of vations, some of which are still used today. the typewriter and the record blur the lines This is followed by a thorough analysis of one between diegetic and nondiegetic sound, of Steiner’s legendary scores – the music to thereby calling into question what Robbie can Casablanca. More than eighty transcribed mu- and cannot hear. This is not the only occur- sical examples demonstrate how efficient, mu- rence of this technique, and just as the type- sically clever, and tremendously skilled the writer acts to blur the lines between diegetic composer was when he wrote this score. sound and nondiegetic music, so too does the Drawing on quotes, notes from production film blur the lines between reality and fiction. files, and excerpts from the original script for Casablanca, Wegele provides insight not only into the production history of the film, but Wegele, Peter: Duke Ellington, the film com- also into the workings of Hollywood during poser. In: The Soundtrack 6, March 2014, S. 83– the Golden Age. 94. In the quantity of Duke Ellington’s oeuvre, his film music is only a small aspect. Never- Weinberg, Robert: Classic FM – The Friendly Guide to Film Music. London: Hodder 2009, xi, Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 189

177 S. the moving images and the cinematic narratives throughout the decades. It was in- Repr.: . New York: Elliott & Thomp- Film Music evitable that these two iconic art/entertain- son 2015, 110 S. (Classic FM Handy Guides). ment forms, jazz and cinema, should meet, blend, cooperate, and have a reciprocal influ- Weindl, Florian: Filmmusik und Emotionen: ence. While the early film music was mostly symphonic and inspired by the late-romantic Zum Einfluss von Instrumentalmusik auf die Re- nineteenth-century idiom, jazz and Afro- zeption. München: AVM – Akademische Ver- American music – in various form and with lagsgemeinschaft München 2013, 143 S. diverse and changing racial/social connota- Eine zentrale Funktion ist die emotionale Sti- tions – appeared onscreen even before the mulation der Zuschauer. Um die Hintergrün- landmark film The Jazz Singer (1927), which de dieser Wirkung zu verstehen, werden in officially launched the sound era. dieser Forschungsarbeit physiologische und Inhalt: Emile Wennekes / Emilio Audissino: psychologische Grundlagen zusammengetra- Prologue: A Reel Jazz Survey / ix. – gen und mit dem Konzept von Emotionen und Rendition / Reception: – Emile Wennekes: Out musikalischem Ausdruck verknüpft. Was of Tune? Jazz, Film and the Diegesis / 3. – Emotionen sind und welche Bedeutung ihre Phillip Johnston: Jazzin’ the Silents: Jazz and mediale Vermittlung für die Gesellschaft hat, Improvised Music in Contemporary Scores findet sich hier ebenso wie die Geschichte der for Silent Film / 19. – Luca Stoll: Cinema: A Filmmusik, ihre Funktionen und Formen. Privileged Way of Acquiring Intimacy with Jazz Standards / 33. – Marida Rizzuti: Play, My Fiddle, Play! Jazz and Klezmer at the End Welker, Lorenz: Genie, Wahnsinn, Musik und of the 1930s / 51. – Randall Cherry: Ethel Wa- Psychoanalyse. Überlegungen zu Bernard Ro- ters and the Search for Racial Redemption / ses Beethoven-Film ›Immortal Beloved‹. In: 67. – Jazz and National Cinemas: – Emilio Au- Psychosozial 33,2, 2010, S. 59–70. dissino: The Multiform Identity of Jazz in Hol- lywood: An Assessment through the John Wennekes, Emile: Betty meets Cab. The hi-de- Wilhams Case Study / 85. – Nicolas Pillai: Rhythms of the Everyday: An Alternative ho man animated. In: From Stage to Screen: Mu- History of the British Jazz Film / 99. – sical Films in Europe and United States (1927– Philippe Gonin: Jazz and Cinema: Which Jazz . Ed. by Massimiliano Sala. Turnhout: Bre- 1961) for Which Movies in France from 1945 to the pols 2012, S. 289–296 (Specvlvm mvsicae: Pub- early 1960s? / 115. – Julio Arce / Celsa lications of the Pietro Antonio Locatelli Foun- Alonso: From the Chotis to the Charleston: dation. 19.). Jazz in Spanish Films prior to the Civil War / 133. – Roberto Calabretto: Jazz Music in Wennekes, Emile / Audissino, Emilio (eds.): Michelangelo Antonioni’s Films / 153. – Cinema Changes: Incorporations of Jazz in the Willem Strank: When Jazz Meets German Film Soundtrack. Turnhout: Brepols 2019, xxvi, Cinema: A Brief Overview / 169. – Jason R. 334 S. (Specvlvm mvsicae: Publications of the Hillebrand: A Song Helps Us Live: The Narra- tive Function of Jazz in the Soviet Musical Pietro Antonio Locatelli Foundation. 34.). Film Jolly Fellows / 189. – Case Studies: – Cinema is the form of entertainment that can Francesco Finocchiaro / Leo Izzo: The Sound be, above all, identified with the twentieth of the Nightmares: On the Jazz Music in Fritz century. It gradually replaced theatre as a Lang’s Metropolis / 203. – Ryan Patrick Jones: popular form of performed storytelling, and Dignity in the Twilight of Minstrelsy: Race, replaced opera too as the new “multimedia” Nuance, and Aspiration in Duke Ellington’s art form, soon incorporating music as one of Symphony in Black: A Rhapsody of Negro Life / cinema’s privileged means to co-tell stories. 219. – Adam Biggs: The Blues and Dissonance Speaking of music, jazz was as sensational a in Michelangelo Antonioni’s Blow-Up / 239. – twentieth-century novelty as cinema was. The Armando Ianniello: Umiliani, Trovajoli, and two soon teamed up, and jazz, with its vari- Rota: The Jazz Film Score of Boccaccio ’70 / ous incarnations and styles, has accompanied 253. – Marcel Bouvrie: Synergetic Jazz Score: Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 190

The Narrative ofthe Relation between the side other contributions to Tolkien’s world Diegetic and Nondiegetic Music in Whiplash / poses questions of authority, authenticity and 275. – Mervyn Cooke: ‘The Same Goddamn canon, finding that not every person’s Mid- Songs the Same Goddamn Way’? Makin’ dle-earth sounds the same. Results show that, Whoopee with The Fabulous Baker Boys / 291. for many, the world built by music functions as an imagined or spiritual hometo which they are transported and which provides nu- Wentz, Brooke / Battaglia, Maryam: Music merous personal and practical benefits. Rights Unveiled: A Filmmaker’s Guide to Music Rights and Licensing. New York/London: Rout- ledge 2018, x, 161 S. (American Film Market Whitmer, Mariana: Elmer Bernstein’s “The Mag- Presents.). nificent Seven”: A Film Score Guide. Lanham/ Boulder/New York/London: Rowman & Little- field 2017, xiii, 159 S. (Film Score Guides. 19.). Westermann, Kay: „Das Wirtshaus im Spes- sart“. In: Banter, H[arald] / Brandhorst, J[ür- Rev. (Musegades, Paula) in: Notes: Quarterly gen] / Braun, M[ichael] [u.a.]: Franz Grothe. Journal of the Music Library Association 75,3, München: Allitera Verlag 2019, S. 103–116 2019, S. 495–497. (Komponisten in Bayern: Dokumente musikalischen Schaffens im 20. und 21. Jahrhundert. Wiemers, Judith: „Flotte Lieder“. (Afro-)Ameri- 64.). kanische Idiomatik im deutschen Musikfilm. Zu Franz Grothes Musik für den Film Das In: Cinema, 62 (Thema:„Problemzone“), 2016, Wirtshaus im Spessart von Kurt Hoffmann S. 26–37. (BRD 1958). Zum Musikfilm der Nazizeit.

Wetterqvist, Anna: J:son: ett lätt turbulent por- Wiener, Oliver: „Wie ein fernes Echo, wie trätt. Täby: Skabetti Books & Agency 2016, 126 außerirdisches Rauschen“. Elektronische Musik S. + 1 CD. als Signatur imaginärer Räume im und hinterm Über den schwedischen Unterhaltungsmusi- Film. In: Wechselwirkungen: Neue Musik und ker und Komponisten von Filmmusik Björn Film. Hofheim am Taunus: Wolke 2012, S. 41– J:son Lindh (1944–2013); [Filmographie: URL]. 63. – Mit Interviews. Wierzbicki, James Eugene: Narrative cinema’s White, Daniel: Middle-earth music: The sonic “sounds of silence”. Variations on the POA. In: inhabitation of a fantasy world. In: Participa- Sound Studies 2,2, 2016, S. 137–150. 13,1, 2016, S. 488–511 (online). tions Cinema has often depicted situations in which This article seeks to provide a deeper under- a character encounters silence, but almost standing of the cultural inhabitation of imagi- never are these depictions actually silent. The nary worlds by examining the role that music complete muting of a soundtrack is a gesture and its consumption play in these processes. so disruptive of the movie-going norm that Focussing largely on Howard Shore’s music filmmakers, wisely, have seldom attempted it; for Peter Jackson’s two film trilogies set in filmmakers seeking to depict a dramatically Tolkien’s Middle-earth, the article relies on meaningful absence of sound have often re- data found through web ethnography and a lied extensively on a sonic presence. This es- researcher-designed questionnaire targeted at say focuses on three cinematic tropes in fans of the franchise. Soundtrack consump- which the idea of silence, or “quasi-silence”, is tion and listening practices are analysed to communicated by means of sound. One of identify how and why this film music is lis- these tropes deals with “quasi silence” “caused tened to, as are the ways in which music en- by environmental factors. Another trope, usu- ables a further sonic level of the inhabitation ally associated with fictional characters who of Middle-earth. Placing Shore’s music along- experience high trauma, deals with psycho- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 191

logically induced “quasi silence.” The third Alberto Iglesias: the Spanish composer behind trope, widely varied in execution yet consis- Pedro Almodóvar’s films / María Ángeles Fer- tent in affect, represents the point of view – rer-Forés – Johannes factotum: Jóhann or, rather, the point of audition – of filmic Jóhannsson / Vasco Hexel – Laura Rossi’s war characters whose “quasi silence” has neuro- musics / Kendra Preston Leonard. logical causes. (Vorlage)

Wierzbicki, James Eugene: Science fiction and Wierzbicki, James Eugene (ed.): Double Lives: its music. In: Lied und populäre Kultur: Film Composers in the Concert Hall. London/ Jahrbuch des Zentrums für Populäre Kultur und New York: Routledge 2019, xii, 254 S. Musik 64, 2019, S. 19–30. Collection of fifteen essays dealing with ‘iconic’ film composers who, perhaps to the Wierzbicki, James Eugene: Terrence Malick: surprise of many fans of film music, neverthe- Sonic style. New York/London: Routledge 2019, less maintained lifelong careers as composers xi, 127 S. (Filmmakers and Their Soundtracks.). for the concert hall. Featured composers include Erich Wolfgang Korngold, Franz Wax- man, Miklós Rózsa, Bernard Herrmann, Nino Wildgen, Wolfgang: Musiksemiotik: Musikali- Rota, Leonard Rosenman, and Ennio Morri- sche Zeichen, Kognition und Sprache. Würz- cone. Progressing in chronological order, the burg: Königshausen & Neumann 2018, 209 S. chapters offer accounts of the various com- Darin: Filmmusik oder die Integration von posers’ concert-hall careers and descriptions Musik, (bewegtem) Bild und Sprache (S. 107– of their concert-hall styles. Each chapter com- 112). pares the composer’s music for films with his or her music for the concert hall, and specu- lates as to how music in one arena might have Wilson, Alexandra: Unreliable authors, unreli- affected music in the other. For each com- able history: opera in Joe Wright’s adaptation poser discussed in the book, complete filmo- of Atonement. In: Cambridge Opera Journal 27, graphies and complete works lists are in- 2, 2015, S. 155–174. cluded as appendices. Inhalt: Erich Wolfgang Korngold: the last Zu Joe Wrights Spielfilm Atonement [Abbitte] prodigy / Brendan G. Carroll – The concert (2007). works of Georges Auric, 1945 to 1983 / Colin Roust – Looking for Mr. Hyde: Franz Wax- man’s musical activities beyond film / Inge- Windisch, Anna K. / Tieber, Claus: ‚Silent‘ borg Zechner – The double life of Miklós Films, Singing Voices: Vocal Accompaniment Rózsa’s Violin concerto and The Private life of in Viennese Moving Picture Exhibition, 1913– Sherlock Holmes / Stephen C. Meyer – 1923. In: Music and the Moving Image 8,1, Bernard Herrmann’s concert music, 1935 to Spring 2015, S. 19–36. 1975: an overview / Samuel Cottell – Nino Rota: neo-classicist, classical modernist, or Winters, Ben: Music, Performance, and the Re- pragmatic pluralist? / Carl Alexander Vincent alities of Film: Shared Concert Experiences in – Jerome Moross: the concert hall and stage Screen Fiction. New York/London: Routledge works / Mariana Whitmer – Don Banks: 2014, viii, 260 S. (Routledge Research in Music. Hammer horror and serial composition / Michael Hooper – Modern composer off the 9.). screen: Leonard Rosenman’s concert music / This book examines the relationship between Reba A. Wissner – The maestro of multiple narrative film and reality, as seen through the voices: the ‘absolute music’ of Ennio Morri- lens of on-screen classical concert perfor- cone / Felicity Wilcox – ‘I did it for fun’: An- mance. By investigating these scenes, wherein dré Previn, crossover musician / Frédéric the performance of music is foregrounded in Döhl – Wojciech Kilar: ‘I am like a Doctor the narrative, Winters uncovers how concert Jekyll and Mister Hyde’ / Bogumila Mika – performance reflexively articulates music’s Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 192

importance to the ontology of film. The book schichte der Deutschen und ihrer Musik vor. asserts that narrative film of a variety of aes- Sie widmet sich nicht nur Werken und Le- thetic approaches and traditions is no mere benswegen deutscher Komponisten und Mu- copy of everyday reality, but constitutes its siker, sondern erzählt die Geschichte vom own filmic reality, and that the music heard in bürgerlichen Konzert über den Wandel der a film’s underscore plays an important role in musikalischen Formen bis zur Bedeutung distinguishing film reality from the everyday. deutscher Musikvereine, von der Entstehung As a result, concert scenes are examined as der Orchester über den Instrumentenbau bis sites for provocative interactions between zur Geschichte des Musiktheaters, vom größ- these two realities, in which real-world musi- ten Heavy-Metal-Festival Wacken über die cians appear in fictional narratives, and an TV-Castingshows bis hin zu den Kuriositäten audience’s suspension of disbelief is prob- des deutschen Schlagers. Ob himmlisch oder lematised. In blurring the musical experiences käuflich, ob widerständig oder diktiert, ob ge- of onscreen observers and participants, these sellig, hymnisch oder komisch – Friederike concert scenes also allegorize music’s role in Wißmann entwirft ein einzigartiges, facetten- creating a shared subjectivity between film reiches und kluges Panorama des deutschen audience and character, and prompt Winters Klangs. (Verlag) to propose a radically new vision of music’s role in narrative cinema wherein musical underscore becomes part of a shared audio-vis- Wissner, Reba A.: We Will Control All That You ual space that may be just as accessible to the Hear: “The Outer Limits” and the Aural Imagi- characters as the music they encounter in nation. Hillsdale, NY: Pendragon Press, 2016, scenes of concert performance. vii, 241 S. (Music in Media Series. 3.) Inhalt: Introduction: Film and Reality – Part I: From 1963–1965, The Outer Limits, an anthol- The Real versus the Reel: 1. Real Performers: ogy television show co-created by Joseph Ste- The Musician as Actor – 2. Reel Performers: fano and Leslie Stevens, was broadcast on Fictional Music and Musicians. – Part II: Film ABC. Through the use of unconventional and and Life: The Mirror of Film: 3. Moments of newly invented instruments and household Desperation and Peril: Hollywood and Con- objects to produce unique sounds, the show cert Performance – 4. Fantasizing, Visualiz- not only looked different from most television ing, Miming: ‘Fictional’ Listening? – 5. Hear- of the time, but it sounded different as well. ing Symphonies Cinematically. – Part III: We Will Control All That You Will Hear: The Film’s Musical Identity: 6. The Concert as Outer Limits and the Aural Imagination, dis- Drama: Structuring and Shaping Narrative7 cusses the use of music within the series, of- Film Viewed from the Podium: Music and the fering multiple readings of the ways that mu- Ontology of Movies. sic is used. This book focuses not only on the ways that newly composed scores and stock music were utilized in the series, but also how Wißmann, Friederike: Deutsche Musik. Berlin: the music enhances and interacts with what Berlin-Verlag 2015, 510 S. we see and hear onscreen. Darin: Filmmusik / 249. – Was ist das Charak- Inhalt: 1. You Are About To Participate in a teristische an der deutschen Musik? Gibt es Great Adventure / 1 – 2. From Stoney Burke sie überhaupt? Welches Verhältnis haben die and One Step Beyond to The Outer Limits. Cue Deutschen zur Musik, und warum bedeutet Reuses / 33 – 3. From a Soft Blur to Crystal sie ihnen so viel? Das umfassende Standard- Clarity: Orchestration and Sound Design / 59 werk zu Mythos und Wirklichkeit der deut- – 4. The Scores of Dominic Frontière and schen Musik. Friederike Wißmann lässt die Robert Van Eps / 81 – 5. The Scores of Harry große Tradition von Bach bis Stockhausen le- Lubin / 153. – Appendix 1. Episode Informa- bendig werden. Volkslied, Schlager und Tanz- tion / 181. – Appendix 2. Recording Session musik finden ebenso Berücksichtigung wie Information / 203. – Appendix 3. Internal Nationalhymnen, Fußballgesänge, deutsche Flowchart for the First Season of The Outer Filmmusik in Hollywood oder Punk, Rock Limits / 211. und Techno. Die renommierte Musikwissen- schaftlerin legt eine große Mentalitätsge- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 193

Wlodarski, Amy Lynn: Musical Witness and years as a staff composer with the National Holocaust Representation. Cambridge/New Film Board of Canada (1947–76), scored the York: Cambridge University Press 2015, xvi, first generation of IMAX films, and created a 237 S. diverse catalogue of orchestral and chamber works. With the aid of extensive archival and Darin u.a.: 3. The composer as witness: Hanns documentary materials, They Shot, He Scored Eisler’s Film Score to Nuit et Brouillard (57– chronicles Rathburn’s life and works, begin- 91). ning with his formative years in Saint John, New Brunswick, and his breakthrough in Los Angeles in connection with Arnold Schoen- Wolf, Jonas: »add rhythm to rhythm 21«: berg and the LA Philharmonic Orchestra. The Bernd Thewes’ Musik zum abstrakten Film book follows his work at the NFB, his close Rhythmus 21 von Hans Richter. In: Seiltanz: encounters with some of the most celebrated Beiträge zur Musik der Gegenwart 12, April international figures in his field, and his col- 2016, S.1 19–32. laboration with the team of innovators who launched the IMAX film corporation. James Wood, Simon: Scoring The Body: Psychoanaly- Wright undertakes a close analytical reading sis, Image Schemata, and the Syntax of the Nar- of Rathburn’s film and concert scores to outline his methods, compositional techniques, rative Film Score. MA Thesis, Hamilton, On- influences, and idiosyncratic approach to in- tario, McMaster University 1999, 148 S. strumentation, as well as his proto-postmod- Through an application of the theories of ern proclivity for borrowing from diverse post-Freudien French psychoanalyst Jacques styles and genres. Authoritative and insight- Lacan and American philosopher Mark John- ful, They shot, he scored illuminates the ex- son’s theory of “image schemata,” “this thesis traordinary career of an unsung creative force will construct a methodology for the analysis in the film and music industry. (Vorlage) of narrative film music. An overview of the Inhalt: Introduction; 1. Formative Years: From relevant theoretical concepts is followed by il- Saint John to L.A. – 2. Early Years at the NFB: lustrative musical examples. The views of film 1945–1952 – 3 The Unit B Years: 1952–1964 – music composers, followed by a discussion of 4. Career Crescendo: From Labyrinth to the interaction of visual and musical stimuli, IMAX – 5. “Name Dropping”: Encounters will then serve as a foundation for the consid- with Schoenberg, Varèse, Ives, Thomson, eration of the role of a culturally dependent Sorabji, and Havergal Brian – 6. Covering His system of musical syntax in the construction Tracks: Rathburn’s Train Music – 7. Idiosyn- of meaning within a film score. Finally, the in- crasies and Fascinatin’ Rhythms: Music for teraction of these three concepts (psychoanal- Banjo, Jew’s Harp, Flexatone, Historical Key- ysis, image schemata and cultural syntax), is boards, and Calliope – 8. The Concert Music – demonstrated in an analysis of the musical 9. They Shot, He Scored: Looking Back and scores of two films: Star Trek 11: The Wrath of Looking Ahead. – Appendix I: Rathburn Fil- Khan (music by James Homer) and The Piano mography – Appendix II: Lists of Works – (music by Michael Nyman). Appendix III: Rathburn Discography – Notes – Bibliography – Index. Wright, James K. / Rogers, Allyson: They Shot, He Scored: The Life and Music of Eldon Rath- Wright, Julie Lobalzo: Crossover Stardom: Popu- burn. Montreal/Kingston/London/Chicago: Mc- lar Male Music Stars in American Cinema. New Gill-Queen’s University Press 2019, xix, 362 S. York/London: Bloomsbury Academic 2018, ix, Eldon Davis Rathburn (1916–2008), one of the 205 S. most multi-dimensional, prolific, and end- Focuses on male music stars who have at- lessly fascinating composers of the twentieth tempted to achieve film stardom. Crossover century, wrote more music than any other stardom can describe stars who cross from Canadian composer of his generation. During one medium to another. Although ‘crossover’ a long and productive career that spanned has become a popular term to describe many seventy-five years, Rathburn served for thirty Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 194

modern stars who appear in various medi- gebunden an ihre realen Milieus. Gleichwohl ums, crossover stardom has a long history, kann gezeigt werden, dass Militärmusiken im going back to the beginning of the cinema. Kino in höchst differenzierter Weise in die Lobalzo Wright begins with Bing Crosby, a dramatische Struktur von Filmen eingebun- significant Hollywood star in the studio era; den sind. In den meisten Fällen werden sie moving to Elvis Presley in the 1950s and schlicht reportiert, weil sie zu den natür- 1960s, as the studio system collapsed; to Kris lichen, kulturell vorgefundenen Elementen Kristofferson in the New Hollywood period of der dargestellten Welt zählen. In einer ganzen the 1970s; and ending with Will Smith and Reihe von Fällen aber werden sie mit subjek- Justin Timberlake, in the contemporary era, tiven Bedeutungen aufgeladen oder zu einem when corporate conglomerates dominate Hol- Argument der Tiefenideologien ihrer Texte, lywood. Thus, the study not only explores was zugleich Schlaglichter auf tiefere kul- music stardom (and music genres) in various turellen Bedeutungen von Militärmusiken eras, and masculinity within these periods, it wirft. (Autor) also surveys the history of American cinema from industrial and cultural perspectives, from the 1930s to today. Wulff, Hans J.: Finale all’opera: Wenn Filme Inhalt: Introduction – The crooner film star: opernhaft enden. In: Cinema (Zürich) 59, 2013, Bing Crosby – The rock ’n’ roll film star: Elvis S. 59–67. Presley – The country film star: Kris Kristof- ferson – The rap film star: Will Smith – The Wulff, Hans J.: Textsemantische Grundlagen pop film star: Justin Timberlake. der Analyse von Musikszenen und musikalis- Rev. (Kelly, Gillian) in: Historical Journal of chen Inserts. In: Kieler Beiträge zur Filmmusik- Film, Radio and Television 39,1, 2019, S. 196– forschung, 9, 2013, S. 224–292. 198. Wulff, Hans J.: Über das Ende der Erzählung Wulff, Hans J.: Affekträume. Filmmusik und hinaus... Filmmusik und die Finalisierung von die subtextuelle Charakterisierung der Figuren Texten. In: Archiv für Musikwissenschaft 70,1, der Handlung. In: Musik und Gefühl: Interdiszi- 2013, S. 1–16. plinäre Annäherungen in musikpädagogischer In conveying the story of a fictional reality in Perspektive. Hrsg. v. Martina Krause u. Lars which the viewer is from the outset invited to Oberhaus. Hildesheim: Olms 2012, S. 249–267. cognitively and emotionally participate, the successful transmission of narration-based texts is dependent on processes that forge hy- Wulff, Hans J.: Militärmusiken im dramatis- pothetical constructions and encourage the chen Feld des Spielfilms. In: Popularisierung viewer’s moral empathy with the main char- und Artifizialisierung in der Militärmusik. [Do- acters. At the story’s conclusion the narration kumentationsband zum gleichnamigen Sympo- is not merely extended but rather contextu- sium vom 6. bis 7. September 2011]. Hrsg. v. ally experienced within its dramaturgical and Michael Schramm. Bonn: Militärmusikdienst poetic boundaries. The article presents four der Bundeswehr 2012, S. 1–18. strategies of musically supported or music- Militärmusik taucht fast ausschließlich in Fil- based forms in a narrative film’s final scenes men auf, die im „Milieu des Militärischen“ in which they remain reflexively related to spielen oder die in einer erzählten Welt ange- the text, positioned, as it were, above the siedelt sind, in denen Militärs Machtpositio- story. nen innehaben. Wenige Beispiele, in denen der Auftritt von Militärkapellen zur Repräsen- Wulff, Hans J.: Ethnomusikologie – filmisch: tation staatlicher Macht gehören, ergänzen Neue Filme zur Erforschung nationaler und re- das Korpus. Militärmusik ist nicht „frei“, gehört nicht zum allgemeinen Repertoire von gionaler Musikkulturen. In: Kieler Beiträge zur Musiken, die auch als Filmmusiken verwen- Filmmusikforschung, 11, 2014, S. 333–379; det werden können, sondern sind oft stofflich [URL]. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 195

Wulff, Hans J.: Hybridität der Gattungen: ized projection, and self-representation. Schlagerfilm / Filmschwank / Schlagerfilm- schwank. In: Prekäre Genres: Kleine, periphere, minoritäre, apokryphe und liminale Gattungen, Wulff, Hans J.: Medialisierung der Musik und Formen und Spezies. Hrsg. v. Hanno Berger, Medienkritik im Schlagerfilm der 1950er Jahre. Frédéric Döhl u. Thomas Morsch. Bielefeld: In: Populäre Musikkulturen im Film: Inter- und transcript 2015, S. 217–236. transdisziplinäre Perspektiven auf Formen, In- halte und Rezeptionen des fiktionalen und dokumentarischen Musikfilms. Hrsg. v. Carsten Wulff, Hans J.: Körpertheater und Textseman- Heinze & Laura Niebling. Wiesbaden: Springer tik. Funktionskreise der Tanzszenen im Spiel- VS 2016, S. 291–308 (Film und Bewegtbild in film – von Top Hat (1935) bis Im Winter ein Kultur und Gesellschaft.). Jahr (2008). In: Sinnlichkeit und Sinn im Kino: Zur Interdependenz von Körperlichkeit und Tex- Collective tacit knowledge about the mediatization von popular music is integrated in rep- tualität in der Filmrezeption. Hrsg. v. Heinz-Pe- resentations of performances of popular ter Preußer. Marburg: Schüren 2015, S. 57–82 songs by showing technical elements of me- (Schriftenreihe zur Textualität des Films. 8.). dia distribution (like microphones, sound storage and recording media, life-broadcasts Wulff, Hans J.: Die Musiken des Alltags und etc.). der Krieg. Zu den Funktionen der Musik in Fil- men des Irakkriegs. In: Erzählungen und Ge- Wulff, Hans J.: Suprasegmentale Funktionen generzählungen: Terror und Krieg im Kino des der Filmmusik: Summaries und Rekapitulatio- 21. Jahrhunderts. Hrsg. v. Martin Seel u. Jochen : Schuff. Frankfurt/New York: Campus 2015, S. nen. In: Filmmusik und Narration Über Musik 215–239 (Normative Orders. 16.). im filmischen Erzählen. Hrsg. v. Robert Rabenalt & Manuel Gervink. Marburg: Tectum 2017, S. 179–203 (= Dresdner Schriften zur Wulff, Hans J.: Pathische Löcher: Schlagerfilm- Musik. 6.). tänze als adressierende Erlebnisform. In: Mon- tage AV 25,2, 2015, S. 83–96. Wulff, Hans J.: Vom Singen, vom Mechanis- chen und von den Emotionen. Überlegungen Wulff, Hans J.: Karaoke: Zwischen Kulturtech- zu Fernand Légers The Girl with the Prefabri- nik, kommunikativem Format und dramaturgi- cated Heart aus Hans Richters Omnibusfilm scher Praxis. Am Beispiel der Karaoke-Szenen Dreams That Money Can Buy (1947). In: Archiv im Film. In: Archiv für Musikwissenschaft 73,4, für Musikwissenschaft 75,3, 2018, S. 179–192. 2016, S. 306–327. Fernand Léger’s The Girl with the Prefabri- Karaoke singing is a cultural phenomenon cated Heart from Hans Richter’s episode that became popular in highly developed cap- movie Dreams that Money Can’t Buy (1947) italist societies in the 1970s. It establishes a connects the after-war reality to the impor- frame of musical acting in the public sphere tance of the mechanical and the dominant of leisure, and produces a collective immedi- role of objects in constituting the social world acy and conviviality in live audiences while in the avangarde projects of the 1920s. The highlighting the subjective disposition of the film combines these themes with the disinte- singer. Karaokists not only try to imitate their gration of the category of sovereignity of the chosen performer; they often generate an ob- subject and the substitution of the human by vious asthetic distance to the recorded song mannequin body. It is based on a popular through the use of exaggeration, overacting, dandy song performed by Libby Holman and and substandard vocals, thereby exploiting Josh White, two music stars of the 1940s, the music as a vehicle for their own subjec- telling a romantic love story with a fatal end- tive expression. Analyses of numerous karao- ing. The song is told in animated scenes of ke scenes from films seek to expose the corre- mannequin dolls and abstract paintings and lation between song, showmanship, personal- objects from Léger’s oeuvre, in the end un- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 196

folding to a collage of discursive differences nes Stück vom großen Glück. Der Film Mäd- like to popular vs. the avangardistic, the clash chen mit schwachem Gedächtnis (BRD 1956, between time concepts of music and image, Géza von Cziffra) im Kontext seiner Zeit / heteronomous concepts of femininity, love 221. and the narcisisstic, and changing relations between the real and the imaginary, especially in the pretended subjectivity of dream- ing.

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Wulff, Hans J. / Fischer, Michael (Hrsg.): Musik Yang Xuanhu: Zhōngguó diànyǐng yīnyuè gehört dazu: Der österreichisch-deutsche Schla- fāzhǎn yánjiū = Research on the Development of gerfilm 1950–1965. Münster: Waxmann 2019, Music in Chinese Film: Dàlù bùfèn] [杨宣华: 中 239 S. (Populäre Kultur und Musik. 24.). 国电影音乐发展研究 = Research on the Develop- Inhalt: Hans J. Wulff: Editorial: Schlagerfilme ment of Music in Chinese Film: 大陆部分[Main- im Kontext ihrer Zeit / 7. – Caroline Amann land China]]. Běijīng: Zhōngguó diànyǐng chū- & Hans J. Wulff: Figuren, Gattungen und Ho- bǎn shè [China Film Publishing House] 2014, 2, rizonte des Wissens und ihre Inszenierung im 2, 182 S. Schlagerfilm. Die Graf-Bobby-Filme / 21. – In chines. Schrift. – Inhalt: [Introduction. – 1. Stefanie Mathilde Frank: Plot gebraucht – The germination and rapid development of Musik neu? Schlager und Schlagerfilme in Chinese film music (1905–1949) – 1.1 Chinese den Remakes der 1950er Jahre / 31. – Réka silent film period music under the influence of Gulyás: Paprika Rock. Musikalische Ungarn- foreign culture (1905–1930) – 1.2 The first cli- bilder in deutschsprachigen Filmen der 1950er max of Chinese film music – Movie music in und 1960er Jahre / 51. – Lucian Schiwietz: the left-wing period (1932-1937) – 1.3 Musik aus dem südöstlichen Europa im deut- Wartime and Post-War Film Music (1937– schen und österreichischen „Heimatfilm“ 1949). – 2. Film Music in the “Seventeen nach 1945. Phänomene und Funktionen / 71. Years” Period (1949-1966) – 2.1 The renewed – Hans J. Wulff: Folklorisierung und Exotisie- glory of movie songs – 2.2 A new develop- rung des Regionalen. Hoch droben auf dem ment of film instrumental music – 2.3 The (BRD 1957, Géza von Bolváry) / 79. – Ga- Berg maturing film music creation team – 2.4 A briele Vogt: Touristische Sehnsuchtswelten conscious exploration of the national style of der Schlagerfilme / 95. – Michael Fischer: Me- film music. – 3. Film Music During the “Cul- lodie und Rhythmus. Selbstthematisierung ei- tural Revolution” (1966–1976) – 3.1 Model ner neuen Jugend- und Musikkultur in einem Opera Music – 3.2 Feature Film Music Cre- Peter-Kraus-Film / 111. – Detlef Arlt & Hans ation. – 4. New Era Film Music (1976–2013) – J. Wulff: Die Ambivalenz der Frauenrollen. 4.1 Recovery and Innovation of Film Music Das süße Leben des Grafen Bobby (Österreich (1976–1984) – 4.2 The film music of the fifth 1962, Géza von Cziffra) / 129. – Bernd Hoff- generation director – 4.3 Music in the Diver- mann: „Abfallprodukte des Jazzidioms“. sified Film Development Period (1990–2013). Schlager als Gegenwelten improvisierter – Conclusion.] Musik / 137. – Klaus Nathaus: How the hits got into the flicks. The production of Schlagerfilms in West Germany, 1955-1963 / Yeh, Yueh-yu: A Life of Its Own: Musical Dis- 153. – Martin Lücke: Schlagerfilmwirtschaft. courses in Wong Kar-Wai’s Films. In: PostScript Das Geschäft mit dem populären Lied / 177. – 19,1, Fall 1999, S. 120–136. Elisabeta Fabrici: Mehrfachpaarungen. So liebt und küsst man in Tirol (BRD 1961, Franz Marischka) / 193. – Theresa Georgen: Perlons Yeh, Yueh-yu: Historiography and Sinification: und Rüschen. Mode und Schlagerfilm am Bei- Music in Chinese Cinema of the 1930s. In Cin- spiel von Die süßesten Früchte (BRD 1953/54, ema Journal 41,3, 2002, S. 78–97. Franz Antel) / 207. – Hans J. Wulff: Ein klei- Sinification, in the sense of rendering Chi- Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 197

nese, or indigenizing a foreign medium, has been a dominant discourse in Chinese film historiography. This article analyzes film music in Chinese cinema of the 1930s and argues that sinification should not be taken as a natural or inevitable process but instead should be viewed as a conditional, negotiated prac- – Z – tice, subject to intertwined industrial and political mediations. Zacharopoulos, Konstantinos: Musical syntax in John Williams’s film music themes. In: Cole- Yeung, Ka Chung Lorraine: An Aesthetic of man, Lindsay / Tillman, Joakim (eds.): Contem- Horror Film Music. In: Film and Philosophy 23, porary Film Music: Investigating Cinema Narra- 2019, S. 159–178. tives and Composition. London: Palgrave Mac- millan 2017, S. 237–262. In this paper I develop an aesthetic of horror film music based on the film sound theorist Kevin Donnelly’s “direct access thesis”. This Zajceva, Marina Leonidovna / Michajlovna, Ti- states that horror film scores have the power tova Tat’jana: Chudožestvenno-ėstetičeskaja to provide “direct accesses” “to the bodies of specifika ispol’zovanija fortepiano v akustičes- an audience; they “produce bodily sensations, kom prostranstve kinomuzyki Džo Chisaiši excite (mainly negative) emotions and insert [Зайцева Марина Леонидовна / Михайлов- in the audience “frames of mind and atti- на, Титова Татьяна: Траектория науки: tudes...much like a direct injection”. I first ar- Международный электронный научный gue that two dominant theories in the field, журнал]. In: Traektorija nauki: Meždunarodnyj namely, the culturalist theory of film music ėlektronnyj naučnyj žurnal 2,12, 2016, Razdel and Peter Kivy’s cognitivist theory of music «Iskusstvovedenie», S. 7.1–7.12; [URL]. and emotion are inadequate. Then I will show that by aligning the direct access thesis with “Artistic and aesthetic specifics of using the Jenefer Robinson’s theory of music and emo- piano in the acoustic space of Joe Hisaishi’s tion, Mark Johnson and Steve Larson’s con- film music.” tention that musical meaning is primarily em- In kyrill. Schrift. – Abstract: The article ex- bodied, we will be able to reveal a deeper plains the problems of music functioning in meaning of horror film scores than musical the media text system, analyzes the stages of convention. I illustrate my proposal with the the creative collaboration of composer Joe Hi- shark motif in Jaws and Dies Irae in The Shin- saishi and director Hayao Miyazaki in the cre- ing. ation of animated films, highlights the most important events in the biography of [the] artists. On the example of the animated film Yokota, Koharu: “Robinfuddo no bōken” (1938): Spirited Away (2001), the peculiarities of inter- Ni okeru Korungoruto no eiga ongaku [横田小 action of music, voice and video in the series 遥: 『ロビンフッドの冒険』(一九三八年)におけ are revealed, the role of the piano in the るコルンゴルトの映画音楽]. In: Eiga-gaku [映 acoustic space of film music by Joe Hisaishi is 画学] 32, 2018, S. 27–35. defined. “Korngold’s film music for The Adventures of [USA 1938, Michael Curtiz & Wil- Robin Hood Zenck, Martin / Oy-Marra, Elisabeth: Stille und liam Keighley].” – In japan. Schrift. Explosion in Andrej Tarkovskij’s Film Nostal- gia. Das Echo altitalienischer Bilder und ihre Yokota, Koharu: “Arashi no seishun” (ichi kyū Resonanzen in Luigi Nonos ‘No hay caminos, shi ni) [横田小遥: 『嵐の青春』(一九四二)]. In: hay que caminar... Andrej Tarkovskij per 7 Eiga-gaku [映画学] 33, 2019, S. 16–25. cori’. In: Marschall, Susanne / Liptay, Fabienne (Hrsg.): Mit allen Sinnen: Gefühl und Empfind- “Korngold’s film music for Kings Row 1942 ung im Kino. Marburg: Schüren 2006, S. 305– [USA 1942, Sam Wood].” – In japan. Schrift. Filmmusik: Ergänzungen II (2014–2020) // Medienwissenschaft, 197, 2020 /// 198

319. Das goldene Zeitalter des italienischen Films. München: text+kritik 2008, S. 257–267. Zenck, Martin: acoustic turn – versus iconic turn. Über die subvokale Bedeutung der Musik Zuberi, Nabeel: The Transmolecularisation of im Stummfilm (Buñuel: Rihm/Kagel) und in [Black] Folk: Space is the Place, Sun Ra and Filmen von Jean-Luc Godard, Pier Paolo Pa- Afrofuturism. In: Off the Planet: Music, Sound solini und Andrej Tarkowskij. In: Petra Maria and Science Fiction Cinema. Ed. by Philip Hay- Meyer (Hrsg.): acoustic turn. München: Fink ward. Eastleigh: John Libbey Publishing 2004, 2008, S. 409–432. S. 77–95. U.a. zu John Coneys Film Space Is the Place Zenck, Martin: Das Heilige, die Gewalt und die (1974) über und mit dem US-amerikanischen Musik in Pasolinis Filmen Teorema und Medea. experimentellen Jazzmusiker, Komponisten, In: Thomas Koebner, Irmbert Schenk (Hrsg.): Poeten und Philosophen Sun Ra (1914–1993).