Music and the Moving Image XI DEPT. of MUSIC and PERFORMING ARTS PROFESSIONS Program in Scoring for Film and Multimedia MAY 27 – MAY 29, 2016 Conference Committee Ronald H. Sadoff, Gillian B. Anderson, Lea Jacobs, Emilio Sala, Liz Greene REGISTRATION Friday, May 27, 8:30am-1pm, Saturday, May 28, 8:30am-1pm, Sunday, May 29, 9am-1pm Lobby Frederick Loewe Theater, 35 West 4th Street - New York City *** Coffee available all-day Fri, Sat and Sun - 8th floor, Room 879 FRIDAY, May 27, 9:30AM - 11:00AM Frederick Loewe Theatre Welcome: Ron Sadoff and Gillian Anderson 1. MUSIC EDITING: PROCESS TO PRACTICE — BRIDGING THE VARIED PERSPECTIVES IN FILM-MAKING AND STORY-TELLING Nancy Allen FRIDAY, May 27, 11:30AM - 1:00PM 35 West 4th Street LOEWE 303 6th FLOOR 779 2. Chair: Ron Sadoff 3. Chair: Liz Greene 4. Chair: Gillian Anderson 5. Chair: Royal Brown Dave Ireland Lucas Bonetti Vivien Villani Lindsey Macchiarella Great Expectations? The Changing Hollywood Orchestrators and Relationships between Musical Forms Koyaanisqatsi in Photographic Role of Audiovisual Incongruence in Ghostwriters of the 1960s and 1970s: and Film Narrative Discourse: Lacunae in Music and Image Contemporary Multimedia The Case of Moacir Santos James Wierzbicki Rebecca Eaton Melinda Russell Matthew McDonald The ‘Code Song’ in Hitchcock’s The Musical Meta-Morphosis: Breaking Sing A Song!: Charity Bailey and Vicious Cycles: Sonic Structure in the Lady Vanishes the Fourth Wall Through Diegetic- Interracial Music Education on 1950s Coen Brothers’ Blood Simple Izing and Meta-Caesura NYC Television Olivier Bélanger Paula Musegades Aaron Manela Bach and Straub. Montage and Fugue Doing His Bit: Aaron Copland’s Film Lillie McDonough Articulating the “American-Latin” on Texture in the Movie Not Reconciled Score for Lewis Milestone’s The North Redefining Perspective in Atonement: Sesame Street: The Romance of Luis Star (1943) How Music Set the Stage for Modern and Maria Media Consumption FRIDAY, May 27, 2:00PM – 3:30PM 35 West 4th Street LOEWE 303 6th FLOOR 779 6. Chair: Gillian Anderson 7. Chair: Lea Jacobs 8. Chair: Miguel Mera 9. Chair: Robynn Stilwell Jan Philip Müller Lisa Scoggin Enoch Jacobus Kariann Goldschmitt Follow the Bouncing Ball! How the Grief, Myth, and Music in Tomm Choose your own Adventure—Sort of: Samba for Survival: Soundtracking Song Car-Tunes Assembled an Moore’s Song Of The Sea Soundtrack Choices in Beat Hazard Urban Violence in City Of God and Elite Audiovisual Rube-Goldberg-Machine Ultra Squad Maria Fuchs Daniel Batchelder Beth Carroll Veronika Bochynek Hans Erdmann, Ludwig Brav & the Mickey Mousing, Performance, and Courting and Creating Sonic Disgust Tap Dance on Screen: From Stylistic Cataloguing Practice of Germany’s Dramatic Integration in Disney’s Early in Alien: Isolation (Ps4, 2014) Variability to Cinematic Uniformity Silent Cinema Music: Two Animation Misremebered Followers of Hermann Danielle Wulf Emily Lane Kretzschmar Colleen Montgomery Celestial Transformations: Dancing with the Broadcast: Energetic Selling Singing Princesses: Female Signification in Remixes of the Star Interpretants on the Radio Leslie Sprout Vocal Performance in Frozen and Theme in Super Mario Realism in Theory and Practice in Brave Early Sound Film: The Case of Rapt (1934) FRIDAY, May 27, 4:00PM – 5:30PM 35 West 4th Street LOEWE 303 6th FLOOR 779 10. Chair: Marty Marks 11. Chair: Ron Sadoff 12. Chair: Kevin Donnelly 13. Chair: Liz Greene Gillian B. Anderson Kent Kercher Michiel Kamp Sarah Hall Silence Both Casual and Formal: The Wall·E-, Hipsters, and Me: Yearning Playing To What? Enabling Similarity Bumpers and the “Guzintos” and Influence of the Stereopticon, for Former Years (?) in Interactive Audiovisual Contexts “Guzoutos” of Television Advertising Travelling Film and Nickelodeon Breaks Shows on Musical Practices for the Michael William Harris William Gibbons Motion Picture Borrowing Beyond The Stars: James The Sounds in the Machine: Hirokazu Annette Davison Horner’s Music for Star Trek Ii and Iii Tanaka’s Cybernetic Soundscape for Listening to Shell’s [Films] Jim Buhler Metroid Cinematic Listening and the Early Nicholas Kmet Robynn Stilwell Talkie The Danger Theme: The Question of Jonathan Waxman Trope-Snatching: Musical Metaphor, Self-Plagiarism and Recycling Musical Playing Games / Playing Music: Genre, and Narrative in Invasion (2005- Daniel Goldmark Material in Film Music Amateur Musical Arrangements from 2006) Musical Stereotyping American Video Games Jewry in Early Film FRIDAY, May 27, 6:00PM – 7:30PM 35 West 4th Street LOEWE 303 6th FLOOR 779 14. Chair: Kevin Donnelly 15. Chair: Robynn Stilwell 16. Chair: Marty Marks 17. Chair: Elisabeth Weis Marko Rojnić Jessica Getman Hubert Bolduc-Cloutier and Dominique Hannah Bayley The Paradox of Film Music Creative Vision and Industry Practice: Nasta A Frightful Era: Early Developments of “Inaudibility”: Inattentional Making the Music of Star Trek Coming to Terms with Music as the Japanese Supernatural Horror Film Deafness, Subliminal Perception and Narrative Architecture: Jean Score Subsidiary Awareness Elizabeth Fairweather Grémillon’s Le Petite Lise and Daïnah Music, The Star Trek Brand, and How La Métisse (1930;1932) Caleb Freund Sonya Hofer Jerry Goldsmith ‘Made It So’ In Between the Lines of Dialogue: Viewing the Wrong Side of the Screen Laura Anderson Reading Ozu’s I Was Born, But… in Experimental Electronica Paul Sommerfeld Collaboration on an Adaptation: Remake, Good Morning, as a Japanese Performances Scoring Star Trek’s Utopia: Musical Jean-Pierre Melville’s Les Enfants Response to Sound Film Icons in Star Trek: The Motion Picture Terribles (1950) (1979) and Star Trek Ii: The Wrath Of Felicity Wilcox Erin Tomkins Khan (1982) From Film Song to Underscore and Brian Mann Modern Renaissance: The Music of Back: The Evolution of Song in A. R. Surviving a Director’s Whims: Jean Henry VIII for the 21st Century in Wolf Rahman’s Scores Wiener’s Score for Jacques Becker’s Hall Touchez Pas Au Grisbi (1954) 7:30PM - 9:00PM RECEPTION ROOM 303 SATURDAY, May 28, 9:00AM – 10:30AM 35 West 4th Street LOEWE 303 6th FLOOR 779 18. Chair: Gillian Anderson 19. Chair: Danijela Kulezic-Wilson 20. Chair: Ron Sadoff 21. Chair: Liz Greene Bob Gauldin James Gabrillo Liz Giuffre and Mark Thorley James Deaville Wagner in Mayberry: Leitmotific The Rapper is Present: Sound Art, Evoking Unease, Discomfort and Recut and “Re-Tuned”: Music in Fan- Transforms in Earle Hagen’s Music Liveness, and Identity in Jay Z’s Violence through the Singing Voice Produced Parody Trailers for the Andy Griffith Show Picasso Baby Music Video Troy Armstrong William Cheng (presented by Frank Kristi Brown-Montesano Paula Harper Terror-Filled: The Sound and Lehman) Wagner’s Ring and Lars Von Trier’s Waking Up in a Post-Beyoncé World: Narrative Architecture of the Monster Taking Back the Laugh “Depression Trilogy” How Social Media ‘Techniques of the Movie Now’ Exploded a 2013 Concept Album David Clem Naomi Graber Paula Bishop “O Fortuna” and the “Epic” in Emily Caston Horrific Identification: Steve Reich's ‘Sincerely Faking It': Re-Embodying Contemporary Media The First Cut is the Deepest: Editing "Three Movements For Orchestra" in the Voice in Lip Sync Battle Practices in British Music Video Before The Hunger Games and Since MTV SATURDAY, May 28, 11:00AM – 12:30PM 35 West 4th Street LOEWE 303 6th FLOOR 779 22. Chair: Gillian Anderson 23. Chair: Krin Gabbard 24. Chair: Kevin Donnelly 25. Chair: Ron Sadoff Michael Baumgartner Visnja Krzic Guan Wang Steven Rahn Luchino Visconti’s “Senso” (1954) Music Video Influence on Audiovisual Be Cautious of that Lust: Music, Fate Elemental and Corruptible: The Sound and Anton Bruckner’s Seventh Relationships in Darren Aronofsky’s and Sadomasochism in Ang Lee’s of Empowerment and Moral Conflict in Symphony as a Symbol for Austrian Early Films Lust, Caution The Dark Knight Trilogy Domination over Italy Charissa Noble Stefan Greenfield-Casas Frank Lehman Maurizio Corbella ‘The Migration of Consciousness’: Art or Action? Oneness and Dualityi Maximalism, Masculinity, and Which People’s Music? Witnessing Understanding Robert Ashley’s Perfect In Tan Dun’s Martial Arts Trilogy Militainment: Pinpointing the Zimmer the Popular in the Soundscape of Riso Lives through Music Video Aesthetic Amaro Reba Wissner Georgia Luikens Japanese, Chinese, Or Mongolian? Sergi Casanelles Transposing Opera: Yiddish and Emilio Sala Musical Codes, Pan-Asianness, and The Organ in Interstellar’s Soundtrack: Romani Arias in Sally Potter’s The Palimpsest, Plagiarism, and Music Supervision in Stock Music of A Case Study for Scoring Mediation: The “Acoustical Man Who Cried the 1960’s Transcendence in a Postmodern Society Unconscious” of Fellini and Rota’s Cinematic Rome 12:30 - 2:00 LUNCH ***see the bottom of abstracts for a presentation on Leroux’s Le Fantôme de l’Opéra (1909-10) SATURDAY, May 28, 2:00PM – 3:30PM 35 West 4th Street LOEWE 303 6th FLOOR 779 26. Chair: Liz Greene 27. Chair: Ron Sadoff 28. Chair: Gillian Anderson 29. Chair: Elisabeth Weis Lea Jacobs Jennifer Roberts Brooke McCorkle Brian Jarvis Rethinking the Sync: Adorno, Eisler Murdock’s Guide to Hell’s Kitchen: Defining Japan’s Musical Other: Binding Ensemble Casts with Static and Eisenstein Narrative Sound Design in Daredevil Ifukube Akira’s Score for Mosura Tai Cues: Paul Thomas Anderson’s (2015) Gojira (1964) Magnolia (1999) and Boogie Nights Bradley Spiers (1997) Camera Musica: Spike Jonze’s Her David Heinsen Alexander Binns and the Ontology of a Musical Re-Signifying Goldberg: Hannibal Mixing Tradition and Modernity: Meghan Tozer Photograph Lecter’s Leitmotif as an Affiliating Musical Style and Editing in Ichikawa Filmmaking “From the Gut”: How Paul Identification Kon’s An Actor’s Revenge Thomas Anderson Created Magnolia from Aimee Mann’s Songwriting Voice Bruce MacIntyre Sierriana Terry Melodies That Haunt in Val Lewton’s The Role of Cultural Appropriation in Kristy Swift Horror Films Shiro Sagisu’s Music for Bleach Dissonant Dissidents: George Frideric Handel’s Music in Three Cinematic Mad Scenes SATURDAY, May 28, 4:00PM – 5:30PM 35 West 4th Street LOEWE 303 6th FLOOR 779 30.