Each Chapter opens with an Introduction. Preface Introduction PART I: THE SOUND TRACK AND FILM NARRATIVE: BASIC TERMS AND CONCEPTS CHAPTER 1: THE SOUND TRACK AND NARRATIVE Basics: Image Track, Sound Track, Narrative Sound Track Components and Narrative Speech Sound Effects Music Example for Sound Track Components and Narrative (1): Sleepless in Seattle, Second Botched Meeting Example for Sound Track Components and Narrative (2): Good Will Hunting, Boston Common Scene Summary Exercise: Masking Exercise: Using an Analysis Checklist TERMINOLOGY THE MUSICALITY OF THE SOUND TRACK: CONCEPTS Music and Sound Tempo Rhythm and Meter Volume Timbre Filters and Distortion Pitch Orchestration Timbre and Sound Texture Density and Liveliness Monophony Homophony Melody and Accompaniment Polyphony A-melodic (Accompaniment without melody) Texture and Foreground/Background Functions Example for Sound Track Analysis Using Musical Terms (1): Trzy Kolory: Bialy (Three Colors: White), The Shooting Example for Sound Track Analysis Using Musical Terms (2): Atonement, Main-Title Sequence and First Scene Summary Exercise 1: Analysis of Sound Track Elements (After Altman, Jones, and Tatroe) Exercise 2: Using Graphic Displays for Sound (After Wierzbicki) PTS AND TERMINOLOGY, SOUND, AND THE SPACE OF NARRATIVE: Diegetic/Nondiegetic Music and Narrative Example for Diegetic and Nondiegetic Music: Glory, Boston Party scene Onscreen/Offscreen Sound and Music Offscreen Sound Onscreen/Offscreen Sound Interaction: Examples Ambiguity of Offscreen Sound: Underdetermination of Sound Point of View Sound Offscreen Sound and Music in Relation to the Diegesis Voice-over Audio Dissolve Mickey-Mousing: Music as Effects Sweetener The Acousmetre (Acoustical Being) Summary Exercise 1: Using an Events Table Exercise 2: Using an (Updated) Analysis Checklist Transitions: The Sound Bridge and Hard Cuts Sound Advance Sound Lag Sound Link Sound Match Hard Cut Synchronization (Playing with the Film) Example for Synchronization: Casablanca, Rick and Ilsa Meet Counterpoint (Playing against the Film) Summary Example for Synchronization and Counterpoint: Casablanca, After-Hours Scene Summary Exercise: The Commutation Test ION TERLUDE: WRITING ABOUT FILM SOUND: ANALYSIS AND Analysis Report: Catch Me If You Can Overview 1. Background 2. Synopsis 3. Music Cues 4. General Description of the Sound Track Elements and their Balance 5. General Evaluation of the Sound Track 6. Description of Music's Narrative Functions Response Paper that Describes Music's Narrative Functions Compare and Contrast Paper Focusing on Music Concluding Comments PART II: MUSIC, FILM FORM, AND FILM STYLE Runtime SegmentationIN FILM FORM Synch Points and Audiovisual Phrasing Examples for Music in Film Form Lady Windermere's Fan Mildred Pierce Rashomon Psycho The Birdcage The Hours Summary Establishing SequenceN MAIN-TITLE AND END-CREDIT SEQUENCES Meet Me in St. Louis, Titles and Opening Scene Rashomon, Prologue and Title Sequence The Sound of Music, Overture and Title Sequence Out of Africa, Music in the Main-Title Sequence To Kill a Mockingbird, Music in the Main-Title Sequence Additional Examples End-Credit Music Films from 1939, End Credits Out of Africa, Final Scene and End Credits Bridget Jones's Diary, End-Credits Sequence Additional Examples Summary Performance SceneIC IN PERFORMANCE AND MONTAGE SCENES To Have and Have Not, Am I Blue? The Sound of Music, The Laendler (as Dance Scene) The Sound of Music and Grease, Two Larger Performance Numbers Additional Examples Montage or Fantasy Scene Gone with the Wind, Montage Sequence in the Prologue to Part 2 Pride & Prejudice, Three Montage Sequences Bridget Jones's Diary, Out of Reach and I'm Every Woman Additional Examples Summary Style Topics and the LeitmotifHE SOUND TRACK Introduction: Theme, Motif, and Motive Love Themes The Leitmotif Style Topics Musical Styles Location and Stereotype Style Topics in Rebecca A Note on Sound Topics Summary Dialogue SceneMUSIC IN CHARACTER AND ACTION SCENES Rebecca, Terrace Scene Additional Examples Action Scene Wo Hu Cang Long (Crouching Tiger, Hidden Dragon), Theft of the Sword The Matrix, Trinity in a Jam Additional Examples Love Scene Out of Africa, On Safari: The Second Dinner The Sound of Music, The Laendler (as Love Scene) Shadowlands, Four Scenes Summary RLUDE: WRITING ABOUT FILM MUSIC: INTERPRETATION Developing a Reading (1): Finding a Thesis Thesis Options for Catch Me if You Can Examples from the Published Literature Developing a Reading (2): Reading against the Grain Example: Casablanca against the Grain Summary PART III: THE SOUND TRACK: A TECHNOLOGICAL HISTORY The Early YearsMUSIC AND SOUND IN THE SILENT ERA (1895-1929) The Nickelodeon Playing the Picture Special Scores The Picture Palace Stratification of Exhibition The Show Music and Sound Production in the Picture Palace Fitting the Picture Special Scores in the 1920s Road Shows Music on the Set Summary A Note on the Music for Silent Film Releases to VHS and DVD CHAPTER 11: THE TRANSITION TO SOUND FILM (1926-1932) Issues of Teschnology and Economics Sound Research in the 1920s Sound Film and the Standardization of Exhibition Sound and the Feature Film, 1927: The Jazz Singer The Transition from Silent to Sound Film Types of Early Sound Film Musicals in Early Sound Film Mastering the Sound Track and Elements of Style Production Production Phases Music Department Sound Department Summary CHAPTER 12: MUSIC AND THE SOUND TRACK IN THE CLASSICAL STUDIO ERA Issues of Technology and Economics Improvements in Recording Technology Rerecording Sound in the Theaters of the 1930s and 1940s The Great Depression and the Consolidation of Genres The Sound Track in the Studio Era and Elements of Style The Classical System Foreground and Background Background(ed) Music and the Sound Track Scoring Practices Production Production Phases Music Department Sound Department Summary CHAPTER 13: THE STEREO SOUND TRACK AND THE POST-CLASSICAL ERA (1950-1975) Issues of High Fidelity and Stereo Sound Legal and Economic Challenges to the Industry Widescreen and Stereo Formats Magnetic Tape in Production and Postproduction Issues of Stereo Analysis: The Robe Stereo and Space Stereo Sound, Magnetic Tape, and Elements of Style Issues of Aesthetics Scoring Practices Main Theme from High Noon Popular Song and the Underscore Soundtrack Albums Importance of Recordings Relation to the Musical Scoring with Recordings Production Production Phases Music Department Sound Department Summary ENCE OF SOUND DESIGN (1975-2000), DOLBY STEREO, AND THE Issues of Technology and Economics The New Hollywood and Saturation Booking Sound in the Multiplex Dolby Stereo in the Theaters Home Video and Limitations of Television Sound Design and Elements of Style Issues of Aesthetics: Sound Design Aesthetics and the Stereo Field Scoring Practices Aesthetic Issues of Cross-Marketing and Promotion Music Video Style Production Production Phases Music Department Sound Department Summary CHAPTER 15: MUSIC AND FILM SOUND TODAY Introduction: The Digital Era Issues of Technology and Economics Digital Sound Digital Sound Formats Video, DVD, and Television Technologies The Multiplex Palace Digital Sound and Elements of Style Issues of Aesthetics Scoring Practices The Rise of Rap Production Production Phases Music Department Music Production Music Postproduction Sound Department Production Sound Postproduction Dialogue Foley Effects Sound Effects Summary Afterword Glossary Notes Credits Index
