Review of James Buhler, Caryl Flinn, and David Neumeyer, eds. 2000. Music and Cinema. Middletown: Wesleyan University Press

The publication of Music and Cinema reflects the growing interest among musicologists in studying intersections of music and film, i.e., the soundtrack with its simultaneous images. Scholarship concerning music and film, which enjoyed its most vigorous growth spurt from the mid-1980s into the mid-19...

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Main Author: Katherine McQuiston
Format: Article
Language:English
Published: Columbia University Libraries 2000-02-01
Series:Current Musicology
Online Access:https://journals.library.columbia.edu/index.php/currentmusicology/article/view/4811
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author Katherine McQuiston
author_facet Katherine McQuiston
author_sort Katherine McQuiston
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description The publication of Music and Cinema reflects the growing interest among musicologists in studying intersections of music and film, i.e., the soundtrack with its simultaneous images. Scholarship concerning music and film, which enjoyed its most vigorous growth spurt from the mid-1980s into the mid-1990s, seems to be largely motivated by three interlocking concerns: establishing the soundtrack as an indispensable component in film analysis, a field in which visual elements have always been favored; describing, analyzing, and categorizing the ways in which music bears upon understandings of film; and championing the composers of original scores who, until the appearance of this kind of literature, have not received due recognition for their achievements.
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spelling doaj.art-9ce37210dd6d435fa5c7eb24571e59062022-12-22T01:22:52ZengColumbia University LibrariesCurrent Musicology0011-37352000-02-017010.7916/cm.v0i70.4811Review of James Buhler, Caryl Flinn, and David Neumeyer, eds. 2000. Music and Cinema. Middletown: Wesleyan University PressKatherine McQuistonThe publication of Music and Cinema reflects the growing interest among musicologists in studying intersections of music and film, i.e., the soundtrack with its simultaneous images. Scholarship concerning music and film, which enjoyed its most vigorous growth spurt from the mid-1980s into the mid-1990s, seems to be largely motivated by three interlocking concerns: establishing the soundtrack as an indispensable component in film analysis, a field in which visual elements have always been favored; describing, analyzing, and categorizing the ways in which music bears upon understandings of film; and championing the composers of original scores who, until the appearance of this kind of literature, have not received due recognition for their achievements.https://journals.library.columbia.edu/index.php/currentmusicology/article/view/4811
spellingShingle Katherine McQuiston
Review of James Buhler, Caryl Flinn, and David Neumeyer, eds. 2000. Music and Cinema. Middletown: Wesleyan University Press
Current Musicology
title Review of James Buhler, Caryl Flinn, and David Neumeyer, eds. 2000. Music and Cinema. Middletown: Wesleyan University Press
title_full Review of James Buhler, Caryl Flinn, and David Neumeyer, eds. 2000. Music and Cinema. Middletown: Wesleyan University Press
title_fullStr Review of James Buhler, Caryl Flinn, and David Neumeyer, eds. 2000. Music and Cinema. Middletown: Wesleyan University Press
title_full_unstemmed Review of James Buhler, Caryl Flinn, and David Neumeyer, eds. 2000. Music and Cinema. Middletown: Wesleyan University Press
title_short Review of James Buhler, Caryl Flinn, and David Neumeyer, eds. 2000. Music and Cinema. Middletown: Wesleyan University Press
title_sort review of james buhler caryl flinn and david neumeyer eds 2000 music and cinema middletown wesleyan university press
url https://journals.library.columbia.edu/index.php/currentmusicology/article/view/4811
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