ABSTRACT

The Routledge Companion to Screen Music and Sound provides a detailed and comprehensive overview of screen music and sound studies, addressing the ways in which music and sound interact with forms of narrative media such as television, videogames, and film. The inclusive framework of "screen music and sound" allows readers to explore the intersections and connections between various types of media and music and sound, reflecting the current state of scholarship and the future of the field.

A diverse range of international scholars have contributed an impressive set of forty-six chapters that move from foundational knowledge to cutting edge topics that highlight new key areas. The companion is thematically organized into five cohesive areas of study:

  • Issues in the Study of Screen Music and Sound—discusses the essential topics of the discipline
  • Historical Approaches—examines periods of historical change or transition
  • Production and Process—focuses on issues of collaboration, institutional politics, and the impact of technology and industrial practices
  • Cultural and Aesthetic Perspectives—contextualizes an aesthetic approach within a wider framework of cultural knowledge
  • Analyses and Methodologies—explores potential methodologies for interrogating screen music and sound

Covering a wide range of topic areas drawn from musicology, sound studies, and media studies, The Routledge Companion to Screen Music and Sound provides researchers and students with an effective overview of music’s role in narrative media, as well as new methodological and aesthetic insights.

chapter |13 pages

Introduction

Framing Screen Music and Sound
ByMiguel Mera, Ronald Sadoff, Ben Winters

part 1|110 pages

Issues in the Study of Screen Music and Sound

chapter 1|9 pages

The Ghostly Effect Revisited

ByK. J. Donnelly

chapter 2|12 pages

Mystical Intimations, the Scenic Sublime, and the Opening of the Vault

De-classicizing the Late-romantic Revival in the Scoring of ‘New Hollywood’ Blockbusters c. 1977–1993
ByPeter Franklin

chapter 3|12 pages

Screen Music and the Question of Originality

ByMiguel Mera

chapter 4|11 pages

Affect, Intensities, and Empathy

Sound and Contemporary Screen Violence
ByLisa Coulthard

chapter 6|13 pages

Emphatic and Ecological Sounds in Gameworld Interfaces

ByKristine Jørgensen

chapter 7|11 pages

“You Have to Feel a Sound for It to Be Effective”

Sonic Surfaces in Film and Television
ByLucy Fife Donaldson

chapter 8|12 pages

Screen Music, Narrative, and/or Affect

Kies´lowski’s Musical Bodies
ByNicholas Reyland

chapter 9|17 pages

Roundtable

Current Perspectives on Music, Sound, and Narrative in Screen Media
ByAnahid Kassabian, Elena Boschi, James Buhler, Claudia Gorbman, Miguel Mera, Roger Moseley, Ronald Sadoff, Ben Winters

part 2|130 pages

Historical Approaches

chapter 10|12 pages

Sound Design and Its Interactions with Music

Changing Historical Perspectives
ByDanijela Kulezic-Wilson

chapter 11|14 pages

Dimensions of Game Music History

ByTim Summers

chapter 13|13 pages

From Radio to Television

Sound Style and Audio Technique in Early TV Anthology Dramas
ByShawn VanCour

chapter 14|14 pages

Manifest Destiny, the Space Race, and 1960s Television 1

ByRobynn J. Stilwell

chapter 15|11 pages

The Early Cinema Soundscape

ByRick Altman

chapter 16|12 pages

The Shock of the Old

The Restoration, Reconstruction, or Creation of ‘Mute’-Film Accompaniments
ByGillian B. Anderson

chapter 17|15 pages

Music That Works

Listening to Prestige British Industrial Films
ByAnnette Davison

chapter 18|12 pages

The Fine Art of Repurposing

A Look at Scores for Hollywood B Films in the 1930s
ByJeff Smith

chapter 19|15 pages

Trailer or Leader? The Role of Music and Sound in Cinematic Previews

ByJames Deaville

part 3|106 pages

Production and Process

chapter 20|13 pages

A Star is Born

Max Steiner in the Studios, 1929–1939
ByNathan Platte

chapter 21|11 pages

Sound Standings

A Brief History of the Impact of Labor and Professional Representation on the Place of Early Sound Workers in the Industry (1927–1937)
ByGianluca Sergi

chapter 22|10 pages

In Sync? Music Supervisors, Music Placement Practices, and Industrial Change

ByBethany Klein, Leslie M. Meier

chapter 23|14 pages

Shaping the Soundtrack? Hollywood Preview Audiences

ByRonald Sadoff, Miguel Mera

chapter 24|13 pages

Craft, Art, or Process

The Question of Creativity in Orchestration for Screen
ByIan Sapiro

chapter 25|10 pages

Post-Apartheid Cinema

ByChristopher Letcher

chapter 26|10 pages

Simulation

Squaring the Immersion, Realism, and Gameplay Circle
ByStephen Baysted

chapter 27|11 pages

The Voice Delivers the Threats, Foley Delivers the Punch

Embodied Knowledge in Foley Artistry
BySandra Pauletto

chapter 28|12 pages

Direct Sounds, Language Swaps, and Directors’ Cuts

The Quest for Fidelity in the Film Soundtrack 1
ByEmile Wennekes

part 4|62 pages

Cultural and Aesthetic Perspectives

chapter 29|12 pages

From Disney to Dystopia

Transforming “Brazil” for a US Audience 1
ByKariann Goldschmitt

chapter 30|13 pages

Birth and Death of the Cool

The Glorious Afflictions of Jazz on Screen
ByJeremy Barham

chapter 31|12 pages

Home Theater(s)

Technology, Culture, and Style
ByMark Kerins

chapter 32|12 pages

Drive, Speed, and Narrative in the Soundscapes of Racing Games

ByKaren Collins, Ruth Dockwray

chapter 34|12 pages

‘Sounding’ Japanese

Traditions of Music in Japanese Cinema 1
ByAlexander Binns

chapter 35|11 pages

Sounding Transculturation

Western Opera in Korea during the Japanese Occupation (1910–1945)
ByJeongwon Joe

chapter 36|12 pages

Christopher Plummer Learns to Sing

The Torn Masculinities of Mid-Century US Musicals
ByCaryl Flinn

chapter 38|17 pages

Some Assembly Required

Hybrid Scores in Moonrise Kingdom and The Grand Budapest Hotel
ByKate McQuiston

part 5|120 pages

Analyses and Methodologies

chapter 39|20 pages

Methods and Challenges of Analyzing Screen Media

ByFrank Lehman

chapter 40|14 pages

From Intuition to Evidence

The Experimental Psychology of Film Music
BySiu-Lan Tan

chapter 41|12 pages

Idolizing the Synchronized Score

Studying Indiana Jones Hypertexts
ByBen Winters

chapter 42|19 pages

Fearful Symmetries

Music as Metaphor in Doppelgänger Films
ByTom Schneller

chapter 43|15 pages

Musical Dreams and Nightmares

An Analysis of Flower
ByElizabeth Medina-Gray

chapter 44|13 pages

Reverb, Acousmata, and the Backstage Musical

ByPeter Doyle

chapter 45|13 pages

Unsettling the Soundtrack

Acoustic Profiling and the Documentation of Community and Place 1
ByRandolph Jordan

chapter 46|12 pages

The Sound of Slime-ness

Telling Children’s Stories on the Nickelodeon Network
ByJennifer Fleeger