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Issue Title
 
Vol 2, No 2-4 (2009) The Great Crossing: Nostalgia and Manifest Destiny in Aaron Copland’s The Red Pony Abstract
Beth E. Levy
 
Vol 1, No. 4 (2006): Leith Amadeus Stevens: A Festschrift The Hollywood Composer Abstract
Leith Stevens †
 
Vol 2, No 2-4 (2009) The Idyllic Sublime: A Dialog on the Pastoral Style in Westerns Abstract
Michael Beckerman, William H. Rosar
 
Vol 2, No 2-4 (2009) The Idyllic Sublime: A Dialog on the Pastoral Style in Westerns Abstract
Michael Beckerman, William H. Rosar
 
Advance Access The Industrial Soundscape between Fiction and Documentary Film in Italy’s Long 1960s Abstract
Alessandro Cecchi
 
Vol 1, No. 4 (2006): Leith Amadeus Stevens: A Festschrift The Logic of Concert Keys Abstract
Leith Stevens †
 
Vol 1, No. 2/3: Herrmann Studies The Mystery of Herrmann's Music for Selznick's Portrait of Jennie Abstract
Thomas DeMary
 
Vol 4, No 1 (2011) The Operatic Stothart: Leitmotifs and Tonal Organization in Two Versions of Rose Marie Abstract
Ronald Rodman
 
Vol 7, No 1 (2014) The Paragon Ragtime Orchestra, The Pioneers of Movie Music: Sounds of the American Silent Cinema Rick Benjamin, director. Liner notes by Rick Benjamin. 2014. New World Records 80761-2. Details
Peter Graff
 
Vol 4, No 1 (2011) The Problem of Music in a Historical Film Abstract
Herbert Stothart
 
Vol 3, No 2 (2010) The Vision Scenes in Bernadette: Newman's and Powell's Contributions Abstract
Roland Jackson
 
Vol 1, No 1 (2002) Thematic Variation and Key Relationships: Charlotte's Theme in Max Steiner's Score for Now, Voyager Abstract
Charles Leinberger
 
Vol 3, No 1 (2010): The Film Music of Fumio Hayasaka and Toru Takemitsu Theodor W. Adorno, and Hanns Eisler. Komposition für den Film, mit einem Nachwort von Johannes C. Gall und einer DVD “Hanns Eislers Rockefeller–Filmmusik– Projekt 1940–1942” Ed. Johannes C. Gall. Frankfurt am Main: Suhrkamp, 2006. Abstract
James Parsons
 
Vol 5, No 1-2 (2012) Theory and Practice in Erdmann/Becce/Brav’s Allgemeines Handbuch der Film-Musik (1927) Abstract
Irene Comisso
 
Vol 6, No 1 (2013) Toward a Prehistory of Film Music: Hans Erdmann's Score for Nosferatu and the Idea of Modular Form Abstract
Janina Müller, Tobias Plebuch
 
Vol 5, No 1-2 (2012) Towards a Theory of Musicodramatic Practice in Film: Questions of Method Abstract
David Revill
 
Vol 2, No 2-4 (2009) Wavering Sonorities and the Nascent Film Noir Musical Style Abstract
Roger Hickman
 
Vol 2, No 1 (2007) Whose Classical Music? Reflections on Film Adaptation Abstract
Lawrence Kramer
 
Vol 2, No 1 (2007) “He Could’ve Been a Contender”: Thematic Integration in Leonard Bernstein’s Score for On The Waterfront (1954) Abstract
Anthony Bushard
 
Vol 3, No 2 (2010) “I have been compromised. I am now fighting against it.” Ligeti vs. Kubrick and the music for 2001: A Space Odyssey Abstract
Julia Heimerdinger
 
Vol 5, No 1-2 (2012) “Regeneration” in Rebecca: Confronting Compilation in Franz Waxman’s Score Abstract
Nathan Platte
 
Vol 6, No 1 (2013) “Shirley, Bernstein Can’t Be Serious?”: Airplane! and Compositional Personas Abstract
Tim Summers
 
Vol 2, No 1 (2007) “Stanley Hates This But I Like It!”: North vs. Kubrick on the Music for 2001: A Space Odyssey Abstract
Paul A. Merkley, FRSC
 
Vol 7, No 1 (2014) “The Meaning of Romance”: Popular Song and Historical Narrative from Arthurian Literature to American Graffiti Abstract
J. Rubén Valdés-Miyares
 
Vol 3, No 2 (2010) “‘An effort to decide’: More Research into Kubrick’s Music Choices for 2001: A Space Odyssey” Abstract
Kate McQuiston
 
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