Vol 5, No 1-2 (2012)

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Table of Contents


Introduction: From Nineteenth-Century Stage Melodrama to Twenty-First-Century Film Scoring PDF
Katherine K. Preston 7-14


The Continuity of Melos: Beginnings to the Present Day PDF
Anne Dhu McLucas 15-28
The Corsican Brothers and the Legacy of its Tremulous “Ghost Melody” PDF
Michael V. Pisani 29-39
The Ben-Hur Legacy PDF
Roger Hickman 41-48
Melodrama Made Good: Ennoblement by Deletion in Edgar Stillman Kelley’s Score to Ben-Hur PDF
Luke Hannington 49-56
Sarah Bernhardt on Stage and Screen: Nineteenth-Century Theater Music and Early Silent Film PDF
Erin Michelle Brooks 57-76
Mysteriosos Demystified: Topical Strategies Within and Beyond the Silent Cinema PDF
Tobias Plebuch 77-92
Theory and Practice in Erdmann/Becce/Brav’s Allgemeines Handbuch der Film-Musik (1927) PDF
Irene Comisso 93-100
"'Leitmotif': On the Application of a Word to Film Music" PDF
Stephen C. Meyer 101-108
Melodramatic Music in the Western PDF
Mariana Whitmer 109-119
Juxtaposing teatro de revista and cine: Music in the 1930s comedia ranchera PDF
Jacqueline Avila 121-126
Easy to Cut: Modular Form in the Film Scores of Bernard Herrmann PDF
Tom Schneller 127-151
Music Cue Archetypes in the Film Scores of Elmer Bernstein PDF
Donald C Meyer 153-163
Composing with Types and Flexible Modules: John Williams’ Two-Note Ostinato for Jaws and its Use in Film-Music History PDF
Peter Moormann 165-168
“Regeneration” in Rebecca: Confronting Compilation in Franz Waxman’s Score PDF
Nathan Platte 169-177
Music Theory Through the Lens of Film PDF
Frank Lehman 179-198
Towards a Theory of Musicodramatic Practice in Film: Questions of Method PDF
David Revill 199-205
Knowledge Organization in Film Music and its Theatrical Origins: Recapitulation and Coda PDF
William H. Rosar 207-215

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