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Table of Contents
Editorial
| Introduction: From Nineteenth-Century Stage Melodrama to Twenty-First-Century Film Scoring |
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| Katherine K. Preston | 7-14 |
Articles
| The Continuity of Melos: Beginnings to the Present Day |
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| Anne Dhu McLucas | 15-28 |
| The Corsican Brothers and the Legacy of its Tremulous “Ghost Melody” |
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| Michael V. Pisani | 29-39 |
| The Ben-Hur Legacy |
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| Roger Hickman | 41-48 |
| Melodrama Made Good: Ennoblement by Deletion in Edgar Stillman Kelley’s Score to Ben-Hur |
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| Luke Hannington | 49-56 |
| Sarah Bernhardt on Stage and Screen: Nineteenth-Century Theater Music and Early Silent Film |
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| Erin Michelle Brooks | 57-76 |
| Mysteriosos Demystified: Topical Strategies Within and Beyond the Silent Cinema |
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| Tobias Plebuch | 77-92 |
| Theory and Practice in Erdmann/Becce/Brav’s Allgemeines Handbuch der Film-Musik (1927) |
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| Irene Comisso | 93-100 |
| "'Leitmotif': On the Application of a Word to Film Music" |
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| Stephen C. Meyer | 101-108 |
| Melodramatic Music in the Western |
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| Mariana Whitmer | 109-119 |
| Juxtaposing teatro de revista and cine: Music in the 1930s comedia ranchera |
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| Jacqueline Avila | 121-126 |
| Easy to Cut: Modular Form in the Film Scores of Bernard Herrmann |
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| Tom Schneller | 127-151 |
| Music Cue Archetypes in the Film Scores of Elmer Bernstein |
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| 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 |
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| Peter Moormann | 165-168 |
| “Regeneration” in Rebecca: Confronting Compilation in Franz Waxman’s Score |
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| Nathan Platte | 169-177 |
| Music Theory Through the Lens of Film |
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| Frank Lehman | 179-198 |
| Towards a Theory of Musicodramatic Practice in Film: Questions of Method |
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| David Revill | 199-205 |
| Knowledge Organization in Film Music and its Theatrical Origins: Recapitulation and Coda |
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| William H. Rosar | 207-215 |
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