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Table of Contents
Articles
| Listening to Ingmar Bergman's Monsters: Horror Music, Mutes, and Acoustical Beings in Persona and Hour of the Wolf |
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| Alexis Luko | 5-30 |
| Toward a Prehistory of Film Music: Hans Erdmann's Score for Nosferatu and the Idea of Modular Form |
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| Janina Müller , Tobias Plebuch | 31-48 |
| Modal Interchange and Semantic Resonance in Themes by John Williams |
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| Tom Schneller | 49-74 |
| “Shirley, Bernstein Can’t Be Serious?”: Airplane! and Compositional Personas |
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| Tim Summers | 75-86 |
Reviews
| Kathryn Kalinak, ed., Music in the Western: Notes from the Frontier |
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| Mark Durrand | 87-89 |
| Michael V. Pisani, Music for the Melodramatic Theatre in Nineteenth-Century London and New York |
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| Roger Hickman | 90-92 |
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