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Issue Title
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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