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By exploring the relationship between music and the moving image in film narrative, David Neumeyer shows that film music is not conceptually separate from sound or dialogue, but that all three are manipulated and continually interact in the larger acoustical world of the sound track. In a medium in which the image has traditionally trumped sound, Neumeyer turns our attention to the voice as the mechanism through which narrative (dialog, speech) and sound (sound effects, music) come together. Complemented by music examples, illustrations, and contributions by James Buhler, Meaning and Interpretation of Music in Cinema is the capstone of Neumeyer's 25-year project in the analysis and interpretation of music in film.

Music has been an integral part of film exhibition from its beginnings in the late nineteenth century. With the arrival of sound film in the late 1920s, music became part of a complex multimedia text. Although industry, fan-oriented, and scholarly literatures on film music have existed from early on, and music was frequently among the topics discussed and disputed, only in the past thirty years has sustained scholarly attention gone to music in visual media, beginning with the feature film. The Oxford Handbook of Film Music Studies charts that interdisciplinary activity in its primary areas of inquiry: history, genre and medium, analysis and criticism, and interpretation. The handbook provides an overview to the field on a large scale. Chapters in Part I range from the relations of music and the soundtrack to opera and film, textual representation of film sound, and film music as studied by cognitive scientists. Part II addresses genre and medium with chapters focusing on cartoons and animated films, the film musical, music in arcade and early video games, and the interplay of film, music, and recording over the past half century. The chapters in Part III offer case studies in interpretation along with extended critical surveys of theoretical models of gender, sexuality, and subjectivity as they impinge on music and sound. The three chapters on analysis in Part IV are diverse: one systematically models harmonies used in recent films, a second looks at issues of music and film temporality, and a third focuses on television. Chapters on history (Part V) cover topics including musical antecedents in nineteenth-century theater, the complex issues in sychronization of music in performance of early (silent) films, international practices in early film exhibition, and the symphony orchestra in film.

Upon his arrival in Hollywood, Alfred Hitchcock began work on his first American film, an adaptation of Daphne du Maurier’s best-selling novel. Produced by David O. Selznick and featuring compelling performances by Laurence Olivier, Joan Fontaine, and Judith Anderson, Rebecca became one of Hitchcock’s most successful films. It was nominated for eleven Academy Awards and received the Oscar for Best Picture, the only Hitchcock work to be so honored. Without question, one of the reasons for the film’s success is its ninety minutes of dramatic musical underscoring by Franz Waxman. In Franz Waxman’s Rebecca: A Film Score Guide, David Neumeyer and Nathan Platte situate the score for this classic work within the context of the composer’s life and career. Beginning with Waxman’s early training and professional experience as a jazz musician and film-music arranger-orchestrator in Berlin, the authors also recount the composer’s work in the music department at MGM between 1936 and 1942. During this period, Waxman was loaned out to Selznick International Pictures and wrote the music for Rebecca. Through manuscript and archival research, Neumeyer and Platte untangle the threads of the film’s complicated music production process, which was strongly influenced by Selznick’s habit of micromanaging music choices and placement. This volume concludes with a thematic analysis and reading of the score that incorporates commentary on scenes and cues. The first book devoted to the music of a single film by this great composer from Hollywood’s golden age, Franz Waxman’s Rebecca: A Film Score Guide will be of interest to musicologists and film scholars, as well as fans of Alfred Hitchcock and Franz Waxman.

An ideal text for introductory film music courses, Hearing the Movies: Music and Sound in Film History brings music into the context of sound, and sound into the context of the whole film.

From big cities to farm communities, from office cubicles to hospital wards, from Normandy Beach to Boston's Fenway Park, the contributors to this remarkable volume -- selected from among thousands in a nationwide search -- tell riveting stories about the words that changed their lives forever. You'll meet a "Plain Jane" from Seattle, whose world was rocked by a passing remark made by her favorite musician, backstage at a concert. You'll hear from the bereaved fiancé of a 9/11 victim, who found hope in a note pinned to a teddy bear. You'll laugh with a beleaguered soccer mom, who reveals the single phrase she never wants to hear again. And your heart will break for a prison inmate, who recalls the one piece of advice he still wishes he took. In each case, words had made all the difference. Marlo Thomas has once again tapped into the human spirit, assembling a breathtaking collection of beautiful and inspiring essays about the enduring power of words, and how their impact can last a lifetime. As a follow-up to her 2002 New York Times #1 bestseller, The Right Words at the Right Time, Thomas presents 101 new first-person stories that are at once universal and strikingly personal. Like the tale of a Gulf War veteran, whose life was transformed by just two words spoken by a young stranger at a Burger King. Or the aimless garage mechanic, who found salvation in a Help Wanted ad. Or the unsuspecting mother of three, who made a heart-warming discovery about her grandmother's "racy past." As this astonishing anthology proves, the "right words" can come from anywhere -- the pages of a dusty old songbook, the pulpit of a neighborhood church, the wreckage of Ground Zero, a hand-stitched sampler hanging on a wall, and a child's simple expression of love. The Right Words at the Right Time, Volume 2: Your Turn! is a collection to be read and read again -- a volume that will be cherished both by fans of the original book and anyone who has ever been touched by the startling and life-affirming magic of words.

This new study draws on analysis, literary criticism, and source studies to propose a new conception of the nineteenth-century romantic cycle. Rather than a unified whole, the cycle is seen as a fragmentary and open-ended form, which enables Schumann to express the romantic themes of transcendence and ineffability in musical terms.

To the growing list of Pendragon Press publications devoted to the work of Heinrich Schenker, we wish to announce the addition of this much-needed bibliography. The author, a student of Allen Forte, has created a work useful to a wide range of researchers music theorists, musicologists, music librarians and teachers. The Guide is the largest Schenkerian reference work ever published. At nearly 600 pages, it contains 3600 entries (2200 principal, 1400 secondary) representing the work of 1475 authors. Fifteen broad groupings encompass seventy topical headings, many of which are divided and subdivided again, resulting in a total of 271 headings under which entries are collected.

Dialectic of Romanticism presents a radical new assessment of the aesthetic and philosophical history and future of modernity. An exploration of the internal critique of modernism treats romanticism (later historicism and post-modernism) as central to the development of European modernism alongside enlightenment, and, like the enlightenment, subject to its own dead-ends and fatalities. An external critique of modernism recovers concepts of civilization and civic aesthetics which are trans-historical -simultaneously modern and classically inspired - and provides a counter both to romantic historicism and enlightened models of progress. Finally, a retrospective critique of modernism analyses what happens to modernism's romantic-archaic and technological-futurist visions when they are translated from Europe to America. Dialectic of Romanticism argues that out of the European dialectic of romanticism and enlightenment a new dialectic of modernity is emerging in the New World-one which points beyond modernism and postmodernism.

We extend the literature on budget deficits and interest rates in three ways: we examine both advanced and emerging economies and for the first time a large emerging market panel; explore interactions to explain some of the heterogeneity in the literature; and apply system GMM. There is overall a highly significant positive effect of budget deficits on interest rates, but the effect depends on interaction terms and is only significant under one of several conditions: deficits are high, mostly domestically financed, or interact with high domestic debt; financial openness is low; interest rates are liberalized; or financial depth is low.