Film Studies in Musicology
Disciplinarity vs.Interdisciplinarity
DOI:
https://doi.org/10.1558/jfm.v2i2-4.99Keywords:
film musicology, film music, academic musicologyAbstract
Since the turn of the 21st century the term “film musicology” has gradually come into use in Anglophone scholarship, though apparently without there being any published definition of its disciplinary scope and methodology in relationship to musicology and film studies, respectively. For example in reviewing the 2004 critical study Hollywood Theory, Non-Hollywood Practice by Annette Davison, Leslie Andersen comments that “Davison describes [her] research early on as ‘film musicology’ (p. 1) without a definition as to what this is. Is ‘film musicology’ the musicology of film or the study of film music? Davison assumes that the reader understands what this term means without documenting its origin.” A clue can be found on the dust jacket of Davison’s book that quotes praise for the book from Robynn Stilwell: “Annette Davison offers a second-generation approach to film musicology that stands in relationship to the first generation (Gorbman, Kalinak, et al) much as her subject stands to Hollywood cinema—building on, reacting against, making us think about the most basic issues with new critical facilities.” Inasmuch as neither Gorbman nor Kalinak are musicologists, but are film scholars by virtue of academic training and professional discipline, and the et alia to whom Stilwell alludes are disciplinarily anonymous, how did film musicology come to be constituted as a field of scholarly inquiry, if not by musicologists?
References
Andersen, Leslie N. 2005. Review of Hollywood theory, Non-Hollywood practice by Annette Davison. Notes 61: 999-1002.
Angeles, Peter A. 1981. Dictionary of philosophy. New York: Barnes and Noble.
Atkins, Irene Kahn. 1983. Source music in motion pictures. Rutherford, NJ: Fairleigh Dickinson University Press.
Balkin, Jack M. 1996. Interdisciplinarity as colonization. Washington and Lee Law Review 53: 949-970.
Bauerlein, Mark. 1997. Literary criticism: An autopsy. Philadelphia: University of Pennsylvania Press.
Biancorosso, Giorgio. 2001. Beginning credits and beyond: Music and the cinematic imagination. Echo 3, no. 1 (Spring). http://www.echo.ucla.edu/volume3-issue1/biancorosso/biancorosso1.html (accessed 30 November 2009).
Buhler, James. 2001. Analytical and interpretive approaches to film music (II): Analyzing interactions of music and film. In Film music: Critical approaches, ed. K. J. Donnelly. Edinburgh: Edinburgh University Press.
———. 2007. Review of Hollywood theory, Non-Hollywood practice by Annette Davison. Twentieth-Century Music 3: 145-149.
Buhler, James, Caryl Flinn, and David Neumeyer, eds. 2000. Music and cinema. Hanover, NH: Wesleyan University Press.
Certeau, Michel de. 1992. The writing of history. Trans. Tom Conley. New York: Columbia University Press.
Citron, Marcia. 2005. Review of Hollywood theory, Non-Hollywood practice by Annette Davison. Music and Letters 86: 322-325.
Daubney, Kate. 2000. Max Steiner’s Now, Voyager: A film score guide. Westport, CT: Greenwood Press.
Dolan, Robert Emmett. 1967. Music in modern media: Techniques in tape, disc and film recording, motion pictures and television scoring and electronic music. New York. G. Schirmer.
Follett, Wilson. 1966. Modern American usage. ed. and completed by Jacques Barzun. New York: Hill & Wang.
Franklin, Peter. 2005. Review of Hollywood theory, Non-Hollywood practice by Annette Davison. Popular Music 24: 295-305.
Godet, Frédéric Louis. 1872. Commentaire sur l’evangile de saint Luc. Paris: Sandoz & Fischbacher.
———. 1875. A commentary on the Gospel of St. Luke, vol. 1. trans. E. W. Shalders. Edinburgh: T. & T. Clark.
Goosens, Eugene. 1951. Overture and beginners. London: Methuen.
Gorbman, Claudia. 1974-1975. Music as salvation: Notes on Fellini and Rota. Film Quarterly 28 (Winter): 17-25.
———. 1987. Unheard melodies: Narrative film music. Bloomington: Indiana University Press.
Hagen, Earle. 1971. Scoring for films. New York: E.D.J. Music.
Herrmann, Bernard. 1945. Music in motion pictures—A reply to Mr. Leinsdorf. Music Publishers Journal 3, no. 5: 17, 69.
Jeongwon Joe and Sander L. Gilman, eds. 2010. Wagner and cinema. Bloomington: Indiana University Press.
Klein, Julie Thompson. 1990. Interdisciplinarity: History, theory, & practice. Detroit: Wayne State University Press.
Levant, Oscar. 1940. A smattering of ignorance. New York: Doubleday, Doran & Co.
Lustig, Milton. 1980. Music editing for motion pictures. New York: Hastings House Publishers.
Manvell, Roger and John Huntley. 1957. The technique of film music. New York: Hastings House Publishers.
Marshall, Robert. 1997. Film as musicology: Amadeus. Musical Quarterly 81, no. 2: 173 179.
Marks, Martin. 1982. Film music: The material, literature and present state of research. Journal of the University Film and Video Association 34, no. 1: 3-40.
Mayer David and Matthew Scott. 1983. Four bars of ‘Agit’—Incidental music for Victorian and Edwardian melodrama. London: Samuel French.
McCarty, Clifford. 1989. Introduction: The literature of film music. In Film Music 1. ed. Clifford McCarty. New York: Garland Publishing, xiv.
———. 2000. Film composers in America: A filmography 1911-1970. New York: Oxford University Press.
Morrison, Margery. 1945. Getting acquainted with some film music scores. Music Publishers Journal 3, no. 5: 38, 49.
Morton, Lawrence. 1950. Film music profile—Hugo Friedhofer. Film Music Notes 10, no. 1: 4-5.
Ostovich, Steve. 2006. Interdisciplinarity and the ISST. Time’s News 37 (February): 9.
Polan, Dana. 2007. Scenes of instruction: The beginnings of the U.S. study of film. Berkeley: University of California Press.
Potter, Gladys L. 1934. Motion picture appreciation in the elementary school. California State Department of Education Bulletin 3, no. 9: 1-37.
Privett, Ray and James Kreul. 2001. The strange case of Noël Carroll: A conversation with the controversial film philosopher. Senses of Cinema 13 (April/May). http://archive.sensesofcinema.com/contents/01/13/contents.html (accessed 30 November 2009).
Quart, Alissa. 2000. David Bordwell blows the whistle on film studies. Lingua Franca 10: 34-43.
Skiles, Marlin. 1976. Music scoring for TV & motion pictures. Blue Ridge Summit, PA: Tab Books.
Skinner, Frank. 1950. Underscore. Los Angeles: Skinner Music Co.
Smith, Jeff. 2009. Bridging the gap: Reconsidering the border between diegetic and nondiegetic music. Music and Moving Image 2: 1-26.
Sprenger, Scott. 2004. Review of Literary theory: An autopsy by Mark Bauerlein. Lingua Romana 2. http://linguaromana.byu.edu/bauerlein.html (accessed 27 October 2009).
Sternfeld. Frederick W. 1947. Preliminary report on film music. Hollywood Quarterly 2: 299-302.
———. 1948. Film music session at M.T.N.A. in Boston. Film Music 7, no. 4: 5-6.
———. 1950. Report of the Audio-Visual Committee [Cinema]. In Proceedings of the Music Teachers’ National Association (1948), Pittsburgh, 1950, 329-332.
Spring, Katherine. 2007. Say it with songs: Popular music in Hollywood cinema during the transition to sound, 1927-1931. Ph.D. diss., University of Wisconsin, Madison.
Taylor, Henry M. 2007. Discourses on diegesis: The success story of a misnomer. Off Screen 11. http://www.offscreen.com/Sound_Issue/taylor_diegesis.pdf (accessed 31 October 2009).
Thomas, Tony, ed. 1979. Film score: The view from the podium. New York: A. S. Barnes & Co.
Waeber. Jacqueline. 2006. En musique dans le texte. Le mélodrame, de Rousseau à Schoenberg. Paris: Van Dieren.
Weddle, David. 2003. Lights, camera, action: Marxism, semiotics, narratology. Los Angeles Times Magazine 13 (July): 14-17, 31-33.
Wierzbicki, James. 2008. Film music: A history. New York: Routledge.
Winters, Ben. 2007. Catching dreams: Editing film scores for publication. Journal of the Royal Music Association 132: 115-140.
Angeles, Peter A. 1981. Dictionary of philosophy. New York: Barnes and Noble.
Atkins, Irene Kahn. 1983. Source music in motion pictures. Rutherford, NJ: Fairleigh Dickinson University Press.
Balkin, Jack M. 1996. Interdisciplinarity as colonization. Washington and Lee Law Review 53: 949-970.
Bauerlein, Mark. 1997. Literary criticism: An autopsy. Philadelphia: University of Pennsylvania Press.
Biancorosso, Giorgio. 2001. Beginning credits and beyond: Music and the cinematic imagination. Echo 3, no. 1 (Spring). http://www.echo.ucla.edu/volume3-issue1/biancorosso/biancorosso1.html (accessed 30 November 2009).
Buhler, James. 2001. Analytical and interpretive approaches to film music (II): Analyzing interactions of music and film. In Film music: Critical approaches, ed. K. J. Donnelly. Edinburgh: Edinburgh University Press.
———. 2007. Review of Hollywood theory, Non-Hollywood practice by Annette Davison. Twentieth-Century Music 3: 145-149.
Buhler, James, Caryl Flinn, and David Neumeyer, eds. 2000. Music and cinema. Hanover, NH: Wesleyan University Press.
Certeau, Michel de. 1992. The writing of history. Trans. Tom Conley. New York: Columbia University Press.
Citron, Marcia. 2005. Review of Hollywood theory, Non-Hollywood practice by Annette Davison. Music and Letters 86: 322-325.
Daubney, Kate. 2000. Max Steiner’s Now, Voyager: A film score guide. Westport, CT: Greenwood Press.
Dolan, Robert Emmett. 1967. Music in modern media: Techniques in tape, disc and film recording, motion pictures and television scoring and electronic music. New York. G. Schirmer.
Follett, Wilson. 1966. Modern American usage. ed. and completed by Jacques Barzun. New York: Hill & Wang.
Franklin, Peter. 2005. Review of Hollywood theory, Non-Hollywood practice by Annette Davison. Popular Music 24: 295-305.
Godet, Frédéric Louis. 1872. Commentaire sur l’evangile de saint Luc. Paris: Sandoz & Fischbacher.
———. 1875. A commentary on the Gospel of St. Luke, vol. 1. trans. E. W. Shalders. Edinburgh: T. & T. Clark.
Goosens, Eugene. 1951. Overture and beginners. London: Methuen.
Gorbman, Claudia. 1974-1975. Music as salvation: Notes on Fellini and Rota. Film Quarterly 28 (Winter): 17-25.
———. 1987. Unheard melodies: Narrative film music. Bloomington: Indiana University Press.
Hagen, Earle. 1971. Scoring for films. New York: E.D.J. Music.
Herrmann, Bernard. 1945. Music in motion pictures—A reply to Mr. Leinsdorf. Music Publishers Journal 3, no. 5: 17, 69.
Jeongwon Joe and Sander L. Gilman, eds. 2010. Wagner and cinema. Bloomington: Indiana University Press.
Klein, Julie Thompson. 1990. Interdisciplinarity: History, theory, & practice. Detroit: Wayne State University Press.
Levant, Oscar. 1940. A smattering of ignorance. New York: Doubleday, Doran & Co.
Lustig, Milton. 1980. Music editing for motion pictures. New York: Hastings House Publishers.
Manvell, Roger and John Huntley. 1957. The technique of film music. New York: Hastings House Publishers.
Marshall, Robert. 1997. Film as musicology: Amadeus. Musical Quarterly 81, no. 2: 173 179.
Marks, Martin. 1982. Film music: The material, literature and present state of research. Journal of the University Film and Video Association 34, no. 1: 3-40.
Mayer David and Matthew Scott. 1983. Four bars of ‘Agit’—Incidental music for Victorian and Edwardian melodrama. London: Samuel French.
McCarty, Clifford. 1989. Introduction: The literature of film music. In Film Music 1. ed. Clifford McCarty. New York: Garland Publishing, xiv.
———. 2000. Film composers in America: A filmography 1911-1970. New York: Oxford University Press.
Morrison, Margery. 1945. Getting acquainted with some film music scores. Music Publishers Journal 3, no. 5: 38, 49.
Morton, Lawrence. 1950. Film music profile—Hugo Friedhofer. Film Music Notes 10, no. 1: 4-5.
Ostovich, Steve. 2006. Interdisciplinarity and the ISST. Time’s News 37 (February): 9.
Polan, Dana. 2007. Scenes of instruction: The beginnings of the U.S. study of film. Berkeley: University of California Press.
Potter, Gladys L. 1934. Motion picture appreciation in the elementary school. California State Department of Education Bulletin 3, no. 9: 1-37.
Privett, Ray and James Kreul. 2001. The strange case of Noël Carroll: A conversation with the controversial film philosopher. Senses of Cinema 13 (April/May). http://archive.sensesofcinema.com/contents/01/13/contents.html (accessed 30 November 2009).
Quart, Alissa. 2000. David Bordwell blows the whistle on film studies. Lingua Franca 10: 34-43.
Skiles, Marlin. 1976. Music scoring for TV & motion pictures. Blue Ridge Summit, PA: Tab Books.
Skinner, Frank. 1950. Underscore. Los Angeles: Skinner Music Co.
Smith, Jeff. 2009. Bridging the gap: Reconsidering the border between diegetic and nondiegetic music. Music and Moving Image 2: 1-26.
Sprenger, Scott. 2004. Review of Literary theory: An autopsy by Mark Bauerlein. Lingua Romana 2. http://linguaromana.byu.edu/bauerlein.html (accessed 27 October 2009).
Sternfeld. Frederick W. 1947. Preliminary report on film music. Hollywood Quarterly 2: 299-302.
———. 1948. Film music session at M.T.N.A. in Boston. Film Music 7, no. 4: 5-6.
———. 1950. Report of the Audio-Visual Committee [Cinema]. In Proceedings of the Music Teachers’ National Association (1948), Pittsburgh, 1950, 329-332.
Spring, Katherine. 2007. Say it with songs: Popular music in Hollywood cinema during the transition to sound, 1927-1931. Ph.D. diss., University of Wisconsin, Madison.
Taylor, Henry M. 2007. Discourses on diegesis: The success story of a misnomer. Off Screen 11. http://www.offscreen.com/Sound_Issue/taylor_diegesis.pdf (accessed 31 October 2009).
Thomas, Tony, ed. 1979. Film score: The view from the podium. New York: A. S. Barnes & Co.
Waeber. Jacqueline. 2006. En musique dans le texte. Le mélodrame, de Rousseau à Schoenberg. Paris: Van Dieren.
Weddle, David. 2003. Lights, camera, action: Marxism, semiotics, narratology. Los Angeles Times Magazine 13 (July): 14-17, 31-33.
Wierzbicki, James. 2008. Film music: A history. New York: Routledge.
Winters, Ben. 2007. Catching dreams: Editing film scores for publication. Journal of the Royal Music Association 132: 115-140.
Published
2010-03-15
Issue
Section
Editorial Essay
How to Cite
Rosar, W. H. (2010). Film Studies in Musicology: Disciplinarity vs.Interdisciplinarity. Journal of Film Music, 2(2-4), 99-125. https://doi.org/10.1558/jfm.v2i2-4.99
