Knowledge Organization in Film Music and its Theatrical Origins
Recapitulation and Coda
DOI:
https://doi.org/10.1558/jfm.v5i1-2.207Keywords:
Musicological film studies, film music, melodrama, Kinothek, photoplay music, The Twilight ZoneAbstract
The knowledge organization of film scores composed today reflects the history of repertoire practice systematized by the Kinothek (Cinema Library) of the silent era, which was based upon the melos of theatrical stage melodrama in the nineteenth century. Musicology can only benefit from understanding that system of knowledge organization and applying it to studying the practice of film scoring, past and present.
References
Altman, Rick. 2004. Silent film sound. New York: Columbia University Press.
Brecht, Bertolt. 1951. “A little organum for the theatre.” Trans. Beatrice Gottlieb. Accent: A Quarterly of New Literature 11: 13-40.
Dahlhaus, Carl. 1983. Foundations of music history. Trans. J.B. Robinson. Cambridge: Cambridge University Press.
Erdmann, Hans, Giuseppe Becce, and Ludwig Brav. 1927. Allgemeines Handbuch der Film-Musik, vol. 2. Berlin: Schlesinger’sche Buch- und Musikhandlung Lienau.
Grams, Martin, Jr., 2008. The Twilight Zone: Unlocking the door to a television classic Churchville, MD: OTR Publishing Co.
Jean, Marcel, ed. 1980. The autobiography of Surrealism. New York: Viking Press.
Kolá?, Ji?í. 1984. Ji?í Kolá?, poetry of vision, poetry of silence. Vancouver: The Gallery.
London, Kurt. 1936. Film music: a summary of the characteristic features of its history, aesthetics, technique; and possible developments. London: Faber & Faber.
Matthews, J.H. 1977. The imagery of surrealism. Syracuse, NY: Syracuse University Press.
Mayer, David and Matthew Scott, eds. 1983. Four bars of “Agit”: incidental music for Victorian and Edwardian melodrama. London: Samuel French.
Mayer, David. 1994. Playing out the empire: Ben-Hur and other toga plays and films, 1883-1908. Oxford: Clarendon Press.
McLucas, Anne Dhu, ed. 1994. Later melodrama in America: Monte Cristo (ca. 1883). New York: Garland Publishing Inc.
O’Neill, Norman. 1910. “Music to stage plays.” Proceedings for the Royal Musical Association 37: 85-102. http://dx.doi.org/10.1093/jrma/37.1.85
Rapee, Erno. 1925. Erno Rapee’s encyclopaedia of music for pictures. New York: Belwin.
Rosar, William H. 2010. “Film studies in musicology: disciplinarity vs. interdisciplinarity,” The Journal of Film Music 2: 99-125.
Rubin, William, ed. DeChirico: Essays. 1982. New York: Museum of Modern Art.
Ruff, Anthony. 2007. Sacred music and liturgical reform: treasures and transformations. Chicago: Hillenbrand Books.
Wannemacher, H., Jr. 1878. Collection of melo-dramatic music. New York: A.M. Schacht & Co.
Winter, Marian Hannah. 1941. “The function of music in sound film.” Musical Quarterly 27: 146-64. http://dx.doi.org/10.1093/mq/XXVII.2.146
Wissner, Reba. 2013. A dimension of sound: music in The Twilight Zone. Hillsdale, NY: Pendragon Press.
Zicree, Marc Scott. 1989. The Twilight Zone companion. 2nd ed. New York: Bantam Books.
Brecht, Bertolt. 1951. “A little organum for the theatre.” Trans. Beatrice Gottlieb. Accent: A Quarterly of New Literature 11: 13-40.
Dahlhaus, Carl. 1983. Foundations of music history. Trans. J.B. Robinson. Cambridge: Cambridge University Press.
Erdmann, Hans, Giuseppe Becce, and Ludwig Brav. 1927. Allgemeines Handbuch der Film-Musik, vol. 2. Berlin: Schlesinger’sche Buch- und Musikhandlung Lienau.
Grams, Martin, Jr., 2008. The Twilight Zone: Unlocking the door to a television classic Churchville, MD: OTR Publishing Co.
Jean, Marcel, ed. 1980. The autobiography of Surrealism. New York: Viking Press.
Kolá?, Ji?í. 1984. Ji?í Kolá?, poetry of vision, poetry of silence. Vancouver: The Gallery.
London, Kurt. 1936. Film music: a summary of the characteristic features of its history, aesthetics, technique; and possible developments. London: Faber & Faber.
Matthews, J.H. 1977. The imagery of surrealism. Syracuse, NY: Syracuse University Press.
Mayer, David and Matthew Scott, eds. 1983. Four bars of “Agit”: incidental music for Victorian and Edwardian melodrama. London: Samuel French.
Mayer, David. 1994. Playing out the empire: Ben-Hur and other toga plays and films, 1883-1908. Oxford: Clarendon Press.
McLucas, Anne Dhu, ed. 1994. Later melodrama in America: Monte Cristo (ca. 1883). New York: Garland Publishing Inc.
O’Neill, Norman. 1910. “Music to stage plays.” Proceedings for the Royal Musical Association 37: 85-102. http://dx.doi.org/10.1093/jrma/37.1.85
Rapee, Erno. 1925. Erno Rapee’s encyclopaedia of music for pictures. New York: Belwin.
Rosar, William H. 2010. “Film studies in musicology: disciplinarity vs. interdisciplinarity,” The Journal of Film Music 2: 99-125.
Rubin, William, ed. DeChirico: Essays. 1982. New York: Museum of Modern Art.
Ruff, Anthony. 2007. Sacred music and liturgical reform: treasures and transformations. Chicago: Hillenbrand Books.
Wannemacher, H., Jr. 1878. Collection of melo-dramatic music. New York: A.M. Schacht & Co.
Winter, Marian Hannah. 1941. “The function of music in sound film.” Musical Quarterly 27: 146-64. http://dx.doi.org/10.1093/mq/XXVII.2.146
Wissner, Reba. 2013. A dimension of sound: music in The Twilight Zone. Hillsdale, NY: Pendragon Press.
Zicree, Marc Scott. 1989. The Twilight Zone companion. 2nd ed. New York: Bantam Books.
Published
2013-10-31
Issue
Section
Articles
How to Cite
Rosar, W. H. (2013). Knowledge Organization in Film Music and its Theatrical Origins: Recapitulation and Coda. Journal of Film Music, 5(1-2), 207-215. https://doi.org/10.1558/jfm.v5i1-2.207
