Journal of Film Music https://journal.equinoxpub.com/JFM <p><em>The Journal of Film Music</em> is a forum for the musicological study of film from the standpoint of dramatic musical art. The analytical tools and methodologies of historical, systematic, cognitive, and ethnomusicology all are relevant and essential to this study, which seeks to both document and illuminate film practice through source studies, analysis, theory, and criticism. </p> en-US <p>© Equinox Publishing Ltd.</p> <p>For information regarding our Open Access policy, <a title="Open access policy." href="Full%20details of our conditions related to copyright can be found by clicking here.">click here</a>.</p> rosar@ifms-jfm.org (William Rosar) aparkin@equinoxpub.com (Ailsa Parkin) Wed, 20 Jul 2022 00:00:00 +0000 OJS 3.3.0.11 http://blogs.law.harvard.edu/tech/rss 60 Nathan Platte, Making Music in Selznick’s Hollywood https://journal.equinoxpub.com/JFM/article/view/19491 <p>Nathan Platte, Making Music in Selznick’s Hollywood<br />New York. Oxford University Press, 2017 [x, 398pp. ISBN: 9780199371112. £32.99 (hardback)]. Oxford Music/<br />Media. Line art, halftones, bibliography, index.</p> Paul Merkley Copyright (c) 2021 Equinox Publishing Ltd. https://journal.equinoxpub.com/JFM/article/view/19491 Fri, 28 May 2021 00:00:00 +0000 Janina Müller, Musik im klassischen Film noir https://journal.equinoxpub.com/JFM/article/view/19477 <p>Janina Müller, Musik im klassischen Film noir<br />Würzburg, Germany. Königshausen &amp; Neumann, 2019 [German language. 278pp. ISBN: 9783826065828.<br />€39.80 (paperback)]. Klangfiguren: Studien zur Historischen Musikwissenschaft, Band 5.</p> Roger Hickman Copyright (c) 2021 Equinox Publishing Ltd. https://journal.equinoxpub.com/JFM/article/view/19477 Fri, 28 May 2021 00:00:00 +0000 Magdalena Grzebalkowska, Komeda https://journal.equinoxpub.com/JFM/article/view/22870 David Melbye Copyright (c) 2021 Equinox Publishing Ltd. https://journal.equinoxpub.com/JFM/article/view/22870 Mon, 13 Jun 2022 00:00:00 +0000 The Best Years of Our Lives https://journal.equinoxpub.com/JFM/article/view/19383 <p>Hugo Friedhofer’s widely acclaimed score to Best Years of Our Lives successfully evokes an American sound that simultaneously universalizes and authenticates this story of post-war readjustment. He accomplishes this through harmonic and rhythmic approaches indebted to Aaron Copland, but also borrows stylistic devices from jazz, as filtered through the likes of George Gershwin and other concert composers who used the jazz idiom. Friedhofer’s specific use of leitmotif in this film emphasizes the common over the specific, further unifying three stories and generalizing shared post-war experiences.</p> Aaron J. Johnson Copyright (c) 2021 Equinox Publishing Ltd. https://journal.equinoxpub.com/JFM/article/view/19383 Thu, 06 May 2021 00:00:00 +0000 Innocence and Grace https://journal.equinoxpub.com/JFM/article/view/18990 <p>L’albero degli zoccoli, by the Italian director Ermanno Olmi, polyphonically narrates the lives of peasant families in late-nineteenth-century Italy. The soundtrack prominently features works by J.S. Bach, mostly for the organ, performed by the celebrated Italian organist Fernando Germani. This article recounts the genesis of Olmi’s musical choices, discussing his views on music, on Bach, and on the interaction with musicians. Moreover, it is argued that Olmi purposefully employed some specific pieces in conjunction with particular characters and situations; it will be demonstrated that Olmi considered Bach’s music a symbol for God’s Grace, underpinning the film’s most significant moments in a liturgy of life, of fecundity, and of love. Bach’s music transmits the pervasive religious sentiment of the peasants to present-day audiences, asserting the holiness and the miracle of life.</p> Chiara Bertoglio Copyright (c) 2021 Equinox Publishing Ltd. https://journal.equinoxpub.com/JFM/article/view/18990 Mon, 15 Feb 2021 00:00:00 +0000 Hollywood’s “No Man” Leonid V. Raab (1900–1968) https://journal.equinoxpub.com/JFM/article/view/17524 <div>Leonid Raab was one of Hollywood’s most prolific orchestrators of Golden Age film music. However,</div> <div> </div> <div>his profile is absent from standard reference works on the cinema. Raab’s career is examined using contempora-</div> <div>neous sources including a journal in Russian belonging to his friend Boris Artzybasheff, translated here for the</div> <div> </div> <div>first time. Emphasis is given to Raab’s alliances with fellow émigré studio musicians, artists, and expats in thewider community in Hollywood. Born in Tiraspol, Russia, Raab started his career in New York City as a copyist and arranger with the music publishers T.B. Harms, working under Robert Russell Bennett on musicals such as Show Boat (1927). He moved from Broadway to RKO Radio Pictures in 1929 and, following the Great Depression, was employed by MGM orchestrating Herbert Stothart’s scores for The Merry Widow, David Copperfield, and A Tale of Two Cities. From 1936 to 1967, Raab collaborated mainly with the composer Franz Waxman, orchestrating some 100 scores, including Rebecca, Edge of Darkness, Objective Burma, Sunset Boulevard, A Place in the Sun, and Taras Bulba. A comprehensive filmography (~400 scores) is presented, together with some rare family memorabilia and, among other things, an orchestral score which Raab arranged of the song “Glory to God” composed by Sergei Rachmaninoff.</div> N. William Snedden Copyright (c) 2021 Equinox Publishing Ltd. https://journal.equinoxpub.com/JFM/article/view/17524 Fri, 12 Feb 2021 00:00:00 +0000 Mayhem, Madness and Distorted Mirrors in Herrmann’s Music for Hitchcock’s Psycho https://journal.equinoxpub.com/JFM/article/view/20006 <p>Bernard Herrmann’s music for Hitchcock’s Psycho plays a crucial role in implementing the relentless move towards mayhem and madness which is characteristic of this film, as well as in creating distorted reflections between sanity and madness. In this article, I claim that the former aspect is expressed by a gradual move from tonal towards “mistuned” and then atonal harmonic objects, while the distorted mirror relationship is suggested by a number of subtle correspondences (both similarities and differences) between cues associated with Marion<br />and cues associated with Norman. My analysis rests on both intratextual and intertextual factors. While I reveal the former through a close analysis of the film score in relation to the narrative, I discuss the latter in terms of Herrmann’s general approach to film music, the conventions of horror film scoring, and the special linkage between modernist music and madness in concert music, opera and cinema.</p> Daniel Moreira Copyright (c) 2021 Equinox Publishing Ltd. https://journal.equinoxpub.com/JFM/article/view/20006 Mon, 13 Jun 2022 00:00:00 +0000