Vol. 10 No. 2: Special Issue: Proceedings of the Second Max Steiner Symposium, “Film Scoring in the Classic Hollywood Period,” Brigham Young University, November 1–2, 2019

Guest Editors: Jeff Lyon and Brent Yorgason

Published: 2022-12-16

Editorial

Proceedings of the Second Max Steiner Symposium, “Film Scoring in the Classic Hollywood Period,” Brigham Young University, November 1–2, 2019

Brent Yorgason

5-6
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Articles

Tugging at Heartstrings Bittersweet Harmonies in the Classic Hollywood Love Theme

Tom Schneller, Táhirih Motazedian

7-48
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Loving Out Loud Romantic Coupling in Early Sound Films, 1928–1933

Eric McKee

49-68
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Fractured Reasons and Fractured Reason in I Walked with a Zombie

Michael Lee, Sarah Reichardt Ellis

69-80
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Monothematicism and Fate in Dust Be My Destiny (1939)

Brent Yorgason, Jeff Lyon

79-110
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New Surprises for Haydn’s Surprise Symphony Max Steiner’s Score for We Are Not Alone (1939)

Jeff Lyon, Brent Yorgason

113-141
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The Past, Present, and Future of the Collections of Cinema and Media Music Database

Michael W Harris, Jeff Lyon, Heather Fisher, Joshua Henry, Sienna M Wood

142-152
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Music to Climb By Rising Chromaticism in Max Steiner’s Score for King Kong

Jonathan L Friedmann

153-161
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Making Space for Music Steiner’s Scores for Robert Wise’s So Big (1953) and Helen of Troy (1956)

Nathan Platte

162-169
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Dodge City Max Steiner’s Early Western Film Scores

Mariana Whitmer

170-178
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Jezebel (1938) and Citizen Kane (1941) Composition–Variation–Deconstruction: A Comparison of Two Philosophies of Film Scoring

Peter Wegele

179-193
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Reviews

Peter Franklin, Seeing Through Music: Gender and Modernism in Classical Hollywood Film Scores

Jessica Getman

194-197
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