Vol. 5 No. 1-2 (2012)

Published: 2013-10-31

Editorial

Introduction From Nineteenth-Century Stage Melodrama to Twenty-First-Century Film Scoring

Katherine K. Preston

7-14
- PDF

Articles

Towards a Theory of Musicodramatic Practice in Film Questions of Method

David Revill

199-205
- Requires Subscription or Fee PDF (GBP 23)
The Continuity of Melos Beginnings to the Present Day

Anne Dhu McLucas

15-28
- Requires Subscription or Fee PDF (GBP 23)
The Ben-Hur Legacy

Roger Hickman

41-48
- Requires Subscription or Fee PDF (GBP 23)
The Corsican Brothers and the Legacy of its Tremulous “Ghost Melody”

Michael V. Pisani

29-39
- Requires Subscription or Fee PDF (GBP 23)
Melodrama Made Good Ennoblement by Deletion in Edgar Stillman Kelley’s Score to Ben-Hur

Luke Hannington

49-56
- Requires Subscription or Fee PDF (GBP 23)
Sarah Bernhardt on Stage and Screen Nineteenth-Century Theater Music and Early Silent Film

Erin Michelle Brooks

57-76
- Requires Subscription or Fee PDF (GBP 23)
Mysteriosos Demystified Topical Strategies Within and Beyond the Silent Cinema

Tobias Plebuch

77-92
- Requires Subscription or Fee PDF (GBP 23)
Theory and Practice in Erdmann/Becce/Brav’s Allgemeines Handbuch der Film-Musik (1927)

Irene Comisso

93-100
- Requires Subscription or Fee PDF (GBP 23)
Melodramatic Music in the Western

Mariana Whitmer

109-119
- Requires Subscription or Fee PDF (GBP 23)
"'Leitmotif': On the Application of a Word to Film Music"

Stephen C. Meyer

101-108
- Requires Subscription or Fee PDF (GBP 23)
Juxtaposing teatro de revista and cine Music in the 1930s comedia ranchera

Jacqueline Avila

121-126
- Requires Subscription or Fee PDF (GBP 23)
Music Cue Archetypes in the Film Scores of Elmer Bernstein

Donald C. Meyer

153-163
- Requires Subscription or Fee PDF (GBP 23)
Composing with Types and Flexible Modules John Williams’ Two-Note Ostinato for Jaws and its Use in Film-Music History

Peter Moormann

165-168
- Requires Subscription or Fee PDF (GBP 23)
Easy to Cut Modular Form in the Film Scores of Bernard Herrmann

Tom Schneller

127-151
- Requires Subscription or Fee PDF (GBP 23)
“Regeneration” in Rebecca Confronting Compilation in Franz Waxman’s Score

Nathan Platte

169-177
- Requires Subscription or Fee PDF (GBP 23)
Knowledge Organization in Film Music and its Theatrical Origins Recapitulation and Coda

William H. Rosar

207-215
- Requires Subscription or Fee PDF (GBP 23)
Music Theory Through the Lens of Film

Frank Lehman

179-198
- Requires Subscription or Fee PDF (GBP 23)

Vol. 5 No. 1-2 (2012)

Editorial

Introduction From Nineteenth-Century Stage Melodrama to Twenty-First-Century Film Scoring

Articles

Towards a Theory of Musicodramatic Practice in Film Questions of Method

The Continuity of Melos Beginnings to the Present Day

The Ben-Hur Legacy

The Corsican Brothers and the Legacy of its Tremulous “Ghost Melody”

Melodrama Made Good Ennoblement by Deletion in Edgar Stillman Kelley’s Score to Ben-Hur

Sarah Bernhardt on Stage and Screen Nineteenth-Century Theater Music and Early Silent Film

Mysteriosos Demystified Topical Strategies Within and Beyond the Silent Cinema

Theory and Practice in Erdmann/Becce/Brav’s Allgemeines Handbuch der Film-Musik (1927)

Melodramatic Music in the Western

"'Leitmotif': On the Application of a Word to Film Music"

Juxtaposing teatro de revista and cine Music in the 1930s comedia ranchera

Music Cue Archetypes in the Film Scores of Elmer Bernstein

Composing with Types and Flexible Modules John Williams’ Two-Note Ostinato for Jaws and its Use in Film-Music History

Easy to Cut Modular Form in the Film Scores of Bernard Herrmann

“Regeneration” in Rebecca Confronting Compilation in Franz Waxman’s Score

Knowledge Organization in Film Music and its Theatrical Origins Recapitulation and Coda

Music Theory Through the Lens of Film

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