Overtones and undertones : reading film music / Royal S. Brown.

By:

Brown, Royal S

Material type: Text

TextPublication details: Berkeley : University of California Press, �1994.Description: 1 online resource (x, 396 pages) : illustrationsContent type:

text

Media type:

computer

Carrier type:

online resource

ISBN:

9780520914773
0520914775
0585261660
9780585261669
0520071433
9780520071438
0520071441
9780520071445

Subject(s):

Genre/Form:

Additional physical formats: Print version:: Overtones and undertones.DDC classification:

781.5/42/09 20

LOC classification:

ML2075 .B76 1994eb

Online resources:

Click here to access online

Contents:

Narrative/film/music -- Actions/interactions: "Classical" music -- Actions/interactions: historical overview -- Actions/interactions: The source beyond the source -- Styles and interactions: beyond the Diegesis -- Herrmann, Hitchcock, and the music of the irrational -- New styles, new genres, new interactions -- Music as image as music: a postmodern perspective.

Summary: "Since the days of silent films, music has been integral to the cinematic experience, serving, variously, to allay audiences'fears of the dark and to heighten a film's emotional impact. Yet viewers are often unaware of its presence. In this bold, insightful book, film and music scholar and critic Royal S. Brown invites readers not only to'hear'the film score, but to understand it in relation to what they'see.'Unlike earlier books, which offered historical, technical, and sociopolitical analyses, Overtones and Undertones draws on film, music, and narrative theory to provide the first comprehensive aesthetics of film music. Focusing on how the film/score interaction influences our response to cinematic situations, Brown traces the history of film music from its beginnings, covering both American and European cinema. At the heart of his book are close readings of several of the best film/score interactions, including Psycho, Laura, The Sea Hawk, Double Indemnity, and Pierrot le Fou. In revealing interviews with Bernard Herrmann, Mikl�os R�osza, Henry Mancini, and others, Brown also allows the composers to speak for themselves. A complete discography and bibliography conclude the volume."--EBSCO.

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Includes bibliographical references (pages 373-377), discography (p. 367-371) , and index.

Print version record.

English.

"Since the days of silent films, music has been integral to the cinematic experience, serving, variously, to allay audiences'fears of the dark and to heighten a film's emotional impact. Yet viewers are often unaware of its presence. In this bold, insightful book, film and music scholar and critic Royal S. Brown invites readers not only to'hear'the film score, but to understand it in relation to what they'see.'Unlike earlier books, which offered historical, technical, and sociopolitical analyses, Overtones and Undertones draws on film, music, and narrative theory to provide the first comprehensive aesthetics of film music. Focusing on how the film/score interaction influences our response to cinematic situations, Brown traces the history of film music from its beginnings, covering both American and European cinema. At the heart of his book are close readings of several of the best film/score interactions, including Psycho, Laura, The Sea Hawk, Double Indemnity, and Pierrot le Fou. In revealing interviews with Bernard Herrmann, Mikl�os R�osza, Henry Mancini, and others, Brown also allows the composers to speak for themselves. A complete discography and bibliography conclude the volume."--EBSCO.

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