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Meaning and Interpretation of Music in Cinema by David Neumeyer

Meaning and Interpretation of Music in Cinema by David Neumeyer David Neumeyer, with contributions by James Buhler Meaning and Interpretation of Music in Cinema Indiana University Press, 2015: xv + 317 pp. ($90.00 cloth, $36.00 paper, $9.99 e-book) Tahirih Motazedian Meaning and Interpretation of Music in Cinema comes as the culmination of David Neumeyer’s decades of inf luential investigation of music and sound in film. The main thesis of the book—despite not being advertised in the title— is clearly established from the very first page, is reiterated often, and is amply supported and substantiated. Neumeyer propounds that narrative sound film is (and always has been) fundamentally vococentric, and the primacy of the human voice is essential to his exploration of the dialectic among music, sound, and dialogue. The book is organized in a tripartite structure, in which part 1 com- prises chapters 1 and 2, part 2 consists of chapters 3–5, and part 3 contains chapters 6 and 7 (along with a substantial introduction). Chapter 1 lays the theoretical groundwork, chapter 2 establishes methodology, and chapters 3 –5 synthesize the two in an extensive sample analysis. Chapters 6 and 7 pre- sent an approach different from the rest of the book, focusing on more tradi- tional musical analysis of http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Meaning and Interpretation of Music in Cinema by David Neumeyer

Journal of Music Theory , Volume 63 (1) – Apr 1, 2019

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Copyright
Copyright © 2019 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-7320651
Publisher site
See Article on Publisher Site

Abstract

David Neumeyer, with contributions by James Buhler Meaning and Interpretation of Music in Cinema Indiana University Press, 2015: xv + 317 pp. ($90.00 cloth, $36.00 paper, $9.99 e-book) Tahirih Motazedian Meaning and Interpretation of Music in Cinema comes as the culmination of David Neumeyer’s decades of inf luential investigation of music and sound in film. The main thesis of the book—despite not being advertised in the title— is clearly established from the very first page, is reiterated often, and is amply supported and substantiated. Neumeyer propounds that narrative sound film is (and always has been) fundamentally vococentric, and the primacy of the human voice is essential to his exploration of the dialectic among music, sound, and dialogue. The book is organized in a tripartite structure, in which part 1 com- prises chapters 1 and 2, part 2 consists of chapters 3–5, and part 3 contains chapters 6 and 7 (along with a substantial introduction). Chapter 1 lays the theoretical groundwork, chapter 2 establishes methodology, and chapters 3 –5 synthesize the two in an extensive sample analysis. Chapters 6 and 7 pre- sent an approach different from the rest of the book, focusing on more tradi- tional musical analysis of

Journal

Journal of Music TheoryDuke University Press

Published: Apr 1, 2019

References