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David Neumeyer (with contributions by James Buhler), Meaning and Interpretation of Music in Cinema. Bloomington and Indianapolis: Indiana University Press, 2015. xv + 319 pp. ISBN 978‐0‐253‐01651‐5. £29.99 (pb).

David Neumeyer (with contributions by James Buhler), Meaning and Interpretation of Music in... Meaning and Interpretation of Music in Cinema may be understood as the culmination of David Neumeyer's distinguished career as both a music theorist and an analyst of film soundtracks. This study marks a return to, but also a significant development of, Neumeyer's earlier published examination of dialogue underscoring in Hollywood synchronised sound films, in which he demonstrated the limitations of prioritising simplistic dichotomies such as diegetic (or source) music vs. non‐diegetic (or background) score (). The ‘radicalized notion’ he proposes here is that all narrative sound film is vococentric (p. 202), a term that originates with Michel Chion () which describes the primacy of dialogue and voice in the hierarchy of a film's sonic elements. The book explores how this recognition of vococentrism productively impacts the analysis of films’ soundtracks. The conception of film soundtracks proposed will be familiar to those who have read Hearing the Movies (2010, a textbook co‐authored by James Buhler and Neumeyer with Rob Deeming). For these authors, while the soundtrack comprises several components – speech and dialogue, sound and music – the soundtrack as a whole ‘has priority over any of its individual elements’ (p. 3). The soundtrack is a construction (and thus not http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

David Neumeyer (with contributions by James Buhler), Meaning and Interpretation of Music in Cinema. Bloomington and Indianapolis: Indiana University Press, 2015. xv + 319 pp. ISBN 978‐0‐253‐01651‐5. £29.99 (pb).

Music Analysis , Volume 37 (1) – Jan 1, 2018

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Publisher
Wiley
Copyright
Music Analysis © 2018 John Wiley & Sons Ltd
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/musa.12111
Publisher site
See Article on Publisher Site

Abstract

Meaning and Interpretation of Music in Cinema may be understood as the culmination of David Neumeyer's distinguished career as both a music theorist and an analyst of film soundtracks. This study marks a return to, but also a significant development of, Neumeyer's earlier published examination of dialogue underscoring in Hollywood synchronised sound films, in which he demonstrated the limitations of prioritising simplistic dichotomies such as diegetic (or source) music vs. non‐diegetic (or background) score (). The ‘radicalized notion’ he proposes here is that all narrative sound film is vococentric (p. 202), a term that originates with Michel Chion () which describes the primacy of dialogue and voice in the hierarchy of a film's sonic elements. The book explores how this recognition of vococentrism productively impacts the analysis of films’ soundtracks. The conception of film soundtracks proposed will be familiar to those who have read Hearing the Movies (2010, a textbook co‐authored by James Buhler and Neumeyer with Rob Deeming). For these authors, while the soundtrack comprises several components – speech and dialogue, sound and music – the soundtrack as a whole ‘has priority over any of its individual elements’ (p. 3). The soundtrack is a construction (and thus not

Journal

Music AnalysisWiley

Published: Jan 1, 2018

References