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Editor's Introduction

Editor's Introduction In his contribution to the session ‘Thirty Years Forward: the Past, Present, and Future of Film Music Scholarship’ at the 2017 annual conference of the American Musicological Society (Rochester, New York), Jeff Smith professed his admiration for a new wave of screen music research, to which this special issue of Music Analysis adds momentum. Citing examples including Scott Murphy's publications on transformational theory, Smith noted the potential for fine‐grained, theoretically rigorous analyses of film scores productively to parallel the attention film scholars customarily pay to the visual aspects of screen texts. Coming from such a respected specialist – Smith is among that rare breed of academic with feet planted firmly in both film studies and musicology, and a co‐editor of cornerstone film‐theory textbook Film Art – his endorsement felt significant to me, attending the session just as I was beginning to formulate these introductory words.That insights and innovation will arise from the work of passionate music theorists with an equally strong admiration for film music seems all too obvious. Yet for some time – and not without good reason – scholars of screen music tended to baulk at the notion of transplanting theories and methodologies developed primarily through the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

Editor's Introduction

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.12112
Publisher site
See Article on Publisher Site

Abstract

In his contribution to the session ‘Thirty Years Forward: the Past, Present, and Future of Film Music Scholarship’ at the 2017 annual conference of the American Musicological Society (Rochester, New York), Jeff Smith professed his admiration for a new wave of screen music research, to which this special issue of Music Analysis adds momentum. Citing examples including Scott Murphy's publications on transformational theory, Smith noted the potential for fine‐grained, theoretically rigorous analyses of film scores productively to parallel the attention film scholars customarily pay to the visual aspects of screen texts. Coming from such a respected specialist – Smith is among that rare breed of academic with feet planted firmly in both film studies and musicology, and a co‐editor of cornerstone film‐theory textbook Film Art – his endorsement felt significant to me, attending the session just as I was beginning to formulate these introductory words.That insights and innovation will arise from the work of passionate music theorists with an equally strong admiration for film music seems all too obvious. Yet for some time – and not without good reason – scholars of screen music tended to baulk at the notion of transplanting theories and methodologies developed primarily through the

Journal

Music AnalysisWiley

Published: Jan 1, 2018

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