8. How Sound Floats On Land: The Suppression And Release Of Folk And Indigenous Musics In The Cinematic Terrain

Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. Illustrations vii
4. Introduction. Phonoplay: Recasting Film Music 1
5. Part I. Musical Meaning
6. 1. The Boy On The Train, Or Bad Symphonies And Good Movies: The Revealing Error Of The “Symphonic Score” 13
7. 2. Representing Beethoven: Romance And Sonata Form In Simon Cellan Jones’S Eroica 27
8. 3. Minima Romantica 48
9. 4. Melodic Trains: Music In Polanski’S The Pianist 66
10. 5. Mute Music: Polanski’S The Pianist And Campion’S The Piano 86
11. Part II. Musical Agency
12. 6. Opera, Aesthetic Violence, And The Imposition Of Modernity: Fitzcarraldo 99
13. 7. Sight, Sound, And The Temporality Of Myth Making In Koyaanisqatsi 120
14. 8. How Sound Floats On Land: The Suppression And Release Of Folk And Indigenous Musics In The Cinematic Terrain 136
15. 9. Auteur Music 149
16. 10. Transport And Transportation In Audiovisual Memory 163
17. 11. The Fantastical Gap Between Diegetic And Nondiegetic 184
18. Part III. Musical Identity
19. 12. Early Film Themes: Roxy, Adorno, And The Problem Of Cultural Capital 205
20. 13. Before Willie: Reconsidering Music And The Animated Cartoon Of The 1920s 225
21. 14. Side By Side: Nino Rota, Music, And Film 246
22. 15. White Face, Black Noise: Miles Davis And The Soundtrack 260
23. 16. Men At The Keyboard: Liminal Spaces And The Heterotopian Function Of Music 277
24. Notes On Contributors 293
25. Works Cited 297
26. Index Of Films Cited 311
27. Index Of Names 317