Review: Overtones and Undertones: Reading Film Music by Royal S. Brown; Film Music: Fundamentals of the Language by Randall Meyers

1996 ◽  
Vol 49 (4) ◽  
pp. 51-52
Author(s):  
Claudia Gorbman
Keyword(s):  
Film Music ◽  
Music Fundamentals

A History of Film Music

2008 ◽  
Author(s):  
Mervyn Cooke
Keyword(s):  
Film Music ◽  
History Of

Ian Johnson, William Alwyn: The Art of Film Music

2006 ◽  
Vol 3 (1) ◽  
pp. 187-188
Author(s):  
Jeffrey Richards
Keyword(s):  
Film Music

Restrained Airs: The Diegetic Surface and Nondiegetic Depth of British Film Music

2019 ◽  
Vol 16 (4) ◽  
pp. 429-443
Author(s):  
Paul Mazey
Keyword(s):  
Film Music ◽  
The World ◽  
British Cinema ◽  
Film Making ◽  
The Way

This article considers how pre-existing music has been employed in British cinema, paying particular attention to the diegetic/nondiegetic boundary and notions of restraint. It explores the significance of the distinction between diegetic music, which exists in the world of the narrative, and nondiegetic music, which does not. It analyses the use of pre-existing operatic music in two British films of the same era and genre: Kind Hearts and Coronets (1949) and The Importance of Being Earnest (1952), and demonstrates how seemingly subtle variations in the way music is used in these films produce markedly different effects. Specifically, it investigates the meaning of the music in its original context and finds that only when this bears a narrative relevance to the film does it cross from the diegetic to the nondiegetic plane. This reveals that whereas music restricted to the diegetic plane may express the outward projection of the characters' emotions, music also heard on the nondiegetic track may reveal a deeper truth about their feelings. In this way, the meaning of the music varies depending upon how it is used. While these two films may differ in whether or not their pre-existing music occupies a nondiegetic or diegetic position in relation to the narrative, both are characteristic of this era of British film-making in using music in an understated manner which expresses a sense of emotional restraint and which marks the films with a particularly British inflection.

Preliminary Report on Film Music

1947 ◽  
Vol 2 (3) ◽  
pp. 299-302
Author(s):  
Frederick W. Sternfeld
Keyword(s):  
Preliminary Report ◽  
Film Music

Film Music in the Mainstream: Composers in America . Claire R. Reis.

1947 ◽  
Vol 3 (1) ◽  
pp. 101-104
Author(s):  
Lawrence Morton
Keyword(s):  
Film Music

Film Music of the Quarter

1948 ◽  
Vol 3 (4) ◽  
pp. 395-402
Author(s):  
Lawrence Morton
Keyword(s):  
Film Music

Film Music of the Quarter

1948 ◽  
Vol 3 (3) ◽  
pp. 316-319
Author(s):  
Lawrence Morton
Keyword(s):  
Film Music

Film Music of the Quarter

1949 ◽  
Vol 4 (1) ◽  
pp. 84-89
Author(s):  
Lawrence Morton
Keyword(s):  
Film Music
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