Item description for Global Soundtracks: Worlds of Film Music (Music / Culture) by Mark Slobin...
This stimulating collection of essays analyzes the music of films ranging from mainstream and subcultural American films through case studies of those from China, India, Indonesia, Egypt, Nigeria, Latin American, and the Caribbean, and includes a variety of key films, periods, and studio practices. The focus of the essays is the social and cultural meanings of film music, not just composers' careers and the musical support of storyline and psychology that are the center of most film music studies. Global Soundtracks is the first anthology to suggest methods for understanding how the conventions of standard film music became localized and expanded around the world in many different periods and cinema systems, and to suggest comparative approaches of analysis.
Contributors include: ABDALLA UBA ADAMU, B. BALASUBRAHMANIYAN, BRENDA BERRIAN, GREG BOOTH, ERIC A. GALM, JOSEPH GETTER, MARILYN MILLER, MARTIN STOKES, SUMARSAM, and SUE M.C. TUOHY.
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Est. Packaging Dimensions: Length: 1.25" Width: 6" Height: 9" Weight: 1.4 lbs.
Release Date Sep 30, 2008
ISBN 0819568821 ISBN13 9780819568823
Availability 0 units.
More About Mark Slobin
Mark Slobin is Professor of Music at Wesleyan University and author of several books on Jewish and Central European music, including "Tenement Songs: Popular Music of the Jewish Immigrants" (1992) and "Exploring the Klezmer World" (2000).
Mark Slobin has an academic affiliation as follows - Wesleyan University Wesleyan College Wesleyan College Wesleyan College.
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the integral part of music in movies Sep 16, 2008
Wesleyan U. professor of music draws together 15 articles, including a few of his own, on the topic on "ethnomusicology." Most of the authors are connected with U.S. universities, though one is from Nigeria and others are foreign-born now with U.S. colleges. Ethnomusicology is as yet loosely-defined subject area combining elements of multiculturalism, anthropology, popular art and culture, and music as a foremost feature and influencer of global and local cultures.
The articles concern the music of films from various perspectives from theoretical and general to music of specific films in specific countries. But first, starting in the introductory chapter "Preview of Coming Attractions" Slobin lays out "A Topology of Global Cinema Systems" for the sprawling, heterogeneous topic. The topologies are based on films from major regions such as Europe or from major countries such as the U.S. and India and Russia. Exploration and analysis of the typologies is demonstrated in the first section of three articles by Slobin on American films, titled "American Worlds." This treatment is continued in following chapters on films mostly from Asia (India and Indonesia), but also Brazil, Caribbean islands, and Egypt.
One notable film Slobin writes about in one of his pieces is Apocalypse Now. In the memorable scene of an attack on a Vietnamese village by American troops, "a three-second sound of chanting schoolchildren...precedes the horrific helicopter attack by the Wagner-laying American choppers, setting up a musical contrast of peace versus horror, and local vernacular versus mainstream, here figured as classical music." Such treatments of types of music, music wedded to visual elements of film, and effects and themes of music enhance one's experience of films.
Music is present in almost every film. Many viewers are unaware of it, however, as they are unaware of the color of a room's walls; or they do not think of it distinctly when thinking about a film. In the 1965 horror film "Hush, Hush, Sweet Charlotte," before the credits, the children "mock the title character as someone who chops off hands and heads; their tune becomes the main title music, so infuses the score." The high-pitched violin strains in the murder scene in Alfred Hitchcock's "Psycho" are one of the best examples of how music adds to a scene, in this case the terror of the murder. This was a highly-compressed instance of music in film.
Slobin and the other authors discuss how music is an aesthetic element often regarded as something added, even superfluous, to movies; but which truly and in many cases necessarily has a part in the making and effects of a movie. The authors explore how music is integral to movies even though movies are commonly regarded as a visual medium.