The Sounds of Commerce : Marketing Popular Film Music

SUMARIO. Acknowledgments // Did They Mention the Music? / Toward a Theory of Popular Film Music / The Composer as Tunesmith: The Pop Score as Pop Music / Putting the Buzz in the Eardrum: The Pop Score as Accessible / Banking on Film Music / Structural Interactions of the Film and Record Industries / Creating Kingdoms of Song: The Film and Music Industries Unite / Establishing a Sound Track Record: The Majors and Their Record Subsidiaries / Sharps, Flats, and Dollar Signs / Cross-Promotion and the Market for Film Music / From Mantovani to the Beatles: Changing the Market for Film Music / Music Sells Movies or Movies Sell Music? Early Approaches to Promoting Film Music on Records / My Huckleberry Friend / Mancini, Moon River, and Breakfast at Tiffany's / Mancini's Le Jazz Hot: Putting Some Swing in Cinema / That Money-Making Moon River Sound: Mancini and the Pop Song / Chasing the Same Rainbow's End: The Meaning and Narrative Function of Moon River / The Midas Touch / John Barry and Goldfinger / Creating a Bond Market: Selling John Barry's Soundtracks and Theme Songs / A Spider's Touch: Music and Characterization in Goldfinger / Every Gun Makes Its Own Tune / Ennio Morricone, The Good, the Bad, and the Ugly, and L'Esthetique du Scopitone / A Fistful of Vinyl: Ennio Morricone and the Record Industry / The Ecstasy of Gold (Records): Leone's Image, Morricone's Sound / The Sounds of Commerce / Sixties Pop Songs and the Compilation Score / The Historical Sources and Reception of the Compilation Score / The Forms and Functions of the Compilation Score / Rock and Roll Is Here to Stay: The Case of American Graffiti / Pretty Women and Dead Presidents / Theme Songs and Soundtrack Albums After 1975 / Structural Interactions of the Record and Film Industries After 1975 / Contemporary Trends in Film and Music Cross-Promotion / The Music Supervisor / Patterns of Thematic Organization in Contemporary Film Music // Epilogue // Notes // Selected Bibliography // Index