Beyond the Soundtrack : Representing music in cinema

SUMARIO. Introduction. // Phonoplay : film music studies today / Musical meaning. The boy on the train, or bad symphonies and good movies : the revealing error of the symphonic score ; Peter Franklin / Representing Beethoven : romance and sonata form in Simon Cellan Jones's Eroica ; Nicholas Cook / Minima romantica ; Susan McClary / Melodic trains : music in Polanksi's The pianist ; Lawrence Kramer / Mute music in three films by Jane Campion (The piano), Krzystof Kieslowski (Trois couleurs bleu), and Roman Polanski (The pianist) ; Michel Chion / Musical agency. Opera, aesthetic violence, and the imposition of modernity : Fitzcarraldo ; Richard Leppert / Sight, sound, and the temporality of myth-making in Koyaanisqatsi ; Mitchell Morris / How sound floats on land : the suppression and release of folk and indigenous musics in the cinematic terrain ; Philip Brophy / Auteur music ; Claudia Gorbman / Transport and transportation in audiovisual memory ; Berthold Hoeckner / The fantastical gap between diegetic and non-diegetic ; Robynn J. Stilwell / Musical identity. Early film themes : Roxy, Adorno, and the problem of cultural capital ; Rick Altman / Before Willie : reconsidering music and the animated cartoon of the 1920s ; Daniel Goldmark / Side by side : Nino Rota, music, and film ; Richard Dyer / White face, black noise : Miles Davis and the soundtrack ; Krin Gabbard / Men at the keyboard : liminal spaces and the heterotopian function of music ; Gary Thomas.