Music, Sound, and the Moving Image

The Beginnings of a Beautiful Friendship?

Music Narratology and Screen Music Studies

Music, Sound, and the Moving Image (2012), 6, (1), 55–71.

Abstract

Serious screen music studies have been underway for over twenty years, with the analysis and critical interpretation of music's role in audio-visual narratives a key concern. However, the advanced and theoretically grounded tools of music narratology have not yet, on the whole, played a significant role in screen music studies. This paper examines the potential for theoretical cross-fertilisation between these fields. Its analytical discussions of Casablanca and Mystic River draw on theories of agency and expressive structure from scholars including Carolyn Abbate and Robert Hatten, in the context of broader considerations of interpretation, ideology, and narrative.

Access Token
£25.00
READ THIS ARTICLE
If you have private access to this content, please log in with your username and password here

Abbate, Carolyn (1991) Unsung Voices: Opera and Musical Narrative in the Nineteenth Century, Princeton: Princeton University Press Unsung Voices: Opera and Musical Narrative in the Nineteenth Century Google Scholar

Almén, Byron (2008) A Theory of Musical Narrative, Bloomington: Indiana University Press A Theory of Musical Narrative Google Scholar

Barthes, Roland (1991) ‘Rasch’ in The Responsibility of Forms, trans. Richard Howard, Berkeley: University of California Press The Responsibility of Forms Google Scholar

Branigan, Edward (1992) Narrative Comprehension and Film, Abingdon and New York: Oxford University Press Narrative Comprehension and Film Google Scholar

Brett, Philip (1997) ‘Piano Four-Hands: Schubert and the Performance of Gay Male Desire’, 19th-Century Music, 21:2: 149-76 ‘Piano Four-Hands: Schubert and the Performance of Gay Male Desire’ 19th-Century Music 21 149 76 Google Scholar

Brown, Royal S. (2005) ‘Music and/as Cine-Narrative or: Ceci n'est pas un leitmotif’ in James Phelan & Peter J. Rabinowitz (eds) A Companion to Narrative Theory, Malden, MA, and Oxford: Blackwell, pp. 451-65 A Companion to Narrative Theory 451 65 Google Scholar

Cochrane, Tom (2010) ‘Using the Persona to Express Complex Emotions in Music’, Music Analysis, 29:1-3: 264-75 ‘Using the Persona to Express Complex Emotions in Music’ Music Analysis 29 264 75 Google Scholar

Cone, Edward T. (1982) ‘Schubert's Promissory Note: An Exercise in Musical Hermeneutics’, 19th-Century Music, 5:3: 233-41 ‘Schubert's Promissory Note: An Exercise in Musical Hermeneutics’ 19th-Century Music 5 233 41 Google Scholar

Cumming, Naomi (2000) The Sonic Self: Musical Subjectivity and Signification, Bloomington: Indiana University Press The Sonic Self: Musical Subjectivity and Signification Google Scholar

Danuser, Hermann (2006) ‘Review Symposium: Thomas Christensen (ed.) The Cambridge History of Western Music Theory’, Music Analysis, 24:1-2: 265-82 24 265 82 Google Scholar

Eco, Umberto (1994) ‘Casablanca, or, the clichés are having a ball’ in Sonia Maasik & Jack Solomon (eds) Signs of Life in the U.S.A.: Readings on Popular Culture for Writers, Boston: Bedford Books, pp. 260-4 Signs of Life in the U.S.A.: Readings on Popular Culture for Writers 260 4 Google Scholar

Fink, Robert (2001) ‘Going Flat: Post-Hierarchical Music Theory and the Musical Surface’ in Nicholas Cook & Mark Everist (eds) Rethinking Music, Oxford and New York: Oxford University Press, pp. 102-38 Rethinking Music 102 38 Google Scholar

Frampton, Daniel (2006) Filmosophy, London: Wallflower Filmosophy Google Scholar

Franklin, Peter (2007) ‘The Boy on the Train, or Bad Symphonies and Good Movies: The Revealing Error of the "Symphonic Score"’ in Daniel Goldmark, Lawrence Kramer, & Richard Leppert (eds) Beyond the Soundtrack: Representing Music in Cinema, Berkeley: University of California Press, pp. 13-26 Beyond the Soundtrack: Representing Music in Cinema 13 26 Google Scholar

Gorbman, Claudia (1987) Unheard Melodies: Music in the Narrative Film, Bloomington: Indiana University Press Unheard Melodies: Music in the Narrative Film Google Scholar

Harmetz, Aljean (1992) Round Up the Usual Suspects: The Making of Casablanca—Bogart, Bergman, and World War II, New York: Hyperion; as quoted in Marks 2000: 162 Round Up the Usual Suspects: The Making of Casablanca—Bogart, Bergman, and World War II 162 Google Scholar

Hatten, Robert (1991) ‘On Narrativity in Music: Expressive Genres and Levels of Discourse in Beethoven’, Indiana Theory Review, 12: 75-98 ‘On Narrativity in Music: Expressive Genres and Levels of Discourse in Beethoven’ Indiana Theory Review 12 75 98 Google Scholar

Hatten, Robert (1994) Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation, Bloomington: Indiana University Press Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation Google Scholar

Kerman, Joseph (1999) Concerto Conversations, Cambridge, MA: Harvard University Press Concerto Conversations Google Scholar

Klein, Michael (2004) Intertextuality in Western Art Music, Bloomington: Indiana University Press Intertextuality in Western Art Music Google Scholar

Kramer, Lawrence (2004) ‘Music, Metaphor and Metaphysics’, The Musical Times, 145: 5-18 ‘Music, Metaphor and Metaphysics’ The Musical Times 145 5 18 Google Scholar

Levinson, Jerrold (1996) ‘Film Music and Narrative Agency’ in David Bordwell & Noël Carroll (eds) Post-Theory: Reconstructing Film Studies, Madison, WI, and London: University of Wisconsin Press, pp. 248-82 Post-Theory: Reconstructing Film Studies 248 82 Google Scholar

Long, Michael (2008) Beautiful Monsters: Imagining the Classic in Musical Media, Berkeley and Los Angeles: University of California Press Beautiful Monsters: Imagining the Classic in Musical Media Google Scholar

Marks, Martin (2000) ‘Music, Drama, Warner Brothers: The Cases of Casablanca and The Maltese Falcon’ in James Buhler, Caryl Flinn, & David Neumeyer (eds) Music and Cinema, Middletown, CT: Wesleyan University Press, pp. 161-86 Music and Cinema 161 86 Google Scholar

Maus, Fred (1988) ‘Music as Drama’, Music Theory Spectrum, 10: 56-73 ‘Music as Drama’ Music Theory Spectrum 10 56 73 Google Scholar

Maus, Fred (2001) ‘Narratology, Narrativity’ in Stanley Sadie & John Tyrrell (eds) The New Grove Dictionary of Music and Musicians, 2nd edn, London: Macmillan, vol. 17, pp. 641-43 The New Grove Dictionary of Music and Musicians 17 641 43 Google Scholar

McCreless, Patrick (2000) ‘Music Theory and Historical Awareness’, Music Theory Online, 6:3, http://www.mtosmt.org/issues/mto.00.6.3/mto.00.6.3.mccreless.html (accessed 31.01.2012) http://www.mtosmt.org/issues/mto.00.6.3/mto.00.6.3.mccreless.html ‘Music Theory and Historical Awareness’ Music Theory Online 6 Google Scholar

Nadel, Alan (2005) ‘Second Nature, Cinematic Narrative, the Historical Subject, and Russian Ark’ in James Phelan & Peter J. Rabinowitz (eds) A Companion to Narrative Theory, Malden, MA, and Oxford: Blackwell, pp. 427-40 A Companion to Narrative Theory 427 40 Google Scholar

Newcomb, Anthony (1992) ‘Narrative Archetypes and Mahler's Ninth Symphony’ in Stephen Scher (ed.) Music and Text: Critical Inquiries, Cambridge: Cambridge University Press, pp. 118-36 Music and Text: Critical Inquiries 118 36 Google Scholar

Reyland, Nicholas (2012) Zbigniew Preisner's Three Colors Trilogy: Blue, White, Red—A Film Score Guide, Lanham, MA: Scarecrow Press Zbigniew Preisner's Three Colors Trilogy: Blue, White, Red—A Film Score Guide Google Scholar

Stilwell, Robynn J. (2005) ‘Clean Reading: The Problematics of "In the Air Tonight" in Risky Business’ in Steve Lannin & Matthew Caley (eds) Pop Fiction: The Song in Cinema, Bristol: Intellect Books, pp. 140-54 Pop Fiction: The Song in Cinema 140 54 Google Scholar

Tagg, Philip & Clarida, Bob (2003) Ten Little Tunes: Towards a Musicology of the Mass Media, Montreal: The Mass Media Scholars' Press Ten Little Tunes: Towards a Musicology of the Mass Media Google Scholar

Whittall, Arnold (1991) ‘Analysis as Performance’, Atti Del XIV Congresso Della Societa Internazionale Di Musicologica, 1: 654-60 ‘Analysis as Performance’ Atti Del XIV Congresso Della Societa Internazionale Di Musicologica 1 654 60 Google Scholar

David Beard & Kenneth Gloag (2005) Musicology: The Key Concepts, Abingdon and New York: Routledge, p. 70 Musicology: The Key Concepts 70 Google Scholar

Woolf, Virginia (1925) ‘Jane Austen’, in The Common Reader, London: Hogarth Press The Common Reader Google Scholar

If you have private access to this content, please log in with your username and password here

Details

Author details

Reyland, Nicholas