LEADER 03460nam 2200565 450 001 996248237303316 005 20230801215317.0 010 $a0-585-26166-0 010 $a0-520-91477-5 024 7 $a10.1525/9780520914773 035 $a(CKB)111057870444224 035 $a(SSID)ssj0000217175 035 $a(PQKBManifestationID)12044350 035 $a(PQKBTitleCode)TC0000217175 035 $a(PQKBWorkID)10202044 035 $a(PQKB)11711968 035 $a(DE-B1597)543177 035 $a(OCoLC)1149409170 035 $a(DE-B1597)9780520914773 035 $a(MiAaPQ)EBC30495638 035 $a(Au-PeEL)EBL30495638 035 $a(EXLCZ)99111057870444224 100 $a20230801d1994 uy 0 101 0 $aeng 135 $aur||#|||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aOvertones and Undertones $eReading Film Music /$fRoyal S. Brown 205 $aFirst edition. 210 1$aBerkeley ;$aLos Angeles, California :$cUniversity of California Press,$d[1994] 210 4$d©1994 215 $a1 online resource (408 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-520-08544-2 311 $a0-520-08320-2 327 $tFrontmatter --$tContents --$tAcknowledgments --$tIntroduction --$t1 Narrative/Film/Music --$t2 Actions/Interactions: "Classical" Music --$t3 Actions/Interactions: Historical Overview --$t4 Actions/Interactions: The Source Beyond the Source --$t5 Styles and Interactions: Beyond the Diegesis --$t6 Herrmann, Hitchcock, and the Music of the Irrational --$t7 New Styles, New Genres, New Interactions --$t8 Music as Image as Music: A Postmodern Perspective --$tA Brief (Postmodern) Conclusion --$tInterviews --$tAppendix: How to Hear a Movie: An Outline --$tNotes --$tDiscography --$tBibliography --$tIndex 330 $aSince the days of silent films, music has been integral to the cinematic experience, serving, variously, to allay audiences' fears of the dark and to heighten a film's emotional impact. Yet viewers are often unaware of its presence. In this bold, insightful book, film and music scholar and critic Royal S. Brown invites readers not only to "hear" the film score, but to understand it in relation to what they "see." Unlike earlier books, which offered historical, technical, and sociopolitical analyses, Overtones and Undertones draws on film, music, and narrative theory to provide the first comprehensive aesthetics of film music. Focusing on how the film/score interaction influences our response to cinematic situations, Brown traces the history of film music from its beginnings, covering both American and European cinema. At the heart of his book are close readings of several of the best film/score interactions, including Psycho, Laura, The Sea Hawk, Double Indemnity, and Pierrot le Fou. In revealing interviews with Bernard Herrmann, Miklós Rósza, Henry Mancini, and others, Brown also allows the composers to speak for themselves. A complete discography and bibliography conclude the volume. 606 $aMotion picture music$xHistory and criticism 615 0$aMotion picture music$xHistory and criticism. 676 $a781.54209 700 $aBrown$b Royal S.$088119 712 02$aIrwin K. Carson Collection. 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a996248237303316 996 $aOvertones and Undertones$92345739 997 $aUNISA