ID: 1580 - View Book Page - Edit In OJS
Commissioned and edited to appeal to a crossover Film and Music Studies readership, Terror Tracks is an anthology that analyses the use of music and sound in the popular genre of Horror cinema. Focusing on the post-War period, contributors analyse the role of music and sound in establishing and enhancing the senses of unease, suspense and shock crucial to the genre. The anthology shows the various patterns of use an inflection in a range of scores – orchestral, popular, rock and electronic – and how these relate to non-musical sound. Lively and accessible, Terror Tracks is an important contribution to study of Horror cinema.
Published: Jul 1, 2009
'This is as about as far-ranging an anthology as one could hope for, and the reader can only admire the sheer quantity of information and analyses contained in one volume.'
Reynold Humphries, Music, Sound and the Moving Image, 4:2, 2010
'The collection is a useful and often insightful addition to a growing body of critical literature devoted to encouraging viewers to listen to popular movies.'
Journal of American Studies of Turkey, 2011
'Over the last three decades, literature about music used in horror films has either barely scratched the surface or failed to be balanced enough in respect to music, horror film, and horror literature scholarship. Addressing the needs of a musical and nonmusical readership, Hayward (Macquarie Univ., Sydney, Australia) attempts to rectify this situation. He collaborated with film scholars, musicologists, and music theorists, which gives this book a strong sense of continuity. In the introduction, he provides necessary historical background for those unfamiliar with horror cinema. The diversity of films covered (Psycho, The Wicker Man, The Shining, Hellraiser, among many others) will satisfy those interested in literature as well as film. All essays focus on the film as a final product with its film music--i.e., the music is not separate from but rather interacts with the soundtrack. James Wierzbicki's and Scott Murphy's opening essays on Psycho provide a much-needed musical orientation and analysis of the film; Mark Evans's essay on The Exorcist will likely inspire other studies about rhythm. Summing Up: Highly recommended. Lower-division undergraduates through faculty and professionals.'
M. Goldsmith, Nicholls State University, CHOICE, February 2010 Vol 47, No 6