| Section |
Title |
Author |
Published |
| Editorial
|
|
Introduction: From Nineteenth-Century Stage Melodrama to Twenty-First-Century Film Scoring |
Katherine K. Preston |
Jun 10, 2013 |
| Articles
|
|
The Continuity of Melos: Beginnings to the Present Day |
Anne Dhu McLucas |
May 9, 2013 |
|
The Corsican Brothers and the Legacy of its Tremulous “Ghost Melody” |
Michael V. Pisani |
Apr 29, 2013 |
|
The Ben-Hur Legacy |
Roger Hickman |
Apr 29, 2013 |
|
Melodrama Made Good: Ennoblement by Deletion in Edgar Stillman Kelley’s Score to Ben-Hur |
Luke Hannington |
Apr 29, 2013 |
|
Sarah Bernhardt on Stage and Screen: Nineteenth-Century Theater Music and Early Silent Film |
Erin Michelle Brooks |
Apr 29, 2013 |
|
Mysteriosos Demystified: Topical Strategies Within and Beyond the Silent Cinema |
Tobias Plebuch |
May 9, 2013 |
|
Theory and Practice in Erdmann/Becce/Brav’s Allgemeines Handbuch der Film-Musik (1927) |
Irene Comisso |
Oct 25, 2013 |
|
"'Leitmotif': On the Application of a Word to Film Music" |
Stephen C. Meyer |
Apr 29, 2013 |
|
Melodramatic Music in the Western |
Mariana Whitmer |
Apr 29, 2013 |
|
Juxtaposing teatro de revista and cine: Music in the 1930s comedia ranchera |
Jacqueline Avila |
Apr 29, 2013 |
|
Easy to Cut: Modular Form in the Film Scores of Bernard Herrmann |
Tom Schneller |
Apr 29, 2013 |
|
Music Cue Archetypes in the Film Scores of Elmer Bernstein |
Donald C Meyer |
Apr 29, 2013 |
|
Composing with Types and Flexible Modules: John Williams’ Two-Note Ostinato for Jaws and its Use in Film-Music History |
Peter Moormann |
Apr 29, 2013 |
|
“Regeneration” in Rebecca: Confronting Compilation in Franz Waxman’s Score |
Nathan Platte |
Apr 29, 2013 |
|
Music Theory Through the Lens of Film |
Frank Lehman |
Apr 29, 2013 |
|
Towards a Theory of Musicodramatic Practice in Film: Questions of Method |
David Revill |
Apr 29, 2013 |
|
Knowledge Organization in Film Music and its Theatrical Origins: Recapitulation and Coda |
William H. Rosar |
Oct 25, 2013 |