Vol 5 No. 1-2 (2012)

Journal: Journal of Film Music

Published: Oct 31, 2013

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Section Title Author Published
Introduction: From Nineteenth-Century Stage Melodrama to Twenty-First-Century Film Scoring Katherine K. Preston Jun 10, 2013
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