This article offers a close analysis of the 1968 ‘soundtrack’ LP Auto Jazz: Tragic Destiny of Lorenzo Bandini (MPS) by the French saxophone player Barney Wilen. The theme of the LP is Italian racing driver Lorenzo Bandini’s death in a motor racing accident at the Grand Prix Automobile de Monaco in 1967. The article also discusses the visual dimension of the work; image materials were originally to have been presented with the recording to make Auto Jazz a multi-media experience. We tend to associate the late 1960s with revolutionary jazz, free jazz and experiments with jazz form and Auto Jazz: Tragic Destiny of Lorenzo Bandini is certainly ‘far out’. Jazz music at this time took on revolutionary tendencies both aurally and ideologically. However, it is not the politics of such countercultural acts that the recording expresses but rather (as a unique soundscape with elements of musique concrète) the emotional impact of a tragic real-life event through organized sound. The article examines the context for the LP: the development of ‘new wave’ cinema and use of jazz in this form, the concurrent revolution in modern jazz and contemporary experimental music and the form of ‘expanded cinema’ () that Auto Jazz: Tragic Destiny of Lorenzo Bandini was conceived to a contribution to.
{"title":"Auto Jazz: Barney Wilen and the expanded soundtrack","authors":"M. Goodall","doi":"10.1386/ts_00020_1","DOIUrl":"https://doi.org/10.1386/ts_00020_1","url":null,"abstract":"This article offers a close analysis of the 1968 ‘soundtrack’ LP Auto Jazz: Tragic Destiny of Lorenzo Bandini (MPS) by the French saxophone player Barney Wilen. The theme of the LP is Italian racing driver Lorenzo Bandini’s death in a motor racing accident at the Grand Prix Automobile de Monaco in 1967. The article also discusses the visual dimension of the work; image materials were originally to have been presented with the recording to make Auto Jazz a multi-media experience. We tend to associate the late 1960s with revolutionary jazz, free jazz and experiments with jazz form and Auto Jazz: Tragic Destiny of Lorenzo Bandini is certainly ‘far out’. Jazz music at this time took on revolutionary tendencies both aurally and ideologically. However, it is not the politics of such countercultural acts that the recording expresses but rather (as a unique soundscape with elements of musique concrète) the emotional impact of a tragic real-life event through organized sound. The article examines the context for the LP: the development of ‘new wave’ cinema and use of jazz in this form, the concurrent revolution in modern jazz and contemporary experimental music and the form of ‘expanded cinema’ () that Auto Jazz: Tragic Destiny of Lorenzo Bandini was conceived to a contribution to.","PeriodicalId":326068,"journal":{"name":"Soundtrack, The","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132179407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Addressing audiences’ enthrallment with film soundtracks that complicate existing notions of cinema immersion, this article offers the original concept of phenomenological fragmentation. To do so, the article considers soundtracks as mnemonic devices and affective textual components that shape audiences’ identities. Additionally, whilst multiplex viewing theatres and technologies endeavour to disembody audio media production and shroud crowds in darkness, the article explores alternative cinematic environments that support phenomenological fragmentation. This is then applied to concert movies as a particular form of event-based experiential cinema where screenings are accompanied with an orchestra that play the soundtrack live. The article then focuses on Jurassic Park ‘Live in Concert’ as a case study of this. Thirteen concert attendees were interviewed, evidencing myriad instances of phenomenological immersion and fragmentation that are shaped by autobiographical histories with the film and the novel exhibition context. Resultantly, the research provides the much-needed empirical audience data to film music studies and expands the study of experiential cinema.
{"title":"In awe of scores and roars: Audience phenomenological fragmentation between screen and soundtrack","authors":"J. Rendell","doi":"10.1386/ts_00021_1","DOIUrl":"https://doi.org/10.1386/ts_00021_1","url":null,"abstract":"Addressing audiences’ enthrallment with film soundtracks that complicate existing notions of cinema immersion, this article offers the original concept of phenomenological fragmentation. To do so, the article considers soundtracks as mnemonic devices and affective textual components that shape audiences’ identities. Additionally, whilst multiplex viewing theatres and technologies endeavour to disembody audio media production and shroud crowds in darkness, the article explores alternative cinematic environments that support phenomenological fragmentation. This is then applied to concert movies as a particular form of event-based experiential cinema where screenings are accompanied with an orchestra that play the soundtrack live. The article then focuses on Jurassic Park ‘Live in Concert’ as a case study of this. Thirteen concert attendees were interviewed, evidencing myriad instances of phenomenological immersion and fragmentation that are shaped by autobiographical histories with the film and the novel exhibition context. Resultantly, the research provides the much-needed empirical audience data to film music studies and expands the study of experiential cinema.","PeriodicalId":326068,"journal":{"name":"Soundtrack, The","volume":"89 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131582493","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
At the core of Deleuze’s theorization of the time-image is the ‘crystal image’ that appears as a direct presentation of time in an indiscernibility of the actual and the present from the virtual in various forms. Lending his ears to cinema after the Second World War, Deleuze coins the term ‘sound-crystal’, but he neither sufficiently engages with it nor thinks about it beyond music. Turning to film sound scholarship or film philosophy is futile in a similar fashion. To address these gaps in Deleuze, film philosophy and sound in cinema, I listen carefully to a number of contemporary films and TV shows in which sound crystallization splits time in an indiscernibility of the perceived actual from the virtual sounds of recollections, dreams, hallucinations, fantasies and worlds. I argue that crystallization of sounds avoids an anthropocentric approach to understanding the relation between a sound and its source which cannot be claimed to ‘voice’ it.
{"title":"Crystal sounds in contemporary film and TV","authors":"Arzu Karaduman","doi":"10.1386/ts_00018_1","DOIUrl":"https://doi.org/10.1386/ts_00018_1","url":null,"abstract":"At the core of Deleuze’s theorization of the time-image is the ‘crystal image’ that appears as a direct presentation of time in an indiscernibility of the actual and the present from the virtual in various forms. Lending his ears to cinema after the Second World War, Deleuze coins the term ‘sound-crystal’, but he neither sufficiently engages with it nor thinks about it beyond music. Turning to film sound scholarship or film philosophy is futile in a similar fashion. To address these gaps in Deleuze, film philosophy and sound in cinema, I listen carefully to a number of contemporary films and TV shows in which sound crystallization splits time in an indiscernibility of the perceived actual from the virtual sounds of recollections, dreams, hallucinations, fantasies and worlds. I argue that crystallization of sounds avoids an anthropocentric approach to understanding the relation between a sound and its source which cannot be claimed to ‘voice’ it.","PeriodicalId":326068,"journal":{"name":"Soundtrack, The","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115588096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article looks at how the British pop culture of the 1980s changed the way authenticity was conceptualized in popular music. I will argue that ‘new pop’ and the televisual aesthetic of MTV challenged the division between British and American codes of authenticity. This distinction is marked by the use of the term rock in America, to describe popular music of generalizable importance, of which authenticity is the key talisman. By contrast, in the United Kingdom, pop is less of a pejorative term, and the preference for authentic modes of address is tempered by the playful sensibility of the carnivalesque. As a barometer of this, I will be focusing on the work of the British duo Eurythmics, whose creative output spanned the decade, and for whom MTV was pivotal in breaking the American market. In particular, I will suggest that the band’s propensity to bend genre as well as gender, positioned North American ‘rock’ as a contingent discourse: a free-floating signifier around which competing notions of authenticity coalesce. In this direction, the terms rock and pop can also be read against discourses linked to both sexuality and national identity. Indeed, the Britishness of Eurythmics and the camp sensibility of their music videos are central to how rock authenticity is re-positioned as a more plural construct. Emblematic of this paradox of authenticity is both the duality of Dave Stewart and Annie Lennox’s identity as Eurythmics and the diversity of their musical output. Encoded in this are some very specific strategies for listening that draw upon the legacy of British Art schools in the 1950s and the Independent Group. Revisiting this legacy is pivotal therefore in understanding how 1980s pop music culture reverberates in the twenty-first century. The pertinence of the work is underscored by the induction of Eurythmics into the US Rock and Roll Hall of Fame in 2022.
这篇文章着眼于20世纪80年代的英国流行文化如何改变了流行音乐中真实性的概念。我想说的是，“新流行音乐”和MTV的电视美学挑战了英国和美国对真实性的区分。这种区别的标志是在美国使用“摇滚”一词来描述具有普遍重要性的流行音乐，真实性是其关键的护身符。相比之下，在英国，流行不是一个贬义的词，人们对真实的称呼方式的偏好被嘉年华式的戏谑情感所缓和。作为这方面的晴雨表，我将把重点放在英国双人组合Eurythmics的作品上，他们的创意成果跨越了十年，对他们来说，MTV是打入美国市场的关键。特别是，我认为乐队倾向于扭曲流派和性别，将北美“摇滚”定位为一种偶然的话语:一种自由浮动的能指，围绕着它，相互竞争的真实性概念融合在一起。在这个方向上，“摇滚”和“流行”这两个词也可以被解读为与性和民族身份相关的话语。的确，体操的英国性和音乐视频的坎普感性是摇滚真实性如何被重新定位为一种更多元的结构的核心。Dave Stewart和Annie Lennox作为体操运动员的双重身份，以及他们音乐输出的多样性，都是这种真实性悖论的象征。其中包含了一些非常具体的倾听策略，这些策略借鉴了20世纪50年代英国艺术学校和独立团体的遗产。因此，重新审视这一遗产对于理解20世纪80年代流行音乐文化如何在21世纪产生影响至关重要。艺术体操将于2022年入选美国摇滚名人堂(US Rock and Roll Hall of Fame)，这突显了这项工作的针对性。
{"title":"Reconfiguring authenticity: Eurythmics and the aesthetics of new pop","authors":"S. Hill","doi":"10.1386/ts_00019_1","DOIUrl":"https://doi.org/10.1386/ts_00019_1","url":null,"abstract":"This article looks at how the British pop culture of the 1980s changed the way authenticity was conceptualized in popular music. I will argue that ‘new pop’ and the televisual aesthetic of MTV challenged the division between British and American codes of authenticity. This distinction is marked by the use of the term rock in America, to describe popular music of generalizable importance, of which authenticity is the key talisman. By contrast, in the United Kingdom, pop is less of a pejorative term, and the preference for authentic modes of address is tempered by the playful sensibility of the carnivalesque. As a barometer of this, I will be focusing on the work of the British duo Eurythmics, whose creative output spanned the decade, and for whom MTV was pivotal in breaking the American market. In particular, I will suggest that the band’s propensity to bend genre as well as gender, positioned North American ‘rock’ as a contingent discourse: a free-floating signifier around which competing notions of authenticity coalesce. In this direction, the terms rock and pop can also be read against discourses linked to both sexuality and national identity. Indeed, the Britishness of Eurythmics and the camp sensibility of their music videos are central to how rock authenticity is re-positioned as a more plural construct. Emblematic of this paradox of authenticity is both the duality of Dave Stewart and Annie Lennox’s identity as Eurythmics and the diversity of their musical output. Encoded in this are some very specific strategies for listening that draw upon the legacy of British Art schools in the 1950s and the Independent Group. Revisiting this legacy is pivotal therefore in understanding how 1980s pop music culture reverberates in the twenty-first century. The pertinence of the work is underscored by the induction of Eurythmics into the US Rock and Roll Hall of Fame in 2022.","PeriodicalId":326068,"journal":{"name":"Soundtrack, The","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125015108","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Freak Scenes: American Indie Cinema and Indie Music Cultures, Sexton Jamie (2023) University of Edinburgh Press, 208 pp., ISBN 978-1-47441-408-1, h/bk, £85.00 ISBN 978-1-47441-407-4, e-book, £85.00
{"title":"Freak Scenes: American Indie Cinema and Indie Music Cultures, Sexton Jamie (2023)","authors":"G. Arnold","doi":"10.1386/ts_00022_5","DOIUrl":"https://doi.org/10.1386/ts_00022_5","url":null,"abstract":"Review of: Freak Scenes: American Indie Cinema and Indie Music Cultures, Sexton Jamie (2023)\u0000 University of Edinburgh Press, 208 pp.,\u0000 ISBN 978-1-47441-408-1, h/bk, £85.00\u0000 ISBN 978-1-47441-407-4, e-book, £85.00","PeriodicalId":326068,"journal":{"name":"Soundtrack, The","volume":"13 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123726604","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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