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Video Essay: Insincere Inclusion? Ignorant Appropriation? A Symphony Orchestra Plays South Indian Film Music 视频随笔：疯狂的包容？无知的挪用？交响乐团演奏南印度电影音乐

IF 0.1 Q1 Arts and Humanities

Music Sound and the Moving Image

Pub Date : 2023-07-15 DOI: 10.3828/msmi.2023.4

Sureshkumar P. Sekar

引用次数: 0

About the Authors 关于作者

Q1 Arts and Humanities

Music Sound and the Moving Image

Pub Date : 2023-07-01 DOI: 10.5406/19407610.16.2.05

Other| July 01 2023 About the Authors Music and the Moving Image (2023) 16 (2): 55. https://doi.org/10.5406/19407610.16.2.05 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation About the Authors. Music and the Moving Image 1 July 2023; 16 (2): 55. doi: https://doi.org/10.5406/19407610.16.2.05 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressMusic and the Moving Image Search Advanced Search gillian b. anderson is a musicologist and orchestral conductor who has restored, reconstructed, or commissioned scores for over fifty mute films for performances with orchestras throughout Europe and North and South America. A number of her scores are available from Criterion Films and from the Museum of Modern Art. Her books include Music for Silent Films 1898–1929: A Guide and the translation of Ennio Morricone and Sergio Micelli's Composing for the Cinema. Her edition of the score for Way Down East (D. W. Griffith, 1920) is forthcoming from the AMS in its series Music of the United States of America. www.gilliananderson.itchristy thomas adams is an assistant professor of musicology at the University of Alabama School of Music. Her research focuses on the intersection between Italian opera and emerging media technologies at the turn of the twentieth century, with broad interests in the history of media technologies and the... You do not currently have access to this content.

关于作者的音乐和动态图像(2023)16(2):55。https://doi.org/10.5406/19407610.16.2.05查看图标查看文章内容图和表视频音频补充数据同行评审共享图标共享Facebook Twitter LinkedIn电子邮件工具图标工具权限引用图标引用搜索网站引文关于作者。音乐与动态影像2023年7月1日;16(2): 55。doi: https://doi.org/10.5406/19407610.16.2.05下载引文文件:Zotero参考管理EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex工具栏搜索搜索下拉菜单工具栏搜索搜索输入搜索输入自动建议过滤您的搜索所有学术出版集体伊利诺伊大学出版社音乐和运动图像搜索高级搜索吉莉安b.安德森是一位音乐学家和管弦乐指挥，他修复，重建，或为50多部无声电影配乐，与欧洲、北美和南美的管弦乐队合作演出。她的一些分数可以从标准电影公司和现代艺术博物馆获得。她的著作包括《无声电影音乐1898-1929:指南》，以及翻译埃尼奥·莫里康内和塞尔吉奥·米切利的《电影作曲》。她的版本的乐谱的方式向下东部(D. W.格里菲斯，1920年)即将从AMS在其系列的美国音乐。www.gilliananderson.itchristy托马斯·亚当斯是阿拉巴马大学音乐学院音乐学助理教授。她的研究主要集中在意大利歌剧和新兴媒体技术在二十世纪之交的交集，在媒体技术的历史和…您目前没有访问此内容的权限。

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引用次数: 0

The Representation of East Asian Music in Silent Film Accompaniment Scores 东亚音乐在默片配乐中的表现

IF 0.1 Q1 Arts and Humanities

Music Sound and the Moving Image

Pub Date : 2023-05-26 DOI: 10.5406/19407610.16.2.04

Yukiko Yoden

which created a dual structure: Japanese films were accompanied by music such as shamisen and taiko drums, which were used to accompany Kabuki plays, and foreign films were accompanied by Western music played by a small orchestra of violins, pianos, trumpets, and other instruments.1 Furthermore, in the 1910s, when Western culture had not yet become familiar to the general Japanese public, this dual structure divided the audience as well: the intellectuals watched Western films and the masses watched Japanese films. This structure changed in the late 1920s when Japanese films rapidly evolved by adopting film techniques from developed countries, and the intellectual class began to watch Japanese films; concurrently, the masses, now more familiar with Western culture, began to watch foreign films. This mixing of foreign and Japanese film audiences led to a form of Japanese-Western ensemble music, which was used mainly for accompaniment music during screenings of Japanese films. During the silent era, American accompaniment score anthologies, such as those of Erno Rapée, were imported to Japan, and the same method of selecting ready-made music Introduction

这就形成了一种双重结构:日本电影以三味线和太鼓等音乐为伴奏，这些音乐用于伴奏歌舞伎，而外国电影则以由小提琴、钢琴、小号和其他乐器组成的小型管弦乐队演奏的西方音乐为伴奏此外，在20世纪10年代，西方文化还未被日本大众所熟知，这种双重结构也将观众划分开来:知识分子看西方电影，大众看日本电影。这种结构在20世纪20年代末发生了变化，日本电影通过吸收发达国家的电影技术而迅速发展，知识分子阶层开始观看日本电影;与此同时，对西方文化更加熟悉的大众也开始观看外国电影。这种外国和日本电影观众的混合导致了一种日本-西方合奏音乐的形式，主要用于日本电影放映时的伴奏音乐。在无声时代，美国的伴奏乐谱选集，如Erno rap e选集，传入日本，同样的选择现成音乐的方法也被引入

引用次数: 0

Introduction to Mute Film Issue 哑巴电影发行简介

IF 0.1 Q1 Arts and Humanities

Music Sound and the Moving Image

Pub Date : 2023-05-26 DOI: 10.5406/19407610.16.2.01

R. Sadoff, Robynn J. Stilwell

©2023 by the board of trustees of the university of illinois We received so many positive reviews of the 2022 Music and Moving Image Conference panel on silent or mute film music that we decided to publish Gillian B. Anderson’s, Yukiko Yuden’s, and Christy Thomas Adams’s papers as is. Most 35 mm films produced in the first three decades of the twentieth century had no soundtrack printed on the moving picture media itself (hence the industry label “silent” to contrast with films with a soundtrack printed with the images). However, their projection or screenings were accompanied by live or recorded sound effects and music, making their presentation a performing art (anything but silent, but still not generally with any talking).1 It was, in fact, this absence of speech that led to the appellation “talkies” to early recorded-sound pictures. Together these three articles present an international picture of early film music practices. Anderson focuses on the synchronized relationship between accompaniments and pictures that connected the pathos formulae in the moving pictures with those in the music, establishing the foundation upon which all subsequent moving picture accompaniments were based. She documents the use of live synchronized accompaniments in large and small cities in the United States among the top directors, deluxe cinemas, and even regular solo keyboard accompanists. Yoden shows how the classification of “East Asian” (the pathos formulae for it) related to the actual characteristics of some East Asian music used in Japanese cinemas. She used “humdrum tools, a set of resources for computational music analysis, to analyze multiple pieces from a macro perspective.” Adams focuses on the amount of new information about Mascagni’s score for Rapsodia Satanica that she discovered in music publisher Ricordi’s archive. She documents how many copies were printed, how much they cost, how much Mascagni was paid, the process of score preparation, and the relationship between Ricordi and Cines, the producer and the Italian film industry in general.

我们收到了2022年音乐和运动图像会议小组关于无声或静音电影音乐的许多积极评论，因此我们决定按原稿出版吉莉安·b·安德森、Yukiko Yuden和克里斯蒂·托马斯·亚当斯的论文。20世纪前30年生产的大多数35毫米电影没有在电影媒体上印制配乐(因此行业标签为“无声”，以与带有配乐的电影形成对比)。然而，它们的放映或放映伴随着现场或录制的声音效果和音乐，使它们的呈现成为一种表演艺术(除了沉默，但通常仍然没有任何谈话)事实上，正是这种语言的缺失导致了早期有声电影的称谓“有声电影”。这三篇文章共同呈现了早期电影音乐实践的国际图景。Anderson注重伴奏与画面的同步关系，将运动画面中的悲怆公式与音乐中的悲怆公式联系起来，为后来所有运动画面的伴奏奠定了基础。她记录了在美国的大小城市中，顶级导演，豪华电影院，甚至是常规的独奏键盘伴奏中使用现场同步伴奏的情况。Yoden展示了“东亚”的分类(它的悲情公式)如何与日本电影院中使用的一些东亚音乐的实际特征相关联。她使用“单调的工具，一组用于计算音乐分析的资源，从宏观的角度分析多个作品。”亚当斯关注的是她在音乐出版商里科尔迪的档案中发现的关于马斯卡尼《撒旦之歌》配乐的大量新信息。她记录了印刷了多少份，花费了多少钱，付给马斯卡尼多少钱，配乐准备的过程，以及里科尔迪与中国、制片人和意大利电影业之间的关系。

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引用次数: 0

Music Publishers and Synchronized Scores: Mascagni, Ricordi, and Rapsodia satanica 音乐出版商和同步乐谱:马斯卡尼，里科尔迪，和Rapsodia撒旦

IF 0.1 Q1 Arts and Humanities

Music Sound and the Moving Image

Pub Date : 2023-05-26 DOI: 10.5406/19407610.16.2.03

Chris Adams

©2023 by the board of trustees of the university of illinois In 1914, Pietro Mascagni, a composer best known for his opera Cavalleria rusticana, turned his attention to cinema. In so doing, he garnered the distinction of being the first Italian opera composer to write a specially composed film score: Rapsodia satanica. The film was produced by Cines, one of Italy’s most important film companies during the early silent era. Starring the renowned diva Lyda Borelli and directed by Nino Oxilia, the film features a Faustian plot in which an elderly Alba d’Oltrevita makes a pact with the devil Mefisto to reacquire her youth, provided she never falls in love. Long heralded in film studies scholarship, Rapsodia satanica has recently begun to attract musicological attention, in part because of the survival of its synchronized score and most of its film footage.1 Prior to Mascagni’s being contracted to compose the original score for Rapsodia, sixteen scored films are known to have been produced in Italy.2 Rapsodia, however, was the first Italian film to be accompanied throughout by newly composed music written by an internationally renowned composer and was one of the first films to strive for precise synchronization between music and image. Despite Rapsodia’s significance within both film and music history, its creation history remains murky. Although the film itself was completed and screened for a small private audience in 1915, it was only released in 1917, with Mascagni conducting the accompaniment for the July 2 premiere in Rome.3 The history of the film’s production for the intervening years is generally considered lost.4 Yet answers can be found in records from the company that facilitated the film score’s publication—Casa Ricordi, Italy’s leading music publisher in the nineteenth and twentieth centuries. Despite Ricordi’s necessarily crucial role, they are rarely mentioned in studies of Rapsodia satanica (perhaps because publishers are often sidelined in aesthetically minded histories). Prior to Rapsodia, Ricordi had been involved with several film projects, but this was their first newly composed film score and their first cinematic collaboration to involve a well-known opera composer. As one of the earliest collaborations between composer, music publisher, and film company, Rapsodia satanica represented something fundamentally new in the history of Italian cinema. I begin with a brief overview of Rapsodia’s production history, then fill in the gaps with new information from Ricordi’s archives, demonstrating the complexities of this inherently collaborative process. I then Music Publishers and Synchronized Scores: Mascagni, Ricordi, and Rapsodia satanica

1914年，以歌剧《乡村骑士》(Cavalleria rusticana)闻名的作曲家彼得罗·马斯卡尼(Pietro Mascagni)将注意力转向了电影。在这样做的过程中，他获得了意大利歌剧作曲家的荣誉，成为第一个专门创作电影配乐的作曲家:Rapsodia satanica。这部电影是由Cines制作的，Cines是意大利早期无声时代最重要的电影公司之一。这部电影由著名女歌手Lyda Borelli主演，Nino Oxilia执导，讲述了一个浮士德式的故事:年老的Alba d 'Oltrevita与魔鬼Mefisto达成协议，只要她永远不会坠入爱河，就能重获青春。长期以来，《魔鬼之歌》在电影研究学术界备受瞩目，最近开始引起音乐界的注意，部分原因是它的同步配乐和大部分电影片段得以保留在Mascagni签约为《Rapsodia》作曲之前，意大利已经制作了16部配乐电影。然而，《Rapsodia》是第一部由国际知名作曲家新创作的音乐全程伴奏的意大利电影，也是第一部力求音乐与图像精确同步的电影。尽管Rapsodia在电影史和音乐史上都很重要，但它的创作历史仍然模糊不清。虽然这部电影本身在1915年就完成了，并为一小部分私人观众放映，但它直到1917年才上映，马斯卡尼在7月2日罗马的首映式上担任伴奏。3 .电影制作期间的历史通常被认为已经丢失了然而，我们可以从促成电影配乐出版的casa Ricordi公司的记录中找到答案，casa Ricordi是十九世纪和二十世纪意大利领先的音乐出版商。尽管Ricordi扮演了至关重要的角色，但他们却很少被提及(也许是因为出版商在美学历史中经常被边缘化)。在《Rapsodia》之前，Ricordi已经参与了几部电影项目，但这是他们第一次新创作的电影配乐，也是他们第一次与知名歌剧作曲家合作。作为作曲家、音乐出版商和电影公司之间最早的合作之一，《撒旦之歌》在意大利电影史上代表了一些全新的东西。我首先简要概述了Rapsodia的制作历史，然后用Ricordi档案中的新信息填补空白，展示了这种内在协作过程的复杂性。然后是音乐出版商和同步乐谱:Mascagni, Ricordi和Rapsodia satanica

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引用次数: 0

The Synchrony Era 同步时代

IF 0.1 Q1 Arts and Humanities

Music Sound and the Moving Image

Pub Date : 2023-05-26 DOI: 10.5406/19407610.16.2.02

G. Anderson

引用次数: 0

About the Authors 关于作者

Q1 Arts and Humanities

Music Sound and the Moving Image

Pub Date : 2023-04-01 DOI: 10.5406/19407610.16.1.05

Other| April 01 2023 About the Authors Music and the Moving Image (2023) 16 (1): 73–80. https://doi.org/10.5406/19407610.16.1.05 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn Email Permissions Search Site Citation About the Authors. Music and the Moving Image 1 April 2023; 16 (1): 73–80. doi: https://doi.org/10.5406/19407610.16.1.05 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressMusic and the Moving Image Search Advanced Search gillian b. anderson is an orchestral conductor and musicologist who has reconstructed over fifty mute film scores, some of which are found on Criterion films and the MoMA streaming website. Currently she is preparing a performing edition of D. W. Griffith's Way Down East (1920) for the AMS's Music of the United States of America series.maria behrendt studied musicology, media studies and French in Berlin, Münster, and Bangor (Wales), funded by the German Academic Scholarship Foundation and the German Academic Exchange Service. From 2014 to 2018, she worked as research fellow at the University of Music FRANZ LISZT Weimar. She completed her doctoral dissertation on “Romantic aspects in the German Lied of the 1830s” in 2018. Since 2021, she is a research fellow at the University of Marburg. Her postdoctoral project focuses on the reception of irish folk music in Hollywood films and its effect on the German perception... Issue Section: About the Authors You do not currently have access to this content.

其他| 2023年4月1日关于作者的音乐和运动图像(2023)16(1):73-80。https://doi.org/10.5406/19407610.16.1.05引用图标引用共享图标分享Facebook Twitter LinkedIn电子邮件权限搜索网站引用关于作者。音乐与动态影像2023年4月1日;16(1): 73-80。doi: https://doi.org/10.5406/19407610.16.1.05下载引文文件:Zotero参考经理EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex工具栏搜索搜索下拉菜单工具栏搜索搜索输入搜索输入自动建议过滤您的搜索所有学术出版集体伊利诺伊大学出版社音乐和运动图像搜索高级搜索吉莉安b.安德森是一位管弦乐指挥和音乐学家，他重建了50多个静音电影分数，其中一些是在标准电影和现代艺术博物馆流媒体网站上发现的。目前，她正在为美国音乐协会(AMS)的《美国音乐》系列准备格里菲斯(D. W. Griffith)的《往东走》(1920)的表演版。maria behrendt在德国学术奖学金基金会和德国学术交流中心的资助下，先后在柏林、德国东南部和威尔士班戈学习音乐学、传媒学和法语。2014年至2018年，她在魏玛音乐大学担任研究员。2018年，她完成了博士论文《19世纪30年代德国谎言中的浪漫主义》。自2021年起，她在马尔堡大学担任研究员。她的博士后项目主要研究好莱坞电影对爱尔兰民间音乐的接受及其对德国人看法的影响。问题部分:关于作者您目前没有访问此内容的权限。

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引用次数: 0

“Where All Dreams Are Good Dreams”? The Dramatic Function of the Lullaby in Disney’s Animated Feature Films and the Trope of the Romantic Mother 《哪里所有的梦都是好梦》?迪士尼动画电影中摇篮曲的戏剧功能与浪漫母亲的比喻

IF 0.1 Q1 Arts and Humanities

Music Sound and the Moving Image

Pub Date : 2023-02-04 DOI: 10.5406/19407610.16.1.03

M. Behrendt

Abstract:This article demonstrates (1) how Disney’s animated films follow a long tradition of connecting lullabies to loss and death; (2) how an analytical approach toward lullabies can correct established opinions on the representation of mothers in these films; and (3) how both phenomena draw on a specific perception of childhood and motherhood modeled by Romanticism.

摘要:本文论证了(1)迪士尼动画电影如何遵循将摇篮曲与失落和死亡联系起来的悠久传统;(2)对摇篮曲的分析如何纠正对这些电影中母亲表现的既定看法;(3)这两种现象如何借鉴浪漫主义对童年和母亲的具体看法。

引用次数: 0

Picture Editing and Music: A Marriage of Invisible Arts 图片编辑与音乐:无形艺术的结合

IF 0.1 Q1 Arts and Humanities

Music Sound and the Moving Image

Pub Date : 2023-02-04 DOI: 10.5406/19407610.16.1.01

P. Hirsch, R. Sadoff

引用次数: 0

The Life and Legacy of Danijela Kulezic-Wilson Danijela Kulezic-Wilson的一生和遗产

IF 0.1 Q1 Arts and Humanities

Music Sound and the Moving Image

Pub Date : 2023-02-04 DOI: 10.5406/19407610.16.1.02

Elsie Walker, G. Anderson, R. Sadoff, K. Donnelly, L. Greene, Randolph Jordan, James Denis Mc Glynn, Miguel Mera, Aimee Mollaghan, K. Spring

I first met Danijela Kulezic-Wilson through her article titled “A Musical Approach to Filmmaking: Hip-hop and Techno Composing Techniques and Models of Structuring in Darren Aronofsky’s π.” This article appeared in the very first issue of Music and the Moving Image and it was a transformative experience for me—not only because it made me hear the sonic logic of the film better, but because it made me understand how meaningful a musical approach to cinema could be. I met Danijela a few months later, at my first Music and the Moving Image conference in 2009 at New York University. Little did I know that she would become one of the most important presences in my personal as well as scholarly life. Danijela’s writing about the π soundtrack is a fine balance between discipline and freedom of expression, tautness and energy, meticulous form and creative willfulness. To my surprise, she embodied these rarely combined qualities. It is common to be inspired by another scholar’s work, but it is unusual to be just as inspired by who they are. Danijela was a completely unified person: her approach to cinema and music was representative of her approach to all forms of life. She met films, people, and unforeseeable challenges with open-mindedness and worked hard to understand them without ever imposing her own will on them too much. She was an extraordinary survivor of many adversities and a revolutionary scholar of film soundtracks. She turned her struggles into beautiful writings, redirecting what she knew of tragedies into hearing music everywhere. The impact of her presence in the world, and especially the conversations she created through her writing, will not end. Danijela died on April 15, 2021. Her death was a deep shock to the entire international community of soundtrack scholars. This article is a transcript of the tributes paid to Danijela at a keynote for the Music and the Moving Image conference on May 27, 2022. Those readers who knew Danijela will recognize that the references and the reflections of these speeches paint a suitably multidimensional portrait of a beloved colleague and friend. We hope that those in mourning for her will feel heartened and uplifted by this loving act of remembrance. Those readers who did not have Keynote Panel Presentation, Music and the Moving Image XVIII, 2022

我第一次见到Danijela Kulezic-Wilson是通过她的一篇题为“电影制作的音乐方法:Darren Aronofsky π中的嘻哈和技术作曲技术和结构模型”的文章。这篇文章发表在《音乐与运动影像》的第一期上，对我来说是一次变革性的经历，不仅因为它让我更好地听到了电影的声音逻辑，还因为它让我明白了音乐对电影的意义。几个月后，我在2009年纽约大学举办的第一次音乐与动态图像会议上遇到了Danijela。我一点也不知道她会成为我个人生活和学术生活中最重要的存在之一。Danijela关于《π》原声的写作在纪律和自由表达、紧张和活力、细致的形式和创造性的任性之间取得了很好的平衡。令我惊讶的是，她身上体现了这些罕见的品质。被另一位学者的作品所启发是很常见的，但被他们本身所启发是不寻常的。Danijela是一个完全统一的人:她对电影和音乐的态度代表了她对所有生活形式的态度。她以开放的心态面对电影、人物和不可预见的挑战，并努力去理解它们，而不把自己的意志强加给它们。她是一位经历了许多逆境的非凡幸存者，也是一位研究电影配乐的革命性学者。她把自己的挣扎变成了美丽的作品，把她所知道的悲剧变成了随处可见的音乐。她的存在对世界的影响，尤其是她通过写作创造的对话，将不会结束。Danijela于2021年4月15日去世。她的去世对整个国际音乐学界都是一个巨大的打击。这篇文章是在2022年5月27日音乐和移动图像会议的主题演讲中向Danijela致敬的文字记录。那些认识Danijela的读者会意识到，这些演讲的参考文献和反思描绘了一个可爱的同事和朋友的多维肖像。我们希望那些为她哀悼的人会因为这个充满爱的纪念行为而感到振奋和振奋。那些没有主题小组演讲的读者，音乐和运动图像XVIII, 2022

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