Music and the Moving Image Volume 10 Number 2, Summer 2017
Music and the Moving Image is dedicated to the relationship between the entire universe of music and moving images (film, television, music videos, computer games, performance art, and web-based media). Edited by Gillian B. Anderson and Ronald H. Sadoff
The purpose of Music and the Moving Image is to explore the relationship between music and the entire universe of moving images (television, film, computer, cell phone, and multimedia) through articles, reviews, and interviews. The editorial board encourages submissions from both scholars and practitioners. Although the journal is presented in English and accessible to the non-specialist, submissions that discuss the relationship between music and moving images in non English-speaking nations and diverse cultures are encouraged.
Music Editing: Process to Practice—Bridging the Varied Perspectives in Filmmaking and Storytelling
2016 Music and the Moving Image Conference Keynote Address
While the technical aspects of music editing and filmmaking continue to evolve, the fundamental nature of storytelling remains the same. Ideally, the role of the music editor exists at an intersection between the composer, director, and picture editor, where important creative decisions are made. The music editor initiates the first foray into a film’s musical aesthetics—creating a temp score that breathes new life into the film and serves as a guide track for the composer. When the composer arrives, the music editor facilitates smooth communication and translation between composer and director and ensures the realization of the score. Lastly, the music editor serves as the composer’s advocate in all stages of production and chaperones the music from cradle to grave. This privileged position allows the music editor to better explore how to tell the story through music and bring the evolving vision of the film into tighter focus.
Screenness in Experimental Electronica Performances
Sparked by the deeply contested viewpoints regarding performativity in experimental electronica whereby the laptop plays a central role, and coupled with a critical awareness of our practical and meaningful relationships with laptops, this paper looks at how the presence of the laptop screen has an effect on how people experience music in place and vice versa. As such, in thinking holistically and phenomenologically about screens, I propose „screenness“ as an expressive and experiential paradigm in analyzing performances of experimental electronica, examining notable live sets by acclaimed experimental electronica artists Tim Hecker and Holly Herndon.
The Dance Hall, Nazi Germany, and Hell: Accruing Meaning through Filmic Uses of Benny Goodman’s „Sing Sing Sing“
Benny Goodman’s „Sing Sing Sing“ has been used in a number of films since its first recording. Examining these filmic uses reveals the manner in which period music accumulates meanings. Furthermore, it gives us greater understanding of the roles pre-existing music plays in narrative filmmaking.
Hearing and Seeing with Sergio Leone’s Once Upon a Time in the West (1968): Toward Dispelling Audio-Visual Hierarchy
The conventional cohabitation of cinematic sounds and their implied sources engenders a close and cooperative partnership between the senses of hearing and sight in the process of experiencing film. In this article, I explore the effects of film sounds that become separated from their sources. Specifically, I will argue that audio-visual dislocations create a rift within the intersensory relationship and invoke an anxiety-driven process aimed at mending the partnership by visually locating the source of the sound.