- The Oxford Handbook of Film Music Studies
- Contributors
- The Oxford Handbook of Film Music Studies
- Overview
- Music and the Ontology of the Sound Film: The Classical Hollywood System
- Opera and Film
- Visual Representation of Film Sound as an Analytical Tool
- Film Music from the Perspective of Cognitive Science
- Composing for Film: Hanns Eisler’s Lifelong Film Music Project
- Ontological, Formal, and Critical Theories of Film Music and Sound
- Drawing a New Narrative for Cartoon Music
- Genre Theory and the Film Musical
- “The Tunes They Are A-changing”: Moments of Historical Rupture and Reconfiguration In the Production and Commerce of Music In Film
- The Compilation Soundtrack from the 1960s to the Present
- The Origins of Musical Style In Video Games, 1977–1983
- Classical Music, Virtual Bodies, Narrative Film
- Gender, Sexuality, and the Soundtrack
- Psychoanalysis, Apparatus Theory, and Subjectivity
- Case Studies: Introduction
- The Order of Sanctity: Sound, Sight, and Suasion In <i>The Ten Commandments</i>
- Strange Recognitions and Endless Loops: Music, Media, and Memory In Terry Gilliam’s <i>12 Monkeys</i>
- Transformational Theory and the Analysis of Film Music
- Listening In Film: Music/Film Temporality, Materiality, and Memory
- Auteurship and Agency In Television Music
- When the Music Surges: Melodrama and the Nineteenth-century Theatrical Precedents for Film Music Style and Placement
- Audiovisual Palimpsests: Resynchronizing Silent Films with “Special” Music
- Performance Practices and Music In Early Cinema outside Hollywood
- Performing Prestige: American Cinema Orchestras, 1910–1958
- Index
Abstract and Keywords
This chapterexamines how the effects of film music on meaning, memory, and the construction of a reality within a film can be addressed or understood from a cognitive scientific perspective. It reviews studies that aim to explain why music is important to film as well as how music functions in film, and it discusses the principles of cognitive science and cognitive perspective. It also considers the Congruence-Associationist Model for understanding filmmusic, which was developed to account for the fact that the attitudes toward three geometric film characters were affected differently by background music.
Keywords: film music, meaning, memory, construction of reality, cognitive science, Congruence-Associationist Model, background music, film characters
Annabel Cohen, Professor of Psychology, University of Prince Edward Island
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- The Oxford Handbook of Film Music Studies
- Contributors
- The Oxford Handbook of Film Music Studies
- Overview
- Music and the Ontology of the Sound Film: The Classical Hollywood System
- Opera and Film
- Visual Representation of Film Sound as an Analytical Tool
- Film Music from the Perspective of Cognitive Science
- Composing for Film: Hanns Eisler’s Lifelong Film Music Project
- Ontological, Formal, and Critical Theories of Film Music and Sound
- Drawing a New Narrative for Cartoon Music
- Genre Theory and the Film Musical
- “The Tunes They Are A-changing”: Moments of Historical Rupture and Reconfiguration In the Production and Commerce of Music In Film
- The Compilation Soundtrack from the 1960s to the Present
- The Origins of Musical Style In Video Games, 1977–1983
- Classical Music, Virtual Bodies, Narrative Film
- Gender, Sexuality, and the Soundtrack
- Psychoanalysis, Apparatus Theory, and Subjectivity
- Case Studies: Introduction
- The Order of Sanctity: Sound, Sight, and Suasion In <i>The Ten Commandments</i>
- Strange Recognitions and Endless Loops: Music, Media, and Memory In Terry Gilliam’s <i>12 Monkeys</i>
- Transformational Theory and the Analysis of Film Music
- Listening In Film: Music/Film Temporality, Materiality, and Memory
- Auteurship and Agency In Television Music
- When the Music Surges: Melodrama and the Nineteenth-century Theatrical Precedents for Film Music Style and Placement
- Audiovisual Palimpsests: Resynchronizing Silent Films with “Special” Music
- Performance Practices and Music In Early Cinema outside Hollywood
- Performing Prestige: American Cinema Orchestras, 1910–1958
- Index
