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date: 27 January 2020

Abstract and Keywords

Film and television composition has always been mediated by technology of one sort or another. From the earliest days of silent film, musicians necessarily had to interact, at the very least, with the mechanically projected image. The subsequent history of the media has been marked by technological advances that mirror broader scientific and engineering innovation, which have impacted the visual and aural domains to equal degrees. This chapter considers the various technical and aesthetic contexts of film and television music composition, the collaboration inherent in its realization, and the limitations that may be placed on the composer’s creative freedom. The chapter concludes with an examination of the archival resources for research in the area, and it uses materials held in the Trevor Jones and Michael Nyman Archives of the University of Leeds throughout to illustrate the discussion.

Keywords: film, television, Trevor Jones, Michael Nyman, Bernard Herrmann, production processes, oral history, archives, metadata, technology

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