Show Summary Details

Page of

PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice).

date: 07 August 2020

(p. 639) Index

(p. 639) Index

Page numbers followed by t or f indicate tables or figures, respectively. Numbers followed by “n” indicate notes.

Abbate, Carolyn, 49
ABC, 541
Abdul the Damned, 136, 160, 162–163, 176
Above the Rim, 283
Absent One, 397, 409
Absolute music, 175
The Abyss, 282
Academic analysis, 472
Academy Awards, 38, 243n7
Academy of Motion Picture Arts and Sciences, 38, 243n7, 247
Accompanying Cinematograph Pictures on the Piano, 615
Acousmatic listening, 503
Acousmêtre (acoustical being), 68, 401, 410
Action films, 281–282
Action readiness, 105
Adamenko, Victoria, 446
The Addams Family, 531
Adelphi Theatre, 579
Adorno, Theodor, 141–142, 146–147, 205–206, 377
characters based on, 154
Composing for the Films (Eisler and Adorno), 9, 133–150, 148t, 152, 156, 164–165, 171–173, 206–207
Current of Music, 142
Dialectic of Enlightenment (Adorno and Horkheimer), 143–144
Dialectic of Enlightenment (Adorno, Suhrkamp, and Unseld), 144
Entwurf zum Filmmusikbuch (Adorno and Eisler), 143
Komposition für den Film (Eisler and Adorno), 146–148, 148t
Philosophische Fragmente (Adorno and Horkheimer), 144
relevant or cited writings by, 182
Adventure (Atari), 323–324, 324f
Adventure (Crowther), 323
The Adventures of Prince Achmed, 79
Advertising, 247, 286
commercial jingles, 540–541
lobby displays, 279–280
television commercials, 540–546
theater advertisements, 623
Aesthetics, 200–201, 205, 420
African American cinemas, 617
African Americans, 209–210, 220n3
African polyrhythms, 213
Agency, 526–555
Agency-oriented models, 12
The Age of Innocence, 435
Ahrend, Thomas, 158–159
AIDS, 378
Aktion J (Campaign J), 153, 158, 178
Aladdin, 241
The Alamo, 279
Albright, William F., 429–430
Album sales, 276, 278, 282–286, 288, 637n6
Alexander Nevsky, 8, 75, 76f, 122
Alice in Wonderland (1951), 250
Alice’s Restaurant, 295–296
Alienation effects, 372
Aliens, 282
Allanbrook, Wye, 61
Allen, Steve, 545
Allgemeines Handbuch der Filmmusik (Erdmann and Becce), 134
“All in” deals, 287
All in the Family, 534
All Quiet on the Western Front, 89–92, 91f, 94
Ally McBeal, 534, 548
Also Sprach Zarathustra (Strauss), 117, 485
Altman, Rick, 8, 18, 51, 196–197, 217, 245, 255, 327–328, 337–338, 413n3, 472, 579nn1, 622, 625
(p. 640) apparatus theory, 388–392
definition of musical, 263
on film musicals, 263
on genre, 246–250, 254
Living Nickelodeon, 598
scene analysis of Noah’s Ark, 87f–88f
sound-sensitive description of Citizen Kane, 85–86, 86f
soundtrack studies, 389–391
on “special” scores, 586
on television sound, 536
theory of genre, 263
Altman, Robert, 253
Alvin and the Chipmunks: The Squeakquel, 288
American Bandstand, 545
American Beauty, 307
American Federation of Musicians (AFM), 628, 635
American Graffiti, 280, 287, 295–296, 302
American Idol, 546
An American in Paris, 52, 252–253, 256, 264, 633
American International, 257
American Organist, 625
American pastoral, 220nn8
“American Patrol” March (Meacham), 335
American Society of Composers, Authors and Publishers (ASCAP), 272, 276
Amsterdam Film Museum, 139
Analysing Musical Multimedia (Cook), 4, 539
Analysis
academic examination, 472
contemporary, 11–12, 469–555
film music studies, 1–6, 472–476, 474f
formal theories, 188–225
functional approach, 203–204, 479
genre theory, 248–249
musematic, 538
perspectives, 472–476
psychoanalysis, 195–196, 198–199, 383–417, 412nn1
psychological studies, 96, 198–199
transformational, 471–499
work-analyses, 474
Anchors Aweigh, 631
Anders, Allison, 303
Anderson, Gillian, 584–586, 597, 600, 603, 607, 621–622, 625
Anderson, Paul Thomas, 308, 312
Anderson, Wes, 308
Andrea Chénier (Giordano), 61
Androgyny, 48–49, 49f
The Andy Griffith Show, 545
Anempathetic sound or music, 565
Animaniacs, 239
Animations
films, 285
with music, 106, 107f, 232–233
television series, 236
text, 106
Annie Get Your Gun, 631
Ant, Adam, 309
Antheil, George, 529
Antifascism, 164
Antitrust actions, 277–278
Antony, John, 459
The Apartment, 279–280
Aphex Twin, 309
Apitz, Bruno, 158
Appadurai, Arjun, 213
“The Apparatus” (Baudry), 395
Apparatus theory, 383–417
critique of, 392–393
music and, 393–395
Appel, Anna, 36
Apple Computer, 311
Applied music, 160, 175
Archers, 51–53
The Archie Show, 236
Archival materials, 242
Archives, 606
Argentina, 616
Aria (1987), 68–69
Aristotle, 246
Armageddon, 285
Arnheim, Rudolf, 26–27, 189, 191, 217–218
Arnold, David, 57–58, 492–494
Les Arrivistes (The Opportunists, Trübe Wasser), 178
Art, 202
Art film, 35
The Art of Film Music (Burt), 4
Ascription, 537–540
ASDR (attack, sustain, decay, and release), 197
Ashman, Howard, 241
Asian Americans, 210
L’assassinat du duc de Guise, 615
Associations, 102–105
Astaire, Fred, 251–252, 254–256, 264–265
Asteroids (Atari), 330, 330f
“As Time Goes By,” 364nn4
Astor, Mary, 30–31, 33
Atari, 320
2600 Video Computer System (VCS), 323
Adventure, 323–324, 324f
Asteroids, 330, 330f
Centipede, 330, 331f, 334
Combat, 323, 323f
Crystal Castles, 336, 338f
Haunted House, 324
Missile Command, 329
Pong, 321–322, 328
Atonality, 206–207
Atonal music, 220nn8, 476
Attack, 197
Attali, Jacques, 375–376
Audience, 534–540
Audience assumptions, 98
Audience engagement, 109–111
Audio dissolve, 51
Audiovisual correspondences, 75, 76f
Audiovisual counterpoint, 372
Aumont, Jacques, 408–409
Aural remains, 66–67
Auschwitz, 155
Auschwitz documentary films, 156
Austen, Jake, 546
Austin Powers: The Spy Who Shagged Me, 285
Australia, 612
Auteurism, 12, 245, 251–252, 301
history of, 530–531
in television music, 532–533
TV composer, 528–529
Authenticity, 11, 607
Autoexoticism, 211, 220nn9
Autry, Gene, 10, 255–263, 259f–262f, 265
Avalon, Frankie, 257
Avatar, 99–100, 100f, 108, 122, 288
Average shot length (ASL), 196
Avery, Tex, 453–454
Avignon Festival, 597
Award music, 321
Axt, William, 578–579
Aykroyd, Dan, 65
Azancheyev, Boris, 615
Babbitt, Milton, 478–479
Babington, Bruce, 254
“Baby Elephant Walk” (Mancini), 279, 336
The Bacchae (Euripides), 376–377
Bach, J. S., 235–236, 296, 308, 333, 509
Badalamenti, Angelo, 531–532, 549
Baez, Joan, 308
Baker, Buddy, 242
Baker, Thomas, 562, 571
Balanchine, George, 107
Balio, Tino, 247
“Ballade von den Säckeschmeißern” (Ballad of the Sack-Throwers) (Eisler), 162, 181nn24
Ballet de cour, 563
Ballet films, 52
Bally Astrocade, 323
Bally Astrovision, 323, 324f
Bally Midway, 334, 336
Balzano, Gerald, 477
Bambi (1942), 235
The Band, 295
The Band Wagon (1953), 52
Barbarism, 599
The Barber of Seville (Rossini), 64
Barbican Cinema, 602–603
Barceau, Marcel, 506–507
Barefoot, Guy, 579nn1
Barkin, Elaine, 523nn4
Barnes, Jennifer, 544
Barrett, Lawrence, 566
Barrios, Richard, 250–251
Barry, John, 279
Barry Lyndon, 295–296, 313nn7
Barrymore, John, 33, 35, 626
Barrymore, Lionel, 33
Barthes, Roland, 364nn3, 373, 503
Bartók, Bela, 165, 169, 296, 309
Baryshnikov, Mikhail, 508–512, 510f–511f
Baseheart, Richard, 519, 521
(p. 642) Basic Instinct, 490–491
Bathing Beauty, 631
Batman, 307
Batman Forever, 489
Batman & Robin, 489
The Battle of the Somme, 600, 606
Battleship Potemkin, 616
Baudry, Jean-Louis, 385–386, 392, 395–397
Baxter, Anne, 424, 434
Baxter, Joan, 545
Bazelon, Irwin, 216–217, 484
Bazin, André, 1–2, 387
Bazinian total cinema, 199
BBC, 544
B-class films, 32, 248
Beach Boys, 299
Béar, Liza, 516
Beard, A. J., 595
The Beatles, 286, 299, 545
A Beautiful Mind, 483
Beauty and the Beast (1991), 241
Becce, Giuseppe, 134, 615
Becher, Johannes R., 157
Beck, Jay, 89
Beecroft, Jeffrey, 448
Beethoven, Ludwig van, 154–155, 309, 334–336
Für Elise, 333–334, 336f
Marcia alla turca, 335
Ninth Symphony, 336, 419
Behind Office Doors (1931), 30–31, 31f
Bel Ami, 154–156, 177
Belasco, David, 421, 431–432, 568–569, 571
Belgium, 612
Bellour, Raymond, 73, 364nn3
Bell sounds, 335
Belushi, James, 65
Belviso, THomas, 527
Benefit concerts, 628
Ben-Hur, 559, 579nn2
Benjamin, Walter, 355
Bennett, Tony, 296
benshi, 613
Berg, Alban, 132, 141, 147
Bergman, Ingmar, 46
Bergson, Henri, 512–515
Bergsonism (Deleuze), 512
Berkeley, Busby, 245, 251–252
Berlant, Laura, 421–422
Berlin, Irving, 276
Berlin: Symphony of a Great City, 79
Berlinale film festival, 161
Berlin Philharmonic, 636
Berlioz, 538
Bernard, Raymond, 590, 597
Bernhardt, Sarah, 570
Bernstein, Elmer, 11, 65, 308, 421, 434–435, 439
“Copland,” 441, 441f
Bernstein, Jeremy, 301
Bernstein, Leonard, 544, 636
Berry, Chris, 616–617
Berry, Chuck, 296
Bertellini, Georgio, 599, 601–602
The Best Years of Our Lives, 473
Between Opera and Cinema (Joe and Theresa, ed.), 4, 45
Betz, Albrecht, 144
Beverly Hills Cop, 282, 303
Beynon, George, 20
Bhabha, Homi, 214
Bible, 427–432
American Standard Version, 428
Authorized or King James Verison (KJV), 428–429
English Revised Version, 428
Biblical epics, 278
Bicentennial Man, 492
Bick, Sally, 180nn11
Big Bopper, 296
Billboard magazine, 283, 286, 298
Bill of Divorcement, 35
Binder, Maurice, 279
Binns, Alexander, 476
Biophon, 611
Biopics
composer, 264
musical, 254
The Bioscope, 588
Bird of Paradise, 35–36
The Birds, 153, 458–460
Birkin, Jane, 514–516, 518
Bíró, Yvette, 518
The Birth of a Nation, 79, 208, 213–214, 220nn3, 595–597, 599, 622
Bivona, Gus, 633
(p. 643) Bizet’s Carmen, 50–51
Bjoerling, Jussi, 69
Blackface, 214
Black History project, 599
Blackmail, 41nn8
“Black music,” 209
Blanchard, Terrance, 309
Blanche of Nevers, or I am Here, 566
Blaxpoitation films, 280
Bloch, Ernst, 174
Block, Geoffrey, 250–251
Blonde Venus, 33
Blood oxygen level-dependent (BOLD) responses, 113, 118
“Blueberry Hill,” 456–458
The Blue Danube Waltz (Strauss), 295
The Blue Express, 616
Blue Streak, 285
Blum, Carl Robert, 134
The Bodyguard, 271, 283
Bogost, Ian, 319, 328
Bogue, Roland, 519, 523nn8
La Bohème (Puccini), 67–68
Bolhavas, 616
Bollywood, 309
Boltz, Marilyn, 108–109
Bond, James, 57–58, 58f, 116
Bond, Jeff, 532
Bonitzer, Pascal, 401
Bonnaire, Sandrine, 66–67, 516
Boo Boo Runs Wild, 243nn12
Boop, Betty, 235
Booth, Edwin, 571
Bordwell, David, 39–40, 196–200, 203, 413nn6
Borzage, Frank, 150
Le bossu (Anicet-Bourgeois and Féval), 565
Boston Symphony Orchestra, 624
Boston Theatre, 579nn5
Boucicault, Dion, 561–563, 571
Bouncing Ball shorts, 233, 243nn6
Bourdieu, Pierre, 543
Bourgeois culture, 543, 574
Bourgeois light music, 164, 574
Bowie, David, 308
Bowman, Roger, 537
Bowron, George, 570
Bowser, Eileen, 585
Bow Wow Wow, 309
Box office revenues, 282
Boyd, Don, 68–69
Bradley, Scott, 237, 242
The Brady Bunch, 531
Brand, Joshua, 534
Brannigan, Erin, 523nn5
Brazil, 612, 614, 617–618
Breakfast at Tiffany’s, 216–217, 279
Brecht, Bertolt, 132, 135, 140, 153, 155, 170, 372
Bregenz Opera Festival, 57
Breil, Joseph Carl, 79, 220nn3, 585, 599
Bribitzer-Stull, Matthew, 487, 494
Bricolage, 535
Brigadoon, 630t, 633
British Library, 586, 608nn3
The Broadway Melody, 26, 191
Broadway Theater (Los Angeles, CA), 623
Broccoli, Albert, 279
Broderick, Matthew, 492
Bronson, Fred, 545
Brougham, John, 565
Brown, Julie, 5, 12, 534
Brown, Royal S., 4, 475, 528
Brownlow, Kevin, 587–588, 596–597
Brownrigg, Mark, 210
Bruckheimer, Jerry, 282
Bryant, Caitlin, 89–92
Brynner, Yul, 424, 434
“Buckbeak’s Flight,” 483
Buckley, Christopher, 455
Buckstone, John, 571, 579
Budgets, 275–276, 287–288
costs of reconstructions, 601–602
Buena Vista Music Group, 285–286
Buffy the Vampire Slayer, 533–535, 548
Buhler, James, 4–5, 8–9, 11, 197, 207, 274, 281, 346nn16, 507
Bull, Michael, 311
Bulworth, 285
Bumpers, 548–549
Buñuel, Luis, 612
Burger Time (Bally Midway), 334
Burgoyne, JOhn, 563
Burlesque, 566
Burletta restrictions, 565
Burlingame, Jon, 340, 530
(p. 644) Burnand, David, 209
Burns, Robert, 572
Burt, George, 4
Butler, Jeremy, 536
Bye Bye Birdie, 631
byeonsa, 614, 617–618
The Byrds, 295
Byron, Henry J., 566, 571–575
Cabin in the Sky, 633
Cable television, 238–241, 314nn20
Cahiers du Cinéma, 1–2, 386–387
California Institute of the Arts (CalArts), 240
California Theater, 625
Calker, Darrell, 236, 242
Callas, Maria, 61, 66
Camera(s), 413nn2
Camera Three, 529
Cameron, James, 282, 288
Camp readings, 372–373
“Camptown Races,” 336, 337f
Canby, Vincent, 281
Cannes Film Festival, 157, 161
Canon in D (Pachelbel), 336
Canova, Antonio, 351
Capitol Records, 238, 240, 243nn12
Capp, Al, 437–438
Capriccio Italien (1953), 630, 630t, 631
Capriccio Italien (Tchaikovsky), 623
Captains Courageous, 247
Capuzzo, Guy, 483
Carbine, Mary, 617
Caricatures, 231, 537–538
Carl Fischer, Inc., 274, 560
Carli, Philip, 588–589, 597–598, 602–603, 607
The Carl Stalling Project, 239
Carmen (1915), 44, 586
Carmen (Bizet), 44, 50–51
Carmichael, Hoagy, 308
Carnival (Sega), 331, 332f, 346nn12
Caron, Leslie, 252
Carpenter, John, 420
Carroll, Noël, 198, 200–201, 203–205, 208, 219, 504, 511–512
Cars, 285
Carson, Jack, 256
Carson, Johnny, 545
Cartoon music, 229–244, 336, 453–454
Cartoon Network, 239–240
Cartoons
Columbia, 236
Fleischer, 231
Golden-Age, 239
musical, 230–236
music in, 229–230
stock library cues in, 237–238
television, 236–238
Terrytoon, 236
trends, 238–241
Casablanca, 38, 207, 364nn4
Case studies, 418–423. see also specific films, studies
Casino, 307–308
Cassette tapes. see Tape recording
Cassetti, Francesco, 9, 188, 219–220
The Cat Concerto, 236
Categorization of films, 247
Catholicism, 428
Caudate, 118
Causal listening, 503
Cavalcanti, Alberto, 155
Cavalleria rusticana (Mascagni), 55–57
Cave, Jack, 635
Cavett, Dick, 545
Cayrol, Jean, 156
Cazabon, Albert, 603
CBC, 549
CBS, 529
CDs, 310, 548
Celan, Paul, 156
Censorship, 160–161, 163, 247–248, 599
Centipede (Atari), 330, 331f, 334
La Cérémonie (1995), 66–67
Chabrol, Claude, 66–67
“Chaiya Chaiya,” 309
Chamber Symphony, op. 69 (Eisler), 138
Changing Tunes: The Use of Pre-existing Music in Film (Powrie and Stilwell, ed.), 4
Chant, 220nn8
Chaplin, Charlie, 603
Character themes, 537
“Charade” (Mancini), 279
The Charge of the Light Brigade, 35
(p. 645) Charisse, Cyd, 252
Charles, Ray, 296
The Cheetah Girls 2, 285
Cheever, Russ, 631
Cheng, Anne Anlin, 214
Chesterfield Supper Club, 545
Chevrolet, 543
The Chevy Show, 545
Chicago, 286
Un chien andalou, 612
Childs, Adrian, 481–482
A Child Went Forth, 138–139, 160, 177
Chimes, 335
China, 612, 614, 616–618, 628
Chinese cinema, 616–617
Chinese-language Film: Historiography, Poetics, Politics, 616–617
Chinese theater, 628
Chopin, Frédéric, 358
G minor Ballade, 358
Impromptu, 358–363, 360f–361f, 362f
Online Chopin Variorum Edition, 606
Second Piano Sonata, 321, 323
Choreography, 504–507, 509–510
Christensen, Thomas, 483
Christianity, 429
Christmas in July, 276
Christmas music, 421, 448–449
Christopher Strong, 38
Chromatic dominants, 474, 495
Chronophone, 21, 611
Churchill, Frank, 233–234, 242
Le ciel est á vous, 77, 78f
Cineam Iran, 613
Cine-criture (cinematic writing), 518
Cinema. see also Film(s)
classical, 398, 513
of cutting, 39
early cinema outside Hollywood, 611–619
eroticism of, 354, 356–357
as first of moving bodies, 353–354
modern, 513–514
music and, 355–358
myth of total cinema, 189–190
as socio-psychical machinery, 396
time-image of, 353
transnational, 5
Cinema, 592
Cinema 1: The Movement-Image (Deleuze), 512
Cinema 2: The Time-Image (Deleuze), 512–513
Cinéma du découpage, 39
Cinema orchestras, 620–638
CinemaScope, 278, 630–631
“Cinémathèque,” 606
Cinematic realism, 253
Cinematic signifiers, 364nn3
Cinematic time, 364nn4. see also Time
Cinematic writing (cine-criture), 518
Cinemetrics, 196–198
Cinerama, 278
Circus (Exidy), 320–321, 321f, 323, 331
The Circus, 177, 603
Citizen Kane, 85–86, 86f
Citron, Marcia, 8, 44–45, 49–50, 54, 632
City of Angels, 284
Clampett, Bob, 240
The Clansman, 595
Clapton, Eric, 280, 282
Clark, Dick, 545
Clark, Petula, 500
Clash, 308
Classical cinema, 398, 513
The Classical Hollywood Cinema (Bordwell, Staiger, and Thompson), 198
Classical music, 236, 296, 351–365, 543
Classical videos, 547
Clausen, Alf, 239, 534
Clever, Edith, 49–50
Clichés, musical, 140, 170–171, 446, 450, 466, 466nn4
jazz and pop as, 164
power of, 458–462
for silent film accompaniment, 134
Click tracks, 275
Clift, Montgomery, 374
A Clockwork Orange, 295, 309
Close Encounters of the Third Kind, 281, 442
Closer, 62
Close reading, 195–196
Clune, William, 623–624
(p. 646) Clyman, John, 631
CNN, 549
Coca-Cola, 542–543
Cocteau, Jean, 502, 508–512
Coffee-themed music, 276
Cognitive perspective, 97–101
Cognitive psychology, 98
Cognitive science, 96–130
Cohan, Steven, 255
Cohen, Annabel, 8, 96, 507
Cohn, Richard, 481
Cola wars, 543
Cold War, 155, 161
Cole, B. J., 455
Cole, Nat King, 296
Coleman, Mark, 311
The Colleen Bawn (Boucicault), 561–563
Collins, James (Jim), 249, 535
Collins, Karen, 319–320, 325–326, 345
Collins, Wilkie, 568
Colonialism, 213–215
Colpix Records, 279
Columbia Pictures, 236, 277
Columbia Records, 278
Columbia Theatre, 570
Combat (Atari), 323, 323f
Comedies, 257, 285, 296
Comité d’histoire de la Seconde Guerre mondiale, 156
Commedia dell’arte, 563
Commentative music, 192
Commerce, 270–290
Commercial jingles, 540–541
Commercials, 540–546
Comme une image, 62
The Common Cause, 588
Communication model, 534–540
Communicative efficacy, 211–213
Communism, 159, 161
Como, Perry, 296, 545
Comolli, Jean-Louis, 386–387, 392, 395–397
Compilations, 291–318, 598
music video, 302–305
reemergence of, 294–299
Tower Records, 307
videoized, 306
Complementation, 194, 539
The Complete Metropolis, 608nn6
Complex situations, 67–69
Composer biopics, 264
Composers, 98, 629. see also specific individuals by name
film composers, 131–132
television composers, 531–532
Composing for the Films (Eisler and Adorno), 9, 133–150, 152, 156, 164–165
critique and prescriptions, 166–171
dramaturgical counterpoint, 171–173
first English edition, 148t, 149
first German edition, 146–147, 148t
as foundational work, 206–207
German version (see Komposition für den Film)
versions of, 148, 148t
Composition
with genres, 543
principles of, 394
with styles, 543
Computers, 310–313
Computer software, 310, 606
Computer Space (Nutting), 320–321, 346nn5
Concentrated or reduced listening, 196–197
Conceptual videos, 546–547
Concert films, 304
Concerto for Violin and Percussion (Loussier), 450
Concretization, 192
Coney Island, 261
Conformance, 194
Congruence-Associationist Model (C-A M), 96, 101, 119–123, 120f, 124
Congruent structure, 105–108, 107f
The Conquerors, 35–38, 37f
Conservatorio Nacional de Música (Mexico City, Mexico), 137
The Constant Nymph, 629
Contemporary analysis, 11–12, 469–555
Contemporary music, 312
Contemporary music theory, 471
Les Contes de Hoffmann (Offenbach), 52–53
Conti, Bill, 279
Continuity, 394
Continuous music, 327–330
Contrapuntal realistic sound, 192
(p. 647) Convention, 211
Cook, David, 513
Cook, Nicholas, 4, 193–194, 531, 539
Cooke, John Francis, 544
Cooke, Mervyn, 4, 617
Cooper, Alfred Edward, 580nn20
Cooper, Merian C., 94
Copjec, Joan, 404
Copland, Aaron, 38, 308
“Copland” (Bernstein), 441, 441f
Coppola, Francis, 55–56
Coppola, Sofia, 308–309, 312
Cop Rock, 540
Copyists, 275
Copyright issues, 272–274
Copyright wars, 273–274
The Corsican Brothers, 566, 569
Cortez, Ricardo, 36
Cosi, 65
Cosi fan tutte (Mozart), 62–63, 65
Cosmopolitanism, 210–211
Costs
benefits of soundtracks, 271
licensing fees, 286
performance fees, 288
of reconstructions, 601–602
“Council of Elrond” cue, 483
Count Basie, 296, 531
Counterpoint, 190, 192
audiovisual, 372
dramaturgical, 171–173
The Count of Monte Cristo, 566
Country music, 257
Courage, Alexander, 532
Courage the Cowardly Dog, 240
The Courier of Lyons, 569
Cow and Chicken, 240
Cowboy films, 257–264
Cowboy songs, 220nn8
Cowell, Henry, 529
Craven, Hawes, 569
Crawford, Joan, 33
Crazy Climber (Taito), 336
Creston, Paul, 529
Crisantemi (Puccini), 64
Criterion Collection, 53
Critical theories, 188–225
Crosby, Bing, 255–257, 265
Cross, Ian, 5
The Crow, 285
Crowther, Bosley, 631
Crowther, Will, 323
The Crucible (Miller), 156
Crumb, George, 296
Crystal Castles (Atari), 336, 338f
Csupo, Gabor, 240
Cues
“Council of Elrond” cue, 483
instrumental music cues, 566–567
music cues in sound film, 561
narrative, 394
nineteenth-century, 565–566, 568, 573–578
source music cues, 564
in special scores, 586
stock library cues, 237–238
television cue music, 530–531
Cue sheets, 615
Culbert, David, 149
“Cult” TV shows, 549
Cultural discourses, 596–600
Cultural studies, 206
Culture industry, 144, 160
Culture theory, 527
“A Cup of Coffee, a Sandwich, and You,” 276
Curatorship, 606
Cure, 309
The Curious Case of Benjamin Button, 354
Curious George, 285
Current of Music (Adorno), 142
Curtin, Hoyt, 237–238
Curtiz, Michael, 87f–88f, 89, 559, 569
Cusic, Don, 257
Czech opera tradition, 151–152
Czech territories, 612
Dahlhaus, Carl, 484
Daily News (London), 571
Dali, Salvatore, 612
Dallas, 530–531
Dallesandro, Joe, 516
Daly, Augustin, 564, 567–568, 571
Daly‘s Theatre, 569
(p. 648) Dance, 523nn5
choreography for, 504–507, 509–510
in Fantasia, 506–507
music-bowtie, 506–507
on television, 546–548
in The Ten Commandments, 425, 437
Dance films, 52, 282. see also specific films
Dance of a Man from Bahia, 614
“Dance of the Hours,” 506
Dance shows, 546
“Danses Caractéristiques” (Tchaikovsky), 336
Dans les rues (Song of the Streets), 135–136, 161, 176
Daphnis and Chloe, 616
Daquin, Louis, 156
Darabont, Frank, 59
Darby, John Nelson, 429
The Dark Knight, 489
Dark Victory (1939), 38
“D’Artagnan’s Love Song,” 566
Daubney, Kate, 4
Dave Clark Five, 300
Davenport, Fanny, 570
David, Mack, 531
Davis, Bette, 38
Davis, Carl, 589–590, 597
Davis, Glyn, 371–372
Davis, Judy, 358
Day, Doris, 256, 265
Dayan, Daniel, 397–398
A Day in the Life of Ranger Smith, 243nn12
The Day of the Jackal, 110
Days of Thunder, 282
“The Days of Wine and Roses” (Mancini), 279
DDR (Deutsche Demokratische Republik). see East Germany
Deadline at Dawn, 177
Dean, Robert (Rob), 559, 579nn34
Dearer than Life (Byron), 571–575, 572f–573f
“Death Scene” (Zamecnik), 337
Deaville, James, 548
DeBra, Arthur, 139
De Bruyn, Frans, 246
Debussy, 538
De Carlo, Yvonne, 431
Decca Records, 277
Deciphering, 503
Decker, James, 635
Decker, Todd, 254
Découpage: cinéma du, 39
Deemer, Rob, 5, 197, 274, 281
De Lalo, 592
Delamater, Jerome, 249, 251, 254
Delerue, George, 308
Deleuze, Gilles, 353, 502, 504, 512–515, 519
Dello Joio, Norman, 529
De Mille, Agnes, 253
DeMille, Cecil B., 44, 431, 438, 586. see also specific films
Demme, Jonathan, 61, 89
Demonization, 220nn4
Demy, Jacques, 516
De Nat, Joe, 236
Deneuve, Cahterine, 516
Denmark, 612
Dent, Edward, 570
De Palma, Brian, 306
Derrida, Jacques, 363nn2
Descriptive analysis, 196–198
De Sylva, Brown, and Henderson, 273
Deutsche Demokratische Republik (DDR). see East Germany
Deutsche Film-Aktiengesellschaft (DEFA), 152–153, 158
Deutsche Symphonie (Eisler), 133, 158
Devo, 308
DeVol, Frank, 531
Dexter’s Laboratory, 240
Diagrams
film-sound, 75–82, 76f, 82–85
of movement, 75–77, 76f
of pictorial composition, 75–77, 76f
Dialectic of Enlightenment (Adorno and Horkheimer), 143–144
Dialectic of Enlightenment (Adorno, Suhrkamp, and Unseld), 144
Dialogue, synchronized, 400–401
Diamond, 311
Diamonds, 296
The Dick Cavett Show, 545
Dickens, Charles, 568
Dickson, W. K. L., 21
Dick Tracy, 307
(p. 649) The Dick Van Dyke Show, 545
Dido and Aeneas, 326–327
Diegetic music, 20–21, 537, 544
Diegetization, 408–409
Die Hard, 282
Dies Irae, 220nn8
Dieterle, William, 569
Dietrich, James, 242
Dietrich, Marlene, 33
Difference test, 194
Dig Dug (Namco), 326–327, 326f–327f, 330
Digital listening devices, 311
Digital music, 216
Digital scores, 307–310, 312
Digital video discs (DVDs), 72, 548, 584, 606–607
Digitization, 309–310
Dil Se, 309
Dingjun Mountain, 614
DiPasquale, James, 287
“Di quella pira” (Verdi), 55
Directors, 98, 301–302. see also individual directors
Director’s Cuts, 606
Dirty Dancing, 283, 303
Discourses
cultural, 596–600
twentieth-century, 174–175
Discursification, 536
Dishonored, 273
Disney, 9. see also specific films
cartoons, 230–231, 234, 241–242
fairy-tale musicals, 254
soundtrack albums, 276
Disney, Walt, 234–236, 241, 506–507. see also specific films
Dissonance, 169
Divergence, 453–454
Divertimento no. 15 (Mozart), 107
Divine Truth, 428
Dix, Richard, 36–37
DJ-ing, 294
Dmytryk, Edward, 160
Doane, Mary Anne, 364nn4, 366–370, 388–392
Doble-tonic complexes, 474
Documentation, 569–571
Dodecaphony, simple, 133
Dolby Labs, 280
Dolby Stereo, 271, 280–283
Doll Number (Offenbach), 52
Domino, Fats, 456
Donen, Stanley, 251–252
Don Giovanni (Mozart), 67
Don Juan, 25, 29, 626–627
Donkey Kong (Nintendo), 322, 334, 340–343, 341f–342f, 343–344, 343f–344f
Donkey Kong 3 (Nintendo), 337
Donnelly, K. J., 4, 471, 536, 546, 549
Dopamine, 118
Do-Right, Dudley, 242
Dorsey brothers, 545
Doty, Alexander, 370
Doughty, Ruth, 209
“Dove sono” (Mozart), 53
Down Argentine Way, 256
Down Beat, 631, 635
Downloading music, 310–311
Down Mexico Way, 260, 260f, 262, 262f
“Downtown” (Clark), 500
Dr. Jekyll and Mr. Hyde, 247–248
Dr. No, 279
Dragnet, 340–341, 341f
Dramas
historical, 296
melodramas, 50–51, 368, 432, 434
nineteenth-century melodramas, 559–582
Dramatic presence, 462
Dramaturgy, 171–173
A Dream Comes True, 628–629
Dreamgirls, 286
Dream music, 450–452
Drury Lane Collection, 579nn5
Dualism, 480
Dubbing, 274
Dudley Do-Right, 242
Dudow, Slatan, 135, 160
Duhamel, Antoine, 597
The Duke’s Bequest, 565
The Duke’s Device, 566
The Duke’s Motto (Brougham), 565
The Duke’s Signal, 566
Dulay, Arthur, 79
Dumb and Dumber, 114
Duneen, James, 30–31
Durbin, Deanna, 255
DVDs (digital video discs), 72, 548, 584, 606–607
Dyer, Richard, 245, 249, 261
Dying away effects, 586
Dylan, Bob, 308
Dynamic music, 192
Early Cinema in Russia and Its Cultural Reception (Tsivian), 616
Early cinema outside Hollywood, 611–619
Early musical cartoons, 230–233
Early rock’n’roll musicals, 264
East Germany (DDR, Deutsche Demokratische Republik), 152–154, 157, 174–175
Easy Rider, 280, 295–296
Eclecticism, 535
Eddy, Nelson, 256
Edison, Thomas, 21, 351, 611, 615
Editing, 394
Editing software, 606
The Ed Sullivan Show, 545
Efron, Zac, 285
Egorova, Tatiana K., 617
Egypt, 617
Eight-track tape, 299
Einheitsfrontlied, 153
“Einheitsfrontlied” (Eisler), 163
Eisenstein, Sergei, 8, 135, 189, 220nn2, 372, 513, 616
film-sound diagrams, 75–77, 76f, 82–85
“Statement” (Eisenstein, Pudovkin, and Alexandrov), 190
Eisler, Elfriede, 132, 206–207
Eisler, Georg, 150, 175
Eisler, Gerhart, 132
Eisler, Hanns, 8–9, 131–187, 590
“Ballade von den Säckeschmeißern” (Ballad of the Sack-Throwers), 162, 181nn24
biography of, 160–161
censorship of, 160–161, 163
Chamber Symphony, op. 69, 138
Composing for the Films (Eisler and Adorno), 9, 133–150, 152, 156, 164–165, 171–173
Deutsche Symphonie, 133, 158
“Einheitsfrontlied,” 163
Entwurf zum Filmmusikbuch (Adorno and Eisler), 143
Exodus No. 1, 139
Film Music Project, 9, 131–187
film scores, 181
“Freedom Song,” 162–163
Goethe Rhapsody, 151
“Der heimliche Aufmarsch,” 163
“Hollywood Elegy,” 140
“Hollywood Songbook,” 133
ideas, motivations, and methods, 159–166
“Kessellied,” 161
Komposition für den Film (Eisler and Adorno), 146–148, 148t
Lenin-Requiem, 133
Lied über die Gerechtigkeit, 151
politics, 159–160, 163–164
“Schoenberg Anecdotes,” 169
Sequence No. 2, 139
Sequence No. 3, 139
Sequence No. 4, 139
Sequence No. 5, 139
“Solidarity Song,” 161–162, 174
Sonata for Piano, op. 1, 141–142
soundtracks, 159–160, 164–166
Suite for Septet No. 1, 139
“The Tired Soldier” (Der müde Soldat), 132
Why is Modern Music so Difficult to Understand?, 142
writings, 181–182
Eisler, Stephanie, 147
Eisler-Fischer, Louise, 139, 143–144
E la nave va (And the Ship Sails On, 1983), 66
Electric Prunes, 295
Electric Research Products, Inc. (ERPI), 272
“Electric vaudeville,” 24
Electroencephalography (EEG), 111–113, 115–116, 124
Electronic music, 216, 220nn8, 301
Elfman, Danny, 534
Elias, Albert, 528–529
Elinor, Carli D., 595
Ellis, Edwin, 563
Elman, Mischa, 626
Elsaesser, Thomas, 49–50
(p. 651) Elvey, Maurice, 603
Emge, Charles, 631
Emmerich, Roland, 492
Emotional coherence, 118–119
Emotion(s), 394
“The Encantadas or The Enchanted Isles” (Melville), 380nn1
Encyclopedia of Music for Pictures (Rapée), 327
Encyclopedias, 615
End of Days, 285
England, 161, 612
The Entertainer (Joplin), 336
Entertainment, 549, 598
Entr’acte, 616
Entwurf zum Filmmusikbuch (Adorno and Eisler), 143
The Epic of Everest, 592
Epistemology, 211
Erdmann, Hans, 134
Ernste Gesänge (Eisler), 133
Eros, 374
Eros, 354, 363
Eros and Psyche, 352–353
“Eros and Psyche” (Canova), 351
Eroticism, 354, 356–357, 437
Escape clause, 394
Esther (1962), 136, 158–159, 161, 178
Esther (Apitz), 158
E.T.: The Extra-Terrestrial (film), 281–282
E.T.: The Extra-Terrestrial (Atari), 320
Euphony, 168
Euripides, 376–377
Evans, Peter, 254
Everson, Beth, 595–596
Evita, 239
Evocative music, 192
Evoked potentials, 113
Evoked response potentials (ERPs), 113, 124
Ewen, David, 274
Exceptionalism, 202
Exidy, 320–321, 321f, 323, 331
Exile: discourses on, 174–175
Exodus, 427
Exodus, 279
Exodus No. 1 (Eisler), 139
Exodus to Jazz, 279
The Exorcist, 295–296, 301
Exoticism, 209–211, 220nn8
Exploitation, 376
blaxpoitation films, 280
of oldies, 455
Expressionism debate, 174
Eyeline match, 28
Eyes Wide Shut, 309
Eyl/Van Houten Collection, 586
Fairlight keyboard, 240
The Fairly Odd Parents, 9, 240–241
Fairy-tale musicals, 250, 254
Faller, Greg, 251, 254
The Fall of Babylon, 593, 595
False consciousness, 219
Falsey, John, 534
Falsity, 466
Family Guy, 240–241, 243nn13, 533–534
Famous Music, 273–274
Fan-based guides, 472
“Fanfare” (Goldenthal), 489
Fanfare magazine, 475
Fanfares, 563
Fantasia, 52, 235–236, 506–507, 630
Fantasmatics, 400–402
Fanzines, 548
“Farewell” (Symphony No. 45) (Haydn), 637nn5
Far From Heaven, 435
Farina, Johnny, 455
Farina, Santo, 455
Farquhar, Mary, 616–617
Farrar, F. W., 428
Farrar, Geraldine, 44
Faßhauer, Tobias, 135
Fat Albert and the Cosby Kids, 236
Father Frost (Morozko), 589
Faulkner, Robert, 215–216
Faure, Florence, 509, 510f
“Fear and Anger” motif, 549
Feature films (features), 234–235. see also Film(s)
Federal Center for Political Education, 157
Federation of Women’s Clubs, 628
Fedora (Sardou), 570
Feher, Frederick, 629
(p. 652) Feldman, Joseph, 273
Fell, John L., 579nn1
Fellini, Federico, 66, 502, 518–522, 521f
“Fellowship” (Shore), 489
Felsenstein, Walter, 154
Feminism, 206, 367
Feminist theory, 366–370, 379–380, 383–384
Feore, Colm, 500
Ferreyra, José, 616
Fetishism, 168, 603
Feuer, Jane, 245, 249, 254–255, 372–373
Fidelio, 154–155, 161, 177
Fidelity, 197
Field, William Osgood, 137
Fielding, Jerry, 532
Field paradigm, 188–190
File sharing, 271, 284, 310–313
Film and Television Index, 526
Film composers, 131–132
Film criticism, 73, 188–225, 367, 472
Film curatorship, 606
Film diagrams, 82–85. see also Diagrams
Film directors, 98, 301–302. see also individual directors
Film dramatization, 561–562
Film editing software, 606
Film experience, 606
Film History, 616
Filmic, 19
Filmic representation, 407–408
Film Index, 622
Filmmaking
auteur style of, 296
high concept style, 303
MTV style, 306
Film music. see also Film sound
album sales, 276, 282–286, 288, 637nn6
analysis of (see Analysis)
assumptions about, 98
“authentic” accompaniments, 607
central questions, 8–9, 15–225
classical conception of, 394
as cluster concept, 507
cognitive science perspective on, 96–130
Congruence-Associationist Model (C-A M) for understanding, 96, 101, 119–123, 120f, 124
definition of, 476
falsity of, 466
functions of, 101, 173
history of, 616–617
as music itself, 473–474, 474f, 475–476
and neuroscience, 111–119
popular, 483–486
qua music, 173, 472
in recent films, 490–492
“standard” theory of, 194
as suture, 402
theatrical precedents, 559–582, 579nn1
theory of, 188–225, 474–475
unsynchronized numbers, 33, 35
Film Music: A Neglected Art (Prendergast), 3, 530–531
Film Music: Critical Approaches (Donnelly, ed.), 4
Film musicals, 245–269
Film Music Notes, 537
Film Music Project (Eisler), 9, 131–187
Film music studies, 1–6, 472–476. see also Analysis
development of, 188
dimensions of, 473–474, 474f
expansion of, 72–73
“Film Musings” (Brown), 475
Film noir, 209
Film Quarterly, 377
Film restoration or reconstruction, 584, 590–592
costs of, 601–602
definition of, 601
DVD “reconstructions,” 606–607
historical recreations, 607
process of, 602–603
“special” scores as maps for, 594–596
Film reviews, 247
Film(s). see also Cinema; Sound film; specific titles
animated, 285
categorization of, 247
composing for, 131–187
as content, 606
definitive editions, 604
as experience, 606, 607nn1
formal properties of, 199
Hollywood studio orchestras on, 628–636
listening in, 500–525
as medium, 212, 219
MGM Concert Hall, 629–630, 630t
music in, 354
narrative, 206, 351–365
opera-films, 45–54
opera in, 45, 54–59
original, 607
performances of, 607
prints, 592–594, 604
“special,” 584
Film scholarship, 391
Film scores. see Scores; specific films
Film sound. see also Film music; specific films
approaches to, 21
“authentic” accompaniments, 607
components of, 506
diagrams of, 75–82
dimensions of, 197
musicalization of, 51
nonsynchronous, 29
silent film, 18–21
theories of, 188–227
visual representations of, 72–95
Film speed, 587–592
Film theory, 219–220, 513
Final Cut Pro, 606
Final Destination 2, 606
Fincher, David, 108–109, 306, 354
Fink, Robert, 330
Fischer, Lucy, 245
Fischer, Ruth, 146
Fischinger, Oskar, 243nn10
Fitas cantatas, 614
Fitzball, Edward, 571
Fitzgerald, Ella, 296
The Flag Lieutenant, 603
Flamingos, 296
Flash and the Cadillacs, 296
Flashdance, 282, 303, 306
Flash Gordon (1980), 322
Flaubert, Gustave, 575
Fleischer, Dave, 235
Fleischer cartoons, 231, 233, 235
“Flight of the Bumblebee” (Rimsky-Korsakov), 337
Flinn, Caryl, 4, 218–219, 367, 394–395
Florence, W. J., 568
“Flow, Flow Dear Wine,” 273
Flower Drum Song, 220nn6
Floyd, Pink, 296
Flying Down to Rio, 255
Folk musicals, 252, 254
Fonda, Bridget, 69
Footloose, 282, 303, 307
Ford, John, 220nn8, 560–561
Fordian Hollywood, 248–249
The Forgotten Village, 177
Formalism, 174, 196–203, 205, 207–208, 471–472, 474f. see also Neoformalism
cognitive, 201
contemporary theory, 201
Forman, Murray, 546
For Me and My Gal, 252
Forrest Gump, 283
Forte, Allen, 476, 478–479
For Your Eyes Only, 279
Fosse, Bob, 253
Foster, Stephen, 334, 336
Foster’s Home for Imaginary Friends, 240
Foucault, Michel, 385
The 400 Million, 133, 135–136, 161, 176
Fourteen Ways to Describe Rain, 139, 179nn8
Fourth Symphony (Tchaikovsky), 624
Fox, 243nn13, 271
Frailty, 588
Frame(s), 407
Francis, David, 606
Frank, Mortimer, 544
Franken, Al, 65
Frankfurt School, 205–206
Franklin, Aretha, 282
Franklin, Peter, 59, 419
Franklyn, Milt, 238, 242
Frasca, Gonzalo, 319
Fraternity, 61
Fraternity of Men, 295
Frauenschicksale (Destinies of Women), 151, 153, 164, 177
“Freedom Song” (Eisler), 162–163
Freeman, Morgan, 59
“Freeze frame” technique, 600
French New Wave, 516
(p. 654) Freud, Sigmund, 383, 412nn1
Friberg, Arnold, 432–433
Fried, Gerald, 532
Friedhofer, Hugo, 473
Friedkin, William, 296, 301
Friml, Rudolf, 26
Frizell, Lefty, 296
Frogger (Konami), 325–326, 336, 337f
Frohman, Daniel, 569
From Russia with Love, 279
Frontiere, Dominic, 528
Frontier Films, 137–138
Frou-Frou, 564
Fuchs, Cynthia, 516
“Der Fuehrer’s Face,” 243nn7
The Full Monty, 285
Fundamentalism, 429
The Fundamentals, 429
“Funeral March” (Zamecnik), 337
Funicello, Annette, 257, 265
“Fuoco di gioia” (Verdi), 46
Für Elise (Beethoven), 333–334, 336f
Furst, William, 563, 571
“The Fuse” (Springsteen), 309
Gabbard, Krin, 396–397
Gable, Clark, 33
Gaines, Jane, 220nn3, 599
Gainsbourg, Serge, 516
Galaga (Midway), 332, 333f
Galaxian (Midway), 332
Gall, Johannes C., 8–9, 148t
Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design (Collins), 320
Gangster films, 248
Garbo, Greta, 31–33
The Garden of Allah, 35
Garden State, 286
Garland, Judy, 251–252, 255–256, 265
Garrick, David, 563
Gaskell, Philip, 603
Gasparone, 154, 177
Gassmann, Remi, 153
Gaumont, Leon, 21, 611, 615
The Gay Divorcee, 252
Gays: stereotypes of, 370–371
Gay sex, 373–374
Gaze, 404–406
La Gazza Ladra, 630t
La gazza ladra (Rossini), 64
Gegenterzschritt “progression-classes,” 480
Gegenterzwechsel “progression-classes,” 484
“Gelsomina’s name” (Rota), 521, 521f
“Gelsomina’s tune” (Rota), 520–521, 521f
Gender, 206, 366–382
Generic hybrids, 285
Generic sound, 22–23, 23f
Genesis, 427
Genre, 9–10, 227–347. see also specific genres
definition of, 246–249
musical style and, 296, 308–309, 539–540
subgenres, 254
Genre film spectatorship, 246–247
Genre theory, 248–249
Genrification, 248–249
Geraghyt, Lincoln, 247–248
Gerald McBoing-Boing, 237
Gerhart, 146
German, Edward, 569, 571
Germany, 616. see also East Germany; West Germany
Weimar Republic, 161, 174–175
Gershwin, 538
Gesammelte Schriften, 147
Gesamtkunstwerk (Wagner), 45, 165, 394
Geschwader Fledermaus (The Fledermaus Squadron), 178
Gestalt principles, 122
Gestalt theory, 122
Gesture, 164
Ghostbusters, 303
Ghosts Before Breakfast, 523nn6
Giacchino, Michael, 241, 487
Gianni Schicchi (Puccini), 63–64, 64f
Gilbert, Hershel Burke, 528
Gill, David, 590, 597
Gilliam, Terry, 11, 453. see also specific films
Gilman, Sander L., 4, 45
La Gioconda, 506
Girard, Francois, 500–501
Girard, René, 375–376
Glass, Philip, 378–379
Glee, 288, 548
(p. 655) Gleghorn, Arthur, 633
Glück, Wolfgang, 146
Gluskin, Lud, 532
G minor Ballade (Chopin), 358
Godard, Jean-Luc, 459–460
The Godfather: Part I, 55–57
The Godfather: Part II, 55–57
The Godfather: Part III, 55–57
Godzilla, 492–494
Goethe Rhapsody (Eisler), 151
Gold, Ernest, 279
Goldberg, Reiner, 49
Golden-Age cartoons, 239
Golden Age of shorts, 236–237
Goldenberg, Billy, 532
Golden era of silent film music, 625
Goldenthal, Elliot, 489
Goldmark, Daniel, 9, 336
Goldobin, Anatoli, 615
Goldsmith, Jerry, 322, 490–491
Goldsmiths, University of London, 98
Goldwyn, 559
Gondry, Michel, 306
Gone with the Wind, 35, 38
Goodman, Benny, 296
Good Morning Vietnam, 456
Goodwin, Andrew, 547
Goody, Sam, 300
Goo Goo Dolls, 284
Gorky, Maxim, 356
Grable, Betty, 255–256
The Graduate, 280, 294–295, 301
Grainger, Percy, 624
Grammar, 201
The Grammar of Film (Spottiswoode), 192
Gramophone, 160
Grand Hotel, 33
Le Grand Jeu (The Great Game), 136, 176
Grand Theatre (Tehran, Iran), 613
Granovsky, Alexis, 159–161
Grant, Barry, 264–265
Grant, Hugh, 359
The Grapes of Wrath, 139, 164, 177
Grateful Dead, 296
Grau, Cil, 149
Grauman, Sid, 623–624
Grauman Symphony Orchestra, 624
Grayson, Kathryn, 257
Great Depression, 628
Great Motion Picture Themes, 279
Great music, 377
The Great Train Robbery, 323
Greece, 616
Green, Johnny, 629, 630t, 631–632, 632f, 633–635
Green Acres, 531
Greenberg, Harvey R., 396–397
Greene, Walter, 242
Greenwood, Johnny, 308, 312
Grémillon, Jean, 77
Griffin, Sean, 249, 254
Griffith, D. W., 426, 584–585, 593, 622
Griffithitis, 292
Griffiths, G. H., 571
Griffiths, Rachel, 65
Groening, Matt, 534
Gross, Robert F., 374
Group theory, 476–478
Grover-Friedlander, Michal, 45, 47–48, 66
Grundy, Sydney, 566
Grune, Karl, 154, 160
Grusin, Dave, 294–295
Guillaume Tell Overture (Rossini), 332–333
Gulliver’s Travels (1939), 235
Gun Fight (Bally Astrovision), 323, 324f
Gunsmoke, 532
Guterman, Norbert, 145
Guthrie, Arlo, 296, 300
“Gypsy Song” (Bizet), 51
Gyruss (Konami), 333, 334f
“Habanera” (Bizet), 51
Habitual memory, 512
Hackford, Taylor, 502
Hadley, Henry, 626–627
Haggith, Toby, 600
Hailing, 536
Hainton, Herbert H., 608nn3
Hairspray, 285
Hajos, Karl, 273
(p. 656) Hall, Mordaunt, 626
Hallock, Ted, 635
Halloween (1978), 420
Hamilton, Henry, 566
Hamlet (Shakespeare), 157–158, 566
Hamlet on the Holodeck: The Future of Narrative in Cyberspace (Murray), 324–325
Hammer, Jan, 531–532
Hammerstein, Oscar II, 249
Hammond, 138
Hancock, Herbie, 282
Hand, David, 234–235
Handzo, Stephen, 281
Hangmen Also Die!, 136, 140–141, 161–162, 164, 172–173, 177, 180nn11, 207
Hanks, Tom, 61, 286
Hanna-Barbera, 238
Hannah Montana, 285
Hannigan, Alyson, 533
Hanninen, Dora, 502
“Hanns Eislers Rockefeller-Filmmusik-Projekt,” 148t
Hanson, Ellis, 370, 384
Happy Ending (Andante Largo), 615
Harding, Ann, 36–37
Harlan, Jan, 314nn7
Harline, Leigh, 234–235, 242, 243nn9
Harling, Franke, 33
Harlow, Jean, 33
Harmony, 11, 140, 200, 474
progressions, 479–481, 484–490, 494
“Tarnhelm” progression, 487
Terzschritt “progression-classes,” 480–481
Terzwechsel “progression-classes,” 480
tonal-triadic progression classes (TTPCs), 11, 485–487, 486f, 489–494
Harms, Inc., 273–274, 276
Harris, Charles K., 243nn6
Harris, Eddie, 279, 378
Harrison, Daniel, 491, 495
Harry Potter and the Prisoner of Azkaban, 483
Hassler, Simon, 563
Hatari!, 279
Hatch, Wilbur, 532
Hatcher, Harry, 144–145
Hatton, John Liptrot, 563, 571
Haunted House (Atari), 324
Have, Iben, 117
Have Gun Will Travel , Shotgun Slade, 540
Hawaii Five-o, 532
Hawkins, Sadie, 437–438
Hayes, Isaac, 309
Haymarket Theatre, 566–567
Hays, Hoffmann, 138
Hays, Will H., 626
Hays Office, 139
HBO, 550
Hearing Film (Kassabian), 4
Heartbeats, 330
Heath, Stephen, 398–399
Hegel, 357
He Got Game, 307–308
Heidi, 255
Heimatfilm, 155
“Der heimliche Aufmarsch” (Eisler), 163
Heller, Berndt, 590
Heller, Herman, 628
Helpmann, Robert, 52–53
He-Man, 239
Hendrix, Jimi, 295
Henze, Hans Werner, 296, 301
Hepburn, Audrey, 431
Hepburn, Katharine, 38, 374
Hepworth, Cecil, 611
Her Majesty’s Theatre, London, 566
Hermeneutics, 195–196, 207
Heroines, 369
Herrmann, Bernard, 309, 459, 527–528
Herr Puntila und sein Knecht Matti (Brecht), 155, 177
Herr Puntila und sein Knecht Matti (Mr. Puntilla and his Man Matti), 154–155
Herzog, Amy, 456, 461–462
Heston, Charlton, 424, 434
Heterosexuality, compulsory, 376, 379–380
Heydrich, Reinhard, 140, 173
Heylbut, Rose, 527, 539
Hickey, William, 63
Hickman, Roger, 4
Hierarchical tonality, 476
Hi-Fidelity movement, 298
High concept style, 303
High Fidelity magazine, 298
(p. 657) High fidelity sound, 298
High School Musical, 285
Hill Street Blues, 532
“The Hilltop Song” (“I’d Like to Teach the World to Sing”), 542–543
Hilmes, Michele, 264
Hines, Gregory, 508–512, 511f
Hip hop, 309
Hi-Q Library (Capitol Records), 238
Historical dramas, 296
Historical issues, 12–13, 174–175, 559–638
American cinema orchestras, 620–638
American musical films, 253–254
auteurism, 530–531
the Bible, 427–430
commerce, 270–290
compilation soundtracks, 291–318
Dolby era, 280–284
downward spiral of 1999, 284
early cinema outside Hollywood, 611–619
film-sound diagrams, 75–82
genre, 246–249
golden era of silent film music, 625
musical cartoons and cartoon musicals of 1930s, 233–234
past film music, 472–476
in production, 270–290
in research, 616–618
television music, 527
theatrical precedents, 559–582, 579nn1
Historical recreations, 607
Historical tragedies, 564
Historicism, 432
Historiographic postscript, 494–496
A History of Film Music, 617
Hitchcock, Alfred, 153, 371–372, 527, 560, 579, 636. see also specific films
Hoeckner, Bernard, 466nn4
Holiday in Mexico, 631
Holiday Muzak, 448–449
Hollander, Friedrich, 161
Hollywood
classical or Fordian, 17–43, 248–249, 393–394
film music of, 218–219
Hollywood Citizens News, 150
“Hollywood Elegy” (Eisler), 140
Hollywood orchestras, 628–636
“Hollywood Songbook” (Eisler), 133, 140
“Home on the Range,” 263
“L’Homme nu” (Loussier), 450
Homophobia, 373
Homosexuality, 370–371, 373, 384. see also Queerness
Honegger, Arthur, 134, 616
“The Honest Man” (“A Man’s a Man for A’ That”) (Burns), 572, 574
Hong Kong, 612, 614, 617–618
Hook, Julian, 482
Hope, Bob, 256–257, 265
Hopper, Dennis, 295
Horatios Monolog, 157
Horkheimer, Max, 143–144, 205–206
Hormel, Geordie, 238
Horne, Stephen, 600
Horner, James, 483–484, 492
Horror, 296, 540
Horror movies, 606
Horwath, Alexander, 606
Hot 100 (Billboard), 286
Houghton Library, 579nn5
The Hours, 378–379
House Committee on Un-American Activities (HUAC), 133, 146, 150
Household flow, 536
Houston Symphony, 44
Hovhaness, Alan, 529
Howard, James Newton, 484, 488
Howson, Frank A., 569
How to Marry a Millionaire, 630–631, 633
Hubbard, Preston J., 628
Hubbert, Julie, 4, 10, 220nn2
The Huckleberry Hound Show, 238
Hullabaloo, 545
“Hum,” 535
Humanism, 412nn1
Hunchback (1939), 569
The Hunchback of Notre Dame, 569
Hunter, Mary, 59–61
Huntley, John, 79–82, 80f–81f
Huppert, Isabelle, 66–67
Huppertz, Gottfried, 616
(p. 658) The Hurricane (1937), 278
Huston, Angelica, 63
Huston, John, 63
Hutcheson, J. Morton, 588
“The Hut on Chicken Legs” (Moussorgsky), 336–337
Hyalosigns, 519
Hybrid genres, 540
Hyer, Brian, 481
Hymns, 308
Hypermetric periodicities, 474
I am Here, or The Seven Servants and the Master, 566
Iconography, 247
Ideal Film Renting company, 608nn3
Idealism, 387
Ideological critics, 206
“Ideological Effects of the Basic Cinematographic Apparatus” (Baudry), 385–386, 395
Ideology, 207–219, 393, 398–399
of aesthetic, 205
of apparatus, 217–219
of content, 208–215
of synchronized sound, 400–401
system, 215–217
“Technique and Ideology” (Comolli), 387
“Ideology and the Practice of Sound Editing and Mixing” (Doane), 388–389
“I’d Like to Teach the World to Sing” (“The Hilltop Song”), 542–543
I Love Lucy, 532, 545
Ilson, Bernie, 545
Image: synchronization with sound. see Synchronization
Imagetrack, 410
Imaginary, 384–385
The Imaginary Signifier (Metz), 396
IMAX, 288
Imbuement, 543–544
Imitation of Life, 420–422
Imitative music, 192
Immel, Jerrold, 530–531
“Imperial March” (Williams), 487
Imperial War Museum, 600, 606
Imperial War Museum Film Archive, 600
Impromptu, 358–363, 360f–361f, 362f
Inaudibility, 394
Inception, 489
Independence Day, 493
Indiana Jones series, 282, 491
“Indian music,” 211–212
Indie films, 286
Indigenous music, 613–614, 617–618
Infolding, 502–503
The Informer (1935), 38
In Git Along Little Dogies, 263
Inglis, Ian, 546
Ingraham, J. H., 431
L’inhumaine, 616
Inside Man, 309
Institute for Social Research, 146
Integrated musicals, 253–257
Integration, 251–253
Intellectual montages, 513
Intelligibility, 152
Intensified continuity: theory of, 200
Interior singing, 53–54, 388–389
Intermediality, 45
Internal meaning, 105–108
International Federation of Phonographic Industry, 284
International Hanns Eisler Society, 148t
Internationalism, 150
Internet Movie Database (IMDB), 527
Interpretative theory and practice, 10–11, 351–467
Interpretive key, 54
Intertextuality, 539–540
Intradiegetic music, 537–540
“Introducción” (Piazzolla), 447, 449–450
Invisibility, 394
iPods, 311–313, 550
Ippolitov-Ivanov, Mikhail, 615
“Iris” (Goo Goo Dolls), 284
“Irish Melody” (Grainger), 624
Ironsides, 309
Irving, Henry, 569, 571, 580nn21
Irving Berlin, Inc., 273
(p. 659) Isaak, Chris, 309
“I Should Worry,” 273
Islam, 428
Italian Symphony (Mendelssohn), 65
Italicizing, 536, 548, 550
Italy, 563, 615–616
iTunes, 311
Ivens, Joris, 135, 160, 162
Iwerks cartoons, 242
Jackson, John A., 545
Jackson, Michael, 545
Jackson, Wilfred, 243nn5
Jackson 5ive, 236
Jagose, Annamarie, 370
James, Harry, 296
Jameson, Fredric, 206
Jancovich, Mark, 247–248
Janney, Allison, 378
Jansen, Pierre, 597
Jaoui, Agnès, 62
Japanese characters, 220nn4
Jarre, Maurice, 279
Jazz, 209, 236, 264, 296, 309, 531, 617
The Jazz Singer (1927), 21–22, 25, 39–40, 41nn78, 271–276, 627
Jealousy (1945), 151, 177
Jean Vigo Prize, 156
“Je t’aime?.?.?.?moi non plus” (I love you?.?.?.?nor do I), 516, 518
Je t’aime moi non plus (I Love You, I Don’t), 516
La Jetée, 458
Le Jeune homme et la mort (The Young Man and Death), 509–510
Jewison, Norman, 296, 314nn8
Jews, 209, 428
Jhering, Herbert, 152
Jingles, 540–541
Joe, Jeongwon, 4, 45, 68–69
The Joey Bishop Show, 545
Joffe, Mark, 65
Johann Faustus, 165–166, 174
Johann Mouse, 236
John, Elton, 280
John Church, 560
Johnny Bravo, 240
Johnson, Albert, 377
Johnson, Jack, 285
Johnson, May, 623
Johnson, Ron, 534
Jolson, Al, 273, 627
Jones, McGraw, 196
Jones, Quincy, 309
Jones, Spike, 243nn7
Joplin, Scott, 296, 336
Jordan, Armin, 49–50
Josie and the Pussycats, 236
Le joueur d’échecs (The Chess Player), 590, 597
The Journal of Film and Television, 526
Journal of Film Music, 4
Journal of Music Theory, 481
Juarez, 629
Judaism, 428, 440
Jukeboxes, visual, 304
Julius Caesar, 630t
Julius Caesar (Shakespeare), 567–568
Jumpin’ Jack Flash, 282
Jung, Carl, 446
The Jungle Book, 241, 276
Juno, 286
Juul, Jesper, 343–344
Kabalevsky, Dmitri, 295
Kabuki stage, 613
Kael, Pauline, 63, 67–68
Kahn, Dave, 531
Kalinak, Kathryn, 4, 12, 210, 501, 549, 560–561
Kampflieder (“songs of struggle” or “battle songs”), 132, 140, 153, 161–164, 172, 174
Kampfmusik, 132, 152
Kangaroo (Sun Electronics), 334–336, 337f
Kaplan, E. Ann, 384, 547
Karmen, Steve, 541–542
Kassabian, Anahid, 4, 502
Katz, Mark, 12, 293
Kay, Arthur, 624
Kean, Charles, 569, 571, 580nn21
Keaton, Buster, 110, 231
Kee Games, 323
Keel, Howard, 257
Kelley, David, 534
Kelley, Edgar Stillman, 559
Kelly, Gene, 251–253, 256–257
(p. 660) Kerman, Joseph, 494
Kern, Jerome, 249
“Kessellied” (Eisler), 161
Kessler, Kelly, 250
Key words, 248
Khoury, Rex, 532
Kielian-Gilbert, Marianne, 11–12
Kieślowski, Krzysztof, 508
Kilfeather, Eddie, 236
Kill Bill : Vol. 1, 309
Kinder, Marsha, 546
Kinetophone, 21, 611
Kinetoscope, 21
King, Pee Wee, 296
The King and I, 253
King Arthur, 569
King Henry VIII (Shakespeare), 566, 569
King Kong, 28, 35, 93f, 94, 419, 637nn3
King Lear (Shakespeare), 563
Kingsley, Gershon, 336
Kinothek series, 615
Kinugasa, Teinsoke, 616
The Kiss (Edison), 351
Kiss(es), 351, 364nn4
Kiss Me Deadly, 401
Kiss Me Kate, 631
Kjaersgaard, Pia, 117
Klasky, Arlene, 240
Klatzkin, Leon, 532
Klein, Bethany, 544
Klemm, Eberhardt, 147, 149
Kline, Herbert, 160
Knapp, Lucretia, 371–372
Knapp, Raymond, 249, 251, 254, 263
Knepler, Georg, 131–132
Knights of the Round Table, 630t
Knopper, Steve, 284
Koestenbaum, Wayne, 61
Kohner, Susan, 420
Kojak, 332, 532, 538
Kojak: Fifty Seconds of Television Music (Tagg), 538
Komposition für den Film (Eisler and Adorno), 146–148, 148t, 160
Konami, 322, 325–326, 334f, 336, 337f
Kopp, David, 494
Kopp, Rudolf, 624
Koppitz, Charles, 563, 571, 572f–573f
Korea, 614, 617–618
Korngold, Erich Wolfgang, 218–219, 291, 559, 628–629
Kracauer, Siegfried, 142, 193
Kraft, James, 215, 625, 628
Kraft Music Hall, 544
Kramer, Lawrence, 10–11, 366, 510, 549
Krebs, Harald, 490, 494–495
Kricfalusi, John, 240, 243nn12
Krick, Karin, 48–49
Kristeva, Julia, 364nn3
Křižova trojka (The Mystery of the Black Rider), 151–152, 177
Krupa, Gene, 296
Kubik, Gail, 237, 529
Kubrick, Stanley, 117, 295–296, 301–302, 309, 312, 313nn7
Kuhle Wampe oder Wem Gehört die Welt? (Kuhle Wampe or Who Owns the World?), 132, 135–136, 161–162, 164, 173, 175–176, 206–207
Kuleshov effect, 513
Künstlerpreis, 141–142
Kuntzel, Thierry, 73
Kurth, Ernst, 484
Kutnowski, Martin, 540
Kutter, Michael, 48–49
Kylián, Jirí, 502, 504–507
Labeling, 536–540, 548, 550
Lacan, Jacques, 383–384, 403, 407–408, 412nn1, 523nn7
“Lady Play Your Mandolin” (Warner), 233
Lafleur & Sons, 560
Laine, Frankie, 296
Laing, Heather, 251, 368–370
Lamour, Dorothy, 256–257
Landis, John, 65, 306
Landsberg, Alison, 455
Lang, Fritz, 160, 595
Language acquisition, 116
Language processing, 114
Lantz, Walter, 233, 236, 242
Lanzmann, Claude, 157
Lapine, James, 358–363
The Last Picture Show, 295–296
(p. 661) Lastra, James, 19, 392–393, 413nn3
Late Night with David Letterman, 545
Latinos, 210
Laura, 278
Laura Keene’s Theater, 562
Laurence, Frederick, 589–590, 591f, 602
Lava, William (Bill), 237–238, 528
Lawrence, Amy, 366
Lawrence of Arabia, 279
Lazarsfeld, Paul, 142
Leave It to Beaver, 531
Lebel, Jean-Patrick, 398, 413nn2
LeBlanc, Michael, 378–379
Ledoyen, Virginie, 67
Lee, Spike, 308–309
Leech-Wilkinson, Daniel, 607
Left-wing intelligentsia, 174
Legend of Zelda: Ocarina of Time (Nintendo), 322
Lehman, Frank, 483
Leib, Mitchell, 285–286
Leicester, H. Marshall, 51, 459–460
Leitmotifs, 167–168, 435, 436f, 481, 537–538
“Fear and Anger,” 549
Wagnerian, 537
Lenin-Requiem (Eisler), 133
Leno, Jay, 545
Leo Feist, Inc., 274
Lerner, Neil, 10, 220nn3, 599
Lerner and Loewe, 251
Lesbians, 370–371
“Let’s Have Another Cup of Coff ee,” 276
Letter Duet (Mozart), 59–61
Letterman, David, 545
Levin, Tom, 392–393
Lévi-Strauss, Claude, 452
Levy, William Charles, 563
Lewin, David, 479–481
Lewis, Jerry, 257
Liberal theology, 429
Liberty Theater (New York), 585, 588
Libido, 363
Library cues, 237–238
Licensing, 286, 302–303, 565
Lichtveld, Lou, 139
Liebestod (Wagner), 69
Lied über die Gerechtigkeit (Eisler), 151
Das Lied vom Leben (Song of Life), 161, 175
Life, 285
The Life Aquatic with Steve Zissou, 308
Ligeti, György, 295–296, 309
Lights of New York, 32–34, 34f
The Lights of New York, 27–28
“Like a Rock” (Seger), 543
Lil’ Abner, 437
Liner notes, 637nn6
The Lion King, 239, 283
Lip-syncing, 49–50, 68–69, 218
Listening, 500–525
concentrated or reduced, 196–197, 503
vivid, 11–12, 503
Lisztomania, 280
The Little Mermaid, 241
The Little Minister, 38
The Little Princess, 255
The Little Shop of Horrors, 241
Little Tinker, 454
Little Women, 38
Live musical accompaniments, 612–614
The Living Land, 137, 176
Living Nickelodeon, 598
Livingston, Jerry, 531
The Lloyd Thaxton Show, 545
L major, 487
L minor, 487
Locke, Ralph, 210
Loebenstein, Michael, 606
Loesser, Frank, 533
Loew’s, 277
Loew’s Metropolitan Theater, 279–280
Lohengrin (Wagner), 611
Lollipop time, 139
London, Kurt, 22, 134–135
London Philharmonic Orchestra, 636
London Symphony Orchestra, 314nn8, 636
Lone Ranger, 332–333
Long-Haired Hare, 236
Loose, William, 238
The Lord of the Rings, 489, 636
The Lord of the Rings: The Fellowship of the Ring, 483
Lorre, Peter, 140
Los Angeles Philharmonic, 623
Los Angeles Times, 620, 624
(p. 662) Losey, Joseph, 138, 160
Lost, 487
Lost in Space, 540
The Lottery Bride, 26
Loussier, Jacques, 450
Love, 352, 367
Love Duet (Mozart), 53
Love Finds Andy Hardy, 255–256
Love Is a Many-Splendored Thing, 278
“The Loveliest Night of the Year” (Sega), 331
“Lovely Rita” (The Beatles), 286
Love Me Tonight, 275
Love scenes, 28, 30
Love stories, 352–355, 367
Lowe, Allen, 257
Lucas, George, 287
Ludwig, Emil, 145
Lukács, Georg, 174
Lumet, Sidney, 283
Lumières, 356, 612–613
Luske, Hamilton, 235
Luz, Ernest, 578–579, 592
Lyceum Theatre, 565
Lynch, David, 466nn4, 532
M. Witmark & Sons, 273, 560
MacDonald, Jeanette, 256
MacDonald, Laurence, 4
Machatý, Gustav, 160
MacKinnon, Kenneth, 250
Madama Butterfly, 53–54
Madame Bovary, 575–578, 576f–577f
Madcap music, 229
Madcap musical comedies, 257
“Made-for-TV band” shows, 545
Madonna, 545
Magic Flute (Mozart), 509–510
Magnetic resonance imaging, functional (fMRI), 116, 118–119, 124, 133
Magnetic tape, 298–299
Magnetoencephalography (MEG), 113, 115–116
The Magnificent Seven, 435
Mahagonny, 135
Mahler, 495
Male homosexuality, 370–371, 373–374
Maltese, Michael, 242
“La mamma morta” (Giordano), 61
A Man and A Woman, 216–217
Manchester theater, 628
Mancini, Henry, 279, 336, 528, 531–532
Mangeant, Sylvain, 566
Manifesto of the 343 Bitches, 523nn10
Mankiewicz, Joseph L., 373–374
Manning, Irene, 258
A Man’s Shadow, 566–567
Manvell, Roger, 79–82, 80f–81f
The Man Who Knew Too Much, 636
Man with a Movie Camera, 354
Mappy (Namco), 345, 345f
“Marche” (Tchaikovsky), 336
Marcia alla turca (Beethoven), 335
“Marge and the Monorail” (The Simpsons), 534
Marie Antoinette, 307–309, 312
Marker, Chris, 458
Marks, Martin, 4, 472–473, 617
Marnie, 371–372
Marsales, Frank, 242
Marshall, John, 144
Martin, Clyde, 622
Martin, Dean, 257
Martinelli, Giovanni, 626
Marx, Groucho, 55, 55f
Marx, Harpo, 55
Marx, Karl, 170
Marx Brothers, 54–55, 55f–56f
Mary Poppins, 239, 241, 250
Mascagni, Piero, 55–57, 296, 615–616
Masina, Giulietta, 518–522
Masking, 543–544
Masks and Faces (Taylor and Reade), 567
Mass culture, 160
Massine, Léonide, 52
Die Maßnahme (The Measures Taken), 132, 135
Mast, Gerald, 249–251
Masters of Science in Music and Neuroscience program (Goldsmiths, University of London), 98
Match-and-utilization model, 116
Materiality, 500–525
Mathematics, 476–478
Mathers, James, 69
(p. 663) The Matrix, 285
Mayan theater, 628
Mayer, David, 560, 580nn20580nn21
Mayer, Louis B., 277, 634
McCann, Graham, 148t
McClary, Susan, 379
McCracken, Craig, 240
McCracken, William, 621–622
McCreless, Patrick, 471
McDonald, Kathy, 287
McDonnell, Cari, 9–10
McFarlane, Seth, 534
McFerrin, Bobby, 241
McGowan, 405
McGuinn, Roger, 295
McLucas, Anne Dhu, 579nn4
McLuhan, Marshall, 508
McManus, George, 145
McQuinn, Julie, 11, 421
McRae, Gordon, 256
Meacham, F. W., 335–336
Meaning, 102–108, 201
Congruence-Associationist Model (C-A M) for, 120f, 121
Mean Streets, 295–296
Media. see also Multimedia
mixed, 502
12 Monkeys, 445–467
visual, 502
Media music, 452–453
Mediated sound, 293
“Mediathèque,” 606
Media Ventures, 287
Medicine Show (Hays), 138
Meet Me in St. Louis, 252, 261, 263, 633
Megastores, 300, 311
Mehring, Walter, 161
Meisel, Edmund, 79, 616
Meizel, Katherine, 546
Melford, George, 79
Mellon, Alfred, 563
Melodrama(s), 50–51, 368, 432, 434
definition of, 563–564
nineteenth-century, 559–582
theatrical precedents, 562–566
thematic, 575
Melodramatic music, 560, 598
Melo-drame, 563
Melody, 168
Melomanes, 297
Melville, Herman, 380nn1
Memoli, Phil, 633, 634f
Memory, 445–467, 500–525
match-and-utilization model, 116
and music, 108–109
prosthetic, 455
working, 123
Memory and Matter (Bergson), 512
Mendeleev, Dmitri, 472
Mendelsohn, Ben, 65
Mendoza, David, 623
Menken, Alan, 241
Mentally divergent, 453–454
Mercedes-Benz, 543
Merchandising, 238–239
Merrie Melodies, 233
Merritt, Russell, 588, 590–592, 595
The Merry Wives of Windsor, 630t, 631–632, 632f–633f, 635
Messter, Oskar, 611
Metamorphic listening, 503
Meter. see Rhythm and meter
Methodological paradigm, 188–189, 195–196
Metropolis, 595–596, 599, 602–603, 608nn6, 616
Metropolitan Opera, 44, 626
Metz, Christian, 200, 363nn3, 395–397
Mexicali Rose, 258
Mexico, 612, 617
Meyerbeer, 495
MGM, 33, 35, 229, 273, 580nn11. see also specific films
archival materials, 242
cartoons, 230, 239, 242
categorization of films, 247
Concert Hall films, 629–631, 630t, 631, 633
Freed Unit, 251–252, 256
genre identification, 247
record subsidiary, 277
soundtrack albums, 276
MGM Jubilee Overture, 630t, 634f, 635
MGM Symphony, 630–631, 633–636
Michael Jackson’s This Is It, 288
Micheaux, Oscar, 599
Mickey-mousing, 33, 35, 230, 322
Middle Eastern locales, 487
“Midnight, the Stars and You,” 309
A Midsummer Night’s Dream (1935), 628
Midway
Galaga, 332, 333f
Galaxian, 332
Ms. Pac-Man, 338–340, 339f–340f
Pac-Man, 320, 332, 333f, 334, 338, 338f
Space Invaders, 328–329, 329f
Wizard of Wor, 340–341, 341f–342f
The Mighty Dollar, 568
Migration, 174–175
Milestone, Lewis, 89–92
Milhaud, Darius, 529, 616
Miller, Arthur, 156
Miller, D.A., 373–375
Miller, Kiri, 320
Million Dollar Theatre, 624, 628
Mills, Edwin C., 272
Mills, F. A., 231
Mills Agreement, 272–273
Minnelli, Vincent, 251–253, 256–257, 575, 630t, 633–634
“Minnie’s Yoo Hoo” (Disney), 233
Mirror neurons, 101, 116–117
Mirror system hypothesis, 116
“Mise-en-musique,” 566
Mise-en-scène, 566
Miss Eily O’Connor, 562
Missile Command (Atari), 329
Mission Impossible, 532
Mitchell, Joni, 296
Mitchell, Juliet, 412nn1
Mitchell, W. J. T., 502
Mitry, Jean, 387
Mixed media, 502
Mixing, 394
Mizzy, Vic, 531
Modern cinema, 513–514
Modifying music, 219
Mollenhauer, Edward, 571
Monder, Eric, 632
The Monkees, 545
Monotones, 296
Monsters Inc., 488
Montage(s), 190, 306, 372, 513
Monteverdi, 538
Mood music, 560
Moog synthesizers, 538
Moonlighting, 420
“Moon River” (Mancini), 279
“The Moons of Manikoora,” 278
Moonstruck, 67–68
Moradi, Ebrahim, 616
Morgan, Robert, 495
Morning Glory, 38
Moroder, Giorgio, 599
Morozko (Father Frost), 589, 591f, 602
Morricone, Ennio, 309
Morris, E. H. “Buddy,” 277
Morris, Mitchell, 11, 421
Morton, Lawrence, 298–299, 473–474
Moses and Egypt: The Documentation to the Motion Picture “The Ten Commandments” (Noerdlinger), 431
MOS Technology 6532 chips, 323
The Mother and the Law, 593, 595
Mothersbaugh, Mark, 240
Mother Wore Tights, 256
Motion Picture Classic, 30–31
Motion Picture Producers and Distributors Association, 139
Motion Picture Producers and Distributors of America, 626
Mott, Robert L., 197
The Motto, I am All There, 566
Mount, Thom, 283
Mouse, Mickey, 231–232
Movie(s). see Film(s)
Movie theater lobby displays, 279–280
Movie theater musicians, 628
Movietone, 271
Moving Picture News, 592
Moving Picture World, 621–622
Mozart, Wolfgang Amadeus, 296
Cosi fan tutte, 62–63, 65
Divertimento no. 15, 107
Don Giovanni, 67
Magic Flute, 509–510
(p. 665) Le nozze di Figaro, 59–61, 65
MP3 players, 311
MP3 technology, 284, 309–311
MPEG, 309
MPEG-3, 309–310
Mr. Bug Goes to Town, 235
Mrs. Robinson (Simon and Garfunkel), 295
Ms. Pac-Man (Midway), 338–340, 339f–340f
M Squad, 531
La muchacha del arrabal, 616
Mueller, John, 251
Muir, John Kenneth, 533
Mullendore, Jerry, 532
Multimedia, 175, 193–194, 500–503, 539
Multiplane system, 196
Multiplicity, 512
Multitracking, 299
Mulvey, Laura, 354, 367, 419–422
Mundy, John, 304, 545
Murnau Stiftung, 608nn6
Murphy, A. D., 282, 487
Murphy, Eddie, 65
Murphy, Scott, 11
Murphy, Walter, 534
Murray, Janet H., 324–325
Musemes, 538
Museum of Broadcast Communications, 527
Museum of Modern Art (MoMA), 73, 584
reconstruction of Intolerance, 584–588, 590–596, 600–603
Music. see also Film music; specific films; specific genres
absolute, 175
acoustical aspects of, 123
in advertising, 542–544
as affirmation, 377
anempathetic, 565
animations to, 232–233
and the appareil, 393–395
applied, 175
atonal, 220nn8, 476
axes of symmetry in, 474
background or nondiegetic, 32–38, 412, 563
as central element, 368
and cinematic time, 364nn4
classification of, 192
coffee-themed, 276
commentative, 192
in commercials, 540–546
as constructive, 194
contemporary, 301, 312
continuous, 327–330
as cultural interface, 618
diegetic, 20–21, 537, 544
digital, 216
dramatic presence of, 171–173, 462
dream music, 450–452
dynamic, 192
Eisler on, 175
electronic, 216, 220nn8, 301
and engagement, 109–111
evocative, 192
film music qua, 173
function of, 354
functions of, 39–40, 296, 368, 394, 438–441, 507, 536, 542, 615, 618
genres, 543
as gradual process, 330
great, 377
as heartbeat, 330
as ideological, 218–219
imitative, 192
“Indian music,” 211–212
indigenous, 613–614, 617
intradiegetic, 537–540
jazz, 209, 236, 264, 296, 309, 531, 617
“light music,” 531
live accompaniments, 612–614
madcap, 229
meaning of, 102–108, 120f, 121
media music, 452–453
melodramatic, 560, 598
modifying, 219
mood, 560
multimedia dimensions of, 500–503, 511
music, 20
narrative, 549
neutral, 38
in news stories, 549
(p. 666) orchestral, 309, 566, 622
original, 275, 583–584, 605
Phrygian, 505
pit music, 412
pleonastic, 39–40
popular or pop, 296, 299, 303–304, 336, 545–546, 599, 617
post-9/11, 548
processing of, 114
production of, 270–290
repurposing, 295–296, 302–303, 550
selections of, 615
and sexuality, 358–363
of silent film, 18–21, 598
as sound bridge, 559
sound effects, 567–568, 571
“special,” 583–610
in stage vs film dramatization, 561–562
stock, 171, 237–238
suturing effects of, 403–404
“synchronized,” 24
tasks of, 434–438
television, 332, 526–555
television cue music, 530–531
television performances, 544–546
theatrical, 559–582
as topic, 539–540
traveling, 241
video game, 320–327
Music, Sound, and the Moving Image, 4
Musicae Scientiae, 98
Musical accompaniment
live, 612–614
orchestral, 620–621
standardization of, 615
“The Musical Analogy” (Bordwell), 198–199
Musical cartoons, 230–234
Musical clichés, 140, 164, 466, 466nn4
power of, 458–462
for silent film accompaniment, 134
use of, 170–171, 446, 450
Musical Courier, 623, 625–628
Musical films, 253–254. see also specific films
Musicalization, 51
Musical Miniatures, 236
Musical moments, 461–462
Musical plays, 249, 562–563
Musical recognitions, 445–446
Musical resources, 170–171
Musicals, 209, 219, 248, 278, 565. see also Film musicals
Broadway, 239
cartoon, 233–236
fairy-tale, 250, 254
folk, 252, 254
genre expansion, 257–264
integrated, 253–257
nonsinging, 282
pastoral, 254
rock’n’roll, 264
show, 254
singing cowboy films, 257–264
television, 545
Musical set theory, 478–479
Musical style, 296, 308–309, 543
in commercials, 543
nineteenth-century theatrical precedents, 559–582
and television genres, 539–540
in video games, 319–347
Musical supplementation, 172
Musical synchronization. see Synchronization
Musical themes, 278–279, 449–450, 460–461, 461f
Music analysis, 251. see also Analysis
Music and Cinema (Buhler, Flinn, and Neumeyer, ed.), 4
Music and the Moving Image, 4
Music and the Silent Film (Marks), 4
Music and the Silent Film: Contexts and Case Studies, 1895–1924 (Marks), 617
Music blocks, 549
Music Consultants Group, 287
Music cues. see also Cues
instrumental, 566–567
nineteenth-century, 565–566, 568, 573–578
in sound film, 561
source music cues, 564
stock library cues, 237–238
television cue music, 530–531
Music editors, 275
Musicians, 627–628, 637nn6
“Music in Films” (Stilwell), 4
(p. 667) The Music Man, 534
Music media studies, 6
Musicnet, 310
Musicology, 188–189
New Musicology, 471, 473
of television sound, 528–534
Music-oriented films, 286
Music Perception, 98
Music plots, 561
Music Publishers Protective Association (MPPA), 272
Music publishing houses, 276
Music restoration, 596–600
Music supervisors, 302–303
Music Television Network (MTV), 546
Music theory, 198–205, 471
Music trailers, 283
Music video compilations, 302–305
Music video(s), 283, 304–307, 420, 546–548
Muteness, 66–67
Mutiny on the Bounty, 247
Die Mutter (The Mother), 132
Muybridge, Eadweard, 73
Muzak, 448–449
My Best Friend’s Wedding, 285
My Fair Laddy, 239
My Fair Lady, 239
Myth of total cinema, 189–190
My Three Sons, 531
Nag Hammadi library, 430
Namco
Mappy, 345, 345f
Naming, 33
Nancy, Jean-Luc, 352
Napoleon, 596, 616
Napster, 271, 284, 310
Narboni, Paul, 387
Narcissism, 402
Narration in the Fiction Film (Bordwell), 203
Narrative, 492–494
Narrative cueing, 394
Narrative film, 206, 351–365
Narrative music, 549
Narrowcasting, 548
National Barn Dance (WLS), 257
National Film Board of Canada, 110
National Socialism. see Nazism
Native Americans, 210–212
Native Lands, 138
Naturalism, 11, 421
Nazism, 158, 161
NBC, 274, 286, 540, 544
Neale, Stephen, 218, 248–250, 254
Neale, Stephen (Steve), 247
Nederlands Dans Theater, 522nn3
Negative or phantom space, 509
Neiburg, Al, 235
Neighbor-note patterns, 505
Neoformalism, 198–205
Neo-Lacanian theory, 404–410
Neo-Riemannian theory, 11, 481–483
Nerf Herder, 533
“Nessun dorma” (Puccini), 69
Neumeyer, David, 4–5, 197, 207, 274, 281, 346nn16, 474, 486–487, 507, 579nn4
Neuroscience, 98, 111–119
Neutral music, 38
Never on Sunday, 279
New Age music, 543
The New Babylon, 616
Newborn, Ira, 489
New Criticism, 73
New Deal, 137
Newman, Alfred, 177, 569, 579, 629–631, 633, 637nn5
Newman, James, 319
Newman, Randy, 241, 488
Newman, Thomas, 241
New Musicology, 471, 473
New petite bourgeoisie, 543
New Review of Film and Television Studies, 526
New School for Social Research, 137
News stories, 549
New Testament, 428
Newton-John, Olivia, 282
“New World” Symphony (Dvořák), 624
New York Clipper, 562
New York Dramatic Mirror, 623
New York Philharmonic, 626–629, 631
New York Theatre, 567–568
New York Times, 453, 626, 631
New Zealand, 612
(p. 668) Niblo, Fred, 559
Niblo’s Garden, 565–566
Nichols, Mike, 62, 294–295, 301
Nicholson, Jack, 63
Nicholson, Margaret, 145
Nickelodeon, 239–240
Nickelodeons, 621
Niemandsland (No Man’s Land), 134–136, 161, 163, 172, 175
Nieuwe Gronden (New Earth), 135–136, 162, 172–173, 176
“Night and Day” (Astaire), 252
A Night at the Opera, 54–55, 55f–56f
A Night in at the Opera (Tambling, ed.), 45
Night Music (Odets), 138
Nihilist videos, 547
9/11, 548–549
“1901” (Phoenix), 286
The Nine Stars, 616
Nineteenth-century theatrical precedents, 559–582
Nineteenth-century tonality, 495
Nintendo
Donkey Kong 3, 337
Legend of Zelda: Ocarina of Time, 322
Super Mario Brothers, 322
Ninth Symphony (Beethoven), 336, 419
Nishikado, Tomohiro, 329
Noah’s Ark, 87f–88f, 89, 92
Noel, J. B., 589, 592
Noerdlinger, Henry, 431
Noise, fundamental, 408
Noise tracks, 51
Nolan, Christopher, 489
Nomos Alpha, 478
None but the Lonely Heart, 140, 161, 164, 177
Nonsignificance, 203
North, Alex, 295
Northern Exposure, 534, 549
Nostalgia, 238–241, 454–458
No Thoroughfare (Dickens and Collins), 568
Notting Hill, 285
La Nouvelle Critique, 413nn2
La Nouvelle Terre. see Nieuwe Gronden (New Earth)
Novachord, 138
Now, Voyager, 4, 38
Le nozze di Figaro (1976), 53–54
Le nozze di Figaro (Mozart), 59–61, 65
Nucleus accumbens, 118
Nuit et Brouillard (Night and Fog), 155–158, 161, 177
The Nutcracker, 336, 637nn5
Nutting Associates, 320, 346nn5
Objective, Burma!, 473
Objectivity, 192
O‘Brien, Charles, 196
O‘Brien, Conan, 286
O‘Brien, Margaret, 252
O Brother, Where Art Thou?, 286
Occultation, 373, 543–544
October, 616
Oddball technique, 115
Odd Man Out, 79–82, 80f–81f
“Ode to Joy” (Beethoven), 336
Odets, Clifford, 138, 140, 160
Ogihara, Junko, 613
O’Halloran, Dustin, 309
Ohi, Kevin, 378
Ohio Supreme Court, 599
“Oh! Susanna,” 263, 336
Oingo Boingo, 282
Oklahoma!, 253, 263
The Old Barn Dance, 258
The Old Corral, 258, 259f, 261, 261f
Oldies, radio, 454–458
Olympic Theatre, 562
“O mio babbino caro” (Puccini), 63, 64f
Once, 286
“Once More, with Feeling” (Buffy the Vampire Slayer), 533
On Eagle’s Wings (Southron), 431
One Hundred Men and a Girl, 255
O‘Neill, James, 566
One-stop concept, 287
Online Chopin Variorum Edition, 606
“On the Sunset Trail,” 263
On the Town, 252
Ontology, 17–43, 188–194, 198
Opera, 44–71
Chinese, 614
Czech tradition, 151–152
early, 563
(p. 669) as musical accompaniment, 613–614
“Shadow Opera: Towards a New Archeology of the Chinese Cinema” (Farquhar and Berry), 616–617
Opera, Ideology and Film (Tambling), 45
Opéra comique, 50–51
Opera films, 45–54, 154–155
Opera imitations, 63–65
Operality, 52
Opera on Screen (Citron), 45
Opera queens, 68
Opera visits, 54–59
Operettas, 26, 249–250, 256, 614
Operetta-styled shorts, 236
Operti, Giuseppe, 568
Opus III, 134, 157, 159, 161, 164, 175, 590
Orchestral music, 309, 566, 622
Orchestral musicians, 637nn6
Orchestral shorts, 628
Orchestras, American cinema, 620–638
Orchestrators, 275
Original films, 607
Original music, 275
Ormandy, Eugene, 623
Orpheum theater, 628
Ortolani, Riz, 309
Oscar, 140, 635
Otello (1986), 45–48
Otello (Verdi), 46–48
Oudart, Jean-Pierre, 397
Our Daily Bread (Unser täglich Brot), 152–153
Outbreak, 484
Outlaw, Tigger, 296
Overdubbing, 298–299
“Over the Waves” (Sega), 331
Overtones and Undertones (Brown), 4
Overture: Tannhäuser (Wagner), 623–624, 626, 631
Overture to The Merry Wives of Windsor, 631
The Oxford Handbook of Music and Emotion, 8, 96
The Oxford Handbook of Music Psychology, 8, 96
The Oxford Handbook of Opera, 44
Oxford University Press (OUP), 141–142, 144–145
Pacifism, 161, 163
Pack, David, 510
Pac-Man (Midway), 320, 332, 333f, 334, 338, 338f
“Pagan Moon” (Warner), 233
Page, Pattie, 296
Pageantry, 441
A Page of Madness, 616
Pagliacci (A Clown Must Laugh), 68–69, 154, 176
Painting, 508
Pal Joey, 631
Palmer, A. M., 569
Palmer, A. P., 567
Palmer, Christopher, 475
Panaram Company, 304
Panjabi MC, 309
Pantages theater, 628
Parakilas, James, 211
Paramount films, 32, 255–256, 265, 273, 275–277
Paramount Theater, 628
Paramusical concomitants, 538
Parker, Rober, 603–604
Parodies, 239, 243nn13, 424, 533–534
Parrish, Maxfield, 421, 432–433
Parsifal (1982), 48–50, 49f
Parsimony, 481
Pärt, Arvo, 308
The Partridge Family, 545
“Part-talkie” films, 21
Paryla, Karl, 154
Passacaglia and Fugue in C Minor for Organ, BWV 582 (Bach), 509
Passagen, 147
Pasternak, Joe, 256–257
Pastoral musicals, 254
Peaches, 300
Peau d’âne (Donkey Skin), 516
Pebbles and Bamm-Bamm, 236
Peep-show devices, 611
Peep shows, 611–612
Peer-to-peer sharing, 310–313
Pengo (Sega), 336, 337f
Pentateuch, 427
Peoples, David, 458
Peoples, Janet, 458
“Pepsi generation” ad campaign, 543
Performance fees, 288
Performance rights, 272–273
Performance tempo, 587–592
Performance videos, 546–547
Persecution, 174–175
Persian music, 613
Persuasion, 424–444
Pesn’ o geroyakh (Song of Heroes), 135–136, 161–163, 176
Peter Gunn, 531–532
Peter Ibbetson, 275–276
Pete Roleum and his Cousins, 137–139, 149, 176
Peterson, Susan, 283
Petit, Roland, 502, 509
Phantom or negative space, 509
Philadelphia, 59, 61–62, 68
Philosophische Fragmente (Adorno and Horkheimer), 144
Phoenix, 286
Phoenix (Amstar), 333–334, 335f–336f
Phonograph culture, 68
Phonographic accompaniments, 611–612
Photophone, 611
Phrase structure, 199–200
Phrygian music, 505
Piazzolla, Astor, 447, 449–450
Pictures at an Exhibition, 336–337
Pieck, Wilhelm, 153
Pierce, Mildred, 108
Pillar of Fire (Ingraham), 431
Pink Floyd, 296
The Pink Panther, 336
“Pink Panther Theme” (Mancini), 279
Pinocchio, 235, 242, 250, 276
The Pirate, 252
Pisani, Michael, 12
Pitch, 106, 107f, 197
Pitch-class progressions, 480–481
Pitch-class sets, 478
Pitchfork, 286
Pit music, 29–30, 412
Pittman, Robert, 304
Pixar, 241–242
Pixérécourt, 563–564
Les plages d’Agnès (The Beaches of Agnès), 502, 514–518, 515f, 517f
“Plaintive Music” (Zamecnik), 337
Platform, 9–10, 227–347
Platte, Nathan, 5, 12–13
Platters, 296
Pleasure principle, 408–409
Pleynet, Marcelin, 385
Poddany, Eugene, 238, 242
Poet and Peasant Overture, 630t, 633, 634f, 635
Poetics (Aristotle), 246
La Pointe-Courte, 518
Point-of-view sequences, 398
Pokemon: The First Movie, 285
Poland, 612
Political correctness, 206
Political soundtracks, 159–160
Political unconscious, 206
Politics, 163–164, 175, 535
“Polovetzian Dances” (Borodin), 637nn5
Ponchielli, Amilcare, 506
Pong (Atari), 321–322, 328
Ponnelle, Jean-Pierre, 46, 53–54
Pook, Jocelyn, 309
Pool, Jeannie, 5
Pop, Iggy, 308
“Popcorn” (Kingsley), 336
Popeye, 235
Pop films, 282
Popular (pop) music, 299, 303–304, 336, 483–486, 599, 617
indigenous music, 617–618
repurposing of, 295–296, 550
on television, 545–546, 550
Positron emission tomography (PET), 111, 118, 124
Post, Mike, 531–532
Postcolonialism, 206, 213–215
Postmodernism, 535
Postmodern television music, 548–550
Postmodern videos, 547
Poststructuralism, 206
Potter, Harry, 483
“Pouring, Pouring Dear Wine,” 273
Powell, Eleanor, 254
Powell, Jane, 257, 635
Powell, Michael, 46, 51–53
(p. 671) Power: articulation of, 370–371
The Powerpuff Girls, 240
Powrie, Phil, 4
Predator, 282
Les Preludes (Liszt), 623
Prendergast, Roy, 530–531
Prénom Carmen, 459–460
Pre-Raphaelites, 432–433
Presley, Elvis, 265, 545
Pressburger, Emeric, 51–53
Press Play, 310
Previn, André, 314nn8
Previn, Charles, 622
Price, Leontyne, 69
Prima, Louis, 296, 308
Primary sources, 617
Primitivism, 209, 211–213, 220nn3, 599
Prince Igor, 637nn5
Prince of Egypt (Wilson), 431
Prints, film, 592–594, 604
The Prisoner of Zenda, 578–579
The Private Lives of Elizabeth and Essex, 629
Prizzi’s Honor, 63–65, 64f
Production Code Administration, 248
Profilmic, 19
Programmable sound generators (PSGs), 328
Projection, 352
early systems, 611
Projection speed, 587–592, 606
Prószyński, Kazimierz, 611
Protestants, 428–429
Protoliturgy, 437–438
“Prove Me Wrong,” 510
“Psalms chord,” 505
Psyche, 352–353, 356, 363
Psychoanalysis, 195–196, 198–199, 383–417, 412nn1
Psychological studies, 96, 198–199
Psychology of Music, 98
Psychomusicology:Music, Mind & Brain, 98
Public Enemy, 308
Publishing houses, 276
Publishing revenues, 276, 288
Pudovkin, V. I., 189–191, 372, 513
Purity thesis, 248–249
Purple Rain, 283, 303
Quantum of Solace, 57–59, 58f, 69–70
Queen‘s Theatre, 571
Queering asynchronous sound, 371–372
Queerness, 372–373
Queer theory, 370–371, 379–380, 384
“Questo o quella” (Verdi), 63
Quinn, Anthony, 519
Quirky indie films, 286
Qur’an, 431
Rabaud, Henri, 590
Rabbinic Judaism, 428
Rabbit of Seville, 236
La rabouilleuse (Balzac), 156
Racism, 214, 253
Rackmill, Milton, 277
Raderman, Lou, 633, 634f
Radio Dept., 309
Radiohead, 308
Radio Music Corporation, 274
Radio oldies, 454–458
Radio Research Project, 142
Raging Bull, 295–296, 302
The Railrodder, 110
Rainbow Brite, 239
Rainer, Louise, 580nn11
Raiola, Ray, 637nn3
Raksin, David, 237
Ramones, 308
Rape, 376–377
Rapée, Ernö, 327, 586, 617, 622
“The Rape of Flora,” 599
Rap music, 209
Rapsodia satanica, 615–616
Der Rat der Götter (Council of the Gods), 153, 161, 164, 177
Rathburn, Eldon, 110
Rat Pack films, 257
Ravel, Maurice, 308, 538
Raymond Bellour, 73
RCA, 69, 274
RCA Photophone Co., 274
RCA Victor Corp., 274, 276–278
Reade, Charles, 567
Realism, 189–190, 192, 199
cinematic, 253
contrapuntal, 192
socialist, 147
(p. 672) Reality principle, 409
Reality TV, 549–550
Rebecca, 579
Recorded sound, 293
Record industry, 271, 277–278
album sales, 276, 278, 282–286, 288, 637nn6
Recording Industry Association of America (RIAA), 278, 284, 310
Record stores, 300
Recreation, 601
Red Dust, 33
Redford, J. A. C., 241
Redman, Jeanne, 624
The Red Shoes, 52
Reduced listening, 196–197, 503
Reed, Carol, 79–82, 80f–81f
Reeves, Rosser, 540–541
Refrains, 449
Regen (Rain), 177
Reggiana, Lina, 624
Reich, Steve, 330
Reiniger, Lotte, 79
Reitzell, Brian, 312
Release, 197
Religious Procession in Kursk Province (Repin), 439, 440f
The Reluctant Dragon (1941), 235
REM, 239
Remigration, 174–175
Remixes, 606
Rendering, 411–412
Renoir, Jean, 358
The Ren & Stimpy Show, 239–240, 243nn12
Repeating Ourselves: American Minimal Music as Cultural Practice (Fink), 330
Repetition, 502–503
Repin, Ilya, 439, 440f
Representation, 199. see also Visual representation
excessive, 213
filmic, 407–408
oblique, 397–398
organization of, 393
pragmatics of, 19
Representational technology, 392
Republic Pictures, 255, 275, 289nn3
Repurposing, 295–296, 302–303, 550
Rerecording, 274
Research
experimental evidence, 102–111
issues in, 616–618
relevant neuroscience studies, 114–119
Research-driven entertainment, 598
Resnais, Alain, 156, 158
Respighi, Ottorino, 509
Restorations, 596–601
Rhapsody, 310–311
Das Rheingold (Wagner), 481, 482f, 487
Rhythm and meter, 197, 213
Rialto Theater, 623
Richards, Jeffrey, 580nn21
Richter, Hans, 506–507
Riders in the Sky, 241
Riemann, Hugo, 479–481
Riesenfeld, Hugo, 586, 588, 592, 620, 623, 627
Righteous Brothers, 300
The Righteous Revenge, 614
Rigoletto (1983), 53–54
Rigoletto (Verdi), 63, 565
Rio, 311
Ripping or downloading, 310–311
The Rising (Springsteen), 309
Risky Business, 306–307
Ritual, 452
The River (1929), 29
Rivoli Theater, 623
RKO, 27, 33, 35, 38, 140, 251–252, 255, 274, 559, 635. see also specific films
Road movies, 256–257, 265
Road to Bali, 256
Road to Singapore, 256
Robbins, Tim, 59
Robbins Music Corp., 273
Roberts, Shari, 254
Robertson, Michael, 284
Robert Stigwood Organization, 280
Robinson, Edward G., 434
Roby, Arthur, 592
Rockefeller Foundation, 134, 137–138, 141–142, 144, 155
The Rocketeer, 492
The Rockford Files, 531–532
(p. 673) Rocking Around the Clock (Kaplan), 547
Rock music (rock ’n’ roll), 236, 264, 297, 545
Rockwell, Norman, 432
Rocky & Bullwinkle, 242
Roddam, Franc, 69
Rodgers, Richard, 249, 275
Rodgers and Hammerstein, 251, 253
Rodman, Ronald (Ron), 12, 545
Rodwell, George Herbert, 571, 579
Rogers, Ginger, 251–252, 255
Rogin, Michael, 209
Rogner & Bernhard, 147
Rohauer, Raymond, 597
Rollerball, 295–296, 314nn8
Rolling Stone magazine, 298
Rolling Stones, 286, 296, 300, 308
Romance (MGM, 1930), 29, 30f
“Romance d’Amour,” 333, 335f
Romantic comedies, 209, 285
Romantic feeling, 379
Romanticism, 168, 170, 246, 494–495
Romantic operettas, 249
Romantic videos, 547
Romeo and Juliet (1968), 47
Ronell, Ann, 233–234
Rooney, Mickey, 255–256
Ropars-Wuilleumier, Marie-Claire, 73
Rope, 373
Rosar, William, 473, 476
Rose Marie, 630t
Rosenhügel Studio, 155
Der Rosenkavalier, 44
Rosenman, Leonard, 314nn7
Rosi, Francesco, 46, 50–51
Ross, Diana, 283
Ross, Herbert, 307
Rosser Reeves approach, 540–541
Rossi, Laura, 600
Rota, Nino, 56–57, 521, 521f
Rote Fahne (“Red Flag”), 132
Rothafel, Samuel L. “Roxy,” 595, 622–623, 628
Rothman, William, 398
La roue, 616
Rounseville, Robert, 52
Roxy Theatre, 622, 625
Royal Strand Theatre, 566
The Royal Tenenbaums, 308
Roze, Raymond, 566, 571
Rózsa, Miklós, 276, 538, 575, 576f–577f, 629, 637nn3
The Ruff and Reddy Show, 238
Rugrats, 239–240
The Rugrats Movie, 285
“Rule Britannia,” 588
Rules of the Game, 358
The Runaway Bride, 285
Rushmore, 307
Russell, Ken, 69, 264, 280–281
Russia, 612, 615–617
Ruttmann, Walter, 79, 134, 164, 590
Sacks, Oliver, 358
Sacrificial rites, 375–376, 378–379
Saffle, Michael, 544
Said, Edward, 211
Saint-Saëns, Camille, 615
Sakellarídis, Theófrastos, 616
Sala, Emilio, 566
Sala, Oskar, 153
Salt, Barry, 196
Salten, Felix, 235
Saltzman, Harry, 279
Sam Goody, 300
Sampling, 285, 294, 309
Samurai Jack, 240
Sand, George, 358–363, 360f–361f, 362f
Sandler, Adam, 286
Sanjek, David, 264
Sans toit ni loi (Vagabond), 516
Sarnaker, Benedict, 209
Satie, Erik, 308, 616
“Satisfaction” (Rolling Stones), 286
Saturday Night Fever, 271, 282, 284
Saturday Night Live, 65
Savalas, Telly, 538
Savan, Leslie, 543
A Scandal in Paris, 160, 177, 207
Schaeffer, Pierre, 196–197, 503
film graphs, 77–79, 78f
Schallert, Edwin, 620, 624–625
Schatz, Thomas, 247, 249–251
Schebera, Jürgen Schebera, 143
(p. 674) Scheib, Philip, 236
Schematic systems, 190–194
Schenker, Heinrich, 473, 476
Scherzo (De Lalo), 592
Scheurer, Timothy, 250–251
Schicksal am Lenkrad (Fate at the Wheel), 154–156, 177
Schlesinger, John, 62
Schlesinger, Leon, 233
Schoedsack, Ernest B., 94
Schoenberg, Arnold, 132, 139, 147, 165, 169–170
“Schoenberg Anecdotes” (Eisler), 169
Scholarship, film, 391. see also Analysis
Schreiber, Ryan, 286
Schritte (steps), 480–481, 485
Schuman, William, 529
Schwarz, David, 515
Schweinhardt, Peter, 8–9
Schwicthenburg, Cathy, 547
Science fiction (sci-fi), 220nn8, 285, 296, 540
Scofield, Cyrus I., 429
Scofield Reference Bible, 429
Scores
compilation, 294–299, 598
digital, 307–310, 312
elements of, 604–605
musical, original, 615–616
opera-imitations, 63–65
reconstructions of, 584, 607
rescoring, 599
silent film, 604–605
“special,” 583–610
Tower Records, 300–302
underscore, 435–436
for video games, 331–344
Scorsese, Martin, 53, 296, 306, 308
Scott, Matthew, 580nn20
Scott, Nathan, 532
Scott, Tom, 529
Scottish musical types, 220nn8
Scramble (Stern), 332–333, 334f
Screaming points, 377
Sea Fury, 79
Sears, Roebuck and Co., 257
Second Piano Sonata (Chopin), 321, 323
“Second” practice, 291
The Second Practice of Nineteenth-Century Tonality (Kinderman and Krebs), 495
Second Viennese School, 174
Sedgwick, Eve, 373
Seely, John, 238
Sega
Carnival, 331, 332f, 346nn12
Pengo, 336, 337f
Seger, Bob, 543
Selwyn’s Theatre, 564, 571
Selznick, David O., 35, 569
Semantic listening, 503
Semiotics, 195–196, 198–200, 206, 527
Sensory listening, 503
Sequence No. 2 (Eisler), 139
Sequence No. 3 (Eisler), 139
Sequence No. 4 (Eisler), 139
Sequence No. 5 (Eisler), 139
Sergi, Gianluca, 281
Set It Off, 283
Set theory
mathematical, 476
musical, 478–479
Settling the Score (Kalinak), 4
Seu, Jorge, 308
77 Sunset Strip, 531
Seven Brides for Seven Brothers, 630t
Sexism, 253
Sexual differences, 406
Sexuality, 206, 358–363, 366–382
Sexual relations, 408
Sexual violence, 376–377, 599
Sexuation, 406
Seyrig, Delphine, 516
“Shadow Opera: Towards a New Archeology of the Chinese Cinema” (Farquhar and Berry), 616–617
Shaindlin, Jack, 238
Shakespeare, William, 563, 569. see also specific titles
Shanley, John Patrick, 67
Shared affective motion experience (SAME) model, 116–117
Shared syntactic integration resource hypothesis (SSIRH), 114
Sharing, file, 271, 284, 310–313
(p. 675) Sharples, Winston, 235
Sharpsteen, Ben, 235
Shaw, Artie, 296
The Shawshank Redemption, 59, 60f, 68
Shearer, Moira, 52
Shepard, Vonda, 534
“Shepherd’s Hey” (Grainger), 624
Sheppard, Anthony, 220nn4
Sherk, Warren, 5
Sherman brothers, 241
Shifrin, Lalo, 301, 532
Shindig, 545
The Shining, 295–296
Sh’ma Israel, 440
Shoah, 157
Shore, Bradd, 511
Shore, Dinah, 545
Shore, Howard, 291, 489
Shore, Michael, 545
Short films (shorts), 234–235
Bouncing Ball, 233, 243nn6
Golden Age of, 236–237
operetta-styled, 236
Vitaphone, 24, 628–629
Shostakovich, Dmitri, 296, 309, 616
Shot/reverse-shot combination, 397–398
Show Boat, 631
Show musicals, 254
“Shuffle Off to Buffalo” (Warner), 233
Shuler, George Kent, 31
Shumway, David, 455–456
Sibelius, 606
Sidney, George, 630t, 631–634
Siegel, Janice, 376–377
Significance, 203
Signs, 535–537
Sigur Rós, 308
Silence of the Lambs, 89, 90f
Silent era theater orchestras, 621–625
Silent film(s). see also specific films
critical editions, 602–603
music of, 598, 625
“palimpsest” qualities of, 602
prints of, 592–593
“pure” silent film, 21
resynchronizing with “special” music, 583–610
scores for, 604–605
vs sound film, 191
sound of, 18–21
Silent Hill (Konami), 322
“Silent Night,” 448–449
Silly Symphonies, 232
Silver, Joel, 282
Silverman, Kaja, 367, 402–403
Similarity, 511
Simon, Paul, 308
Simon and Garfunkel, 294–295, 299, 301
Simplicity, 133
Simpson, Don, 282
Simpsoncalifragilisticexpiala-D’oh-cious, 239
The Simpsons, 239, 533–534, 540
Sinatra, Frank, 296
Singing
interior, 53–54
live, 614
Singing cowboy films, 257–264
Singin’ in the Rain, 252, 256, 264
“Singin’ in the Rain,” 309
Siouxsie and the Banshees, 309
Sirk, Douglas, 160, 420
Situation comedies, 531
The Sixth Sense, 484
The Skeleton Dance, 232
Skiles, Marlin, 527
Skinner, B. F., 97
Skouloúdis, Manólos, 616
Sky Blue Sky (Wilco), 286
Slaughter, Walter, 578–579
“Sleep Walk” (Farina and Farina), 455, 457–458
Slowik, Michael, 24–25
Slow motion, 452
Small, Christopher, 230
Smelik, Anneke, 373
“Smile, Darn Ya, Smile” (Warner), 233
Smith, Charles, 487
Smith, James L., 564
Smith, Jeff, 4, 10, 297, 403, 476, 494,