Mervyn Cooke - The Cambridge Companion to Film Music

www.cambridge.org

Information on this title: www.cambridge.org/9781107094512

Library of Congress Cataloging-in-Publication Data

Cooke, Mervyn. | Ford, Fiona.

The Cambridge companion to film music / edited by Mervyn Cooke and Fiona Ford.

Cambridge, United Kingdom : Cambridge University Press, [2016] |

Includes bibliographical references and index.

LCCN 2016026629 | ISBN 9781107094512

LCSH: Motion picture music History and criticism.

LCC ML2075 .C3545 2016 | DDC 781.5/42dc23

LC record available at https://lccn.loc.gov/2016026629

ISBN 978-1-107-09451-2 Hardback

ISBN 978-1-107-47649-3 Paperback

James Buhler and Hannah Lewis

David Cooper

Ben Winters

Stephen Glynn

George Fenton in conversation with Mervyn Cooke

Guido Heldt

Kate Daubney

Peter Franklin

Fiona Ford

Miguel Mera

David Butler

Krin Gabbard

Stan Link

Robynn J. Stilwell

Caryl Flinn

Paul Wells

Sergio Miceli

Danae Stefanou

Annette Davison

Timothy Koozin

Mekala Padmanabhan

James Buhler teaches music and film sound in the Sarah and Ernest Butler School of Music at the University of Texas at Austin. He is co-editor (with Caryl Flinn and David Neumeyer) of Music and Cinema (2000) and co-author (with David Neumeyer and Rob Deemer) of Hearing the Movies (2010), now in its second edition. He is currently completing a manuscript entitled Theories of the Soundtrack .

David Butler is Senior Lecturer in Screen Studies at the University of Manchester. He is the author of Jazz Noir: Listening to Music from Phantom Lady to The Last Seduction (2002) and Fantasy Cinema: Impossible Worlds on Screen (2009). He has written widely on the ideological function of music in film and television, especially in film noir and science fiction, and his current research is focused on the life and work of Delia Derbyshire, one of the pioneering figures in British electronic music, whose tape and paper archive was donated to the University of Manchester on behalf of her estate.

Mervyn Cooke is Professor of Music at the University of Nottingham. The author of A History of Film Music (2008) and editor of The Hollywood Film Music Reader (2010), he has also published widely in the fields of Britten studies and jazz: his other books include Britten and the Far East (1998), several co-edited volumes of Brittens correspondence and studies of the same composers Billy Budd (1993) and War Requiem (1996). He has edited previous Cambridge Companions devoted to Britten, twentieth-century opera and (with co-editor David Horn) jazz, and has published two illustrated histories of jazz for Thames & Hudson. He has recently completed an analytical study of the ECM recordings of jazz guitarist Pat Metheny.

David Cooper is Professor of Music and Technology and Dean of the Faculty of Performance, Visual Arts and Communications at the University of Leeds. He is the author of monographs on Bernard Herrmanns scores for Vertigo (2001) and The Ghost and Mrs. Muir (2005), a large-scale study of Bla Bartk (2015) and co-editor (with Ian Sapiro and Christopher Fox) of Cinemusic? Constructing the Film Score (2008). He is currently Principal Investigator of a major research project on the Trevor Jones Archive, funded by the UK Arts and Humanities Research Council.

Kate Daubney is the Series Editor of the Film Score Guides published by Scarecrow Press. She established the series in 1999 (with Greenwood Press) as a way for film musicologists to analyse the composition and context of individual scores by drawing more widely on the often hard-to-access archival and manuscript resources of composers both living and dead. She is also a scholar of the film scores of Max Steiner and the author of the first Film Score Guide (2000), devoted to Steiners music for Now, Voyager .

Annette Davison is Senior Lecturer at the Reid School of Music, University of Edinburgh. Her research focuses primarily on music for screen and has been published in a range of journals and essay collections, including two for which she was co-editor (with Erica Sheen and Julie Brown). She is the author of the monographs Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s and 1990s (2004) and Alex Norths A Streetcar Named Desire : A Film Score Guide (2009). She has begun to explore music for short-form promotional media. Her essays on the main-title and end-credit sequences for multi-season North American television drama serials can be found in The Oxford Handbook of New Audiovisual Aesthetics (2013), the journal Music, Sound, and the Moving Image (2014) and in the Danish journal SoundEffects (2013), where she analyzes viewer behaviour in relation to these sequences. Current research includes the role of music in sponsored film and advertising.