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Journal articles on the topic 'Music soundtrack'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

Kharisma, Bethoven. "Analisis Komposisi Soundtrack dalam Video Game “Genshin Impact”." Indonesian Journal of Performing Arts Education 1, no. 2 (July 31, 2021): 12–15. http://dx.doi.org/10.24821/ijopaed.v1i2.5432.

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Role-playing games merupakan merupakan salah satu genre utama dari sebagian banyak game dan ada dalam bentuk dan format yang berbeda. Dalam sebuah game cenderung menggunakan musik cinematic yang mampu membawa suasana dan emosi kepada pemain game tersebut. Pemilihan soundtrack Genshin Impact pada “Main Theme: from The Wind and The Star Traveler” sebagai objek penelitian dikarenakan penataan musik cinematic yang megah. Penelitian kualitatif deskriptif ini memiliki tujuan untuk menganalisis teknik pengolahan komposisi dari soundtrack tersebut. Metode yang digunakan adalah studi diskografi, studi literatur, dan observasi. Hasil menunjukkan bahwa soundtrack “Main Theme” pada Genshin Impact dimainkan dakam tonalitas D Mayor dengan tempo 82 bpm. Dalam soundtrack Main Theme terdiri dari beberapa bagian yaitu, intro, verse, chorus, dan outro. Elemen musik pada soundtrack Main Theme juga diketahui berdasarkan ritme, dinamika, harmoni, tekstur, dan bentuk. Musik soundtrack tersebut mengandung suasana yang sederhana tapi megah dari penggunaan tonalitas mayor, poliritme, dan pengembangan motif utama yang memperkaya. Role-playing games are one of the main genres of many games and come in many different forms and formats. A game tends to use cinematic music that can bring atmosphere and emotions to the game's players. The selection of the Genshin Impact soundtrack on "Main Theme: from The Wind and The Star Traveler" as the object of research is due to the magnificent cinematic music arrangement. This descriptive qualitative study aims to analyze the compositional processing techniques of the soundtrack. The method used is discography study, literature study, and observation. The results show that the “Main Theme” soundtrack on Genshin Impact is played in a D Major tonality with a tempo of 82 bpm. The Main Theme soundtrack consists of several parts: intro, verse, chorus, and outro. The musical elements in the Main Theme soundtrack are also known based on rhythm, dynamics, harmony, texture, and form. The soundtrack's music contains a simple but majestic atmosphere of the enriching use of major tonality, polyrhythm, and development of central motifs.

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2

Lee, Jonathan Rhodes. "Texts, Drugs, and Rock ’n’ Roll." Journal of Musicology 38, no. 3 (2021): 296–328. http://dx.doi.org/10.1525/jm.2021.38.3.296.

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Of all the New Hollywood films, Easy Rider (1969) perhaps most effectively demonstrates the potential complexity of the rock compilation soundtrack. Drawing on concepts from film studies, film musicology, and literary theory, this article discusses how Easy Rider demonstrates the compilation soundtrack’s potential to generate meanings both inter- and intratextually. The intertextual method of interpreting pop compilation soundtracks looks deeply into the intersection of image, sound, and narrative on a vertical axis, considering the relationship between dialogue/image/plot point and song lyrics/musical style, the ways that the songs on these soundtracks communicate to audiences the thematic or diegetic significance of a given moment, and how these synthetic meanings apply to various characters/situations in the diegesis. Intratextual readings work horizontally to show the cyclical relationships between audiovisual set-pieces and the ways that these relationships clarify or enhance narrative themes. Attention to the intratextual function shows that despite the frequent concern that popular songs can disrupt the integrity of a filmic narrative, popular music soundtracks can in fact feature their own modes of large-scale, structural function. This film’s soundtrack allows viewers to experience Easy Rider in dual registers; narrative threads connect to other narrative threads, musical set-pieces connect to musical set-pieces, and all of the elements together comprise one audiovisual complex.

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Marshall, Sandra K., and Annabel J. Cohen. "Effects of Musical Soundtracks on Attitudes toward Animated Geometric Figures." Music Perception 6, no. 1 (1988): 95–112. http://dx.doi.org/10.2307/40285417.

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We investigated the effects of musical soundtracks on attitudes to figures in a short animated film. In a preliminary study and in the main experiment, subjects saw the film accompanied by one of two soundtracks or with no soundtrack, or they heard one of the two soundtracks alone. In the main experiment, Semantic Differential judgments on Activity and Potency dimensions, obtained for the music, predicted effects of the soundtracks on corresponding ratings of the film as compared to ratings in a no soundtrack condition. As well, ratings on the Activity dimension of the film characters themselves were altered by the soundtracks. It is hypothesized that congruent auditory and visual structure directs the encoding of particular visual features of the film. In addition, associations generated by the music provide a context for the interpretation of the action in the film. As a result, stimulus features and concepts that are initially encoded as disjunctive conjoin in perception and memory.

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Yunyk, Tetiana, and Mykola Tsarev. "Soundtrack in Modern Cinema." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (June 30, 2021): 67–77. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235086.

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The purpose of the research is to analyze popular examples of modern cinema music to determine the features of its interaction with various elements of screen text, taking into account the applied nature and applying various relevant approaches to the study of soundtracks. The research methodology consists in the application of a set of methods for theoretical analysis of film music, their interaction with internal and external factors of influence on the formation of the viewer’s image-emotional sphere in conditions of purposeful perception of the storyline of modern cinema. The scientific novelty lies in the fact that for the first time the peculiarities of the music functioning in modern cinema were analyzed, the main trends in the development of film music in the socio-cultural conditions of our time were revealed, and film music from the perspective of the viewer as a “non-ideal” evaluator of soundtracks in modern cinema was also considered. Conclusions. The article, using various methodological approaches, has proved that film music in the framework of interaction with screen text manifests itself as a significant tool, expanding the artistic space of the film. Film music can go beyond direct acoustic information, reflecting the narrative and conceptual components of the work of art as a whole. A practical example of the manifestation of modern film music is the use of timbral colours as an instrument for revealing the context of events, time, and the image of a hero; leitmotif; experiments with the technical side of sound through the expansion of the imaginary space of the screen. The main trends in the development of film music in the socio-cultural conditions of our time are due to the release of soundtracks beyond the boundaries of a practical film instrument. The modern soundtrack occupies a significant part of the cultural space of music and culture in general. This position is facilitated by the composer’s conceptual approach, the style integrity of the work and the relative independence of the soundtrack in the general cultural space. The rating of soundtracks is given by the audience and depends on their aesthetic preferences and the level of musical “experience”. Soundtracks must meet the requirements of modern cinema and common cultural space, which contributes to the success of the film.

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5

REDFERN, NICK. "Sound in Horror Film Trailers." Music, Sound, and the Moving Image: Volume 14, Issue 1 14, no. 1 (July 1, 2020): 47–71. http://dx.doi.org/10.3828/msmi.2020.4.

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In this paper I analyse the soundtracks of fifty horror film trailers, combining formal analysis of the soundtracks with quantitative methods to describe and analyse how sound creates a dominant emotional tone for audiences through the use of different types of sounds (dialogue, music, and sound effects) and the different sound envelopes of affective events. The results show that horror trailers have a three-part structure that involves establishing the narrative, emotionally engaging the audience, and communicating marketing information. The soundtrack is organised in such a way that different functions are handled by different components in different segments of the soundtrack: dialogue bears responsibility for what we know and the sound for what we feel. Music is employed in a limited number of ways that are ironic, clichéd, and rarely contribute to the dominant emotional tone. Different types of sonic affective events fulfil different roles within horror trailers in relation to narrative, emotion, and marketing. I identify two features not previously discussed in relation to quantitative analysis of film soundtracks: an affective event based on the reactions of characters in horror trailers and the presence of nonlinear features in the sound design of affective events.

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6

Brown, Julie. "Ally McBeal's Postmodern Soundtrack." Journal of the Royal Musical Association 126, no. 2 (2001): 275–303. http://dx.doi.org/10.1093/jrma/126.2.275.

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Television's Ally McBeal revels in soundtrack games, playing as it does with the conventions of several types of musical multimedia while elevating music, especially a particular type of pop music, to the role of central plot and series metaphor–above all in relation to Ally's character. As musically saturated television, Ally McBeal not only provides a window onto music's role in television (and hence a central expression of postmodern culture), it also engages some of pop music's broader social functions dramatically. Drawing on both film and media theory, I examine Ally McBeal's soundtrack from formal and dramatic perspectives. I then go on to situate the features discussed within wider postmodernist discourses and draw out music's contribution to the show's controversial representations of contemporary gender politics.

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O’Keeffe, Ian R. "Soundtrack Localisation." Journal of Internationalization and Localization 2 (January 1, 2012): 36–65. http://dx.doi.org/10.1075/jial.2.03kee.

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This paper focuses on the localisation and adaptation of one particular aspect of the computer game: the soundtrack. Sometimes bespoke, sometimes selected from commercial releases, it provides a background, supporting role in creating atmosphere and supporting the emotive state of the game space. But how often is the target market considered when selecting appropriate musical content? Is it possible to use this almost subliminal channel into the game player’s consciousness to increase his awareness of what is happening around him, and give him a feel for his character’s emotional and physical wellbeing? This paper presents a novel approach for transforming the soundtrack - via a system the author originally created for the purposes of capturing and recreating emotive content in music.

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Cohen, Annabel J. "Associationism and musical soundtrack phenomena." Contemporary Music Review 9, no. 1-2 (January 1993): 163–78. http://dx.doi.org/10.1080/07494469300640421.

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9

Selva-Ruiz, David, and Desirée Fénix-Pina. "Soundtrack Music Videos: The Use of Music Videos as a Tool for Promoting Films." Communication & Society 34, no. 3 (May 31, 2021): 47–60. http://dx.doi.org/10.15581/003.34.3.47-60.

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The soundtrack music video is an audiovisual format used by the cultural industries of film and music as a commercial communication tool, since it is based on a song from the soundtrack of a film, so that both the artist that performs the song and the film itself obtain promotional benefits. This paper conceptualizes this poorly studied phenomenon of cross-promotion connecting the music and film industries and uses a content analysis of 119 music videos produced over a period of 33 years in order to study the importance of the artist and the movie in the video, the various strategies developed in order to accomplish its double promotional mission, and the specific formal and strategic features of this audiovisual format. Analysis reveals that the soundtrack music video has the distinctive feature of including promotional elements both for the musical artist and for the movie. Although the artist tends to be more prominent, the vast majority of music videos include images from the film or use various ways of integrating the artist’s identity with the film’s iconography or narrative. Anyway, it is a phenomenon characterized by diversity, with the common pattern of the dual promotional objective, but with different ways of implementing that pattern.

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10

Giunta, Carrie. "Beyond the Soundtrack: representing music in cinema." Historical Journal of Film, Radio and Television 30, no. 1 (March 2010): 132–33. http://dx.doi.org/10.1080/01439680903577425.

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May, Anthony. "Phil Spector and the New Movie Soundtrack." Media International Australia 148, no. 1 (August 2013): 127–34. http://dx.doi.org/10.1177/1329878x1314800114.

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This article looks at the changes that occurred in pop music during the 1960s, which established the foundation for the reconfiguration of its relationship with film. The focus is on the work of producer Phil Spector and the radical changes that he brought to the medium of pop music in the early part of that decade. While the article stops short of suggesting that Spector was directly responsible for the transformation in cinema soundtracks heard in New Hollywood films from 1968 onwards, it does contend that his influence rendered pop music more accessible for movie soundtracks. Spector's innovative studio manipulations, which were designed to remove the sonic dominance of the vocal, were at the centre of these transformations.

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DOERING, JAMES M. "“I Never Planned Anything in My Life”: The Music ofCool Hand Luke." Journal of the Society for American Music 11, no. 3 (August 2017): 257–83. http://dx.doi.org/10.1017/s1752196317000219.

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AbstractCool Hand Lukehas a distinct soundtrack that features original music by composer Lalo Schifrin and an intriguing collection of traditional American music selected by director Stuart Rosenberg. The music emerged over an intense nine-month span in 1966–67, during which ideas flowed freely and original plans were often jettisoned. Rosenberg and Schifrin were the film's primary musical architects, but others contributed along the way, including screenwriters, actors, producers, folk music experts, and a trio of banjo players. Based on a wide range of primary sources, including documents in the Warner Bros. Archives at the University of Southern California, interviews with individuals involved in the production, the voluminous popular press about the film, and the film itself, this article is a rare glimpse inside the creative process that produced an unmistakably American soundtrack.

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De Souza Lima, Henrique Rocha. "Cartographic Soundtrack: Voice, Sound and Music in Birdman." New Soundtrack 7, no. 2 (September 2017): 137–51. http://dx.doi.org/10.3366/sound.2017.0105.

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14

Tan, Siu-Lan, Matthew P. Spackman, and Elizabeth M. Wakefield. "The Effects of Diegetic and Nondiegetic Music on Viewers’ Interpretations of a Film Scene." Music Perception 34, no. 5 (June 1, 2017): 605–23. http://dx.doi.org/10.1525/mp.2017.34.5.605.

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Previous studies have shown that pairing a film excerpt with different musical soundtracks can change the audience’s interpretation of the scene. This study examined the effects of mixing the same piece of music at different levels of loudness in a film soundtrack to suggest diegeticmusic (“source music,” presented as if arising from within the fictional world of the film characters) or to suggest nondiegetic music (a “dramatic score” accompanying the scene but not originating from within the fictional world). Adjusting the level of loudness significantly altered viewers’ perceptions of many elements that are fundamental to the storyline, including inferences about the relationship, intentions, and emotions of the film characters, their romantic interest toward each other, and the overall perceived tension of the scene. Surprisingly, varying the loudness (and resulting timbre) of the same piece of music produced greater differences in viewers’ interpretations of the film scene and characters than switching to a different music track. This finding is of theoretical and practical interest as changes in loudness and timbre are among the primary post-production modifications sound editors make to differentiate “source music” from “dramatic score” in motion pictures, and the effects on viewers have rarely been empirically investigated.

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HEILBRONNER, ODED. "Music and Revolution in the Long 1960s." Twentieth-Century Music 14, no. 3 (October 2017): 463–71. http://dx.doi.org/10.1017/s1478572217000354.

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When discussing the relationship between popular music and social-political change in the long 1960s, historians and critics have tended to fluctuate between two opposing poles. On the one hand, there is Arthur Marwick's approach, echoed in Jon Savage's recent book 1966: The Year the Decade Exploded. In Marwick's cross-national survey, he examines social change in the West during the ‘Long Sixties’ (1958–72), when a ‘cultural revolution’ occurred in which protest music played a major role. On the other hand, there are Peter Doggett's and Dominic Sandbrook's observations that the top-selling albums of the 1960s and 1970s did not include some masterpiece by the Beatles, the Rolling Stones, Bob Dylan, David Bowie, Queen, or other leading figures in rock music, but rather the soundtrack of The Sound of Music. Sandbrook writes that it ‘projected a familiar, even conservative vision of the world, based on romantic love and family life. In a period of change it offered a sense of reassurance and stability, not only in its plot but also in its musical style . . . [T]hese were the values of millions . . . in the Swinging Sixties’. Doggett similarly points to the popularity of Julie Andrews and the soundtracks of Mary Poppins and The Sound of Music. These soundtracks ‘made no attempt to alter the culture or educate the listener’ he suggests, and that is why they have been relegated ‘to a footnote in the history of popular music’ even while being the top-selling records of 1965 and 1966.

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Venczel, Peter. "A Brief Analysis of the Functionality and Dramaturgy of the Soundtrack in Film and Theater (Part I.)." Theatrical Colloquia 10, no. 2 (December 1, 2020): 138–65. http://dx.doi.org/10.2478/tco-2020-0027.

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AbstractIn this article I would like to point out the importance of the functionality of the soundtrack in film and theatre. First of all, I can mention that the chosen thematic has an almost unexistent bibliography due to the decreased number of theoretical works in this domain, and the few existent studies handle the same thematic from different angles, causing a lack of balance in the processing of musical and technical context. In most cases the cultural audience doesn’t watch a movie or a theatrical play for its music, but is yet 50% influenced by it, noticing it only when the background music changes into an objectively or subjectively disturbing one. On the other hand, if a movie has an impecable soundtrack, the audience won’t be bothered by it. These informations lead to the conclusion that the soundtrack has a big influence on our subconscience, dominantly on the auditive and less on the visual one.

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Đorđević, Ana. "“The soundtrack of their lives”: The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 25. http://dx.doi.org/10.25038/am.v0i17.267.

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Crno-bijeli svijet [Black-White World, HRT, 2015–] is an on-going Croatian television series set in the early 1980s depicting the then-current pop music scene in Zagreb. The storyline follows several characters whose lives are intertwined by complex family relations, while also following the beginnings of new wave/punk rock bands and artists, and their influence on the Yugoslav youth who almost religiously listened to their music, like some of the series’ characters do.The role of music in television series is a complicated question that caught the attention of film music scholars in recent years. The significance – and, at the same time, the complexity – that music produces or can produce, as the bearer of cultural, social and/or political meanings in television series brings its own set of difficulties in setting out possible frameworks of research. In the case of Crno-bijeli svijet that is even more challenging considering that it revolves around popular music that is actively involved in, not just the series soundtrack, but several aspects of different narrative elements.Jon Burlingame calls the music of American television “The soundtrack of our lives”, and I find this quote is appropriate for this occasion as well. The quote summarizes and expresses the creators’ personal note that is evident in the use of music in this television series and myriad ways music is connected to other narrative and extra-narrative elements, and in a way, grasps the complicity of the problem I will address. Article received: March 31, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Original scholarly paper How to cite this article: Đorđević, Ana. “'The soundtrack of their lives': The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies 17 (2018): 25−36. doi: 10.25038/am.v0i17.267

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GRIMLEY, DANIEL M. "Hidden Places: Hyper-realism in Björk’s Vespertine and Dancer in the Dark." Twentieth-Century Music 2, no. 1 (March 2005): 37–51. http://dx.doi.org/10.1017/s1478572205000186.

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Björk’s collaboration with the director Lars von Trier on the film Dancer in the Dark was marked by well-publicized personal and aesthetic differences. Their work nevertheless shares an intense preoccupation with the nature and quality of sound. Björk’s soundtrack systematically explores the boundaries between music and noise, and the title of von Trier’s film itself presupposes a heightened attention to aural detail. This paper proposes a theoretical context for understanding Björk’s music in the light of her work with von Trier. Whereas Björk’s soundtrack responds to the visual and narrative stimuli of von Trier’s film, the use of sound in her album Vespertine thematicizes more familiar Björk subjects: the relationship between music, landscape and the natural world, and Björk’s own (constructed) sense of Nordic musical identity. By placing Vespertine alongside Björk’s music for Dancer in the Dark, the sense of ‘hyperreality’ that defines both also emerges as a primary characteristic of her work.

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Rogers, Holly. "Fitzcarraldo's Search for Aguirre: Music and Text in the Amazonian Films of Werner Herzog." Journal of the Royal Musical Association 129, no. 1 (2004): 77–99. http://dx.doi.org/10.1093/jrma/fkh003.

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This article explores the filmic relationship between music, text and image through an intertextual reading of Herzog's two Amazonian films, Aguirre: Wrath of God and Fitzcarraldo. When Aguirre and Fitzcarraldo encounter each other in the rainforest, 300 years apart, a complicated interplay of history and legend, truth and fiction, is initiated. Awash with magical occurrence, the forest has its own endlessly repeating soundtrack (written by Popul Vuh). The ability of both explorers to defend themselves from the forest depends on their relationship to this music: Aguirre, the earlier explorer, is deaf to the circular sound and attempts to overlay it with a written account of their journey. Fitzcarraldo, on the other hand, enters the forest equipped with a gramophone that plays Verdi arias; he comes with his own soundtrack. Comparison between the two journeys exposes the conventional uses of text/speech and music/song in film, to reveal music as the predominant driving force behind filmic narrative.

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Donnelly, K. J. "Tracking British television: pop music as stock soundtrack to the small screen." Popular Music 21, no. 3 (October 2002): 331–43. http://dx.doi.org/10.1017/s0261143002002210.

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Recent years have seen an increase in pop music on television, replacing its more traditional incidental music. It is now dominant as stock music on television, filling expanding continuity and advertising spaces. The licensing of pop music for screen use is increasingly important for the music industry, spawning a new form of ‘multipurpose music’ which, as well as being music in its own right, can also be resold as stock music for television. While in the 1980s there was a rush to tie-in pop music with films, in the 1990s, it increasingly was to tie pop music with television. This article documents and explores this transition.

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SADOFF, RONALD H. "The role of the music editor and the ‘temp track’ as blueprint for the score, source music, and scource music of films." Popular Music 25, no. 2 (May 2006): 165–83. http://dx.doi.org/10.1017/s0261143006000845.

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The ‘temp track’, a temporary mock-up of a film's soundtrack, is assembled from pre-existing music prior to the real, commissioned score being composed. An integral element of the post-production process of American feature films, it survives only in its role for audience previews. Constructed by a music editor, in most cases, it is a blueprint of a film's soundtrack – a musical topography of score, songs, culture and codes in which a balance must obtain between the director's vision, the music's function, underlying requirements of genre, and the spectator's perception. This article demonstrates that the temp track informs compositional practices and the final score, and makes the argument that textual analysis would benefit from the recognition of the role of production practices. Drawing on published sources and interviews with practitioners, this article provides historical context and musical detail, and shows how productive analysis can be when it draws on practitioners' insights as well as textual analysis. Film score analysis must not begin and end with the finished film score but must utilise a more eclectic methodology which takes into account the production process. Film score analysis should reflect the constitutive nature of film and film music.

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Gillespie, David C. "The Sounds of Music: Soundtrack and Song in Soviet Film." Slavic Review 62, no. 3 (2003): 473–90. http://dx.doi.org/10.2307/3185802.

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In this article, David C. Gillespie explores the deliberate foregrounding of music and song in Soviet film. He begins with a discussion of the structural and organizing roles of music and song in early Soviet sound films, including tiiose by Sergei Eizenshtein, Grigorii Aleksandrov, Ivan Pyr'ev, and Aleksandr Ivanovskii. Gillespie then focuses on the emphasis on urban song in some of the most popular films of the stagnation years, such as The White Sun of the Desert (1969) and Moscow Does Not Believe in Tears (1979), adding considerably to the appreciation of these films. To conclude, he analyzes folk music in films about village life, especially those directed by Vasilii Shukshin, and explores the role of music in constructing a mythical and nationalistic discourse.

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Animbom Ngong, Paul. "Music and sound in documentary film communication: an exploration of Une Affaire de Nègres and Chef!" CINEJ Cinema Journal 8, no. 1 (March 11, 2020): 156–84. http://dx.doi.org/10.5195/cinej.2020.265.

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This paper examines the function of music and sound as important elements of documentary film communication. It considers the soundtrack to have equal value as the visual track. This is even more appalling when sound is viewed as an aesthetic constituent of a film or as acoustic signs with equal communicative value as visual signs. Two films are used to show the role music and sound play in facilitating comprehension in a documentary film. Focusing particularly on testimonies, narrative commentary, filmic silence and music, the study shows how documentary films provide a unique medium to engage an audience in a story of facts and provides a unique vehicle for information transmission. The success of these two films among mainstream audiences indicates the power of a thoughtful and intentional soundtrack which accentuates the subject without dictating it and provides examples of a utilisation of music to build an emotional connection between the audience and the film’s subject matter.

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Yang, Lisa. "The Analysis of the Soundtrack to Baz Luhrmen’s Romeo and Juliet." English Language and Literature Studies 9, no. 4 (November 14, 2019): 28. http://dx.doi.org/10.5539/ells.v9n4p28.

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Ian Inglis states in his book Popular music and film that music is the primary instrument for emotional direction in film. The soundtrack to Baz Lurhmen’s Romeo and Juliet includes a spectrum of genres including classical to popular music. The music used in the film both enhanced each scene as well as attract a wider audience. Through this, Luhrmen is able to re-reveal this classic story through a different medium. It is through the direction of the film which includes the music, visuals and plot thatjuxtaposesthe original dialogue that Lurhmen chooses to keep in film. This allows the audience to understand the film better as there are visual and musical cues. This medium also attracts a wider audience and makes the story more accessible and understandable. The objective of this article is to examine the effectiveness of popular music that is used in the film and how it helpsto enhance the storyline as well as make it more accessible to a wider audience.

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Shanks, Coinneach. "Of mice and music: Image, soundtrack and historical possibility." Soundtrack 6, no. 1 (March 1, 2014): 67–81. http://dx.doi.org/10.1386/st.6.1-2.67_1.

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Klimmt, Christoph, Daniel Possler, Nicolas May, Hendrik Auge, Louisa Wanjek, and Anna-Lena Wolf. "Effects of soundtrack music on the video game experience." Media Psychology 22, no. 5 (August 20, 2018): 689–713. http://dx.doi.org/10.1080/15213269.2018.1507827.

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Cooper, B. Lee. "Country Music—A Film by Ken Burns: The Soundtrack." Popular Music and Society 43, no. 4 (November 8, 2019): 465–67. http://dx.doi.org/10.1080/03007766.2020.1689479.

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Barnett, Kyle. "Soundtrack Available: Essays on Film and Popular Music (review)." Velvet Light Trap 51, no. 1 (2003): 92–95. http://dx.doi.org/10.1353/vlt.2003.0001.

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Walsh, Michael James, and Matthew Wade. "Soundtrack for love: wedding videography, music and romantic memory." Continuum 34, no. 1 (December 11, 2019): 14–31. http://dx.doi.org/10.1080/10304312.2019.1700216.

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Goldmark, Daniel. "Soundtrack Available: Essays on Film and Popular Music (review)." Notes 59, no. 2 (2002): 324–26. http://dx.doi.org/10.1353/not.2002.0170.

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Behne, Klaus-Ernst, and Clemens Wöllner. "Seeing or hearing the pianists? A synopsis of an early audiovisual perception experiment and a replication." Musicae Scientiae 15, no. 3 (August 15, 2011): 324–42. http://dx.doi.org/10.1177/1029864911410955.

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The visual impact of musicians’ body movements has increasingly attracted research interest over the past twenty years. This article gives an overview of the main findings of this research and introduces and replicates one of the first experiments on visual information in music performance evaluations. In Behne’s study (originally published in German in 1990), a pianist was video-recorded performing compositions by Brahms and Chopin. Using an audiovisual manipulation paradigm, further pianists acted as doubles and pretended to perform the music to the soundtrack of the first pianist. Different groups of ninety-three musicians and non-musicians rated audiovisual presentations of the videos. Only one participant in the whole series of experiments supposed that the musical soundtrack was similar across different performers. Even musically trained participants strongly believed that they perceived differences between performances. Further findings suggest gender effects, such that male interpretations were perceived to be more precise and female interpretations to be more dramatic. The replication generally confirmed the results for a present-day audience. Potential consequences for music evaluations and theories of audiovisual music perception are discussed.

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Gowda, Mahesh R., Nikitha Harish, S. Preeti, Sonali Thesia, and Radhika Magaji. "The Soundtrack of Cannabis Dependence: Music Preference and Cannabis use." International Journal of Contemporary Medicine 2, no. 1 (2014): 39. http://dx.doi.org/10.5958/j.2321-1032.2.1.009.

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Istvandity, Lauren. "The lifetime soundtrack: Music as an archive for autobiographical memory." Popular Music History 9, no. 2 (December 11, 2015): 136–54. http://dx.doi.org/10.1558/pomh.v9i2.26642.

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Shakerifard, Solmaz. "Soundtrack of the Revolution: The Politics of Music in Iran." Iranian Studies 51, no. 4 (May 10, 2018): 651–57. http://dx.doi.org/10.1080/00210862.2018.1462295.

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Ciabattoni, Francesco. "Music in Trecento Italy and the Soundtrack of Boccaccio's Decameron." MLN 134, S (2019): S—138—S—151. http://dx.doi.org/10.1353/mln.2019.0063.

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James Wierzbicki. "Beyond the Soundtrack: Representing Music in Cinema (review)." Modernism/modernity 15, no. 3 (2008): 587–89. http://dx.doi.org/10.1353/mod.0.0019.

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Argyropoulos, Erica K. "Beyond the Soundtrack: Representing Music in Cinema (review)." Notes 64, no. 4 (2008): 759–61. http://dx.doi.org/10.1353/not.0.0013.

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Hart, Heidi. "More Than a Soundtrack: Music Between Text and Image in Environmental Art." Aletria: Revista de Estudos de Literatura 27, no. 2 (October 2, 2017): 141–55. http://dx.doi.org/10.17851/2317-2096.27.2.141-155.

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Music has rarely been the subject of analysis in environmental art forms, from film to post-apocalyptic fiction. This article seeks to fill that gap and shows how music functions between word and image, using three case studies: The Crossroads Project, a lecture-performance series on climate crisis; Trinity, a short documentary video on the history of nuclear testing; and Lidia Yuknavitch’s The Book of Joan, a dystopian novel with music at its core. In all three examples, music does not work as atmospheric background but rather as an active mediator in its own right. Entering the spaces between text or spoken word and image with unexpected material presence, it can help to open the audience toward greater urgency or inquiry about climate disruption; it can accumulate intensity as viewers watch and hear data on nuclear testing; it can even incite violence within a narrative, both thematically and in the text itself, as Sybille Krämer has noted in her work on performativity. Though activist art can easily become baldly manipulative, music can “expose” its hearers (to use Stacy Alaimo’s and Jean-Luc Nancy’s term) to planetary threats in a way that fosters critical, not just sentimental or fearful, response.

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Sylvanus, Emaeyak Peter. "Popular Music and Genre in Mainstream Nollywood." Journal of Popular Music Studies 30, no. 3 (September 2018): 99–114. http://dx.doi.org/10.1525/jpms.2018.200005.

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This article examines how genres of Nollywood soundtrack, which draw mainly from Nigerian popular music, effectively give Nollywood film genres their unique identification. This music genre–film genre association not only sets Nollywood apart from other cinema traditions, but also confers a marginal genre identity on its film music. The approach of this study is primarily ethnographic: pooling and teasing out inferences from the local discourse on film music practice, which the experiential evidence from forty classic Nollywood film samples support. The outcome shows that popular music is and can be a critical tool for distinguishing among film genres.

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Brown, Laura S. "Listening to the Inner Soundtrack: A Therapist's Personal Journey." Imagination, Cognition and Personality 9, no. 2 (October 1989): 131–39. http://dx.doi.org/10.2190/y4kr-8ex7-xgnx-ybux.

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This article presents an experiential examination of the author's “internal soundtrack,” a process by which unconscious material communicated by clients is manifested in the form of words and music in the mind's ear. The article traces the hypothesized development of this source of access to unconscious process, and explores the impact of the therapist's loss of her actual voice on her access to this unconscious voice.

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Vesey, Alyxandra. "Opening Statements: Theme Singing and Shifting Paradigms for Voicing Feminine Subjectivities as Television Music." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 3 (December 1, 2019): 157–67. http://dx.doi.org/10.1215/02705346-7772431.

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This article argues that more scholarly attention should be paid to women’s contributions to the practice of “theme singing,” or the textual and industrial practices of using vocalists as sonic proxies for television characters by articulating programs’ thematic concerns and embodying their tonal dimension in television shows’ credit sequences and soundtracks. Though vulnerable to muting and time shifting, female recording artists—and black women in particular—have always been a fixture of US television production by helping build televisual worlds as theme singers. These professionals help cultivate television programs’ aural sensibilities by literally giving voice to a show’s premise and, in so doing, raise the volume on women’s place in television storytelling as otherwise marginalized subjects. This essay identifies three different types of theme singing that are especially common in television storytelling: theme singing as declaration of selfhood, theme singing as expression of kinship, and theme singing as assertion of community. Further, it analyzes Solange’s and SZA’s involvement with Insecure (HBO, 2016–) as music consultant and soundtrack contributor, respectively, to identify an emerging pattern within contemporary television production of shifting the tonal and thematic properties of theme singing onto licensing by dispensing with original theme music altogether while potentially amplifying more women’s voices as source music.

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Howlin, Claire, Staci Vicary, and Guido Orgs. "Audiovisual Aesthetics of Sound and Movement in Contemporary Dance." Empirical Studies of the Arts 38, no. 2 (December 12, 2018): 191–211. http://dx.doi.org/10.1177/0276237418818633.

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How do movement and sound combine to produce an audiovisual aesthetics of dance? We assessed how audiovisual congruency influences continuous aesthetic and psychophysiological responses to contemporary dance. Two groups of spectators watched a recorded dance performance that included the performer’s steps, breathing, and vocalizations but no music. Dance and sound were paired either as recorded or with the original soundtrack in reverse so that the performers’ sounds were no longer coupled to their movements. A third group watched the dance video in silence. Audiovisual incongruency was rated as more enjoyable than congruent or silent conditions. In line with mainstream conceptions of dance as movement-to-music, arbitrary relationships between sound and movement were preferred to causal relationships in which performers produce their own soundtrack. Performed synchrony Granger caused changes in electrodermal activity only in the incongruent condition consistent with “aesthetic capture.” Sound structures the perception of dance movement, increasing its aesthetic appeal.

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Ellis, Sarah Reichardt. "Theories of the Soundtrack by James Buhler." Notes 77, no. 3 (2021): 456–59. http://dx.doi.org/10.1353/not.2021.0011.

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Naranjo Sánchez, Beatriz. "Moving music for moving source texts." Translation, Cognition & Behavior 1, no. 2 (September 27, 2018): 319–40. http://dx.doi.org/10.1075/tcb.00014.nar.

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Abstract Based on previous findings about the role of music as an emotional stimulus, as well as the potential benefits of music-driven emotional engagement in written production and creative behaviour, the present study investigates the impact of emotional background music on translation quality and creativity. A translation experiment in two different conditions (music vs. silence) was conducted in a controlled environment. Participants translated two literary texts of opposing emotional contents (happy vs. sad) while they listened to an emotionally-matching soundtrack. Statistical analysis of within- and between-group comparisons only revealed conclusive results for the sad condition, showing a positive effect of sad music on translation creativity and a negative effect on accuracy.

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Street, John. "‘Fight the Power’: The Politics of Music and the Music of Politics." Government and Opposition 38, no. 1 (2003): 113–30. http://dx.doi.org/10.1111/1477-7053.00007.

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AbstractPopular music has a long and varied association with politics. It has provided the soundtrack to political protest and been the object of political censorship; politicians have courted pop stars and pop stars — like Bono of U2 — have acted as politicians. But although these more familiar aspects of pop's connections to politics have been noted in passing, they have not received a great deal of academic attention, and there are other aspects of the relationship — the state's role as sponsor of popular music, for instance — which have been largely ignored. This article explores the various dimensions of the interaction between popular music and politics, and argues that the study of music can contribute to our understanding of political thought and action.

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MCQUISTON, KATE. "Brian Wilson Reimagined: The Reparative Portrait in Love & Mercy." Journal of the Society for American Music 13, no. 03 (August 2019): 359–78. http://dx.doi.org/10.1017/s1752196319000233.

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AbstractThe 50-year anniversary of the Beach Boys’ seminal album Pet Sounds and Brian Wilson's corresponding world concert tour have once again brought attention to Wilson and his creative work with the Beach Boys. These events have brought about new recording releases and publications about the band and Wilson, including the first feature-length biopic on Wilson, Love & Mercy. The following essay investigates Atticus Ross's reimaginative approach to Brian Wilson's music for the soundtrack of this film, directed by Bill Pohlad and released in 2014. The film expands recent trends in music biopics of the last couple of decades regarding the mobilization and activation of music to afford new interpretations of their subjects and new ways to hear their work. Ross's approach is distinct for its extensive recomposition of Brian Wilson's music in the film's original score, which allows director Bill Pohlad to show Wilson in a new light.Ross incorporates Beach Boys recordings (studio sessions and released tracks) into new pieces that highlight processes of manipulation, layering, and repetition, which point to the studio as a major site of Wilson's creativity. These processes furthermore portray the psychic life of the film's characters. Ross's compositions dramatize the subjectivity of hearing and rogue behaviors of auditory recollection and hallucination that characterize both Wilson's creativity and mental illness. In the context of the story of Brian Wilson and Melinda Ledbetter, Ross's compositions take on palliative associations that have direct implications for the reception of the film's original soundtrack.

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Ruud, Even. "Music in the media: The soundtrack behind the construction of identity." YOUNG 3, no. 2 (May 1995): 34–45. http://dx.doi.org/10.1177/110330889500300204.

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Bruhn, Jørgen. "Now a Major Soundtrack!—Madness, Music, and Ideology in Shutter Island." Adaptation 6, no. 3 (July 25, 2013): 320–37. http://dx.doi.org/10.1093/adaptation/apt013.

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Provenzano, Catherine. "Towards an Aesthetic of Film Music: Musicology Meets the Film Soundtrack." Music Reference Services Quarterly 10, no. 3-4 (September 30, 2008): 79–94. http://dx.doi.org/10.1080/10588160802111220.

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Finn, John C. "Soundtrack of a Nation: Race, Place, and Music in Modern Brazil." Journal of Latin American Geography 13, no. 2 (2014): 67–95. http://dx.doi.org/10.1353/lag.2014.0024.

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