| Section |
Title |
Author |
Published |
| Articles
|
|
The Operatic Stothart: Leitmotifs and Tonal Organization in Two Versions of Rose Marie |
Ronald Rodman |
Oct 29, 2011 |
|
The Problem of Music in a Historical Film |
Herbert Stothart |
Jan 7, 2012 |
|
"A Brilliant New Symphonic Effect": The "New" Early Music in Stothart's Score for Romeo and Juliet (1936) |
Linda K. Schubert |
Oct 29, 2011 |
|
Nostalgia, the Silent Cinema, and the Art of Quotation in Herbert Stothart’s Score for The Wizard of Oz (1939) |
Nathan Platte |
Jan 7, 2012 |
| Reviews
|
|
Philip Hayward, ed. Terror Tracks: Music, Sound and Horror Cinema, London: Equinox, 2009. ISBN: 9781845532024 and Neil Lerner, ed. Music in the Horror Film: Listening to Fear, New York: Routledge, 2010. ISBN: 9780415992039. |
Tony Fonseca |
Mar 3, 2012 |
|
Marcia J. Citron. When Opera Meets Film, Cambridge and New York: Cambridge University Press, 2010 [xviii, 324p. ISBN 9780521895750. 55.00€ or $95.00 (hbk)] Cambridge Studies in Opera. |
James L. Zychowicz |
Mar 3, 2012 |
|
Mark Slobin, ed. Global Soundtracks: Worlds of Film Music, Middletown, CT: Wesleyan University Press, 2008 [xxiii, 387 p. ISBN 9780819568823. $34.95 (trade paper)]. |
James Wierzbicki |
Mar 3, 2012 |