| Section |
Title |
Author |
Published |
| Articles
|
|
The Vision Scenes in Bernadette: Newman's and Powell's Contributions |
Roland Jackson |
Apr 22, 2011 |
|
“I have been compromised. I am now fighting against it.” Ligeti vs. Kubrick and the music for 2001: A Space Odyssey |
Julia Heimerdinger |
Apr 22, 2011 |
|
“‘An effort to decide’: More Research into Kubrick’s Music Choices for 2001: A Space Odyssey” |
Kate McQuiston |
Apr 22, 2011 |
|
A Source-Studies Approach to Michael Nyman’s Score for "The Draughtsman’s Contract" |
David Cooper, Ian Sapiro |
Apr 22, 2011 |
| Review Essay
|
|
Teaching Film Music Survey Classes: Hickman, Karlin, and MacDonald as Models for Building Course Content |
Michael Remson |
May 13, 2011 |
| Reviews
|
|
Book Review: James Buhler, David Neumeyer, and Rob Deemer. Hearing the Movies: Music and Sound in Film History. Oxford and New York: Oxford University Press, 2010. [xxiv, 470 p. ISBN 0195327793. $54.95 (trade paper)] |
Roger Hickman |
May 13, 2011 |
|
Book Review: Steve Lannin and Matthew Caley. Pop Fiction: The Song in Cinema. Bristol and Portland: Intellect, 2005. [173 p. ISBN: 184150078X. $30.00 (trade paper)] Music examples, illustrations, index. |
Jennifer Matthews |
May 13, 2011 |
|
Book Review: Michal Grover–Friedlander. Vocal Apparitions: The Attraction of Cinema to Opera. Princeton and Oxford: Princeton University Press, 2005. [xii, 186 p. ISBN 0691120080. $39.95 (hard cover)] Princeton Studies in Opera. |
Stephanie Poxon |
May 13, 2011 |