Film music often tells us how to feel, but it also guides us how to hear. Filmgoing is an
intensely musical experience, one in which the soundtrack structures our interpretations and …

By exploring the relationship between music and the moving image in film narrative, David
Neumeyer shows that film music is not conceptually separate from sound or dialogue, but …

Cadences are one of the most powerful tools at a film composer's disposal. The structure
and placement of a cadence can shape the emotional arc of a scene, accentuate narratival …

This chapter shows how the tools of contemporary music theory can provide a context for
sound qualities particularly common in film music since the early 1980s. It considers pairs of …

Film and music are key concerns in human geography. But rarely has film music been
considered. Here, the scores of James Horner (1953–2015), one of the most successful …

This article examines specific narrative connotations associated with chromatic mediant
motions in film music. Following the neo‐Riemannian work of theorists such as David Kopp …

“A well-researched and thorough book examining what the author finds to be a unique facet
of film music of the late 1940s and early 1950s.”—Soundtrax Lavish musical soundtracks …

Chromatic, major-third root movement comprises a special class of triadic progression. The
contrary motion of half steps, described as PL voice leading, produces a perceptual paradox …

This article examines the semantic properties of several characteristic triadic shifts in the film
and ceremonial music of John Williams. These shifts result from particular modal inflections …

Minimalist music's ubiquity in multimedia may be owed to the encoding of minimalism as a
sign for the machine and rationality, an enculturation afforded by minimalism's …