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Adorno, T. W., & Eisler, H. (1994). Composing for the films. London: Athlone Press.  
Last edited by: sirfragalot 06 Jan 2007 07:09:36 Europe/Copenhagen
      "Motion-picture music corresponds to the whistling or singing child in the dark"
      Suggest that music was early introduced to cinema to calm the fear felt when watching ghostly and silent images of other humans on screen. The fear comes not from the images' ghostlike qualities but from the threat of [our own] muteness when confronted with images of creatures like ourselves.

A footnote mentions that Kurt London stated that music was added to drown the noise of the projector although Adorno and Eisler suggest that that was not due to the noisiness of the projector but was to appease or neutralize the sound of a mechanism to which we refuse to yield. An assertion of humanity.

London, Kurt. Film Music. New York: Arno Press (1936). p.28
Cavalcanti, A. (1939) Sound in films. . Retrieved January 16, 2006, ... /575/sound-in-films.htm  
Last edited by: sirfragalot 10 Feb 2006 16:33:41 Europe/Copenhagen
      The author is quite scathing about the use of Romantic (and neo-Classical) music in films of the time. "It is an idiom suited to an atmosphere of pomp and display. In style, the music of the cinema, by and large, represents a fixation at a stage of development which the art itself left behind about thirty years ago. Tschaikovsky, Rachmaninov, Sibelius, are the spiritual fathers of most cinema music."
Cohen, A. J. (2002). Music as a source of emotion in film. In P. N. Juslin & J. A. Sloboda (Eds), Music and Emotion: Theory and Research (pp. 249–272). Oxford: Oxford University Press.  
Added by: sirfragalot 02 Sep 2005 12:50:21 Europe/Copenhagen
      The author takes plenty of time to explain how music provides the emotional 'score' to film but never answers many questions concerning 'why?'. Mostly these have to do with cliché: why lush strings for a romantic scene; why drums for a military scene and why does every recent Holloywood production set in the Orient or pre-modern times (cf Gladiator, Alexander and Troy for example) have to have a wishy-washy New Age soundtrack?
Stockburger, A. (2006). The rendered arena: Modalities of space in video and computer games. Unpublished thesis PhD, University of the Arts, London.  
Added by: sirfragalot 15 May 2008 15:04:43 Europe/Copenhagen
      "Game music has a huge emotional impact on the player and it generally enhances the feeling of immersion."
Young, K. (2006) Recreating reality. . Retrieved March 9, 2009, http://www.gamesound.or ... /RecreatingReality.html  
Added by: sirfragalot 09 Mar 2009 10:47:52 Europe/Copenhagen
      "Music, in particular, is like monosodium glutamate for the ears (MSG is the chemical they add to snacks and some Chinese foodstuffs to make them taste better than they intrinsically do). The use of music in virtual worlds is especially interesting as it is such an incredibly abstract concept; our lives are not scored by music. In a virtual world, music can be used to intensify an experience and act as an emotional signifier without revealing itself as a manipulative device. Whilst there is no doubt that this is a very powerful tool when used well, it is in no way realistic."
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