His main research focus has been the social-psychology of music education, including the subtopics of motivation in music learning, applied music teaching behaviors, and personality and cognitive styles in music teaching and learning. Each chapter in this volume recognizes the influence of Schmidt as a researcher, a research reviewer, and a research Read more.
Colleen Conway, University of Michigan. Lisa R.
Joshua A. Peter Whiteman, Institute of Early Childhood, This CD-ROM Sheet Music pack provides pianists convenient access to a smorgasbord of outstanding music by some of the greatest composers of all time.
Most of the symphonies, ballets, chamber music and oratorios featured on the CD-ROM were originally written for orchestra, and have been transcribed for intermediate to advanced piano solo in fresh, authentic The Cambridge History of Western Music Theory is the first comprehensive history of Western music theory to be published in the English language. A collaborative project by leading music theorists and historians, the volume traces the rich panorama of music-theoretical thought from the Ancient Greeks to the present day.
Richly enhanced with illustrations, graphics, examples and cross-citations, as well as being thoroughly indexed and supplemented by comprehensive bibliographies, this book will A helpful and practical resource for students and teachers preparing for Theory exams, coinciding with the release of Theory of Music papers , Grades Provides a: list of correct answers where appropriate selection of likely options where the answer can be expressed in a variety of ways single exemplar where a composition-style answer is required.
That these elements are portrayed in connection with the organ—the quintessential church instrument—can only reinforce that connection, and such an analysis would have elucidated the subject matter even further. Never theless, Brown's entry is a valuable if still incomplete analysis of one of classic horror film's most iconic images and sounds. Janet K. Halfyard's essay examines an often overlooked genre, that of the horror comedy.
She provides an elucidating summary of the traditional features of horror scores, and contrasts them with those of horror comedies. At the center of her essay lies the question: How does one write a score that will simultaneously allude to both fear and humor? Halfyard's answer is that filmmakers in this genre have focused either on ironic detachment or historical distance.
Bibliographies The earliest bibliographies listed here— Zuckerman and Sharples —appeared in film journals and date from long before film music became a field of scholarly endeavor; later bibliographies typically build on what has come before Stilwell springs directly from Marks , for example, and Pool and Wright is an updating of an earlier work by Wright and Stephen M. Zhou eds. A History of Film Music. Work from the late 20th and early 21st centuries includes both historical studies e. Yeh, Yueh-yu.
Allusions to things that in the past were frightening, such as devils playing violins, are today considered quirky and amusing. Focusing particularly on the Danny Elfman scores for the films of Tim Burton, Halfyard demonstrates how modern horror comedies have effectively used the tritone, the hitherto intervallic representation of evil, the long-standing diabolus in musica. Tritones can be used without abandoning tonal harmony, disrupting tonality rather than destroying it.
Whereas destruction of atonality brings fear, disruption merely provides amusement. In perhaps the best essay in the collection, Stan Link poses the questions: How do we hear children in horror films? What do we hear through them? Link first ably traces the antecedents of the portrayal of children in connection with death and horror, citing Alban Berg's Wozzeck , Gustav Mahler's Kindertotenlieder , and other musical and literary works. He then argues that in films such as Don't Look Now , Rosemary's Baby , Poltergeist , The Omen , The Birds , and The Bad Seed , elements of childhood such as innocence and motherhood are not merely backdrops against which the horror plays out.
These films do not merely construct innocence only to tear it down. Rather, the composers have used the elements of childhood as tools for the expression of horror itself—innocence as horror.
The presence of lullabies, music boxes, and Access options available:. Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves. Built on the Johns Hopkins University Campus.
Music in the Horror Film: Listening to Fear (Routledge Music and Screen Media Series) [Neil Lerner] on lepakendfald.tk *FREE* shipping on qualifying offers. Music in Horror Film is a collection of essays that examine the effects of Routledge, - Music - pages Routledge music and screen media series.