Theory of Film Music strives to explain how music functions in film, how it is perceived by viewers, and which meanings and values it represents in the dramaturgy of a film work. The book
points out the scope of expressive potentials of music in film and arranges them
in systems. It draws upon the knowledge of psychology of perception, acoustics, aesthetics of music and film, and it explains film music through concepts, and terms of semiotics. It is concerned with music in relation to film space and time, music’s incorporation in film montage, and music’s impressiveness in relation to the graphic nature of film pictures. It points out the expression and symbolism of individual historical and genre types of music. Trying to provide a more vivid account of the extent of theoretically outlined propositions, the book offers more than 200 examples of verbal description of certain moments in films ranging from the beginnings of the sound film up to the present. They also manifest typical creative tendencies in the history of film music. The book is supplemented with score excerpts, analyses, photographs, and registers.
Frankfurt am Main, Berlin, Bern, Bruxelles, New York, Oxford, Wien, 2006. 191 pp., 9 fig., 1 graph, num. notes
Contents: Aesthetic Bond Between Visual Image and Music in Film – Semiotics of Film Music – Expressive Potential of
Music in Film – Incorporation of Music into Structure of Film Expression – Formative Issues in Film Music.