| Adorno, T. W., & Eisler, H. (1994). Composing for the films. London: Athlone Press. |
 
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| Last edited by: Mark Grimshaw-Aagaard 06/01/2007, 07:09 |
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| "Motion-picture music corresponds to the whistling or singing child in the dark" |
| Cavalcanti, A. (1939). Sound in films. Retrieved January 16, 2006, from https://web.archive.org ... /575/sound-in-films.htm |
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| Last edited by: Mark Grimshaw-Aagaard 10/09/2021, 10:23 |
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| 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." |
| Small, C. (1998). Musicking: The meanings of performing and listening. Hanover, NH: Wesleyan University Press. |
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| Last edited by: Mark Grimshaw-Aagaard 22/11/2023, 17:15 |
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| Small claims that the questions "What is the meaning of music and What is the function of music in human life? are the wrong questions to ask, for "[t]here is no such thing as music. Music is not a thing at all but an activity, something that people do." |
| Citing Dalhaus (1983, 4), the "concept of 'work' and not 'event' is the cornerstone of music history."
Small elaborates: "[M]usicologists . . . ascertain the real nature and contours of musical works by recourse to original texts . . . theorists . . . discover the way in which the works are constructed as objects in themselves . . . aetheticians . . . deal with the meaning of sound objects and the reasons for their effect on a listener. All are concerned with things, with musical works."
Dalhaus, C. 1983. Foundations of Music History. Cambridge: Cambridge University Press. |
| "performance does not exist in order to present musical works, but rather, musical works exist in order to give performers something to perform." |
| Definition of musicking: "To music is to take part, in any capacity, in a musical performance, whether by performing, by listening, by rehearsing or practicing, by providing material for performance (what is called composing), or by dancing."
This is a concept that is "descriptive, not prescriptive." |
| Stockburger, A. (2006). The rendered arena: Modalities of space in video and computer games. Unpublished thesis PhD, University of the Arts, London. |
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| Added by: Mark Grimshaw-Aagaard 15/05/2008, 15:04 |
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| "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, from http://www.gamesound.or ... /RecreatingReality.html |
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| Added by: Mark Grimshaw-Aagaard 09/03/2009, 10:47 |
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| "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." |
