Contents
List of Illustrations
Introduction: Phonoplay: Recasting Film Music

PART I. MUSICAL MEANING
1. The Boy on the Train, or Bad Symphonies and Good Movies: The Revealing Error of the "Symphonic Score"
Peter Franklin
2. Representing Beethoven: Romance and Sonata Form in Simon Cellan Jones's Eroica
Nicholas Cook
3. Minima Romantica
Susan McClary
4. Melodic Trains: Music in Polanksi's The Pianist
Lawrence Kramer
5. Mute Music: Polanski's The Pianist and Campion's The Piano
Michel Chion
PART II. MUSICAL AGENCY
6. Opera, Aesthetic Violence, and the Imposition of Modernity: Fitzcarraldo
Richard Leppert
7. Sight, Sound, and the Temporality of Myth Making in Koyaanisqatsi
Mitchell Morris
8. How Sound Floats on Land: The Suppression and Release of Folk and Indigenous Musics in the Cinematic Terrain
Philip Brophy
9. Auteur Music
Claudia Gorbman
10. Transport and Transportation in Audiovisual Memory
Berthold Hoeckner
11. The Fantastical Gap between Diegetic and Nondiegetic
Robynn J. Stilwell
PART III. MUSICAL IDENTITY
12. Early Film Themes: Roxy, Adorno, and the Problem of Cultural Capital
Rick Altman
13. Before Willie: Reconsidering Music and the Animated Cartoon of the 1920s
Daniel Goldmark
14. Side by Side: Nino Rota, Music, and Film
Richard Dyer
15. White Face, Black Noise: Miles Davis and the Soundtrack
Krin Gabbard
16. Men at the Keyboard: Liminal Spaces and the Heterotopian Function of Music
Gary C. Thomas

entire issue

According to Jeff Smith (Sounds of Commerce, 239), offers most cogent analysis of Romanticism's influence on Hollywood composers, shows it to be both musical and ideological, figuring in legal, institutional and critical discourses of the classical Hollywood era.

THE film music book.  In chapters 2-3 attacks the question "why music?" from multiple sides, including continuities with preceding entertainment forms, a pragmatic need to drown out the projector, the addition of an aesthetic dimension, and psychological need.