<html>
<head>
<meta content="text/html; charset=ISO-8859-1"
http-equiv="Content-Type">
</head>
<body text="#000000" bgcolor="#FFFFFF">
<font face="Calibri">In addition to all the answers concerning film
music in particular, I'd like to raise the question of music
analysis in general, and its relation to narrative analysis (or
other forms of analyses pointing outside the music itself) in
particular. This, I think, may become one of the topics discussed
in EuroMAC 8, the European Conference on Music Analysis to be held
in Leuven next September and to which many of you will participate.<br>
<br>
The point, I think, concerns the definition of music analysis
itself, either as a general approach overarching any discourse
about music not exclusively historical, or as a specific
discipline dealing with music considered from the inside.<br>
<br>
I am among the ones, as is Bob apparently, who believe that "the
internal evidence of the music offers more insight into
understanding it" – "as music", I'd add. Music analysis (call it
music theory, if you prefer), to me, is about the internal
evidence of the music. That is to say that, say, acoustic
analysis, or performance analysis, or narrative analysis, or music
criticism, or anything of the like, as interesting as they may be,
are <u>not</u> part of music analysis properly speaking.<br>
<br>
This is not a value judgment about disciplines, merely a matter of
definition. I don't think we need music analysis as an overarching
discipline, in which everything would be included – this was the
disastrous fate of semiotics, some time ago. I do believe that we
would gain keeping all these cousin disciplines separate, strictly
defined, and as complementary to each other as possible.<br>
<br>
This being said, I do believe that narrative analysis is
particularly needed, in the case of film music, to help music
analysis properly speaking; it cannot replace music analysis,
however, and I see no reason why narratologists should claim
performing music analysis properly speaking, nor why music
analysts properly speaking should feel in any way dependent on
narratology.<br>
<br>
Nicolas Meeùs<br>
Professeur émérite<br>
Université Paris-Sorbonne<br>
<br>
<br>
<br>
<br>
</font>
<div class="moz-cite-prefix">Le 3/07/2014 06:06, <a class="moz-txt-link-abbreviated" href="mailto:kos@panix.com">kos@panix.com</a> a
écrit :<br>
</div>
<blockquote
cite="mid:Pine.NEB.4.64.1407022350100.25764@panix3.panix.com"
type="cite">Hey folks,
<br>
<br>
I know lots of you are interested in "film music" although it
almost never is written about on SMT-TALK.
<br>
<br>
My recent perusal of the book "Music and Levels of Narration in
Film: Steps Across the Border" by Guido Heldt (Chicago: Intellect,
2013) reminded me of one of my ongoing questions concerning film
music studies, in that a noticeably large group of writers take
their cue from film studies and use narrativity as the basis for
understanding film music.
<br>
<br>
While understanding narrative is essential to understanding how
music operates in a film, I'm often disappointed in that I see no
further dissection of the music. My own bias is empiricism: I
feel that--in general--the internal evidence of the music can
offer more insight into understanding music. I see this *rarely*
discussed in film music - and when it is written about, it's
usually in the context of how to write music for films. (I often
imagine that, because it's so difficult to get a film score,
people have derived analytical modes that consider the written
score irrelevant.)
<br>
<br>
I see the above is purely musicological. Beyond the narrativity
movement, can anyone point to writings that attempt to deal with
film music as part of music theory?
<br>
<br>
<br>
Bob Kosovsky, Ph.D. -- Curator, Rare Books and Manuscripts,
<br>
Music Division, The New York Public Library for the Performing
Arts
<br>
blog: <a class="moz-txt-link-freetext" href="http://www.nypl.org/blog/author/44">http://www.nypl.org/blog/author/44</a> Twitter: @kos2
<br>
Listowner: OPERA-L ; SMT-TALK ; SMT-ANNOUNCE ; SoundForge-users
<br>
--- My opinions do not necessarily represent those of my
institutions ---
<br>
<br>
_______________________________________________
<br>
Smt-talk mailing list
<br>
<a class="moz-txt-link-abbreviated" href="mailto:Smt-talk@lists.societymusictheory.org">Smt-talk@lists.societymusictheory.org</a>
<br>
<a class="moz-txt-link-freetext" href="http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org">http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org</a>
<br>
<br>
<br>
-----
<br>
Aucun virus trouve dans ce message.
<br>
Analyse effectuee par AVG - <a class="moz-txt-link-abbreviated" href="http://www.avg.fr">www.avg.fr</a>
<br>
Version: 2014.0.4592 / Base de donnees virale: 3986/7787 - Date:
03/07/2014
<br>
<br>
<br>
</blockquote>
<br>
</body>
</html>