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| Each Chapter opens with an Introduction. | |
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| Preface | |
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| Introduction | |
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| The Sound Track and Film Narrative: Basic Terms and Concepts | |
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| The Sound Track and Narrative | |
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| Basics: Image Track, Sound Track, Narrative | |
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| Sound Track Components and Narrative | |
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| Speech | |
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| Sound Effects | |
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| Music | |
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| Example for Sound Track Components and Narrative (1): Sleepless in Seattle, Second Botched Meeting | |
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| Example for Sound Track Components and Narrative (2): Good Will Hunting, Boston Common Scene | |
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| Summary | |
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| Exercise: Masking | |
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| Exercise: Using an Analysis Checklist | |
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| Terminology The Musicality Of The Sound Track: Concepts Music and Sound | |
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| Tempo | |
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| Rhythm and Meter | |
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| Volume | |
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| Timbre | |
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| Filters and ""Distortion"" | |
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| Pitch | |
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| Orchestration | |
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| Timbre and Sound | |
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| Texture | |
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| Density and Liveliness | |
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| Monophony | |
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| Homophony | |
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| Melody and Accompaniment | |
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| Polyphony | |
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| A-melodic (Accompaniment without melody) | |
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| Texture and Foreground/Background Functions | |
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| Example for Sound Track Analysis Using Musical Terms (1): Trzy Kolory: Bialy (Three Colors: White), The Shooting | |
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| Example for Sound Track Analysis Using Musical Terms (2): Atonement, Main-Title Sequence and First Scene | |
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| Summary | |
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| Analysis of Sound Track Elements (After Altman, Jones, and Tatroe) | |
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| Using Graphic Displays for Sound (After Wierzbicki) | |
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| Pts And Terminology, Sound, And The Space Of Narrative: Diegetic/Nondiegetic Music and Narrative | |
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| Example for Diegetic and Nondiegetic Music: Glory, Boston Party scene | |
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| Onscreen/Offscreen Sound and Music | |
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| Offscreen Sound | |
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| Onscreen/Offscreen Sound Interaction: Examples | |
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| Ambiguity of Offscreen Sound: Underdetermination of Sound | |
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| Point of View Sound | |
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| Offscreen Sound and Music in Relation to the Diegesis | |
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| Voice-over | |
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| Audio Dissolve | |
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| Mickey-Mousing: Music as Effects ""Sweetener"" | |
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| The Acousmetre (Acoustical Being) | |
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| Summary | |
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| Using an Events Table | |
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| Using an (Updated) Analysis Checklist | |
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| Transitions: The Sound Bridge and Hard Cuts | |
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| Sound Advance | |
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| Sound Lag | |
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| Sound Link | |
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| Sound Match | |
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| Hard Cut | |
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| Synchronization (""Playing with the Film"") | |
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| Example for Synchronization: Casablanca, Rick and Ilsa Meet | |
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| Counterpoint (""Playing against the Film"") | |
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| Summary Example for Synchronization and Counterpoint: Casablanca, After-Hours Scene | |
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| Summary | |
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| Exercise: The Commutation Test | |
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| Ion Terlude: Writing About Film Sound: Analysis and Analysis Report: Catch Me If You Can | |
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| Overview | |
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| Background | |
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| Synopsis | |
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| Music Cues | |
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| General Description of the Sound Track Elements and their Balance | |
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| General Evaluation of the Sound Track | |
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| Description of Music's Narrative Functions | |
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| Response Paper that Describes Music's Narrative Functions | |
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| Compare and Contrast Paper Focusing on Music | |
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| Concluding Comments | |
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| Music, Film Form, and Film Style | |
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| Runtime Segmentation In Film Form | |
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| Synch Points and Audiovisual Phrasing | |
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| Examples for Music in Film Form | |
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| Lady Windermere's Fan | |
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| Mildred Pierce | |
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| Rashomon | |
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| Psycho | |
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| The Birdcage | |
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| The Hours | |
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| Summary | |
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| Establishing Sequence N Main-Title and End-Credit Sequences | |
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| Meet Me in St. Louis, Titles and Opening Scene | |
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| Rashomon, Prologue and Title Sequence | |
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| The Sound of Music, Overture and Title Sequence | |
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| Out of Africa, Music in the Main-Title Sequence | |
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| To Kill a Mockingbird, Music in the Main-Title Sequence | |
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| Additional Examples | |
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| End-Credit Music | |
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| Films from 1939, End Credits | |
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| Out of Africa, Final Scene and End Credits | |
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| Bridget Jones's Diary, End-Credits Sequence | |
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| Additional Examples | |
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| Summary | |
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| Performance Scene Ic In Performance and Montage Scenes | |
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| To Have and Have Not, ""Am I Blue?"" | |
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| The Sound of Music, ""The Laendler"" (as Dance Scene) | |
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| The Sound of Music and Grease, Two Larger Performance Numbers | |
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| Additional Examples | |
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| Montage or Fantasy Scene | |
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| Gone with the Wind, Montage Sequence in the Prologue to Part 2 | |
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| Pride & Prejudice, Three Montage Sequences | |
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| Bridget Jones's Diary, ""Out of Reach"" and ""I'm Every Woman"" | |
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| Additional Examples | |
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| Summary | |
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| Style Topics and the Leitmotif He Sound Track | |
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| Introduction: Theme, Motif, and Motive | |
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| ""Love"" Themes | |
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| The Leitmotif | |
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| Style Topics | |
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| Musical Styles | |
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| Location and Stereotype | |
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| Style Topics in Rebecca | |
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| A Note on Sound Topics | |
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| Summary | |
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| Dialogue Scene Music In Character and Action Scenes | |
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| Rebecca, Terrace Scene | |
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| Additional Examples | |
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| Action Scene | |
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| Wo Hu Cang Long (Crouching Tiger, Hidden Dragon), ""Theft of the Sword"" | |
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| The Matrix, ""Trinity in a Jam"" | |
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| Additional Examples | |
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| Love Scene | |
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| Out of Africa, ""On Safari: The Second Dinner"" | |
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| The Sound of Music, ""The Laendler"" (as Love Scene) | |
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| Shadowlands, Four Scenes | |
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| Summary | |
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| Rlude: Writing About Film Music: Interpretation Developing a Reading (1): Finding a Thesis | |
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| Thesis Options for Catch Me if You Can | |
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| Examples from the Published Literature | |
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| Developing a Reading (2): Reading against the Grain | |
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| Example: Casablanca against the Grain | |
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| Summary | |
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| The Sound Track: A Technological History | |
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| The Early Years Music And Sound In The Silent Era (1895-1929) | |
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| The Nickelodeon | |
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| ""Playing the Picture"" | |
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| Special Scores | |
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| The Picture Palace | |
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| Stratification of Exhibition | |
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| The Show | |
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| Music and Sound Production in the Picture Palace | |
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| Fitting the Picture | |
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| Special Scores in the 1920s | |
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| Road Shows | |
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| Music on the Set | |
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| Summary | |
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| A Note on the Music for Silent Film Releases to VHS and DVD | |
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| The Transition To Sound Film (1926-1932) | |
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| Issues of Teschnology and Economics | |
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| Sound Research in the 1920s | |
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| Sound Film and the Standardization of Exhibition | |
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| Sound and the Feature Film, 1927: The Jazz Singer | |
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| The Transition from Silent to Sound Film | |
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| Types of Early Sound Film | |
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| Musicals in Early Sound Film | |
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| Mastering the Sound Track and Elements of Style | |
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| Production | |
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| Production Phases | |
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| Music Department | |
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| Sound Department | |
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| Summary | |
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| Music And The Sound Track In The Classical Studio Era | |
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| Issues of Technology and Economics | |
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| Improvements in Recording Technology | |
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| Rerecording | |
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| Sound in the Theaters of the 1930s and 1940s | |
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| The Great Depression and the Consolidation of Genres | |
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| The Sound Track in the Studio Era and Elements of Style | |
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| The Classical System | |
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| Foreground and Background | |
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| Background(ed) Music and the Sound Track | |
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| Scoring Practices | |
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| Production | |
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| Production Phases | |
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| Music Department | |
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| Sound Department | |
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| Summary | |
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| The Stereo Sound Track And The Post-Classical Era (1950-1975) | |
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| Issues of High Fidelity and Stereo Sound | |
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| Legal and Economic Challenges to the Industry | |
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| Widescreen and Stereo Formats | |
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| Magnetic Tape in Production and Postproduction | |
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| Issues of Stereo | |
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| Analysis: The Robe | |
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| Stereo and Space | |
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| Stereo Sound, Magnetic Tape, and Elements of Style | |
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| Issues of Aesthetics | |
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| Scoring Practices | |
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| Main Theme from High Noon | |
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| Popular Song and the Underscore | |
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| Soundtrack Albums | |
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| Importance of Recordings | |
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| Relation to the Musical | |
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| Scoring with Recordings | |
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| Production | |
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| Production Phases | |
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| Music Department | |
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| Sound Department | |
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| Summary | |
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| Ence Of Sound Design (1975-2000), Dolby Stereo, And The Issues of Technology and Economics | |
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| The New Hollywood and Saturation Booking | |
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| Sound in the Multiplex | |
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| Dolby Stereo in the Theaters | |
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| Home Video and Limitations of Television | |
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| Sound Design and Elements of Style | |
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| Issues of Aesthetics: Sound Design | |
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| Aesthetics and the Stereo Field | |
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| Scoring Practices | |
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| Aesthetic Issues of Cross-Marketing and Promotion | |
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| Music Video Style | |
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| Production | |
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| Production Phases | |
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| Music Department | |
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| Sound Department | |
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| Summary | |
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| Music And Film Sound Today | |
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| Introduction: The Digital Era | |
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| Issues of Technology and Economics | |
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| Digital Sound | |
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| Digital Sound Formats | |
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| Video, DVD, and Television Technologies | |
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| The Multiplex Palace | |
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| Digital Sound and Elements of Style | |
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| Issues of Aesthetics | |
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| Scoring Practices | |
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| The Rise of Rap | |
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| Production | |
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| Production Phases | |
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| Music Department | |
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| Music Production | |
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| Music Postproduction | |
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| Sound Department | |
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| Production Sound | |
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| Postproduction | |
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| Dialogue | |
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| Foley Effects | |
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| Sound Effects | |
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| Summary | |
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| Afterword | |
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| Glossary | |
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| Notes | |
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| Credits | |
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| Index | |