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I received the following e-mail from The Film Music Society today:
The University of Illinois Press, in conjunction with New York University Steinhardt School's Department of Music & Performing Arts Professions and The Film Music Society, has published Music and the Moving Image, a premiere online scholarly journal dedicated to the relationship between music and the wide spectrum of moving images, from film and television to computer and interactive performance.
Music and the Moving Image will be issued three times annually (spring, summer, fall). Issue No. 1 (Spring 2008) will receive its inaugural launch on February 29 at http://mmi.press.uiuc.edu/.
Leading an impressive editorial board of educators and music professionals, executive editors conductor/musicologist Gillian
B. Anderson and Director of the Film Music program at NYU/Steinhardt Ronald H. Sadoff will consider submissions from both scholars and practitioners. All papers will be accepted for inclusion in the journal based upon a peer-review process.
Although the journal will be published in English, international diversity is encouraged.
Annual individual subscriptions to Music and the Moving Image are available for $30 (a special Film Music Society membership rate
is $21), and the institutional rate is $60. An order form is available at
http://www.filmmusicsociety.org/news_events/features/pdfs/MMI_order_form.pdf.
I looked at the contents of the first issue at the link above. A bit over my head, I think.
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Reading Brown's article this morning and glancing over the other two, I felt I still hadn't found the kind of film music analysis I was looking for. Not to play the plebeian, but I'm quite certain (because I've seen him do it) that Brown could find a less convoluted way of delivering ideas. But perhaps that is the crime of academie in general.
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Reading Brown's article this morning and glancing over the other two, I felt I still hadn't found the kind of film music analysis I was looking for. Not to play the plebeian, but I'm quite certain (because I've seen him do it) that Brown could find a less convoluted way of delivering ideas. But perhaps that is the crime of academie in general.
I agree with you. Brown used to write a regular column on film music for Fanfare magazine that was quite accessable to the average reader. And he's provided some excellent liner notes for CD releases such as Preamble's "Body Heat" and Southern Cross's "The Cardinal."
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Well I am most certainly not the casual reader. But Brown knows so much, and has a lot to say about the subject, its general principles. It's a shame the formal aspects of how he delivers his ideas rule out a large proportion of people with a practical interest in the subject (film-makers) benefiting from his insights. I wouldn't think of putting the article from this journal in the hands of somebody who wasn't versed in literary theory, which rules out most of my students.
Having said that, I understand he's only so much to blame for the way he talks (this paper was spoken, incredibly), as the form in this case was probably dictated in part by it being intended for an academic conference, home to the most obtuse languages known to man no matter the subject. (Still, I marvel at someone like my old mentor in economics, who at conferences mostly populated by speakers delivering dense mathematical and/or interpretative papers managed to speak to all audiences and be perfectly understood by everyone. He is the model teacher/researcher.)
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Reading Brown's article this morning and glancing over the other two, I felt I still hadn't found the kind of film music analysis I was looking for.
Have you tried "The Journal of Film Music", which has been discussed previously on this board?
http://www.ifms-jfm.org/index.html
On closer look, it doesn't appear to be a regular publication. Only 4 issues in 6 years.
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I have two issues of that journal actually. There's a good piece on NOW, VOYAGER if my memory serves me correctly. I see that there's a new issue out with articles on North's 2001, a response to Cooper's two Herrmann studies, an ON THE WATERFRONT. I think perhaps the only limitation of JOFM is (i) the resistance to consider more contemporary material; (ii) the right balance is between film analysis and musicology... perhaps JOFM leans on the side of musicology.
When I find what I'm looking for, I'll certainly post a link to it here. Chapters from Kalinak and Brown's books have been very satisfying (mind you, some haven't).
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Not to play the plebeian, but I'm quite certain (because I've seen him do it) that Brown could find a less convoluted way of delivering ideas.
No need to apologize for that. I have advanced degrees in language and literature and have been editing texts on cinema and music for more than thirty years. Yet I still find Brown's prose impenetrable at times. It's nut just the jargon (a common academic problem). It's also the syntax. He seems fatally incapable of resisting a parenthetical thought.
Of course that's because he has a lot to say. And yes, much of it IS worth the effort.
do what i do...as soon as he starts off-topic e.g. the politics of the patriarchal society,
skip to the next review.
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But hey, good to see he's still writing stuff on film music.