An Eye for Music: Popular Music and the Audiovisual SurrealOUP USA, 2012 M01 26 - 323 páginas The music we hear is always inhabited by voices of previous performances. Because listening is now so often accompanied by moving images, this process is more complex than ever. Music videos, television and film music, interactive video games, and social media are now part of the contemporary listening experience. In An Eye for Music, John Richardson navigates key areas of current thought - from music theory to film theory to cultural theory - to explore what it means that the experience of music is now cinematic, spatial, and visual as much as it is auditory. Richardson maps out the terrain of recent audiovisual production over a wide array of styles and practices, and sketches out a set of common structures that inform how we experience sound and vision. Whether examining Philip Glass or The Gorillaz, Richard Linklater's Waking Life or Michel Gondry's Be Kind Rewind, Richardson's arguments are both fascinating and provocative. |
Contenido
1 Introduction | 3 |
Background and Premises | 32 |
Waking Life and Be Kind Rewind | 54 |
Yes and The Wayward Cloud | 108 |
La Belle et la Bête Mashups and Missyncing | 170 |
Clint Eastwood and Feel Good Inc | 201 |
7 Performing Acoustic Music in the Digital Age or a Surreal Twist of Fate | 240 |
Of Liquid Days and Going Gaga | 282 |
295 | |
311 | |
Otras ediciones - Ver todas
An Eye for Music: Popular Music and the Audiovisual Surreal John Richardson Vista previa limitada - 2011 |
An Eye for Music: Popular Music and the Audiovisual Surreal John Richardson Sin vista previa disponible - 2012 |
An Eye for Music: Popular Music and the Audiovisual Surreal John Richardson Sin vista previa disponible - 2011 |
Términos y frases comunes
acoustic music Adorno aesthetic affective Albarn approach artistic Ashgate attention audiences audiovisual avant-garde band Breton camp chapter chord cinema Clint Eastwood concept contemporary context conventional critical cultural Damon Albarn dance Dark Side deconstructive diegetic digital age director discourse discussed dream element experience expression Feel Good Inc film musical film’s flow forms gender genre Glass’s Gondry Gondry’s Gorillaz guitar historical Ibid idea images implies Kind Rewind KT Tunstall live performance London looping mainstream means mode music videos musical number musicians narrative neosurrealism neosurrealist nondiegetic Philip Glass Popular Music postmodernism Potter produced protagonist qualities realism reality reflect repetition resembles Routledge Sally Potter scene sense sensory significant Sigur Rós song song’s sonic sound soundtrack Stan Hawkins structures style sublime surrealism surrealist synchronization techniques technologies television temporal theory tion trans transformation Tsai Tsai Ming-Liang Tsai’s Tunstall Tunstall’s University Press virtual visual Wayward Cloud writing York