Isolated Tracks and Media Clouds.
This special volume of Music, Sound, and the Moving Image collects seven broadly ranging essays in the interest of putting problems in, and orientations for, specific lines of research in conversation. Beginning with Nicholas Reyland's work on screen scoring as style in Hollywood blockbusters, and e...
| Publicado en: | Music, Sound & the Moving Image Vol. 9; no. 2; pp. 101 - 115 |
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| Formato: | Artículo |
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Liverpool University Press / Journals
Autumn2015
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=112419807&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 112419807 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 17530768 3DEN jtl: Music, Sound & the Moving Image issn: 17530768 maglogo: N pubinfo: dt: Autumn2015 vid: 9 iid: 2 pid: 39786 pub: Liverpool University Press / Journals artinfo: ui: 112419807 10.3828/msmi.2015.7 ppf: 101 ppct: 14 formats: fmt: @attributes: type: P size: 794KB tig: atl: Isolated Tracks and Media Clouds. aug: au: TOBIAS, JAMES su: Music Sound Reyland, Nicholas sug: subj: Music Sound Reyland, Nicholas ab: This special volume of Music, Sound, and the Moving Image collects seven broadly ranging essays in the interest of putting problems in, and orientations for, specific lines of research in conversation. Beginning with Nicholas Reyland's work on screen scoring as style in Hollywood blockbusters, and ending with Benjamin Robertson's software studiesoriented critique of media composition, the work collected here stresses the contemporary movement as particularly apposite for staking out problematics, driving questions, and tentative answers across these lines of inquiry. On one hand, massive growth has occurred in scholarship across those fields typically represented in MSMI, while new journals and disciplinary approaches continue to appear; both problems and value proliferate in scholarly work where music and sound meet or inform screen cultures. On the other, recent scholarly handbooks surveying these productively noisy conversations on musicality, sound and audition, and audiovisuality provide, if not a common reference framework, a highly configurable guide to navigating historical and contemporary research at those epistemological inflection points where media studies and cultural and technocultural studies move towards or away from one another and where music, sound, and audiovisual studies becomes ever more vital work. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Music, Sound & the Moving Image is published by Liverpool University Press, and its content may not be copied or emailed to multiple sites or posted to a listserv without Liverpool University Press's express written copyright permission. However, users may print, download, or email articles for individual use. item: Music, Sound & the Moving Image holder: Liverpool University Press / Journals dt: @attributes: year: 2015 holdings: @attributes: islocal: N |
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