No CrossRef data available.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
Published online by Cambridge University Press: 04 May 2021
1 Lehman identifies a number of music theorists whose work addresses tonal questions in film music. A selective list includes James Buhler, Juan Chattah, Tahirih Motazedian, Scott Murphy, David Neumeyer, Mark Richards, and Ronald Rodman.
2 For a more thorough survey of neo-Riemannian theory, see Cohn, Richard, “An Introduction to Neo-Riemannian Theory: A Survey and Historical Perspective,” Journal of Music Theory 42, no. 2 (1998), 167–180CrossRefGoogle Scholar. See also The Oxford Handbook of Neo-Riemannian Theories, ed. Gollin, Edward and Rehding, Alexander (New York, Oxford University Press, 2011)CrossRefGoogle Scholar.
3 See, for example, Bukatman, Scott, Matters of Gravity: Special Effects and Supermen in the 20th Century (Durham, NC: Duke University Press, 2003)CrossRefGoogle Scholar; Turnock, Julie A., Plastic Reality: Special Effects, Technology, and the Emergence of 1970s Blockbuster Aesthetics (New York: Columbia University Press, 2015)Google Scholar; Paulin, Scott, “‘Cinematic’ Music: Analogies, Fallacies, and the Case of Debussy,” Music and the Moving Image 3, no. 1 (2010), 28–48Google Scholar.