دانلود کتاب Beyond the soundtrack: representing music in cinema

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Frontmatter\nList of Illustrations (page vii)\nIntroduction. Phonoplay: Recasting Film Music (page 1)\nPART I. MUSICAL MEANING\n 1. The Boy on the Train, or Bad Symphonies and Good Movies: The Revealing Error of the \"Symphonic Score\" (Peter Franklin, page 13)\n 2. Representing Beethoven: Romance and Sonata Form in Simon Cellan Jones\'s Eroica (Nicholas Cook, page 27)\n 3. Minima Romantica (Susan McClary, page 48)\n 4. Melodic Trains: Music in Polanski\'s The Pianist (Lawrence Kramer, page 66)\n 5. Mute Music: Polanski\'s The Pianist and Campion\'s The Piano (Michel Chion, page 86)\nPART II. MUSICAL AGENCY\n 6. Opera, Aesthetic Violence, and the Imposition of Modernity: Fitzcarraldo (Richard Leppert, page 99)\n 7. Sight, Sound, and the Temporality of Myth Making in Koyaanisqatsi (Mitchell Morris, page 120)\n 8. How Sound Floats on Land: The Suppression and Release of Folk and Indigenous Musics in the Cinematic Terrain (Philip Brophy, page 136)\n 9. Auteur Music (Claudia Gorbman, page 149)\n 10. Transport and Transportation in Audiovisual Memory (Berthold Hoeckner, page 163)\n 11. The Fantastical Gap between Diegetic and Nondiegetic (Robynn J. Stilwell, page 184)\nPART III. MUSICAL IDENTITY\n 12. Early Film Themes: Roxy, Adorno, and the Problem of Cultural Capital (Rick Altman, page 205)\n 13. Before Willie: Reconsidering Music and the Animated Cartoon of the 1920s (Daniel Goldmark, page 225)\n 14. Side by Side: Nino Rota, Music, and Film (Richard Dyer, page 246)\n 15. White Face, Black Noise: Miles Davis and the Soundtrack (Krin Gabbard, page 260)\n 16. Men at the Keyboard: Liminal Spaces and the Heterotopian Function of Music (Gary C. Thomas, page 277)\nNotes on Contributors (page 293)\nWorks Cited (page 297)\nIndex of Films Cited (page 311)\nIndex of Names (page 317)