California Studies in Music, Sound, and Media Series
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About this series
Titles in the series (5)
- Static in the System: Noise and the Soundscape of American Cinema Culture
1
In this rich study of noise in American film-going culture, Meredith C. Ward shows how aurality can reveal important fissures in American motion picture history, enabling certain types of listening cultures to form across time. Connecting this history of noise in the cinema to a greater sonic culture, Static in the System shows how cinema sound was networked into a broader constellation of factors that affected social power, gender, sexuality, class, the built environment, and industry, and how these factors in turn came to fruition in cinema's soundscape. Focusing on theories of power as they manifest in noise, the history of noise in electro-acoustics with the coming of film sound, architectural acoustics as they were manipulated in cinema theaters, and the role of the urban environment in affecting mobile listening and the avoidance of noise, Ward analyzes the powerful relationship between aural cultural history and cinema's sound theory, proving that noise can become a powerful historiographic tool for the film historian.
- Hearing Luxe Pop: Glorification, Glamour, and the Middlebrow in American Popular Music
2
Hearing Luxe Pop explores a deluxe-production aesthetic that has long thrived in American popular music, in which popular-music idioms are merged with lush string orchestrations and big-band instrumentation. John Howland presents an alternative music history that centers on shifts in timbre and sound through innovative uses of orchestration and arranging, traveling from symphonic jazz to the Great American Songbook, the teenage symphonies of Motown to the “countrypolitan” sound of Nashville, the sunshine pop of the Beach Boys to the blending of soul and funk into 1970s disco, and Jay-Z’s hip-hop-orchestra events to indie rock bands performing with the Brooklyn Philharmonic. This book attunes readers to hear the discourses gathered around the music and its associated images as it examines pop’s relations to aspirational consumer culture, theatricality, sophistication, cosmopolitanism, and glamorous lifestyles.
- Key Constellations: Interpreting Tonality in Film
4
Key is one of the simplest building blocks of music and is among the foundational properties of a work’s musical identity—so why isn’t it a standard parameter in discussing film music? Key Constellations: Interpreting Tonality in Film is the first book to investigate film soundtracks—including original scoring, preexisting music, and sound effects—through the lens of large-scale tonality. Exploring compelling analytical examples from numerous popular films, Táhirih Motazedian shows how key and pitch analysis of film music can reveal hidden layers of narrative meaning, giving readers exciting new ways to engage with their favorite films and soundtracks.
- Just Beyond Listening: Essays of Sonic Encounter
5
Just Beyond Listening asks how we might think about encounters with sound that complicate standard accounts of aurality. In a series of essays, Michael C. Heller considers how sound functions in dialogue with a range of sensory and affective modalities, including physical co-presence, textual interference, and spectral haunting. The text investigates sound that is experienced in other parts of the body, altered by cross-wirings of the senses, weaponized by the military, or mediated and changed by cultural practices and memory. Building on recent scholarship in sound studies and affect theory, Heller questions not only how sound propagates acoustically but how sonic presences temper our total experience of the world around us.
- Making Stereo Fit: The History of a Disquieting Film Technology
6
Surround sound is often mistaken as a relatively new phenomenon in cinemas, one that emerged in the 1970s with the arrival of Dolby. Making Stereo Fit reveals that, in fact, filmmakers have been creating stereo and surround-sound effects for nearly a century, since the advent of talking pictures, and argues that their endurance owes primarily to the longstanding battles between stereo and mono technologies. Throughout the book, Eric Dienstfrey analyzes newly discovered archival materials and myriad stereo releases, from Hell’s Angels (1930) to Get Out (2017), to show how Hollywood’s financial dependence on mono prevented filmmakers from seeing surround sound’s full aesthetic potential. Though studios initially explored stereo’s unique capabilities, Dienstfrey details how filmmakers eventually codified a conservative set of surround-sound techniques that prevail today, despite the arrival of more immersive formats.
Michael C. Heller
Michael C. Heller is Associate Professor of Music at the University of Pittsburgh. He is author of Loft Jazz: Improvising New York in the 1970s and founding editor of the journal Jazz and Culture.
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