Auswahl der wissenschaftlichen Literatur zum Thema „Music and cinema“
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Zeitschriftenartikel zum Thema "Music and cinema"
Allan, Blaine. „Musical Cinema, Music Video, Music Television“. Film Quarterly 43, Nr. 3 (1990): 2–14. http://dx.doi.org/10.2307/1212631.
Der volle Inhalt der QuelleAllan, Blaine. „Musical Cinema, Music Video, Music Television“. Film Quarterly 43, Nr. 3 (April 1990): 2–14. http://dx.doi.org/10.1525/fq.1990.43.3.04a00020.
Der volle Inhalt der QuelleHubbert, Julia Bess. „Music and Cinema (review)“. Notes 58, Nr. 2 (2001): 337–39. http://dx.doi.org/10.1353/not.2001.0202.
Der volle Inhalt der QuellePowrie, Phil. „Music in French cinema“. French Screen Studies 20, Nr. 3-4 (01.10.2020): 151–57. http://dx.doi.org/10.1080/26438941.2020.1744342.
Der volle Inhalt der QuelleHumfrey, Peter, John G. Bernasconi, John Rosselli, Zygmunt G. Barański und Robert Gordon. „ART, MUSIC & CINEMA“. Italian Studies 48, Nr. 1 (Januar 1993): 125–32. http://dx.doi.org/10.1179/its.1993.48.1.125.
Der volle Inhalt der QuelleRain, B. „RELEVANCE OF CLASSICAL MUSIC IN CINEMA MUSIC“. International Journal of Research -GRANTHAALAYAH 3, Nr. 1SE (31.01.2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3465.
Der volle Inhalt der QuelleYunyk, Tetiana, und Mykola Tsarev. „Soundtrack in Modern Cinema“. Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, Nr. 1 (30.06.2021): 67–77. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235086.
Der volle Inhalt der QuelleHumfrey, Peter, Michael Bury, John G. Bernasconi, Iain Fenlon, Bojan Bujic, Christopher Cairns, Cecil H. Clough, Kate Flint und Philip Cooke. „ARCHITECTURE, ART, MUSIC & CINEMA“. Italian Studies 49, Nr. 1 (Januar 1994): 146–56. http://dx.doi.org/10.1179/its.1994.49.1.146.
Der volle Inhalt der QuelleAditama, Muhammad Reza. „BIOSKOP DAN MASYARAKAT KOTA PALU, 1950-1998“. Manaqib: Jurnal Sejarah Peradaban Islam dan Humaniora 1, Nr. 1 (07.12.2022): 57–75. http://dx.doi.org/10.24239/manaqib.v1i1.1199.
Der volle Inhalt der QuelleSaini, Aarti. „Role of film music in the development of music in global perspective“. RESEARCH REVIEW International Journal of Multidisciplinary 7, Nr. 5 (16.05.2022): 158–61. http://dx.doi.org/10.31305/rrijm.2022.v07.i05.023.
Der volle Inhalt der QuelleDissertationen zum Thema "Music and cinema"
Trainer, Adam. „Rock'n'roll cinema“. Thesis, Trainer, Adam (2005) Rock'n'roll cinema. PhD thesis, Murdoch University, 2005. https://researchrepository.murdoch.edu.au/id/eprint/364/.
Der volle Inhalt der QuelleTrainer, Adam. „Rock'n'roll cinema“. Trainer, Adam (2005) Rock'n'roll cinema. PhD thesis, Murdoch University, 2005. http://researchrepository.murdoch.edu.au/364/.
Der volle Inhalt der QuelleDonnelly, Kevin J. „Pop music in British cinema : a chronicle /“. London : Bristish Film Institute, 2001. http://catalogue.bnf.fr/ark:/12148/cb40204857z.
Der volle Inhalt der Quellemy, a. trainer@curtin edu, und Adam Trainer. „Rock n Roll Cinema“. Murdoch University, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20061019.151505.
Der volle Inhalt der QuelleFisher, Alexander. „Music and modes of address in African Cinema“. Thesis, Ulster University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529563.
Der volle Inhalt der QuelleSu, Yen-ying. „Music and sound in post-1989 Taiwan cinema“. Thesis, Royal Holloway, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.588761.
Der volle Inhalt der QuelleMiranda, Suzana Reck. „Filmando a musica : uma interpretação do cinema de François Girard“. [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284771.
Der volle Inhalt der QuelleTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta tese propõe uma análise da relação música/cinema fundamentada em discussões que demandam uma interface entre a Musicologia e a Teoria do Cinema. O objeto de estudo é o filme Thirty Two Short Films about Glenn Gould (1993), do canadense François Girard. O universo musical do filme sugere uma análise específica, muito além da mera funcionalidade da música em relação à diegese. O objetivo é evidenciar como Girard executa cinematograficamente uma leitura sobre posicionamentos estéticos do pianista Glenn Gould e, com isto, ampliar a reflexão em torno da interface música/cinema. A metodologia adotada dialoga, em parte, com a abordagem de cunho fenomenológico de Michel Chion. Entretanto, pelo fato de ser um filme no qual a presença da música, além de assunto, constitui o principal modo de expressão, optou-se por estabelecer, sempre que necessário, aproximações entre a teoria do cinema e da música
Abstract: This thesis proposes an analysis of the film/music relationship through discussions at the interface between Musicology and Film Theory. The chosen subject is François Girard¿s film Thirty-two short films about Glenn Gould (1993). A specific approach is required in order to study the music in this film because of the musical world interpreted here by Girard. The idea is to show how Girard gives a cinematic reading of Glenn Gould¿s aesthetical position and, through this reflection, to provide a contribution to the field of Film Music. The theoretical support for this thesis comprises a number of influential authors on music and cinema theory, with focus on Michel Chion¿s phenomenological orientation
Doutorado
Doutor em Multimeios
Morcom, Anne Frances. „Hindi film songs and the cinema“. Thesis, SOAS, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268674.
Der volle Inhalt der QuelleMaciel, Katia Augusta. „Film, popular music and television : intertextuality in Brazilian cinema“. Thesis, University of Southampton, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.494969.
Der volle Inhalt der QuelleEikmeier, Martin. „A música de Remo Usai no cinema brasileiro“. [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284921.
Der volle Inhalt der QuelleTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Remo Usai foi o compositor que mais produziu na história do cinema brasileiro; e o único profissional especializado de sua época. Este trabalho investiga sua trajetória ao longo de 4 décadas, concentrando-se nas suas atividades durante os anos 60, período em que compôs para filmes ligados ao projeto do cinema novo e de uma produção politicamente engajada. O foco do texto se deu na aderência de seu projeto musical a filmes cujo enredo exigia formas de diálogo entre música e narrativa distintas de sua formação, que se deu nomeadamente na tradição do cinema americano e na lógica do melodrama. Deste modo, investigou-se, em primeiro lugar, quais os caminhos que levaram um profissional, identificado com um projeto de cinema - a chanchada - combatido elos artistas com os quais se associou na década de 60, a compor para estes filmes. Em segundo, as diferenças entre a maneira de lidar com o material musical em cada um destes projetos de cinema, procurando encarar tanto suas disposições estéticas, quanto o seu modo de produção e a maneira pela qual um e outro afetaram o trabalho de composição de Remo Usai
Abstract: Remo Usai was the most productive composer of our cinema history, and the only professional specialized in the art of film music of its time. This work investigates his career over four decades by focusing on his activities during the 60, period in which he composed for films related to the cinema novo project and politically engaged productions. The focus of the text is the adherence of his musical project to movies in which the plot demanded forms of dialog between music and narrative other than its formation could provide, which occurred particularly in the tradition of American cinema and the logic of melodrama. Thus, the text investigates, at the outset, what where the paths that lead a professional identified with a film project - the chanchada - opposed by the artists with whom he joined in the 60s, to compose for these films. Secondly, the differences between the way of dealing with the musical material in each of this film projects, trying to face both its aesthetic provisions, as its mode of production, and the way that either affect the composition of Remo Usai
Doutorado
Doutor em Multimeios
Bücher zum Thema "Music and cinema"
Tonno, Sergio Di. Cinema & musica. [Busalla, Italy]: La lontra, 2006.
Den vollen Inhalt der Quelle findenPowrie, Phil. Music in Contemporary French Cinema. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-52362-0.
Der volle Inhalt der QuelleGraham, Rodney. Rodney Graham: Cinema music video. Wien: Kunsthalle Wien, 1999.
Den vollen Inhalt der Quelle findenGómez, Lidia López. Popular Music in Spanish Cinema. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003194347.
Der volle Inhalt der QuelleSimon, Dwyer, Hrsg. Rapid eye: Art, occult, cinema, music. Brighton: Rapid Eye, 1989.
Den vollen Inhalt der Quelle findenCano, Cristina. Michael Nyman: Ascoltare il cinema. Milano: F. Angeli, 2004.
Den vollen Inhalt der Quelle findenVenice (Italy). Assessorato alla cultura e alle belle arti. und Teatro La Fenice, Hrsg. Cinema & jazz. [Venezia]: Comune di Venezia, Assessorato alla cultura, 1985.
Den vollen Inhalt der Quelle findenMendes, Gilberto. Música, cinema do som. São Paulo: Perspectiva, 2013.
Den vollen Inhalt der Quelle findenCano, Cristina. Michael Nyman: Ascoltare il cinema. Milano: FrancoAngeli, 2004.
Den vollen Inhalt der Quelle findenPozzo, Diego Del, Antonio Tricomi, Vincenzo Esposito, Fabio Maiello und Corrado Morra. Il cinema secondo Springsteen. Atripalda (AV) [i.e. Avellino, Italy]: Mephite, 2012.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Music and cinema"
Blumenthal-Barby, Martin. „Counter-Music“. In Cinema and Surveillance, 17–45. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003229834-2.
Der volle Inhalt der QuelleMühlenfeld, Daniel. „Cinema, Art, and Music“. In A Companion to Nazi Germany, 385–98. Chichester, UK: John Wiley & Sons, Ltd, 2018. http://dx.doi.org/10.1002/9781118936894.ch23.
Der volle Inhalt der QuelleVan Order, M. Thomas. „Italian Film Music“. In The Italian Cinema Book, 142–48. London: British Film Institute, 2014. http://dx.doi.org/10.1007/978-1-349-92642-8_18.
Der volle Inhalt der QuelleD’Lugo, Marvin. „Music in Latin American cinema“. In The Routledge Companion to Latin American Cinema, 329–43. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315720449-23.
Der volle Inhalt der QuelleLluís i Falcó, Josep, und Yaiza Bermúdez Cubas. „Canción española in cinema“. In Popular Music in Spanish Cinema, 120–30. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003194347-13.
Der volle Inhalt der QuellePérez-Colodrero, Consuelo. „Cinema and national imaginary“. In Popular Music in Spanish Cinema, 13–25. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003194347-3.
Der volle Inhalt der QuelleWierzbicki, James. „Cult soundtracks (music)“. In The Routledge Companion to Cult Cinema, 307–14. London; New York: Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315668819-38.
Der volle Inhalt der QuelleLetcher, Christopher. „Post-Apartheid Cinema“. In The Routledge Companion to Screen Music and Sound, 318–27. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315681047-26.
Der volle Inhalt der QuellePontara, Tobias. „Interpreting Tarkovsky’s Cinema Through Its Music“. In Andrei Tarkovsky’s Sounding Cinema, 1–19. New York : Routledge, 2020. | Series: Music and sound on the international screen: Routledge, 2019. http://dx.doi.org/10.4324/9780429297618-1.
Der volle Inhalt der QuelleWindisch, Anna K., Claus Tieber und Phil Powrie. „From Unheard to Meaningful: When Music Takes Over in Film“. In When Music Takes Over in Film, 1–11. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_1.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Music and cinema"
Leembruggen, G. „TEMPORAL STRUCTURE OF THE SPECTRAL LEVELS WITHIN PRE-RECORDED SPEECH, MUSIC AND CINEMA MATERIAL“. In REPRODUCED SOUND 2020. Institute of Acoustics, 2020. http://dx.doi.org/10.25144/13370.
Der volle Inhalt der QuelleLeembruggen, G. „TEMPORAL STRUCTURE OF THE SPECTRAL LEVELS WITHIN PRE-RECORDED SPEECH, MUSIC AND CINEMA MATERIAL“. In REPRODUCED SOUND 2020. Institute of Acoustics, 2020. http://dx.doi.org/10.25144/13370.
Der volle Inhalt der QuelleTrifan, Aurelia. „Socialist modernism – a way of disseminating a new ideology in the architecture of entertainment buildings“. In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.14.
Der volle Inhalt der QuelleCostalonga, Leandro, Daniel Coura, Marcus Vinícius Das Neves, Fabiano Costa und Helder Rocha. „NESCoM Research Report (2019)“. In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10437.
Der volle Inhalt der QuelleOlărescu, Dumitru. „The evolution of the documentary film, dedicated to popular music performers“. In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.17.
Der volle Inhalt der QuelleMargineanu, Virgiliu. „The trend of the film industry in the Republic of Moldova during the 30 years of independence“. In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.25.
Der volle Inhalt der QuelleĀboliņa, Daira. „Television-Commissioned Films in the History of the Riga Film Studio. Cinematic Language and Genesis of Stylistics“. In International scientific conference of the University of Latvia. University of Latvia Press, 2023. http://dx.doi.org/10.22364/ms22.01.
Der volle Inhalt der QuelleFischer, Andre. „New transmedia design for traditional film festivals“. In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.121.
Der volle Inhalt der QuelleDOSPINESCU, Liviu. „Present-Day Trends in the Research and Creation of Living Arts in the Academia: A North American Model“. In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0011.
Der volle Inhalt der QuelleBabu, Devi, und Supriya P. „Music Emotion Recommender System using Spectral Features-a Malayalam cine music deployment“. In 2021 Second International Conference on Electronics and Sustainable Communication Systems (ICESC). IEEE, 2021. http://dx.doi.org/10.1109/icesc51422.2021.9532821.
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