Aesthetics and rhetoric

American Music

Volumn 22, Issue 1, 2004, Pages 14-26

  Gorbman, Claudia ^a  

^a UNIVERSITY OF WASHINGTON   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61049390891     PISSN: 07344392     EISSN: None     Source Type: Journal    
DOI: 10.2307/3592963     Document Type: Article

References (12)

1. The change in musicology began only in the 1980s, with Joseph Kerman's call for a new music criticism in his Contemplating Music. For an engagement with the shift from aesthetics in musicology, see the essays in David Schwarz, Anahid Kassabian, and Lawrence Siegel, eds., Keeping Score: Music, Disciplinarity, Culture (Charlottesville: University Press of Virginia, 1997)
2. See, for example, Joseph Lanza, "My Aisles of Golden Dreams: The Beauty of Supermarket Music," in Cinesonic: Cinema and the Sound of Music, ed. Philip Brophy (St. Leonards, NSW: Allen & Unwin Australia, 2000), 59-80
3. Steve Jones, "Music and the Internet," Popular Music 19, no. 2 (2000): 217-30
4. Nicholas Cook, "Music and Meaning in the Commercials," Popular Music 13, no. 1 (1994): 27-40
5. Craig M. Springer, "Society's Soundtrack: Musical Persuasion in Advertising," Ph.D. diss., Northwestern University, Evanston, III., 1992
6. Rick Altaian, "Television Sound," in Studies in Entertainment: Critical Approaches to Mass Culture, ed. Tania Modleski (Bloomington: Indiana University Press, 1986), 39-54
7. Nicholas Cook, Analysing Musical Multimedia (Oxford: Oxford University Press, 1998)
8. I am indebted to Jeff Smith for this example
9. Cook, Analysing Musical Multimedia, 103
10. Hanns Eisler, Composing for the Films (New York: Oxford University Press, 1947), 26-27
11. For this example I am indebted to Amy Sargeant. See her book, Vsevolod Pudovkin: Classic Films of the Soviet Avant-Garde (London: I.B. Tauris, 2000)
12. Interview with Guy Whitmore, Seattle, Spring 2000