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Zusatztext This book opens up an exciting area for audiovisual analysis. It abounds with original perspectives that will sustain the attention of scholars who have an eye for contemporary and popular forms of musical expression. Informationen zum Autor John Richardson is Professor of Musicology at the University of Turku in Finland. He is the author of Singing Archaeology: Philip Glass's Akhnaten (1999) and has published on popular music, music and visual media, contemporary avant-garde music, and Finnish music. Klappentext The music we hear is always inhabited by voices of previous performances. Because listening is now so often accompanied by moving images, this process is more complex than ever. Music videos, television and film music, interactive video games, and social media are now part of the contemporary listening experience.In An Eye for Music, author John Richardson navigates key areas of current thought - from music theory to film theory to cultural theory - to explore what it means that the experience of music is now cinematic, spatial, and visual as much as it is auditory. Richardson maps out the terrain of recent audiovisual production over a wide array of styles and practices, and sketches out a set of common structures that inform how we experience sound and vision. Whether examining Philip Glass or The Gorillaz, Richard Linklater's Waking Life or Michel Gondry's Be Kind Rewind, Richardson's arguments are both fascinating and provocative. Zusammenfassung The music we hear is always inhabited by voices of previous performances. Because listening is now so often accompanied by moving images, this process is more complex than ever. Music videos, television and film music, interactive video games, and social media are now part of the contemporary listening experience. In An Eye for Music, John Richardson navigates key areas of current thought - from music theory to film theory to cultural theory - to explore what it means that the experience of music is now cinematic, spatial, and visual as much as it is auditory. Richardson maps out the terrain of recent audiovisual production over a wide array of styles and practices, and sketches out a set of common structures that inform how we experience sound and vision. Whether examining Philip Glass or The Gorillaz, Richard Linklater's Waking Life or Michel Gondry's Be Kind Rewind, Richardson's arguments are both fascinating and provocative. Inhaltsverzeichnis Acknowledgments 1. Introduction 2. Navigating the Neosurreal: Background and Premises 3. Neosurrealist Tendencies in Recent Films: Waking Life and Be Kind Rewind 4. Neosurrealist Metamusicals, Camp and Reparation: Yes and The Wayward Cloud 5. Rescoring the Moving Image: La Belle et la Bete, Mashups and (Mis)syncing 6. The Surrealism of Virtual Band Gorillaz: "Clint Eastwood" and "Feel Good Inc." 7. Performing Acoustic Music in the Digital Age, or a Surreal Twist of Fate 8. Concluding Thoughts: Of Liquid Days and Going Gaga Bibliography Index ...
