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Panel discussion on film sound/film music: Jim Buhler, Anahid Kassabian, David Neumeyer, and Robynn Stilwell.(Panel Discussion)
This panel discussion took place in "real time" in an on-line chat room devised especially for this event. Participants were then asked to offer their closing thoughts on the topics discussed as well as on the means of communication. The on-line chat room approach was used by the editors in order to capture some of the conversational aspects often lost in academic interviews.
[WELCOME] Welcome to the VLT Chat!
The History of Film Sound Research
Kyle: Hello, all. Thanks for participating in this somewhat experimental roundtable mode. I'm Kyle Barnett, the guy with the questions for you. First question: Why has the study of film music developed as it has, in fits and starts? Why the increased interest now?
David: Some quick thoughts to start the conversation. Film music studies was slow to develop because writing about film music was mostly in the hands of practical musicians (Erdmann and Becce, Sabanaev, London, Eisler, Manvell and Huntley, Bazelon, etc.--through On the Track [Karlin and Wright]). Increased scholarly interest started (slowly) after sound design integrated the sound track in the 1970s.
Sarah: Can you describe that integration, David?
David: I was thinking of Walter Murch's "invention" of sound design. Historically, that is. Michel Chion complains about classical sound tracks as being nothing but speech and that everlasting music.
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Source: HighBeam Research, Panel discussion on film sound/film music: Jim Buhler, Anahid...