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Two musical trends of the 1930s—the development of a practice for scoring sound films, and the increasing concertization of the spiritual in both solo and choral form—help shape the soundscape of films based in the South and/or on Civil War themes in early sound-era Hollywood. The tremendous success of the Broadway musical Show Boat (1927), which was made into films twice within seven years (1929, 1936), provided a model of chorus and solo singing, and films like the 1929 Mary Pickford vehicle Coquette and the 1930 musical Dixiana blend this theatrical practice with a nuanced syntax that logically carries the voices from outdoors to indoors to the interior life of a character, usually a white woman. Director D. W. Griffith expands this use of diegetic singing in ways that will later be the province of nondiegetic underscore in his first sound film, Abraham Lincoln (1930). Shirley Temple's Civil War–set films (The Little Colonel and The Littlest Rebel [both 1935] and Dimples [1936]) strongly replicate the use of the voices of enslaved characters—most of whom are onscreen only to provide justification for the source of the music—to mourn for white women. Jezebel, the 1938 antebellum melodrama, expands musico-dramatic syntax that had been developed in single scenes or sequences over the entire second act and a white woman's fall and attempted redemption. Gone with the Wind (1939) both plays on convention and offers a moment of transgression for Prissy, who takes her voice for her own pleasure in defiance of Scarlett O'Hara. The detachment of the spiritual from the everyday experience of African Americans led to a recognition of the artistry of the music and the singers on the concert stage. In film, however, the bodies of black singers are marginalized and set in service of white characters and white audiences.

How do we know music? We perform it, we compose it, we sing it in the shower, we cook, sleep and dance to it. Eventually we think and write about it. This book represents the culmination of such shared processes. Each of these essays, written by leading writers on popular music, is analytical in some sense, but none of them treats analysis as an end in itself. The books presents a wide range of genres (rock, dance, TV soundtracks, country, pop, soul, easy listening, Turkish Arabesk) and deals with issues as broad as methodology, modernism, postmodernism, Marxism and communication. It aims to encourage listeners to think more seriously about the 'social' consequences of the music they spend time with and is the first collection of such essays to incorporate contextualisation in this way.

Examines musical form and expressive content in the novel \"Sense & Sensibility,\" in the 1995 film adaptation written by and starring Emma Thompson and directed by Ang Lee, and the film's musical score by Patrick Doyle. Contends that film music is a genre in which aesthetic concerns of form collide with the immediate demands of content in particularly pointed ways, and this score is especially intriguing in that respect. Argues that in order to understand the implications of the music in the film, one must first address some conventions of musical form, as well as Jane Austen's novel and its literary context. Presents themes and formal procedures, both narrative and musical, as historically contingent rather than having a causal relationship. Concludes that what is happening in \"Sense & Sensibility\" is a free adaptation of musical form in a truly filmic context, in which dramatic narrative, cinematic technique, and musical form work together. Includes notes, musical examples and stills.

Michael Kamen's score for \"Die Hard\" is both an interpretation of the film and a part of the complete text. In order to understand the score's operations in the film, it is necessary to understand what Kamen saw in the rough cut of the film before he responded to it musically.

Recounting the experience of lindy-hopping to a live band performing Ted Buehrer's transcription of Mary Lou Williams's music at the 2013 American Musicological Society's annual meeting in Pittsburgh, PA, Wells felt that gravity pull their “ass into a chair” when the “band crossed the ‘bebop’ moment” and the music went from being music for dancing to music to be listened to respectfully… never mind that they still felt the impulse to dance, intellectually and corporeally. 1 Wells also quotes Emily Clark, who illustrates “how jazz as practice, history, and historiography—replete with both explicit and implicit miscegenation fantasy tropes—is and long has been firmly imbricated within the discursive feedback loop of the New Orleans plaçage complex to which the quadroon balls gave rise” (38).2 To a great extent, this combination of social/cultural history and mythology becomes the ordering metaphor of Between Beats, as Wells expands on the productive tension between “fact” and narrative, between history and mythology. Ramsey's influential 2003 book had posited “the social dance” as one such site in Black communities (210).5 Dance, as a physical expression of music, is slippery to explicate.

Since their first animated feature, Snow White and the Seven Dwarves (1937), Disney musical films have often centered on the coming-of-age experiences of adolescent girls; however, the reliance on fairy-tale models has often meant a highly conservative structure in which the girl “is won” rather than “wins.” But still, the girls are the center of the tales, even if locked within the patriarchal frame: the object of older female jealousy like Snow White or Cinderella (1950), or the cherished and protected virgin prize, Sleeping Beauty (1959). The modern rebirth of the Disney musical with The Little Mermaid (1989), however, prefigures

\"Moving Music: Dialogues with Music in Twentieth-Century Ballet\" by Stephanie Jordan is reviewed.

Thinking about music and dance has existed largely in negative space in Western culture. The International Encyclopedia of Dance (Cohen et al. 1998) contains no article on philosophy (tellingly, there is an article on aesthetics, the most \"embodied\" branch of philosophy); conversely, there is no mention of dance in the article on philosophy in the New Grove Dictionary of Music and Musicians (Sadie 2001). Large-scale works of music may contain movements that are called, well, \"movements,\" composed of gestures arranged in patterns rooted in dance, yet musical thinking in the past couple of centuries has expunged almost all but these linguistic traces.