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This overview of the development of narrative theory in music charts the course of three “waves” of narratological engagement with music: 1) the scholars of the 1980s, such as Anthony Newcomb, Susan McClary, and Patrick McCreless, whose work focused on narrative in instrumental tonal music; 2) a period of critical reappraisal of musical ...
SESSION 1: NARRATIVITY OF MUSIC IN FILM, GAMES, AND MUSICAL IGNATIUS TAN (NANYANG TECHNOLOGICAL UNIVERSITY) Melody of Mistrust of Mutterings: Silent Voice and Narrative Musicality in the Cinema of Yorgos Lanthimos When one thinks of the cinematic oeuvre of acclaimed Greek filmmaker Yorgos Lanthimos, one of
As is indicated by the title, this presentation deals with implemented narrativity on two fronts within the complex process of live musical performance: a “concert story” told by the musician in front of the live audience in the performance situation and a structured complex of verbal and non-verbal narrative in the studio during the process of ...
musical narrativity, the processes of tension and release unavoidably leads to the question of how a musical work takes shape in the listener’s mind as a temporal organization. However, music narrativity is associated with tonal music. Most ideas of musical narrative have been employed and developed mainly in analyzing tonal music.
Part of the appeal of music may come from the story, or narrative, which music conveys. Narrative is a vessel through which musicians can express stories from their lives to their lis-teners, and these narratives tend to be personal, reveal changes in social attitudes, and be genre-dependent.
Films are produced using three types of sounds: human voices, music, and sound effects. These three types of sounds are crucial for a film to be experienced as realistic for the audience.
