Tuning in: American Narrative Television Music
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Tuning in: American Narrative Television Music

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Ron Rodman
522 g
231x155x25 mm
Oxford Music / Media
INTRODUCTION. WHAT WERE MUSICIANS SAYING ABOUT TELEVISION MUSIC DURING THE FIRST DECADE OF BROADCASTING?; I. Toward an Associative Theory of Television Music; 2. "Hello Out There in TV Land": Musical Agency in the Early Television Anthology Drama; 3. "And Now a Word from Our Sponsor: Musical Structure and Mediation in Early TV Commercials; 4. "Beam Me Up, Scottie!" Leitmotifs, Musical Topos, and Ascription in the Sci-Fi Drama; 5. "Go for your Guns:" Narrative Syntax and Musical Functions in the TV Western; 6. Tube of Pleasure, Tube of Bliss: Television Music as (Not-So) Drastic Experience; 7. "And Now Another Word from our Sponsor:" Strategies of Occultation and Imbuement in Musical Commercials; 8. "Just the Facts, Ma'am:" Style Change and Markedness in Police Drama Theme Music; 9. "The Truth is Out There:" Music in Modern/Postmodern Television; BIBLIOGRAPHY; INDEX
Music has always been at the heart of American television. Amongst the many roles it plays in broadcasting, music entertains viewers with live and videotaped performances, evokes moods and identifies characters and settings, and sells products through commercial jingles. Most importantly, television music steers viewers through the continuous stream of daily programming. Tuning In looks at and listens to the first fifty years of American narrativetelevision music as a unique art form. Drawing on music in a wide variety of television genres - from westerns to science-fiction thrillers to police dramas to sitcoms and commercials - author Ronald Rodman develops a new theory of television music to explain how it conveys meaning to American viewing audiences.
Music in television, Rodman argues, finds its origins both in radio and in cinema, and is thus a unique multimedia form that demands its own methods of analysis. From The Dick van Dyke Show and I Love Lucy to Twin Peaks and The X-Files, Rodman's arguments are grounded in a fascinatingly historically wide-ranging and diverse selection of shows. The book also crosses media genres, looking at how the Broadway stage and the Hollywood film musical have
influenced television variety shows and situation comedies. Drawing on music analysis and narrative and semiotic theories, this stimulating book illustrates how music forms part of the code that makes television broadcasts culturally meaningful.