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Hearing Film Hearing Film Tracking Identifications in Contemporary Hollywood Film Music Anahid Kassabian Routledge NEW YORK AND LONDON Published in 2001 by Routledge 29 West 35th Street New York, NY 10001 Published in Great Britain by Routledge 11 New Fetter Lane London EC4P 4EE Copyright © 2001 by Routledge An imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2002. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing from the publishers. Library of Congress Cataloging-in-Publication Data Kassabian, Anahid. Hearing film : tracking identifications in contemporary Hollywood film music / Anahid Kassabian p. cm. Includes bibliographical references and indexes. ISBN 0–415–92853–2 (Print Edition)— ISBN 0–415–92854–0 (pbk.) 1. Motion picture music—United States—History and criticism. 2. Motion pictures and music. I. Title. ML2075 .K39 2000 781.5'42—dc21 00–044636 ISBN 0-203-90080-4 Master e-book ISBN ISBN 0-203-90084-7 (Glassbook Format) Contents Acknowledgments vii Listening for Identifications 1 A Prologue 1 How Film Music Works 15 2 How Music Works in Film 37 3 A Woman Scored 61 4 At the Twilight’s Last Scoring 91 5 Opening Scores 117 Tracking Identifications 141 An Epilogue Appendices 149 Works Cited 157 Videos Cited 167 Notes 173 Index 181 Acknowledgments Incomplete though these thanks are, they go to: The ones who hung in from beginning to end: Iris Kassabian, Elizabeth Kazanjian, Patricia Clough. And the ones who read drafts—sometimes many—much to the benefit of the final prod- uct: Shaleen Brawn, Alex Chasin, Simon Frith, Regenia Gagnier, Barbara Gelpi, Miranda Joseph, David Kazanjian, Kelly Mays, Amit Rai, David Schwarz, Ola Stockfelt, Philip Tagg, and the anony- mous readers of both articles and the final book. The organization: the International Association for the Study of Popular Music, which always welcomed this work, and whose members helped me refine it over the years. The institutions that financed and supported the research: Fordham University; Stanford University; the Kaltenborn Foundation; the American- Scandinavian Foundation; Musikvetenskapliga Institutionen, Göteborgs Universitet; the Whiting Foundation. The researchers: John Acquaviva, Prudence Hill, Jane Mc- Gonigal,andJenniferWeeks,whofoundimages,permissions,box office receipts, and typos with amazing charm and alacrity.The music magicians: David Gottlieb and Robert Bowen, who tran- scribed and/or checked, then typeset, every music example in thisbook. The ones who intervened at crucial moments: Soo Mee Kwon, Routledge’s former music editor, and disability specialists Sandy viii Acknowledgments Cohen, Fern Geschwind, Ray Grott, George Symkiewicz, Bob Tellería, and Monica Worline. The many friends and colleagues, too numerous to list, who encouraged me and held my hand at various stages, including: Robin Andersen, David Brackett, Paul Chan, Norman Cowie, Nicole Fermon, Linda Garber, Reebee Garofalo, Larry Grossberg, Lisa Hogeland, Gwenyth Jackaway, Steve Jones, Mary Klages, Eline Maxwell, Leerom Medovoi, Monica Moore, Sue Pavy, Brian Rose, Josefina Saldaña, Dave Sanjek, Eva Stadler, Elizabeth Stone, and Scott Walker. And, most importantly, the partners: Leo G. Svendsen and Maral Kassabian Svendsen. Without you, no book would matter. Portions of chapter 4 appeared in Studies in Symbolic Interaction, vol. 15, Norman Denzin, ed. (Greenwich, CT: JAI Press, 1994). Portions of chapter 5 appeared in Keeping Score: Music, Disciplinarity, Culture, Schwarz, Kassabian, and Siegel, eds. (Charlottesville, VA: University Press of Virginia, 1997). Parts of this manuscript were written with Dragon Dictate and Dragon Naturally Speaking voice-recognition programs. My thanks to Dragon Systems and its programmers for making writing possible for so many of us. Hearing Film