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Hollywood Harmony
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Table of Contents

Acknowledgments Abbreviations, Orthography, and Examples About the Companion Website Introduction Chapter 1: Tonal Practices Chapter 2: Expression and Transformation Chapter 3: Neo-Riemannian Theory at the Movies Chapter 4: Analyzing Chromaticism in Film Chapter 5: Pantriadic Aesthetics Chapter 6: Harmonious Interactions Afterword Bibliography Index

About the Author

Frank Lehman is an Assistant Professor of Music at Tufts University, and holds degrees from Brown University and Harvard University. As a music theorist, he is interested in how music works and what effects it has on its listeners. His research has explored a range of styles and repertoires, from nineteenth century instrumental compositions to film scores to ambient music. He has recently focused on the composers John Williams and Hans Zimmer. He lives in Belmont, Massachusetts.

Reviews

"an engaging style and rich insights into films and their music ... Lehman's musical, dramaturgical, and psychological insights will lead to more engaged film listening and viewing." -- S. C. Pelkey, CHOICE "presenting fascinating insights into the creative processes of game programmers and composers, as they worked to come up with new ideas for game consoles and music ... Recommended." -- K. George, CHOICE "It's a rewarding read...If you pick it up, you might want to have a piano at hand to plink out the passages, or at least have Oxford University Press's companion Website of musical examples in front of you." --Boston Globe "Hollywood Harmony brings analysis of film music fully into the present. Sophisticated theoretical modeling of associations and effects in the currently prevalent triadic style of underscore practice combines with close readings that not only offer fresh insights but also an over-the-composer's-shoulder immediacy."--David Neumeyer, Professor Emeritus of Music, The University of Texas at Austin and co-author of Hearing the Movies "Lehman does more than illuminate an intriguing and analytically neglected repertoire; his study demonstrates how well suited the tools and technologies of neo-Riemannian theory are to reveal the affective devices of film music."--Ed Gollin, Professor of Music, Williams College

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