The article discusses a new series of essays on film music, inspired by previous work in the late 1990s. The author discusses modes of music rarely recognized in film scores and highlights the breadth of genres covered in the past, including rock and atonal orchestration. The intention of the new series is to address misconceptions and broaden understanding of how film music functions and its relationship with visual storytelling. It emphasizes the complexity of film music, noting its unique status as an art form that is neither pure music nor pure film.
In writing this new series, I'm taking my lead from the title: there are many unspoken, uninformed and underdeveloped notions about film music.
Film music is part of a realm we know as the audiovisual. It's something that is neither music nor film: a perplexing mutation that resembles both yet behaves like neither.
When music 'accompanies' a scene in a film, it unleashes myriad modes of conveyance. Music can reveal something unseen.
The series aims to dismantle persistent misconceptions about film music and explore how it relates to image and narrative.
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