New Musical Writing Processes for Cinema by Roberto Calabretto, Luca Cossettini, Donald Greig

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CONCERT MUSIC VERSUS THE MUSIC OF THE SOUND FILMS by Aaron FAZAKAS

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The New Digital Documentality of Contemporary Film Scoring Practices. Preliminary Results Based on Participant Observation at the Studio of North American Composer Christopher Youn... by Gabriele, Giulia Ferdeghini, Ilario Meandri

Subjects: “…Film Music Digital Documentality…”
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Crimson Tide: Hans Zimmer, Subliminal Harmony, and Submerged Voices by Donald Greig

“…Using Neo-Riemannian theory, the potential contribution of which to film-music studies is still only now beginning to be explored, I examine the deployment of specific harmonic strategies that create a link back to earlier Hollywood film-music practices and show how Zimmer represents less an evolution than a continuation of recognisable styles and idioms. …”
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Traditional Language with a Flair for Innovation: Hans Florian Zimmer’s Compositional Process by Gabriele

“…His work defines the characteristics of present-day film music and is regarded as one of the most efficient practices in the field. …”
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A FIRST COMPOSITIONAL ATTEMPT INTO THE WORLD OF SILENT SHORT FILMS – SANCTUARY BY NELIO COSTA (WITH MUSIC BY ŞERBAN MARCU) by Şerban MARCU

“… This paper presents the author's first attempt at writing film music. The film under discussion is Sanctuary, a silent short film produced by Nelio Costa, Professor of film journalism at the UNA University Center in Belo Horizonte, Brazil. …”
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Signs of Innovation in European Cinema. Electronic Music in Antonioni and Tarkovsky by Gabriele

“… In the process of the emancipation of film music that took place in the first decades after World War II, the filmography of Michelangelo Antonioni and Andrei Tarkovsky offers multiple points of interest. …”
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The Cinematic Visions and Dreams of Edgard Varèse by Gabriele

“…The paper retraces the compositional parabola that involved the author for the last years of his life, setting it down in the recording studios and human environments in which he found himself operating, in order to reconstruct, through the dense network of relationships between technology and thoughts, the milieu that gave rise to one of the multiple roots of film music. …”
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Evaluating causes and gestures: source-related and crossmodal features in the perception of environmental sounds by Sven-Amin Lembke

“…Communication through auditory cues often evokes associations to other sensory modalities. In film music, for instance, a descending pitch contour commonly resembles a falling motion. …”
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