Music in the Western: Notes from the Frontier by Kathryn Kalinak

By Kathryn Kalinak

Music within the Western: Notes from the Frontier provides essays from either movie experiences students and musicologists on center matters in western movie ratings: their background, their wide-spread conventions, their operation as a part of a story approach, their functioning inside of person filmic texts and their ideological import, specifically when it comes to the western’s development of gender, sexuality, race and ethnicity. The Hollywood western is marked as uniquely American through its geographic surroundings, prototypical male protagonist and center American values. Music within the Western examines those conventions and the rankings that experience formed them. however the western additionally had a convincing overseas effect, from Europe to Asia, and this quantity distinguishes itself through its cautious attention of track in non-Hollywood westerns, reminiscent of Ravenous and The Good, the undesirable, and the Ugly and within the “easterns” which prompted them, similar to Yojimbo.  different motion pictures mentioned contain Wagon grasp, excessive midday, Calamity Jane, the massive kingdom, The Unforgiven, lifeless guy, Wild invoice, there'll be Blood and No state for outdated Men.

Contributors

Ross Care
Corey okay. Creekmur
Yuna de Lannoy
K. J. Donnelly
Caryl Flinn
Claudia Gorbman
Kathryn Kalinak
Charles Leinberger
Matthew McDonald
Peter Stanfield
Mariana Whitmer
Ben Winters

The Routledge track and monitor Media sequence bargains edited collections of unique essays on tune particularly genres of cinema, tv, games and new media.  those edited essay collections are written for an interdisciplinary viewers of scholars and students of song and movie and media studies.

 


 

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Extra info for Music in the Western: Notes from the Frontier

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The commercial (and often brand new rather than traditional) cowboy songs that dominated B westerns featuring singing cowboys were nowhere to be heard in most major studio westerns, since the studios apparently did not consider the rural white working class—the presumed audience for B westerns and hillbilly music—a significant market. 20 This plausibly explains the absence of what would have been variously identified as cowboy or hillbilly or country-and-western songs in major westerns between the late 1920s and early 1950s, when such songs were confined to the hundreds of B westerns produced in the same period.

While most title songs are heard during title sequences, in westerns the location of title songs quickly became a matter of some variety and suggestive uncertainty, with songs often escaping the borders of credit sequences alone. In rather perfunctory examples such as the almost meaningless title song for the moody The Lonely Man (1957), performed by Tennessee Ernie Ford, the song has been tailored to extend no longer than the credit sequence. But other examples modified this strict containment, including simultaneous examples such as Gun Glory (1957), which includes an unusually allegorical and religious song, “The Ninety and Nine,” sung by Burl Ives, which extends well beyond the credits into the opening sequence of the film, an extension into the narrative that never transforms into diegetic sound.

Lerner, 153. Cooke, 121. Will Straw, “Ornament, Entrance and the Theme Song,” in Cinesonic: The World of Sound in Film, ed. Philip Brophy (North Ryde, Australia: Australian Film Television & Radio School, 1999), 213–28. I will not presume to locate the “first” example of the practice, but Rudy Behlmer, in addition to Man in the Saddle, cites A Walk in the Sun (1945) and Smoky (1946) as precursors of what he terms “singing ballads” employed in title sequences. Rudy Behlmer, America’s Favorite Movies: Behind the Scenes (New York: Frederick Ungar, 1982), 285–86.

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