Sounds of Fear and Wonder: Music in Cult Tv
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Characters and plot developments, similarly, are enhanced by their musical accompaniment. The different scoring strategies employed in supernatural and horror-based genres, comprising for example True Blood and Supernatural, are considered alongside cult shows set in our reality, such as Dexter, The Sopranos and 24. These discussions are complimented by in-depth case studies of musical approaches in two high-profile series: Buffy the Vampire Slayer and Hannibal. Written from a musicological standpoint but fully accessible to non-musicologists, the book significantly advances television and music studies. Cover Half-title Endorsement Title page Copyright information Dedication Series Editor Table of contents Figures and Tables Acknowledgements Introduction 1 Music and its Means of Production 2 Early Cult Television Scoring Strategies The music of Star Trek Cult TV scoring in the early 1990s And onwards … 3 Intros and Outros Title sequences Fixed sequences Ident titles Long, fixed titles Deviant sequences Variant sequences End credits 4 Listening to Buffy the Vampire Slayer Beck’s thematic scoring Buffy, love and loss: Beck’s big theme The Loss theme in season three 5 Scoring Television Vampires Cellos by moonlight: music and the romantic vampire Musical yearning 6 The Bells of Hell go Tingalingaling Singing as we go: supernatural musicals ‘Once More, with Feeling’ The special case of Supernatural 7 Music, Fantasy and Subjectivity in ‘Real World’ Dramas Quality television’s fantastic musical moments Ally McBeal Six Feet Under Sound and subjectivity Normalizing the aberrant Other Dexter 8 The Rest is Noise The soundscapes of Hannibal Lecter and Will Graham Will Graham and noise Hannibal and classical music Music as sound design Conclusion Works Cited TV and Filmography TV Film Works Cited TV and Filmography TV Film Index
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