Oxford University Press Sound Design is the New Score: Theory, Aesthetics, and Erotics of the Integrated Soundtrack (Oxford Music/Media Series)

The practice of blurring the line between score and sound design has transformed contemporary film soundscape by challenging not only the long-established hierarchical relationships between dialogue, music, and sound effects, but also the modes of perception shaped by classical soundtrack practices. The methods of this new trend rely on the language of contemporary popular and art music, producing soundtracks in which it is difficult to tell the difference between score and ambient sound, where pieces of electroacoustic music are merged with diegetic sound, sound effects are absorbed into the score or treated as music, and diegetic sound is treated as musique concrète. In Sound Design is the New Score, Kulezic-Wilson explores theoretical, aesthetic, and sensuous dimensions of this new trend, providing a multifaceted portrait of a practice which recognizes the interconnectedness of all soundtrack elements and emphasizes their inherent musicality. The aesthetic concerns of this practice are illuminated through the concept of the aesthetics of reticence which rejects classical narrative and scoring conventions and uses integrated soundtrack strategies to create the space for mystery in art and for individuality in the cinematic experience. The book's emphasis on sensuous and musical aspects of this practice, informed by the feminist discourse on the erotics of art, challenges popular notions about sensory cinema, demonstrating that the sensuousness of film form and its soundscapes is more sophisticated than simply being the result of excessive sensory stimulation facilitated by the use of digital technology or the "intensified" aesthetics it inspires. The discussion is supported by a wide range of case studies from American Independent, Asian, Australian, and European cinemas, including films by Shane Carruth, Claire Denis, Hou Hsiao-Hsien, Harmony Korine, David Michôd, Gus Van Sant, and Peter Strickland. Review Sound Design is the New Score not only encourages us to appreciate the work of the creatives behind the films rep-resented but also our own rich experiences as we navigate what these, and films and art more broadly, can sound and feel like. ― Twentieth-Century MusicSurprisingly little has been written about film soundtracks that integrate music with other sound elements. Kulezic-Wilson has produced the first sustained and authoritative study. This has been a greatly anticipated book and it certainly doesn't disappoint. Her argument about approaching the soundtracks as a not only holistic field but also as essentially musical is thoroughly persuasive and will supply a firm foundation for future soundtrack scholarship for many years to come. ― Kevin Donnelly, author of Magical Musical Tour: Rock and Pop in Film Soundtracks (2015) and Occult Aesthetics: Sound and Image Synchronization(2013)Kulezic-Wilson dissolves the boundaries between sound design and music that dominate cinema studies. She teaches us why all cinematic kinds of sonic information (noises, silences, dialogue, and music) are 'composed' for us to feel them emotionally, cognitively, physically, and lastingly. ― Elsie Walker, author of Hearing Haneke: the Sound Tracks of a Radical Auteur (2017), and Understanding Sound Tracks Through Film Theory (2015) About the Author Danijela Kulezic-Wilson teaches film music, film sound, and intermedia at University College Cork. Her research interests include approaches to film that emphasize its inherent musical properties, the musicality of sound design, and musical aspects of Beckett's plays. She is the author of The Musicality of Narrative Film (2015) and co-editor of The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks (2016).