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Oxford Brookes University Music and Film scholars present the inaugural Sound on Screen online conference, 16–18th June, 2021
Keynote (12:45pm, 17th June): Emilio Audissino: Biblical References and Ominous Anticipations in John Williams’s Score for Raiders of the Lost Ark
This exciting three-day online event features international scholars presenting innovative and interesting papers exploring different aspects of sound on screen.
Topics covered include:
- Close readings of film scores and sound design (old and new)
- Sound design, space and architecture
- Scores for documentaries and archive film
- Television scores
- Use of Pre-existing music
- Library music, authorship and more…
All are welcome. The full programme and access links for the sessions can be found at: https://sites.google.com/brookes.ac.uk/soundonscreen2021/
More details and documentation of the event can be found on our Facebook page and Twitter.
Any queries, please contact SoundOnScreen2021@gmail.com
#2021Sound, @2021Sound
CFP: Sound on Screen I – Online Conference (17–18 June 2021)
Sound on Screen I
Online Conference, 17/18 June 2021
Call for Papers
Deadline for submissions: Sunday 14th March 2021
Please submit an abstract of no more than 300 words and a one-paragraph biography to SoundOnScreen2021@gmail.com by the deadline stated above.
The inaugural Sound on Screen conference welcomes submissions from scholars that explore the relationship between music and/or sound and the screen. We welcome submissions from scholars at any career stage, and from a wide range of disciplines such as (but not restricted to) musicology, film and television studies, cultural studies, communications studies and so forth.
Film music studies is now a well-established sub-discipline both within musicology and film studies. Volumes such as Mera, Sadoff, and Winters (2017) help framing the field of music and sound ‘within the context of narrative media’ and help shaping further the discussion of sound across a multiplicity of screens and a variety of modality of film consumption. It is within this breadth of contexts that we welcome papers from this popular area of research, but we particularly welcome papers that approach developing avenues of research such as the use of sound in film or television, or music for the smaller screen such as television or on-demand mobile media. Mera, Sadoff, and Winters (2017: 1) claim that ‘screens are now ubiquitous in our lives’, and so the academic study of the accompanying music and sound has never been more pertinent. This conference takes its cue from Chion (1994) and Mera et al. (2017) in drawing together ‘different practices and technologies under the same umbrella without attempting to obfuscate the differences that exist between them’.
Topics might include:
- Music and sound in the Golden Age of Hollywood
- Music and sound in narrative television
- Music and sound in European cinema
- Music and sound in documentary film
- Music and sound in traumatic film and/or television
- The absence of music and sound in film and television
- Music and sound in animated film and television
- Audience engagement with music and sound in film
- Sound on screen as practice: composers and/or sound design
- Sound effects and/or noise on screen
The programme committee consists of Dr Jan Butler (Senior Lecturer in Popular Music, Oxford Brookes University), Dr James Cateridge (Senior Lecturer in Film, Oxford Brookes University), Dr Matt Lawson (Senior Lecturer in Music, Oxford Brookes University), Dr Lindsay Steenberg (Reader in Film, Oxford Brookes University) and Prof Daniela Treveri Gennari (Professor of Cinema Studies, Oxford Brookes University).
The conference is organised with the support of the Centre of Research in the Arts (CoRA).
Further information can be requested by contacting SoundOnScreen2021@gmail.com
You can also follow the conference, both before, during, and after the event, on our social media pages:
www.facebook.com/SoundOnScreen2021
www.twitter.com/2021Sound
Next PMRU event: “Explore Squeeze’s Spot the Difference album (2010)” at the IF Oxford Science + Ideas Festival
Friday 19 October 2018, 19:00–20:30
Wig and Pen, 9-13 George St, Oxford, OX1 2AU
The PMRU team will be appearing at the IF Festival in October, looking at changing ownership and the sounds behind Squeeze’s 2010 album, Spot the Difference.
Booking required; pay what you decide.
Why would a band attempt a perfect re-recording of their greatest hits? And what can we find out when they do? Come and join Oxford Brookes’ Popular Music Research Unit to Spot the Difference between Squeeze tracks as they shift across audio formats, record companies and publishers over time.
Squeeze’s Spot the Difference album is an unusual attempt to recreate, note for note, and sound for sound, the original recordings of the band’s greatest hits. The motivation behind the record was for the band to reclaim lost copyright. Recorded music copyright mainly consists of three types. Squeeze had already lost half of the copyright residing in the notes of the songs (type one) and the lyrics (type two) in an early contract, but a loophole in the contract meant that after a period of time had passed, they could attempt to reclaim all of the recording rights (type three) by recreating the original recordings.
PMRU have been exploring the background and ramifications of this album, both for Squeeze themselves, and for what it can tell us about the details of the band’s original signature sound, and more generally, what happens to the sound of recordings as they are reissued time after time and on new formats, and how the complexities of copyright impact the music and sounds that we hear.
At this interactive event, PMRU will share some of their findings about the album and invite you to have a go at researching the album yourselves through hands on activities in a relaxed atmosphere (with bar!).
Activities will include: Dr Jennifer Skellington leading an exploration of copyright, David Carugo leading an activity on listening to the stereo field, Joe Turner leading an activity on spotting the difference between the different tracks’ production, and Dr Jan Butler leading an activity on exploring how different versions of tracks appear on the album.
There’ll be plenty of time for discussion with PMRU and lots of listening to Squeeze.
We look forward to seeing you there!
PMRU 