Baroque Music in Post-War Cinema

Performance Practice and Musical Style

Donald Greig (University of Nottingham)

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English

Cambridge University Press
04 March 2021

Baroque music (c 1600 to c 1750); 20th century & contemporary classical music

Series: Elements in Music since 1945

Studies of pre-existing music in narrative cinema often focus on a single film, composer or director. The approach here adopts a wider perspective, placing a specific musical repertoire - baroque music - in the context of its reception to explore its mobilisation in post-war cinema. It shows how various revivals have shaped musical fashion, and how cinema has drawn on resultant popularity and in turn contributed to it. Close analyses of various films raise issues of baroque musical style and form to question why eighteenth-century music remains an exception to dominant film-music discourses. Account is taken of changing modern performance practice and its manifestation in cinema, particularly in the biopic. This question of the reimagining of baroque repertoire leads to consideration of pastiches and parodies to which cinema has been particularly drawn, and subsequently to the role that neobaroque music has played in more recent films.

By: Donald Greig (University of Nottingham)
Imprint: Cambridge University Press
Country of Publication: United Kingdom
Dimensions: Height: 230mm, Width: 150mm, Spine: 5mm
Weight: 145g
ISBN: 9781108827867
ISBN 10: 1108827861
Series: Elements in Music since 1945
Pages: 75
Publication Date: 04 March 2021
Audience: Professional and scholarly , Undergraduate
Format: Paperback
Publisher's Status: Active

Introduction; 1. Baroque Music Before World War Two; 2. The Vivaldi Revival; 3. Bresson, Pasolini, and Musical Disconnection; 4. Authenticity and Historically Informed Performance; 5. The Neobaroque, the New Baroque and Minimalism; 6. Final thoughts.

Reviews for Baroque Music in Post-War Cinema: Performance Practice and Musical Style

'… Greig provides a masterful overview and a number of pointed insights into the 'hows' and 'whys' of baroque music's relationship to film music.' Rebecca Fülöp, Journal of the Riemenschneider Bach Institute