I n 1965, with the publication of the fourteenth edition of the Encyclopedia Britannica, Alfred H... more I n 1965, with the publication of the fourteenth edition of the Encyclopedia Britannica, Alfred Hitchcock expressed what might be called the ''majority opinion'' within the movie business on the role of film scoring, writing in his entry on 'Film Production' of music 'serving to add a dimension of mood and atmosphere to the film' and evidently endorsing the idea that the 'presence of music … is perfectly in accordance with the aim of the motion picture, namely to unfold an action or to tell a story, and thereby stir the emotions' (1995: 222). It is clear from an interview Stephen Watts carried out with him at the time of Waltzes from Vienna (1934) that the director was already fully cognisant of the value of film scoring from its long previous use in the silent era, though at the time he was still working out his own ideas about how it might most effectively be used in dialogue scenes, as were many other movie studio personnel in those days (Hitchcock, 1933– 34; see also Steiner, 1989: 81– 107). Three decades later, one of the most successful and celebrated associations between a film director and composer ended in 1966 with Torn Curtain, a fact that has been lamented ever since by devotees of both Alfred Hitchcock and Bernard Herrmann, all the more since the film itself proved unsuccessful at the box office. But the handwriting was already on the wall well before then, and the seeds of Hitchcock's discontent really originated not so much out of conflict with Herrmann, but with the studio system and its established procedures for film scoring.
Confusing two systems of spatial relationships, one physical, the other perceptual, has long cont... more Confusing two systems of spatial relationships, one physical, the other perceptual, has long contributed to insoluble paradoxes and puzzles in the philosophy of mind and perception. In this monograph I start with Eddington’s famous example of the “two writing tables” and explain how we must distinguish between “two heads,” the one we know from perceiving our own and those around us, the other the physical head as studied by neuroscience. Their properties are quite different. The perceptual head is composed of sensations (qualia) whereas the physical head is composed of biological matter only.
The empirical study of visual space (VS) has centered on determining its geometry, whether it is ... more The empirical study of visual space (VS) has centered on determining its geometry, whether it is a perspective projection, flat or curved, Euclidean or non-Euclidean, whereas the topology of space consists of those properties that remain invariant under stretching but not tearing. For that reason distance is a property not preserved in topological space whereas the property of spatial order is preserved. Specifically the topological properties of dimensionality, orientability, continuity, and connectivity define “real” space as studied by physics and are the spatial properties that characterize the physical universe as being an integral whole. By contrast the geometrical analysis of VS has taken little cognizance of its topology. Instead such properties have been presupposed a priori rather than being established a posteriori by empirical means, perhaps because these properties are self-evident. Applying the method of coordinative definition expounded by Hans Reichenbach for determining geometrical and topological properties of physical space (PS), it can be shown that VS fulfills the topological criteria of being a “real” space sui generis. Though theorized to be produced by the brain, the topology of VS is not topologically equivalent (homeomorphic) with the structure and activity of the brain because, as will be shown, the topology of VS cannot be formed from the topology of the brain without tearing and/or cutting and pasting.
I n 1965, with the publication of the fourteenth edition of the Encyclopedia Britannica, Alfred H... more I n 1965, with the publication of the fourteenth edition of the Encyclopedia Britannica, Alfred Hitchcock expressed what might be called the ''majority opinion'' within the movie business on the role of film scoring, writing in his entry on 'Film Production' of music 'serving to add a dimension of mood and atmosphere to the film' and evidently endorsing the idea that the 'presence of music … is perfectly in accordance with the aim of the motion picture, namely to unfold an action or to tell a story, and thereby stir the emotions' (1995: 222). It is clear from an interview Stephen Watts carried out with him at the time of Waltzes from Vienna (1934) that the director was already fully cognisant of the value of film scoring from its long previous use in the silent era, though at the time he was still working out his own ideas about how it might most effectively be used in dialogue scenes, as were many other movie studio personnel in those days (Hitchcock, 1933– 34; see also Steiner, 1989: 81– 107). Three decades later, one of the most successful and celebrated associations between a film director and composer ended in 1966 with Torn Curtain, a fact that has been lamented ever since by devotees of both Alfred Hitchcock and Bernard Herrmann, all the more since the film itself proved unsuccessful at the box office. But the handwriting was already on the wall well before then, and the seeds of Hitchcock's discontent really originated not so much out of conflict with Herrmann, but with the studio system and its established procedures for film scoring.
Reviews the book, "The Expressiveness of Perceptual Experience: Physiognomy Reconsidered&quo... more Reviews the book, "The Expressiveness of Perceptual Experience: Physiognomy Reconsidered" by Martin S. Lindauer (2013). The Expressiveness of Perceptual Experience: Physiognomy Reconsidered reviews, summarizes, and seeks to synthesize the author’s four decades of research investigating this topic. Lindauer belongs to a vanishing breed of generalists in a time of ever-increasing specialization and narrowly defined research agendas in cognitive psychology and neuroscience. Because of its broad scope and survey of relevant and related literature, his recent book is suitable as a supplementary text for courses on the psychology of emotion and psychological aesthetics encompassing, as it does, not just perception, but cognitive, aesthetic, and social aspects of expressive perceptual experience. The nine chapters of this rich and far-ranging monograph are organized under four headings: “Part 1: Background,” “Part 2: Physiognomy and the arts,” “Part 3: A perceptual framework for physiognomy,” and “Part 4: Answers and questions.” Though Lindauer enthusiastically provides the reader with a rich and informative panorama of sources, empirical findings, and ideas, his book does not forge a unified conceptual framework that links physiognomic perception with an empirically testable science of physiognomics.
The knowledge organization of film scores composed today reflects the history of repertoire pract... more The knowledge organization of film scores composed today reflects the history of repertoire practice systematized by the Kinothek (Cinema Library) of the silent era, which was based upon the melos of theatrical stage melodrama in the nineteenth century. Musicology can only benefit from understanding that system of knowledge organization and applying it to studying the practice of film scoring, past and present.
The geometrical incongruence between patterns in visual space and structures and patterns of acti... more The geometrical incongruence between patterns in visual space and structures and patterns of activity in the visual cortex, long known to investigators, serves as a criterion for evaluating physical theories of visual space. The problem of determining the geometry of the visual world (visual geometry) is compared with that of determining the geometry of the physical world (physical geometry). Theories as to the possible physical locus of visual space, whether in the brain or elsewhere, are reviewed, analyzed, and criticized accordingly. It is concluded that on the basis of congruence alone it would be predicted that visual space is not to be found in the brain, even though it is seemingly linked to it causally, as experimental neurology and neurophysiology demonstrate. Alternative theories as to the nature of visual space are considered, but are also found to be inadequate in explaining visual space in terms acceptable to contemporary science.
When Max Steiner arrived at RKO Studios in late December 1929, he came as a seasoned Broadway con... more When Max Steiner arrived at RKO Studios in late December 1929, he came as a seasoned Broadway conductor and arranger to work on musicals. Applying the art and craft of song arranging from musical comedies on the Broadway stage to so-called “theme songs” that were sung in dramatic films in the early talkies, he developed what came to be known as “the big theme” in Hollywood Golden Age film scoring parlance in which a song-like theme was featured instrumentally as background music rather than sung on screen. In conjunction with this practice, Steiner and his Hollywood cohorts continued and adapted the existing dramatic techniques of silent film accompaniment to “talking pictures,” which, because of music playing under dialog, was given the name “underscoring.”
Picture music—a new art form—is coming into its own. George Antheil, Modern Music (1937) encourag... more Picture music—a new art form—is coming into its own. George Antheil, Modern Music (1937) encouraged within the academic community, the study of film music has become a burgeoning multidisciplinary if not trans-disciplinary endeavor. Today writers utilize not only the concepts and technical vocabu-laries of music and film making, but variously terms and concepts from musicology, film theory, media and communication studies, cultural studies, comparative literature, literary criticism, criti-cal theory, philosophy, semiotics, psychology, cognitive science, soci-ology, feminist theory, gender studies, and marketing research— and that is probably not an exhaustive list of all the disci-plines and areas represented. With the resulting profusion of techni-cal language there is the potential for a veritable Babel. Like different languages, two disciplines may, for instance, have different terms for the same thing, and writers may
Vibration powerful and specific stimulus to low-level reflex behavior. Report describes experimen... more Vibration powerful and specific stimulus to low-level reflex behavior. Report describes experiments on interactions between human operators and hand control device for control of extent of opening and gripping force of remote gripper. Major purpose of study to determine effects of vibrations in device upon ability of operators to control gripping force. Used beneficially in design of controls to provide warning signals preventing operators from commanding excessive, or perhaps insufficient forces.
The Expressiveness of Perceptual Experience: Physiognomy Reconsidered, by Martin S. Lindauer. Phi... more The Expressiveness of Perceptual Experience: Physiognomy Reconsidered, by Martin S. Lindauer. Philadelphia, PA: John Benjamin Publishing Co., 2013, 174 pp. ISBN: 978-90-2724158-0. $135.00.Retietved by William H Rosar, Center for Brain and Cognition, University of California, San DiegoThe Expressiveness of Perceptual Experience: Physiognomy Reconsidered by Martin Lindauer reviews, summarizes, and seeks to synthesize the author's four decades of research investigating this topic. Lindauer belongs to a vanishing breed of generalists in a time of ever-increasing specialization and narrowly defined research agendas in cognitive psychology and neuroscience. Because of its broad scope and survey of relevant and related literature, his recent book is suitable as a supplementary text for courses on the psychology of emotion and psychological aesthetics encompassing, as it does, not just perception, but cognitive, aesthetic, and social aspects of expressive perceptual experience. The nine...
I n 1965, with the publication of the fourteenth edition of the Encyclopedia Britannica, Alfred H... more I n 1965, with the publication of the fourteenth edition of the Encyclopedia Britannica, Alfred Hitchcock expressed what might be called the ''majority opinion'' within the movie business on the role of film scoring, writing in his entry on 'Film Production' of music 'serving to add a dimension of mood and atmosphere to the film' and evidently endorsing the idea that the 'presence of music … is perfectly in accordance with the aim of the motion picture, namely to unfold an action or to tell a story, and thereby stir the emotions' (1995: 222). It is clear from an interview Stephen Watts carried out with him at the time of Waltzes from Vienna (1934) that the director was already fully cognisant of the value of film scoring from its long previous use in the silent era, though at the time he was still working out his own ideas about how it might most effectively be used in dialogue scenes, as were many other movie studio personnel in those days (Hitchcock, 1933– 34; see also Steiner, 1989: 81– 107). Three decades later, one of the most successful and celebrated associations between a film director and composer ended in 1966 with Torn Curtain, a fact that has been lamented ever since by devotees of both Alfred Hitchcock and Bernard Herrmann, all the more since the film itself proved unsuccessful at the box office. But the handwriting was already on the wall well before then, and the seeds of Hitchcock's discontent really originated not so much out of conflict with Herrmann, but with the studio system and its established procedures for film scoring.
Confusing two systems of spatial relationships, one physical, the other perceptual, has long cont... more Confusing two systems of spatial relationships, one physical, the other perceptual, has long contributed to insoluble paradoxes and puzzles in the philosophy of mind and perception. In this monograph I start with Eddington’s famous example of the “two writing tables” and explain how we must distinguish between “two heads,” the one we know from perceiving our own and those around us, the other the physical head as studied by neuroscience. Their properties are quite different. The perceptual head is composed of sensations (qualia) whereas the physical head is composed of biological matter only.
The empirical study of visual space (VS) has centered on determining its geometry, whether it is ... more The empirical study of visual space (VS) has centered on determining its geometry, whether it is a perspective projection, flat or curved, Euclidean or non-Euclidean, whereas the topology of space consists of those properties that remain invariant under stretching but not tearing. For that reason distance is a property not preserved in topological space whereas the property of spatial order is preserved. Specifically the topological properties of dimensionality, orientability, continuity, and connectivity define “real” space as studied by physics and are the spatial properties that characterize the physical universe as being an integral whole. By contrast the geometrical analysis of VS has taken little cognizance of its topology. Instead such properties have been presupposed a priori rather than being established a posteriori by empirical means, perhaps because these properties are self-evident. Applying the method of coordinative definition expounded by Hans Reichenbach for determining geometrical and topological properties of physical space (PS), it can be shown that VS fulfills the topological criteria of being a “real” space sui generis. Though theorized to be produced by the brain, the topology of VS is not topologically equivalent (homeomorphic) with the structure and activity of the brain because, as will be shown, the topology of VS cannot be formed from the topology of the brain without tearing and/or cutting and pasting.
I n 1965, with the publication of the fourteenth edition of the Encyclopedia Britannica, Alfred H... more I n 1965, with the publication of the fourteenth edition of the Encyclopedia Britannica, Alfred Hitchcock expressed what might be called the ''majority opinion'' within the movie business on the role of film scoring, writing in his entry on 'Film Production' of music 'serving to add a dimension of mood and atmosphere to the film' and evidently endorsing the idea that the 'presence of music … is perfectly in accordance with the aim of the motion picture, namely to unfold an action or to tell a story, and thereby stir the emotions' (1995: 222). It is clear from an interview Stephen Watts carried out with him at the time of Waltzes from Vienna (1934) that the director was already fully cognisant of the value of film scoring from its long previous use in the silent era, though at the time he was still working out his own ideas about how it might most effectively be used in dialogue scenes, as were many other movie studio personnel in those days (Hitchcock, 1933– 34; see also Steiner, 1989: 81– 107). Three decades later, one of the most successful and celebrated associations between a film director and composer ended in 1966 with Torn Curtain, a fact that has been lamented ever since by devotees of both Alfred Hitchcock and Bernard Herrmann, all the more since the film itself proved unsuccessful at the box office. But the handwriting was already on the wall well before then, and the seeds of Hitchcock's discontent really originated not so much out of conflict with Herrmann, but with the studio system and its established procedures for film scoring.
Reviews the book, "The Expressiveness of Perceptual Experience: Physiognomy Reconsidered&quo... more Reviews the book, "The Expressiveness of Perceptual Experience: Physiognomy Reconsidered" by Martin S. Lindauer (2013). The Expressiveness of Perceptual Experience: Physiognomy Reconsidered reviews, summarizes, and seeks to synthesize the author’s four decades of research investigating this topic. Lindauer belongs to a vanishing breed of generalists in a time of ever-increasing specialization and narrowly defined research agendas in cognitive psychology and neuroscience. Because of its broad scope and survey of relevant and related literature, his recent book is suitable as a supplementary text for courses on the psychology of emotion and psychological aesthetics encompassing, as it does, not just perception, but cognitive, aesthetic, and social aspects of expressive perceptual experience. The nine chapters of this rich and far-ranging monograph are organized under four headings: “Part 1: Background,” “Part 2: Physiognomy and the arts,” “Part 3: A perceptual framework for physiognomy,” and “Part 4: Answers and questions.” Though Lindauer enthusiastically provides the reader with a rich and informative panorama of sources, empirical findings, and ideas, his book does not forge a unified conceptual framework that links physiognomic perception with an empirically testable science of physiognomics.
The knowledge organization of film scores composed today reflects the history of repertoire pract... more The knowledge organization of film scores composed today reflects the history of repertoire practice systematized by the Kinothek (Cinema Library) of the silent era, which was based upon the melos of theatrical stage melodrama in the nineteenth century. Musicology can only benefit from understanding that system of knowledge organization and applying it to studying the practice of film scoring, past and present.
The geometrical incongruence between patterns in visual space and structures and patterns of acti... more The geometrical incongruence between patterns in visual space and structures and patterns of activity in the visual cortex, long known to investigators, serves as a criterion for evaluating physical theories of visual space. The problem of determining the geometry of the visual world (visual geometry) is compared with that of determining the geometry of the physical world (physical geometry). Theories as to the possible physical locus of visual space, whether in the brain or elsewhere, are reviewed, analyzed, and criticized accordingly. It is concluded that on the basis of congruence alone it would be predicted that visual space is not to be found in the brain, even though it is seemingly linked to it causally, as experimental neurology and neurophysiology demonstrate. Alternative theories as to the nature of visual space are considered, but are also found to be inadequate in explaining visual space in terms acceptable to contemporary science.
When Max Steiner arrived at RKO Studios in late December 1929, he came as a seasoned Broadway con... more When Max Steiner arrived at RKO Studios in late December 1929, he came as a seasoned Broadway conductor and arranger to work on musicals. Applying the art and craft of song arranging from musical comedies on the Broadway stage to so-called “theme songs” that were sung in dramatic films in the early talkies, he developed what came to be known as “the big theme” in Hollywood Golden Age film scoring parlance in which a song-like theme was featured instrumentally as background music rather than sung on screen. In conjunction with this practice, Steiner and his Hollywood cohorts continued and adapted the existing dramatic techniques of silent film accompaniment to “talking pictures,” which, because of music playing under dialog, was given the name “underscoring.”
Picture music—a new art form—is coming into its own. George Antheil, Modern Music (1937) encourag... more Picture music—a new art form—is coming into its own. George Antheil, Modern Music (1937) encouraged within the academic community, the study of film music has become a burgeoning multidisciplinary if not trans-disciplinary endeavor. Today writers utilize not only the concepts and technical vocabu-laries of music and film making, but variously terms and concepts from musicology, film theory, media and communication studies, cultural studies, comparative literature, literary criticism, criti-cal theory, philosophy, semiotics, psychology, cognitive science, soci-ology, feminist theory, gender studies, and marketing research— and that is probably not an exhaustive list of all the disci-plines and areas represented. With the resulting profusion of techni-cal language there is the potential for a veritable Babel. Like different languages, two disciplines may, for instance, have different terms for the same thing, and writers may
Vibration powerful and specific stimulus to low-level reflex behavior. Report describes experimen... more Vibration powerful and specific stimulus to low-level reflex behavior. Report describes experiments on interactions between human operators and hand control device for control of extent of opening and gripping force of remote gripper. Major purpose of study to determine effects of vibrations in device upon ability of operators to control gripping force. Used beneficially in design of controls to provide warning signals preventing operators from commanding excessive, or perhaps insufficient forces.
The Expressiveness of Perceptual Experience: Physiognomy Reconsidered, by Martin S. Lindauer. Phi... more The Expressiveness of Perceptual Experience: Physiognomy Reconsidered, by Martin S. Lindauer. Philadelphia, PA: John Benjamin Publishing Co., 2013, 174 pp. ISBN: 978-90-2724158-0. $135.00.Retietved by William H Rosar, Center for Brain and Cognition, University of California, San DiegoThe Expressiveness of Perceptual Experience: Physiognomy Reconsidered by Martin Lindauer reviews, summarizes, and seeks to synthesize the author's four decades of research investigating this topic. Lindauer belongs to a vanishing breed of generalists in a time of ever-increasing specialization and narrowly defined research agendas in cognitive psychology and neuroscience. Because of its broad scope and survey of relevant and related literature, his recent book is suitable as a supplementary text for courses on the psychology of emotion and psychological aesthetics encompassing, as it does, not just perception, but cognitive, aesthetic, and social aspects of expressive perceptual experience. The nine...
This chapter’s ‘post-mortem’ of the Herrmann-Hitchcock collaboration focusses on what occurred be... more This chapter’s ‘post-mortem’ of the Herrmann-Hitchcock collaboration focusses on what occurred between the two men during the fateful sessions in which Hitchcock fired Herrmann when he was dissatisfied with what the composer was developing for the film. However, the chapter searches more broadly for reasons why the partnership broke down, including Hitchcock’s philosophies about film scoring and exploring the history of the working relationship between the two men, looking in particular at the process of spotting and scoring Psycho that caused such friction and created a precedent for what happened on Torn Curtain, albeit with a very different outcome.
ABSTRACT Vibration powerful and specific stimulus to low-level reflex behavior. Report describes ... more ABSTRACT Vibration powerful and specific stimulus to low-level reflex behavior. Report describes experiments on interactions between human operators and hand control device for control of extent of opening and gripping force of remote gripper. Major purpose of study to determine effects of vibrations in device upon ability of operators to control gripping force. Used beneficially in design of controls to provide warning signals preventing operators from commanding excessive, or perhaps insufficient forces.
The empirical study of visual space (VS) has centered on determining its geometry, whether it is ... more The empirical study of visual space (VS) has centered on determining its geometry, whether it is a perspective projection, flat or curved, Euclidean or non-Euclidean, whereas the topology of space consists of those properties that remain invariant under stretching but not tearing. For that reason distance is a property not preserved in topological space whereas the property of spatial order is preserved. Specifically the topological properties of dimensionality, orientability, continuity, and connectivity define “real” space as studied by physics and are the spatial properties that characterize the physical universe as being an integral whole. By contrast the geometrical analysis of VS has taken little cognizance of its topology. Instead such properties have been presupposed a priori rather than being established a posteriori by empirical means, perhaps because these properties are self-evident. Applying the method of coordinative definition expounded by Hans Reichenbach for determining geometrical and topological properties of physical space (PS), it can be shown that VS fulfills the topological criteria of being a “real” space sui generis. Though theorized to be produced by the brain, the topology of VS is not topologically equivalent (homeomorphic) with the structure and activity of the brain because, as will be shown, the topology of VS cannot be formed from the topology of the brain without tearing and/or cutting and pasting.
The work of the film composer has been compared to that of a “play doctor” in the theater, yet th... more The work of the film composer has been compared to that of a “play doctor” in the theater, yet the role of the film composer as a dramatist has yet to be fully illuminated as such, their work being typically characterized as “supportive” or “enhancing” a film, that it must be “subordinate” to dialog, sound effects, and action as “underscoring” or “background music,” even when it is playing fff. Paradoxically film scores have been said to “save” or even “make” the films for which they are composed. How is this inconsistency to be explained if music is truly subjugated to film for which it is composed? I argue that neither film makers nor the composers of film music have admitted to just how powerful film scoring is as an art, and that the literary or narrative model of theatrical films is inadequate for characterizing the dramatic power engendered by music, even when it is ppp. Alternatively most scored theatrical films would be more accurately conceived as a form of dramatic musical art, akin to melodrama, and that the composer is much in the same position as a composer of opera receiving a libretto, because the film is essentially finished at the point at which the score is written. The film composer often transforms the existing drama and dramatic values of a film into a new dramatic entity through music scoring. This can only be elucidated by comparing theatrical film scoring practice with other forms of dramatic musical art, comparing the working methods of opera composers and their librettists with film composers and the films they are given to score.
Edward Lippman (1966) defined as the goal of musical hermeneutics to "make clear the complex of f... more Edward Lippman (1966) defined as the goal of musical hermeneutics to "make clear the complex of feelings, associations, and ideas that were initially formulated in tone by [a] composer and produced by an adequate performance at the time the work was composed." This applies to film music as well, and even to a film score that largely utilizes existing music. Heinz Roemheld's score for the Universal horror film THE BLACK CAT (1934) consists of works in the public domain from the "classical" repertoire, both quoted and also used thematically in original scoring written by Roemheld himself. By interviewing Roemheld it was possible to glean much of his "complex of feelings, associations, and ideas" relative to this score. In addition to its dramatic functions within the context of the film, the score can be seen not only as reflecting existing musical associations in the world of "classical music," and from the use of some of the works in the silent era, but also associations reflecting Roemheld's career as a concert pianist, a performer and conductor of music for silent films, and as a composer. The score can thus be viewed as much as a reflection of Roemheld's own musical sensibilities as those of the works he utilized.
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on the Broadway stage to so-called “theme songs” that were sung in dramatic films in the early talkies, he developed what came to be known as “the big theme” in Hollywood Golden Age film scoring parlance in which
a song-like theme was featured instrumentally as background music rather than sung on screen. In conjunction with this practice, Steiner and his Hollywood cohorts continued and adapted the existing dramatic techniques of silent film accompaniment to “talking pictures,” which, because of music playing under dialog, was given the name “underscoring.”
on the Broadway stage to so-called “theme songs” that were sung in dramatic films in the early talkies, he developed what came to be known as “the big theme” in Hollywood Golden Age film scoring parlance in which
a song-like theme was featured instrumentally as background music rather than sung on screen. In conjunction with this practice, Steiner and his Hollywood cohorts continued and adapted the existing dramatic techniques of silent film accompaniment to “talking pictures,” which, because of music playing under dialog, was given the name “underscoring.”
or “enhancing” a film, that it must be “subordinate” to dialog, sound effects, and action as “underscoring” or “background music,” even when it is playing fff. Paradoxically film scores have been said to “save” or even “make” the films for which they are composed. How is this inconsistency to be explained if
music is truly subjugated to film for which it is composed? I argue that neither film makers nor the composers of film music have admitted to just how powerful film scoring is as an art, and that the literary or narrative model of theatrical
films is inadequate for characterizing the dramatic power engendered by music, even when it is ppp. Alternatively most scored theatrical films would be more accurately conceived as a form of dramatic musical art, akin to melodrama, and
that the composer is much in the same position as a composer of opera receiving a libretto, because the film is essentially finished at the point at which the score is written. The film composer often transforms the existing drama and dramatic
values of a film into a new dramatic entity through music scoring. This can only be elucidated by comparing theatrical film scoring practice with other forms of dramatic musical art, comparing the working methods of opera composers and
their librettists with film composers and the films they are given to score.