In this edited volume, contributors explore an essential element of the influential television series Twin Peaks: the role of music and sound. This collection considers how the music and sound design not only create the ambience of this ground-breaking series, but function in the narrative, encouraging multiple interpretations.
In this edited volume, contributors explore an essential element of the influential television series Twin Peaks: the role of music and sound. This collection considers how the music and sound design not only create the ambience of this ground-breaking series, but function in the narrative, encouraging multiple interpretations.
Reba Wissner is Assistant Professor of Musicology at Columbus State University. Katherine Reed is Assistant Professor of Musicology at California State University, Fullerton.
Inhaltsangabe
Introduction 1 Pitching the Peaks: Media Advertising for the Original Series James Deaville 2 "Listen to the Sounds": Fan Engagement with the Soundtrack of Twin Peaks: The Return (2017) Jessica Getman 3 Where Music is Always in the Air: Voice and Nostalgia in Twin Peaks Brooke McCorkle Okazaki 4 The Bang Bang Bar, Silencio, and Lynch's Audiences: Meaning and Musical Performance in Twin Peaks: The Return Katherine M. Reed 5 The Music is Not What It Seems: An Examination of Labor and Capital in the Music of Twin Peaks: The Return Martha Schulenburg 6 "Singer"; "Girl Singer"; "Roadhouse Singer"; "Herself": Julee Cruise in the World of Twin Peaks David Sweeney 7 "The Thread Will Be Torn": Sound Design as a Measure of Self-Knowledge in Twin Peaks: Fire Walk With Me Andrew Burt 8 Sound Design, Music, and The Birth of Evil in Twin Peaks: The Return Kingsley Marshall and Rupert Loydell 9 "What is Gordon Cole Listening To?": The Rhetoric of Subjective Sound in Twin Peaks: The Return Zeynep Toraman 10 David Lynch's Metaphysical Sound Design: The Acousmatic Personification of Judy Steven Wilson 11 Americana on the Internet: Listening to Twin Peaks William Weston Bennett 12 "Like Some Haunting Melody": The Laura Palmer Theme in the World of Twin Peaks Andrew Kohler 13 Listen to the Skins: Drumming and Time in Twin Peaks Kai West 14 Chaos and Creation: Music, Redemption, and the Atomic Bomb in Twin Peaks: The Return Reba A. Wissner
Introduction 1 Pitching the Peaks: Media Advertising for the Original Series James Deaville 2 "Listen to the Sounds": Fan Engagement with the Soundtrack of Twin Peaks: The Return (2017) Jessica Getman 3 Where Music is Always in the Air: Voice and Nostalgia in Twin Peaks Brooke McCorkle Okazaki 4 The Bang Bang Bar, Silencio, and Lynch's Audiences: Meaning and Musical Performance in Twin Peaks: The Return Katherine M. Reed 5 The Music is Not What It Seems: An Examination of Labor and Capital in the Music of Twin Peaks: The Return Martha Schulenburg 6 "Singer"; "Girl Singer"; "Roadhouse Singer"; "Herself": Julee Cruise in the World of Twin Peaks David Sweeney 7 "The Thread Will Be Torn": Sound Design as a Measure of Self-Knowledge in Twin Peaks: Fire Walk With Me Andrew Burt 8 Sound Design, Music, and The Birth of Evil in Twin Peaks: The Return Kingsley Marshall and Rupert Loydell 9 "What is Gordon Cole Listening To?": The Rhetoric of Subjective Sound in Twin Peaks: The Return Zeynep Toraman 10 David Lynch's Metaphysical Sound Design: The Acousmatic Personification of Judy Steven Wilson 11 Americana on the Internet: Listening to Twin Peaks William Weston Bennett 12 "Like Some Haunting Melody": The Laura Palmer Theme in the World of Twin Peaks Andrew Kohler 13 Listen to the Skins: Drumming and Time in Twin Peaks Kai West 14 Chaos and Creation: Music, Redemption, and the Atomic Bomb in Twin Peaks: The Return Reba A. Wissner
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