Project MUSE®: Music, Sound, and the Moving Image - Latest Articles
https://muse.jhu.edu/journal/465
Project MUSE®: Latest articles in Music, Sound, and the Moving Image.daily12026-05-12T00:00:00-05:00text/htmlen-USVol. 1 (2007) through current issueLatest Articles: Music, Sound, and the Moving ImageTWOProject MUSE®Music, Sound, and the Moving Image1753-07761753-0768Latest articles in Music, Sound, and the Moving Image. Feed provided by Project MUSE®‘Guided by the Instruments’ Musical Instruments in Behind-the-Score Featurettes of Contemporary Television Series
https://muse.jhu.edu/article/978051
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‘That was what I was trying to achieve when I locked myself into the studio for a month, to be guided by the instruments’, explains composer Ludwig Göransson in an online featurette (Variety, 2020), describing his creative process for the Disney+ series The Mandalorian (2019–present). In this exclusive look ‘behind the score’, Göransson highlights the various musical instruments he used to create the new soundscape that would take the Star Wars franchise into new sonic territories. While film soundtracks and their composers are no strangers to such ‘making-of’ engagements, featurettes such as this one are indicative of television series soundtracks’ increasing visibility within the paratextual media sphere, in
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/465/image/coversmall‘Guided by the Instruments’ Musical Instruments in Behind-the-Score Featurettes of Contemporary Television Series2025-12-14text/htmlen-US‘Guided by the Instruments’ Musical Instruments in Behind-the-Score Featurettes of Contemporary Television Series2025-12-142025TWOProject MUSE®1521462026-05-12T00:00:00-05:002025-12-14A Sound of One’s Own: Subversive Film Technology and the Rodríguez Sound Recording System
https://muse.jhu.edu/article/978052
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In considering the history of sound technologies, Jonathan Sterne warns against the pitfall of narratives in which ‘technologies are mysterious beings with obscure origins that come down from the sky to “impact” human relations’ (2003, p.7). As an alternative approach, Sterne suggests engaging with sound technologies through ‘a rich sense of their connection with human practice, habitat, and habit’ (p.8). This contextualisation task appears especially challenging when technologies acquire hegemonic qualities that may appear as freeing and democratic, while in fact contributing to marginalising economic and social dynamics (Artz, 2018, p.19). The challenge is noticeable in discussions with a predominant focus on
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/465/image/coversmallA Sound of One’s Own: Subversive Film Technology and the Rodríguez Sound Recording System2025-12-14text/htmlen-USA Sound of One’s Own: Subversive Film Technology and the Rodríguez Sound Recording System2025-12-142025TWOProject MUSE®1219882026-05-12T00:00:00-05:002025-12-14A Certain Mr Rascal: Sonoclash, Revolution, and the Production of a New Identity
https://muse.jhu.edu/article/978053
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The film Treasure (Skarb, 1949, Leonard Buczkowski, screenwriter Ludwik Starski), traditionally characterised as an example of Polish socialist realism, is described by Marek Haltof as ‘an unpretentious comedy’ with a ‘lack of open didactics […] in the highly politicised climate of post-war Poland’ (2019, p.90). The legendary kilometre-long queues in front of Warsaw cinemas screening Treasure in February 1949 were remembered for many years (Lubelski, 2009, p.136). The film perfectly adhered to the Polish pre-war variant of the Hollywood cinema model, featuring a typical set of conventions and stylistic tricks. Newlyweds Witek and Krysia search for a place to live in post-war Warsaw, a city left in ruins. Their only
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/465/image/coversmallA Certain Mr Rascal: Sonoclash, Revolution, and the Production of a New Identity2025-12-14text/htmlen-USA Certain Mr Rascal: Sonoclash, Revolution, and the Production of a New Identity2025-12-142025TWOProject MUSE®893802026-05-12T00:00:00-05:002025-12-14The Oxford Handbook of Cinematic Listening ed. by Carlo Cenciarelli (review)
https://muse.jhu.edu/article/978054
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The Oxford Handbook series was first established over twenty years ago, and since then several volumes devoted to music in screen media have been published under its banner. The year 2013 was especially important in this respect, seeing the publication of handbooks on Film Music Studies (Neumeyer, 2013), on New Audiovisual Aesthetics (Richardson et al., 2013), and on Sound and Image in Digital Media (Vernallis et al., 2013). Diverging titles notwithstanding, these volumes are all relatively film-centric, and they overlap in various ways, not least by sharing several contributors; two of the volumes even share two editors. Such thematic and methodological repetition is par for the course for the Handbooks series
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/465/image/coversmallThe Oxford Handbook of Cinematic Listening ed. by Carlo Cenciarelli (review)2025-12-14text/htmlen-USThe Oxford Handbook of Cinematic Listening ed. by Carlo Cenciarelli (review)2025-12-142025TWOProject MUSE®213412026-05-12T00:00:00-05:002025-12-14Contributors to Issue 19:2
https://muse.jhu.edu/article/978055
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Berenice Cancino-González is Assistant Professor of Broadcast Media Studies at Mount Royal University, Canada, where she teaches audiovisual production and media studies. Her research explores the conditions of film sound production in Mexico, considering the intersections of technology, industry, and creativity in Mexican sound design. She is also a sound editor and has collaborated in films, podcasts, and independent sound art projects. bcancinogonzalez@mtroyal.caMarco Ladd is a British Academy Postdoctoral Fellow at King’s College London, having previously been a Junior Research Fellow at Emmanuel College, Cambridge. His research examines music in Italy in the early twentieth century with a particular focus on
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/465/image/coversmallContributors to Issue 19:22025-12-14text/htmlen-USContributors to Issue 19:22025-12-142025TWOProject MUSE®35672026-05-12T00:00:00-05:002025-12-14Index to Volume 19
https://muse.jhu.edu/article/978056
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Cancino-González, Berenice, A Sound of One’s Own: Subversive Film Technology and the Rodríguez Sound Recording System 113Cenciarelli, Carlo, Spectacular Silence and the Ends of Moviegoing: The Cinema as A Quiet Place (c. 2021) 1Golding, Rosemary, Classical Music in British Children’s Television: Narrative, Communication, and Cultural Meaning 53Huttunen, Kaapo, Ambiguity and Liminality as Sonic Strategies in The Bridge 27Lee, Julin, ‘Guided by the Instruments’: Musical Instruments in Behind-the-Score Featurettes of Contemporary Television Series 85Markowska, Anna, A Certain Mr Rascal: Sonoclash, Revolution, and the Production of a New Identity 135Cenciarelli, Carlo, ed. The Oxford Handbook of Cinematic Listening
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/465/image/coversmallIndex to Volume 192025-12-14text/htmlen-USIndex to Volume 192025-12-142025TWOProject MUSE®22642026-05-12T00:00:00-05:002025-12-14