Project MUSE®: Music and the Moving Image - Latest Articles
https://muse.jhu.edu/journal/657
Project MUSE®: Latest articles in Music and the Moving Image.daily12026-05-19T00:00:00-05:00text/htmlen-USVol. 8 (Spring 2015) through current issueLatest Articles: Music and the Moving ImageTWOProject MUSE®Music and the Moving Image1940-76102167-8464Latest articles in Music and the Moving Image. Feed provided by Project MUSE®Of Insects and Interstices: A Multispecies Analysis of Yoko Ono’s Fly (1970) and Its Improvised Vocal Soundtrack
https://muse.jhu.edu/article/990216
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Video files are available here:https://files.press.uillinois.edu/journals/supplemental/mmi/fly/index.htmlLet a fly walk on a woman’s body from toe to head and fly out of the window.During her time as a student at Sarah Lawrence College, where she studied art, literature, and musical composition, Yoko Ono began writing “instructional pieces”— enigmatic sets of directions designed to guide the reader toward creating a work of art or a musical experience that invites them to see the world through a different lens. Many of these pieces were later collected in Grapefruit (1964), which primarily contains “event scores” or instructions for conceptual art pieces, performances, and other artistic endeavors. In 1967, Ono
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/657/image/coversmallOf Insects and Interstices: A Multispecies Analysis of Yoko Ono’s Fly (1970) and Its Improvised Vocal Soundtrack2026-05-14text/htmlen-USOf Insects and Interstices: A Multispecies Analysis of Yoko Ono’s Fly (1970) and Its Improvised Vocal Soundtrack2026-05-142026TWOProject MUSE®1087722026-05-19T00:00:00-05:002026-05-14Nondiegetic Sound and Queer Disembodiment in Laura (1944)
https://muse.jhu.edu/article/990217
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Otto Preminger’s noir masterpiece Laura (1944) enjoys a place of honor in film-music studies. A prototype of the theme score, the soundtrack has also intrigued critics with its imaginative use of diegetic music.1 The border between orchestral score and source music proves unusually porous as David Raksin’s title theme repeatedly migrates into record players and onscreen combos. Yet the film exploits this boundary more broadly with voice-over and recorded speech, which conspire with the music to create a dualistic sound world across which the film’s erotic contests play out. At the heart of the struggle, in precarious control of the nondiegetic space, is Waldo Lydecker.Lydecker is as queer a character portrayal as
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/657/image/coversmallNondiegetic Sound and Queer Disembodiment in Laura (1944)2026-05-14text/htmlen-USNondiegetic Sound and Queer Disembodiment in Laura (1944)2026-05-142026TWOProject MUSE®810812026-05-19T00:00:00-05:002026-05-14Composer as Author in Video Game Development
https://muse.jhu.edu/article/990218
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Video files are available here: https://files.press.uillinois.edu/journals/supplemental/mmi/journey/index.html.In Hearing the Movies, James Buhler and David Neumeyer observe that the vast majority of the film composer’s work occurs “after picture lock—that is, later in the post-production stage,” and that this workflow has been the norm since around 1932.1 By contrast, Michael Sweet in Writing Interactive Music for Video Games describes game composers beginning work during production and even earlier. As a result, “the music composition process is significantly longer than the music production of most films, typically ranging from 8 to 18 months for a AAA title. By comparison, music for a feature film is usually
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/657/image/coversmallComposer as Author in Video Game Development2026-05-14text/htmlen-USComposer as Author in Video Game Development2026-05-142026TWOProject MUSE®1087812026-05-19T00:00:00-05:002026-05-14About the Authors
https://muse.jhu.edu/article/990219
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shelina brown is an assistant professor of musicology at the College-Conservatory of Music, University of Cincinnati (CCM). Shelina completed her doctoral studies in musicology with a concentration in gender studies at the University of California, Los Angeles. Her MA thesis explored the history of Japanese popular enka song, and her PhD dissertation explored Yoko Ono’s music and feminist activism. She is currently in the process of adapting her work on Yoko Ono into a book project and digital lecture. At CCM, Shelina has developed courses on Critical Theory and Music, Gender Studies and Music, Voice & Gender, Feminist Methods, Women in Rock, East Asian Perspectives in Global Music History, and a seminar devoted to
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/657/image/coversmallAbout the Authors2026-05-14text/htmlen-USAbout the Authors2026-05-142026TWOProject MUSE®36592026-05-19T00:00:00-05:002026-05-14