By Philip Hayward
Commissioned and edited to entice a crossover movie and tune experiences readership, Terror Tracks is an anthology that analyses using song and sound within the renowned style of Horror cinema. concentrating on the post-War interval, individuals examine the position of song and sound in constructing and embellishing the senses of unease, suspense and surprise an important to the style. The anthology exhibits many of the styles of use an inflection in a number of ratings - orchestral, renowned, rock and digital - and the way those relate to non-musical sound. energetic and obtainable, Terror Tracks is a crucial contribution to review of Horror cinema.
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Extra info for Terror Tracks: Music, Sound and Horror Cinema
6 – it shows that each of the nonaccompanied scenes that open the three portions of the ‘Marion’ section is indeed preceded by music that is not overlaid with language. Regardless of how one slices the first few minutes of the film, the illustrations make clear that the narrative’s ‘Arbogast’ and ‘Lila’ sections, but not its ‘Marion’ section, end with language-free music. 6 Distribution of music in Psycho compared with adjusted division of the narrative that all three sections – as well as all three subdivisions of the ‘Marion’ section – begin with a music-free soundtrack.
33. This view was first articulated by Wood in 1965, and then expanded by Naremore and Bellour in the 1970s. 34. The ‘stabbing’ music is alluded to, but not quoted exactly, in the brief cue titled ‘The Body’ that accompanies Norman’s return to the motel room after apparently finding ‘Mother’ covered with blood. 35. Readers who subscribe to the idea that Psycho’s shower scene represents a bipartite narrative’s moment of separation might be interested to know that in the novel on which the screenplay is based the victim is not stabbed to death but, 42 James Wierzbicki rather, is instantly beheaded (Bloch, 1959: 51).
11. 12. 13. 14. 15. 16. 17. 18. 39 only birdlike electronic sounds created on the trautonium by Remi Gassmann and Oskar Sala; Herrmann began work on Hitchcock’s Torn Curtain (1966), but before the film was finished he was dismissed and his score was replaced with one by John Addison. Brown’s essay is perhaps best known for its coining of the term ‘Hitchcock chord’ to describe the inherently unstable harmony – a minor triad to which is added a major seventh – that figures horizontally in the title music of Vertigo and vertically in the title music of Psycho.
Terror Tracks: Music, Sound and Horror Cinema by Philip Hayward