The practice of songscoring: typology and transtextuality

Abstract

I. Four kinds of songscoring: a short contextual typologyThe practice of ›songscoring‹ has already been researched extensively (Romney/Wootton 1995, Donnelly 2001, Wojcik/Knight 2001, Inglis 2003, Reay 2004, Dyer 2011 among many others) and there have been many substantial efforts to produce a comprehensive overview as well as numerous dedicated case studies.Thus the following introduction does not aim to reinvent or sum up these ample results but try to outline two different typological approaches to songscoring which are contextual and transtextual respectively.They are merely meant to serve as a humble introduction to the subsequent articles about the history, theory and practice of songscoring assembled in this edition as a result of a conference called »›Play it again, Sam!‹ The history, theory and practice of songs in film« held in Kiel in 2014.For the contextual typology I am going to introduce four different approaches to describing the use of songs in films.The first approach can be regarded as an accumulation of examples directed or supervised by the same »auteur« -comparing directors' or musical supervisors' use of songs in different films.Some directors have constant collaborators (e. g. the liaison of Martin Scorsese and Robbie Robertson, see Rabenalt 2015) or habitually account for the selection of pre-existing film music themselves.This practice may have become extremely popular in recent decades because of KIELER BEITRÄGE ZUR FILMMUSIKFORSCHUNG, 12, 2016 // 181 This is based on a 1996 Saturday Night Live sketch that was revived as an animated gif in 2005 and subsequently developed into a wide-spread meme (see: http://knowyourmeme.com/memes/what-is-love; last access

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