Pensum/læringskrav (MUS4531 - Vår 2010)
Studentene må velge et kjernepensum på minst 400 sider fra listen nedenfor. Samlet pensum skal utgjøre minimum 800 sider. Se evt. pensum fra tidligere år på MUS4530, MEVIT4530 eller MEVIT4531, for flere litteraturtips.
Bøker:
Larsen, Peter. (2005) Filmmusikk. Historie, analyse, teori. Oslo:Universitetsforlaget 293 s
Bull, Michael. Sound Moves : I-Pod Culture and the Urban Experience. Abingdon/New York: Routledge, 2007. 180
Katz, Mark (2004). Capturing Sound. How Technology Has Changed Music. University of California Press: London. 235 s
Schloss, Joseph G. Making Beats – the art of samplebased hiphop. Wesleyan University Press, 2004, pp. 25-79, 101-169, 124 s.
Vernallis, Carol: Experiencing Music Video - Aesthetics and Cultural Context, Columbia University Press, 2004, New York (341 s.)
Brown, Royal S.: Overtones and Undertones: Reading Film Music (Berkeley/Los Angeles/London, University of California Press, 1994) , s.1-37, s.148-234, 123 s.
Artikler:
Maasø, Arnt. "Om Babel Og Dens Babelske Stillhet." i Filmanalytiske Tradisjoner, Eva Bakøy og Jo Sondre Moseng (red), 86-94. Oslo: Universitetsforlaget, 2008. 8 s
Frith, Simon (1986) “Art versus technology: the strange case of popular music”, in Media, Culture & Society vol. 8, pp. 263-279. 16 s
Bergh, Arild og DeNora, Tia (2009). ”From wind-up to iPod: techno-cultures of listening” i Clarke, N. Cook, D. Leech-Wilkinson og J. Rinks (red.) The Cambridge Companion to Recorded Music, Cambridge: Cambridge University Press, 102-119.
Danielsen, Anne og Arnt Maasø. "Mediating Music: Materiality and Silence in Madonna's "Don't Tell Me"." Popular Music 28, no. 2 (forthcoming 2009). 20 s
Thibaud, Jean-Paul (2003). ”The Sonic Composition of the City” i M. Bull og L. Back (red.), The Auditory Culture Reader, New York: Berg Publishers, 329-341.
Adorno, Theodor W. (1979 (1939?)) ”Om populärmusik”, i Kritisk teori: en introduktion – Theodor W. Adorno... [et al.] ; redaktör: John Burill.
Benjamin Walter (1991 (1936)) ”Kunstverket i reproduksjonsalderen”, i Kunstverket i reproduksjonsalderen. Oslo: Gyldendal.
Bjerke, K.Y. 2010. 'Timbral Relationships and Microrhythmic Tension. Shaping the groove experience through sound.' in Danielsen A. (ed.) Musical Rhythm in the Age of Digital Reproduction. Farnham, Surrey: Ashgate (forthcoming)
Brøvig-Hanssen, R. 2010. 'Opaque Mediation. The cut-and-paste groove in DJ Food's Break'.' in Danielsen A. (ed.) Musical Rhythm in the Age of Digital Reproduction. Farnham, Surrey: Ashgate (forthcoming)
Hawkins, Stan & Richardson, John ”Remodelling Britney: Maters of intoxication and mediation”. Published in: Popular Music and Society, Volume 30, Issue 5 December 2007 , pp 605 – 629, 25 s.
Jarman-Ivens, Freya (2006): “Masculinities in Heterosexist Rap Music”, i Sheila Whiteley & Jennifer Rycenga (red.): Queering the popular pitch. Oxon, New York: Routledge
Adorno, Theodor og Hans Eisler (1994 [1947]): Composing for the Films (London & Atlantic Highlands, The Athlone Press, kap. 1 “Prejudices and Bad Habits” s. 3-20, 17 s.
Haga, Thor Joachim (2004): “Over the Moon: Musical Snapshots in E.T.” Upublisert manuskript. 8 s.
Cohen, Annabel J.(2001): “Music as a Source of Emotion in Film” i Juslin, Patrik N. og John A. Sloboda (red.) Music and Emotion: Theory and Research (New York, Oxford University Press, s. 249-274), 25 s.