Sounding American

Hollywood, Opera, and Jazz

Jennifer Fleeger

Oxford Music / Media

Focuses on little-studied short films
Incorporates new sources, including archival materials, contracts, and screenplays
Argues that opera and jazz contributed equally to the development of the modern film score
Analyzes film scores as fragments designed for individual scenes rather than unified bodies of work

Sounding American

Hollywood, Opera, and Jazz

Jennifer Fleeger

Description

Sounding American: Hollywood, Opera, and Jazz tells the story of the interaction between musical form, film technology, and ideas about race, ethnicity, and the nation during the American cinema's conversion to sound. Contrary to most accepted narratives about the conversion, which tend to explain the competition between the Hollywood studios' film sound technologies in qualitative and economic terms, this book argues that the battle between disc and film sound was waged primarily in an aesthetic realm. Opera and jazz in particular, though long neglected in studies of the film score, were extremely important in defining the scope of the American soundtrack, not only during the conversion, but also once sound had been standardized. Examining studio advertisements, screenplays, scores, and the films themselves, author Jennifer Fleeger concentrates on the interactions between musical form and film technology, arguing that each of the major studios appropriated opera and jazz in a unique way in order to construct its own version of an ideal American voice. Traditional histories of Hollywood film music have tended to concentrate on the unity of the score, a model that assumes a passive spectator. Sounding American claims that the classical Hollywood film is essentially an illustrated jazz-opera with a musical structure that encourages an active form of listening and viewing in order to make sense of what is ultimately a fragmentary text.

Sounding American

Hollywood, Opera, and Jazz

Jennifer Fleeger

Oxford Music / Media

Introduction

Chapter 1 Archiving America: Sound Technology and Musical Representation
Chapter 2 Opera Cut Short: From the Castrato to the Film Fragment
Chapter 3 Selling Jazz Short: Hollywood and the Fantasy of Musical Agency
Chapter 4 Opera and Jazz in the Score: Toward a New Spectatorship
Conclusion

Bibliography
Filmography
Index

Sounding American

Hollywood, Opera, and Jazz

Jennifer Fleeger

Oxford Music / Media

Author Information

Jennifer Fleeger is an Assistant Professor in the Department of Media and Communication Studies at Ursinus College. Her second book, Mismatched Women: The Siren's Song Through the Machine, will also appear in Oxford's Music/Media Series.

Sounding American

Hollywood, Opera, and Jazz

Jennifer Fleeger

Oxford Music / Media

Reviews and Awards

"Jennifer Fleeger has produced nothing less than a thorough re-theorization of the early history of music for films. She is now the peer of the most revered scholars in the field of film music studies." --Krin Gabbard, author of Hotter Than That: The Trumpet, Jazz, and American Culture

"Essential scholarship not only explaining the coming of sound to Hollywood cinema, but also a major contribution to the role music plays in the Classic text. Brilliantly brings together technological history and musical analysis." --Douglas Gomery, author of The Coming of Sound: A History

"An intellectually robust work, Sounding American not only makes an important contribution to histories of film music, but also revises in significant ways our accepted definition of the classical Hollywood score. Best of all, it makes way for additional questions about the many forms and functions of music heard by moviegoers during a privileged period of technological change." -- Journal of the Society for American Music

"Sounding American holds a unique position within the current literature on film music in that its treatment of jazz and opera as genres to be addressed together proves equally significant for both musicology and cinema studies, not only because the two styles are generally separated in scholarship but also because Fleeger does not neglect either field in favor of the other. Musicologists, film scholars, and film-music enthusiasts in general are all provided with significant and engaging material that enhances the current state of scholaship for all."-- Journal of Film and Video