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Meisel (1894вЂ“1930) at the University of Nottingham and has wide experience completed her doctoral thesis on The Film Music of Edmund

He has also published A History of Film Music (Cambridge University Press, 2008) and The Hollywood Film Music Reader (2010), and co-edited volumes 3вЂ“6 of Letters from a Life: The Selected Letters of Benjamin Britten (2004вЂ“2012). He has edited The Cambridge Companion to Benjamin Britten (1999), The Cambridge Companion to Jazz (2002, co-edited with David Horn) and The Cambridge Companion to Twentieth-Century Opera (2005). teaches film music, jazz, twentieth-century musicДЄnd composition at the University of Nottingham. Innovative research and fresh interpretative perspectives are offered alongside practice-based accounts of the film composerвЂ™s distinctive art, with examples cited from genres as contrasting as animation, the screen musical, film noir, Hollywood melodrama, the popmusic and jazz film, documentary, period drama, horror, science fiction and the western.

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They engage, sometimes provocatively, with numerous stimulating aspects of the history, theory and practice of film music in a series of lively discussions which will appeal as much to newcomers to this fascinating subject as to seasoned film-music aficionados.

Citing examples from a variety of historical periods, genres and film industries вЂ“ including those of the USA, UK, France, Italy, India and Japan вЂ“ the bookвЂ™s contributors are all leading scholars and practitioners in the field. T HE CAMBRIDG E COMPANION T O FILM MUSIC This wide-ranging and thought-provoking collection of specially commissioned essays provides a uniquely comprehensive overview of the many and various ways in which music functions in film soundtracks.