The Professional Career and Output of Trevor Jones

Monday 20 June

10.00-10.30am: Registration. Refreshments (tea, coffee, pastries) available until 11am

10.30-11.00am: Welcome and Conference Introduction

A welcome from the conference committee and overview of the conference ahead of the first session.

11.00am-12.30pm: Session 1

Session 1a (Chair: Carlo Cenciarelli)

• The Many Lives of ‘Edelweiss’ – Susanne Scheiblhofer
• The Use of Pre-existing Music in the Wong Fei-hung Film Series between 1949 and 1997 – Joseph Wong (Open University of Hong Kong)
• Working Title/Cool Britannia: Music, Modernity and the Re-invention of National Identity – Guido Heldt (University of Bristol)

Session 1b: Panel – Documentary Film Music (Chair: David Cooper)

• Sonic Elongation: Creative Soundscapes in Documentary Feature Film – Holly Rogers (Goldsmiths)
• Music Revising History: New Meaning, Old Documentaries – K.J. Donnelly (University of Southampton)

12.30-1.30pm: Lunch

Provided for conference delegates.

1.30-3.00pm: Session 2 (Chair: Vasco Hexel)

• Vanishing Indians: Music, Masculinity, and Race in The Last of the Mohicans – Rebecca Fülöp (Oberlin College Conservatory)
• Acoustic fingerprints from Trevor Jones’s Dark City found in Hans Zimmer’s Inception – Duncan Williams (University of Plymouth)
• Hidden Gems in the Audio-Visual Archive: Trevor Jones’s Score for The Dark Crystal – Project Team: The Professional Career and Output of Trevor Jones (University of Leeds)

3.00-3.30pm: Tea/Coffee Break

Light refreshments available.

3.30-4.30pm: Session 3

Session 3a (Chair: Ian Sapiro)

• The Gamified Album: Jeff Wayne’s War of the Worlds – Tim Summers (Royal Holloway, University of London)
• Two Contrasting Compositions to the Same Video Game Advertisement – Freddy Mercer (University of Sussex)

Session 3b (Chair: Kevin Donnelly)

• From Horror to High Camp: Harry Lubin and the Shelf-Life of Score – Max Erwin (University of Leeds)
• Art Cinema, Classical Music and Film Musicology – Douglas Knight (Royal Holloway, University of London)

4.30-6.00pm: Break

Delegates should make their way to the the Everyman Cinema (Screen 3), Trinity Leeds Level 4, Albion Street, Leeds, LS1 5AY for a film screening.

6.00-8.30pm: Screening with Talk (Everyman Cinema Screen 3, Trinity Leeds)

Richard III (dir. Richard Loncraine, 1996)

2016 not only marks 20 years since the release of the Richard Loncraine’s adaptation of William Shakespeare’s Richard III, but also the 400th anniversary of the playwright’s death.

The screening will be preceded by a short presentation by the Trevor Jones film-music project team, using materials from the Jones archive to explore the music for the picture.

This event is free for conference delegates with passes that include Monday; entry for others: £7.

Tuesday 21 June

9.00-9.30am: Registration. Refreshments (tea, coffee, pastries) available until 9.30am

9.30-11.00am: Session 4

Session 4a (Chair: Guido Heldt)

• Musicking the Compulsive, Revealing the Vulnerable: Intermediality in Pina Bausch’s Bluebeard and Café Müller – Mingyue Li (University of Oxford)
• Music and Image before Verse: Justin Kurzel’s Screen Adaptation of Macbeth (2015) – Danijela Kulezic-Wilson (University College Cork)
• ‘You Will Know that She is Our Annie’: Comparing Three Screen Adaptations of a Broadway Classic – Ian Sapiro (University of Leeds)

Session 4b (Chair: Sarah Hall)

• Pitched Battles: Music and Sound in American and German Newsreels of World War II – James Deaville (Carleton University)
• Convergence: Innovation, Tradition, and the Soundtrack for There Will Be Blood (2007) – Gayle Magee (University of Illinois, Urbana-Champaign)
• Cultural Musical Codes in American Instructional Films from the 1940s-1950s – Molly Cryderman-Weber

 11.00-11.30am: Tea/coffee break

11.30am-12.30pm: Session 5

Session 5a (Chair: Miguel Mera)

• Great Expectations? The Changing Role of Audiovisual Incongruence in Contemporary Multimedia – Dave Ireland (University of Leeds)
• Classical Music in Television Commercials: A Social-Psychological Perspective – Peter Kupfer (Southern Methodist University)

Session 5b (Chair: Catherine Haworth)

• Characters Between Two Worlds: Korngold and the Metaphysical Film Score – Ben Winters (The Open University)
• Alex North’s adapted score for The Dead (Huston, 1987) – John O’Flynn (St Patrick’s College, Dublin City University)

 12.30-1.30pm: Lunch

Provided for conference delegates.

1.30-3.00pm: Session 6

Session 6a (Chair: Ben Winters)

• A Novel Adaptation: Jean-Pierre Melville’s Les Enfants Terribles (1950) – Laura Anderson (University of Leeds)
• Hi-yo, Rossini: The Lone Ranger’s impact on William Tell – Jonathan Godsall
• The Sense of an Ending: Music, Time and Romance in Before Sunrise – Carlo Cenciarelli (Cardiff University)

Session 6b (Chair: Holly Rogers)

• REwind the News: Performance as Alternative Archive – Ariana Phillips (University of Cambridge)
• Deconstructing the Music Documentary: A Hybrid Audiovisual Artwork – Marina Grozdanova (University of Montreal)
• BBC Arena’s Virtual Hotel – Will L Finch

3.00-3.30pm: Tea/coffee break

3.30-4.30pm: Session 7

Session 7a (Chair: Dave Ireland)

• Neuro-cognitive Systems underlying Music’s Affective Impact in Film – Fernando Bravo and Martin Rohrmeier (Technische Universität Dresden)
• The Ethical Implications of Using Music to Provoke Emotional Responses to Audio-Visual Media Content – Kati Jägel

Session 7b: Panel – Less Is More?: Minimalist Music at the Movies (Chair: Rebecca Fülöp)

• ‘They Being Dead Yet Speaketh’: Minimalist Music and the Resurrection of the Silent Film – Pwyll Ap Siôn (Bangor University)
• Spiritual Minimalism as Music of Hope in Paolo Sorrentino’s The Great Beauty (2013) – Michael Baumgartner (Cleveland State University)

4.30-5.00pm: Break

5.00-6.00pm: Wine Reception

Details TBC.

6.00-7.00pm: Break

Delegates booked to attend the conference dinner should make their way to the venue.

7.00pm: Conference Dinner

Gusto Leeds City Centre, 10 Greek Street, LS1 5RU. Click here for a walking route from the School of Music. Please note that the conference dinner must be booked in advance. The menu is available here.

Wednesday 22 June

9.00-9.30am: Registration. Refreshments (tea, coffee, pastries) available until 9.30am

9.30-11.00am: Session 8

Session 8a: Panel – CG Symphonies: The Contemporary Animated Film Soundtrack Through the Lens of Three Key Studios (Chair: Laura Anderson)

• Dancing Raindrops and a Singing Teapot: Disney’s Love Affair with the Musical – Susan Smith (University of Sunderland)
• Now That’s What I Call Shrek: Popular Song as Intertext in DreamWorks Animation – Sam Summers (University of Sunderland)
• Music and Emotional Expressivity: The Original Film Score in Pixar Animation – Michael Shaftoe (University of Sunderland)

Session 8b (Chair: Annette Davison)

• Reading Nollywood Film Music: Thoughts on a Divergent Creative Practice – Emaeyak Sylvanus (City University, London)
• Generating Interference: The Development of Techno Supernatural Sounds in Contemporary Japanese Horror Films – Hannah Bayley (Keele University)
• Samba for Survival: Soundtracking Urban Violence in City of God and Elite Squad – Kariann Goldschmitt (Wellesley College)

 11.00-11.30am: Tea/coffee break

11.30am-12.30pm: Session 9 (Chair: Danijela Kulezic-Wilson)

Original Scores

• Morriña – Miguel Mera (City University, London)
• My Strange Grandfather – Fernando Bravo (Technische Universität Dresden)

 12.30-1.30pm: Lunch

Provided for conference delegates.

1.30-3.00pm: Round Table Session

Whose Line is it Anyway? – Copyright Clearance in Screen-Music Studies

This round-table session led by Dr Vasco Hexel (Royal College of Music) and Dr Ian Sapiro (University of Leeds) aims to highlight the current state of copyright as it is applied to and upheld in academic publishing on film-music subjects. Copyright holders seem ill-at-ease, publishers are fearful of litigation and so-called fair usage is not easily settled. A brief introduction of some recent cases will facilitate an open discussion amongst the audience.

3.00-3.30pm: Tea/coffee break

3.30-4.00pm: Plenary Discussion

Future directions, and reflections on the conference.

4.00pm: Conference close