Introduction

who is entitled to study film music?

1-13

The not-so-fantastical gap between music studies and film studies

17-43

Recent attempts to bridge the gap and overcome a separatist conception

45-63

The neoformalist proposal

67-93

Film/music analysis I

music, Gestalt, and audiovisual isomorphism

95-124

Film/music analysis ii

functions and motivations of music

125-154

Five illustrations of film/music analysis

157-189

Close encounters of the third kind and E.T. the extraterrestrial

the bonding power of music

191-221

Recapitulation and final thoughts

223-230