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This thesis explores the role that film genre plays in the construction of, predominantly, Hollywood movie scores. It begins with the simple assumption that each genre has its own set of musical conventions, its signature "paradigm", with the result that Westerns sound different from Horror films, which sound different from Romantic Melodramas and so on. It demonstrates that while this is broadly speaking so, the true picture is more complex, the essentially hybrid nature of most Hollywood films on a narrative level resulting in scores that are similarly hybrid in nature. To begin with, the various functions of film music are described, and that of generic location is isolated as being of key importance. The concept of film genre is then discussed, with particular reference to the notion of hybridity. The substance and sources of the musical paradigms of the Western, Horror film and Romantic Melodrama are described in depth; specific aspects of the War Film, Gangster, Thriller and Action paradigms are addressed more briefly. The thesis concludes with a cue by cue analysis of John Barry's score for Dances with Wolves (1990), demonstrating that while the dominant paradigm the music draws on is indeed that of the Western, the score also incorporates elements from a variety of other generic paradigms, shifts in musical emphasis that are dictated by the changing requirements of the narrative. Film music is shown to be profoundly influenced by film genre, but that the use of generically specific music is as complex and nuanced as cinema's negotiation of genre at narrative level. While genres do indeed have signature musical paradigms, these do not exist discretely, but in constant tension with and relation to one another.

Thesis--University of Washington. / Vita. Bibliography: leaves [209]-219.

Thesis (MFA)--Montana State University--Bozeman, 2009. / Typescript. Chairperson, Graduate Committee: Walter Metz. Troubador is a DVD accompanying the thesis. Includes bibliographical references (leaf 31).

Thesis (M.A.)--Ohio University, November, 2004. / Includes bibliographical references (p. 86-87)

Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 240-246). Available also in a digital version from Dissertation Abstracts.

Thesis (M.A.)--Ohio University, November, 2004. / Title from PDF t.p. Includes bibliographical references (p. 86-87)

Thesis (M.M.)--Baylor University, 2006. / Includes bibliographical references (p. 68-72).

System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 212-221).

Cheng Ling Yan. / Thesis submitted in: June 2004. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 86-90). / Abstracts in English and Chinese. / Abstract --- p.i / Abstract (Chinese) --- p.ii / Acknowledgement --- p.iii / Table of Contents --- p.iv / List of Figures --- p.vi / Romanization and Translation --- p.vii / Introduction --- p.1 / Chapter Chapter One --- Original Scoring 原創音樂： Compositional Practice in the Present-Day Hong Kong Film Music Industry --- p.6 / "How Original is “Original Scoring"" ？" --- p.8 / Originality in Previous Practice? --- p.9 / ~Film Music from the 1960s to the 1990s --- p.9 / ~“Chinese´ح Music in the Huang Mei Diao Film --- p.9 / ~Canned Music in the 1960s and 1970s --- p.11 / ~The Composer in 1970s Film Music --- p.12 / Film Music of the 2000s --- p.12 / Time Limitations --- p.13 / Budget --- p.15 / Technology in Use --- p.18 / "Close Relationships between the Director, Composer, and Mixer" --- p.21 / Chapter Chapter Two --- Film Music Functions and Formulaic Uses of Instruments --- p.24 / Function of Film Music --- p.25 / Formulaic Uses of Instruments --- p.26 / Re-Occurrence of Music in a Film --- p.30 / Chapter Chapter Three --- Imagined Scoring of Chinese Music --- p.33 / Chinese Instruments --- p.34 / Authenticity In Scene and Out of Scene --- p.35 / Imagined Scoring -- Creative Listening Experience --- p.36 / Cultural Correctness --- p.38 / Listening Experiences Formed in Daily Life --- p.39 / Music for the Elders in Hong Kong --- p.41 / Conclusion --- p.41 / Chapter Chapter Four --- Crossover of Pop Singers Into Films --- p.43 / Hong Kong Pop Singers as Film Actor/Actress or Vice Versa --- p.44 / Diegetic and Non-Diegetic Music --- p.50 / Popular Song In Film and Film Theme Song --- p.53 / The Crossover of Popular Music Composers Into Film Music --- p.54 / Pop Songs and Listening Experience --- p.56 / Change in the Practice - Problems of Overlapping Identities --- p.59 / Chapter Chapter Five --- Conclusion: Musically Illiterate in Pop but Fluent in Chinese? --- p.62 / The Hong Konger is Musically Not Chinese --- p.63 / The Hong Konger is Musically Fluent in Pop --- p.64 / Questions for Further Study --- p.64 / Appendix 1 (Wong Fook Ling ) --- p.66 / Appendix 2 ( Frankie Chan ) --- p.71 / "Appendix 3 (List of United States, Taiwan and Hong Kong Film Music Awards)" --- p.80 / Appendix 4 ( Film Titles ) --- p.81 / "Appendix 5 (Directors, Composers, Lyricists, Actors/Actresses and Singers )" --- p.84 / References Cited --- p.86 / Glossary --- p.92