The Routledge Handbook to Spanish Film Music provides a significant contribution to the research and history of Spanish film music, exploring the interdependence and ways in which discourses of sound and vision are constructed dialogically in Spanish cinema, with contributions from leading international researchers from Spain, the USA, the UK, France and Germany.
Offering a multifocal and multidisciplinary study between related areas such as music studies, film studies and Spanish cultural studies, this book is divided into four sections, covering the early years of Spanish cinema; the 1940s and 1950s in Spanish cinema—the first decades of the Franco dictatorship; the importance of Fraga Iribarne’s slogan, “Spain is different,” to promote Spain’s new openness to the world in the 1960s and 1970s; and Spanish cinema since the arrival of democracy in 1978, including discussion of contemporary Spanish cinema.
The growing interest in Spanish cinema calls for the publication of studies about the role of music in its political and socio-cultural framework. This is therefore a valuable text for music and film scholars and professionals, university undergraduates and music conservatory students.
Introduction: Past, present and future in Spanish film music studies
Laura Miranda
PART 1: First steps in sound in the 1930s
1 Synchronising voices and shadows: Music and the transition to sound cinema in Spain
Julio Arce
2 National music for the silent screen: Sound and national identity in 1920s Spanish cinema
Marta García Carrión
3 The cinematic zarzuela: Cross-media connections between theatre and film in Spain (1900–1963)
Peter W. Schulze
4 Soundtracks for the Republic: Musical propaganda in documentary films during the Spanish Civil War
Lidia López Gómez
5 A missing link between the cinema of the Second Spanish Republic and the first Franco period: Edgar Neville’s Verbena (Madrid Carnival, 1941)
Christian Franco Torre
PART 2: Music, ideology and power in the cinema of the early years of Francoism
6 It sings inside a sea on a map: Three periods of Latin American music in Spanish cinema (1930–1960)
Marina Díaz López
7 Music, power and violence in NO-DO: Folkloric cultures in 1940s Francoist cinema
Beatriz Busto Miramontes
8 "Todos somos uno cuando del cante se trata": The empathizing power of the copla
Bohumira Smidakova
9 Fashion victims?: Women, costume design, and music in 1940s Spanish cinema
Laura Miranda
10 Music for a plasterboard empire: Juan Quintero’s scores for Spanish historical films of the 1950s
Joaquín López González
11 Copla, melodrama and star persona in 1950s Spanish cinema: Antonio Molina and Daniel Montorio
Celsa Alonso
12 The arrival of the new Spanish cinema: The film collaborations of Isidro Maiztegui and Juan Antonio Bardem
María Fouz Moreno
13 Text and context: Rodrigo’s Concierto de Aranjuez as film score
Walter Aaron Clark
PART 3: New (and old) rhythms from the aperturismo of the 1960s
14 El último cuplé?: Sara Montiel: A diva between two eras
Enrique Encabo
15 Augusto Algueró and the cinema of "child prodigy" singers: A perfect symbiosis
Sofía López Hernández
16 Buñuel is Back: Viridiana, music and religion in Spain in 1960
Laura Miranda
17 Music in non-fiction films: New practices in Spanish documentary soundtracks in the late Francoist era
Diana Díaz González
18 The use of music in Carlos Saura’s fictional work (1960–1980): Narration and esthetics
Marianne Bloch-Robin
19 The zarzuela in Spanish film of the 1960s and 1970s: From adaptation to reinterpretation
Vicente Galbis López
20 Songs for a new day: Music as an aesthetic program in the cinema of Gonzalo García-Pelayo during the Spanish Transition
Pablo Piedras and Dana Zylberman
PART 4: Musical glocalisms in democratic Spain from the late twentieth century
21 This isn’t Hollywood... it’s not even close: Film composers in Spain: evolution of a profession
Josep Lluís i Falcó
22 The generation of ’89: Moving toward a new concept of the film composer in Spain and looking back at harmony
Sergio Lasuén
23 The soundtrack of the barrio in contemporary Spanish cinema: From Rumba to Latin and flamenco-trap
Eduardo Viñuela
24 Rumbas and the acoustic experience of marginality in cine quinqui
Tom Whittaker
25 The music of Alberto Iglesias in the films of Pedro Almodóvar: Intertextual dialogue and negotiating identities in The Skin I Live In (2011)
Alberto Jiménez Arévalo
26 The acoustic imaginary in recent Spanish cinematic music
Marvin D’Lugo
27 Spanish musical cinema in the 21st century: New models for new times
Teresa Fraile
28 Transmedia storytelling and musical films: A case study of the Holy Camp! phenomenon
Cande Sánchez-Olmos
29 Music winners and losers
Núria Triana Toribio
Biography
Laura Miranda is a Lecturer at the Department of Art History and Musicology, University of Oviedo, Spain.
