In questrsquo;opera crsquo;egrave; la sintesi di tutto ciograve; che il percorso culturale del prof. Pasquale Moschiano rappresenta per il nostro territorio: crsquo;egrave; la lezione del metodo; che legge i documenti di carta e i monumenti di pietra; i costumi e le tradizioni rischiarando; senza sosta; il presente con il passato; e leggendo il passato attraverso il presente; ci sono la passione e lrsquo;orgoglio dellrsquo;appartenenza; crsquo;egrave; la lezione etica della serietagrave; e del sacrificio; poicheacute; Pasquale Moschiano ha sempre ldquo;sentitordquo; la sua ricerca come una missione da svolgere nel segno dellrsquo;umiltagrave; e della generositagrave;.
#2477961 in eBooks 2016-01-23 2016-01-23File Name: B013C5F98W
Review
1 of 1 people found the following review helpful. Good IntroductionBy M. BetancourtAimee Mollaghanrsquo;s book The Visual Music Film is a good introductory survey of some aspects of the visual music film. and provides a nice introduction for people not aware of these films. I was excited to see this book. and read it with great interest.While it is a useful introductory survey. the scope and range of what appears in it is unfortunately highly limited to only a small number of (male) film makers in a field that has always included many women. This book also would have benefited from a deeper survey of the substantial existing literature on both color music and visual music beyond film (such as in video art or color organs generally). as well as non-English studies of some of the filmmakers discussed. For example. Viking Eggelings film Symphonie Diagonale has been extensively discussed (and restored) by Gouml;sta Werner and Bengt Edlund in precisely the terms of Mollaghans analysis. as a music work in visual form. yet their historical writing from almost 20 years ago does not appear in the book. These kinds of omissions are flaws. but only of serious concern to academic specialists engaged with this subject. (This book is of the quality to be expected in an authors first foray into this subject. as might be done in a thesis or dissertation.) It is a fallacy of how the book has been framed that it claims "visual music has been underrepresented as a distinct category"; perhaps hers is a valid (if misleading) criticism of how visual music has been discussed by other authors who are not focused on the "musical qualities" as she is. However. given such an interest. the absence of Joseph Schillinger and his influence on Mary Ellen Bute is regrettable. Once one expands beyond the narrow medium-specificity (celluloid film) that organizes this study. there is a vast range of materials directly concerned with visual music. none of which this author appears to have used in her discussion.
