Music and the Moving Image

Editor: Ronald H. Sadoff and Robynn J. Stilwell


Current Volume: 17 (2024)
Issued three times per year (Spring, Summer, and Fall)
ISSN: 2167-8464
eISSN: 1940-7610


The purpose of Music and the Moving Image is to explore the relationship between music and the entire universe of moving images (film, television, music videos, computer games, performance art, and web-based media) through articles, reviews and interviews.


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Ronald H. Sadoff
New York University
The Steinhardt School
Dept. of Music and Performing Arts
35 West 4th St.
Suite 777
New York, NY 10012
Tel: 212-998-5779

Robynn J. Stilwell
Georgetown University
37th and O streets, NW
Washington, DC 20057

Editorial Assistant
Hunter Hanson

Editorial Board

  • Rick Altman, University of Iowa
  • Bruce Broughton, University of Southern California
  • Royal S. Brown, Queens College, CUNY
  • Jon Burlingame, University of Southern California
  • Phillip Carli, University of Rochester
  • William Cheng, Dartmouth College
  • Annabel Cohen, University of Prince Edward Island
  • Karen Collins, University of Waterloo
  • K.J. Donnelly, University of Southampton
  • Lawrence Ferrara, New York University
  • Caryl Flinn, University of Michigan
  • Krin Gabbard, Stony Brook University
  • Claudia Gorbman, University of Washington
  • Kathryn Kalinak, Rhode Island College
  • Raymond Knapp, University of California Los Angeles
  • Martin Marks, Massachusetts Institute of Technology
  • Miguel Mera, University of London
  • David Neumeyer, University of Texas at Austin
  • Chelsea Oden, Adams State University
  • Carlo Piccardi, Politiecnico di Milano
  • John Richardson, Turku University
  • Patrick Russ, Film Music Society
  • Jeff Smith, University of Wisconsin-Madison
  • Philip Tagg, Leeds Beckett University and the University of Salford (UK)
  • Elsie Walker, Salisbury University
  • Ann-Kristin Wallengren, Lund University
  • James Wierzbicki, University of Sydney
  • Elisabeth Weis, Brooklyn College and the CUNY 

PDF Policy

PDFs are permitted and issued for the following:

  • Tenure dossier.
  • Special workshops the author is moderating.
  • Other requests to be evaluated on a case-by-case basis.
  • All PDFs will include a statement of copyright and a provision that the articles will not be photocopied, distributed, or used for purposes other than the terms agreed to by UIP.

Preprints are permitted for:

  • University repositories; UIP requires a publication statement to be posted along with the preprint.

Postprints are permitted for:

  • Non-profit archives and repositories; Articles must be at least one year old. UIP requires a publication statement to be posted along with the postprint and a link back to the UIP Music and the Moving Image page.
  • Personal and commercial Web sites; Articles must be at least three years old. UIP requires a publication statement to be posted along with the postprint and a link back to the UIP Music and the Moving Image page.

Please contact the Intellectual Property Manager for more information.
Please send all requests to:

Angela Burton
Intellectual Property Manager


Mission Statement
The purpose of Music and the Moving Image is to explore the relationship between music and the entire universe of moving images (television, film, computer, cell phone, and multimedia) through articles, reviews, and interviews. The editorial board encourages submissions from both scholars and practitioners. Although the journal is presented in English and accessible to the non-specialist, submissions that discuss the relationship between music and moving images in non English-speaking nations and diverse cultures are encouraged.

Submission Guidelines

Submissions are accepted electronically via Google Forms or as email attachments to Submissions are reviewed anonymously; thus, author name and contact information should appear in a separate file and not in the manuscript itself. Text files should be formatted as MS Word documents or as documents compatible with MS Word, and all figures, illustrations, and musical example should be presented in separate files, formatted as TIFFs or JPGs at 300 dpi or greater.

Submissions should include a short (50-word) abstract, should be no longer than 10,000words in length, and should conform to The Chicago Manual of Style (16thedition). The order of elements in the submission should be as follows: 

  • Title
  • Abstract
  • Body Text
  • Acknowledgments
  • Endnotes
  • References (optional)
  • Tables and Figures

The journal will be pleased to consider submissions consisting of edited interviews, provided such submissions follow the standard format outlined below, are properly documented, and include contextual introductions. Authors are encouraged to approach the editors about interviews before conducting them.

Manuscripts should be submitted electronically via Google Forms or as email attachments to

We welcome announcements of newly published books on music for moving images. Please submit full citation to

Style Guide
a. Authors should prepare their manuscripts in accordance with The Chicago Manual of Style (17th ed.). All spelling, punctuation, and word usage should conform to American English, as presented in the Merriam-Webster Collegiate Dictionary (10th ed.).

b. Citations should be presented in the form of endnotes, with sources presented fully upon first mention and abbreviated during subsequent citation.

c. Common reference forms include:

Journal: Randolph Jordan, “Audiovisual Ecology in the Cinema,” Cinephile 6, no. 1 (2010): 25-32.

Book: Royal S. Brown, Overtones and Undertones: Reading Film Music (Berkeley: University of California Press, 1994).

Article in an edited book: Neepa Majumdar, “The Embodied Voice: Song Sequences and Stardom in Popular Hindi Cinema,” in Soundtrack Available: Essays on Film and Popular Music, ed. Pamela Robertson Wojcik and Arthur Knight (Durham, NC: Duke University Press, 2001), 161-81.

DVD: North by Northwest, directed by Alfred Hitchcock (1959; Burbank, CA: Warner Home Video, 2000), DVD.

Website: Cenneti Beklerken, at 7th Annual Boston Turkish Film Festival, (accessed 1 April 2011).

d. Films need not be cited in their entirety unless reference is made to a specific source (e.g., a commentary track on a DVD). Films mentioned in the manuscript need only be followed by their release date in parentheses [e.g., Quentin Tarantino's Reservoir Dogs (1992)].

Peer Review Policy

This journal uses a double blind peer review process with at least 2 reviewers, with additional reviewers as necessary. Editors seek out expert external reviewers matched to the article's topic and methodology. Occasionally editorial board members are invited to review due to their knowledge in the topic area, rather than their editorial board positions.

About the Journal

The Executive Editors of Music and the Moving Image are conductor-musicologist Ronald H. Sadoff and Robynn J.Stilwell, Director of the Film Music program at New York University in the Steinhardt School. In collaboration with the Film Music Society, Music and the Moving Image is published by the University of Illinois Press.

View our Publications Ethics and Malpractice Statement

Featured Articles

For Stage and Screen: A Conversation with Howard Shore
Paul Chihara and Howard Shore

Film Music Editing and Creating a Narrative World: A Conversation with Suzana Peric
Ron Sadoff and Suzana Peric

Resistance Gazes in Recent Music Videos
Brad Osborn

Music, Form, and Crooked Time in Felix van Groeningen’s The Broken Circle Breakdown (2012)
Shanti Nachtergaele (Freely Available until 11/30)

The Synchrony Era
Gillian B. Anderson

Music Publishers and Synchronized Scores: Mascagni, Ricordi, and Rapsodia satanica
Christy Thomas Adams

The Representation of East Asian Music in Silent Film Accompaniment Scores
Yukiko Yoden

Introduction: Listening to/with Game Worlds
Kate Galloway

Playing the “Fantastical Gap”: Embedded Soundscapes in Video Games
William O'Hara

So You're Going on a “Short” Hike? Sensory Awareness and Listening to Ecoregions in A Short Hike
Kate Galloway

Playing with Fire (and Other Natural Disasters): The Sounds of Climate Change in Sid Meier's Civilization VI: Gathering Storm
Karen M. Cook

Fart for Fart's Sake? The Fantastical Reality, Sacred-Profane Musical Bodies, and Nostalgic Millennial Masculinities in Swiss Army Man
Anna-Elena Pääkkölä; Rebecca Burditt

Lost Without a Cue: Music and Masculinity in Detective Film Noir
Hannah Neuhauser

Can the Pikmin Speak?
Jordan Hugh Sam; Hyeonjin Park

Effects of Underscoring on Semantic Appraisal and Interpretation of Ambivalent Film Scenes
Guglielmo Bottin

The Sound of Music in Early Documentary Film
Tore Helseth

Opera at the Movies: Operatic Mediation in the Twenty-First Century
Justin Mueller

Scoring, Sounding, and Silencing Death: Musical Depictions of Failure in Coherent and Incoherent Worlds—Part 1
William R. Ayers

OA Content

Music, Form, and Crooked Time in Felix van Groeningen’s The Broken Circle Breakdown (2012)
Shanti Nachtergaele (Freely Available until 11/30)