Table of Contents
Series Foreword
Preface: Epic Genre, Epic Style Stephen C. Meyer
Acknowledgments
Part I: Marketing and Production
1. Branding the Franchise: Music and the (Corporate) Myth of Origin James Buhler
2. Manufacturing the Epic Score: Hans Zimmer and the Sounds of Significance Frank Lehman
Part II: Narrative and Interpretation
3. Topoi and Intertextuality: Narrative Function in Hans Zimmer’s and Lisa Gerrard’s Music to Gladiator Joakim Tillman
4. The Politics of Authenticity in Miklós Rózsa's Score to El Cid Stephen C. Meyer
Part III: Pre-Existing Music and the Epic Style
5. From Authenticity to Anachronism: Pre-Existing Music and "Epic Englishness" in Elizabeth and Master and Commander Alexandra Wilson
6. Records, Repertoire and Rollerball: Music and the Auteur Epic Julie Hubbert
Part IV: Songs and Themes
7. "The epic and intimately human": Contemplating Tara’s Theme in Gone With the Wind Nathan Platte
8. "We’re the real countries": Songs as Private Musical Territories in the Epic Romances Casablanca, Doctor Zhivago, and The English Patient Todd Decker
Part V: Genre and the (Anti-)Epic
9. Inverting the Epic: The Music of Ridley Scott’s Kingdom of Heaven Kirsten Yri
10. The Western as National Epic: Musical Persona and Narrative Distance in High Noon Jordan Carmalt Stokes