ABSTRACT
The question of the relationship between sound and music on one hand, and narrative and narrativity on the other, has long been at the center of our field. Diegetic/non-diegetic remains a basic distinction in narrative analysis of music, even if much of the energy of theorists and analysts has been directed toward problematizing that distinction to the point of wishing it away. To the extent that they cut loose from chains of cause and effect, such methods can have a drastic impact on the implication, inference, and recounting of narrative within and across genres, formats, and media. Music Theorists employ a multitude of analytical methodologies that drill deeply into a score's musical structure, often quantifying how music operates within the narrative filmic realm. Ethnomusicologists bring attention to more global, cultural, and political perspectives as we gradually drift away from the Hollywood film as the predominant point of study.
