ABSTRACT
Over the last seven chapters, numerous ways in which minimalist music has been integrated in multimedia contexts have been subject of this book's focus. Up to this point, however, the underlying reasons for its application in filmic and televisual scenarios have not been discussed in any great detail. The findings contained herein will attempt to address this very question, drawing on research in the area of film and advertising, while concurrently offering a critique of the analytical methodologies developed during the course of this investigation. Further opportunities for theoretical refinements will also take place, and will be applied to the study of two different television commercials, both of which will be unpacked in light of the crystallized and synthesized models for analysing multimedia. Finally, the paradoxical manner in which minimalist music often co-exists with other media will be outlined.
