Unsettling Scores [antikvár]

Acknowledgments This project has evolved over a long time; in its broadest form it has grown over much of a lifetime. The follovi'ing includes but a fevi^ of those who have had some input to reflections on film, music, or German studies. To all, the named and the unnamed, my deepest thanks. Among university colleagues, Brian Coghlan, Tony Stephens, and Margaret Stoljar spring most readily to mind, though it really started with Jim Woodfield at high school. Then came Michael Noone and—especially—Deborah Crisp from the Canberra School of Music, as well as Robyn Holmes. The Humanities Research Centre at the Australian National University, then headed by Ian Donaldson, first let me loose on film in an academic context, a turning point in life. The beginnings of the more focused project gained from talks with Professor Wilhelm Vosskamp in Köln. David Roberts responded to chapter 4, Karis Muller and Jeongwon Joe to other sections, Deborah Crisp to the whole manuscript, and a number of conference audiences to reduced versions of different parts. David Boyd was there from the start with film studies input. Like many, I am indebted to Phil Brophy and his team for the Melbourne Cinesonic conferences, an ideal conjunction of film studies and sound, as well as to their participants, especially Adrian