Dr James Wierzbicki

PhD Cincinatti
Senior Lecturer, Musicology and Arts Music

J09 - Seymour Centre
The University of Sydney

Telephone +61 2 9351 2066

Biographical details

Previously on the musicology staffs of the University of Michigan and the University of California-Irvine and for more than twenty years the chief classical music critic for the St. Louis Post-Dispatch and other large American newspapers, James Wierzbicki currently focuses on twentieth-century music in general and film music in particular.

His books include Film Music: A History (Routledge, 2009), monographs on the American composer Elliott Carter (University of Illinois Press, 2011) and the electronic score for the 1956 film Forbidden Planet (Scarecrow Press, 2005). Books he has edited or co-edited include The Routledge Film Music Sourcebook (2011) and Music, Sound, and Filmmakers: Sonic Style in Cinema (Routledge, 2012).
Articles by Wierzbicki have appeared in such journals as Musicology Australia, Beethoven Forum, Music and the Moving Image, Opera Quarterly, Screen Sound, the Journal of the American Musicological Society and Musical Quarterly.

Teaching and supervision

Selected publications

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Books

  • Wierzbicki, J. (2016). Music in the Age of Anxiety: American Music in the Fifties. Urbana: University of Illinois Press.
  • Wierzbicki, J. (2011). Elliott Carter. Urbana, USA: University of Illinois Press.
  • Wierzbicki, J. (2009). Film Music: A History. United Kingdom: Routledge.
  • Wierzbicki, J. (2005). Louis and Bebe Barron's Forbidden Planet: A Film Score Guide. United States of America: Scarecrow Press, Inc.

Edited Books

  • Wierzbicki, J. (2012). Music, Sound and Filmmakers: Sonic Style in Cinema. USA and UK: Routledge. [More Information]
  • Wierzbicki, J., Platte, N., Roust, C. (2011). The Routledge film music sourcebook. New York: Routledge imprint of Taylor & Francis.

Book Chapters

  • Wierzbicki, J. (2016). Sound Effects / Sound Affects: 'Meaningful' Noise in Cinema. In Liz Greene, Danijela Kulezic-Wilson (Eds.), The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks, (pp. 153-168). London: Palgrave Macmillan UK. [More Information]
  • Wierzbicki, J. (2015). The Silent Screen, 1894-1927. In Kathryn Kalinak (Eds.), Sound: Dialogue, Music, and Effects, (pp. 15-36). New Brunswick, NJ, USA: Rutgers University Press.
  • Wierzbicki, J. (2012). Music in 'The Twilight Zone'. In K.J. Donnelly, Philip Hayward (Eds.), Music in Science Fiction Television: Tuned to the Future, (pp. 1-13). New York, London: Routledge. [More Information]
  • Wierzbicki, J. (2012). Sonic Style in Cinema. In James Wierzbicki (Eds.), Music, Sound and Filmmakers: Sonic Style in Cinema, (pp. 1-14). USA and UK: Routledge. [More Information]
  • Wierzbicki, J. (2010). The Peculiar 'Love' Music in Oshima's Ai no Korida. In Bruce Johnson (Eds.), Earogenous Zones: Sound, Sexuality and Cinema, (pp. 89-101). London: Equinox Publishing.
  • Wierzbicki, J. (2009). Psycho-Analysis: Form and Function in Bernard Hermann's Music for Hitchcock's Masterpiece. In Philip Hayward (Eds.), Terror Tracks: Music, Sound and Horror Cinema, (pp. 14-46). Sheffield, United Kingdom: Equinox Publishing.
  • Wierzbicki, J. (2009). The Ghostly Noise of J-Horror: Roots and Ramifications. In Philip Hayward (Eds.), Terror Tracks: Music, Sound and Horror Cinema, (pp. 249-267). Sheffield, United Kingdom: Equinox Publishing.
  • Wierzbicki, J. (2008). Sour Notes: Hanns Eisler and the FBI. In Claire A Culleton, Karen Leick (Eds.), Modernism on File: Writers, Artists, and the FBI, 1920-1950, (pp. 197-219). United Kingdom: Palgrave Macmillan.
  • Wierzbicki, J. (2003). Sound as Music in the Films of Terrence Malick. In Hannah Patterson (Eds.), Poetic Visions of America: The Cinema of Terrence Malick, (pp. 110-122). United Kingdom: Wallflower Press.

Journals

  • Wierzbicki, J. (2016). Narrative cinema's "sounds of silence": variations on the POA. Sound Studies, 2(2), 137-150. [More Information]
  • Wierzbicki, J. (2016). Teaching Cage's 'Silent Piece'. Leonardo Music Journal, 26, 78-79.
  • Wierzbicki, J. (2015). Subtle differences: Sonic content in 'translation' remakes. Journal of Adaptation in Film and Performance, 8(2), 155-169. [More Information]
  • Wierzbicki, J. (2014). Inventive Listening: The Aesthetics of Parataxis. International Review of the Aesthetics and Sociology of Music, 45(1), 21-46.
  • Wierzbicki, J., Wierzbicki, J. (2014). The Imagined Sounds of Outer Space. Journal of Sonic Studies, 8, 1-37. [More Information]
  • Wierzbicki, J. (2013). "Laocoon Again?: Simultaneous 'Present Moments' in the Music of Elliott Carter and the Paintings of Jackson Pollock". Evental Aesthetics, 2(1), 73-104.
  • Wierzbicki, J. (2013). How Frankenstein's Monster Became a Music Lover. Journal of the Fantastic in the Arts, 24(2), 246-263.
  • Wierzbicki, J. (2012). Shedding Light on the 'Colour Music' of Sydney's Alexander B. Hector. Musicology Australia, 34(1), 81-99. [More Information]
  • Wierzbicki, J. (2011). Soundtrack 'Design' in Hitchcock's Thriller Sextet. The New Soundtrack, 1(2), 157-175. [More Information]
  • Wierzbicki, J. (2011). The Postmodern in Music. Semiotica, 183(1/4), 283-308. [More Information]
  • Wierzbicki, J. (2010). Cocteau's Chimney, Carter's Cadenza: 'Dream Time' Symbols in Sight and Sound. KronoScope: Journal for the Study of Time, 10(1-2), 15-34. [More Information]
  • Wierzbicki, J. (2010). Lost in translation? 'Ghost music' in recent Japanese Kaidan films and their Hollywood remakes. Horror Studies, 1(2), 193-205. [More Information]
  • Wierzbicki, J. (2010). Max Weber and Musicology: Dancing on Shaky Foundations. Musical Quarterly, 93(2), 262-296. [More Information]
  • Wierzbicki, J. (2010). Undead and its Undecidable Soundtrack. Screen Sound: The Australasian Journal of Soundtrack Studies, 1(1), 9-19.
  • Wierzbicki, J. (2008). Hanns Eisler and the FBI. Music and Politics, 2(2), 1-31.
  • Wierzbicki, J. (2008). Shrieks, Flutters, and Vocal Curtains: Electronic Sound/ Electronic Music in Hitchcock's The Birds. Music and the Moving Image, 1(2), 10-36.
  • Wierzbicki, J. (2007). Reflections on Rochberg and Postmodernism. Perspectives of New Music, 45(2), 108-132.
  • Wierzbicki, J. (2007). The Hollywood Career of Gershwin's Second Rhapsody. Journal of the American Musicological Society, 60(1), 133-186. [More Information]
  • Wierzbicki, J. (2004). Grand Illusion: The "Storm Cloud" Music in Hitchcock's The Man Who Knew Too Much. The Journal of Film Music, 1(2-3), 217-238.
  • Wierzbicki, J. (2003). Banality Triumphant: Iconographic Use of Beethoven’s Ninth Symphony in Recent Films. Beethoven Forum, 10(2), 113-138.
  • Wierzbicki, J. (2002). Raiders of the Lost Arc: Hollywood’s Appropriation of Operatic Narrative Structure. Interdisciplinary Humanities, 19(1-2), 132-146.
  • Wierzbicki, J. (2002). Weird Vibrations: How the Theremin Gave Musical Voice to Hollywood’s Extraterrestrial Others. Journal of Popular Film and Television, 30(3), 125-135.
  • Wierzbicki, J. (2001). Dethroning the Divas: Satire Directed at Cuzzoni and Faustina. The Opera Quarterly, 17(2), 175-196.
  • Wierzbicki, J. (2001). Traditional Values in a Century of Flux: The Music of Felix Labunski (1892–1979). Polish Music Journal.
  • Wierzbicki, J. (2001). Wedding Bells for The Bride of Frankenstein: Symbols and Signifiers in the Music for a Classic Horror Film. Film and Philosophy, Special Edition, 103-116.

Conferences

  • Wierzbicki, J. (2013). New Directions in Film Studies: Hearing Sound as Music. International Scientific Conference on Film Music, Moscow: Moscow Tchaikovsky Conservatory.

2016

  • Wierzbicki, J. (2016). Music in the Age of Anxiety: American Music in the Fifties. Urbana: University of Illinois Press.
  • Wierzbicki, J. (2016). Narrative cinema's "sounds of silence": variations on the POA. Sound Studies, 2(2), 137-150. [More Information]
  • Wierzbicki, J. (2016). Sound Effects / Sound Affects: 'Meaningful' Noise in Cinema. In Liz Greene, Danijela Kulezic-Wilson (Eds.), The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks, (pp. 153-168). London: Palgrave Macmillan UK. [More Information]
  • Wierzbicki, J. (2016). Teaching Cage's 'Silent Piece'. Leonardo Music Journal, 26, 78-79.

2015

  • Wierzbicki, J. (2015). Subtle differences: Sonic content in 'translation' remakes. Journal of Adaptation in Film and Performance, 8(2), 155-169. [More Information]
  • Wierzbicki, J. (2015). The Silent Screen, 1894-1927. In Kathryn Kalinak (Eds.), Sound: Dialogue, Music, and Effects, (pp. 15-36). New Brunswick, NJ, USA: Rutgers University Press.

2014

  • Wierzbicki, J. (2014). Inventive Listening: The Aesthetics of Parataxis. International Review of the Aesthetics and Sociology of Music, 45(1), 21-46.
  • Wierzbicki, J., Wierzbicki, J. (2014). The Imagined Sounds of Outer Space. Journal of Sonic Studies, 8, 1-37. [More Information]

2013

  • Wierzbicki, J. (2013). "Laocoon Again?: Simultaneous 'Present Moments' in the Music of Elliott Carter and the Paintings of Jackson Pollock". Evental Aesthetics, 2(1), 73-104.
  • Wierzbicki, J. (2013). How Frankenstein's Monster Became a Music Lover. Journal of the Fantastic in the Arts, 24(2), 246-263.
  • Wierzbicki, J. (2013). New Directions in Film Studies: Hearing Sound as Music. International Scientific Conference on Film Music, Moscow: Moscow Tchaikovsky Conservatory.

2012

  • Wierzbicki, J. (2012). Music in 'The Twilight Zone'. In K.J. Donnelly, Philip Hayward (Eds.), Music in Science Fiction Television: Tuned to the Future, (pp. 1-13). New York, London: Routledge. [More Information]
  • Wierzbicki, J. (2012). Music, Sound and Filmmakers: Sonic Style in Cinema. USA and UK: Routledge. [More Information]
  • Wierzbicki, J. (2012). Shedding Light on the 'Colour Music' of Sydney's Alexander B. Hector. Musicology Australia, 34(1), 81-99. [More Information]
  • Wierzbicki, J. (2012). Sonic Style in Cinema. In James Wierzbicki (Eds.), Music, Sound and Filmmakers: Sonic Style in Cinema, (pp. 1-14). USA and UK: Routledge. [More Information]

2011

  • Wierzbicki, J. (2011). Elliott Carter. Urbana, USA: University of Illinois Press.
  • Wierzbicki, J. (2011). Soundtrack 'Design' in Hitchcock's Thriller Sextet. The New Soundtrack, 1(2), 157-175. [More Information]
  • Wierzbicki, J. (2011). The Postmodern in Music. Semiotica, 183(1/4), 283-308. [More Information]
  • Wierzbicki, J., Platte, N., Roust, C. (2011). The Routledge film music sourcebook. New York: Routledge imprint of Taylor & Francis.

2010

  • Wierzbicki, J. (2010). Cocteau's Chimney, Carter's Cadenza: 'Dream Time' Symbols in Sight and Sound. KronoScope: Journal for the Study of Time, 10(1-2), 15-34. [More Information]
  • Wierzbicki, J. (2010). Lost in translation? 'Ghost music' in recent Japanese Kaidan films and their Hollywood remakes. Horror Studies, 1(2), 193-205. [More Information]
  • Wierzbicki, J. (2010). Max Weber and Musicology: Dancing on Shaky Foundations. Musical Quarterly, 93(2), 262-296. [More Information]
  • Wierzbicki, J. (2010). The Peculiar 'Love' Music in Oshima's Ai no Korida. In Bruce Johnson (Eds.), Earogenous Zones: Sound, Sexuality and Cinema, (pp. 89-101). London: Equinox Publishing.
  • Wierzbicki, J. (2010). Undead and its Undecidable Soundtrack. Screen Sound: The Australasian Journal of Soundtrack Studies, 1(1), 9-19.

2009

  • Wierzbicki, J. (2009). Film Music: A History. United Kingdom: Routledge.
  • Wierzbicki, J. (2009). Psycho-Analysis: Form and Function in Bernard Hermann's Music for Hitchcock's Masterpiece. In Philip Hayward (Eds.), Terror Tracks: Music, Sound and Horror Cinema, (pp. 14-46). Sheffield, United Kingdom: Equinox Publishing.
  • Wierzbicki, J. (2009). The Ghostly Noise of J-Horror: Roots and Ramifications. In Philip Hayward (Eds.), Terror Tracks: Music, Sound and Horror Cinema, (pp. 249-267). Sheffield, United Kingdom: Equinox Publishing.

2008

  • Wierzbicki, J. (2008). Hanns Eisler and the FBI. Music and Politics, 2(2), 1-31.
  • Wierzbicki, J. (2008). Shrieks, Flutters, and Vocal Curtains: Electronic Sound/ Electronic Music in Hitchcock's The Birds. Music and the Moving Image, 1(2), 10-36.
  • Wierzbicki, J. (2008). Sour Notes: Hanns Eisler and the FBI. In Claire A Culleton, Karen Leick (Eds.), Modernism on File: Writers, Artists, and the FBI, 1920-1950, (pp. 197-219). United Kingdom: Palgrave Macmillan.

2007

  • Wierzbicki, J. (2007). Reflections on Rochberg and Postmodernism. Perspectives of New Music, 45(2), 108-132.
  • Wierzbicki, J. (2007). The Hollywood Career of Gershwin's Second Rhapsody. Journal of the American Musicological Society, 60(1), 133-186. [More Information]

2005

  • Wierzbicki, J. (2005). Louis and Bebe Barron's Forbidden Planet: A Film Score Guide. United States of America: Scarecrow Press, Inc.

2004

  • Wierzbicki, J. (2004). Grand Illusion: The "Storm Cloud" Music in Hitchcock's The Man Who Knew Too Much. The Journal of Film Music, 1(2-3), 217-238.

2003

  • Wierzbicki, J. (2003). Banality Triumphant: Iconographic Use of Beethoven’s Ninth Symphony in Recent Films. Beethoven Forum, 10(2), 113-138.
  • Wierzbicki, J. (2003). Sound as Music in the Films of Terrence Malick. In Hannah Patterson (Eds.), Poetic Visions of America: The Cinema of Terrence Malick, (pp. 110-122). United Kingdom: Wallflower Press.

2002

  • Wierzbicki, J. (2002). Raiders of the Lost Arc: Hollywood’s Appropriation of Operatic Narrative Structure. Interdisciplinary Humanities, 19(1-2), 132-146.
  • Wierzbicki, J. (2002). Weird Vibrations: How the Theremin Gave Musical Voice to Hollywood’s Extraterrestrial Others. Journal of Popular Film and Television, 30(3), 125-135.

2001

  • Wierzbicki, J. (2001). Dethroning the Divas: Satire Directed at Cuzzoni and Faustina. The Opera Quarterly, 17(2), 175-196.
  • Wierzbicki, J. (2001). Traditional Values in a Century of Flux: The Music of Felix Labunski (1892–1979). Polish Music Journal.
  • Wierzbicki, J. (2001). Wedding Bells for The Bride of Frankenstein: Symbols and Signifiers in the Music for a Classic Horror Film. Film and Philosophy, Special Edition, 103-116.

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