Music in Twin Peaks

Reba Wissner is Assistant Professor of Musicology at Columbus State University.Katherine Reed is Assistant Professor of Musicology at California State University, Fullerton.

• Introduction1 Pitching the Peaks: Media Advertising for the Original SeriesJames Deaville2 "Listen to the Sounds": Fan Engagement with the Soundtrack of Twin Peaks: The Return (2017)Jessica Getman3 Where Music is Always in the Air: Voice and Nostalgia in Twin PeaksBrooke McCorkle Okazaki4 The Bang Bang Bar, Silencio, and Lynch’s Audiences: Meaning and Musical Performance in Twin Peaks: The ReturnKatherine M. Reed5 The Music is Not What It Seems: An Examination of Labor and Capital in the Music of Twin Peaks: The ReturnMartha Schulenburg6 "Singer"; "Girl Singer"; "Roadhouse Singer"; "Herself": Julee Cruise in the World of Twin PeaksDavid Sweeney7 "The Thread Will Be Torn": Sound Design as a Measure of Self-Knowledge in Twin Peaks: Fire Walk With MeAndrew Burt8 Sound Design, Music, and The Birth of Evil in Twin Peaks: The ReturnKingsley Marshall and Rupert Loydell9 "What is Gordon Cole Listening To?": The Rhetoric of Subjective Sound in Twin Peaks: The ReturnZeynep Toraman10 David Lynch’s Metaphysical Sound Design: The Acousmatic Personification of JudySteven Wilson11 Americana on the Internet: Listening to Twin PeaksWilliam Weston Bennett12 "Like Some Haunting Melody": The Laura Palmer Theme in the World of Twin PeaksAndrew Kohler13 Listen to the Skins: Drumming and Time in Twin PeaksKai West14 Chaos and Creation: Music, Redemption, and the Atomic Bomb in Twin Peaks: The Return Reba A. Wissner