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With the Godzilla franchise recognized as one of the oldest and most popular in film history, the study focuses on the music’s intercultural sources and its recurring musical topics. 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Myriad individuals have shaped and informed my work, and for them I am grateful. I wish to acknowledge those who have shaped my career, work, and life.  \nFirst, I would like to thank my committee. My advisor, Janet Bourne, has shown exceptional grace and support working with me through unexpected life changes and finishing in a different time zone. Benjamin Levy from the beginning has been a warm and welcoming person and was the very first person from UC Santa Barbara that I talked to and met with, a relationship that only grew from there. Martha Sprigge has given me so much to think about, shaping my research interests through her wit and passion, and is a person able to make the darkest of subject matters humanist, fascinating, and invigorating. Working with these individuals has been the highlight of my experience at UC Santa Barbara, and have shaped how I think and thus how I live my life.  \nI would also like to thank the library staffs of UC Santa Barbara and East Carolina University. Even in the age of seemingly endless online access to resources, there will always be a need for experts and stewards of pages, and this project would not have been possible without them.  \nI owe special thanks to Fabio Rambelli, who assisted in particular with Chapter 4. His insight into traditional Japanese music and culture was invaluable to this project, and his passion for gagaku remains enlightening and inspiring to me.  \nNo undertaking of this size would be possible without friends and colleagues. I have received immense support—both tangible and intangible—over the years from Nathan Cobb,  \nJoe Duffy, Pamela Mason-Nguyen, Kevin McBrien, Bridget Michaels, Evan Murnane, Mauricio Palma, Evangeline Smith, and Chet Stussy. Trivia teams, movie nights, and after-hours conversations can be the crucible where ideas are forged, and some of the ideas in this project stem to conversations with these wonderful people.  \nThanks to Henry Michaels—a friend who became an employer while still remaining a close friend—who has been a great help through this process. He has been supportive of this project from the beginning, giving me support as a friend and space as an employer to complete this undertaking in a reasonable amount of time. I’ve written this dissertation by haunting coffee shops and juggling salaried work, and Henry has been the facilitator of all of that.  \nOne of my closest friends also became my editor, and I would like to thank Allison Rigler for her support and care with this document. Working with friends can be a risk, but I have been lucky to have such friends that working together becomes a natural extension of our kinship.  \nI would also like to thank Marc Lombardino and Selina Yong, who have been close friends and colleagues through different writin","cbCaig645wQYOR91","https://ap.wps.com/l/cbCaig645wQYOR91","pdf",6946418,242,"English","# Acknowledgements\n# Vita of Tanner Cassidy\n## Education\n## Professional Employment\n## Fields of Study\n# Abstract","[{\"question\":\"What is the dissertation’s main subject?\",\"answer\":\"It analyzes Ifukube Akira’s score for Gojira (1954), the original Godzilla film, and studies the score’s intercultural sources and musical topics.\"},{\"question\":\"Why is the Godzilla franchise referenced in the study?\",\"answer\":\"The abstract notes the franchise’s long-standing popularity and influence in genre filmmaking, framing the score as part of that enduring legacy.\"},{\"question\":\"Who authored and approved the dissertation?\",\"answer\":\"The dissertation is by Tanner Cassidy, and it states that his dissertation is approved by members of the committee including Janet Bourne, Benjamin Levy, and Martha Sprigge.\"}]","Intercultural Sources and Musical Topics in Ifukube Akira’s Score for Gojira (1954) - Dissertation | PDF",1792229529,610]