MUSIC and IMAGE BIBLIOGRAPHY
Gillian B. Anderson and Ronald H. Sadoff . 12/03
FIGURE 1a. DISSERTATIONS 1970-1989
(In descending order by date)
Musical Theory and Practice in the Stage, Film, and Non-Theatre Collaborative Works of Bertolt Brecht and Hanns Eisler, 19301956. Author: Craik, Philip Lee. PhD. The Louisiana State University and Agricultural and Mechanical Col., 1989.
Developing a Curriculum on Film Composition: African-American Composers’ Contributions to Motion Picture Film (1930-1980)
Author: Johnson, Jennifer. EdD. Columbia University Teachers College, 1989.
Music from ‘The Red Pony’ . Film Music by Aaron Copland. Author: Tucker, Aubrey Stephen. MM, Rice University, 1989.
Expression And Narrative Within The Dance ‘Night And Day’ (Astaire, Rogers). Author: Bucher, John Joseph. MA. University Of
Oregon, 1988.
Film Music and Hollywood’s Promise of Utopia in Film Noir and the Woman’s Film. Author: Flinn, Carol Ann. Ph.D., University
of Iowa, 1988.
The Soundscore To ‘Heartbeat’: A Narrative-form Music Video. Author: Kneupper, David Joseph. PhD. Texas Tech University,
1988.
The Cultural Significance of Music to the Black Independent Filmmaker. Author: Gibson, Gloria J. Ph.D. Indiana University,
1987.
Style, Structure, And Tonal Organization In The Early Film Scores Of Aaron Copland (Music Theory, Modern Music, United
States). Author: Cochran, Alfred Williams. PhD. The Catholic University of America, 1986.
Effects of a Stressful Movie and Music on Physiological and Affect Arousal as a Function of Sensation Seeking Trait. Author: Litle,
Patrick Alan. PhD. University Of Delaware, 1986.
The Principle of Counterpoint and its Expression in Music, Dance, and Cinema. Author: Farah, Wanda Therese. PhD. The
University of Texas at Austin, 1985.
The Warner Brothers Film Musical, 1927-1980. Author: Hoover, John Gene. PhD.
University Of Southern California, 1985.
Modes of Continuity in Arnold Schoenberg’s Accompaniment to a Cinematographic Scene, Opus 34. Author: Hush, David Sydney.
PhD. Princeton University, 1985.
The Film Musicals of Vincente Minnelli and the Team of Gene Kelly and Stanley Donen: 1944-1958. (Volumes 1 And 2). Author:
Genne, Beth Eliot. PhD. The University of Michigan, 1984.
Leigh Harline’s ‘Pinocchio’: A Consideration of Music for Films. Author: Prado, Sharon S. M.M. University of Cincinnati,
College-Conservatory of Music, 1984.
Bernard Herrmann: Film Music and Film Narrative. Author: Bruce, Graham Donald. Ph.D. NYU, 1982.
Movement in Time and Space: The Synthesis of Music and Visual Imagery in Luchino Visconti’s ‘Death in Venice’ and Stanley
Kubrick’s ‘2001: A Space Odyssey.’ McKay, Frances Thompson. DMA. Peabody Institute of Johns Hopkins University, 1982.
The Making of an American Film Composer: A Study of Alfred Newman’s Music in the First Decade of the Sound Era. Author:
Steiner, Frederick. Ph.D. USC, 1981.
Film Music: Narrative Functions in French Films. Author: Gorbman, Claudia Louise. Ph.D. University of Washington, 1978.
Music Composition for Film: A Series of Creative Projects Designed as Adjunct Learning Experiences In Lower-Division Music
Theory Classes. Author: King, Jeffrey Thomas. Da Ball State University, 1977.
Improvisation: theory and application for theatrical music and silent film. Author: Hanlon, Esther. Ph.D. University of Cincinnati,
1975.
An Investigation of the Motives for and Realization of Music to Accompany the American Silent Film, 1896-1927. Author: Berg,
Charles Merrell., PhD. The University Of Iowa, 1973
Film Music and Attitude Change: A Study to Determine the Effect of Manipulating a Musical Soundtrack upon Changes in Attitude
Toward Militarism-Pacifism held by Tenth Grade Social Studies Students. Author: Schwartz, Stanley. Ph.D., Syracuse University,
1970.
FIGURE 1b. DISSERTATIONS 1990-2002 CATEGORIZED
(listed in descending order by date)
AESTHETICS; TECHNOLOGY
Where does the music come from? Studies in the aesthetics of film music. Author: Biancorosso, Giorgio Ph.D. Princeton University,
How cinema changes music: Metronomes, maestros, and composition Author: Cohen, Thomas Franklin. Ph.D. University of
Florida, 2001
Spatio-temporal Synchronization and Semantic Modeling for Video and Multimedia Database Systems (Video Databases) Author:
Radev, Ivan Stefanov Ph.D. University of Southwestern Louisiana. 1998
Songs of Subjectivities: Theorizing Hollywood Film Music of the 80s and 90s (Nationalism) Author: Kassabian, Anahid Ph.D.
Stanford University, 1994
Levels of Reality in Dramatic Music (Representational Sound, Aesthetics)
Author: Warren, Alicyn Ph.D. Princeton University, 1992
MUSICAL ANALYSIS; COMPOSITION
Copland’s “Something Wild” and “Music for a Great City”: From cinematic to symphonic narrative (Aaron Copland) Author:
Carroll, Don R. Ph.D. University of Southern California, 2000
The chamber music of Miklos Rozsa (Hungarian-American)Author: McKenney, Nancy Jane
Ph.D. University of Kentucky, 2002
Musical recycling: A study and comparison of Ralph Vaughn Williams’ film score for “Scott of the Antarctic” with “Sinfonia
Antartica” (Symphony No. 7) (England, Charles Frend) Author: Heine, Erik James. M.M. The University of Arizona, 2001
Interactive arranging: Techniques of jazz, commercial, and formal twentieth-century composition and their application to
composing for film and television Author: Carter, Allen Lance D.M.A. University of Northern Colorado, 2001
A comparison of style between selected Lieder and film songs of Erich Wolfgang Korngold Author: Ennis, Frank Robert D.M.A.
The University of Texas at Austin, 1999.
An Analysis of Erich Wolfgang Korngold’s Cello Concerto and Underscore Written for the Film “Deception” (Irving Rapper,
Austria) Author: Leviton, Lawrence DanaD.M.A The University Of Wisconsin - Madison, 1998
Reference, Syntax, and the Compositional Process in Film Music Author: Missiras, Michael
Ph.D New York University, 1998.
A Comparison of Leonard Bernstein’s Incidental Music for the Film “On the Waterfront” and the Subsequent “Symphonic Suite”
for the Film, and an Original Composition: Symphony No. 1: “Music for Theater” (Symphony No. 1: “Music for Theater”) Author:
Lias, Stephen John D.M.A. The Louisiana State University and Agricultural and Mechanical Col., 1997.
76 Photographs: A Music (Seventy Six Photographs: A Music, Composing, Imagery, Sound) Author: Radkiewicz, Jadwiga Wiska
Ph.D. Princeton University, 1997.
An Austrian in Hollywood: Leitmotifs, Thematic Transformation and Key Relationships in Max Steiner’s 1942 Film Score, “Now,
Voyager” (Now, Voyager). Author: Leinberger, Charles Francis Ph.D. The University Of Arizona, 1996.
Un Cinema Pour L’oreille: Cycle D’Oeuvres Acousmatiques Incluant “Eclats De Voix”, “Jeu”, “Memoires Vives” Et “Tangram”
(French Text, Film, Electronic Music).Author: Normandeau, Robert D.Mus. Universite de Montreal (Canada), 1992.
Film As Art/film As Meaning: A Pragmatist Interpretation Of Godfrey Reggio’s “Powaqqatsi” (Reggio Godfrey) Author: Shapiro,
David W. Ed.D. Boston University, 1991.
Part I. A Great Light: Cantata on Texts from Isaiah for Chorus, Solo Soprano, Solo Baritone, and Orchestra. (Original
Composition). Part Ii. “Altered States”: A Discussion of John Corigliano’s Film Score Author: May, Daniel Joseph. D.M.A.
Cornell University, 1990.
HISTORY AND CRITICISM
Terrible screeching: Adaptation of Pushkin’s “Queen of Spades” in theater, opera and film (Aleksandr Sergeevich Pushkin, Russia)
Author: Pastur, Galina. Ph.D. University of Southern California, 2001.
Music and narrative in the French New Wave: The films of Agnes Varda and Jacques Demy Author: Bogart, Betsy Ann. Ph.D.
University of California, Los Angeles, 2001.
Social dimensions of Hollywood movie music Author: Pinsonneault, Michael. Ph.D. Concordia University (Canada), 1999.
The Aesthetics of Collaboration: Adaptation and Creation in the Musical and Film “Guys and Dolls” (Damon Runyon, Samuel
Goldwyn) Author: Combe, Jeffery Winn. Ph.D. University of California, Riverside,1998.
Drawing on Hollywood: Warner Bros. Cartoons and Hollywood, 1930-1960 (Warner Bros. ) Author: Sartin, Hank. Ph.D. The
University of Chicago, 1998.
“Operette”: The German and Austrian Musical Film (Johann Strauss, Oscar Straus, Franz Lehar) Author: Traubner, Richard. Ph.D.
New York University, 1996.
Soundtracking the Past: Early Music and its Representations in Selected History Films (“The Private Life of Henry VIII”, “The
Seahawk”, “Quo Vadis?”, “The Agony and the Ecstasy”, “Becket, a Man for all Seasons”) Author: Schubert, Linda Katherine.
Ph.D. The University of Michigan, 1994.
The Sounds of Commerce: Popular Film Music from 1960 to 1973 (Henry Mancini, John Barry, Ennio Morricone) Author: Smith,
Jeffrey Paul. Ph.D. The University of Wisconsin - Madison, 1995.
The “Don Quichotte a Dulcinee” of Maurice Ravel and the “Chansons De Don Quichotte” of Jacques Ibert: A Study of Two Song
Cycles Composed for the Film “Don Quixote”, Which Starred Feodor Chaliapin (Ravel, Maurice, Ibert, Jacques, France, Chaliapin,
Feodor, Russia) Author: Hartmann, Donald Conrad. D.M.A. The University of Oklahoma, 1994.
Hammerscore: The Influence of Nineteenth Century Romantic Music on Scores Written Ffor Hammer Film Productions, 1957-1980
(Musical Scores) Author: Huckvale, David. Ph.D. Open University (United Kingdom), 1991.
Stage to Studio: American Musicians and Sound Technology, 1890-1945 (Musicians) Author: Kraft, James P. Ph.D. University of
Southern California, 1990.
Film Music of the Silent Period, 1895-1924 Author: Marks, Martin Miller. Ph.D. Harvard University, 1990.
DOCUMENTARY
The Classical Documentary Score in American Films of Persuasion: Contexts and Case Studies, 1936-1945 (Newsreels,
Government Films, Virgil Thomson, Pare Lorentz, Aaron Copland) Author: Lerner, Neil William. Ph.D. Duke University, 1997
The Kinetic And Temporal Interaction Of Music And Film: Three Documentaries Of 1930’s America (Kinetic Interaction) Author:
Widgery, Claudia Joan. Ph.D. University of Maryland College Park, 1990
OPERA
Opera on Film, Film in Opera: Postmodern Implications of the Cinematic Influence on Opera Author: Joe, Jeongwon. Ph.D.
Northwestern University, 1998.
Opera On Film: A Study of the History and the Aesthetic Principles and Conflicts of a Hybrid Genre (Cinema) Author: Simpson,
Alexander Thomas, Jr. Ph.D. University of Kentucky, 1990.
SPECIFIC COMPOSERS
(See Analysis Copland, Rozsa, Vaughan Williams, Korngold, Bernstein, Max Steiner, Phillip Glass, John Corigliano; See
Documentaries Copland, Thomson)
Composers on the cultural front: Aaron Copland and Hanns Eisler in Hollywood (Germany) Author: Bick, Sally. M. A. Ph.D. Yale
University, 2001.
Happy Harmonies: Music and the Hollywood Animated Cartoon (Carl Stalling, Scott Bradley) Author: Goldmark, Daniel Ira.
Ph.D. University of California, Los Angeles, 2001.
Bernard Herrmann’s radio music for the “Columbia Workshop” Author: Kosovsky, Robert. Ph.D. City University of New York,:
2000.
East and West: The Aesthetics and Musical Time of Toru Takemitsu (Japan, Composers, Twentieth Century, Music Theory) Author:
Koh, Hwee Been. Ph.D. Boston University, 1998.
Narrative and Non Narrative Structures in the Film Music of Michael Nyman. Author: Millard Daugherty, Florence Anne. Ph.D.
The Florida State University, 1997.
Leo Arnaud (1904-1991), Trombonist, Composer, Film Musician: A Biographical Sketch and Catalogue of Musical Works and Films
(France, Arnauld, Leo) Author: Kolstad, Michael L. D.M.A The University of North Carolina at Greensboro, 1996.
Castelnuovo-Tedesco in America: The Film Music (Castelnuovo-Tedesco, Mario). Author: Westby, James John. Ph.D. University of
California, Los Angeles, 1994.
George Antheil’s “Music to a World’s Fair Film” (Antheil, George, Film Score). Author: Cochrane, Keith Allan. D.A. University
of Northern Colorado, 1994.
Miklos Rozsa: A Portrait of the Composer as seen through an Analysis of his Early Works for Feature Films and the Concert Stage
(Film Music, Hungary) Author: Wescott, Steven Dwight. Ph.D. University of Minnesota, 1990.
WOMEN’S STUDIES; BLACK STUDIES; QUEER STUDIES
The Role of Music in the Construction of Gender in ‘Gone with the Wind’ Author: Otter, Kelly. Ph.D. New York University, 2002.
Don’t should on me: The Black actress, 1940-1970: Lena Horne, Diahann Carroll, and Eartha Kitt Author: Dreher, Kwakiutl Lynn.
Ph.D. University of California, Riverside, 2001.
“Anything you can do, I can do better”: Transgressive gender role performance in musical theatre and film, 1930-1950 Author:
Feder-Kane, Abigail Miriam. Ph.D. Northwestern University,: 1999.
The chanteuse at the city limits: Femininity, Paris, and the cinema (France) Author: Conway, Kelley. Ph.D. University of
California, Los Angeles, 1999.
More to the Picture: Rock’n’Roll Recording, Film Form, and the Representation of Gender, Sexuality, And Race Author: Knobloch,
Susan M. Ph.D. University of California, Los Angeles, 1998.
Dis-integrating The Musical: African American Musical Performance And The American Musical Film, 1927-1959 Author: Knight,
Arthur L., III. Ph.D. The University of Chicago, 1998.
The Subject of Property: Race, Prosthesis, and Possession in American Culture, 1865-1927 (White-smith Music Co. Vs Apollo Co.
, Player Pianos, Harriet Beecher Stowe, Thomas Edison, D. W. Griffith, Property) Author: Best, Stephen Michael. Ph.D. University
of Pennsylvania,: 1997.
Film, Fiction, and Feminism Politics in Helke Sander’s Cinematic and Literary Texts: Representation of Gender, Subjectivity, Humor and
Music (Sander, Helke) Author: Zinn, Gesa. Ph.D. University of Minnesota, 1995.
Cultural Interpellations: Popular Song Interpolations in Narrative Film (Feminist Film Theory) Author: Goldstein, Lynda R. Ph.D. Temple
University, 1992.
SOCIOLOGY
Southern crossings: Italians, cinema, and modernity (Italy, 1861-New York, 1920) Author: Bertellini, Giorgio. Ph.D. New York University,
2001.
An Analysis of Social Critique in Music Videos Broadcast on Muchmusic Author: Williams, Steven Daniel. M.A. University of Alberta
(Canada), 1993.
PSYCHOLOGY OF PERCEPTION
The construction of meaning in Hollywood and music video editing aesthetics: A comparison between the pre-television and music
television generations Author: Harwood, Julie D. M.A. University of Windsor (Canada), 1998.
The narrative power of sound: Symbolism, emotion and meaning conveyed through the interplay of sight and sound in Terrence Malick’s
“Days of Heaven” Author: Feldman Nebenzahl, Bernardo. Ph.D. University of California, Los Angeles, 2000.
Cognition of Musical and Visual Accent Structure Alignment in Film and Animation Author: Lipscomb, Scott David. Ph.D. University Of
California, Los Angeles, 1995.
The Role of Music in Television Commercials: The Effects of Familiarity with and Feelings Toward Background Music on Attention,
Attitude, and Evaluation of the Brand (Brand Attitudes, Advertising) Author: Yoon, Sun-gil. Ph.D. University of Georgia, 1993.
Perceptual Judgment of the Symbiosis Between Musical and Visual Components in Film Author: Lipscomb, Scott David. M.A. University
of California, Los Angeles, 1990.
SOUND DESIGN
Deep into the forest: The narrative, sonic and reception design of “Foret Profonde” by Francis Dhomont Author: Rubin, Anna Ita. Ph.D.
Princeton University, 2000.
Sound Design and Science Fiction (Film Soundtrack) Author: Whittington, William Brian. Ph.D. University of Southern California, 1999.
The Collateral Relationship Between Sound Effects and Music in Selected Media Author: Eastman, Patricia Lynn. M.A San Jose State
University, 1994.
FILM MUSIC IN ASIA; AUSTRALIA
Becoming a global audience: Music television in India Author: Juluri, Vamsee Krishna.
Ph.D. University of Massachusetts Amherst, 1999.
Music and the Australian Film Industry, 1894-1969: A History Author: Napthali, Diane Elizabeth. Ph.D University of New South Wales
(Australia), 1998.
A National Score: Popular Music and Taiwanese Cinema Author: Yeh, Yueh-yu. Ph.D . University of Southern California, 1995.
FIGURE 2: BOOKS ON MUSIC FOR MOVING IMAGES
BIBLIOGRAPHY AND ENCYCLOPEDIAS
American Film Institute, Film Music. Frederick, MD, University Publications of America, 1984.
Gillian Anderson, “‘Perfuming The Air With Music’: The Need For Film Music Bibliography,” in Foundations in Music Bibliography,
Richard D.Green, editor. New York, Haworth Press, 1986, 1993.
Gillian Anderson, compiler, Film Music Bibliography I, ed. H. Stephen Wright. Hollywood, Society for the Preservation of Film Music,
1995. [Supplement to Wescott , covering works about film and television music up to 1985.]
Gillian Anderson, Music for Silent Films (1892-1929): A Guide. Washington, DC, Library of Congress, 1988.
Lowell E. Ashley, Cataloging Musical Moving Image Material: A Guide to the Biliographic Control of Videorecordings and Films of
Musical Performances and Other Music-Related Moving Image Material. Lanham, MD, Scarecrow Press, Inc., 1996.
Ruth Benjamin and Arthur Rosenblatt, Movie Song Catalog: Performers and Supporting Crew for the Songs sung in 1460 Musical and
Nonmusical Films, 1928-1988. Jefferson, NC, McFarland, 1993.
Herbert Birett, Stummfilm-Musik. Materialsammlung. Berlin, Dt. Kinemathek, 1970.
Ken Bloom, Hollywood Song: the Complete Film & Musical Companion. NY, Facts on File, 1995.
Jack Burton, The Blue Book of Hollywood Musicals; Songs from the Sound tracks and the Stars who sang them since the Birth of the
Talkies a Quarter-Century ago. Watkins Glen, NY, Century House, 1953.
W. E. Clason, Elsevier’s Dictionary of Cinema, Sound, and Music, in six Languages: English/American, French, Spanish, Italian, Dutch,
and German. Amsterdam, NY, Elsevier Pub. Co., 1956.
Ermanno Comuzio, Colonna Sonora: Dizionario Ragionato dei Musicisti Cinematografici. Roma, Ente dello Spettacolo, 1992.
James V. D’Arc and John N. Gillespie, The Max Steiner Collection: MSS 1547. Provo, Utah, Brigham Young University, Harold B. Lee
Library, 1996.
Edgar J. Lewis, The Archive Collections of Film Music at the University of Wyoming: a descriptive guide for scholars: a summary report of
an inspection and evaluation of specific collections of film music in the custody of the Division of Rare Books and Special Collections, Coe
Library , the University of Wyoming. Laramie, WY?, E. J. Lewis, 1976.
Steve Gelfand, Television Theme Recordings: an Illustrated Discography, 1951-1994. Ann Arbor, MI, Popular Culture, Ink., 1994.
Steve Harris, Film and Television Composers: an International Discography, 1920-1989. Jefferson, NC, McFarland & Co, 1992.
James L. Limbacher and H. Stephen Wright, Keeping Score: Film and Television Music, 1980-1988, with additional coverage of 1921
1979. Metuchen, NJ, Scarecrow Press, 1991.
Alvin H. Marill, Keeping Score: Film and Television Music, 1988-1997. Lanham, Md., Scarecrow Press, 1998.
Martin Marks, “Film Music: The Material, Literature and Present State of Research,” Notes (1970), p. 282-324, (Revised in Marks, Music
and the Silent Film)
Clifford McCarty, Film Composers in America : A Filmography, 1911-1970 , 2nd edition.New York: Oxford University Press, 2000.
Judith A. McGrath, Emily White and John Tobler, MTV Music Television, Who’s Who in Rock Video. NY, Quill, 1984.
David Meeker, Jazz in the Movies. NY, Da Capo Press, 1981.
Susan Sackett and Marcia Rovins, Hollywood sings! An Inside Look at Sixty Years of Academy Award Nominated Songs. NY, Billboard
Books, 1995.
Norbert J. Schneider, Handbuch Filmmusik. Munich, Oelschlaeger, 1986-89.
Michael Shore, The Rolling Stone Book of Rock Video. NY, Quill, 1984.
Marion Short, Hollywood Movie Songs: Collectible Sheet Music. Atglen, PA: Schiffer Pub., 1999.
Michael Stemmer, ed., Western Movie Composers: a Selected, Annotated Listing of 2006 Genre Films shown in Germany. Berlin,
Wiesjahn, 1996.
Donald J. Stubblebine, British Cinema Sheet Music: a Comprehensive Listing of Film Music Published in the United Kingdom, Canada,
and Australia, 1916 through 1994. Jefferson, NC, McFarland & Co., 1997.
Donald J. Stubblebine, Cinema Sheet Music: A Comprehensive Listing of Published Film Music from Squaw Man (1914) to Batman
(1989). Jefferson, NC., McFarland & Co., Inc., Publishers, 1991.
Theodore van Houten, Silent Cinema Music in the Netherlands: the Eyl/Van Houten Collection of Film and Cinema Music in the
Nederlands Filmmuseum, Buren, The Netherlands, F. Knuf Publishers, 1992.
Steven D. Wescott, A Comprehensive Bibliography of Music for Film and Television, Detroit: Information Coordinators, 1985.
Sven G. Winquist, Musik i svenska ljudfilmer 1929-1939. Stockholm, STIMs informationscentral for svensk musik, 1980.
Sven G. Winquist, Musik i svenska ljudfilmer 1940-1949. Stockholm?, STIMs informationscentral for svensk musik, 1982.
Sven G. Winquist, Musik i svenska ljudfilmer 1950-59. Stockholm, Svensk Musik, 1985.
Sven G. Winquist, Musik i svenska ljudfilmer 1960-1979. Stockholm, Svensk musik, 1990.
Allen L. Woll, Songs from Hollywood Musical Comedies, 1927 to the present: a Dictionary. NY, Garland Pub., 1976.
H. Stephen Wright, compiler, A Preliminary Directory of Film Music Collections in the United States, The Cue Sheet, Vol. 9, No. 1, Jan
1992.
COMPOSERS - INTERVIEWS, BIOGRAPHIES, ANALYSIS
Don Christlieb, Recollections of a First Chair Bassoonist: 52 Years in the Hollywood Studio Orchestras. Los Angeles, Christlieb Products,
1996.
Robert R. Faulkner, Hollywood Studio Musicians: their Work and Careers in the Recording Industry. Lanham, MD, University Press of
America, 1985.
Christopher Palmer, The Composer in Hollywood, New York, Rizzoli International Pub, 1990.
Michael Schelle, The Score: Interviews with Film Composers. Los Angeles, Silman-James Press, 1999.
Tony Thomas, Film Score: The Art and Craft of Movie Music. Burbank (CA), Riverwood Press, 1991.
Tony Thomas, Film Score: the View from the Podium. South Brunswick, NJ, A. S. Barnes, 1979.
Tony Thomas, Music for the Movies, 2d ed., expanded and updated. LA, Silman-James Press, 1997.
Graham Bruce, Bernard Herrmann: Film Music and Narrative. Ann Arbor, UMI Research Press, 1985.
Roy Carr, Beatles: at the Movies. NY, HarperPerennial, 1996.
Stewart R. Craggs, Malcolm Arnold: A Bio-Bibliography, Vol. 69. Greenwood Publishing Group, Inc., 1998.
Linda Danly, ed., Hugo Friedhofer: The Best Years of His Life. Lanham, MD, The Scarecrow Press, Inc., 1999.
Ken Darby, Hollywood Holyland: The Filming and Scoring of the Greatest Story Ever Told. Lanham, MD, Scarecrow Press, Inc.,
1992.
David Huckvale. James Bernard: composer to Count Dracula. Westport, Conn., Praeger, 2002.
Eric James, Anthony Slide, ed., Making Music with Charlie Chaplin: An Autobiography. Press, Inc., 2000.
Edward Johnson, Bernard Herrmann, Hollywood’s Music-dramatist: a Biographical Sketch with a Filmography, Catalogue of
Works, Discography and Bibliography. Forword by Miklos Rozsa. Rickmansworth, Triad Press, 1977.
Miklos Rozsa, Double Life: The autobiography of Miklos Rozsa. Tunbridge Wells, Kent, The Baton Press, 1982.
James Siddons, Toru Takemitsu: A Bio-Bibliography, Vol. 85. Greenwood Publishing Group, Inc., 2001.
Steven C. Smith, A Heart at Fire’s Center: The Life and Music of Bernard Herrmann. Berkeley, University of California Press,
1991.
HISTORY AND CRITICISM
Irene Kahn Atkins, Source Music in Motion Pictures. Rutherford, Fairleigh Dickinson University Press, 1983.
Sergio Bassetti, La musica secondo Kubricki.Torino, Lindau, 2002
Irwin Bazelon, Knowing The Score: Notes on Film Music. New York, Van Nostrand Reinhold Co., 1975.
Jeff Bond, The Music of Star Trek. Los Angeles, Lone Eagle Pub. Co., 1998.
Philip Brophy, ed., Cinesonic: the World of Sound in Film. North Ryde, NSW, Australia, Australian Film, Television, and Radio
School, 1999.
Philip Brophy, ed. Cinesonic: Cinema and the Sound of Music. North Ryde, N.S.W., Australian Film Television & Radio School;
St. Leonards, N:S:W., Allen & Unwin, 2000.
Royal S. Brown, Overtones and Undertones: Reading Film Music. Berkeley, University of California Press, 1994.
James Buhler, Caryl Flinn, and David Neumeyer, ed., Music in Cinema. Hanover, NH, University Press of New England, 2002.
George Burt, The Art of Film Music . Boston, Northeastern University Press, 1994.
John Byrell, Bandstand.and all that!. Kenthurst, NSW, Australia, Kangaroo Press, 1995.
Gerald Cockshott, Incidential music in the sound film. London, British Film Institute, 1946.
Alex Coletti, Unplugged. NY, MTV Books, 1995.
Rebecca Coyle, ed., Screen Scores: Studies in Contemporary Australian Film Music. Sidney, AFTRS, 1998.
Warren Craig, The Great Songwriters of Hollywood. San Diego, A. S. Barnes, 1980.
Ken Darby, Hollywood Holyland: The Filming and Scoring of the Greatest Story Ever Told. Lanham, MD, Scarecrow Press, Inc.,
1992.
William Darby and Jack Du Bois, American Film Music: Major Composers, Techniques, Trends, 1915-1990. Jefferson, N.C.,
McFarland, 1990.
Kay Dickinson, ed., Music, the Film Reader. NY, Routledge, 2002.
Kevin J. Donnelly, ed., Film Music: Critical Approaches. NY, Continuum, 2001.
Mark Evans, Soundtrack. The Music of the Movies. NY, Da Capo Paperback, 1979. (Emended Reprint of 1975 edition).
Robert R. Faulkner, Music on Demand: Composers and Careers in the Hollywood Film Industry. New Brunswick, Transaction
Books, 1983.
Caryl Flinn, Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music. Princeton, Princeton Press, 1992.
Krin Gabbard, Jammin’At The Margins : Jazz And The American Cinema. Chicago, University of Chicago Press, 1996.
Daniel Goldmark and Yuval Taylor, ed., The Cartoon Music Book. Chicago, A Capella Books, 2002.
Andrew Goodwin, Dancing in the Distraction Factory: Music Television and Popular Culture. Minneapolis, University of
Minnesota Press, 1992.
Claudia Gorbman, Unheard Melodies: Narrative Film Music. Bloomington, Indiana University Press, 1987.
Douglas Green, Singing in the Saddle: the History of the Singing Cowboy. Nashville, TN, Vanderbilt University Press, 2002.
John Huntley, British film music. London, S. Robinson [1947]
Philip Jenkinson and Alan Warner, Celluloid Rock: Twenty Years of Movie Rock. London, Lorrimer, 1974.
Jeongwon Joe (Editor), Rose Theresa (Editor), Stanley Cavell (Afterword), Foreword by Martha Feldman, Between Opera and
Cinema. Taylor & Francis, Inc., 2001
Kathryn Kalinak. Settling the Score: Music And The Classical Hollywood Film. Madison, University of Wisconsin Press, 1992.
Fred Karlin, Listening to Movies: the Film Lover’s Guide to Film Music. NY, Schirmer Books, 1994.
Anahid Kassabian, Hearing Film. Tracking identifications in Contemporary Hollywood Film Music. NY, Routledge, 2001.
Julie Koerner, Love Songs from Stage and Screen. NY, Friedman/Fairfax, 1994.
Russell Lack, Twenty-Fours Frames: a Buried History of Film Music, London, Quartet Books Ltd., 1997.
Randall D. Larson, ed., Film Music Around the World. Sunnyvale, CA, Fandom Unlimited Enterprises, San Bernadino, CA, Borgo
Press, 1987.
George A. Lazarou, Max Steiner and Film Music; an essay. Athens, 1971.
Louis Levy, Music for the movies. London, S. Low, Marston, [1948]
Lisa A. Lewis, Gender Politics and MTV: Voicing the Difference. Philadelphia, Temple University Press, 1990.
Kurt London. Film Music, translated by Eric S. Bensinger. NY, Arno Press, 1970.
William John Marx, Music in Television Advertising. N.p., 1967.
Gary Marmorstein, Hollywood Rhapsody: Movie Music and Its Makers, 1900 to 1975. NY, Schirmer Books, 1997.
Muir Mathieson, Music for Crown [Film Unit] New York, British Information Services [1948?]
Clifford McCarty, ed. Film Music I. NY, Garland Pub., 1989.
Laurence E. McDonald, The Invisible Art of Film Music: a Comprehensive History. New York, Ardsley House Publishers, Inc.,
1998.
Elizabeth Meidt, Background music for the films.[Minneapolis?] 1950.
Fred Miller, Music in Advertising. NY, Amsco Publications, 1985.
Dominique Nasta, Meaning in Film: Relevant Structures in Soundtrack and Narrative. Berne, NY, Lang, 1991.
Iris Newsom, ed., Wonderful Inventions: Motion Pictures, Broadcasting, and Recorded Sound of the Library of Congress.
Washington, D.C. Library of Congress, 1985.
Roy Prendergast, Film Music: A Neglected Art, 2d edition. NY: Norton, 1992. (updated from 1977).
Jonathan Romney and Adrian Wootton, ed., Celluloid Jukebox : Popular Music and the Movies Since the 50s. London, British Film
Institute, 1995.
Mark Russell and James Young, Film music. Boston : Focal Press, c2000.
Leonid Leonidovich Sabaneev, Music for the Films, translated by S. W. Pring. NY, Arno Press, 1978.
Walter Scharf, The history of film scoring. Studio City, CA : Cinema Songs, 1988.
David P. Schroeder, Cinema’s Illusions, Opera’s Allure: The Operatic Impulse in Film Continuum International Publishing Group,
2002.
Jeff Smith, The Sounds of Commerce:Marketing Popular Film Music. NY, Columbia University Press, 1998.
Peter R. Stanfield, Horse Opera: The Strange History of the 1930s Singing Cowboy. Urbana, IL, University of Illinois Press, 2002.
Ken Sutak, The Great Motion Picture Soundtrack Robbery: an Analysis of Copyright Protection. Hamden, Conn, Archon Books,
1976.
Jan G. Swynnoe, The Best Years of British Film Music, 1936-1958. Woodbridge, Suffolk; Rochester, NY, Boydell Press, 2002.
Philip Tagg, ed. Film Music, Mood Music, and Popular Music Research: Interviews, Conversations, entretiens sur la musique
de film, de sonorisation et sur la recherche dans la musiqu des mass-media. Goteborg, Sweden, Goteborgs Universitet,
Musikvetenskapliga Institutionen, 1980.
Lawrence B. Thomas, The MGM Years. New York, Columbia House; distributed by Arlington House [1972]
David Tietyen, The Musical World of Walt Disney. Milwaukee, Wis: H. Leonard Publ, Corp., 1990.
Allan Ulrich, The Art of Film Music: a Tribute to California’s Film Composers, the Oakland Museum, March 12, 13 & 14 1976.
Oakland, CA, The Museum, 1976.
United States. Congress. House. Committee on Interstate and Foreign Commerce. Special Subcommittee on Legislative Oversight.
Songplugging and the airwaves: a functional outline of the popular music business; staff study for the Committee on Interstate and
Foreign Commerce, House of Representatives, Eighty-sixth Congress, second session. May 1960. Washington, U.S. Govt. Print.
Office, 1960.
Luc van de Ven, ed., Motion Picture Music. Mechelen, Belgium, Soundtrack, 1980.
Alexander Walker, The Shattered Silents: How the Talkies Came to Stay, London, Elm Tree Books, 1978.
Marc Weingarten, Station to Station: the History of Rock ‘n’ Roll on Television. NY, Pocket Books, 2000.
John Williams with Andrew Keech et al., ed., Film and Television Music Yearbook, 1999. Bridport (sic), Dorset, Variations, 1999.
Walt Woodward, An Insider’s Guide to Advertising Music. NY, Art Direction Book Co., 1982.
Pamela Robertson Wojcik and Arthur Knight, ed. Soundtrack available: essays on film and popular music. Durham, NC, Duke
University Press, 2001.
HOW TO...
David A. Bell, Getting the Best Score for Your Film: a Filmmakers’ Guide to Music Scoring. Los Angeles, Silman-James Press,
1994.
Don Carlin, Music in Film and Video Productions. Boston, Focal Press, 1991.
Sharal Churchill, Jan Seedman (Editor), The Indie Guidebook to Music Supervision for Films. Filmic Press, 2000
Richard Davis, Complete Guide to Film Scoring: The Art and Business of Writing Music for Movies and TV. Boston, Berklee Press,
1999.
Hanns Eisler and Theodor Adorno., Composing for the Films, with a new introduction by Graham McCann. London, Atlantic
Highlands, NJ, Athlone Press, 1994.
Earle Hagen, Advanced Techniques for Film Scoring: a Complete Text. Los Angeles, Alfred Pub. Co., 1990.
Earle Hagen, Scoring for Films. Updated Edition. LA, Alfred Publishing Co., Inc., 199?
Fred Karlin and Rayburn Wright, On the Track: A Guide to Contemporary Film Scoring. NY, Schirmer Books, 1990.
Milton Lustig, Music Editing for Motion Pictures. NY, Hastings House, 1980.
Henry Mancini, Sounds and Scores. A practical guide to professional orchestration. LA, Northridge Music Inc., 1973, 1986.
John Mansfield, Music and Sound Effects: Sound for Television. Borehamwood, Hertfordshire, BBC Television Training, 1992.
Roger Manvell and John Huntley, The Technique of Film Music. London, NY, Focal P., 1967.
Ennio Morricone and Sergio Miceli, a cura Laura Gallenga. Comporre Per il Cinema: Teoria e prassi della musica nel film.
Biblioteca di Bianco & Nero, 2001.
Ruby Raksin, Technical Handbook of Mathematics for Motion Picture Music Synchronization, 2d ed. Sherman Oaks, CA, R-Y Pub.
Co., 1972.
F. Rawlings, How to Choose Music for Amateur Films. London, NY, Focal Press, 1955.
Jeffrey C. Rona. The Reel World: Scoring for Pictures. San Francisco, Miller Freeman Books; Milwaukee, WI, Hal Leonard Pub.,
2000.
Marlin Skiles, Music Scoring for TC & Motion Pictures. Blue Ridge, PA, Tab Books, 1976.
Frank Skinner, Underscore. Los Angeles, Skinner Music Co., 1950.
Rosanne Soifer, Music in Video Production. White Plains, NY, Knowledge Industry Publications, 1991.
PSYCHOLOGY OF PERCEPTION
Philip Tagg and Bob Clarida, Ten Little Title Tunes. New York, Mass Media Scholars Press, 2002.
Annabel J. Cohen, ed., Psychomusicology, Vol. 13 (1994). Special volume on the psychology of film music.
Marilyn Boltz, M. Schulkind and S. Kantra, “Effects of background music on the remembering of filmed events,” Memory &
Cognition, 19, p. 593-606.
Marilyn Boltz, “Musical Soundtracks as a Schematic Influence on the Cognitive Process of Filmed Events,” Music Perception,
Summer 2001, Vol 18, no.4., pp.427-454.
S. Marshall and Cohen A.J., “Effects of Musical Soundtracks on Attitudes Toward Animated Geometric Figures,” Music Perception,
6, p. 95-112.
Mikael Paltschik and Lars-Johan Lindqvist, Consumer Recall of Brand and Product Class under Conditioning of Music from
Television Commercials. Helsingfors, Swedish School of Economics and Business Administration, 1987.
Philip Tagg, “Music, Moving Image, Semiotics, and the Democratic Right to Know,” paper delivered at conference “Music and
Manipulation,” Nalen, Stockholm, Sept 18, 1999.
SOUND DESIGN
Tom Kenny, Sound for Picture: The Arts of Sound Design in Film and Television. Vallejo, CA, Mix Books, 2000.
Vincent LoBrutto, Sound-On-Film. Westport, Connecticut, Praeger. 1994.
David Sonnenschein, Sound Design. The Expressive Power of Music, Voice, and Sound Effects in Cinema. Studio, City, CA,
Michael Wiese Productions, 2001.
SOUNDTRACKS
Andrew A. Aros, Broadway & Hollywood Too. Diamond Bar, CA, Applause Publications, 1980.
Jose Maria Benitez and Luis Miguel Carmona, Nombres de la Banda Sonora: Diccionario de Compositores Cinematograficos.
Madrid, Stripper Ediciones, 1996.
Jon Burlingame, Sound and Vision: 60 Years of Motion Picture Soundtracks. Billboard Books, Watson-Guptill Publications, Inc.,
2000.
Jon Burlingame, TV’s Biggest Hits: the Story of Television Themes from ‘Dragnet’ to ‘Friends.’ NY, Schirmer Books, 1996.
Stewart R. Craggs, Soundtracks: an International Dictionary of Composers for Film. Aldershot, Hants, England; Brookfield, VT,
Ashgate, 1998.
Roberto Cueto, Cien Bandas Sonoras en la Historia del Cine. Madrid, Nuer Ediciones, 1996.
Didier C. Deutsch, MusicHound Soundtracks: the Essential Album Guide. Detroit, Visible Ink Press, 1999.
Didier C. Deutsch, ed., VideoHound’s Soundtracks: Music from the Movies, Broadway, and Television. Detroit, Visible Ink Press,
1998.
Steve Harris, Film, Television, and Stage Music on Phonograph Records: a Discography. Jefferson, NC, McFarland, 1988.
Richard Chigley Lynch, Broadway, Movie, TV, and Studio Cast Musicals on Record: a Discography of Recordings, 1985-1995.
Westport, Conn., Greenwood Press, 1996.
Richard Chigley Lynch, Movie Musicals on Record: a Directory of Recordings of Motion Picture Musicals, 1927-1987. NY,
Greenwood Press, 1989.
Keith and Dorie McNally, McNally’s Price Guide for Collectible Soundtrack Records (1950-1990) Newhall, CA, West Point
Records, 1994.
R. Michael Murray, The Golden Age of Walt Disney Records, 1933-88: Murray’s collectors’ price guide and discography. Dubuque,
Iowa, Antique Trader Books, 1997.
Jerry Osborne, The Official Price Guide to Movie/TV Soundtracks and Original Cast Albums, 2d edition. NY, House of
Collectibles, 1997.
Craig W. Pattillo, TV Theme Soundtrack Directory & Discography with Cover Versions. Portland, OR, Braemar Books, 1990.
Robert L. Smith, U.S. Soundtracks on Compact Disc: the First Ten Years, 1985-1994: Price Guide. Vineyard Haven, MA, L.
Kendall, 1995.
Steve Smolian, A Handbook of Film, Theater, and Television Music on Record, 1948-1969. NY, Record Undertaker, 1970.
Mark Walker, ed. Gramophone Film Music Good CD Guide. Harrow, Middlesex, Gramophone Publications; NY, Music Sales
Corp., 1998.
Conrado Xalabarder, Enciclopedia de las Bandas Sonoras. Barcelona, Ediciones B, 1997.
THEORY AND ANALYSIS
Rick Altman, ed. Sound Theory, Sound Practice, New York, Routledge, 1992.
David Bell, Getting the Best Score for your Film: A Filmmakers’ Guide to Music Scoring. Los Angeles, Silman-James Press, 1994.
Michel Chion, Audio-Vision: Sound on Screen, edited and translated by Claudia Gorbman. NY, Columbia University Press, 1994.
Michel Chion, Voice in Cinema, edited and translated by Claudia Gorbman. NY, Columbia University Press, 1999.
Nicholas Cook, Analysing Musical Multimedia, NY, Oxford University Press, 2000.
Robert Adrianus Jacobus van der Lek, Diegetic Music in Opera and Film: a Similarity between two Genres of Drama analysed in
works by Erich Wolfgang Korngold (1897-1959). Amsterdam, Rodopi, 1991.
Frederick William Sternfeld, The Strange Music of Martha Ivers. N.p., 1947.
Philip Tagg, Kojak . 50 Seconds of Television Music, 2d ed., New York, Mass Media Scholars Press, 2000.
Larry M. Timm, The Soul of Cinema: an Appreciation of Film Music. Upper Saddle River, NJ, Prentice Hall, 2002.
Roger Wallis and Krister Malm, Push-pull for the Video Clip: a Systems Approach to Understanding the Relationship between the
Music Industry and Music Television. Stockhom, Swedish National Collections of Music, 1988.
Frederik Christoffel Weiland, Relationships between Sound and Image. Utrcht, Inst. Of Sonology, 1974.
Elizabeth Weiss and John Belton, ed., Film Sound: Theory and Practice. NY, Columbia University Press, 1985
EARLY FILM MUSIC
Richard Abel and Rick Altman, ed., The Sounds of Early Cinema. Bloomington, IN, Indiana University Press, 2001.
Gillian Anderson, “The Presentation of Silent Films,” Journal of Musicology, Vol. , p.
Charles Merrell Berg, An Investigation of the Motives for and Realization of Music Accompanying the American Silent Film 1896
1927. Chicago, Arno Press, 1976.
Q. David Bowers, Nickelodeon Theatres and Their Music. Vestal, NY, Vestal Press, 1986.
Hans Erdmann and Giuseppe Becce, eds., Allgemeines Handbuch der Film-Musik (2 vols.), Berlin-Lichterfelde & Leipzig:
Schlesingersche Buch- und Musikhandlungs Robert Lienau, 1927.
Charles Hoffman, Sounds for Silents. New York, DBS Publications, Inc, 1970.
Edith Lang and George West, Musical Accompaniment of Moving Pictures; a practical manual for pianists and organists and an
exposition of the principles underlying the musical interpretation of moving pictures. Boston, The Boston Music Co., 1920.[NY,
Arno Press, 1970]
Martin Miller Marks, Music and the Silent Film: Contexts and Case Studies 1895-1924. New York, Oxford University Press, 1997.
Erno Rapee, Encyclopedia of Music for Pictures. NY, Arno Press, 1970.
Erno Rapee, Motion Picture Moods for Pianists and Organists. NY, Schirmer, 1924. (reprint 1974, NY, Arno Press).
David Robinson, Music of the Shadows : the Use of Musical Accompaniment with Silent Films, 1896-1936. Pordenone, Italy:
Giornate de cinema muto], 1990.
Julius S. Seredy with Chas. J. Roberts and M. Lester Lake, Motion Picture Music Guide to the Carl Fischer Modern Orchestra
Catalog: indicating all the themes and motives suitable for motion pictures, and showing their practical application to the screen.
NY, Carl Fischer, 1922.
Henry C. Teetor, The Pipe Organ; Mechanics.Maintenance.Technic; Theatre and Church. Richmond, Ind., Teetor-Mikesell
Extension Training School, 1928.
Emmanuelle Toulet and Christian Belaygue, Musique d’ecran: l’accompagnement musical du cinema muet en France, 1918-1995,
Paris, Reunion des musees nationaux: Distribution Seuil, 1994.
Ann-Kristin Wallengren, En Afton Pa Roda Kvarn: Svensk stumfilm som musikdrama. Malmo, Lund University Press, 1998.
Geoffrey Wyatt, At the Mighty Organ. Oxford, Oxford Illustrated Press, 1974.
FILM MUSICALS
Rick Altman, The American Film Musical. Bloomington, Indiana University Press, 1987.
Ken Bloom, Hollywood Song: The Complete Film and Musical Companion. NY. Facts on File, Incorporated, 1998.
Joseph Andrew Casper, Vincente Minnelli and the film musical. South Brunswick, [N.J.] : A. S. Barnes, c1977.
Steven Cohan, ed. Hollywood Musicals, the Film Reader. NY, Routledge, 2002.
Michael B. Druxman, The musical : from Broadway to Hollywood. South Brunswick [N.J.] : A. S. Barnes, c1980
Richard Fehr and Frederick G. Vogel, Lullabies of Hollywood: Movie Music and the Movie Musical, 1915-1992. Jefferson, NC,
McFarland, 1993.
Jane Feuer, The Hollywood Musical. Bloomington , Indiana, Indiana University Press, 1982.
Stanley Green, Encyclopaedia of the Musical Film New York, Oxford University Press, 1981.
Roy Hemming, The Melody Lingers On: the Great Songwriters and their Movie Musicals. NY, Newmarket Press, 1986.
Julia Antopol Hirsch, The Sound of Music: the Making of America’s Favorite Movie. Chicago, Contemporary Books, 1993.
Thomas S. Hischak, The American Musical Film Song Encyclopedia. Westport, Conn., Greenwood Press, 1999.
Thomas S. Hischak, Film It With Music: An Encyclopedic Guide To The American Movie Musical. Westport, Conn., Greenwood,
2001.
John Kobal, Gotta sing, gotta dance; a pictorial history of film musicals. Feltham, New York, Hamlyn, 1970.
Miles Krueger, ed., The Movie musical from Vitaphone to 42nd Street, as reported in a great fan magazine. New York : Dover
Publications, 1975.
J. Douglas McVay, The musical film.London, Zwemmer; New York, Barnes, 1967.
Cesar Santos Fontenla, El musical americano. [Madrid] Akal [1973]
Lee Edward Stern, The movie musical. New York : Pyramid Publications, c1974.
John Russell Taylor and Arthur Jackson, The Hollywood Musical. New York, McGraw-Hill Book Co, 1971.
Tony Thomas, Harry Warren and the Hollywood Musical. Secaucus, NJ, Citadel Press, 1975.
HORROR AND SCIENCE FICTION FILM MUSIC (See Huckvale under Composers)
Randall D. Larson Musique Fantastique: A Survey Of Film Music In The Fantastic Cinema. Metuchen, N.J., Scarecrow Press, 1985.
Randall D. Larson, Music from the House of Hammer: Music in the Hammer Horror Films, 1950-1980, Lanham, MD., The
Scarecrow Press., Ltd.,1996.
SOCIOLOGY
Anthony Julian Tamburri, Italian/American Short Films and Music Videos: a Semiotic Reading. West Lafayette, Ind., Digital-I
Books, 2002.
Lisa A. Lewis, Gender Politics and MTV: Voicing the Difference. Philadelphia, Temple University Press, 1990.
Michael Shore, The History of American Bandstand: it’s got a great beat and you can dance to it. NY, Ballantine Books, 1985.
FILM AND TELEVISION MUSIC FROM THIRD WORLD COUNTRIES
Raju Bharatan, Lata Mangeshkar: a Biography. New Delhi, UBS Publishers’ Distributors, 1995.
Vamsee Juluri, Becoming a Global Audience: Longing and Belonging in Indian Music Television. NY, P. Lang, 2002.
NON ENGLISH LANGUAGE BOOKS ON FILM AND TELEVISION MUSIC
(DUTCH, FRENCH, GERMAN, ITALIAN, SPANISH, RUSSIAN)
Simone Arcagni, Domenico De Gaetano, Cinema e rock: Cinquant’anni di Contaminazioni tra Musica e Immagini. Santhia (VC),
GS editrice, 1999.
Sergio Bassetti, Sapore di Sala. Florence, La Casa Usher, 1990.
Hans Guenther Bastian, Musik im Fernsehen: Funktion und Wirkung bei Kindern und Jugendlichen. Wilhelmshaven, F. Noetzel,
1986.
Klaus-Ernst Behne, ed. Film, Musik, Video, oder, Die Konkurrenz von Auge und Ohr. Regensburg, G. Bosse, 1987.
Giannalberto Bendazzi, Manuele Cecconello, Guido Michelone, Coloriture: voci, rumori, musiche nel cinema d’animazione.
Bologna, Pendragon, 1995.
Catherine Berthet, Sociocritique de la musique de film. Montepllier, Cetnre d’etudes et de recherches sociocritique, Universite Paul
Valery, 1993.
Helga Bertz-Dostal, Oper im Fernsehen. Vienna, Minor, 1970-71.
S. G. Biamonte, Musica e film. Roma, Edizioni dell’Ateneo [1959]
Erling Bjurstrom and Lars Lilliestam, Salj det i toner . om musik i TV-reklam. Vallingby, Konsumentverket, 1993.
Gerard Blanchard, Images de la musique de cinema. Paris, Edilig, 1984.
Cesar Bolanos, La musica nacional en los medios de comunicacion electronicos de Lima metropolitana. Lima, Peru: Facultad de
Ciencias de la Comunicacion, Bentro de Investigacion Social, Universidad de Lima, 1995.
Luisella Bolla and Flaminia Cardini, Macchina Sonora: la Musica nella Televisine Italiana. Rome,. RAI-ERI, 1997.
Frank Brauner, Die urheberr echtliche Stellung des Filmkomponisten. Baden-Baden, Nomos, 2001.
Heinz Buddemeier, Leben in kuenstlichen Welten: Cyberspace, Videoclips und das tagliche Fernsehen. Stuttgart, Urachhaus, 1993.
Roberto Calabretto, Pasolini e la musica: “.l’unica azione espressiva forse, alta, e indefinibile come le azioni della realta”.
Pordenone, Cinemazero, 1999.
Massimo Canevacci, Ragazzi senza tempo: immagini, musica, conflitti delle culture giovanili. Genova, Costa & Nolan, 1993.
Cristina Cano and Giorgio Cremonini, Cinema e Musica: Il Racconto per Sovrapposizioni. Florence, Vallecchi Editore, 1995.
Cristina Cano, La Musica nel Cinema: Musica, Immagine, Racconto. Rome, Gremese Editore, 2002.
Michel Chion, La Musique au cinema. Paris, Fayard, 1995.
Michel Chion, Le son au cinema. Paris, Editions de l’Etoile, Diffusion, Seuil, 1985.
Carlos Colon, Introduccion a la historia de la musica en el cine : la imagen visitada por la musica. Seville, Facultad de Ciencias
de la Informacion, Universidad de Sevilla : Ediciones Alfar, 1993.
Carlos Colon, Rota-Fellini: la musica en las peliculas de Federico Fellini. Seville, Universidad de Sevilla, 1981.
Henri Colpi, Defense et illustration de la musique dans le film. Lyon, Societe d’edition, de recherches et de documentation
cinematographiques, 1963.
Ermanno Comuzio e Roberto Ellero, Cinema & Jazz. Venice, Comune di Venezia, Assessorato alla cultura, Gran teatro La Fenice,
1985.
Ermanno Comuzio, Colonna Sonora: Dialoghi, Musiche, Rumori dietro lo Schermo. Milan, Il Formichiere, 1980.
Ermanno Comuzio, Film Music Lexicon. Pavia: Amministrzione Provinciale, 1980.
Michael Darkow, Musik im Fernsehen: eine Zuschauerbefragung ueber Musikprogamminteressen, Bekanntheir und Beurteilung
von Musikangeboten sowie zu Einstellungen gegenueber Musik im Fernsehen. Mainz, Zweites Deutsches Fernsehen, Information
und Presse/Oeffentlichkeitsarbeit, 1981.
Helga De la Motte-Haber, Film und Musik: Fuenf Kongressbeitraege und zwei Seminarberichte. Mainz, NY, Schott, 1993.
Helga De la Motte-Haber and Hans Emons. Filmmusik: eine systematische Beschreibung. Munich, C. Hanser, 1980.
Raymond Defosse, Rock et toiles. Paris, Ledrappier, 1987.
Hanns Eisler, Komposition fuer den Film: Dokumente und Materialien zu den Filmkompositionene Hanns Eislers. Ed. By Christian
Kuntze. Berlin, Die Kinemathek, 1982.
Hartmut Engmann, Filmmusik. Eine Dokumentation. [Hrsg.:] Landesarbeitsgemeinschaft der Filmclubs von Nordrhein-Westfalen.
Hrsg. anlasslich einer filmkundlichen Arbeitstagung am 14. und 15. Sept. 1968 in Moers/Ndrh. Munchen, Gielow, 1968.
Jean-Pierre Eugene, La musique dans les films d’Alfred Hitchcock. Paris, Dreamland, 2000.
Werner Faulstich, Das Fernsehen im Produktverbund mit anderen Medien: Untersuchungen zum Fernsehjahr 1988. Heidelberg,
Universitaetsverlag C. Winter, 1993.
Rene Fischer, Tonfilm und Filmbegleitmusik. Heidelberg, Vereinsdruckerei Heidelberg, 1932.
Gretel Freitag, Metaphern von Musik und Stille als Erkenntnismittel in den Filmen Pasolinis. Frankfurt, NY, Lang, 1999.
Emiliia Lazarevna Frid, Muzyka v sovetskom kino. [1967].
Herbert Gehr, Sound & Vision, Musikvideo und Filmkunst: Ausstellung, Retrospektive, 16.Dezember 1993-3.April 1994. Frankfurt
am Main, Deutsches Filmmuseum, 1993.
Georges Hacquard, La musique et le cinema. Paris, Presses universitaires de France, 1959.
Frank Haenecke, Musik am Fernsehen: Aspekte zur Herstellung und Vermittlung von Musiksendungen am Beispiel der SRG und
weiterer Sendeanstalten. Zurich, Seminar Fuer Publizistikwissenschaft der Universitaet Zuerich, 1988.
Juerg Haeusermann, Und dabei liebe ich euch beide...: Unterhaltung durch Schlage und Fernsehserien. Wiesbaden, Breitkopf und
Haertel, 1978.
Dietrich Hahne, Komposition und Film: Projeckt nach Motiven aus Camus ‘Der Abtruennige’ fuer Chor, Orchester und Spielfilm.
Essen, Die Blaue Eule, 1992.
Lothar Heinle, Vom Konzertsaal zur Soundstage: Wege zur symphonischen Filmmusik: mit einem Verzeichnis ‘Literatur zu
Filmmusik und Film’ in der Stadtbuecherei Heilbronn. Heilbronn, Stadtbuecherei Heilbronn, 1995.
Alicja Helman, Rola muzyki w filmie. [Wyd. 1.] Warszawa, Wydawn. Artystyczne i Filmowe, 1964.
Christiane Hillebrand, Film als totale Komposition: Analyse und Vergleich der Filme Mauricio Kagels. Frankfurt am Main, NY,
P. Lang, 1996.Istituto per la musica archivio Malipiero, Retroscena di “Acciaio”:indagine su un’esperienza cinematografica di G.
Francesco Malipiero. Florence, L.S. Olschki, 1993.
Jean Jacques Jelot-Blanc, Le cinema musical du rock au disco, 1953-1967. Paris, Editions Pac, 1978.
Hans-Klaus Jungheinrich, Oper, Film, Rockmusik: Veraenderungen in der Alltagskultur. Kassel, Baerenreiter, 1986.
Janos Kenedi, Film + Zene = filmzene?: irasok a filmzener’‘ol. Budapest. Zenem’‘ukiado. 1978.
Enzo Kermol and Mariselda Tessarolo, La Musica del Cinema. Roma, Bulzoni, 1996.
Susanne Keuchel, Das Auge hoert mit.: Rezeptionsforschung zur klassischen Musik im Spielfilm. Bonn, ARCult Media, 2000.
Gottfried Kinsky-Weinfurter, Filmmusik als Instrument staatlicher Propaganda: der Kultur- und Industriefilm im Dritten Reich und
nach 1945. Munich, Oelschlaeger, 1993.
Josef Kloppenburg, Die dramaturgische Funktion der Musik in Filmen Alfred Hitchcocks. Munchen : W. Fink, c1986.
Tomas Korganov, Kino i myzyka; muzyka v dramaturgii fil’ma. Moscow, Iskusstvo, 1964.
Alain Lacombe, L’ecran du rock: 30 ans de cinema et de rock-music. Paris, Lherminier, 1985.
Alain Lacombe and Claude Rocle, La musique du film. Paris, F. van de Velde, 1979.
Alain Lacombe, Les musiques du cinema francais. Paris, Bordas, 1995.
Juraj Lexmann, Slovenska filmova hudba, 1896-1996. Bratislava, Ustav hudobnej vedy SAV, ASCO Art & Science, 1996.
Zofia Lissa, Aesthetik der Filmmusik. Berlin, Henschelverlag, 1965.
Mario Litwin, Le film et sa musique: creation, montage. Paris, Romillat, 1992.
Josep Lluis i Falco, Gregorio Garcia Segura: historia, testimonio y analisis de un musico de cine. Murcia, Editora Regional de
Murcia, Filmoteca Regional de Murcia, 1994.
Luis Cernuda Fundacion, V. Encuentro Internacional de Musica de Cine: Sevilla, Mayo 1991. Seville, Luis Cernuda Fundacion,
1991.
Georg Maas and Achim Schudack, Musik und Film, Filmmusik: Informationenen und Modelle fuer die Unterrichtspraxis. Mainz,
NY, Schott, 1994.
Giuseppe Magaletta, La Musica nell’Opera Letteraria e Cinematografica di Pier Paolo Pasolini. Urbino, QuattroVenti, 1998.
Franco Mannino, Musica per Film: Ricordi ed Esperienze. Venice, Marsilio, 2002.
Franco Mannino, Visconti e la Musica. Lucca, Akademos & LIM, 1994.
Enzo Masetti, La musica nel film. Roma, Bianco e nero editore [1950]
Sergio Miceli, Musica e Cinema nella Cultura del Novecento. Milan, Sansoni, 2000.
Sergio Miceli, Morricone, la musica, il cinema. Modena, Ricordi, 1994.
Sergio Miceli, La musica nel film. Arte e artigianato. Florence, Discanto Edizioni, 1982.
Guido Michelone and Giuseppe Valenzise, Bibidi bobidi bu : la musica nei cartoni animati da Betty Boop a Peter Gabriel. Roma :
Castelvecchi, 1998.
Gilles Mouellic, Jazz et cinema. Paris, Cahiers du cinema, 2000.Mircea Musatescu, Filmul muzical: scurt istoric, genuri, mic
dictionar de personalitati. Bucarest, Meridiane, 1979.
Klaus Neumann-Braun, Viva MTV!: Popmusik im Fernsehen. Frankfurt, Suhrkamp, 1999.
Jose Nieto, Musica para la Imagen: la influencia secreta. Madrid, Sociedad General de Autores y Editors, 1996.
Oper und Ballett im Film.[Wien, Austria] Gesellschaft fur Musiktheater. v. .1973-1975.
Hansjoerg Pauli, Filmmusik: Stummfilm. Stuttgart, Klett-Cotta, 1981.
Andrei Pavlovich Petrov and Natal’ia Kolesnikova, Dialog o kinomuzyke. Moscow, Iskusstvo, 1982.
Inna Fedorovna Petrova, Muzyka sovetskogo kino. Moscow, Znanie, 1964.
Rudolf Piper, Filmusical brasileiro e chanchada : [posters e ilustracoes]. Sao Paulo : L. Oren, [1975?]
Francois Procile, Presence de la musique a l’ecran. [Paris] Editions du Cerf. [1969]
Piero Pruzzo, Storia del Cinema: Musical Americano in Cento Film. Genova, Le Mani - Microart’s Edizioni, 1995.
Peter Rabenalt, Dramaturgie der Filmmusik. Berlin? Betriebsschule des VEB DEFA Studio fuer Spielfilme, 1986?
Eva Rieger, Alfred Hitchcock und die Musik: eine Untersuchung zum Verhaeltnis von Film, Musik und Geschlecht. Bielefeld,
Kleine, 1996.
Gianni Rondolino, Cinema e Musica: Breve storia della musica cinematografica. Torino, Utet Libreria, 1991, 2002.
Ulrich Ruegner, Filmmusik in Deutschland zwischen 1924 und 1934. Hildesheim, NY, G. Olms, 1988.
Juergen Schebera, “Hanns Eisler im USA-Exil: zu den politischen, asthetischen, und kompositorischen Positionen der Komponisten
1938-1948,” Ph.D., Karl-Marx-U., Leipzig, 1976.
Hans-Christian Schmidt, Filmmusik fuer die Sekundar- und Studienstufe. Kassel, Baerenreiter, 1982.
Johannes Schmidt-Sistermanns, Opernregie im Fernsehen: medienspezifische Regiekonzepte zur Visualisierung von Oper im
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