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Rap仔, Erno (1924). Motion Picture Moods for Pianists and Organists, New York: Schirmer
Raksin, David (1989). 'Holding a Nineteenth Century Pedal at Twentieth Century-Fox', ed. Clifford McCarty, Film Music 1. Los Angeles: Film Music Society pp. 167-182
Reay, Pauline (2004). Music in Film : Soundtracks and Synergy, London: Wallflower
Rickard, Nikki S. (2004). 'Intense emotional responses to music: a test of the physiological arousal hypothesis', in Psychology of Music 32 (4): pp. 371-388
Rodman, Ronald (1998). “There’s No Place Like Home”: Tonal Closure and Design in The Wizard of Oz ’, Indiana Theory Review 19: pp. 125-143
Roederer, Juan (1995). The Physics and Psychophysics of Music, New York: Springer-Verlag
Rosar, William H. (1994). ‘Film Music and Heinz Werner’s Theory of Physiognomic Perception’, Psychomusicology 13 (1): pp. 154-165
Rosar, William H. (2003). ‘Bernard Herrmann: The Beethoven of Film Music?’ in Film Music 1(2/3) pp. 121-151
R陽sa, Mikl耀 (1989). Double Life, New York: Wynwood
Russell, Mark, and James Young (2000). Film Music (Screencraft Series), Boston: Focal
Sabaneev, Leonid (1935). Music for the Films, (1978 reprint). New York: Arno
Sadoff, Ronald H. (2004). ‘Composition by Corporate Committee: Recipe for Clich氏f, American Music 22 (1): pp. 64-75
Schaefer, Hilary (1998). ‘Emotion and the Film Score: An Empirical Approach’, Perspectives ‘98 (U. Penn, Dept. of Psychology) http://
Schaefer, Pierre (1966). Trait? Des Objets Musicaux: Essai Interdisciplines, Paris: Seuil
Scharf, Walter (1988). The History of Film Scoring, Studio City: Cinema Songs
Schelle, Michael (1999). The Score: Interviews With Film Composers, Los Angeles: Silman-James
Scheurer, Timothy E. (2005). '"The Best There Ever Was in the Game": Musical Mythopoesis and Heroism in Film Scores of Recent Sports Movies' in Journal of Popular Film & Television 32 (4): pp. 157-166
Schwarz, David, Anahid Kassabian, and Lawrence Siegal, eds. (1997). Keeping Score: Music, Disciplinarity, Culture, Charlottesville: University of Virginia
Schyman, Garry (2000). ‘The Emotional Impact Of Film Music’ The Score, Journal of The Society of Composers and Lyricists, Winter (2000)
Seashore, Carl (1938). Psychology of Music, New York: Dover
Seeger, Charles (1960). ‘On the Moods of a Musical Logic’ in Journal of American Musicological Society 13
Sirius, George, and Eric F. Clarke (1994). ‘The Perception of Audiovisual Relationships: A Preliminary Study’, Psychomusicology 13 (1): pp. 119-132
Skelton, Mathew V. (1997). ‘Paths of Fantastic Film Music: Examining Film Scoring Techniques in Films that Alter Space, Time and Death’, Film Score Monthly, (online) http://
Skiles, Marlin (1976). Music Scoring for TV and Motion Pictures, Blue Ridge Summit: Tab
Skinner, Frank (1950). Underscore, Los Angeles: Skinner
Sloboda, John A. (1985). The Musical Mind: The Cognitive Psychology of Music, Oxford: Oxford University
Sloboda, John A. (1991). ‘Music Structure and Emotional Response: Some Empirical Findings’, Psychology of Music 19: pp. 110-120
Sloboda, John A. (2005). Exploring The Musical Mind: Cognition, Emotion, Ability, Function, Oxford: Oxford University
Smalley, Jack (2003). A Practical Approach to Various Techniques for Composing for Film, (unpublished) Los Angeles: Smalley
Smith, Greg M. (2003). Film Structure and the Emotion System, Cambridge: University Press
Smith, Jeff (1998). The Sounds of Commerce: Marketing Popular Film Music, New York: Columbia University
Smith, Steven C. (1991). A Heart at Fire's Center: The Life and Music of Bernard Herrmann, Berkeley: University of California
Snyder, Bob (2000). Music and Memory: An Introduction, Cambridge: MIT
Sonnenschein, David (2001). Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema, Studio City: Michael Wise
Stam, Robert, Robert Burgoyne, and Sandy Flitterman-Lewis, eds. (1992). New Vocabularies in Film Semiotics: Structuralism, Poststructuralism and Beyond, London: Routledge
Stamenov, Maxim I. and Vittorio Gallese, eds. (2002). Mirror Neurons and the Evolution of Brain and Language, Amsterdam: John Benjamins
Steiner, Max (1937). ‘Scoring the Film’, ed. Nancy Naumburg, We Make The Movies, New York: Norton pp. 216-238
Sternfeld, Frederick W. (1947). ‘Preliminary Report on Film Music’ in Hollywood Quarterly 2 (3): pp. 299-302
Stilwell, Robynn J. (2004). 'Sense and Sensibility: Musical Form and Drama in the Film Adaptation', ed. Claudia Gorbman and Warren M.Sherk, Film Music 2, History, Theory, Practice. Sherman Oaks: Film Music Society pp. 169-198
Stilwell, Robynn J. (1997). “I just put a drone under him....”: Collage and Subversion in the Score of Die Hard ’, Music & Letters 78 (4): pp. 551-580
Stilwell, Robynn J. (2001). ‘Sound and Empathy: Subjectivity, Gender and the Cinematic Soundscape’, ed. K. J. Donnelly, Film Music: Critical Approaches, New York: Continuum International
Stilwell, Robynn J. (2002). ‘Music in Films: A Critical Review of Literature, 1980-1996’, The Journal of Film Music 1 (1): pp. 19-61
Stilwell, Robin (?) (2003). ‘It May Look Like a Living Room...: The Musical Number and the Sitcom’, ECHO: a music-centered journal 5 (1):
Stothart, Herbert (1938). ‘Film Music’, ed. Stephan Watts, Behind the Screen, London: Arthur Baker pp.139-146
Subotnick, Rose Rosengard (1991). Developing Variations: Style and Ideology in Western Music, Minneapolis: University of Minnesota
Subotnick, Rose Rosengard (1996). Deconstructive Variations: Music and Reason in Western Society, Minneapolis: University of Minnesota
Swain, Joseph P. (2002). Harmonic Rhythm: Analysis and Interpretation, Oxford: Oxford University
Swynnoe, Jan G. (2002). The Best Years of British Film Music, 1936-1958, Woodbridge: Boydell
Tagg, Philip (1979). Kojak Fifty Seconds of Television Music Toward The Analysis of Affect in Popular Music, New York: The Mass Media Music Scholars
Tagg, Philip (1991). Fernando the Flute, New York: MMMP
Tagg, Philip, and Bob Clarida (2003). Ten Little Title Tunes, New York: MMMP
Tagg, Philip (1999). Music, moving image, semiotics and the democratic right to know, article based on paper delivered at conference 'Music and Manipulation', Stockholm, 18 September 1999
Tagg, Philip (1999). Understanding Musical Time Sense, http://
Tagg, Philip (2004). ‘Gestural interconversion and connotative precision’, Film International 13 (2005/1):
Tagg, Philip (2004). Film music, antidepressants and anguish management. Keynote presentation, IASPM Latin America, Rio de Janeiro, June 2004
Tan, Ed S. (1996). Emotion and the Structure of Narrative Film: Film As an Emotion Machine, Mahwah: Lawrence Erlbaum
Tan, Ed, and Nico H. Frijda (1999). ‘Sentiment in Film Viewing’, ed. Carl Plantinga and Greg M. Smith, Passionate Views: Film, Cognition, and Emotion, Baltimore: John Hopkins University
Tecchio, F., C. Salustri, M. H. Thaut, P. Pasqualetti, and P. M. Rossini (2000) 'Conscious and preconscious adaptation to rhythmic auditory stimuli: a magnetoencephalographic study of human brain responses,' Experimental Brain Research 135, (2): pp. 222 - 230
Temperley, David (2001). The Cognition of Basic Musical Structures, Cambridge: MIT
Thaut, Michael H. (2003). "Neural Basis of Rhythmic Timing Networks in the Human Brain." In Avanzini, The Neurosciences and Music, pp. 364-373
Thaut, Michael H. (2005). Rhythm, Music, and the Brain: Scientific Foundations and Clinical Applications, New York: Routledge
Thomas, Tony (1997). Music for the Movies (2nd ed.), Los Angeles: Silman-James
Thomas, Tony (1991). Film Score: The Art and Craft of Movie Music, Burbank: Riverwood
Thompson, W. F., F. A. Russo, and D. Sinclair (1994). ‘Effects of Underscoring on the Perception of Closure in Filmed Events’, Psychomusicology 13 (1): pp. 9-27
Thompson, W. F. (2002). ‘Evoking Terror In Film Scores’, M/C: A Journal of Media and Culture 5 (1): http://
Tiomkin, Dimitri, and Prosper Buranelli (1959). Please Don't Hate Me: The gay confessions of an unpredictable musician, Garden City: Doubleday
Tobias, James (2004). ‘Cinema, Scored: Toward a Comparative Methodology for Music in Media’, Film Quarterly 57 (2): pp. 26-36
Turner, Annie (2003). ‘They’re Here’: The Rhythmic Accent, the Single Beat and Rhythmic Silence’, Refractory: A Journal of Entertainment Media 4, http://
Van Der Merwe, Peter (1989). Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music, Oxford: Clarendon
Vitouch, Oliver (2001). ‘When Your Ear Sets the Stage: Musical Context Effects in Film Perception’, Psychology of Music 29: pp. 79-83
Voytilla, Stuart (1999). Myth & the Movies : Discovering the Myth Structure of 50 Unforgettable Films, Studio City: Michael Wiese
Wegner, Daniel M. and Laura Smart (1997). 'Deep Cognitive Activation: A New Approach to the Unconscious’, Journal of Consulting and Clinical Psychology 65 (6): pp. 984-995
Werts, Daniel (1997). ''Good', Fair', and 'Bad' Chord Progressions: A Regression-Analysis of Some Psychological Chord Progression Data Obtained in an Experiment by J. Bharucha and C. Krumhansl', in Marc Leman (ed.), Music Gestalt, and Computing: Studies in Cognitive and Systematic Musicology, Berlin: Springer pp. 200-213
Widgery, Claudia (1990). The Structure and Affective Synthesis of Music and Film: Three Documentaries of Late 1930’s America, PhD dissertation, University of Maryland
Wierzbicki, James (2003). "Grand Illusion: The “Storm Cloud” Music in Hitchcock’s The Man Who Knew Too Much", Film Music 1 (2/3): pp. 217-238
Wierzbicki, James (2005). Louis and Bebe Barron's Forbidden Planet: A Film Score Guide, Lanham: Scarecrow
Winter, Marion Hannah (1941). 'The Function of Music in Sound Film' in Musical Quarterly 27 pp. 146
Wojcik, Pamela Robertson, and Arthur Knight, eds. (2001). Soundtrack Available: Essays on Film and Popular Music, Durham: Duke University
Wood, Abigail (1998). Intersensory Integration: An investigation into the effects of concurrently presented visual material on subjects' ability to memorise the rhythm of short melodies, (http://
Wright, Stephen H. (1989). "The Materials of Film Music: Their Nature and Accessibility." In Film Music 1. ed. Clifford McCarty, Los Angeles: Film Music Society pp. 3-18
Wrobel, William (2003). ‘Self-Borrowing in the Music of Bernard Hermann’, Film Music 1 (2/3): pp. 249-271
Yalch, Richard F. (1991). 'Memory in a Jingle Jungle: Music as a Mnemonic Device in Communicating Advertising Slogans' , Journal of Applied Psychology 76 (2): pp. 268-275
Young, Michael (1988). The Metronomic Society: Natural Rhythms and Human Timetables, Cambridge: Harvard University
Zbikowski, Lawrence M. (2002). Conceptualizing Music: Cognitive Structure, Theory, and Analysis, New York: Oxford
Zhu, Rui and Joan Meyers-Levy (2005). 'Distinguishing Between the Meanings of Music: When Background Music Affects Product Perception', in Journal of Marketing Research 42 (3): pp. 333-345
Raksin, David (1989). 'Holding a Nineteenth Century Pedal at Twentieth Century-Fox', ed. Clifford McCarty, Film Music 1. Los Angeles: Film Music Society pp. 167-182
Reay, Pauline (2004). Music in Film : Soundtracks and Synergy, London: Wallflower
Rickard, Nikki S. (2004). 'Intense emotional responses to music: a test of the physiological arousal hypothesis', in Psychology of Music 32 (4): pp. 371-388
Rodman, Ronald (1998). “There’s No Place Like Home”: Tonal Closure and Design in The Wizard of Oz ’, Indiana Theory Review 19: pp. 125-143
Roederer, Juan (1995). The Physics and Psychophysics of Music, New York: Springer-Verlag
Rosar, William H. (1994). ‘Film Music and Heinz Werner’s Theory of Physiognomic Perception’, Psychomusicology 13 (1): pp. 154-165
Rosar, William H. (2003). ‘Bernard Herrmann: The Beethoven of Film Music?’ in Film Music 1(2/3) pp. 121-151
R陽sa, Mikl耀 (1989). Double Life, New York: Wynwood
Russell, Mark, and James Young (2000). Film Music (Screencraft Series), Boston: Focal
Sabaneev, Leonid (1935). Music for the Films, (1978 reprint). New York: Arno
Sadoff, Ronald H. (2004). ‘Composition by Corporate Committee: Recipe for Clich氏f, American Music 22 (1): pp. 64-75
Schaefer, Hilary (1998). ‘Emotion and the Film Score: An Empirical Approach’, Perspectives ‘98 (U. Penn, Dept. of Psychology) http://
Schaefer, Pierre (1966). Trait? Des Objets Musicaux: Essai Interdisciplines, Paris: Seuil
Scharf, Walter (1988). The History of Film Scoring, Studio City: Cinema Songs
Schelle, Michael (1999). The Score: Interviews With Film Composers, Los Angeles: Silman-James
Scheurer, Timothy E. (2005). '"The Best There Ever Was in the Game": Musical Mythopoesis and Heroism in Film Scores of Recent Sports Movies' in Journal of Popular Film & Television 32 (4): pp. 157-166
Schwarz, David, Anahid Kassabian, and Lawrence Siegal, eds. (1997). Keeping Score: Music, Disciplinarity, Culture, Charlottesville: University of Virginia
Schyman, Garry (2000). ‘The Emotional Impact Of Film Music’ The Score, Journal of The Society of Composers and Lyricists, Winter (2000)
Seashore, Carl (1938). Psychology of Music, New York: Dover
Seeger, Charles (1960). ‘On the Moods of a Musical Logic’ in Journal of American Musicological Society 13
Sirius, George, and Eric F. Clarke (1994). ‘The Perception of Audiovisual Relationships: A Preliminary Study’, Psychomusicology 13 (1): pp. 119-132
Skelton, Mathew V. (1997). ‘Paths of Fantastic Film Music: Examining Film Scoring Techniques in Films that Alter Space, Time and Death’, Film Score Monthly, (online) http://
Skiles, Marlin (1976). Music Scoring for TV and Motion Pictures, Blue Ridge Summit: Tab
Skinner, Frank (1950). Underscore, Los Angeles: Skinner
Sloboda, John A. (1985). The Musical Mind: The Cognitive Psychology of Music, Oxford: Oxford University
Sloboda, John A. (1991). ‘Music Structure and Emotional Response: Some Empirical Findings’, Psychology of Music 19: pp. 110-120
Sloboda, John A. (2005). Exploring The Musical Mind: Cognition, Emotion, Ability, Function, Oxford: Oxford University
Smalley, Jack (2003). A Practical Approach to Various Techniques for Composing for Film, (unpublished) Los Angeles: Smalley
Smith, Greg M. (2003). Film Structure and the Emotion System, Cambridge: University Press
Smith, Jeff (1998). The Sounds of Commerce: Marketing Popular Film Music, New York: Columbia University
Smith, Steven C. (1991). A Heart at Fire's Center: The Life and Music of Bernard Herrmann, Berkeley: University of California
Snyder, Bob (2000). Music and Memory: An Introduction, Cambridge: MIT
Sonnenschein, David (2001). Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema, Studio City: Michael Wise
Stam, Robert, Robert Burgoyne, and Sandy Flitterman-Lewis, eds. (1992). New Vocabularies in Film Semiotics: Structuralism, Poststructuralism and Beyond, London: Routledge
Stamenov, Maxim I. and Vittorio Gallese, eds. (2002). Mirror Neurons and the Evolution of Brain and Language, Amsterdam: John Benjamins
Steiner, Max (1937). ‘Scoring the Film’, ed. Nancy Naumburg, We Make The Movies, New York: Norton pp. 216-238
Sternfeld, Frederick W. (1947). ‘Preliminary Report on Film Music’ in Hollywood Quarterly 2 (3): pp. 299-302
Stilwell, Robynn J. (2004). 'Sense and Sensibility: Musical Form and Drama in the Film Adaptation', ed. Claudia Gorbman and Warren M.Sherk, Film Music 2, History, Theory, Practice. Sherman Oaks: Film Music Society pp. 169-198
Stilwell, Robynn J. (1997). “I just put a drone under him....”: Collage and Subversion in the Score of Die Hard ’, Music & Letters 78 (4): pp. 551-580
Stilwell, Robynn J. (2001). ‘Sound and Empathy: Subjectivity, Gender and the Cinematic Soundscape’, ed. K. J. Donnelly, Film Music: Critical Approaches, New York: Continuum International
Stilwell, Robynn J. (2002). ‘Music in Films: A Critical Review of Literature, 1980-1996’, The Journal of Film Music 1 (1): pp. 19-61
Stilwell, Robin (?) (2003). ‘It May Look Like a Living Room...: The Musical Number and the Sitcom’, ECHO: a music-centered journal 5 (1):
Stothart, Herbert (1938). ‘Film Music’, ed. Stephan Watts, Behind the Screen, London: Arthur Baker pp.139-146
Subotnick, Rose Rosengard (1991). Developing Variations: Style and Ideology in Western Music, Minneapolis: University of Minnesota
Subotnick, Rose Rosengard (1996). Deconstructive Variations: Music and Reason in Western Society, Minneapolis: University of Minnesota
Swain, Joseph P. (2002). Harmonic Rhythm: Analysis and Interpretation, Oxford: Oxford University
Swynnoe, Jan G. (2002). The Best Years of British Film Music, 1936-1958, Woodbridge: Boydell
Tagg, Philip (1979). Kojak Fifty Seconds of Television Music Toward The Analysis of Affect in Popular Music, New York: The Mass Media Music Scholars
Tagg, Philip (1991). Fernando the Flute, New York: MMMP
Tagg, Philip, and Bob Clarida (2003). Ten Little Title Tunes, New York: MMMP
Tagg, Philip (1999). Music, moving image, semiotics and the democratic right to know, article based on paper delivered at conference 'Music and Manipulation', Stockholm, 18 September 1999
Tagg, Philip (1999). Understanding Musical Time Sense, http://
Tagg, Philip (2004). ‘Gestural interconversion and connotative precision’, Film International 13 (2005/1):
Tagg, Philip (2004). Film music, antidepressants and anguish management. Keynote presentation, IASPM Latin America, Rio de Janeiro, June 2004
Tan, Ed S. (1996). Emotion and the Structure of Narrative Film: Film As an Emotion Machine, Mahwah: Lawrence Erlbaum
Tan, Ed, and Nico H. Frijda (1999). ‘Sentiment in Film Viewing’, ed. Carl Plantinga and Greg M. Smith, Passionate Views: Film, Cognition, and Emotion, Baltimore: John Hopkins University
Tecchio, F., C. Salustri, M. H. Thaut, P. Pasqualetti, and P. M. Rossini (2000) 'Conscious and preconscious adaptation to rhythmic auditory stimuli: a magnetoencephalographic study of human brain responses,' Experimental Brain Research 135, (2): pp. 222 - 230
Temperley, David (2001). The Cognition of Basic Musical Structures, Cambridge: MIT
Thaut, Michael H. (2003). "Neural Basis of Rhythmic Timing Networks in the Human Brain." In Avanzini, The Neurosciences and Music, pp. 364-373
Thaut, Michael H. (2005). Rhythm, Music, and the Brain: Scientific Foundations and Clinical Applications, New York: Routledge
Thomas, Tony (1997). Music for the Movies (2nd ed.), Los Angeles: Silman-James
Thomas, Tony (1991). Film Score: The Art and Craft of Movie Music, Burbank: Riverwood
Thompson, W. F., F. A. Russo, and D. Sinclair (1994). ‘Effects of Underscoring on the Perception of Closure in Filmed Events’, Psychomusicology 13 (1): pp. 9-27
Thompson, W. F. (2002). ‘Evoking Terror In Film Scores’, M/C: A Journal of Media and Culture 5 (1): http://
Tiomkin, Dimitri, and Prosper Buranelli (1959). Please Don't Hate Me: The gay confessions of an unpredictable musician, Garden City: Doubleday
Tobias, James (2004). ‘Cinema, Scored: Toward a Comparative Methodology for Music in Media’, Film Quarterly 57 (2): pp. 26-36
Turner, Annie (2003). ‘They’re Here’: The Rhythmic Accent, the Single Beat and Rhythmic Silence’, Refractory: A Journal of Entertainment Media 4, http://
Van Der Merwe, Peter (1989). Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music, Oxford: Clarendon
Vitouch, Oliver (2001). ‘When Your Ear Sets the Stage: Musical Context Effects in Film Perception’, Psychology of Music 29: pp. 79-83
Voytilla, Stuart (1999). Myth & the Movies : Discovering the Myth Structure of 50 Unforgettable Films, Studio City: Michael Wiese
Wegner, Daniel M. and Laura Smart (1997). 'Deep Cognitive Activation: A New Approach to the Unconscious’, Journal of Consulting and Clinical Psychology 65 (6): pp. 984-995
Werts, Daniel (1997). ''Good', Fair', and 'Bad' Chord Progressions: A Regression-Analysis of Some Psychological Chord Progression Data Obtained in an Experiment by J. Bharucha and C. Krumhansl', in Marc Leman (ed.), Music Gestalt, and Computing: Studies in Cognitive and Systematic Musicology, Berlin: Springer pp. 200-213
Widgery, Claudia (1990). The Structure and Affective Synthesis of Music and Film: Three Documentaries of Late 1930’s America, PhD dissertation, University of Maryland
Wierzbicki, James (2003). "Grand Illusion: The “Storm Cloud” Music in Hitchcock’s The Man Who Knew Too Much", Film Music 1 (2/3): pp. 217-238
Wierzbicki, James (2005). Louis and Bebe Barron's Forbidden Planet: A Film Score Guide, Lanham: Scarecrow
Winter, Marion Hannah (1941). 'The Function of Music in Sound Film' in Musical Quarterly 27 pp. 146
Wojcik, Pamela Robertson, and Arthur Knight, eds. (2001). Soundtrack Available: Essays on Film and Popular Music, Durham: Duke University
Wood, Abigail (1998). Intersensory Integration: An investigation into the effects of concurrently presented visual material on subjects' ability to memorise the rhythm of short melodies, (http://
Wright, Stephen H. (1989). "The Materials of Film Music: Their Nature and Accessibility." In Film Music 1. ed. Clifford McCarty, Los Angeles: Film Music Society pp. 3-18
Wrobel, William (2003). ‘Self-Borrowing in the Music of Bernard Hermann’, Film Music 1 (2/3): pp. 249-271
Yalch, Richard F. (1991). 'Memory in a Jingle Jungle: Music as a Mnemonic Device in Communicating Advertising Slogans' , Journal of Applied Psychology 76 (2): pp. 268-275
Young, Michael (1988). The Metronomic Society: Natural Rhythms and Human Timetables, Cambridge: Harvard University
Zbikowski, Lawrence M. (2002). Conceptualizing Music: Cognitive Structure, Theory, and Analysis, New York: Oxford
Zhu, Rui and Joan Meyers-Levy (2005). 'Distinguishing Between the Meanings of Music: When Background Music Affects Product Perception', in Journal of Marketing Research 42 (3): pp. 333-345
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