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Ellis, Robert J., and Robert F. Simmons (2005). ‘The Impact of Music on Subjective and Physiological Indices of Emotion While Viewing Films ’, Psychomusicology 19: pp. 15-40
Eisenstein, Sergei (1947). trans. Jay Leyda, The Film Sense, New York: Harcourt
Eisenstein, Sergei (1949). trans. Jay Leyda, Film Form: Essays in Film Theory , New York: Harcourt
Epstein, David (1995). Shaping Time: Music, the Brain, and Performance, New York: Schirmer
Evans, James, and Manfred Clynes (1986). Rhythm in Psychological, Linguistic and Musical Processes, Springfield: Charles C Thomas
Evans, Mark (1979). Soundtrack: The Music of the Movies, New York: Da Capo
Faulkner, Robert R. (1983). Music on Demand: Composers and Careers in the Hollywood Film Industry, New Brunswick: Transaction
Fiegel, E. Todd (2003). ‘Bernard Hermann as Musical Colorist: A Musicodramatic Analysis of His Score for The Day The Earth Stood Still ’, Film Music 1 (2/3): pp. 185-215
Flinn, Caryl (2004). The New German Cinema: Music, History, and the Matter of Style, Berkeley: University of California
Flinn, Caryl (1992). Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music, Princeton: Princeton University
Franklin, Peter (2001). ‘King Kong and Film on Music: Out of the Fog’, ed. K. J. Donnelly, Film Music: Critical Approaches, New York: Continuum International
Freeman, John (1959). 'Effect of Familiar Background Music Upon Film Learning' in Journal of Educational Research 55 (3) pp. 91-96
Gagnon, Lise, and Isabelle Peretz (2003). 'Mode and tempo relative contributions to “happy-sad” judgements in equitone melodies (pdf)', Cognition and Emotion 17 (1): pp. 25-40.
Geisler, C. Daniel (1998). From Sound to Synapse: Physiology of the Mammalian Ear, Oxford: Oxford University
Goldmark, Daniel (2005). Tunes for 'Toons : Music and the Hollywood Cartoon, Berkeley: University of California
Goldmark, Daniel and Yuval Taylor eds. (2002). The Cartoon Music Book, Chicago: A Capella
Goldmark, Daniel (1997). 'Carl Stalling and Humor in Cartoons', Animation World Magazine 2 (1): pp. 28-30 http://
Gorbman, Claudia (1987). Unheard Melodies: Narrative Film Music, Bloomington: Indiana University
Gorbman, Claudia (1995). 'The state of film music criticism. (Sound and Music in the Movies)', Cineaste 21 (1-2): pp. 72-73
Gorbman, Claudia (2004). ‘Aesthetics and Rhetoric’, in American Music 22 (1): pp. 14-26
Gorbman, Claudia (1980). ‘Narrative Film Music’, in Yale French Studies 60: pp. 183-203
Gorbman, Claudia, and Warren M. Sherk eds. (2004). Film Music 2: History, Theory, Practice , Sherman Oaks: Film Music Society
Gorbman, Claudia (1974). 'Music As Salvation: Notes on Fellini and Rota', in Film Quarterly 28 (2): pp. 17-25
Gorbman, Claudia (2000). 'Drums Along the L A River: Scoring the Indian' in ed. Philip Brophy, Cinesonic: Cinema and the Sound of Music, Sydney: AFTRS
Gorbman, Claudia (1977). Vigo/Jaubert in Cine-tracts 1(2): pp 65-80 (.pdf)
Gosselin, Nathalie and Isabelle Peretz, Marion Noulhiane, Dominique Hasboun, Christine Beckett, Michel Baulac, S思erine Samson (2005). 'Impaired recognition of scary music following unilateral temporal lobe excision' (pdf) in Brain 128: pp. 628-640
Grewe, Oliver, Frederik Nagel, Reinhard Kopiez, and Eckart Altenm殕ler (2005). 'How Does Music Arouse "Chills"?: Investigating Strong Emotions, Combining Psychological, Physiological, and Psychoacoustical Methods', in Giuliano Avanzini et al (eds.) The Neurosciences and Music II, New York: The New York Academy of Sciences pp. 446-449
Hagen, Earle (1971). Scoring for Films, Los Angeles: E.D. J. Music
Hagen, Earle (1990). Advanced Techniques for Film Scoring, Los Angeles: Alfred
Halfyard, Janet K. (2004). Danny Elfman's Batman : A Film Score Guide, Lanham: Scarecrow
Hickman, Roger (2006). Reel Music: Exploring 100 Years of Film Music, New York: Norton
Hodges, Donald A., W. David Hairston and Jonathan H. Burdette (2005). 'Aspects of Multisensory Perception: The Integration of Visual and Auditory Information in Musical Experiences', in Giuliano Avanzini et al (eds.) The Neurosciences and Music II, New York: The New York Academy of Sciences pp. 175-186
Holbrook, Morris B. (2004). 'Ambi-diegetic music in films as a product-design and -placement strategy: the Sweet Smell of Success', in Marketing Theory 4 (3): pp. 171-185
Huckvale, David (1990). 'Twins of Evil: An Investigation into the Aesthetics of Film Music' in Popular Music 9 (1): pp. 1-35
Hung, Kineta (2001). 'Framing Meaning Perceptions with Music: The Case of Teaser Ads' (pdf), in Journal of Advertising 30 (3): pp. 39-49
Iwamiya, Shin-ichiro (1994). ‘Interactions Between Auditory and Visual Processing When Listening to Music in an Audio Visual Context: 1. Matching 2. Audio Quality’, Psychomusicology 13 (1): pp. 133-153
Jaubert, Maurice (1937). 'Music On The Screen', in Charles Davy (ed.) Footnotes to The Film, New York: Oxford University Press pp. 101-115
Kahn-Atkins, Irene (1983). Source Music in Motion Pictures, Rutherford: Fairleigh Dickinson University
Kalinak, Kathryn (1992). Settling the Score: Music and the Classical Hollywood Film, Madison: University of Wisconsin
Kalinak, Kathryn (1990). ‘Music to My Ears: Teaching the Soundtrack’ in Indiana Theory Review 11 pp. 29-45
Kalinak, Kathryn (1989). ‘Max Steiner and the Classical Hollywood Film Score: An Analysis of The Informer’, ed. Clifford McCarty, Film Music 1. Los Angeles: Film Music Society
Karlin, Fred, and Wright, Rayburn (1990). On the Track: A Guide to Contemporary Film Scoring, New York: Schirmer
Karlin, Fred (1994). Listening to Movies: The Film Lover's Guide to Film Music, New York: Schirmer
Kassabian, Anahid (2001). Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music, London: Routledge
Katz, Mark (2004). Capturing Sound: How Technology has Changed Music, Berkeley: University of California
Kellaris, James J., Anthony D. Cox and Dena Cox (1993). 'The Effect of Background Music on Ad Processing: A Contingency Explanation,in Journal of Marketing 57 (4): pp. 114-125
Key, Wilson Bryan (1972). Subliminal Seduction: Ad Media's Manipulation of a Not So Innocent America, Englewood Cliffs, NJ.: Prentice-Hall
Kielian-Gilbert, Marianne C. (2004). ‘(Re)contextualization, Embodiment, and Subjectivity: A View from Musical Multimedia' (pdf), Proceedings of ICMPC8, pp. 619-621
Koelsch, Stefan (2005). 'Investigating Emotion with Music: Neuroscientific Approaches', in Giuliano Avanzini et al (eds.) The Neurosciences and Music II, New York: The New York Academy of Sciences pp. 412-418
Kompanek, Sonny (2004). From Score To Screen: Sequencers, Scores, And Second Thoughts : The New Film Scoring Process, New York: Schirmer
Krumhansl, Carol L. (1997). ‘An Exploratory Study of Musical Emotions and Psychophysiology’, Canadian Journal of Experimental Psychology 51 (4): pp. 336-353
Krumhansl, Carol L. (1990). Cognitive Foundations of Musical Pitch, New York: Oxford
Eisenstein, Sergei (1947). trans. Jay Leyda, The Film Sense, New York: Harcourt
Eisenstein, Sergei (1949). trans. Jay Leyda, Film Form: Essays in Film Theory , New York: Harcourt
Epstein, David (1995). Shaping Time: Music, the Brain, and Performance, New York: Schirmer
Evans, James, and Manfred Clynes (1986). Rhythm in Psychological, Linguistic and Musical Processes, Springfield: Charles C Thomas
Evans, Mark (1979). Soundtrack: The Music of the Movies, New York: Da Capo
Faulkner, Robert R. (1983). Music on Demand: Composers and Careers in the Hollywood Film Industry, New Brunswick: Transaction
Fiegel, E. Todd (2003). ‘Bernard Hermann as Musical Colorist: A Musicodramatic Analysis of His Score for The Day The Earth Stood Still ’, Film Music 1 (2/3): pp. 185-215
Flinn, Caryl (2004). The New German Cinema: Music, History, and the Matter of Style, Berkeley: University of California
Flinn, Caryl (1992). Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music, Princeton: Princeton University
Franklin, Peter (2001). ‘King Kong and Film on Music: Out of the Fog’, ed. K. J. Donnelly, Film Music: Critical Approaches, New York: Continuum International
Freeman, John (1959). 'Effect of Familiar Background Music Upon Film Learning' in Journal of Educational Research 55 (3) pp. 91-96
Gagnon, Lise, and Isabelle Peretz (2003). 'Mode and tempo relative contributions to “happy-sad” judgements in equitone melodies (pdf)', Cognition and Emotion 17 (1): pp. 25-40.
Geisler, C. Daniel (1998). From Sound to Synapse: Physiology of the Mammalian Ear, Oxford: Oxford University
Goldmark, Daniel (2005). Tunes for 'Toons : Music and the Hollywood Cartoon, Berkeley: University of California
Goldmark, Daniel and Yuval Taylor eds. (2002). The Cartoon Music Book, Chicago: A Capella
Goldmark, Daniel (1997). 'Carl Stalling and Humor in Cartoons', Animation World Magazine 2 (1): pp. 28-30 http://
Gorbman, Claudia (1987). Unheard Melodies: Narrative Film Music, Bloomington: Indiana University
Gorbman, Claudia (1995). 'The state of film music criticism. (Sound and Music in the Movies)', Cineaste 21 (1-2): pp. 72-73
Gorbman, Claudia (2004). ‘Aesthetics and Rhetoric’, in American Music 22 (1): pp. 14-26
Gorbman, Claudia (1980). ‘Narrative Film Music’, in Yale French Studies 60: pp. 183-203
Gorbman, Claudia, and Warren M. Sherk eds. (2004). Film Music 2: History, Theory, Practice , Sherman Oaks: Film Music Society
Gorbman, Claudia (1974). 'Music As Salvation: Notes on Fellini and Rota', in Film Quarterly 28 (2): pp. 17-25
Gorbman, Claudia (2000). 'Drums Along the L A River: Scoring the Indian' in ed. Philip Brophy, Cinesonic: Cinema and the Sound of Music, Sydney: AFTRS
Gorbman, Claudia (1977). Vigo/Jaubert in Cine-tracts 1(2): pp 65-80 (.pdf)
Gosselin, Nathalie and Isabelle Peretz, Marion Noulhiane, Dominique Hasboun, Christine Beckett, Michel Baulac, S思erine Samson (2005). 'Impaired recognition of scary music following unilateral temporal lobe excision' (pdf) in Brain 128: pp. 628-640
Grewe, Oliver, Frederik Nagel, Reinhard Kopiez, and Eckart Altenm殕ler (2005). 'How Does Music Arouse "Chills"?: Investigating Strong Emotions, Combining Psychological, Physiological, and Psychoacoustical Methods', in Giuliano Avanzini et al (eds.) The Neurosciences and Music II, New York: The New York Academy of Sciences pp. 446-449
Hagen, Earle (1971). Scoring for Films, Los Angeles: E.D. J. Music
Hagen, Earle (1990). Advanced Techniques for Film Scoring, Los Angeles: Alfred
Halfyard, Janet K. (2004). Danny Elfman's Batman : A Film Score Guide, Lanham: Scarecrow
Hickman, Roger (2006). Reel Music: Exploring 100 Years of Film Music, New York: Norton
Hodges, Donald A., W. David Hairston and Jonathan H. Burdette (2005). 'Aspects of Multisensory Perception: The Integration of Visual and Auditory Information in Musical Experiences', in Giuliano Avanzini et al (eds.) The Neurosciences and Music II, New York: The New York Academy of Sciences pp. 175-186
Holbrook, Morris B. (2004). 'Ambi-diegetic music in films as a product-design and -placement strategy: the Sweet Smell of Success', in Marketing Theory 4 (3): pp. 171-185
Huckvale, David (1990). 'Twins of Evil: An Investigation into the Aesthetics of Film Music' in Popular Music 9 (1): pp. 1-35
Hung, Kineta (2001). 'Framing Meaning Perceptions with Music: The Case of Teaser Ads' (pdf), in Journal of Advertising 30 (3): pp. 39-49
Iwamiya, Shin-ichiro (1994). ‘Interactions Between Auditory and Visual Processing When Listening to Music in an Audio Visual Context: 1. Matching 2. Audio Quality’, Psychomusicology 13 (1): pp. 133-153
Jaubert, Maurice (1937). 'Music On The Screen', in Charles Davy (ed.) Footnotes to The Film, New York: Oxford University Press pp. 101-115
Kahn-Atkins, Irene (1983). Source Music in Motion Pictures, Rutherford: Fairleigh Dickinson University
Kalinak, Kathryn (1992). Settling the Score: Music and the Classical Hollywood Film, Madison: University of Wisconsin
Kalinak, Kathryn (1990). ‘Music to My Ears: Teaching the Soundtrack’ in Indiana Theory Review 11 pp. 29-45
Kalinak, Kathryn (1989). ‘Max Steiner and the Classical Hollywood Film Score: An Analysis of The Informer’, ed. Clifford McCarty, Film Music 1. Los Angeles: Film Music Society
Karlin, Fred, and Wright, Rayburn (1990). On the Track: A Guide to Contemporary Film Scoring, New York: Schirmer
Karlin, Fred (1994). Listening to Movies: The Film Lover's Guide to Film Music, New York: Schirmer
Kassabian, Anahid (2001). Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music, London: Routledge
Katz, Mark (2004). Capturing Sound: How Technology has Changed Music, Berkeley: University of California
Kellaris, James J., Anthony D. Cox and Dena Cox (1993). 'The Effect of Background Music on Ad Processing: A Contingency Explanation,in Journal of Marketing 57 (4): pp. 114-125
Key, Wilson Bryan (1972). Subliminal Seduction: Ad Media's Manipulation of a Not So Innocent America, Englewood Cliffs, NJ.: Prentice-Hall
Kielian-Gilbert, Marianne C. (2004). ‘(Re)contextualization, Embodiment, and Subjectivity: A View from Musical Multimedia' (pdf), Proceedings of ICMPC8, pp. 619-621
Koelsch, Stefan (2005). 'Investigating Emotion with Music: Neuroscientific Approaches', in Giuliano Avanzini et al (eds.) The Neurosciences and Music II, New York: The New York Academy of Sciences pp. 412-418
Kompanek, Sonny (2004). From Score To Screen: Sequencers, Scores, And Second Thoughts : The New Film Scoring Process, New York: Schirmer
Krumhansl, Carol L. (1997). ‘An Exploratory Study of Musical Emotions and Psychophysiology’, Canadian Journal of Experimental Psychology 51 (4): pp. 336-353
Krumhansl, Carol L. (1990). Cognitive Foundations of Musical Pitch, New York: Oxford
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