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Lack, Russell (1997). Twenty Four Frames Under: A Buried History of Film Music, London: Quartet Books
Lang, Edith and George West (1920). 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: Boston Music
Langer, Susanne K. (1957). Philosophy in a New Key: A Study in the Symbolism of Reason, Rite, and Art, (third edition), Cambridge: Harvard University
Lanza, George (2000). 'My Isles of Golden Dreams: The Beauty of Supermarket Music' in Cinesonic: Cinema and the Sound of Music, ed. Philip Brophy, Sydney: AFTRS
Lapidaki, Eleni (2006). 'Timing in Music With And Without Awareness: Is There a Relation Between Internal Clocks and Stability of Tempo Judgments While Listening to Music', in Culture and Communication: Proceedings of the XIX Congress, Internation Association of Empirical Aesthetics, ed. Hana Gottesdiener and Jean-Christophe Vilatte, Avignon: Universit? d'Avignon et des Pays de Vaucluse pp. 847-850
Large, Edward W. and Mari Reiss Jones (1999). 'The dynamics of attending: How people track time-varying events', Psychological Review 106 (1): pp. 119-159
Latham Edward D. (1998). ‘Physical Motifs and Concentric Amplification in Godard/Lully’s Armide’, Indiana Theory Review 19: pp. 55-85
Lavy, Mathew Montague (2001). Emotion and the Experience of Listening to Music: A Framework for Emperical Research. Ph. D. dissertation, Cambridge University
Leinberger, Charles (2004). Ennio Morricone's The Good, the Bad and the Ugly: A Film Score Guide, Lanham: Scarecrow
Leman, Marc, ed. (1997). Music, Gestalt, and Computing: Studies in Cognitive and Systematic Musicology, Berlin: Springer
Lerdahl, Fred (2001). Tonal Pitch Space, Oxford: Oxford University
Lerner, Neil (2004). 'Musical Texture as Cinematic Signifier, The Politics of Polyphony in Selected Documentary Film Scores by Virgil Thomson and Aaron Copland', ed. Claudia Gorbman and Warren M. Sherk, Film Music 2, History, Theory, Practice. Sherman Oaks: Film Music Society pp. 1-26
Levitin, Daniel J.(2006). This Is Your Brain on Music: The Science of a Human Obsession, New York: Dutton
Levy, Louis (1948). Music for the Movies, London: Sampson Low, Marston
Limbacher, James (1974). Film Music: From Violins to Video., Metuchen: Scarecrow
Link, Stan (2004). ‘Nor The Eye Filled with Seeing: The Sound of Vision in Film’, American Music 22 (1): pp. 76-90
Lipscomb, Scott David (2005). ‘The perception of audio-visual composites: Accent structure alignment of simple stimuli' (pdf), Selected Reports in Ethnomusicology 12: pp. 37-67
Lipscomb, Scott D., and David E. Tolchinsky (2004). ‘The Role of Music Communication in Cinema', Proceedings of ICMPC8, pp. 32-38
Lipscomb, Scott D., and Mark Kerins (2004). ‘An Empirical Investigation into the Effect of Presentation Mode in the Cinematic and Music Listening Experience'(pdf), Proceedings of ICMPC8, pp. 528-533
Lipscomb, Scott David (1995). Cognition of Musical and Visual Accent Structure Alignment in Film and Animation (pdf), PhD dissertation, University of California, Los Angeles
Lipscomb, S.D., and Kendall R.A. (1994). ‘Perceptual judgment of the relationship between musical and visual components in film' (pdf), Psychomusicology 13 (1): pp. 60-98
London, Justin (2004). Hearing in Time: Psychological Aspects of Musical Meter, Oxford: Oxford University
London, Kurt (1970). Film Music, New York: Arno
Lustig, Milton (1980). Music Editing for Motion Pictures, New York: Hastings House
MacDonald, Laurence E. (1998). The Invisible Art of Film Music, New York: Ardsley House
Madell, Geoffrey (2002). Philosophy, Music and Emotion, Edinburgh: Edinburgh University
Magdanz, Teresa (2001). Classical Music -- Is Anyone Listening?: A Listener-based Approach to the Soundtrack of Bertrand Blier's Too Beautiful For You (1989), Discourses in Music 3 (1) (Fall 2001):
Mancini, Henry (2004). Case History of a Film Score: "The Thorn Birds". Miami: Warner Brothers
Mancini, Henry (1973). Sounds and Scores: A Practical Guide to Professional Orchestration, Miami: Warner Brothers
Mancini, Henry, with Gene Lees (1989). Did They Mention the Music?: The Autobiography of Henry Mancini, Chicago: Contemporary
Manvell, Roger, and John Huntley (1975). The Technique of Film Music (second edition), London: Focal
Marks, Martin Miller (1997). Music and the Silent Film: Contexts and Case Studies, 1895-1924, Oxford: Oxford University
Marshall, Sandra K., and A. J. Cohen (1988). 'Effects of musical soundtracks on attitudes toward animated geometric figures', Music Perception 6: pp. 95-112
Masson, Marie-No鼠le and Gilles Mou鼠lic, eds. (2003). Musiques Et Images au Cin士a, Rennes: Universitaires De Rennes
Mathiesen, Thomas J. (1990). ‘Silent Film Music and the Theatre Organ’ in Indiana Theory Review 11 pp. 81-117
McAdams, Stephen, and Emmanuel Bigand, eds. (1993). Thinking in Sound: The Cognitive Psychology of Human Audition, Oxford: Oxford University
McCarty, Clifford, ed. (1998). Film Music 1 (2nd edition), Hollywood: Film Music Society
McCarty, Clifford (2000). Film Composers in America: A Filmography, 1911-1970 (2nd edition), New York: Oxford University
Meeker, David (1981). Jazz in the Movies, New York: Da Capo
Metz, Christian (1977). The Imaginary Signifier: Psychoanalysis and the Cinema, Bloomington: Indiana University
Meyer, Leonard (1956). Emotion and Meaning in Music, Chicago: University Of Chicago
Milano, Paolo (1941). 'Music in the Film: Notes for a Morphology' in The Journal of Aesthetics and Art Criticism 1 (1) pp. 89-94
Missiras, Michael (1999). ‘The Transformative Power of Film Music: Non-Diegetic Musical Considerations in the Film East of Eden ’ in The Open Space 1 (spring 1999): pp. 103-109 http://
Mitry, Jean (1990). The Aesthetics and Psychology of the Cinema, Bloomington: Indiana University
Mitry, Jean (2000). Semiotics and the Analysis of Film, Bloomington: Indiana University
Mordden, Ethan (1981). The Hollywood Musical, New York: St. Martin’s
Morgan, David (2000). Knowing The Score: Film Composers Talk About the Art, Craft, Blood, Sweat, and Tears of Writing for Cinema, New York: Harper Collins
Mou鼠lic, Gilles (2003). La Musique De Film, Paris: Cahiers du Cinema
M殤sterberg, Hugo (1970). The Film: A Psychological Study, Mineola: Dover
Murphy, Scott (2006). The Major Tritone Progression in Recent Hollywood Science Fiction Films in Music Theory Online, 12 (2)
Nasta, Dominique (1991). Meaning in Film Relevant Structures in Soundtrack and Narrative, Berne: Peter Lang
Nasta, Dominique, and Didier Huvelle, eds. (2004). New Perspectives in Sound Studies (Le Son En Perspective--Nouvelles Recherches (Repenser Le Cinema/Rethinking Cinema)), Brussels: Peter Lang
Nattiez, Jean-Jacques (1990). Music and Discourse: Towards a Semiology of Music, Princeton: Princeton University
Nelson, Robert U. (1946). ‘Film Music: Color or Line?’ in HollywoodQuarterly 2 (1): pp. 57-65
Neumeyer, David (1990). ‘Film Music Analysis and Pedagogy’. Indiana Theory Review 11: pp. 1-27
Neumeyer, David (1998). ‘Tonal Design and Narrative in Film Music: Bernard Herrman’s A Portrait of Hitch and The Trouble With Harry ’, Indiana Theory Review 19: pp. 87-123
Neumeyer, David, and James Buhler (2001). ‘Analytical and Interpretive Approaches to Film Music: Analysing the Music’, ed. K. J. Donnelly, Film Music: Critical Approaches, New York: Continuum International pp. 16-38
Neumeyer, David (2002). ‘Film Theory and Music Theory: On the Intersection of Two Traditions’, ed. Andreas Giger and Thomas J. Mathiesen, Music in the Mirror: Reflections on the History of Music Theory and Literature for the 21st Century, Lincoln: University of Nebraska pp. 275-294
Neumeyer, David (2004). ‘Merging Genres in the 1940s: The Musical and the Dramatic Feature Film’, American Music 22 (1): pp. 122-132
Newlin, Dika (1977). 'Music for the Flickering Image: American Film Scores' in Music Educators Journal 64 (1): pp. 24-35
Nielsen, Mike and Gene Mailes (1995). Hollywood’s Other Blacklist: Union Struggles in the Studio System, London: BFI
North, Adrian C. and David J. Hargreaves (1997). ‘Music and consumer behavior', in ed. David J. Hargreaves and Adrian C. North, The Social Psychology of Music, Oxford: Oxford
North, Adrian C. and David J. Hargreaves (2006). ‘Music in Business Environments', in ed. Steven Brown and Ulrik Volgsten, Music and Manipulation, New York: Berghahn pp. 103-125
Nulph, Robert Glenn (2002). The Analysis, Application, and Evaluation of Three Critical Methodologies, and the Synthesis of a New Critical Model for Audiovisual Analysis, Phd dissertation, University of Kansas
Offerdal, Hans (2002). Contrast and Clarity- a study of the compositional technique of American composer Jerry Goldsmith with a main focus on contrapuntal treatment, Oslo: University of Oslo (unpublished thesis)
Ondaatje, Michael (2002). The Conversations : Walter Murch and the Art of Editing Film, London: Bloomsbury
Pallesen, Karen Johanne, Elvira Brattico, Christopher Bailey, Antti Korvenoja, Juha Koivisto, Albert Gjedde, and Synn嘛e Carlson (2005). 'Emotion Processing of Major, Minor, and Dissonant Chords: A Functional Magnetic Resonance Imaging Study', in Giuliano Avanzini et al (eds.) The Neurosciences and Music II, New York: The New York Academy of Sciences pp. 450-453
Parncutt, Richard (1989). Harmony: A Psychoacoustical Approach, Berlin: Springer-Verlag
Patel, A.D. (2003).'Language, music, syntax and the brain(pdf)'.Nature Neuroscience 6(7): pp. 674-681
Patel, A.D., Iversen, J.R., Chen, Y., and B.H. Repp (2005).'The influence of metricality and modality on synchronization with a beat'. Experimental Brain Research 163: pp. 226-238
Penn, William (1990). ‘Music and Image: A Pedagogical Approach’. Indiana Theory Review 11: pp. 47-63
Peretz, Isabelle, and Robert Zatorre, eds. (2003). The Cognitive Neuroscience of Music, Oxford: Oxford University
Pinker, Steven (1997). How the Mind Works, New York: Norton
Plutchik, Robert (1994). The Psychology and Biology of Emotion, New York: Harper Collins
Prendergast, Roy M. (1992). Film Music: A Neglected Art : A Critical Study of Music in Films, (2nd ed.), New York: W. W. Norton
Previn, Andr? (1991). No Minor Chords: My Days in Hollywood, New York: Doubleday
Lang, Edith and George West (1920). 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: Boston Music
Langer, Susanne K. (1957). Philosophy in a New Key: A Study in the Symbolism of Reason, Rite, and Art, (third edition), Cambridge: Harvard University
Lanza, George (2000). 'My Isles of Golden Dreams: The Beauty of Supermarket Music' in Cinesonic: Cinema and the Sound of Music, ed. Philip Brophy, Sydney: AFTRS
Lapidaki, Eleni (2006). 'Timing in Music With And Without Awareness: Is There a Relation Between Internal Clocks and Stability of Tempo Judgments While Listening to Music', in Culture and Communication: Proceedings of the XIX Congress, Internation Association of Empirical Aesthetics, ed. Hana Gottesdiener and Jean-Christophe Vilatte, Avignon: Universit? d'Avignon et des Pays de Vaucluse pp. 847-850
Large, Edward W. and Mari Reiss Jones (1999). 'The dynamics of attending: How people track time-varying events', Psychological Review 106 (1): pp. 119-159
Latham Edward D. (1998). ‘Physical Motifs and Concentric Amplification in Godard/Lully’s Armide’, Indiana Theory Review 19: pp. 55-85
Lavy, Mathew Montague (2001). Emotion and the Experience of Listening to Music: A Framework for Emperical Research. Ph. D. dissertation, Cambridge University
Leinberger, Charles (2004). Ennio Morricone's The Good, the Bad and the Ugly: A Film Score Guide, Lanham: Scarecrow
Leman, Marc, ed. (1997). Music, Gestalt, and Computing: Studies in Cognitive and Systematic Musicology, Berlin: Springer
Lerdahl, Fred (2001). Tonal Pitch Space, Oxford: Oxford University
Lerner, Neil (2004). 'Musical Texture as Cinematic Signifier, The Politics of Polyphony in Selected Documentary Film Scores by Virgil Thomson and Aaron Copland', ed. Claudia Gorbman and Warren M. Sherk, Film Music 2, History, Theory, Practice. Sherman Oaks: Film Music Society pp. 1-26
Levitin, Daniel J.(2006). This Is Your Brain on Music: The Science of a Human Obsession, New York: Dutton
Levy, Louis (1948). Music for the Movies, London: Sampson Low, Marston
Limbacher, James (1974). Film Music: From Violins to Video., Metuchen: Scarecrow
Link, Stan (2004). ‘Nor The Eye Filled with Seeing: The Sound of Vision in Film’, American Music 22 (1): pp. 76-90
Lipscomb, Scott David (2005). ‘The perception of audio-visual composites: Accent structure alignment of simple stimuli' (pdf), Selected Reports in Ethnomusicology 12: pp. 37-67
Lipscomb, Scott D., and David E. Tolchinsky (2004). ‘The Role of Music Communication in Cinema', Proceedings of ICMPC8, pp. 32-38
Lipscomb, Scott D., and Mark Kerins (2004). ‘An Empirical Investigation into the Effect of Presentation Mode in the Cinematic and Music Listening Experience'(pdf), Proceedings of ICMPC8, pp. 528-533
Lipscomb, Scott David (1995). Cognition of Musical and Visual Accent Structure Alignment in Film and Animation (pdf), PhD dissertation, University of California, Los Angeles
Lipscomb, S.D., and Kendall R.A. (1994). ‘Perceptual judgment of the relationship between musical and visual components in film' (pdf), Psychomusicology 13 (1): pp. 60-98
London, Justin (2004). Hearing in Time: Psychological Aspects of Musical Meter, Oxford: Oxford University
London, Kurt (1970). Film Music, New York: Arno
Lustig, Milton (1980). Music Editing for Motion Pictures, New York: Hastings House
MacDonald, Laurence E. (1998). The Invisible Art of Film Music, New York: Ardsley House
Madell, Geoffrey (2002). Philosophy, Music and Emotion, Edinburgh: Edinburgh University
Magdanz, Teresa (2001). Classical Music -- Is Anyone Listening?: A Listener-based Approach to the Soundtrack of Bertrand Blier's Too Beautiful For You (1989), Discourses in Music 3 (1) (Fall 2001):
Mancini, Henry (2004). Case History of a Film Score: "The Thorn Birds". Miami: Warner Brothers
Mancini, Henry (1973). Sounds and Scores: A Practical Guide to Professional Orchestration, Miami: Warner Brothers
Mancini, Henry, with Gene Lees (1989). Did They Mention the Music?: The Autobiography of Henry Mancini, Chicago: Contemporary
Manvell, Roger, and John Huntley (1975). The Technique of Film Music (second edition), London: Focal
Marks, Martin Miller (1997). Music and the Silent Film: Contexts and Case Studies, 1895-1924, Oxford: Oxford University
Marshall, Sandra K., and A. J. Cohen (1988). 'Effects of musical soundtracks on attitudes toward animated geometric figures', Music Perception 6: pp. 95-112
Masson, Marie-No鼠le and Gilles Mou鼠lic, eds. (2003). Musiques Et Images au Cin士a, Rennes: Universitaires De Rennes
Mathiesen, Thomas J. (1990). ‘Silent Film Music and the Theatre Organ’ in Indiana Theory Review 11 pp. 81-117
McAdams, Stephen, and Emmanuel Bigand, eds. (1993). Thinking in Sound: The Cognitive Psychology of Human Audition, Oxford: Oxford University
McCarty, Clifford, ed. (1998). Film Music 1 (2nd edition), Hollywood: Film Music Society
McCarty, Clifford (2000). Film Composers in America: A Filmography, 1911-1970 (2nd edition), New York: Oxford University
Meeker, David (1981). Jazz in the Movies, New York: Da Capo
Metz, Christian (1977). The Imaginary Signifier: Psychoanalysis and the Cinema, Bloomington: Indiana University
Meyer, Leonard (1956). Emotion and Meaning in Music, Chicago: University Of Chicago
Milano, Paolo (1941). 'Music in the Film: Notes for a Morphology' in The Journal of Aesthetics and Art Criticism 1 (1) pp. 89-94
Missiras, Michael (1999). ‘The Transformative Power of Film Music: Non-Diegetic Musical Considerations in the Film East of Eden ’ in The Open Space 1 (spring 1999): pp. 103-109 http://
Mitry, Jean (1990). The Aesthetics and Psychology of the Cinema, Bloomington: Indiana University
Mitry, Jean (2000). Semiotics and the Analysis of Film, Bloomington: Indiana University
Mordden, Ethan (1981). The Hollywood Musical, New York: St. Martin’s
Morgan, David (2000). Knowing The Score: Film Composers Talk About the Art, Craft, Blood, Sweat, and Tears of Writing for Cinema, New York: Harper Collins
Mou鼠lic, Gilles (2003). La Musique De Film, Paris: Cahiers du Cinema
M殤sterberg, Hugo (1970). The Film: A Psychological Study, Mineola: Dover
Murphy, Scott (2006). The Major Tritone Progression in Recent Hollywood Science Fiction Films in Music Theory Online, 12 (2)
Nasta, Dominique (1991). Meaning in Film Relevant Structures in Soundtrack and Narrative, Berne: Peter Lang
Nasta, Dominique, and Didier Huvelle, eds. (2004). New Perspectives in Sound Studies (Le Son En Perspective--Nouvelles Recherches (Repenser Le Cinema/Rethinking Cinema)), Brussels: Peter Lang
Nattiez, Jean-Jacques (1990). Music and Discourse: Towards a Semiology of Music, Princeton: Princeton University
Nelson, Robert U. (1946). ‘Film Music: Color or Line?’ in HollywoodQuarterly 2 (1): pp. 57-65
Neumeyer, David (1990). ‘Film Music Analysis and Pedagogy’. Indiana Theory Review 11: pp. 1-27
Neumeyer, David (1998). ‘Tonal Design and Narrative in Film Music: Bernard Herrman’s A Portrait of Hitch and The Trouble With Harry ’, Indiana Theory Review 19: pp. 87-123
Neumeyer, David, and James Buhler (2001). ‘Analytical and Interpretive Approaches to Film Music: Analysing the Music’, ed. K. J. Donnelly, Film Music: Critical Approaches, New York: Continuum International pp. 16-38
Neumeyer, David (2002). ‘Film Theory and Music Theory: On the Intersection of Two Traditions’, ed. Andreas Giger and Thomas J. Mathiesen, Music in the Mirror: Reflections on the History of Music Theory and Literature for the 21st Century, Lincoln: University of Nebraska pp. 275-294
Neumeyer, David (2004). ‘Merging Genres in the 1940s: The Musical and the Dramatic Feature Film’, American Music 22 (1): pp. 122-132
Newlin, Dika (1977). 'Music for the Flickering Image: American Film Scores' in Music Educators Journal 64 (1): pp. 24-35
Nielsen, Mike and Gene Mailes (1995). Hollywood’s Other Blacklist: Union Struggles in the Studio System, London: BFI
North, Adrian C. and David J. Hargreaves (1997). ‘Music and consumer behavior', in ed. David J. Hargreaves and Adrian C. North, The Social Psychology of Music, Oxford: Oxford
North, Adrian C. and David J. Hargreaves (2006). ‘Music in Business Environments', in ed. Steven Brown and Ulrik Volgsten, Music and Manipulation, New York: Berghahn pp. 103-125
Nulph, Robert Glenn (2002). The Analysis, Application, and Evaluation of Three Critical Methodologies, and the Synthesis of a New Critical Model for Audiovisual Analysis, Phd dissertation, University of Kansas
Offerdal, Hans (2002). Contrast and Clarity- a study of the compositional technique of American composer Jerry Goldsmith with a main focus on contrapuntal treatment, Oslo: University of Oslo (unpublished thesis)
Ondaatje, Michael (2002). The Conversations : Walter Murch and the Art of Editing Film, London: Bloomsbury
Pallesen, Karen Johanne, Elvira Brattico, Christopher Bailey, Antti Korvenoja, Juha Koivisto, Albert Gjedde, and Synn嘛e Carlson (2005). 'Emotion Processing of Major, Minor, and Dissonant Chords: A Functional Magnetic Resonance Imaging Study', in Giuliano Avanzini et al (eds.) The Neurosciences and Music II, New York: The New York Academy of Sciences pp. 450-453
Parncutt, Richard (1989). Harmony: A Psychoacoustical Approach, Berlin: Springer-Verlag
Patel, A.D. (2003).'Language, music, syntax and the brain(pdf)'.Nature Neuroscience 6(7): pp. 674-681
Patel, A.D., Iversen, J.R., Chen, Y., and B.H. Repp (2005).'The influence of metricality and modality on synchronization with a beat'. Experimental Brain Research 163: pp. 226-238
Penn, William (1990). ‘Music and Image: A Pedagogical Approach’. Indiana Theory Review 11: pp. 47-63
Peretz, Isabelle, and Robert Zatorre, eds. (2003). The Cognitive Neuroscience of Music, Oxford: Oxford University
Pinker, Steven (1997). How the Mind Works, New York: Norton
Plutchik, Robert (1994). The Psychology and Biology of Emotion, New York: Harper Collins
Prendergast, Roy M. (1992). Film Music: A Neglected Art : A Critical Study of Music in Films, (2nd ed.), New York: W. W. Norton
Previn, Andr? (1991). No Minor Chords: My Days in Hollywood, New York: Doubleday
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