Short film music bibliography

(mainly books in English)


KEY:
All titles recommended.
This title strongly recommended.
See also Peter D Kaye's Cognition/perception of underscore bibliography
Popular music (incl. film/TV/games) bibliography


Anderson, Gillian B (1988). Music for Silent Films 1894-1929 (xlix+182 pp.). Washington: Library of Congress. ISBN 0-8333-0580-9 .

Atkinson, Michael  (1995). ‘Long black limousine: pop biopics’. See Romney and Wootton.

Bazelon, Irwin (1975). Knowing the Score. Notes on Film Music (352 pp.). New York: Arco. ISBN 0-668-05132-9. Keywords:COMPOSERS, HISTORY, COMPOSE, INTERVIEW

Berg, Charles Merrell (1976). An Investigation of the Motives for and Realization of Music Accompanying the American Silent Film 1896-1927 (300 pp.) Chicago: Arno Press. ISBN 0-405-07531-6. [University of Iowa PhD thesis, 1973] .

Brown, Royal S (1994). Overtones and Undertones — Reading Film Music (x + 396 pp.) Berkeley, Los Angeles, London: University of California Press. ISBN 0-520-08544-2.

Bruce, Graham D (1985). Bernard Herrmann: film music and narrative (Studies in Cinema, 38; 248 pp.). Ann Arbor (MI): University Microfilms International (UMI). ISBN 0-8357-1709-7.

Death, Chuck; Morton, Colin B. ‘Cartoon’. See Romney and Wootton  (1995: 42-43).

Eisler, Hanns (1947). Composing for the Films (165 pp.). London: Dobson.

Elsas, Diana (ed) (1977) Factfile: Film Music. American Film Institute.

Eshun, Kodwo. ‘From blaxploitation to rapsploitation’. See Romney and Wootton  (1995: 52-59).

Evans, Mark (1975). Soundtrack: the Music of the Movies. Hopkinson and Blake.

Fielding, Raymond (1967). A Technological History of Motion Pictures and Television (255 pp.). Berkeley: University of California Press. ISBN 0-520-03981-5. [Anthology from The Journal of the Society of Motion Picture Engineers and Sound Recordists].

Gorbman, Claudia (1987). Unheard Melodies (190 pp.) Bloomington & London: Indiana University Press / BFI Publishing. (0-85170-209-0). ISBN0-253-20436-4. Keywords: FILM, FILM MUSIC, DEFINITIONS, PHILOSOPHY, TRANSCRIPT, ILLUSTRATED, USA.

Hagen, Earle (1971). Scoring For Films (253 pp.) New York: Criterion Books. Keywords : TRANSCRIPT, ILLUSTRATED, HANDBOOK, COMPOSE, ARRANGE, SKILLS, EDUCATION ITEM, USA.

Interviews with Allison Anders, David Byrne, Ry Cooder, Cameron Crowe, Leslie Harris, Isaac Julien, Bob Last, Michael Mann, Amos Poe, Alan Rudolph, Penelope Spheeris, Quentin Tarantino, Julien Temple, Wim Wenders. In Romney & Wootton (1995: 118-147).

Karlin, Fred; Wright, Rayburn (1990). On the Track. A Guide to contemporary film scoring (856 pp.) New York: Schirmer Books (a division of Macmillan Inc.). ISBN 0-02-873310-X. Keywords: COMPOSE, TRANSCRIPT, AESTHETICS, ILLUSTRATED, MELODY, HARMONY, ORCHESTRATION, RHYTHM, INTERVIEW, WILLIAMS John, BERNSTEIN Elmer, POST Mike, RUBINSTEIN Arth, ROTA Nino, DELERUE Georges, MANCINI Henry, CLICK TRACK, CONTI Bill, HORNER James.

Kermode, Mark. ‘Twisting the Knife’. See Romney and Wootton (1995: 8-19).

Lacombe, Alain; Rocle, Claude (1979). La musique du film (516 pp.) Paris: Éditions van de Velde. ISBN 2-86299-005-1.

Limbacher, James L (ed) (1974). Film Music: from Violins to Video (835 pp.) Metuchen (NJ): Scarecrow Press. ISBN 0-8108-0651-7.

Limbacher James L (ed.) (1981). Keeping Score: Film Music 1972-1979 (iix+510 pp.) Metuchen (NJ): Scarecrow Press. ISBN 0-8108-1390-4.

Limbacher, James L: ‘How it all began’ (Film Music From Violins to Video, Scarecrow Press, Metuchen, 1974, pp. 13-14)

Lissa, Zofia (1965). Ästhetik der Filmmusik (454 pp.) Berlin: Henschelverlag. (Includes best systematisation of film music’s functions (PowerPoint)

Mancini, Henry (1973). Sounds and Scores. A Practical Guide to Professional Orchestration (243 pp.) Greenwich (CT): Northridge Music. ISBN 0-89524-060-2. Keywords : TRANSCRIPT, ARRANGE, COMPOSE, INSTRUMENTS, ORCHESTRAL MUSIC, MoR, JAZZ, USA.

Manvell, Roger; Huntley, John; Arnell, Richard; Day, Peter (1975). The Technique of Film Music (310 pp.) London & New York: Focal Press. ISBN 0-240-50848-3. Keywords : ILLUSTRATED, HISTORY, TRANSCRIPT, COMPOSE.

Medhurst, Andy. ‘It sort of happened here: the strange, brief life of the British pop film’. See Romney and Wootton (1995: 60-71).

  Miceli, Sergio (1982). La musica nel film. Arte e artigianato (343 pp.) Firenze: Discanto Edizioni.

Miceli, Sergio (1994). Morricone, la musica, il cinema (415 pp). Milano: Ricordi / Mucchi.

Palmer, Christopher (1975). Miklós Rózsa. Wiesbaden: Breitkopf und Härtel. ISBN 3-7651-0084-6.

Palmer, Christopher (1984). Dimitri Tiomkin, A Portrait (144 pp.) London: T.E. Books. ISBN 0-9509439-0-8.

Pauli, Hansjörg (1981). Filmmusik: Stummfilm (247 pp.) Stuttgart: Klett-Cotta. ISBN 3-12-936310-6.

Phillipot, Michel (1987). ‘Musique à ne pas voir’ Vibrations, 4:58-64. Paris. ISBN 2-7089-6193-4. Keywords: COMPOSE, AESTHETICS, INFORMATION THEORY, PROKOFIEV.

Porcille, François (1969). Présence de la musique à l’écran* (345+16 pp.) Paris: Éditions du Cerf. Keywords: USA, EUROPE, HISTORY, AESTHETICS, COMPOSE.

   Prendergast, Roy M (1977, 2nd ed. 1992). Film Music: a Neglected Art. The history and techniques of a new art form from silent films to the present day (268 pp.). New York: W W Norton. ISBN 0-393-00862-2. Keywords: HOLLYWOOD, HISTORY, AESTHETICS, TRANSCRIPT, RECORDING, ILLUSTRATED, BIBLIOGRAPHY.

Rapée, Ernö (1924) Motion Picture Moods for Pianists and Organists (678 pp.). New York: Schirmer (facsimile reprint 1974: Arno, New York). ISBN 0-405-01635-2. Keywords: SILENT FILM, 1910S, 1920S, CLASSICAL, ROMANTIC.

Romney, Jonathan; Wootton, Adrian. ‘Access all areas: the real space of rock documentary’ and ‘The do’s and don’ts of rock documentaries’. In Romney and Wootton (1995: 82-105).

Romney, Jonathan; Wootton, Adrian (eds., 1995). Celluloid Jukebox. Popular music and the Movies since the Fifties. London: British Film Institute. ISBN 0 85170 507 3. FILM, FILM MUSIC, ROCK, USA, UK

Rózsa, Miklós (1982). Double Life. The Autobiography of Miklós Rózsa, Composer in the Golden Years of Hollywood (224 pp.).Tunbridge Wells: Baton Press. ISBN 0-85936-141-1.

Schmidt, Hans-Christian (1982). Filmmusik für die Sekundarund Studienstufe (120 pp.) Musik aktuell: Analysen, Beispiele, Kommentare, 4. Kassel: Bärenreiter. ISBN 3-7618-0675-2. [Includes excellent triple album of examples].

Schmidt, Hans-Christian (1976) (ed). Musik in den Massenmedien Rundfunk und Fernsehen. Mainz: Schott. ISBN3-7957-2611-5.

Schoenherr, Steve: Motion Picture Sound (3 authoritative articles online)

Shaindlin, Jack. ‘Don’t shoot the piano player’ (Film Music, 14:15, January-February 1955)

Sinker, Mark. Music as film. See Romney and Wootton (1995: 106-117).

Skiles, Martin (1976). Music Scoring for TV and Motion Pictures (260 pp.). Blue Ridge Summit PA: Tab. ISBN 0-8306-6779-2. Keywords:CONNOTATION, COMPOSE, TELEVISION, ARRANGE, INSTRUMENTS, AESTHETICS, TRANSCRIPT

Skinner, Frank (1950). Underscore. A combination method-text-treatise on scoring music for film or TV (239 pp.). New York: Criterion Music. Keywords : MOOD MUSIC, COMPOSE, TRANSCRIPT, HANDBOOK, USA, AFFECT, ARRANGE

   Tagg, Philip (2000) Kojak: 50 Seconds of Television Music (2nd edition, 424 pp.). New York: Mass Media Music Scholars’ Press. ISBN 0-9701684-0-8. First edition (1979, 301 pp.): Göteborg: Skrifter från GMV 2. ISBN 91-7222-235-2. Keywords:TRANSCRIPT, ANALYSIS, TELEVISION, SEMIOLOGY, MEDIA INDUSTRY, TITLE MUSIC, AFFECT.. Out of print: online ordering.

Tagg, Philip (ed) (1980). Film Music, Mood Music and Popular Music Research (90 pp.). Interviews, Converations, entretiens. Göteborg: Stencilled Papers from the Musicology Department, #8002. ISSN 0349-3407. Keywords:PRODUCERS, CONNOTATION, CATALOGUE, SEMIOLOGY, STEREOTYPES, AFFECT, ADVERTS. Library music part of this text available online.

Tagg, Philip (1989). ‘An Anthropology of Stereoptypes in TV Music’. Svensk tidskrift för musikforskning, 1989, pp.19-42 [Swedish Musicological Journal  for 1989, Göteborg, 1990]. Keywords: anthropology, concept analysis, music semiotics, reception tests, ideology, gender, male, female, small towns, large towns, guilt, suspicion, jealousy, Carl Jung].

Tagg, Philip (1998).‘Tritonal crime and “music as music”’. Norme con ironie. Scritti per i settant’ anni di Ennio Morricone (ed. Sergio Miceli,  Laura Gallenga, Lena Kokkaliari). Milano: Suvini Zerboni, pp. 273-312. (Festschrift for Ennio Morricone’s 70th birthday). Keywords: tritone, ‘absolute music’, film music, TV themes, detectives, semiotics, half-diminished chord, crime, harmony.

Tagg, Philip & Clarida, Bob (2003). Ten Little Title Tunes. New York & Montréal: Mass Media Music Scholars Press. ISBN 0-9701684-2-X xvi + 898 pages 10" x 7" / 177 x 254 mm • 501 music examples Numerous illustrations, tables and figures.

Thiel, Wolfgang (1981). Filmmusik in Geschichte und Gegenwart (Ill., 447 pp.). Berlin: Henschelverlag. Keywds : AESTHETICS, HISTORY, EUROPE, USA, TRANSCRIPT, GERMANY, COMPOSE

Thompson, Ben. ‘Pop and film: the Charisma crossover’. See Romney and Wootton (1995: 32-41).

Tiomkin, Dimitri (1974). ‘Composing for Films’. Film Music: from Violins to Video (ed James L Limbacher):55-61. Metuchen (NJ): Scarecrow Press. ISBN 0-8108-0651-7. [1 publ Films in Review 2:17 Nov 1951]

Toop, David. ‘Rock musicians and film soundtracks’. See Romney and Wootton (1995: 72-81).

Weis, Elisabeth; Belton, John (eds., 1985). Film Sound : Theory and Practice (464 pp). New York: Columbia University. ISBN 0-231-05637-0.

Winkler, Max: ‘The Origin of Film Music’ (Films in Review, 2:34, December 1951).