Musique et images en motion : bibliographie
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Cours : Musique et images en motion (Philip Tagg) |
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.
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.
Chion, Michel (1995). La musique au cinéma. Paris: Fayard.
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.
Hagen, Earle (1971). Scoring For Films (253 pp.) New York: Criterion Books.
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.).
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.
Lissa, Zofia (1965). Ästhetik der Filmmusik (454 pp.) Berlin: Henschelverlag. (Includes best systematisation of film music’s functions)
Mancini, Henry (1973). Sounds and Scores. A Practical Guide to Professional Orchestration (243 pp.) Greenwich (CT): Northridge Music. ISBN 0-89524-060-2.
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.
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.
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.
Porcille, François (1969). Présence de la musique à l’écran* (345+16 pp.) Paris: Éditions du Cerf.
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.
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.
Rapée, Ernö (1925a): The Music for Your Theatre
Rapée, Ernö (1925b): Managing a Film Theatre (incl: «The Missionary of Good Music and the Motion Picture Theatre», «How to Organize and Rehearse An Orchestra», «The Music library»)
Riesenfeld, Hugo (1925): The Advancement in Motion Picture Music (Remarkable Development of Popular Programs Blending With the Classical)
Riesenfeld, Hugo (1926): Music and Motion Pictures
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.
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.
Sauer, Rodney (1998a): J S Zamencik and Silent Film Music
Sauer, Rodney (1998b): «Sam Fox Moving Picture Music»
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 (authoritative article 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.
Skinner, Frank (1950). Underscore. A combination method-text-treatise on scoring music for film or TV (239 pp.). New York: Criterion Music.
Stilwell, Robynn (2002). ‘Music in Films: A Critical Review of Literature, 1980-1996’. The Journal of Film Music, 1/1: 19-61.
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.
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. 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].
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).
Thiel, Wolfgang (1981). Filmmusik in Geschichte und Gegenwart (Ill., 447 pp.). Berlin: Henschelverlag.
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).
Wagner, Victor (1926): Scoring a Motion Picture
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).