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Film Music and Multimedia Interest Group BibliographyEdit

This is an open, crowd-sourced bibliography for the Society for Music Theory's Film Music and Multimedia Interest Group (FMIG). The aim of the bibliography is to provide a resource for music theorists to discover and share in the small but growing literature on music in film, television, video games, and sonic multimedia. Users may add any literature they believe may contribute to this field, so long as it fits within the (broadly conceived) interests and intellectual frameworks of music theory.

Editing Guidelines

1. Use Chicago Author-Date citation style.

2. Include hyperlinks to online sources if possible.

3. Restrict "forthcoming" citations to works that are already scheduled for publication.

4. Though many sources may fit into more than one category below, please list the source under a single header.

5. Unpublished talks and conference presentations may be cited, provided that a link is given for an outside page that contains an abstract for that talk.


I. Books and DissertationsEdit

Film and TelevisionEdit

Traditional Music TheoryEdit

  • Burt, George. 1994. The Art of Film Music. Boston: Northeastern University Press.
  • Hazelwood, Zachary. 2014. "Music, Action, and Narrative in Film: An Energetic and Gestural Approach to Film Score Analysis." PhD diss., Louisiana State University.
  • Helvering, David. 2007. "Functions of Dialogue Underscoring in American Feature Film." PhD diss., University of Iowa.
  • Jarvis, Brian. 2015. "Analyzing Film Music Across the Complete Filmic Structure: Three Coen and Burwell Collaborations." PhD diss, Florida State University.
  • Lehman, Frank. 2012. “Reading Tonality Through Film: Transformational Hermeneutics and the Music of Hollywood.” PhD diss., Harvard University.
  • Missiras, Michael. 1998. "Musical Reference, Syntax, and the Compositional Process in Film Music." PhD diss., New York University
  • Neumeyer, David (with contributions from James Buhler). 2015. Meaning and Interpretation of Music in Cinema. Bloomington: Indiana University Press.
  • Rodman, Ronald. 2010. Tuning In: American Narrative Television Music. Oxford: Oxford University Press.
  • Widgery, Claudia. 1990. "The Kinetic and Temporal Interaction of Music and Film: Three Documentaries of 1930s America." PhD diss., University of Maryland.

Case Studies and Analyses Edit

  • Atkinson, Sean. 2009. "An Analytical Model for the Study of Multimedia Compositions: A Case Study in Minimalist Music." Ph.D. Dissertation, Florida State University.
  • Bruce, Graham. 1985. Bernard Herrmann: Film Music and Narrative. Ann Arbor: UMI Research Press.
  • Chattah, Juan. 2015. David Shire's The Conversation: A Film Score Guide. Latham: Rowman and Littlefield.
  • Cochran, Alfred. 1986. “Style, Structure, and Tonal Organization in the Early Film Scores of Aaron Copland.” Ph.D. Dissertation, Catholic University of America.
  • Patrick, Cameron. 1986. “Anatomy of A Film Score: Star Trek– The Motion Picture.” Bachelor of Music Thesis, University of Queenslands.
  • Webster, Jamie Lynn. 2009. "The Music of Harry Potter: Continuity and Change in the First Five Film." Ph.D. Dissertation, University of Oregon.
  • Winters, Ben. 2007. Erich Wolfgang Korngold’s The Adventures of Robin Hood: A Film Score Guide. Latham: The Scarecrow Press, Inc.

Style, History, and Criticism Edit

  • Adorno, Theodor and Eisler, Hans. 1947, 2007. Composing for the Films. London: Continuum.
  • Brown, Royal. 1994. Undertones and Overtones: Reading Film Music. Berkeley: University of California Press.
  • Chion, Michel. 1994. Audio-Vision: Sound on Screen. Trans. Claudia Gorbman. New York: Columbia University Press.
  • Cook, Nicholas. 1998. Analysing Visual Multimedia. New York and Oxford: Oxford University Press.
  • Donnelly, Kevin J.. 2005. The Specter of Sound: Music in Film and Television. London: The British Film Institute Publishing.
  • Eaton, Rebecca. 2008. “Unheard Minimalisms: The Functions of the Minimalist Technique in Film Scores.” Ph.D. dissertation, University of Texas Austin.
  • Ferreira, Riette (J M. ). 2012. “New Zealand Film Music in Focus: Music by New Zealand Composers for Feature Films.” Ph.D Dissertation, University of Auckland.
  • Gorbman, Claudia. 1987. Unheard Melodies: Narrative Film Music. Bloomington: University of Indiana Press.
  • Kalinak, Kathryn. 1992. Settling the Score: Music and the Classical Hollywood Film. Madison: University of Wisconsin Press.
  • Kassabian, Anahid. 2000. Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. New York: Routledge Press.
  • Kuzelic-Wilson, Danijela. 2015. The Musicality of Narrative Film, New York, NY: Palgrave Macmillan.
  • Lexmann, Juraj. 2006. Theory of Film Music. Frankfurt am Main: Peter Lang Publishing Inc.
  • Marks, Martin. 1997. Music and the Silent Film: Contexts and Case Studies, 1895-1942. New York: Oxford University Press.
  • Tagg, Phillip and Clarida, Bob. 2003. Ten Little Tunes:Towards a Musicology of the Mass Media. New York: Mass Media Music Scholars' Press.

Cognition and PsychologyEdit

  • Chattah, Juan. 2006. "Semiotics, Pragmatics, and Metaphor in Film Music Analysis." PhD diss., Florida State University.

Trade Publications and Practical Guides Edit

  • Karlin, Fred and Wright, Rayburn. 2004. On the Track: A Guide to Contemporary Film Scoring. New York: Routledge.

Video Games and Digital Interactive MediaEdit

Traditional Music TheoryEdit

  • Collins, Karen. 2013. Playing with Sound: A Theory of Interacting with Sound and Music in Video Games. Cambridge, Massachusetts: MIT Press.
  • Medina-Gray, Elizabeth. 2014. "Modular Structure and Function in Early 21st-Century Video Game Music." Ph.D. Dissertation, Yale University.

Case Studies and Analyses Edit

  • Collins, Karen, ed. 2008. From Pac-Man to Pop Music: Interactive Audio in Games and New Media. Aldershot, UK: Ashgate.
  • Donnelly, K.J.; Gibbons, William; Lerner, Neil, eds. 2014. Music in Video Games: Studying Play. London, UK: Routledge.
  • Miller, Kiri. 2012. Playing Along: Digital Games, YouTube, and Virtual Performance. Oxford, UK: Oxford University Press.

Style, History, and Criticism Edit

  • Cheng, William. 2014. Sound Play: Video Games and the Musical Imagination. Oxford, UK: Oxford University Press.
  • Collins, Karen. 2008. Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design. Cambridge, Massachusetts: MIT Press.

Cognition and PsychologyEdit

Trade Publications and Practical Guides Edit

  • Childs, G.W. 2006. Creating Music and Sound for Games. Boston, Massachusetts: Cengage Learning Course Technology PTR.
  • Marks, Aaron. 2008. The Complete Guide to Game Audio: For Composers, Musicians, Sound Designers, Game Developers. Waltham, Massachusetts: Focal Press.
  • Phillips, Winifred. 2014. A Composer's Guide to Game Music. Cambridge, Massachusetts: MIT Press.
  • Schartmann, Andrew. 2015. Koji Kondo's Super Mario Bros. Soundtrack. New York: Bloomsbury.

II. Articles and EssaysEdit

Film and TelevisionEdit

Traditional Music TheoryEdit

  • Cochran, Alfred. 1990. “The Spear of Cephalus: Observations on Film Music Analysis.” Indiana Theory Review 11: 65-80.
  • Lehman, Frank. 2012. "Music Theory Through the Lens of Film." Journal of Film Music 5/1-2: 179-198.
  • Lehman, Frank. 2013. "Hollywood Cadences: Music and the Structure of Cinematic Expectation." Music Theory Online 19.2.
  • Lehman, Frank. 2014. "Film Music and Neo-Riemannian Theory." Oxford Handbook to Neo-Riemannian Music Theories Online, eds. Alex Rehding and Edward Gollin
  • London, Justin. 2000. "Musical Leitmotivs in Cinema and Proper Names in Language: Structural and Functional Parallels." In Music and Cinema, eds. James Buhler, Caryl Flinn, and David Neumeyer. United States of America: Wesleyan University Press, 85-96.
  • Murphy, Scott. 2006. “The Major Tritone Progression in Recent Hollywood Science Fiction Films.” Music Theory Online 12.2.
  • Murphy, Scott. 2013 “Transformational Theory and the Analysis of Film Music” in The Oxford Handbook of Music in Film and Visual Media, ed. David Neumeyer. Oxford: Oxford University Press, 2013.
  • Neumeyer, David and James Buhler. 2001. “Analytical and Interpretive Approaches to Film Music (I): Analysing the Music.” in Film Music: Critical Approaches, ed. K.J. Donnelly. New York: Continuum International Publishing Group. 16-38.
  • Neumeyer, David. 1990. “Film Music Analysis and Pedagogy.” Indiana Theory Review 11: 1-27.
  • Schneller, Tom. 2014. "Modal Interchange and Semantic Resonance in Themes by John Williams." Journal of Film Music 6/1: 49-74.

Case Studies and Analyses Edit

  • Bribitzer-Stull, Matthew. 2012. “From Nibelheim to Hollywood: The Associativity of Harmonic Progression.” In 'The Legacy of Richard Wagner, ed. Luca Sala. Turnhout: Brepols.
  • Buhler, James. 2000. “Star Wars, Music and Myth.” in Music and Cinema, eds. James Buhler, Caryl Flinn, and David Neumeyer. United States of America: Wesleyan University Press: 33-57.
  • Chua, Daniel K. L. 2011. "Listening to the Self: The Shawshank Redemption and the Technology of Music." 19th-Century Music 34.3: 341-355.
  • Eaton, Rebecca M. Doran.  2014.  "Marking Minimalism: Minimal Music as a Sign of Machines and Mathematics in Multimedia."  Music and the Moving Image 7.1: 3-23.
  • Fiegel, E. Todd. 2003. “Bernard Herrmann as Musical Colorist: A Musicodramatic Analysis of His Score for The Day the Earth Stood StillJournal of Film Music 1.2-3: 185-215.
  • Halfyard, Janet K. 2010. “Music Afoot: Supernatural Horror-comedies and the Diabolus in Musica.” In Music in the Horror Film: Listening to Fear, ed. Neil Lerner: 206-223.
  • John, Antony. 2001. “The Moment I Dreaded and Hoped For.” Musical Quarterly 85, no. 3: 516–44.
  • Leinberger, Charles. 2002.“Thematic Variation and Key Relationships: Charlotte’s Theme in Max Steiner’s Score for Now, Voyager.” Journal of Film Music Studies 1: 63-77.
  • Lehman, Frank. 2013. “Transformational Analysis and the Representation of Genius in Film Music.” Music Theory Spectrum 35.1: 1–22.
  • Lehman, Frank. 2015. "Scoring the President: Myth and Politics in John Williams's JFK and Nixon." Journal of the Society for American Music 9.4: 409-444.
  • Lerner, Neil. 2001. “Copland’s Music of Wide Open Spaces: Surveying the Pastoral Trope in Hollywood.” The Musical Quarterly 85.3: 477–515.
  • Meandri, Illario. 2011. “Dal Meraviglioso all’Antimusica su alcuni cliché del fantastico nel mainstream musicale hollywoodiano” in Suono/Immagine/Genere, ed. Ilario Meandri and Andrea Valle. Turin: Kaplan, 2011.
  • McClary, Susan. 2007. “Minima Romantica” in Beyond the Soundtrack: Representing Music in Cinema, eds. Daniel Goldmark, Lawrence Kramer, and Richard Leppert. Berkeley: University of California Press.
  • Murphy, Scott. 2009. "An Audiovisual Foreshadowing in Psycho," In Terror Tracks: Music and Sound in the Horror Film, ed. Philip Hayward. London: Equinox Publishing: 47-59.
  • Murphy, Scott. 2012. "The Tritone Within: Interpreting Harmony in Elliot Goldenthal's Score for Final Fantasy: The Spirits Within." In Music in Fantasy Cinema, ed. Janet Halfyard. London: Equinox: 148-74.
  • Neumeyer, David. 1993. "Schoenberg at the Movies: Dodecaphony and Film." Music Theory Online 0.1
  • Neumeyer, David. 1998. “Tonal Design and Narrative in Film Music: Bernard Herrmann’s The Trouble With Harry and Portrait of Hitch.” Indiana Theory Review 19.1-2: 87-123.
  • Payri, Blas. 2011. “‘Moon River and Me’: The Film-Song as Leitmotiv in Breakfast at Tiffany’s,” The Soundtrack 4.2: 137-152.
  • Platte, Nathan. 2009. "Deceptive Melodies: Musical Fetishes and Motivic Manipulation in The Paradine Case (1947)." Music and the Moving Image 2.3: 34-51.
  • Reale, Steven B. 2012. "A Sheep in Wolf's Corset: Timbral and Vocal Signifiers of Masculinity in The Rocky Horror Picture/Glee Show." Music, Sound, and the Moving Image 6.2: 137-162.
  • Rodman, Ronald. 1998. “Tonal Closure and Design in the Wizard of Oz.” Indiana Theory Review 19.1-2.
  • Rodman, Ronald. 2000. “Tonal Design and the Aesthetic of Pastiche in Herbert Stothart’s Maytime.” In Music and Cinema, ed. James Buhler, Caryl Flinn, and David Neumeyer. Hanover and London: Wesleyan University Press,187-206.
  • Rosar, William H.. 2001. “The Dies Irae in Citizen Kane: Musical Hermeneutics Applied to Film Music.” in Film Music: Critical Approaches, ed. K.J. Donnelly. New York: The Continuum International Publishing Group, Inc., 103-116.
  • Rosar, William H. 2006. “Music for Martians:Schillinger’s Two Tonics and Harmony of Fourths in Leith Steven’s Score for War of the Worlds.” Journal of Film Music 1.4: 395-438.
  • Sayrs, Elizabeth. 2003. “Narrative, Metaphor, and Conceptual Blending in ‘The Hanging Tree’.” Music Theory Online 9.1.
  • Schneller, Tom. 2012. "Easy to Cut: Modular Form in the Film Scores of Bernard Herrmann." Journal of Film Music 5/1-2: 127-151.
  • Schneller, Tom. 2014. "Sweet Fulfillment: Allusion and Teleological Genesis in John Williams's Close Encounters of the Third Kind." Music Quarterly 97.1: 98-131.
  • Whitesell, Lloyd. 2010. “Quieting the Ghosts in The Sixth Sense and The Others.” In Music in the Horror Film: Listening to Fear, ed. Neil Lerner, New York: Routledge, 206-223.

Style, History, and Criticism Edit

  • Altman, Richard. 2014. “Visual Representation of Film Sound as an Analytical Tool,” in David Neumeyer (ed.), The Oxford Handbook of Film Music Studies. New York: Oxford University Press, 72-95.
  • Carroll, Noël and Moore, Margaret. 2011. “Music and Motion Pictures.” in The Routledge Companion to Philosophy and Music. New York: Routledge, 456-467.

Cognition and PsychologyEdit

  • Bashwiner, David. 2013. "Musical Analysis for Multimedia: A Perspective from Music Theory." In The Psychology of Music in Multimedia, eds. Siu-Lin Tan, Annabel Cohen, & Roger Kendall. Oxford: Oxford University Press, 89-117.
  • Boltz, Marylin. 2001. "Musical Soundtracks as a Schematic Influence on the Cognitive Processing of Filmed Events." Music Perception 18: 427-454.
  • Boltz, Marylin. 2004. "The Cognitive Processing of Film and Musical Soundtracks." Memory & Cognition 32: 1194-1205.
  • Bullerjahn, Claudia & Güldenring, Markus. 1994. "An Empirical Invesigation of Effects of FIlm Music Using Qualitative Content Analysis." Psychomusicology, 13: 99-118.
  • Chattah, Juan. 2015. "Film Music as Embodiment." In Embodied Cognition and Cinema. Leuven: Leuven University Press, 81-114.
  • Cohen, Annabel J.. 1993. “Associationism and Musical Soundtrack Phenomena.” Contemporary Music Review 9.1-2: 163-178.
  • Cohen, Annabel J.. 2000. “Film Music: Perspectives from Cognitive Psychology.” In Music and Cinema, eds. James Buhler, Caryl Flinn, & David Neumeyer. United States of America: Wesleyan University Press, 360-377.
  • Cohen, Annabel J. 2001. "Music as a source of emotion in Film." In Music and Emotion: Theory and Research. Eds. Patrick N Juslin and John A Sloboda. Oxford: Oxford University Press, 249-272.
  • Cohen, Annabel J.. 2009. "Music in Performance Arts: Film, Theater, and Dance." In The Oxford Handbook of Music Psychology, eds. Susan Hallam, Ian Cross, & Michael Thaut. Oxford: Oxford UNiversity Press, 879-908.
  • Kendall, Roger. 2010. "Music in Film and Animaion: Experimental Semiotics Applied to Visual, Sound and Musical Structure." In Proceedings of SPIE, 7525, eds. B. E. Rogowitz & T. N. Pappas. San Jose, CA: 1-13. 
  • Lipscomb, Scott. 2005. "The Perception of Audio-Visual Composites: Accent Structure Alignment of Simple Stimuli." Selected Reports in Ethnomusicology, 12: 37-67.
  • Tan, Siu-Lin; Spackmann, Matthew; & Bezdek, Matthew. 2007. "Viewers' Interpretation of Film Characters' Emotions: Effects of Presenting Film Music Before or After a Character is Shown." Music Perception, 25,135-152.
  • Thompson, William; Russo, Frank; & Sinclair, Don. 1994. "Effects of Underscoring on the Perception of Closure in FIlmed Events." Psychomusicology, 13: 9-27.
  • Winters, Ben. 2008. "Corporeality, Musical Heartbeats, and Cinematic Emotion." Music, Sound and the Moving Image, 2: 3-25.

Video Games and Digital Interactive MediaEdit

Traditional Music TheoryEdit

Case Studies and Analyses Edit

  • Auerbach, Brent. 2010. "Pedagogical Applications of the Video Game Dance Dance Revolution to Aural Skills Instruction." Music Theory Online 16.2
  • Baker, Nathan. 2013. "The Music of Mario, Link, and Samus: Harmony, Form, and Meaning in Early Compositions by Koji Kondo and Hirokazu Tanaka." In Analyzing the Music of Living Composers (And Others), ed. Jack Boss, Brad Osborn, Tim S. Pack, and Stephen Rodgers. Newcastle upon Tyne: Cambridge Scholars Publishing, 192-217.
  • Brame, Jason. 2011. "Thematic Unity Across a Video Game Series." ACT Zeitschrift für Musik & Performance, 2011.2.
  • Medina-Gray, Elizabeth. 2011. "Meaningful Modular Combinations: Simultaneous Harp and Environmental Music in Two Legend of Zelda Games." In Music in Video Games: Studying Play, ed. Kevin J. Donnelly, Neil Lerner, and William Gibbons. New York: Routledge, 104-121.
  • Reale, Steven B. 2011. "Chaos in the Cosmos: The Play of Contradictions in the Music of Katamari Damacy." Act: Zeitschrift für Musik & Performance 2.
  • Reale, Steven B. 2014. "Transcribing Musical Worlds; or, Is L.A. Noire a Music Game?" In Music in Video Games: Studying Play, ed. Kevin J. Donnelly, Neil Lerner, and William Gibbons. New York: Routledge, 77-103.
  • Whalen, Zach. 2004. "Play Along - An approach to videogame music." Game Studies, 4.1.

Style, History, and Criticism Edit

  • Miller, Kiri. 2007. "Jacking the Dial: Radio, Race, and Place in Grand Theft Auto." Ethnomusicology 15.3, 402–438.

Cognition and PsychologyEdit

  • Grimshaw, Mark; Lindley, Craig A; Nacke, Lennart. 2008. "Sound and Immersion in the First Person Shooter: Mixed Measurement of the Player's Sonic Experience." Published in Proceedings of Audio Mostly - a conference on interaction with sound, 9–15.
  • Hébert, Sylvie; Béland, Renée; Dionne-Fournelle, Odrée; Crête, Martine; Lupien, Sonia J. 2005. "Physiological stress response to video-game playing: the contribution of built-in music." Life Sciences 76, 2371–2380.
  • Sanders, Timothy and Cairns, Paul. 2010. "Time perception, immersion, and music in videogames." Published in BCS '10 Proceedings of the 24th BCS Interaction Specialist Group Conference, 160–167.




Works in ProgressEdit

(If you are working on a dissertation on a music theory/multimedia topic, feel free to list it here)

Edit

Discussion Edit

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