Film Music---What's in a Name?
DOI:
https://doi.org/10.1558/jfm.v1i1.1Keywords:
film music, Filmmusik, music in film, music and filmReferences
Action on the frontiers of American composition. 1944. Music Publishers Journal 2, no. 1: 6-7, 29, 34, 35, 41, 45, 47.
Anderson, Gillian. 1988. Music for silent films: A guide. Washington DC: Library of Congress.
Antheil, George. 1937. On the Hollywood front. Modern Music 15: 48-51.
Bazelon, Irwin. 1975. Knowing the score: Notes on film music. New York: Van Nostrand Reinhold.
Behlmer, Rudy. 1997. Liner notes. Casablanca. Compact disc. Los Angeles: Rhino Entertainment R2 72911.
Benjamin, Arthur. 1937. Film music. The Musical Times 78: 595-97.
Bukofzer, Manfred F. 1948. Forms and functions of the music library. Notes: Supplement for Members, No. 3: 3-9.
Bush, Stephen W. 1911. Possibilities of musical synchronization. The Moving Picture World. (September 2), 608.
Care, Ross. 2000. Rear Window: The music of sound. Scarlet Street, No. 37: 60-3, 76.
Cariaga, Daniel. 1984. Andre Previn to direct LA Philharmonic. Los Angeles Times, part 1, p. 1, (April 30), 3, 16.
de la Motte-Haber, Helga, and Hans Emons. 1980. Filmmusik: Eine systematsiche Beschreibung. Munich: Karl Hanser Verlag
Donnelly, K. J. 2001. Performance and the composite film score. In Film music: Critical approaches, ed. K. J. Donnelly. Edinburgh: Edinburgh University Press.
Evans, Mark. 1979. Soundtrack: The music of the movies. New York: DaCapo Press.
Gold, Ernest. 1982. A conversation with Ernest Gold. Cinemascore, no. 10, (fall): 12-9.
Greenfield, Edward. 1974. The metamorphosis of André Previn. High Fidelity Magazine 24 (November): 23-4, 27.
Hagen, Earle. 1971. Scoring for films. N.p.: E.D.J. Music.
Hamilton, William. 1950. Edge of doom. Film Music Notes 10, no. 1: 6-15.
Kemmerling, Garth. 2002. Definition and meaning. In Philosophy Pages [online], October 27, 2001, <www.philosophypages.com/lg/e05.htm> June 26, 2002.
Kenshur, Oscar. 1984. The rhetoric of incommensurability. The Journal of Aesthetics and Art Criticism 42: 375-81.
Knight, Arthur, and Pamela Robertson Wojcik. 2001. Overture. In Soundtrack available: Essays on film and popular music, ed. Pamela Robertson Wojcik and Arthur Knight. Durham, NC: Duke University Press.
Kracauer, Siegfried. 1960. Theory of film: The redemption of physical reality. New York: Oxford University Press.
Leigh, Walter. 1934. The musician and the film. Cinema Quarterly 3, no. 2: 70-4.
Levant, Oscar. 1939. Movie music. Town and Country (December) 90-1, 130-33.
———. 1942. A smattering of ignorance. Garden City, NY: Garden City Publishing.
London, Kurt. 1924. Gedanken zum Problem der Filmmusik. Allgemeine Musikzeitung 51: 60-2.
———. 1936. Film music: A summary of the characteristic features of its history, aesthetics, technique, and possible developments, trans. Eric S. Bensinger. London: Faber & Faber.
Luria, Keith, and Romulo Gandolfo. 1986. Carlo Ginzburg: An interview. Radical History Review 35: 89-111.
Manvell, Roger, and John Huntley. 1957. The technique of film music. New York: Hastings House.
Marks, Martin. 1982. Film music: The material, literature and present state of research. Journal of the University Film and Video Association 34: 3-40.
McCarty, Clifford. 1953. Film composers in America: A checklist of their work. [Los Angeles: Clifford McCarty].
———. 2000. Film composers in America: A filmography 1911-1970. New York: Oxford University Press.
McInerney, Claire . 2002. An interdisciplinary perspective of classificatory structures [online]. 1997. <www.scils.rutgers.edu/~clairemc/classify.html> August 9, 2002.
Morton, Lawrence. 1955. Confession. Frontier (May 1955), 21.
Movie music. 1928. National Board of Review Magazine 3 (May 6), 3.
Oliver, W. E. 1942. Stothart provides score. Los Angeles Herald and Express (July 19), n.p.
Pilar-Morin, Mne. 1910. Silent drama music. The Moving Picture World 6 (April 30), 676.
Prendergast, Roy M. 1977. Film music: A neglected art. New York: W.W. Norton.
Raksin, David. 1974. Whatever happened to movie music? Film Music Notebook (Autumn 1974), 22-6.
Roemheld, Heinz. 1930. Musicals. Hollywood Filmograph (November 8), 21.
———. 1930. Music and motion pictures. The Film Spectator 10 (November 22), 87.
Rosar, William H. 1983. Music for the monsters: Universal Pictures’ horror film scores of the thirties. The Quarterly Journal of the Library of Congress 40: 391-421.
Schneider, George [Monachus Minor, pseud.]. 1946. Music library in the film studios. Music Publishers Journal 4, no. 1: 35, 67-8.
Shilkret, Nat. 1946. Some predictions for the future of film music. Music Publishers Journal 4, no. 1: 29, 47-9.
Skiles, Marlin. 1976. Music scoring for TV & motion pictures. Blue Ridge Summit, PA: Tab Books.
Stothart, Herbert. 1938. Film music. In Behind the screen, ed. Stephen Watts. London: Barker.
Thomas, Tony. 1973. Music for the movies. New York: A.S. Barnes.
Anderson, Gillian. 1988. Music for silent films: A guide. Washington DC: Library of Congress.
Antheil, George. 1937. On the Hollywood front. Modern Music 15: 48-51.
Bazelon, Irwin. 1975. Knowing the score: Notes on film music. New York: Van Nostrand Reinhold.
Behlmer, Rudy. 1997. Liner notes. Casablanca. Compact disc. Los Angeles: Rhino Entertainment R2 72911.
Benjamin, Arthur. 1937. Film music. The Musical Times 78: 595-97.
Bukofzer, Manfred F. 1948. Forms and functions of the music library. Notes: Supplement for Members, No. 3: 3-9.
Bush, Stephen W. 1911. Possibilities of musical synchronization. The Moving Picture World. (September 2), 608.
Care, Ross. 2000. Rear Window: The music of sound. Scarlet Street, No. 37: 60-3, 76.
Cariaga, Daniel. 1984. Andre Previn to direct LA Philharmonic. Los Angeles Times, part 1, p. 1, (April 30), 3, 16.
de la Motte-Haber, Helga, and Hans Emons. 1980. Filmmusik: Eine systematsiche Beschreibung. Munich: Karl Hanser Verlag
Donnelly, K. J. 2001. Performance and the composite film score. In Film music: Critical approaches, ed. K. J. Donnelly. Edinburgh: Edinburgh University Press.
Evans, Mark. 1979. Soundtrack: The music of the movies. New York: DaCapo Press.
Gold, Ernest. 1982. A conversation with Ernest Gold. Cinemascore, no. 10, (fall): 12-9.
Greenfield, Edward. 1974. The metamorphosis of André Previn. High Fidelity Magazine 24 (November): 23-4, 27.
Hagen, Earle. 1971. Scoring for films. N.p.: E.D.J. Music.
Hamilton, William. 1950. Edge of doom. Film Music Notes 10, no. 1: 6-15.
Kemmerling, Garth. 2002. Definition and meaning. In Philosophy Pages [online], October 27, 2001, <www.philosophypages.com/lg/e05.htm> June 26, 2002.
Kenshur, Oscar. 1984. The rhetoric of incommensurability. The Journal of Aesthetics and Art Criticism 42: 375-81.
Knight, Arthur, and Pamela Robertson Wojcik. 2001. Overture. In Soundtrack available: Essays on film and popular music, ed. Pamela Robertson Wojcik and Arthur Knight. Durham, NC: Duke University Press.
Kracauer, Siegfried. 1960. Theory of film: The redemption of physical reality. New York: Oxford University Press.
Leigh, Walter. 1934. The musician and the film. Cinema Quarterly 3, no. 2: 70-4.
Levant, Oscar. 1939. Movie music. Town and Country (December) 90-1, 130-33.
———. 1942. A smattering of ignorance. Garden City, NY: Garden City Publishing.
London, Kurt. 1924. Gedanken zum Problem der Filmmusik. Allgemeine Musikzeitung 51: 60-2.
———. 1936. Film music: A summary of the characteristic features of its history, aesthetics, technique, and possible developments, trans. Eric S. Bensinger. London: Faber & Faber.
Luria, Keith, and Romulo Gandolfo. 1986. Carlo Ginzburg: An interview. Radical History Review 35: 89-111.
Manvell, Roger, and John Huntley. 1957. The technique of film music. New York: Hastings House.
Marks, Martin. 1982. Film music: The material, literature and present state of research. Journal of the University Film and Video Association 34: 3-40.
McCarty, Clifford. 1953. Film composers in America: A checklist of their work. [Los Angeles: Clifford McCarty].
———. 2000. Film composers in America: A filmography 1911-1970. New York: Oxford University Press.
McInerney, Claire . 2002. An interdisciplinary perspective of classificatory structures [online]. 1997. <www.scils.rutgers.edu/~clairemc/classify.html> August 9, 2002.
Morton, Lawrence. 1955. Confession. Frontier (May 1955), 21.
Movie music. 1928. National Board of Review Magazine 3 (May 6), 3.
Oliver, W. E. 1942. Stothart provides score. Los Angeles Herald and Express (July 19), n.p.
Pilar-Morin, Mne. 1910. Silent drama music. The Moving Picture World 6 (April 30), 676.
Prendergast, Roy M. 1977. Film music: A neglected art. New York: W.W. Norton.
Raksin, David. 1974. Whatever happened to movie music? Film Music Notebook (Autumn 1974), 22-6.
Roemheld, Heinz. 1930. Musicals. Hollywood Filmograph (November 8), 21.
———. 1930. Music and motion pictures. The Film Spectator 10 (November 22), 87.
Rosar, William H. 1983. Music for the monsters: Universal Pictures’ horror film scores of the thirties. The Quarterly Journal of the Library of Congress 40: 391-421.
Schneider, George [Monachus Minor, pseud.]. 1946. Music library in the film studios. Music Publishers Journal 4, no. 1: 35, 67-8.
Shilkret, Nat. 1946. Some predictions for the future of film music. Music Publishers Journal 4, no. 1: 29, 47-9.
Skiles, Marlin. 1976. Music scoring for TV & motion pictures. Blue Ridge Summit, PA: Tab Books.
Stothart, Herbert. 1938. Film music. In Behind the screen, ed. Stephen Watts. London: Barker.
Thomas, Tony. 1973. Music for the movies. New York: A.S. Barnes.
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Published
2009-06-19
Issue
Section
Editorial
How to Cite
Rosar, W. H. (2009). Film Music---What’s in a Name?. Journal of Film Music, 1(1), 1-18. https://doi.org/10.1558/jfm.v1i1.1
