Film Music Studies in the mid-1990s
George Burt's Art and Royal S. Brown's Reading
Keywords:George Burt, Royal S. Brown, film music
Critical review of George Burt, The Art of Film Music. Boston:Northeastern University Press, 1994 and Royal S. Brown. Overtones and Undertones: Reading Film Music. Berkeley: University of California Press, 1994.
Bick, Sally M. A. 2001. Composers on the cultural front: Aaron Copland and Hanns Eisler in Hollywood. Ph.D. diss., Yale University.
Bogart, Betsy Ann. 2001. Music and narrative in the French new wave: The films of Agnes Varda and Jacques Demy. Ph.D. diss., University of California, Los Angeles.
Brown, Royal S. 1994. Overtones and undertones: Reading film music. Berkeley: University of California Press.
Buhler, James, Caryl Flinn, and David Neumeyer, eds. 2000. Music and cinema. Middletown, CT: Wesleyan University Press.
Burlingame, Jon. 1996. TV’s biggest hits: The story of television themes from “Dragnet” to “Friends.” New York: Schirmer Books.
Burt, George. 1990. East of Eden: Climactic scene. Indiana Theory Review 11: 145-64.
———. 1994. The art of film music. Boston: Northeastern University Press.
Chion, Michel. 1994. Audio-vision: Sound on screen. trans. Claudia Gorbman. New York: Columbia University Press.
Citron, Marcia J. 2000. Opera on screen. New Haven: Yale University Press.
Cochran, Alfred W. 1986. Style, structure, and tonal organization in the early film scores of Aaron Copland. Ph.D diss., Catholic University of America.
Conway, Kelley. 1999. The chanteuse at the city limits: Femininity, Paris, and the cinema. Ph.D. diss., University of California, Los Angeles.
Cook, Nicholas. 1987. The perception of large-scale tonal closure. Music Perception 5, no. 2: 197-205.
———. 1998. Analysing musical multimedia. New York/London: Oxford University Press.
Danly, Linda, ed. 1999. Hugo Friedhofer: The best years of his life: A Hollywood master of music for the movies. Lanham, MD: Scarecrow Press.
Darby, William and Jack Du Bois. 1990. American film music: Major composers, techniques, trends, 1915-1990. Jefferson, NC/London: MacFarland.
Daubney, Katherine S. 1996. The view from the piano: A critical examination and contextualisation of the film scores of Max Steiner, 1939-1945. Ph.D. diss., University of Leicester.
Donnelly, K. J., ed. 2001. Film music: Critical approaches. Edinburgh: Edinburgh University Press.
Fitzpatrick, John. 1995. Review of Overtones and undertones: Reading film music by Royal S. Brown. The Cue Sheet 11, no. 2: 36.
Flinn, Caryl. 1992. Strains of utopia: Gender, nostalgia, and Hollywood film music. Princeton: Princeton University Press.
Goldmark, Daniel. 2001. Happy harmonies: Music and Hollywood animated cartoon. Ph.D. diss., University of California, Los Angeles.
Gorbman, Claudia. 1987. Unheard melodies: Music in narrative film. Bloomington: Indiana University Press.
———. 1995. The state of film music criticism. Cineaste 21, nos.1-2: 72.
———. 1996. Review of Overtones and undertones: Reading film music by Royal S. Brown. Film Quarterly 49, no. 4: 51-52.
Huckvale, David. 1995. Review of The art of film music by George Burt. Popular Music 14, no. 3: 373-374.
Johnson, Victoria E. 1995. Review of The art of film music by George Burt. Film Quarterly 49, no. 1: 39-40.
Kalinak, Kathryn. 1992. Settling the score: Music and the classical Hollywood film. Madison: The University of Wisconsin Press.
———. 1996. Review of Overtones and undertones: Reading film music by Royal S. Brown and The art of film music by George Burt. Historical Journal of Film, Radio & Television 16, no. 1: 109-110.
Karlin, Fred. 1994. Listening to movies. New York: Schirmer.
Karlin, Fred and Rayburn Wright. 1990. On the track: A guide to contemporary film scoring. New York: Schirmer.
Kassabian, Anahid. 2001. Hearing film: Tracking identifications in contemporary Hollywood film music. New York/London: Routledge.
Kimberley, Nick. 1994. Review of The art of film music by George Burt. Sight & Sound 4, no. 12: 36-37.
Kosovsky, Robert. 2000. Bernard Herrmann’s radio music for the Columbia workshop. Ph.D. diss., City University of New York.
Lang, Edith and George West. 1970. Musical accompaniment of motion pictures. Boston: Boston Music Company, 1920. Reprint, New York: Arno Press.
Leinberger, Charles. 1996. An Austrian in Hollywood: Leitmotifs, thematic transformation and key relationships in Max Steiner’s 1942 film score for Now, Voyager. Ph.D. diss., University of Arizona.
Lerner, Neil. 1997. The classical documentary score in American films of persuasion: Contexts and case studies, 1936-1945. Ph.D. diss., Duke University.
Leviton, Lawrence. 1998. An analysis of Erich Wolfgang Korngold’s cello concerto and underscore written for the film Deception. D.M.A. diss., University of Wisconsin.
Lipscomb, Scott. 1995. Cognition of musical and visual accent structure alignment in film and animation. Ph.D. diss., University of California, Los Angeles.
London, Kurt. 1992. Film music: A summary of the characteristic features of its history, aesthetics, technique, and possible developments. Translated by Eric S. Bensinger. London: Faber and Faber, 1936. Reprint, Salem, NH: Ayer Company.
MacDonald, Laurence. 1998. The invisible art of film music: A contemporary history. New York: Ardsley House.
Marks, Martin. 1997. Music and the silent film: Contexts and case studies, 1895-1924. New York/London: Oxford University Press.
Mathiesen, Thomas. 1990. Silent film music and the theatre organ. Indiana Theory Review 11: 81-118.
McAlister, Andrew. 10 May 1995. Review of Overtones and undertones: Reading film music by Royal S. Brown. <http://h-net.msu.edu/cgi-bin/logbrowse.pl?trx=lm&list=h-film> (May 31, 2002).
McCarty, Clifford, ed. 1989. Film music 1. New York: Garland Publications.
Meyer, Leonard B. 1989. Style and music. Philadephia: University of Pennsylvania Press.
Missiras, Michael. 1998. Musical reference, syntax, and the compositional process in film music. Ph.D. diss., New York University.
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.
Neumeyer, David. 1990. Film music analysis and pedagogy. Indiana Theory Review 11: 18-19.
Neumeyer, David. 1998. Tonal design and narrative in film music: Bernard Herrmann’s A Portrait of Hitch and The Trouble With Harry. Indiana Theory Review 19: 87-123.
Neumeyer, David and James Buhler. 2001. Analytical and interpretive approaches to film music (1): Analysing the music. In Film music: Critical approaches. ed. Kevin Donnelly. Edinburgh: Edinburgh University Press.
Oblak, Jerica. 1999. ….Part 2: Altered States: Analysis of the collaboration between Ken Russell and John Corigliano. Ph.D. diss., University of Pittsburgh.
Palmer, Christopher. 1990. The composer in Hollywood. London/New York: Marion Boyars.
Prendergast, Roy. 1992. Film music: A neglected art. New York: New York University Press, 1977. rev. and exp., New York: Norton.
Review of Overtones and undertones: Reading film music by Royal S. Brown. 1998. Canadian University Music Review 19, no. 1: 120-1.
Rieger, Eva. 1996. Alfred Hitchcock und die Musik: Eine Untersuchung zum Verhältnis von Film, Musik und Gesellschaft. Bielefeld: Kleine Verlag.
Rodman, Ronald. 1998. “There’s no place like home”: Tonal closure and design in The Wizard of Oz. Indiana Theory Review 19: 125-43.
———. 2000. Tonal design and the aesthetics of pastiche in Herbert Stothart’s Maytime. In Music and cinema. ed. James Buhler, Caryl Flinn, and David Neumeyer. Middletown, CT: Wesleyan University Press.
Rosar, William H. 1989. Stravinsky and MGM. In Film Music 1. ed. Clifford McCarty. New York: Garland Publications.
Rosenman, Leonard. 1955. Notes on the score to East of Eden. Film Music Notes 14, no. 5: 3-4.
Rügner, Ulrich. 1988. Filmmusik in Deutschland zwischen 1924 und 1934. Hildesheim: Olms.
Salas, Randy A. 1995. Review of Overtones and undertones: Reading film music by Royal S. Brown. Fanfare 18, no. 3: 405.
Skinner, Frank. 1950. Underscore. Los Angeles: Skinner Music.
Smith, Steven C. 1991. A heart at fire’s center: The life and music of Bernard Herrmann. Berkeley/Los Angeles: University of California Press.
Sternfeld, Frederick. 1947. Music and the feature films. Musical Quarterly 33: 517-32.
Stilwell, Robynn J. 1995. Review of Composing for the films by Theodor Adorno and Hans [sic] Eisler, Overtones and undertones: Reading film music by Royal S. Brown, The art of film music by George Burt, and Audio-vision: Sound on screen by Michel Chion. Screen 36, no. 4: 432-40.
———. 2001. Sound and empathy: Subjectivity, gender and the cinematic soundscape. In Film music: Critical approaches. Edinburgh: Edinburgh University Press.
Thomas, Tony. 1991. Film score: The art and craft of movie music. Burbank: Riverside Press.
Van der Lek, Robbert. 1991. Diegetic music in opera and film: A similarity between two genres of drama analysed in works by Erich Wolfgang Korngold. Amsterdam: Rodopi.
Widgery, Claudia. 1990. The kinetic and temporal interaction of music and film: Three documentaries of 1930’s America. Ph.D. diss., University of Maryland at College Park.
Wright, H. Stephen. 1996. Review of Overtones and undertones: Reading film music by Royal S. Brown. Music Reference Services Quarterly 5, no. 1 64-65.
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