References :

Bribitzer-Stull, Matthew. 2012. From Nibelheim to Hollywood: The associativity of harmonic progression. In The legacy of Richard Wagner: Convergences and dissonances on aesthetics and reception, ed. Luca Sala, 157-183. Lucca: Turnhout.

Brode, Douglas. 2012. Cowboys in space: Star Wars and the western film. In Myth, media, and culture in Star Wars: An anthology, ed. Douglas Brode, 1-11. Lanham, MD: Scarecrow Press.

Buhler, James. 2000. Star Wars, music and myth. In Music and cinema, eds. James Buhler, Caryl Flinn, and David Neumeyer, 33-57. Hanover, NH: Wesleyan University Press.

Burgoyne, Robert. 1997. Film nation: Hollywood looks at American history. Minneapolis: University of Minnesota Press.

Cooke, Mervyn. 2008. A history of film music. New York: Cambridge University Press.

Everett, Walter. 2004. Making sense of rock’s tonal systems. Music Theory Online 10, no. 4. Accessed December 14, 2014. www.mtosmt.org/issues/mto.04.10.4/mto.04.10.4.w_everett.html

———. 2008. The foundations of rock: From “Blue Suede Shoes” to “Suite: Judy Blue Eyes.” New York: Oxford University Press.

Hellman, John. 1997. The Kennedy obsession: The American myth of JFK. New York: Columbia University Press.

Hickman, Roger. 2011. Miklós Rózsa’s Ben-Hur: A film score guide. Lanham, MD: Scarecrow Press.

Kalinak, Kathryn. 1992. John Williams and The Empire Strikes Back. In Settling the score: Music and the classical Hollywood film score, 184-202. Madison: University of Wisconsin Press.

Kord, Susanne and Elisabeth Krimmer. 2011. Contemporary Hollywood masculinities: Gender, genre, and politics. New York: Palgrave Macmillan.

Lakoff, George. 2010. Moral politics: How Liberals and Conservatives think. Chicago: University of Chicago Press.

Larson, Randall. 1985. Musique Fantastique: A survey of film music in the Fantastic Cinema. Metuchen, NJ: Scarecrow Press.

Lehman, Frank. 2012. Reading tonality through film: Transformational hermeneutics and the music of Hollywood. PhD diss., Harvard.

———. 2012. Music theory through the lens of film. The Journal of Film Music 5, nos. 1–2: 179-198.

———. 2013. Transformational analysis and the representation of genius in film music. Music Theory Spectrum 35, no. 1: 1-22.

———. 2013. Hollywood cadences: Music and the structure of cinematic expectation. Music Theory Online 19, no. 4. http://dx.doi.org/10.1525/mts.2013.35.1.1

Lerner, Neil. 2004. Nostalgia, masculinist discourse and authoritarianism in John Williams’ scores for Star Wars and Close Encounters of the Third Kind. In Off the planet: Music, sound and science fiction cinema, ed. Phillip Hayward, 96-108. Bloomington: Indiana University Press.

Lissa, Zofia. 1965. Ästhetik der Filmmusik. Berlin: Henschelverlag.

Locke, Ralph. 1991. Constructing the oriental “other”: Saint-Saens’s Samson et Dalila. Cambridge Opera Journal 3, no. 3: 261-302.

Malamud, Margaret. 2009. Ancient Rome and modern America. Malden, MA and Oxford: Wiley-Blackwell.

McBride, Joseph. 2010. Spielberg: A biography. Jackson: University of Mississippi Press.

McLucas, Anne Dhu. 2012. The continuity of melos: Beginnings to the present day, The Journal of Film Music 5, nos. 1–2: 15-28.

Monelle, Raymond. 2006. The musical topic: Hunt, military and pastoral. Bloomington and Indianapolis: Indiana University Press.

Murphy, Scott. 2006. The major tritone progression in recent Hollywood science fiction films. Music Theory Online 12, no. 2.

———. 2014. The tritone within: Interpreting harmony in Elliott Goldenthal’s score for Final Fantasy: The Spirits Within. In The music of fantasy cinema, ed. Janet K. Halfyard, 148-174. Sheffield and Bristol: Equinox.

———. 2014. Transformational theory and film music. In The Oxford handbook of film music studies, ed. David Neumeyer, 471-499. New York: Oxford University Press.

Neumeyer, David. 1995. Melodrama as a compositional resource in Early Hollywood sound cinema. Current Musicology 57: 61-94.

Pisani, Michael V. 2014. When the music surges: Melodrama and the nineteenth-century precedents for film music style and placement. In The Oxford handbook of film music studies, ed. David Neumeyer, 559-582. New York: Oxford University Press.

Plebuch, Tobias. 2012. Mysteriosos demystified: Topical strategies within and beyond the silent cinema. The Journal of Film Music 5, nos. 1–2: 77-92.

Ramos, D., J.L.O. Bueno, and E. Bigand. 2011. Manipulating Greek musical modes and tempo affects perceived musical emotion in musicians and nonmusicians. Brazilian Journal of Medical and Biological Research 44, no. 2: 165-172.

Sadoff, Ron. 2004. Composition by corporate committee: Recipe for cliché. American Music 22 (Spring): 64-75.

Schneller, Tom. 2014. Sweet fulfillment: Allusion and teleological genesis in John Williams’s Close Encounters of the Third Kind. The Musical Quarterly. http://dx.doi.org/10.1093/musqtl/gdu001

Simels, Steve. 1977. Star Wars: The soundtrack. Stereo Review 39: 5.

Straehley, Ian C. and Jeremy L. Loebach. 2014. The influence of mode and musical experience on the attribution of emotions to melodic sequences. Psychomusicology: Music, Mind, and Brain 24, no. 1: 31.

Stubbs, Jonathan. 2013. Historical films: An introduction. New York and London: Bloomsbury Publishing.

Tagg, Philip. 1979. Kojak: 50 seconds of television music. Towards the analysis of affect in popular music. Göteborg: Musikvetenskapliga institutionen vid Göteborgs universitet.

———. 2014. Everyday tonality II: Towards a tonal theory of what most people hear. New York and Huddersfield: The Mass Media Music Scholars’ Press.

Tagg, Philip and Bob Clarida. 2003. Ten little title tunes: Towards a musicology of mass media. New York: Mass Media Music Scholars’ Press.

Taruskin, Richard. 2005. Music in the early twentieth century, vol. 4 of The Oxford history of western music. Oxford and New York: Oxford University Press.

———. 2010. Music in the nineteenth century, vol. 3 of The Oxford history of western music. Oxford and New York: Oxford University Press.

Temperley, David and Daphne Tan. 2013. Emotional connotations of diatonic modes. Music Perception 30, no. 3: 237-257.

Vincent, John. 1951. The diatonic modes in modern music. Berkeley and Los Angeles: University of California Press.

Walser, Robert. 2013. Running with the devil: Power, gender, and madness in heavy metal music. Middletown: Wesleyan University Press.

Webster, Jamie Lynn. 2009. The music of Harry Potter: Continuity and change in the first five films. PhD diss., University of Oregon.

Whitmer, Mariana. 2012. Jerome Moross’s The Big Country: A film score guide. Lanham, MD: Scarecrow Press.

Williams, John. 1978. Interview by Derek Elley, “John Williams,” Part I. Films and Filming 28 (July/August): 20-24.

Williams, John. 2007. Undated backstage interview. Posted by narutosaiyans (May 27). Accessed December 14, 2014. https://www.youtube.com/watch?v=dVmxJ0YmVkQ

———. 2011. Interview by Jo Reed. A conversation with John Williams. NEA Podcasts. Accessed December 14, 2014. http://www.prx.org/pieces/66474/transcripts/155614

———. 2012. Interview by Tommy Pearson, John Williams at 80: A Classic FM Interview Special. Classic FM (August 27).