| Title |
Author |
Journal |
Issue |
Published |
ISBN / DOI |
Subjects |
Series |
|
Roger Hickman. Reel Music: Exploring 100 Years of Film Music
|
Lora Matthews |
Journal of Film Music |
Vol 2 No. 1 (2007)
|
Jun 15, 2009 |
10.1558/jfm.v2i1.96
|
Popular Music
|
|
|
Music in German Silent Cinema: Reception in the Film Trade Press 1907-1925
|
Carolin Beinroth, Claudia Bullerjahn |
Journal of Film Music |
Vol 7 No. 2 (2014)
|
Nov 24, 2017 |
10.1558/jfm.30971
|
Popular Music
|
|
|
Mingus, Cassavetes, and the Birth of a Jazz Cinema
|
Ross Lipman |
Journal of Film Music |
Vol 2 No. 2-4 (2009)
|
Mar 13, 2010 |
10.1558/jfm.v2i2-4.145
|
Popular Music
|
|
|
“Stanley Hates This But I Like It!”: North vs. Kubrick on the Music for 2001: A Space Odyssey
|
Paul A. Merkley, FRSC |
Journal of Film Music |
Vol 2 No. 1 (2007)
|
Jun 1, 2009 |
10.1558/jfm.v2i1.1
|
Popular Music
|
|
|
Modal Interchange and Semantic Resonance in Themes by John Williams
|
Tom Schneller |
Journal of Film Music |
Vol 6 No. 1 (2013)
|
Nov 27, 2014 |
10.1558/jfm.v6i1.49
|
Popular Music
|
|
|
Music in Films: A Critical Review of Literature, 1980-1996
|
Robynn J. Stilwell |
Journal of Film Music |
Vol 1 No. 1 (2002)
|
May 30, 2009 |
10.1558/jfm.v1i1.19
|
Popular Music
|
|
|
Music Theory Through the Lens of Film
|
Frank Lehman |
Journal of Film Music |
Vol 5 No. 1-2 (2012)
|
Apr 29, 2013 |
10.1558/jfm.v5i1-2.179
|
Popular Music
|
|
|
Against All Odds: The Decline and Resurgence of the Symphonic Film Score in Hollywood
|
Helen Mitchell |
Journal of Film Music |
Vol 2 No. 2-4 (2009)
|
Mar 13, 2010 |
10.1558/jfm.v2i2-4.175
|
Popular Music
|
|
|
"'Leitmotif': On the Application of a Word to Film Music"
|
Stephen C. Meyer |
Journal of Film Music |
Vol 5 No. 1-2 (2012)
|
Apr 29, 2013 |
10.1558/jfm.v5i1-2.101
|
Popular Music
|
|
|
Listening to Ingmar Bergman's Monsters: Horror Music, Mutes, and Acoustical Beings in Persona and Hour of the Wolf
|
Alexis Luko |
Journal of Film Music |
Vol 6 No. 1 (2013)
|
Nov 27, 2014 |
10.1558/jfm.v6i1.5
|
Popular Music
|
|
|
“I have been compromised. I am now fighting against it.” Ligeti vs. Kubrick and the music for 2001: A Space Odyssey
|
Julia Heimerdinger |
Journal of Film Music |
Vol 3 No. 2 (2010)
|
Apr 22, 2011 |
10.1558/jfm.v3i2.127
|
Popular Music
|
|
|
Whose Classical Music? Reflections on Film Adaptation
|
Lawrence Kramer |
Journal of Film Music |
Vol 2 No. 1 (2007)
|
Jun 1, 2009 |
10.1558/jfm.v2i1.35
|
Popular Music
|
|
|
Toward a Prehistory of Film Music: Hans Erdmann's Score for Nosferatu and the Idea of Modular Form
|
Janina Müller, Tobias Plebuch |
Journal of Film Music |
Vol 6 No. 1 (2013)
|
Nov 27, 2014 |
10.1558/jfm.v6i1.31
|
Popular Music
|
|
|
“He Could’ve Been a Contender”: Thematic Integration in Leonard Bernstein’s Score for On The Waterfront (1954)
|
Anthony Bushard |
Journal of Film Music |
Vol 2 No. 1 (2007)
|
Jun 1, 2009 |
10.1558/jfm.v2i1.43
|
Popular Music
|
|
|
Film Studies in Musicology: Disciplinarity vs.Interdisciplinarity
|
William H. Rosar |
Journal of Film Music |
Vol 2 No. 2-4 (2009)
|
Mar 13, 2010 |
10.1558/jfm.v2i2-4.99
|
Popular Music
|
|
|
Motion in Music—Motion in Painting: The Use of Music in the Films of Oskar Fischinger*
|
Jörg Jewanski |
Journal of Film Music |
Vol 4 No. 2 (2011)
|
Jun 17, 2014 |
10.1558/jfm.v4i2.155
|
Popular Music
|
|
|
Expressive Meaning and Historical Grounding in the Film Music of Fumio Hayasaka and Toru Takemitsu
|
Timothy Koozin |
Journal of Film Music |
Vol 3 No. 1 (2010) The Film Music of Fumio Hayasaka and Toru Takemitsu
|
Jul 20, 2010 |
10.1558/jfm.v3i1.5
|
Popular Music
|
|
|
Composing with Types and Flexible Modules: John Williams’ Two-Note Ostinato for Jaws and its Use in Film-Music History
|
Peter Moormann |
Journal of Film Music |
Vol 5 No. 1-2 (2012)
|
Apr 29, 2013 |
10.1558/jfm.v5i1-2.165
|
Popular Music
|
|
|
Bernard Herrmann as Musical Colorist: A Musicodramatic Analysis of His Score for The Day the Earth Stood Still
|
E. Todd Flegel |
Journal of Film Music |
Vol 1 No. 2/3 (2003) Vol 1, No. 2/3: Herrmann Studies
|
May 31, 2009 |
10.1558/jfm.v1i2/3.185
|
Popular Music
|
|
|
The Manchurian Candidate (1962): An Interview with David Amram
|
William H. Rosar |
Journal of Film Music |
Vol 2 No. 1 (2007)
|
Jun 1, 2009 |
10.1558/jfm.v2i1.63
|
Popular Music
|
|
|
Film Form and Musical Form in Bernard Hrrmann's Score to Vertigo
|
David Cooper |
Journal of Film Music |
Vol 1 No. 2/3 (2003) Vol 1, No. 2/3: Herrmann Studies
|
May 31, 2009 |
10.1558/jfm.v1i2/3.239
|
Popular Music
|
|
|
Film Music---What's in a Name?
|
William H. Rosar |
Journal of Film Music |
Vol 1 No. 1 (2002)
|
May 30, 2009 |
10.1558/jfm.v1i1.1
|
Popular Music
|
|
|
“‘An effort to decide’: More Research into Kubrick’s Music Choices for 2001: A Space Odyssey”
|
Kate McQuiston |
Journal of Film Music |
Vol 3 No. 2 (2010)
|
Apr 22, 2011 |
10.1558/jfm.v3i2.145
|
Popular Music
|
|
|
Music for Martians: Schillinger's Two Tonics and Harmony of Fourths in Leigh Steven's Score for War of the Worlds (1953)
|
William H. Rosar |
Journal of Film Music |
Vol 1 No. 4 (2006) Vol 1, No. 4 (2006): Leith Amadeus Stevens: A Festschrift
|
Jun 1, 2009 |
10.1558/jfm.v1i4.395
|
Popular Music
|
|
|
Theory and Practice in Erdmann/Becce/Brav’s Allgemeines Handbuch der Film-Musik (1927)
|
Irene Comisso |
Journal of Film Music |
Vol 5 No. 1-2 (2012)
|
Oct 25, 2013 |
10.1558/jfm.v5i1-2.93
|
Popular Music
|
|
|
Sarah Bernhardt on Stage and Screen: Nineteenth-Century Theater Music and Early Silent Film
|
Erin Michelle Brooks |
Journal of Film Music |
Vol 5 No. 1-2 (2012)
|
Apr 29, 2013 |
10.1558/jfm.v5i1-2.57
|
Popular Music
|
|
|
Film Scoring: The UCLA Lectures† Edited and annotated by Mark Brill.
|
Leith Stevens † |
Journal of Film Music |
Vol 1 No. 4 (2006) Vol 1, No. 4 (2006): Leith Amadeus Stevens: A Festschrift
|
May 31, 2009 |
10.1558/jfm.v1i4.341
|
Popular Music
|
|
|
Parody and Ironic Juxtaposition in Toru Takemitsu’s Music for the Film, Rising Sun (1993)
|
Timothy Koozin |
Journal of Film Music |
Vol 3 No. 1 (2010) The Film Music of Fumio Hayasaka and Toru Takemitsu
|
Jul 20, 2010 |
10.1558/jfm.v3i1.65
|
Popular Music
|
|
|
Modular Structures in Film Music: The Answer to Synchronization Problems?
|
Bartlomiej P Walus |
Journal of Film Music |
Vol 4 No. 2 (2011)
|
Jun 17, 2014 |
10.1558/jfm.v4i2.125
|
Popular Music
|
|
|
Bernard Herrmann: The Beethoven of Film Music?
|
William H. Rosar |
Journal of Film Music |
Vol 1 No. 2/3 (2003) Vol 1, No. 2/3: Herrmann Studies
|
May 31, 2009 |
10.1558/jfm.v1i2/3.121
|
Popular Music
|
|