Abel, Richard, and Rick Altman. The Sounds of Early Cinema. Bloomington, Ind: Indiana University Press, 2001.
Altman, Rick. Silent Film Sound. Vol. Film and culture. New York: Columbia University Press, 2004.
Altman, Rick and American Film Institute. Sound Theory, Sound Practice. Vol. AFI film readers. New York: Routledge, 1992.
Annabel Cohen. ‘Music as a Source of Emotion in Film’. In Music and Emotion: Theory and Research, Vol. Series in affective science. Oxford: Oxford University Press, 2001.
Bordwell, David, Kristin Thompson, and Jeff Smith. Film Art: An Introduction. Twelfth edition, International student edition. New York, NY: McGraw-Hill Education, 2019.
Brown, Royal S. Overtones and Undertones: Reading Film Music. Berkeley,CA: University of California Press, 1994.
———. Overtones and Undertones: Reading Film Music. Berkeley,CA: University of California Press, 1994.
Bruce, Graham. Bernard Herrmann: Film Music and Narrative. Vol. Studies in cinema. Ann Arbor, Mich: UMI Research Press, 1985.
Buhler, James, Caryl Flinn, and David Neumeyer. Music and Cinema. Vol. Music/culture. Hanover, NH: University Press of New England, 2000.
Chion, Michel, and Claudia Gorbman. Audio-Vision: Sound on Screen. New York: Columbia University Press, 1994.
Citron, Marcia J. Opera on Screen. New Haven, Conn: Yale University Press, 2000.
Claudia Gorbman. ‘Scoring the Indian: Music in the Liberal Western’. In Western Music and Its Others: Difference, Representation, and Appropriation in Music. Berkeley: University of California Press, 2000.
———. ‘Scoring the Indian: Music in the Liberal Western’. In Western Music and Its Others : Difference, Representation, and Appropriatio...: EBSCOhost, n.d. http://web.b.ebscohost.com.oxfordbrookes.idm.oclc.org/ehost/detail/detail?sid=5b9427e1-74ab-45a8-a0cc-447757a7cd02%40sessionmgr198&crlhashurl=login.aspx%253fdirect%253dtrue%2526scope%253dsite%2526db%253dnlebk%2526db%253dnlabk%2526AN%253d66372&hid=110&vid=0&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#AN=66372&db=nlebk.
Conrad, Peter. The Hitchcock Murders. London: Faber, 2000.
Conrich, Ian, and Estella Tincknell. Film’s Musical Moments. Vol. Music and the moving image. Edinburgh: Edinburgh University Press, 2006.
Cooke, Mervyn. A History of Film Music. Cambridge: Cambridge University Press, 2008. http://www.loc.gov/catdir/enhancements/fy0833/2008019383-t.html.
Cooke, Mervyn, and Fiona Ford, eds. The Cambridge Companion to Film Music. Cambridge: Cambridge University Press, 2016.
Daniel Grimley. ‘Hidden Places: Hyper-Realism in Bjork’s Vespertine and Dancer in the Dark’. Twentieth - Century Music 2, no. 1 (n.d.). https://www-cambridge-org.oxfordbrookes.idm.oclc.org/core/services/aop-cambridge-core/content/view/8BA0100F2761D02779F10CA89943AA0B/S1478572205000186b.pdf/hidden-places-hyper-realism-in-bjork-s-vespertine-and-dancer-in-the-dark.pdf.
David Bordwell, Kristin Thompson, and Jeff Smith. Film Art: An Introduction. Eleventh edition. New York, NY: McGraw-Hill Education, 2017.
Davison, Annette. Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s and 1990s. Vol. Ashgate popular and folk music series. Aldershot: Ashgate, 2004.
Dean W. Duncan. Charms That Soothe: Classical Music and the Narrative Film. Vol. Communications and media studies. New York: Fordham University Press, 2003. http://www.loc.gov/catdir/toc/ecip044/2003011363.html.
Donnelly, K. J. Film Music: Critical Approaches. Edinburgh: Edinburgh University Press, 2001.
Flinn, Caryl. Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music. Princeton, N.J.: Princeton University Press, 1992.
Goldmark, Daniel, Lawrence Kramer, and Richard D. Leppert. Beyond the Soundtrack: Representing Music in Cinema. Berkeley, Calif: University of California Press, 2007.
Gorbman, Claudia. Unheard Melodies: Narrative Film Music. Bloomington: Indiana University Press, 1987.
Hickman, Roger. Reel Music: Exploring 100 Years of Film Music. Second edition. New York: W. W. Norton & Company, 2017.
Inglis, Ian. Popular Music and Film. London: Wallflower, 2003.
Jeff Smith. ‘Unheard Melodies?  A Critique of Psychoanalytic Theories of Film Music’. In Post-Theory: Reconstructing Film Studies, Vol. Wisconsin studies in film. Madison: University of Wisconsin Press, 1996.
Kassabian, Anahid. Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. London: Routledge, 2001. https://oxfordbrookes.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=70539.
———. Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. London: Routledge, 2001.
———. Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. London: Routledge, 2001.
———. Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. London: Routledge, 2001. https://oxfordbrookes.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=70539.
Kevin Donnelly. ‘The Classical Film Score Forever? Batman, Batman Returns and Post-Classical Film Music’. In Contemporary Hollywood Cinema. London: Routledge, 1998.
Kramer, Lawrence. Why Classical Music Still Matters. Berkeley, Calif: University of California Press, 2007.
———. Why Classical Music Still Matters. Berkeley, Calif: University of California Press, 2007. https://oxfordbrookes.idm.oclc.org/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=OxfBrookes&isbn=9780520933644&uid=^u.
L. Geraghty, R. Janicker. ‘`"Now That’s What I Call a Close Encounter!" : The Role of the Alien in Science Fiction Film, 1977-2001’’. Scope: An Online Journal of Film Studies, 2004. http://www.nottingham.ac.uk/scope/documents/2004/november-2004/geraghty-janicker.pdf.
Lastra, James. Sound Technology and the American Cinema: Perception, Representation, Modernity. Vol. Film and culture. New York: Columbia University Press, 2000.
Lawrence Grossberg. ‘Cinema, Postmodernity and Authenticity’. In Movie Music: The Film Reader, Vol. In focus. London: Routledge, 2003.
Lawrence Kramer. ‘From the Other to the Abject: Music as a Cultural Trope’. In Classical Music and Postmodern Knowledge. Berkeley: University of California Press, 1996.
‘Listening to Ravel, Watching Un Coeur En Hiver: Cinematic Subjectivity and the Music-Film’. Twentieth-Century Music 1, no. 2 (2004). https://www-cambridge-org.oxfordbrookes.idm.oclc.org/core/services/aop-cambridge-core/content/view/038D2F335E52091A22E24AE58057D67A/S1478572205000149a.pdf/listening-to-ravel-watching-un-coeur-en-hiver-cinematic-subjectivity-and-the-music-film.pdf.
Marshall, Bill, and Robynn Jeananne Stilwell. Musicals: Hollywood and Beyond. Exeter, England: Intellect, 2000.
Neumeyer, David, ed. The Oxford Handbook of Film Music Studies. Oxford: Oxford University Press, 2014. https://oxfordbrookes.idm.oclc.org/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=OxfBrookes&isbn=9780199338474&uid=^u.
O’Brien, Charles. Cinema’s Conversion to Sound: Technology and Film Style in France and the U.S. Bloomington, Ind: Indiana University Press, 2005. https://oxfordbrookes.idm.oclc.org/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=OxfBrookes&isbn=9780253111128&uid=^u.
Peter Franklin. ‘King Kong and Film on Music: Out of the Fog’. In Film Music: Critical Approaches. Edinburgh: Edinburgh University Press, 2001.
Powrie, Phil, and Robynn Jeananne Stilwell. Changing Tunes: The Use of Pre-Existing Music in Film. Aldershot: Ashgate, 2006.
Richard Dyer. ‘Entertainment and Utopia’. In Only Entertainment, 2nd ed. London: Routledge, 2002. https://ebookcentral-proquest-com.oxfordbrookes.idm.oclc.org/lib/brookes/detail.action?docID=237341.
Sergi, Gianluca. The Dolby Era: Film Sound in Contemporary Hollywood. Vol. Inside popular film. Manchester: Manchester University Press, 2004.
Smith, Jeff. The Sounds of Commerce: Marketing Popular Film Music. Vol. Film and culture. New York: Columbia University Press, 1998.
Spadoni, Robert. Uncanny Bodies: The Coming of Sound Film and the Origins of the Horror Genre. Berkeley, Calif: University of California Press, 2007.
Sullivan, Jack. Hitchcock’s Music. New Haven, Conn: Yale University Press, 2006. http://www.loc.gov/catdir/toc/ecip0611/2006010348.html.
Susan McClary. ‘Minima Romantica’. In Beyond the Soundtrack: Representing Music in Cinema. Berkeley, Calif: University of California Press, 2007.
Tagg, Philip, and Bob Clarida. Ten Little Title Tunes: Towards a Musicology of the Mass Media. New York: Mass Media Music Scholars’ Press, 2003.
Vernallis, Carol. The Oxford Handbook of New Audiovisual Aesthetics. Edited by John Richardson and Claudia Gorbman. Oxford: Oxford University Press, 2013.
Vernallis, Carol, Amy Herzog, and John Richardson, eds. The Oxford Handbook of Sound and Image in Digital Media. New York: Oxford University Press, 2015.
Winters, Ben. ‘Corporeality, Musical Heartbeats, and Cinematic Emotion.’ Music, Sound & the Moving Image 2, no. 1 (2008): 3–25. http://search.ebscohost.com.oxfordbrookes.idm.oclc.org/login.aspx?direct=true&db=aft&AN=505303674&site=ehost-live.
———. ‘The Non-Diegetic Fallacy: Film, Music, and Narrative Space.’ Music & Letters 91, no. 2 (2010): 224–44. http://search.ebscohost.com.oxfordbrookes.idm.oclc.org/login.aspx?direct=true&db=a9h&AN=53299064&site=ehost-live.
Wojcik, Pamela Robertson, and Arthur Knight. Soundtrack Available: Essays on Film and Popular Music. Durham, [N.C.]: Duke University Press, 2001.