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| Journal | Issue | Title | |
| Journal of Film Music | Vol 5 No. 1-2 (2012) | Music Cue Archetypes in the Film Scores of Elmer Bernstein | View |
| Donald C Meyer | |||
| Journal of Film Music | Vol 2 No. 2-4 (2009) | Against All Odds: The Decline and Resurgence of the Symphonic Film Score in Hollywood | View |
| Helen Mitchell | |||
| Journal of Film Music | Vol 1 No. 4 (2006) Vol 1, No. 4 (2006): Leith Amadeus Stevens: A Festschrift | Film Scoring: The UCLA Lectures† Edited and annotated by Mark Brill. | View |
| Leith Stevens † | |||
| Popular Music History | Vol 5 No. 1 (2010) | Lessons from Ives: Elements of Charles Ives’s musical language in the film scores and symphonic works of Bernard Herrmann | View |
| Jonathan Waxman | |||
| Journal of Film Music | Vol 5 No. 1-2 (2012) | Easy to Cut: Modular Form in the Film Scores of Bernard Herrmann | View |
| Tom Schneller | |||
| Journal of Film Music | Vol 6 No. 1 (2013) | Toward a Prehistory of Film Music: Hans Erdmann's Score for Nosferatu and the Idea of Modular Form | View |
| Janina Müller, Tobias Plebuch | |||
| Journal of Film Music | Vol 1 No. 2/3 (2003) Vol 1, No. 2/3: Herrmann Studies | Film Form and Musical Form in Bernard Hrrmann's Score to Vertigo | View |
| David Cooper | |||
| Journal of Film Music | Vol 5 No. 1-2 (2012) | Introduction: From Nineteenth-Century Stage Melodrama to Twenty-First-Century Film Scoring | View |
| Katherine K. Preston | |||
| Journal of Film Music | Vol 2 No. 1 (2007) | David Cooper. Bernard Herrmann’s Vertigo: A Film Score Handbook. Westport, CT: Greenwood Press, 2001. & Bernard Herrmann’s The Ghost andMrs. Muir: A Film Score Guide Lanham, MD: Scarecrow Press, 2005 | View |
| Tom Schneller | |||
| Journal of Film Music | Vol 3 No. 1 (2010) The Film Music of Fumio Hayasaka and Toru Takemitsu | Jeff Rona, The Reel World: Scoring for Pictures San Francisco: Miller Freeman Books, Richard Bellis and The Emerging Film Composer: An Introduction to the People, Problems, and Psychology of the Film Music Business Los Angeles: Richard Bellis | View |
| Patrick Wood | |||
| Journal of Film Music | Vol 1 No. 1 (2002) | Kate Daubney. Max Steiner’s Now Voyager: A Film Score Guide Westport, CT: Greenwood Press, 2000. | View |
| Charles Leinberger | |||
| Journal of Film Music | Vol 2 No. 2-4 (2009) | Charles Leinberger. Ennio Morricone’s “The Good, the Bad and the Ugly”: A Film Score Guide Lanham, Md.: Scarecrow, 2004. [xviii, 137 p. ISBN: 0810851326. $27.95. Scarecrow Film Score Guides, no. 3. Music examples, filmography, bibliography, index. | View |
| Lori Stevens | |||
| Journal of Film Music | Vol 2 No. 1 (2007) | James Wierzbicki: Louis and Bebe Barron’s Forbidden Planet: A Film Score Guide.Lanham, MD: Scarecrow Press, 2005 [xii, 183 p. ISBN: 0810856700.] | View |
| David Cooper | |||
| Journal of Film Music | Vol 2 No. 2-4 (2009) | Roger Hillman, Unsettling Scores: German Film, Music, and Ideology.Bloomington: Indiana University Press, 2005. [xi, 219 p. ISBN: 0253345375. $50.00]Illustrations, bibliography, index. | View |
| Paul A. Merkley | |||
| Journal of Film Music | Vol 1 No. 4 (2006) Vol 1, No. 4 (2006): Leith Amadeus Stevens: A Festschrift | Michael Schelle: The Score: Interviews with Film Composers Beverly Hills: Silman-James Press, 1999 [xviii, 427 p. ISBN: 1-879-50540-1] | View |
| Nicholas Reyland | |||
| Journal of Film Music | Vol 2 No. 2-4 (2009) | David Morgan. Knowing the Score: Film Composers Talk about the Art, Craft, Blood, Sweat, and Tears of Writing for Cinema New York: HarperCollins, 2000 [xix, 313 p. ISBN: 0380804824. $15.00 Music examples, illustrations, appendix, index. | View |
| Michael Remson | |||
| Perfect Beat | Vol 4 No. 3 (1999) | SCREEN SCORES | View |
| JON FITZGERALD | |||
| Journal of Film Music | Vol 5 No. 1-2 (2012) | “Regeneration” in Rebecca: Confronting Compilation in Franz Waxman’s Score | View |
| Nathan Platte | |||
| Journal of Film Music | Vol 6 No. 1 (2013) | “Shirley, Bernstein Can’t Be Serious?”: Airplane! and Compositional Personas | View |
| Tim Summers | |||
| Journal of Film Music | Vol 4 No. 1 (2011) | "A Brilliant New Symphonic Effect": The "New" Early Music in Stothart's Score for Romeo and Juliet (1936) | View |
| Linda K. Schubert | |||
| Journal of Film Music | Vol 4 No. 1 (2011) | Nostalgia, the Silent Cinema, and the Art of Quotation in Herbert Stothart’s Score for The Wizard of Oz (1939) | View |
| Nathan Platte | |||
| Journal of Film Music | Vol 5 No. 1-2 (2012) | Composing with Types and Flexible Modules: John Williams’ Two-Note Ostinato for Jaws and its Use in Film-Music History | View |
| Peter Moormann | |||
| Terror Tracks | View | ||
| James Wierzbicki, Scott Murphy, Michael Hannan, Kyoko Koizumi, Tony Mitchell, Jon Fitzgerald, Mark Evans, Rebecca † Coyle, Jeremy Barham, Janet K. Halfyard, Lee Barron, Ian Inglis, Karen Collins, Rebecca Coyle †, Laura Wiebe Taylor, Harry Minassian, Philip Hayward | |||
| Journal of Film Music | Vol 4 No. 2 (2011) | Sir Arthur Bliss’s Music Things to Come (1936): A Study of Contemporaneous Sources and Musical Materials | View |
| Nicol William Snedden | |||
| The Music of Fantasy Cinema | View | ||
| Janet K. Halfyard, Mark Brill, Philip Hayward, J. Drew Stephen, Lee Barron, Liz Giuffre, Ben Winters, Alexander G. Binns, Scott Murphy, Victoria Hancock, Jamie L. Webster | |||
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