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| Journal | Issue | Title | |
| Popular Music History | Vol 5 No. 1 (2010) | Bernard Herrmann—‘pop’ composer? | View |
| Edward Green | |||
| 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 1 No. 2/3 (2003) Vol 1, No. 2/3: Herrmann Studies | Bernard Herrmann: The Beethoven of Film Music? | View |
| William H. Rosar | |||
| Journal of Film Music | Vol 1 No. 2/3 (2003) Vol 1, No. 2/3: Herrmann Studies | Self Borrowing in the Music of Bernard Herrmann | View |
| William Wrobel | |||
| 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 | |||
| Popular Music History | Vol 5 No. 1 (2010) | Unconscious anchors: Bernard Herrmann’s music for Marnie | View |
| Tom Schneller | |||
| Popular Music History | Vol 5 No. 1 (2010) | Introduction to the special issue: The music of Bernard Herrmann | View |
| Dave Laing | |||
| Journal of Film Music | Vol 1 No. 2/3 (2003) Vol 1, No. 2/3: Herrmann Studies | Steven C. Smith. A Heart at Fire's Center: The Life and Music of Bernard Herrmann | View |
| Richard Littlefield | |||
| 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 1 No. 2/3 (2003) Vol 1, No. 2/3: Herrmann Studies | Bernard Herrmann as Musical Colorist: A Musicodramatic Analysis of His Score for The Day the Earth Stood Still | View |
| E. Todd Flegel | |||
| Popular Music History | Vol 5 No. 1 (2010) | The deleted music and scenes from Journey to the Center of the Earth | View |
| Bill Wrobel | |||
| 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 | |||
| Popular Music History | Vol 5 No. 1 (2010) | Resources & Herrmann research | View |
| Bill Wrobel | |||
| 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 1 No. 2/3 (2003) Vol 1, No. 2/3: Herrmann Studies | A Note on Commercial Recordings of Herrmann's "Jennie's Song" from Portrait of Jennie | View |
| Ronald Burbella | |||
| Journal of Film Music | Vol 1 No. 2/3 (2003) Vol 1, No. 2/3: Herrmann Studies | The Mystery of Herrmann's Music for Selznick's Portrait of Jennie | View |
| Thomas DeMary | |||
| 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 1 No. 2/3 (2003) Vol 1, No. 2/3: Herrmann Studies | Grand Illusion: The "Storm Cloud" Music in Hitchcock's The Man Who Knew Too Much | View |
| James Wierzbicki | |||
| Journal of Film Music | Vol 4 No. 2 (2011) | Modular Structures in Film Music: The Answer to Synchronization Problems? | View |
| Bartlomiej P Walus | |||
| Journal of Film Music | Vol 2 No. 1 (2007) | Jack Sullivan: Hitchcock’s Music. New Haven and London: Yale University Press, 2006 [xix, 354 p. ISBN: 0300110502] | View |
| Tom Schneller | |||
| Journal of Film Music | Vol 1 No. 4 (2006) Vol 1, No. 4 (2006): Leith Amadeus Stevens: A Festschrift | Music in the Films: The Promotion of Film Music in the Concert Hall | View |
| Leith Stevens † | |||
| Journal of Film Music | Vol 4 No. 2 (2011) | Remastered and Remaindered: Debussy’s Music, Nat King Cole’s Song, and David O. Selznick’s attempt at High Art on a Low Budget* | View |
| Sarah Reichardt Ellis | |||
| Journal of Film Music | Vol 1 No. 4 (2006) Vol 1, No. 4 (2006): Leith Amadeus Stevens: A Festschrift | Rerecording Max Steiner: Brandenburg Philharmonic Orchestra/Richard Kaufman. Naxos, 2005. Moscow Symphony Orchestra and Chorus / William Stromberg. Naxos, 2004; Moscow Symphony Orchestra/William Stromberg. Naxos 2004 | View |
| Brian C. Thompson | |||
| 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 3 No. 1 (2010) The Film Music of Fumio Hayasaka and Toru Takemitsu | Daniel Goldmark, Lawrence Kramer, and Richard Leppert, eds., Beyond the Soundtrack: Representing Music in Cinema Berkeley, Los Angeles, and London: University of California Press, 2007. [xiii, 324 pp. ISBN: 0520250703. $24.95 (trade paper)] Music examples | View |
| Matthew Brown | |||
| 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 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 | |||
| Journal of Film Music | Vol 2 No. 2-4 (2009) | Wavering Sonorities and the Nascent Film Noir Musical Style | View |
| Roger Hickman | |||
| Journal of Film Music | Vol 1 No. 1 (2002) | Film Music Studies in the mid-1990s: George Burt's Art and Royal S. Brown's Reading | View |
| David Neumeyer | |||
| 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 7 No. 2 (2014) | Frank Lehman, Hollywood Harmony: Musical Wonder and the Sound of Cinema | View |
| Erik Heine | |||
| Journal of Film Music | Vol 3 No. 2 (2010) | Teaching Film Music Survey Classes: Hickman, Karlin, and MacDonald as Models for Building Course Content | View |
| Michael Remson | |||
| Journal of Film Music | Vol 1 No. 1 (2002) | Music in Films: A Critical Review of Literature, 1980-1996 | View |
| Robynn J. Stilwell | |||
| Journal of Film Music | Vol 2 No. 2-4 (2009) | Kathryn Kalinak. How the West Was Sung: Music in the Westerns of John Ford Berkeley, Los Angeles, and London: University of California Press, 2007. [x, 256 p. ISBN: 9780520252349. $24.95 ] Music examples, illustrations, bibliography, index | View |
| Tom Schneller | |||
| Equinox eBooks Publishing | The Hunt for Ancient Israel | Index of Authors | View |
| Cynthia Shafer-Elliott, Kristin Joachimsen, Ehud Ben Zvi, Pauline Viviano | |||
| Journal of Film Music | Vol 1 No. 2/3 (2003) Vol 1, No. 2/3: Herrmann Studies | Pamela Robertson Wojcik and Arthur Knight eds. Soundtrack Available: Essays on Film and Popular Music | View |
| K. J. Donnelly | |||
| Journal of Film Music | Vol 4 No. 1 (2011) | Mark Slobin, ed. Global Soundtracks: Worlds of Film Music, Middletown, CT: Wesleyan University Press, 2008 [xxiii, 387 p. ISBN 9780819568823. $34.95 (trade paper)]. | View |
| James Wierzbicki | |||
| Journal of Film Music | Vol 1 No. 4 (2006) Vol 1, No. 4 (2006): Leith Amadeus Stevens: A Festschrift | Leith Stevens: Piano Prodity--Jazz Band Conductor--Composer for Radio, Films and Television | View |
| Mark Brill | |||
| Journal of Film Music | Vol 2 No. 1 (2007) | “Stanley Hates This But I Like It!”: North vs. Kubrick on the Music for 2001: A Space Odyssey | View |
| Paul A. Merkley, FRSC | |||
| Journal of Film Music | Vol 3 No. 1 (2010) The Film Music of Fumio Hayasaka and Toru Takemitsu | Rebecca Coyle, ed., Reel Tracks: Australian Feature Film Music and Cultural Identities Eastleigh, Eng.: John Libbey Publishing, 2005. [vii, 257 pp. ISBN: 0861966589. $29.95 (trade paper)] Music examples, illustrations, bibliography, filmography, index. | View |
| Kheng K. Koay | |||
| Journal of Film Music | Vol 1 No. 4 (2006) Vol 1, No. 4 (2006): Leith Amadeus Stevens: A Festschrift | Music for Martians: Schillinger's Two Tonics and Harmony of Fourths in Leigh Steven's Score for War of the Worlds (1953) | View |
| William H. Rosar | |||
| Journal of Film Music | Vol 2 No. 2-4 (2009) | Film Studies in Musicology: Disciplinarity vs.Interdisciplinarity | View |
| William H. Rosar | |||
| Journal of Film Music | Vol 6 No. 1 (2013) | Modal Interchange and Semantic Resonance in Themes by John Williams | View |
| Tom Schneller | |||
| Journal of Film Music | Vol 3 No. 2 (2010) | A Source-Studies Approach to Michael Nyman’s Score for "The Draughtsman’s Contract" | View |
| David Cooper, Ian Sapiro | |||
| Journal of Film Music | Vol 5 No. 1-2 (2012) | Mysteriosos Demystified: Topical Strategies Within and Beyond the Silent Cinema | View |
| Tobias Plebuch | |||
| Journal of Film Music | Vol 6 No. 2 (2013) | Archival Research and the Study of the Concert Presentations of Film Music: The Case of John Williams and the Boston Pops | View |
| Emilio Audissino | |||
| Journal of Film Music | Vol 5 No. 1-2 (2012) | Knowledge Organization in Film Music and its Theatrical Origins: Recapitulation and Coda | View |
| William H. Rosar | |||
| Journal of Film Music | Vol 6 No. 2 (2013) | The Barry Gray Archive | View |
| François Evans | |||
| Journal of Film Music | Vol 5 No. 1-2 (2012) | The Corsican Brothers and the Legacy of its Tremulous “Ghost Melody” | View |
| Michael V. Pisani | |||
| Equinox eBooks Publishing | The Hunt for Ancient Israel | The Pragmatic Challenge to Moses: Jeremiah 30:1-4 in Light of Deuteronomy | View |
| Benedetta Rossi | |||
| Jazz Research Journal | Vol 8 No. 1-2 (2014) | Sex and the sonic smorgasbord: The Necks—extending the ‘jazz’ piano trio format | View |
| Jane Galbraith | |||
| Equinox eBooks Publishing | Critical Approaches to Cypriot and Wider Mediterranean Archaeology | 4. Cypriot Iron Age Communities in Time and Place: Considering Amathus in a Regional Context | View |
| Catherine Kearns | |||
| Equinox eBooks Publishing | Translocal Lives and Religion | 1. From Comparative to Connected Religion: Translocal Aspects of Orientalism and the Study of Religion | View |
| Philippe Bornet | |||
| Journal of Film Music | Vol 5 No. 1-2 (2012) | Music Theory Through the Lens of Film | View |
| Frank Lehman | |||
| Journal of Film Music | Vol 1 No. 1 (2002) | Film Music---What's in a Name? | View |
| William H. Rosar | |||
| Journal of Film Music | Vol 3 No. 2 (2010) | “I have been compromised. I am now fighting against it.” Ligeti vs. Kubrick and the music for 2001: A Space Odyssey | View |
| Julia Heimerdinger | |||
| 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 6 No. 1 (2013) | Listening to Ingmar Bergman's Monsters: Horror Music, Mutes, and Acoustical Beings in Persona and Hour of the Wolf | View |
| Alexis Luko | |||
| 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 † | |||
| 1 - 59 of 59 Items | |||
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