> Emotion and Film Scores > References

References

Alwyn, W. (1957). Introduction. In Huntley, John & Manvell, Roger (Eds.), The Technique of Film Music. London: Focal Press.

Brown, R. (1981). Do we need a Psychomusicology? Psychomusicology 1: 2, 7-11.

Buchanan, L. G. (1974). The art of composing music scores for films. In Limbacher, J. L. (Ed.), Film Music: From Violins to Video (pp. 29-32). New Jersey: The Scarecrow Press, Inc.

Deutsch, D., (Ed.). (1982). The Psychology of Music. New York: Academic Press, Inc.

Embler, J. (1974). The structure of film music. In Limbacher, J. L. (Ed.), Film Music: From Violins to Video (pp. 61-66). New Jersey: The Scarecrow Press, Inc.

Goldsmith, J. (1980). Music from the Galaxies. London Symphony Orchestra, Stratta, E., (cond.). New York: CBS Classical Music.

Hendricks, G. (1974). Film music comes of age. In Limbacher, J. L. (Ed.), Film Music: From Violins to Video (pp. 45-54). New Jersey: The Scarecrow Press, Inc.

Huntley, J. & Manvell, R. (1957). The Technique of Film Music. London: Focal Press.

Kalinak, K. (1992). Settling the Score: Music and the Classical Hollywood Film. Madison: The University of Wisconsin Press.

Karlin, F. (1994). Listening to Movies: The Film Lover's Guide to Film Music. New York: Schirmer Books.

Konecni, V. J. (1982). Social interaction and musical preference. In Deutsch, D. (Ed.), The Psychology of Music (pp. 497-516). New York: Academic Press, Inc.

Kresh, P. (1974). Is there any music at the movies. In Limbacher, J. L. (Ed.), Film Music: From Violins to Video (pp.32-42). New Jersey: The Scarecrow Press, Inc.

Maltin, L. Foreword. (1994). In Karlin, F., Listening to Movies: The Film Lover's Guide to Film Music. New York: Schirmer Books.

Mehrabian, A. & Wixen, W. J. (1986). Preferences for individual video games as a function of their emotional effects on players. Journal of Applied Social Psychology, 16: 1, 3-15.

Meyer, L. B. (1956). Emotion and Meaning in Music. Chicago: University of Chicago Press.

North, A. C. & Hargreaves, D. J. (1996). The effects of music on responses to a dining area. Journal of Environmental Psychology 16: 2, 135-137.

Prendergast, R. (1954). Film Music: A Neglected Art. New York: W.W. Norton & Co.

Smets, G. (1973). Aesthetic Judgment and Arousal: An Experimental Contribution to Psycho-Aesthetics. Belgium: Leuven University Press.

Tiomkin, D. (1974). Composing for films. In Limbacher, J. L. (Ed.), Film Music: From Violins to Video (pp. 55-61). New Jersey: The Scarecrow Press, Inc.

Williams, M. (1974). Jazz at the movies. In Limbacher, J. L. (Ed.), Film Music: From Violins to Video (pp.42-44). New Jersey: The Scarecrow Press, Inc.

Winkler, M. (1974). The origin of film music. In Limbacher, J. L. (Ed.), Film Music: From Violins to Video (pp.15-24). New Jersey: The Scarecrow Press, Inc.

Wolf, William. (1974). Facing the music: why movie scores are usually so awful. In Limbacher, J. L. (Ed.), Film Music: From Violins to Video (pp. 51-54). New Jersey: The Scarecrow Press, Inc.

PERSPECTIVES IN PSYCHOLOGY
UNDERGRADUATE JOURNAL OF THE UNIVERSITY OF PENNSYLVANIA
C/O DEPARTMENT OF PSYCHOLOGY
3815 WALNUT STREET
PHILADELPHIA, PENNSYLVANIA 19104


Perspectives in Psychology is a non-profit publication funded by the Student Activities Council of the University of Pennsylvania. All inquiries and comments should be directed to the editor c/o the Psychology Department. All rights reserved. Reproduction without permission is prohibited.

>> Print complete article about Emotion and Film Scores