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Article contents
Film Music: A History. By James Wierzbicki. New York: Routledge, 2009. - A History of Film Music. By Mervyn Cooke. New York: Cambridge University Press, 2008. - Hearing the Movies: Music and Sound in Film History. By James Buhler, David Neumeyer, and Rob Deemer. New York: Oxford University Press, 2010. - The Routledge Film Music Sourcebook. Edited by James Wierzbicki, Nathan Platte, and Colin Roust. New York: Routledge, 2012. - The Hollywood Film Music Reader. Edited by Mervyn Cooke. New York: Oxford University Press, 2010. - Music in the Horror Film: Listening to Fear. Edited by Neal Lerner. Routledge Music and Screen Media Series. New York: Routledge, 2010. - Franz Waxman's Rebecca: A Film Score Guide. By David Neumeyer and Nathan Platte. Scarecrow Film Score Guides, vol. 12. Lanham, MD: Scarecrow Press, 2012. - Jerome Moross's The Big Country: A Film Score Guide. By Mariana Whitmer. Scarecrow Film Score Guides, vol. 13. Lanham, MD: Scarecrow Press, 2012.
Review products
Film Music: A History. By James Wierzbicki. New York: Routledge, 2009.
A History of Film Music. By Mervyn Cooke. New York: Cambridge University Press, 2008.
Hearing the Movies: Music and Sound in Film History. By James Buhler, David Neumeyer, and Rob Deemer. New York: Oxford University Press, 2010.
Published online by Cambridge University Press: 30 September 2014
Abstract
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- Type
- Book Review
- Information
- Journal of the Society for American Music , Volume 8 , Special Issue 3: Music and Sound in American Cinema, 1927–56 , August 2014 , pp. 401 - 412
- Copyright
- Copyright © The Society for American Music 2014
References
1 Jacqueline Avila, “Los sonidos del cine: Cinematic Music in Mexican Film, 1930–1950” (Ph.D. diss., University of California, Riverside, 2011); and Heinink, Juan B. and Dickson, Robert G., Cita en Hollywood: Antología de las películas norteamericanas habladas en castellano (Bilbao: Mensajero, 1990)Google Scholar.
2 The other volumes in the series are: K. J. Donnelly, William Gibbons, and Neil Lerner, eds., Music in Video Games (2014); Benjamin Halligan, Robert Edgar, and Kirsty Fairclough-Isaacs, eds., The Music Documentary: Acid Rock to Electropop (2013); K. J. Donnelly and Philip Hayward, eds., Music in Science Fiction Television: Tuned to the Future (2012); James Wierzbicki, ed., Music, Sound, and Filmmakers: Sonic Style in Cinema (2012); Kathryn Kalinak, Music in the Western: Notes from the Frontier (2011); James Deaville, ed., Music in Television: Channels of Listening (2011).
3 See, for example, Hayward, Philip, ed., Terror Tracks: Music, Sound and Horror Cinema (London: Equinox, 2009)Google Scholar; Larson, Randall D., Music from the House of Hammer: Music in the Hammer Horror Films, 1950–1980 (Lanham, MD: Scarecrow Press, 1996)Google Scholar; and Huckvale, David, Hammer Film Scores and the Musical Avant-Garde (Jefferson, NC: McFarland, 2008)Google Scholar. Also see Donnelly, K. J., “Demonic Possession: Horror Film Music,” in Donnelly, The Spectre of Sound: Music in Film and Television (London: British Film Institute, 2005)CrossRefGoogle Scholar.
4 Other books on Hollywood (or North American) films in the Scarecrow Film Score Guides series include: Janet K. Halfyard, Danny Elfman’s Batman (2004); James Wierzbicki, Louis and Bebe Barron’s Forbidden Planet (2005); David Cooper, Bernard Herrmann’s The Ghost and Mrs. Muir (2005), Ben Winters, Erich Wolfgang Korngold’s The Adventures of Robin Hood (2007); Michael Mera, Mychael Danna’s The Ice Storm (2007); Annette Davison, Alex North’s A Streetcar Named Desire (2009); Franco Sciannameo, Nino Rota’s The Godfather Trilogy (2010); Roger Hickman, Miklós Rózsa’s Ben Hur (2011); and Anthony Bushard, Leonard Bernstein’s On the Waterfront (2013).