1.
Gorbman C. Unheard Melodies: Narrative Film Music. BFI Pub; 1987.
2.
Wierzbicki J. Film Music. Taylor and Francis; 2008. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=371024
3.
Cooke M. A History of Film Music. Cambridge University Press; 2008.
4.
Brown RS, American Council of Learned Societies. Overtones and Undertones: Reading Film Music. University of California Press; 1994. https://ezproxy.lib.gla.ac.uk/login?url=https://hdl.handle.net/2027/heb.08124
5.
Buhler J, Flinn C, Neumeyer D. Music and Cinema. Vol Music/culture. University Press of New England; 2000.
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Chion M. Film, a Sound Art. Vol Film and culture. [English ed.]. Columbia University Press; 2009.
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Chion M, Gorbman C, Murch W. Audio-Vision: Sound on Screen. Columbia University Press; 1994.
8.
Cook N. Analysing Musical Multimedia. Oxford University Press; 1998.
9.
Davison A. Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s and 1990s. Vol Ashgate popular and folk music series. Ashgate; 2004.
10.
Donnelly KJ. Film Music: Critical Approaches. Edinburgh University Press; 2001.
11.
Duncan DW. Charms That Soothe: Classical Music and the Narrative Film. 1st ed. Fordham University Press; 2003.
12.
Flinn C. Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music. Vol Princeton paperbacks. Princeton University Press; 1992.
13.
Goldmark D, Kramer L, Leppert RD. Beyond the Soundtrack: Representing Music in Cinema. University of California Press; 2007. https://ezproxy.lib.gla.ac.uk/login?url=https://hdl.handle.net/2027/heb.08024
14.
Kassabian A. Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. Routledge; 2001. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780203900802
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Powrie P, Stilwell RJ. Changing Tunes: The Use of Pre-Existing Music in Film. Vol Ashgate popular and folk music series. Ashgate; 2006.
16.
Prendergast RM. Film Music: A Neglected Art : A Critical Study of Music in Films. 2nd ed. W.W. Norton; 1992.
17.
Castle A. The Stanley Kubrick Archives: Made in Cooperation with Jan Harlan, Christiane Kubrick, and the Stanley Kubrick Estate. Taschen; 2008.
18.
Naremore J. On Kubrick. British Film Institute; 2007.
19.
Nelson TA. Kubrick: Inside a Film Artist’s Maze. New and expanded ed. Indiana University Press; 2000.
20.
Chion M. Kubrick’s Cinema Odyssey. British Film Institute; 2001.
21.
Chion M, British Film Institute. Eyes Wide Shut. Vol BFI modern classics. BFI Pub; 2002.
22.
Kubrick S, Phillips GD. Stanley Kubrick: Interviews. Vol Conversations with filmmakers series. University Press of Mississippi; 2001.
23.
Ebooks Corporation Limited. Celluloid Symphonies: Texts and Contexts in Film Music History. (Hubbert JB, ed.). University of California Press; 2011. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=646810
24.
Film music course. https://eleanor.lib.gla.ac.uk/search~S6/r?search=Film+Music
25.
Claudia Gorbman. Varda’s Music. Music and the Moving Image. 2008;1(3):27-34. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/10.5406/musimoviimag.1.3.0027
26.
Adorno TW, Eisler H. Composing for the Films. Athlone Press; 1994.
27.
McQuiston K. We’ll Meet Again. Oxford University Press; 2013. doi:10.1093/acprof:oso/9780199767656.001.0001
28.
Gengaro CL. Listening to Stanley Kubrick: The Music in His Films. Scarecrow Press; 2013.
29.
Franklin P. Seeing Through Music. Oxford University Press; 2011. doi:10.1093/acprof:oso/9780195383454.001.0001
30.
Heldt G. Music and Levels of Narration in Film: Steps across the Border. Intellect; 2013. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=3014882