1
Gorbman C. Unheard melodies: narrative film music. London: : BFI Pub 1987.
2
Wierzbicki J. Film Music. Hoboken: : Taylor and Francis 2008. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=371024
3
Cooke M. A history of film music. New York: : Cambridge University Press 2008.
4
Brown RS, American Council of Learned Societies. Overtones and undertones: reading film music. Berkeley: : 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. Hanover, N.H.: : University Press of New England 2000.
6
Chion M. Film, a sound art. [English ed.]. New York: : Columbia University Press 2009.
7
Chion M, Gorbman C, Murch W. Audio-vision: sound on screen. New York, N.Y.: : Columbia University Press 1994.
8
Cook N. Analysing musical multimedia. Oxford: : Oxford University Press 1998.
9
Davison A. Hollywood theory, non-Hollywood practice: cinema soundtracks in the 1980s and 1990s. Aldershot: : Ashgate 2004.
10
Donnelly KJ. Film music: critical approaches. Edinburgh: : Edinburgh University Press 2001.
11
Duncan DW. Charms that soothe: classical music and the narrative film. 1st ed. New York: : Fordham University Press 2003.
12
Flinn C. Strains of Utopia: gender, nostalgia, and Hollywood film music. Princeton, N.J.: : Princeton University Press 1992.
13
Goldmark D, Kramer L, Leppert RD. Beyond the soundtrack: representing music in cinema. Berkeley: : 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. New York, NY: : Routledge 2001. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780203900802
15
Powrie P, Stilwell RJ. Changing tunes: the use of pre-existing music in film. Aldershot: : Ashgate 2006.
16
Prendergast RM. Film music: a neglected art : a critical study of music in films. 2nd ed. New York: : W.W. Norton 1992.
17
Castle A. The Stanley Kubrick archives: made in cooperation with Jan Harlan, Christiane Kubrick, and the Stanley Kubrick estate. London: : Taschen 2008.
18
Naremore J. On Kubrick. London: : British Film Institute 2007.
19
Nelson TA. Kubrick: inside a film artist’s maze. New and expanded ed. Bloomington: : Indiana University Press 2000.
20
Chion M. Kubrick’s cinema odyssey. London: : British Film Institute 2001.
21
Chion M, British Film Institute. Eyes wide shut. London: : BFI Pub 2002.
22
Kubrick S, Phillips GD. Stanley Kubrick: interviews. Jackson: : University Press of Mississippi 2001.
23
Ebooks Corporation Limited. Celluloid symphonies: texts and contexts in film music history. Berkeley, CA: : 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;1:27–34.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. London: : 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. Lanham, MD: : 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. Bristol: : Intellect 2013. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=3014882
