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M. Chion, C. Gorbman, and W. Murch, Audio-vision: sound on screen. New York: Columbia University Press.
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M. Chion and C. Gorbman, The voice in cinema. New York: Columbia University Press, 1999.
[4]
N. Cook, Analysing musical multimedia. Oxford: Oxford University Press, 2000.
[5]
Cooke, Mervyn, A history of film music. Cambridge: Cambridge University Press, 2008.
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Gorbman, Claudia and British Film Institute, Unheard melodies: narrative film music. London: BFI, 1987.
[7]
Holman, Tomlinson, Sound for film and television, 3rd ed. Amsterdam: Focal, 2010 [Online]. Available: https://ebookcentral.proquest.com/lib/kentuk/detail.action?docID=870442
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Kalinak, Kathryn Marie, Film music: a very short introduction, vol. Very short introductions. New York: Oxford University Press, 2010 [Online]. Available: https://ebookcentral.proquest.com/lib/kentuk/detail.action?docID=497617
[9]
A. Kassabian, Hearing film: tracking identifications in contemporary Hollywood film music. New York: Routledge, 2001.
[10]
Brown, Royal S., Overtones and undertones: reading film music. Berkeley,CA: University of California Press, 1994.
[11]
Davis, Richard, Complete guide to film scoring: the art and business of writing music for movies and TV. Boston, MA: Berklee Press, 1999.
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A. Davison, Hollywood theory, non-Hollywood practice: cinema soundtracks in the 1980s and 1990s. Aldershot: Ashgate, 2004.
[13]
K. J. Donnelly and K. J. Donnelly, Film music: critical approaches. Edinburgh: Edinburgh University Press, 2001.
[14]
K. M. Kalinak, Settling the score: music and the classical Hollywood film. London: University of Wisconsin Press, 1992.
[15]
F. Karlin and R. Wright, On the track: a guide to contemporary film scoring, 2nd ed. New York: Routledge, 2004.
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H. Wyatt, T. Amyes, and T. Amyes, Audio post production for television and film: an introduction to technology and techniques, 3rd ed. Amsterdam: Focal, 2005.
