| Altman, R. (1992). Afterword: A baker's dozen terms for sound analysis. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 249–253). New York: Routledge. |
 
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| Altman, R. (1992). Introduction: Sound/history. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 113–125). New York: Routledge. |
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| Altman, R. (1992). Sound space. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 46–64). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard 16/02/2006, 08:28 |
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| Belton, J. (1992). 1950s magnetic sound: The frozen revolution. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 154–167). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard 26/10/2004, 14:44 |
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| Chanan, M. (1995). Repeated takes: A short history of recording and its effect on music. London: Verso. |
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| Added by: Mark Grimshaw-Aagaard 07/09/2004, 12:06 |
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| Chion, M. (1994). Audio-vision: Sound on screen. C. Gorbman, Trans. New York: Columbia University Press. |
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| Added by: Mark Grimshaw-Aagaard 07/06/2021, 08:48 |
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| Lastra, J. (2000). Sound technology and the American cinema: Perception, representation, modernity. New York: Columbia University Press. |
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| Added by: Mark Grimshaw-Aagaard 13/03/2006, 10:16 |
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| Rumsey, F., & McCormick, T. (1998). Sound and recording: An introduction. 3rd ed. Oxford: Focal Press. (Original work published 1997). |
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| Théberge, P. (1989). The 'sound' of music: Technological rationalization and the production of popular music. New Formations, 8, 99–111. |
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| Added by: Mark Grimshaw-Aagaard 14/03/2006, 14:09 |
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| Théberge, P. (1997). Any sound you can imagine: Making music/consuming technology. Hanover, NH: Wesleyan University Press. |
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| Added by: Mark Grimshaw-Aagaard 19/09/2004, 11:01 |
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