| Adorno, T. W., & Eisler, H. (1994). Composing for the films. London: Athlone Press. |
 
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| Alten, S. R. (2002). Audio in media. 6th ed. Belmont CA: Wadsworth/Thomson Learning. |
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| Altman, R. (Ed.). (1992). Sound theory sound practice. New York: Routledge. |
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| 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). General introduction: Cinema as event. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 1–14). 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). Introduction: Sound's dark corners. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 171–177). 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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| Altman, R. (1992). The material heterogeneity of recorded sound. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 15–31). New York: Routledge. |
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| Anderson, J. D. (1996). The reality of illusion: An ecological approach to cognitive film theory. Carbondale and Edwardsville: Southern Illinois University Press. |
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| Bather, N. (2004). The darkness of Mordor: The sound of evil in The Lord of the Rings. Screen Education, 37, 167–170. |
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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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| Bernds, E. The state of the art – 1928. Retrieved February 12, 2006, from http://www.filmsound.or ... tory/sound1928part1.htm |
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| Bernds, E. (1999). Mr. Bernds goes to Hollywood: My early life and career in sound recording at Columbia with Frank Capra and others. Lanham MD: Scarecrow Press. |
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| Bessell, D. (2002). What's that funny noise? An examination of the role of music in Cool Boarders 2, Alien Trilogy and Medievil 2. In G. King & T. Krzywinska (Eds), Screenplay: Cinema/Videogames/Interfaces (pp. 136–144). London: Wallflower Press. |
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| Bridgett, R. (1999). The aesthetics of film music: From romanticism to modernism. Retrieved March 8, 2004, from http://www3.sympatico.ca/qualish/music.htm |
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| Bridgett, R. (2002). Citizen kane: Acoustic sound as expressionist device. Retrieved March 8, 2004, from http://www3.sympatico.ca/qualish/kane.htm |
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| Bridgett, R. (2002). Problems with the film music model. Retrieved November 25, 2021, from http://web.archive.org/ ... ign.org.uk/problems.htm |
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| Bridgett, R. (2003). Subtlety and silence. Retrieved September 9, 2003, from http://www3.sympatico.c ... evelop-Oct2002-Pg28.jpg |
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| Bridgett, R. (2003). The first stage of sound design is ... well ... er ... design. Retrieved November 25, 2021, from http://web.archive.org/ ... esign.org.uk/design.htm |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 10/25/21, 1:34 PM |
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