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| Small, C. (1998). Musicking: The meanings of performing and listening. Hanover, NH: Wesleyan University Press. |
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| Smirnov, A. (2013). Sound in Z: Experiments in sound and electronic music in early 20th-century Russia. London: Koenig Books. |
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| Souriau, E. (Ed.). (1953). L'Univers filmique. Paris: Flammarion. |
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| Spadoni, R. (2007). Uncanny bodies: The coming of sound film and the origins of the horror genre. Berkeley: University of California Press. |
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| Strawson, P. F. (1971). Individuals: An essay in descriptive metaphysics. London: Methuen. (Original work published 1959). |
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| Stumpf, C. (1883). Tonpsychologie. Leipzig: Verlag Von S. Hirzel. |
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| Szabó Gendler, T. (2010). Intuition, imagination, & philosophical methodology. Oxford: Oxford University Press. |
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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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| Thompson, K., & Bordwell, D. (2003). Film history: An introduction. 2nd ed. New York: McGraw-Hill. |
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| Thrift, N. (1996). Spatial formations. London: Sage Publications. |
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| Truax, B. (2001). Acoustic communication. 2nd ed. Westport, Conn: Ablex. |
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| Turcan, P., & Wasson, M. (2003). Fundamentals of audio and video programming for games. Redmond: Microsoft Press. |
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| Tyndall, J. (1867). On sound. London: Longmans, Green, and Co. |
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| Warner, T. (2003). Pop music ― Technology and creativity: Trevor Horn and digital revolution. Aldershot: Ashgate. |
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| Weinel, J. (2018). Inner sound: Altered states of consciousness in electronic music and audio-visual media. New York: Oxford University Press. |
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| Weis, E., & Belton, J. (Eds). (1985). Film sound: Theory and practice. New York: Columbia University Press. |
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| Wells, H. G. (1908). First and last things: A confession of faith and a rule of life. G.P. Putnam's Sons. |
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| Westerhoff, J. (2011). Reality: A very short introduction. Oxford: Oxford University Press. |
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| Added by: Mark Grimshaw-Aagaard 20/07/2021, 11:22 |
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