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| Altman, R. (1992). Introduction: Four and a half film fallacies. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 35–45). 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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| Bailes, F. (2019). Empirical musical imagery beyond the "mind's ear". In M. Grimshaw-Aagaard, M. Walther-Hansen & M. Knakkergaard (Eds), The Oxford Handbook of Sound and Imagination Vol. 2, (pp. 445–463). New York: Oxford University Press. |
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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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| 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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| Böhme, H. (2005). The metaphysics of phenomena: Telescope and microscope in the works of Goethe, Leeuwenhoek, and Hooke. In H. Schramm, L. Schwarte & J. Lazardzig (Eds), Collection, Laboratory, Theater: Scenes of Knowledge in the 17th Century Vol. 1, (pp. 355–393). De Gruyter. |
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