Bibliography

Here is a bibliography of all that I have researched throughout semester one, this is the same as within my research proposal with a couple added extras. 

Adler, S. 1989. The study of orchestration. 2^nd ed. New York: W.W. Norton and Company.

Blatter, A. 1980. Instrumentation/orchestration. New York: Schirmer Books.

Brown, R.S. 1994. Overtones and undertones: reading film music. California: University of California Press.

Bullerjahn, C. and Guldenring, M. 1994. An empirical investigation of effects of film music using qualitative content analysis. Psychomusicology. 13: pp. 99-118.  

Cherry, K. 2012. What is cognition?. [online] Available from: http://psychology.about.com/od/cindex/g/def_cognition.htm (Accessed 14 October 2012].

Chion, M. 1994. Audio-visual: sound on sound. New York: Columbia University Press.

Cohen, A.J. 1994. Introduction to the special volume on the psychology of film music. Psychomusicology. 13: pp. 2-8.

Cohen, A.J. 1998. The functions of music in multimedia: a cognitive approach. Proceedings of the fifth International conference on Music Perception and Cognition, August 26-30, Seoul, Korea. Seoul: Western Music Research Institute.

Cohen, A.J. 2001. Music as a source of emotion in film In: Juslin, P and Sloboda, J. eds. Music and emotion. Oxford: Oxford University Press. 2001. pp. 249-272.

Davis, R. 2000. Complete guide to film scoring: the art and business of writing music for movies and tv. Boston: Berklee Press.

Dowling, W.J. 1999. The development of music perception and cognition. In: Deutsch, D. eds. The psychology of music. 2^nd ed. California: Academic Press. 1999, pp. 603-626.

Ellis-Geiger, R.J. 2007. Trends in contemporary Hollywood film scoring: a synthesised approach for Hong Kong cinema. [online] Available from: http://www.academia.edu/1163413/Trends_in_Contemporary_Hollywood_Film_Scoring_A_Synthesised_Approach_for_Hong_Kong_Cinema [Accessed 6 November 2012].

Fischoff, S. 2005. The evolution of music in film and its psychological impact on audiences. [online] Available from: http://www.calstatela.edu/faculty/abloom/tvf454/5filmmusic.pdf [Accessed 4 November 2012].

Gorbman, C. 1987. Unheard melodies: narrative film music. London: BFI Publishing.

Gray, C and Malins, J. 2004 Visualizing research: a guide to the research process in art and design. Aldershot: Ashgate Publishing Limited.

Hoeckner, B, Wyatt, E.W, Decety, J and Nusbaum, H. 2011. Film music influences how viewers relate to movie characters. Psychology of Aesthetics, Creativity and the Arts. 5(2): pp. 146-153.

Jacob, G. 1982. Orchestral technique. 3^rd ed. Oxford: Oxford University Press.

Karlin, F and Wright, R. 2004. On the track: a guide to contemporary film scoring. New York: Routledge.

Marshall, S.K. and Cohen, A.J. 1988. Effects of musical soundtracks on attitudes toward animated geometric figures. Music Perception. 6(1): pp. 95-112.

Radford, I. 2012 Music in film: Indiana Jones and the perfect fifth. [online] Available from: http://www.denofgeek.com/movies/22924/music-in-film-indiana-jones-and-the-perfect-fifth

[Accessed 27 November 2012].

Rosar, W.H. 1994. Film music and Heinz Werner’s theory of physiognomic perception. Psychomusicology. 13: pp. 154-165.

Selby, S. [no date]. How does music relate to narrative?. [online] Available from: http://www.stephenselby.com/narrative.php [Accessed 6 November 2012].

Sirius, G and Clarke, E.F. The perception of audiovisual relationships: a preliminary study. Psychomusicology. 13: pp. 119-132.

Thayer, J.F. and Levenson, R.W. 1983. Effects of music on psychophysiological responses to a stressful film. Psychomusicology. 3(1): pp. 44-52.

Weis, E. Belton, J. eds. 1985. Film sound: theory and practice. New York: Columbia University Press.