A Critical Review of "Theoretical and Practical Bases of Film Music: An Essay on Film Music in the World of Islam" by Hamid Askari Rabori

Subjects: “…film music…”
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Film music and construction of tourist imaginaries in Hollywood blockbusters by Marie-Hélène Chevrier, Chloé Huvet

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New Musical Writing Processes for Cinema by Roberto Calabretto, Luca Cossettini, Donald Greig

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CONCERT MUSIC VERSUS THE MUSIC OF THE SOUND FILMS by Aaron FAZAKAS

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Robert Rabenalt, Musikdramaturgie im Film. Wie Filmmusik Erzählformen und Filmwirkung beeinflusst, München: edition text + kritik 2020 by Matthieu Stepec

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The New Digital Documentality of Contemporary Film Scoring Practices. Preliminary Results Based on Participant Observation at the Studio of North American Composer Christopher Youn... by Gabriele, Giulia Ferdeghini, Ilario Meandri

Subjects: “…Film Music Digital Documentality…”
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The Director–Composer Duo: Polanski & Komeda’s Deconstruction of Film Music Conventions in Horror Cinema. "Fearless Vampire Killers" (1967) and "Rosemary’s Baby" (1968) by Piotr Pomostowski

“…The most important question is the extent to which Krzysztof Komeda’s compositions adhere to or depart from the horror film music convention. A key issue in this context, and one that applies to both of the analyzed films, is the technique of leitmotifs which Polanski and Komeda developed already in their first short films. …”
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The Power of Conformity: Music, Sound, and Vision in Back to the Future by Marc Priewe

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Challenging “La Vie Bohème”: Community, Subculture, and Queer Temporality in Rent by Eleonora Sammartino

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Crimson Tide: Hans Zimmer, Subliminal Harmony, and Submerged Voices by Donald Greig

“…Using Neo-Riemannian theory, the potential contribution of which to film-music studies is still only now beginning to be explored, I examine the deployment of specific harmonic strategies that create a link back to earlier Hollywood film-music practices and show how Zimmer represents less an evolution than a continuation of recognisable styles and idioms. …”
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Traditional Language with a Flair for Innovation: Hans Florian Zimmer’s Compositional Process by Gabriele

“…His work defines the characteristics of present-day film music and is regarded as one of the most efficient practices in the field. …”
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A FIRST COMPOSITIONAL ATTEMPT INTO THE WORLD OF SILENT SHORT FILMS – SANCTUARY BY NELIO COSTA (WITH MUSIC BY ŞERBAN MARCU) by Şerban MARCU

“… This paper presents the author's first attempt at writing film music. The film under discussion is Sanctuary, a silent short film produced by Nelio Costa, Professor of film journalism at the UNA University Center in Belo Horizonte, Brazil. …”
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Signs of Innovation in European Cinema. Electronic Music in Antonioni and Tarkovsky by Gabriele

“… In the process of the emancipation of film music that took place in the first decades after World War II, the filmography of Michelangelo Antonioni and Andrei Tarkovsky offers multiple points of interest. …”
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The Cinematic Visions and Dreams of Edgard Varèse by Gabriele

“…The paper retraces the compositional parabola that involved the author for the last years of his life, setting it down in the recording studios and human environments in which he found himself operating, in order to reconstruct, through the dense network of relationships between technology and thoughts, the milieu that gave rise to one of the multiple roots of film music. …”
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Music in communication: a bibliometric review by Dadang Sugiana, Hanny Hafiar, Kholidil Amin, Pandu Watu Alam, Augustine Uzoma Madu

“…Although the concept of music in the field of communication is the dominant focus of this research, the terms "film music" and "popular music" always appear in all period divisions. …”
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Music listening evokes story-like visual imagery with both idiosyncratic and shared content. by Sarah Hashim, Lauren Stewart, Mats B Küssner, Diana Omigie

“…We recruited an online sample (N = 353) who listened to three orchestral film music excerpts representing happy, tender, and fearful emotions. …”
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Evaluating causes and gestures: source-related and crossmodal features in the perception of environmental sounds by Sven-Amin Lembke

“…Communication through auditory cues often evokes associations to other sensory modalities. In film music, for instance, a descending pitch contour commonly resembles a falling motion. …”
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