Bibliography & Further Reading
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Bramesco, C. (2017, March 23). Invade and conquer: film's grisly return to body horror. The Guardian. https://www.theguardian.com/film/2017/mar/23/body-horror-movies-get-out-life-alien-covenant.
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Brownrigg, M. (2007). Hearing Place: Film Music, Geography and Ethnicity. International Journal of Media and Cultural Politics, 3(3), 307-323.
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Buhler, J. (2019). Theories of the Soundtrack. Oxford University Press.
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Cheb Khaled (1993). Alech Taadi [6]. On N'ssi N'ssi. Barclay
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Fitzgerald, J., & Hayward, P. (2013). The Sound of an Upside-Down World: Jerry Goldsmith's Landmark Score for Planet of the Apes (1968). Music and the Moving Image, 6(2), 32-43. doi:10.5406/musimoviimag.6.2.0032
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Gassi, V. (2019). THE FORBIDDEN ZONE, ESCAPING EARTH AND TONALITY: AN EXAMINATION OF JERRY GOLDSMITH’S TWELVE-TONE SCORE FOR PLANET OF THE APES [PhD Thesis, University of Toronto, Ontario]. https://core.ac.uk/download/pdf/240115149.pdf
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Gorbman, C. (1980). Narrative Film Music. Yale French Studies, (60), 183-203. doi:10.2307/2930011
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Greenspan, C. (2013). Hollywood as Music Museum & Patron: Bringing Various Musical Styles to a Wide Audience. Daedalus, 142(4), 73-81. Retrieved May10, 2021, from http://www.jstor.org/stable/43298000
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Harrington, R. (1989). THE ARDOUS ROAD TO 'INTOLERANCE'. Retrieved from https://www.washingtonpost.com/archive/lifestyle/1989/10/02/the-ardous-road-to-intolerance/8113e181-1150-456c-aa8f-f5b3d725e01b/.
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Hirway, H. (Host/Producer). (2015, October 15). HARRY GREGSON-WILLIAMS – “THE MARTIAN” (ORIGINAL SCORE). (53) [Audio podcast]. Song Exploder. https://songexploder.net/the-martian
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Hoeckner, B., Wyatt, E. W., Decety, J., & Nusbaum H. (2011). Film Music Influences How Viewers Relate to Movie Characters. Psychology of Aesthetics, Creativity, and the Arts, 5(2), 146-153.
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Hoffman, C. (2021). Sidechain Compression EXPLAINED: 4 Fundamental Production Techniques. WAVES. https://www.waves.com/sidechain-compression-explained-fundamental-techniques
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Islamic Culture and Communication Organization. (1995). Santur. Islamic Culture and Relations Organization. http://en.icro.ir/Music/Santur
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Joshua J., Mark. (2016). Anubis. World History Encyclopedia. https://www.worldhistory.org/Anubis/
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Kassabian, A. (2001). Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. New York, Routledge.
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Kolyada, Y. (2009). A Compendium of Musical Instruments and Instrumental Terminology in the Bible. New York, Routledge.
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L. W. (2000). Arab Pop on the World Stage. ARAMCO World.
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Larsen, P. (2007). Film music. London, Reaktion Books Ltd.
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Lehman, F. M. (2012). Music Theory through the Lens of Film. Journal of Film Music, 5(1-2), 179-198.
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Lehman, F. M. (2012). Reading tonality through film; Transformational Hermeneutics and the Music of Hollywood. (Doctoral thesis). Harvard University, Cambridge Massachusetts.
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Leinberger, C. (2002). Thematic Variation and Key Relationships: Charlotte’s Theme in Max Steiner’s Score for ‘Now Voyager’. The Journal of Film Music, 1(1), 63-77.
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Liu, X. (2010). Collaborative Orientalism: From Hollywood's Yellow Perils to Zhand Yimou's Red Trilogy [Master of Art in Literature, Bowling Green State University].
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Locke, Ralph. 2009. Musical Exoticism: Images and Reflections. Cambridge: Cambridge University Press.
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M. C. T. (n.d.). Orientalism. Britannica. https://www.britannica.com/science/Orientalism-cultural-field-of-study
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Michalakis, M. (2001). Folk musical horizons. Zozef.
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Murphy, M. (2017, May 4). How ‘Alien’ Spawned So Many Others. The New York Times. https://www.nytimes.com/2017/05/04/movies/alien-covenant-influences.html
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P. B. (n.d.). Khaled. Britannica. https://www.britannica.com/biography/Khaled
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Pfeiffer, L. (2019, April 30). The Day the Earth Stood Still. Encyclopedia Britannica. https://www.britannica.com/topic/The-Day-the-Earth-Stood-Still-film-1951
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Prendergast, R. (1990). Film Music: A Neglected Art. Norton and Company, New York.
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Raine-Reusch, R. (2008). Play The World: The 101 Instrument Primer: Mel Bay Publications, Inc.
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Ribera, J. (2014). Music In Ancient Arabia And Spain. Surrey, Vincent Press Ltd.
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Rosar, W. H. (2012). Film Music – What’s in a Name? The Journal of Film Music, 1(1), 1-18.
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Rosar, W. H. (2012). Film Music and Heinz Werner’s Theory of Physiognomic Perception. Phychomusicology, 13, 154-165.
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Senanayake, H. (2021). Hollywood and Wicked Other: The Identity Formation of “Western Us” Versus “Muslim Others”. Open Political Science, 64-67. https://doi.org/https://doi.org/10.1515/openps-2021-0007
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Simorq Orchestra. (n.d.). Santoor. Simorq Orchestra. https://www.simorq.org/santoor.255.0.html
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Stevens, L. (2006). The Hollywood Composer. The Journal of Film Music, 1(4), 337-338.
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The music of IT CAME FROM OUTER SPACE. Monstrous Movie Music. (n.d.). Monstrous Movie Music. https://www.mmmrecordings.com/Music/MusicOuterSpace/musicouterspace.html
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Walker, E. M. (2015). Understanding Sound Tracks Through Film Theory. Oxford University Press.
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Wingstedt, J., Brändström, S., & Berg, J. (2010). Narrative Music, Visuals and Meaning in Film. 9(2), 193-210. https://doi.org/https://doi.org/10.1177/1470357210369886
Videography :
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[ANCIENT PERSIANS OF IRAN --- old Iranic / Luri folk music]. (2012, May 25). ANCIENT PERSIANS OF IRAN --- old Iranic / Luri folk music [Video file]. Retrieved from https://www.youtube.com/watch?v=QyOEb9iZxAM
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[Derek & Brandon Fiechter]. (2015, Jun 11). Ancient Mesopotamian Music - Babylon [Video file]. Retrieved from https://www.youtube.com/watch?v=Wxsh_8ZWgMg
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[FacundoJG]. (2007, Dec 10). Sir Edward Elgar – Pomp and Circumstance March No.1 [Video file]. Retrieved from https://www.youtube.com/watch?v=moL4MkJ-aLk
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[Intolerance: love’s struggle throughout the ages (1916) D.W. Griffith]. (2010, Oct 18). Intolerance: love’s struggle throughout the ages (1916) D.W. Griffith [Video file]. Retrieved from https://www.youtube.com/watch?v=easHfnHfezk
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[KanaÅ‚ użytkownika joe1Xcel]. (2009, Aug 21). (Silent Movie) The King of Kings (1927) – [2/16] [Video file]. Retrieved from https://www.youtube.com/watch?v=9ty7ddv2AYU
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[Malek Jandali]. (2010, Dec 5). Echoes from Ugarit: Oldest Melody in History [Video file]. Retrieved from https://www.youtube.com/watch?v=-AKedKrxoLI
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[Mesopotamian Music HQ]. (2014, May 2). Mesopotamian Music HQ [Video file]. Retrieved from https://www.youtube.com/watch?v=f4yUnyEYm60
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[MESSALA STEPHEN BOYD]. (2010, Jul 23). Stephen Boyd & Omar Sharif – Caged Animal in ‘Genghis Khan’ (1965) [Video file]. Retrieved from https://www.youtube.com/watch?v=LxW9y_xEqVU
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Further Reading :
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Audissino, E. (2014). John Williams’s Film Music: Jaws, Star Wars, Raiders of the Lost Ark and the Return of the Classical Hollywood Music Style. Wisconsin, The University of Wisconsin Press.
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Brown, R. S. (1994). Overtones and Undertones: Reading Film Music. Los Angeles, University of California Press.
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Burke, M. (n.d). Eisenstein and the Challenge of Sound. Retrieved from http://www.kinema.uwaterloo.ca/article.php?id=380&feature
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Burt, G. (1994). The Art of Film Music: A History. Boston, Northeastern University Press.
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Chion, M. (2009). Film, a Sound Art. New York, Columbia University Press.
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Chion, M., & Murch, W. (1994). Audio-Vision: Sound on Screen. New York, Columbia University Press.
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Cooke, M. (2008). A History of Film Music. New York, Cambridge University Press.
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Cooke, M. (2010). The Hollywood Film Music Reader. New York, Oxford University Press.
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Dickinson, P. (1989). Style-Modulation: An Approach to Stylistic Pluralism. The Musical Times, 130 (1754), 208-211. Retrieved from http://www.jstor.org/stable/966465.
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Eisenstein’s Use of Sound in Alexander Nevsky. (n.d.). In CineWiki. Retrieved February 17, 2016, from http://cinewiki.wikispaces.com/Eisenstein%27s+Use+of+Sound+in+Alexander+Nevsky
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Engel, C. (1870). The Music of the most Ancient Nations. 2nd ed. London, William Clowes and Sons.
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Flinn, C. (1992). Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music. New Jersey, Princeton University Press.
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Gadalla, M. (2004). Egyptian Musical Instruments. Greensboro, Tehuti Research Foundation.
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Gorbman, C. (1980). Narrative Film Music. Yale French Studies, (60), 183-203. Retrieved from http://www.jstor.org/stable/2930011
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Hargreaves, D. J. (1986). The Developmental Phycology of Music. Cambridge, Cambridge University Press.
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Ives, C. (1987). Charles Ives: The Ideas Behind the Music. New York, Yale University Press.
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Kalinak, K. (1992). Settling the Score: Music and the Classical Hollywood Film. Wisconsin, The University of Wisconsin Press.
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Kalinak, K. (2010). Film Music: A Very Short Introduction. New York, Oxford University Press.
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Karlin, F., & Wright R. (2004). On the track: A guide to Contemporary Film Scoring. 2nd ed. New York, Routledge.
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Kilmer, A. D. (1998). The Musical Instruments from Ur and Ancient Mesopotamian Music. Retrieved from http://www.penn.museum/sites/expedition/the-musical-instruments-from-ur-and-ancient-mesopotamian-music/
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Lehman, F. (2013). Hollywood Cadences: Music and the Structure of Cinematic Expectation. A Journal of the Society for Music Theory, 19 (4)., Retrieved from http://www.mtosmt.org/issues/mto.13.19.4/mto.13.19.4.lehman.html
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MacDonald, L. E. (2013). The Invisible Art of Film Music: A Comprehensive Story. 2nd ed. Plymouth, Scarecrow Press.
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Neumeyer, D. (2014). The Oxford Handbook of Film Music Studies. New York, Oxford University Press.
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Neyrinck, M. (2001). Ethploitation: The Use of Ethnic Film Music. Retrieved from http://www.filmscoremonthly.com/daily/article.cfm/articleID/3593/Ethploitation-The-Use-of-Ethnic-Film-Music/
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Reay, P. (2004). Music in Film: Soundtracks and Synergy. London, Wallflower Press.
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Redner, G. (2011). Deleuze and Film Music: Building a Methodological Bridge Between Film Theory and Music. Bristol, Intellect.
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Sachs, C. (2008). The Rise of Music in the Ancient World: East and West. New York, Dover Publications.
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Slobin, M. (2008). Global Soundtracks: Worlds of Film Music. Middletown, Wesleyan University Press.
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Taylor, T. D. (2007). Beyond Exoticism: Western Music and the World. United States of America, Duke University Press.
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Thoegersen, P. (n.d.). Microtonal Modes and Scales from the Middle East and Central Asia. Retrieved from http://www.academia.edu/1914055/Microtonal_Modes_and_Scales_from_the_Middle_East_and_Central_Asia
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Thompson, P. (2002). Eisenstein’s Montage Theories. Retrieved from http://www.chicagomediaworks.com/2instructworks/3editing_doc/3editingeisenstein.html
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Wierzbicki, J. (2009). Film Music: A History. New York, Routledge.