Works Cited

Works Cited in the Call for Papers

James Deaville, “Trailer or Leader? The Role of Music and Sound in Cinematic Previews,” The Routledge Companion to Screen Music and Sound, ed. Miguel Mera, Ronald Sadoff, and Ben Winters (New York and London: Routledge, 2017), 240-254.

K. J. Donnelly, The Spectre of Sound: Music in Film and Television (London: BFI, 2005).

Júlia Durand, “‘Romantic Piano’ and ‘Sleazy Saxophone’: Categories and Stereotypes in Library Music Catalogues,” Music, Sound, and the Moving Image 14, no. 1 (2020): 23-45.

Robert Fink, “Orchestral Corporate,” ECHO 8, no. 2 (2000), accessed September 8, 2020, http://www.echo.ucla.edu/article-orchestral-corporate-by-robert-fink.

Jon Fitzgerald, “Make ‘em laugh, make ‘em cry: the use of production music in Australian reality television series Nerds FC,” Perfect Beat 10, no. 1 (2009): 15-37.

Toby Huelin, "Soundtracking the City Break: Library Music in Travel Television," Music and the Moving Image 15, no. 2 (2022): 3-24.

Paul Mandell, “Production Music in Television’s Golden Age,” in Performing Arts: Broadcasting, ed. Iris Newsom (Washington: Library of Congress, 2002), 148-169.

Carlo Nardi, “Library Music: Technology, Copyright and Authorship,” in Current Issues in Music Research: Copyright, Power and Transnational Musical Processes, ed. Susana Moreno Fernández, Salwa E. Castelo-Branco, Pedro Roxo and Iván Iglesias (Lisbon: Edições Colibri, 2012), 73-83.

Philip Tagg, “Music, Moving Images, Semiotics and the Democratic Right to Know,” in Music and Manipulation: On the Social Uses and Social Control of Music, ed. Steven Brown and Ulrik Volgsten (New York and Oxford: Berghahn Books, 2006), 163-186.

Reba Wissner, “For Want of a Better Estimate, Let’s Call It the Year 2000: The Twilight Zone and the Aural Conception of a Dystopian Future,” Music and the Moving Image 8, no. 3 (2015): 52-70.