Required to further develop Feature Analysis (the essay must extend, in paper form, the analysis of the same clip which you already explored in the Feature Analysis/Presentation, given earlier in the semester). The text must comprise 6 pages (excluding graphs, tables, illustrations, and/or bibliography). As well, the paper must engage three sources from the bibliography below, plus one source not listed in this syllabus, all of these external sources must be properly noted and cited in the text.





A) General Reference:


Sadie, Stanley, ed. (2001). The New Grove Dictionary of Music and Musicians. New York: Grove’s Dictionaries, Inc. (H.I. Library has the 29-volume 2001 edition in the Reference section. First edition, 1954 in regular stacks: ML100 G883.)


B) Monographs


Collins, Karen. Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design. MIT Press, 2008.

Elam, Keir. The semiotics of theatre and drama. London: Methuen, 1980.

Flinn, Denny Martin. Musical!: A Grand Tour Rise, Glory, Fall. Cengage Learning, 1997.

Flynn, Caryl. Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music. Princeton University Press, 1992.

Goldmark, Daniel Tunes for Toons: Music and the Hollywood Cartoon. University of California Press, 2005.

Green, Stanley. Broadway Musicals: Show by Show. Applause Theatre & Cinema Books, 2011.

Holmes, William. Opera Observed: Views of a Florentine Impresario in the Early Eighteenth Century. University of Chicago Press, 1994.

Homans, Jennifer. Apollo’s Angels: A History of Ballet. Random House, 2010.

Kay Dickinson, ed. Movie Music: The Film Reader. Routledge, 2003.

Kassabian, Anahid. Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. London: Routledge, 2001.

Kennedy, Michael. Strauss tone poems. British Broadcasting Corp., 1984.

Leafstedt,Carl S. Inside Bluebeard’s Castle: Music and Drama in Bela Bartok’s Opera. Oxford University Press, 1999.

Miller, Scott. Rebels with applause: Broadway’s groundbreaking musicals. Heinemann, 2001.

Nye, Edward. Mime, Music and Drama on the Eighteenth-Century Stage: The Ballet D’Action. Cambridge University Press, 2011.

Ratner, Leonard. Romantic Music: Sound and Syntax. Schirmer Books, 1992.

Rosen, Charles. The Classical Style. W. W. Norton, 1998.

Shearer, John. Music and drama: a commentary on Wagner and Shakespeare. J. Shearer, 1972. Digitized by the University of Michigan, 2008.

Solomon, Jack, and Sonia Maasik, eds. Signs of life in the U.S.A.: readings on popular culture for writers. Bedford/St. Martin, 2002.


C) Articles


Baber, Katherine. “’Manhattan Women’: Jazz, Blues, and Gender in On the Town and Wonderful Town.” American Music, Vol. 31, No. 1 (Spring 2013), pp. 73-105.

Beckstead, David. “Improvisation: Thinking and Playing Music.” Music Educators Journal, Vol. 99, No. 3 (March 2013), pp. 69-74.

Clark, Katerina. “Shostakovich’s Turn to the String Quartet and the Debates about Socialist Realism in Music.” Slavic Review, Vol. 72, No. 3 (FALL 2013), pp. 573-589. Stable URL:

Clausius, Katharina. “Historical Mirroring, Mirroring History: An Aesthetics of Collaboration in Pulcinella.” The Journal of Musicology, Vol. 30, No. 2 (Spring 2013), pp. 215-251.

Cook, Nicholas. “Music and Meaning in the Commercials.” Popular Music, Vol. 13, No. 1. (Jan., 1994), pp. 27-40.

Everett Maus, Fred. “Music as Drama.” Music Theory Spectrum, Vol. 10, 10th Anniversary Issue (Spring, 1988), pp. 56-73.

Foster, Harold M. “The New Literacy: Television, Purveyor of Modern Myth.” The English Journal, Vol. 73, No. 2 (Feb., 1984): 26-30.

Gorbman, Claudia. “Music As Salvation: Notes on Fellini and Rota.” Film Quarterly 28/2 (Winter 1974-1975), 17-25. This article is available online from this stable link in

Head, Raymond. “Holst – Astrology and Modernism in ‘The Planets.’” Tempo, New Series 187 (Dec., 1993), 15-22. Article Stable URL:

Hibberd, Sarah. “Le Naufrage de la Méduse and Operatic Spectacle in 1830s Paris.” 19th-Century Music, Vol. 36, No. 3 (Spring 2013), pp. 248-263.

Huron, David. “Music in Advertising: An Analytic Paradigm.” The Musical Quarterly, Vol. 73, No. 4 (1989), pp. 557-574.

Kutnowski, Martin. “’I wouldn’t have nothing if I didn’t have you.’ In: Across Cultures: A Reader for Writers, 7th edition. Eds. Sheena Gillespie and Robert Becker. New York: Longman, 2007.

_______. “Trope and Irony in The Simpsons’ Overture.” Popular Music and Society 31/5 (December 2008).

_______. “Why Does Wall-E Listen to Broadway Musicals?.” In: Across Cultures: A Reader for Writers, 8th edition. Eds. Sheena Gillespie and Robert Becker. New York: Longman, 2010.

Mellers, Wilfrid. “Music for 20th-Century Children. 2: From Magic to Drama.” The Musical Times, Vol. 105, No. 1456 (Jun., 1964), pp. 421-427.

Petty, Jonathan Christian, and Marshall Tuttle. “The Genealogy of Chaos: Multiple Coherence in Wagnerian Music Drama.” Music & Letters, Vol. 79, No. 1 (Feb., 1998), pp. 72-98.

Piccardi, Carlo. “Pierrot at the Cinema. The musical common denominator from pantomime to film.” Music and the Moving Image, Vol. 6, No. 1 (Spring 2013), pp. 4-54.

Pizzetti, Ildebrando. “Music and Drama.” The Musical Quarterly, Vol. 17, No. 4 (Oct., 1931), pp. 419-426.

Salvato, Nick. “Cringe Criticism: On Embarrassment and Tori Amos.” Critical Inquiry, Vol. 39, No. 4 (Summer 2013), pp. 676-702.

Scheurer, Timothy E. Music and mythmaking in film: genre and the role of the composer. McFarland, 2008, HIL: ML2075 .S346 2008.

Sisman, Elaine. “Haydn’s Solar Poetics: The Tageszeiten Symphonies and Enlightenment Knowledge.” Journal of the American Musicological Society, Vol. 66, No. 1 (Spring 2013), pp. 5-102.

Snyder, Kerala J. “Buxtehude’s Organ Music: Drama without Words.” The Musical Times, Vol. 120, No. 1636 (Jun., 1979), pp. 517+519+521.

White, Mimi. “Crossing Wavelengths: The Diegetic and Referential Imaginary of American Commercial Television.” Cinema Journal, Vol. 25, No. 2 (Winter, 1986): 51-64.

Whittall, Arnold. “Stravinsky and Music Drama.” Music & Letters, Vol. 50, No. 1, 50th Anniversary Issue (Jan., 1969), pp. 63-67.



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