Bazelon provides his perspectives on the "how to" as a working film music composer. The text also includes interviews with composers [interviews with Elmer Bernstein, Leonard Rosenman, Jerry Goldsmith, John Williams, Richard Rodney Bennett, Alex North, Lalo Schifrin, Bernard Herrmann, David Raksin, Bernard Segáll, Laurence Rosenthal, Johnny Mandel, Paul Glass, John Barry, and Gail Kubik.

This text covers topics such as: preparing and recording a score, contracts and fees, publishing, royalties, copyrights and much more. This text also features interviews with 21 top film-scoring professionals, including Michael Kamen, Alf Clausen, Alan Silvestri, Marc Shaiman, Mark Snow, Harry Gregson-Williams and Elmer Bernstein.

London attempts to survey film music systematically, but he does focus on the concept of "music for the microphone," in which he discusses how recording studio acoustic (for better or worse) alter instrument sounds both alone and in ensembles. London uses these observations to create principles of film composition and orchestration.

This texts offers historical information on the functions and responsibilities of the music editor in the making of a motion picture, whether for television or theatrical release, and in any form where music is used and needed.

The final two chapters of this text discuss the roles of the music director, recording practices in film studios, and composers' thoughts on how they continue to compose for films.

This classic account of the nature of film music aesthetics was first published in 1947. Its value comes from a unique combination of talents and experience enjoyed by the book's authors. Eisler's time at Hollywood gave him a particular insight on the technical questions which arise for composers when music is used in the production of films; while Adorno was able to contribute on wide aesthetic and sociological matters as well as specifically musical questions. Above all, the authors envisaged the book as a contribution to the study of modern, industrialised culture; and, in this respect, it has a particular importance to the whole area of cultural studies.

Skinner provides a step-by-step manual for film composition through is own experiences in the industry.

Scoring for film changed dramatically by the early twentieth century. With the advent of MIDI, sequencers and low-cost recording gear, just about any composer anywhere can score a film. Well-known composer Sonny Kompanek teaches this new film scoring process at prestigious New York University and now he shares his secrets in this text.

With nearly 400 scores to his credit, Ennio Morricone is one of the most prolific and influential film composers working today. In this text, Morricone and musicologist Sergio Miceli present a series of lectures on the composition and analysis of film music. Adapted from several lectures and seminars, these lessons show how sound design can be analyzed and offer a variety of musical solutions to many different kinds of film. Though aimed at composers, Morricone's expositions are easy to understand and fascinating even to those without any musical training. Drawing upon scores by himself and others, the composer also provides insight into his relationships with many of the directors with whom he has collaborated, including Sergio Leone, Giuseppe Tornatore, Franco Zeffirelli, Warren Beatty, Ridley Scott, Roland Joffé, the Taviani Brothers, and others.

Ahern's book offers practical advice in the specific task of playing to the pictures. His preface states, "This Booklet was not gotten up to criticize anyone's way of playing pictures, nor to teach you how to play the piano; but What and How to Play for Pictures is the object aimed at. The book also contains a little advice to beginners in this line of business."

Sabaneev's handbook revives the tradition of silent film manuals, avoiding abstractions (except, to some degree in a chapter on the "Aesthetics of the Sound Film"), and instead describes in practical terms each stage of the film-scoring.