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| Acknowledgments | |
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| Did They Mention the Music? | |
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| Toward a Theory of Popular Film Music | |
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| The Composer as Tunesmith: The Pop Score as Pop Music | |
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| Putting the Buzz in the Eardrum: The Pop Score as Accessible | |
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| Banking on Film Music | |
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| Structural Interactions of the Film and Record Industries | |
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| Creating Kingdoms of Song: The Film and Music Industries Unite | |
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| Establishing a "Sound Track" Record: The Majors and Their Record Subsidiaries | |
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| Sharps, Flats, and Dollar Signs | |
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| Cross-Promotion and the Market for Film Music | |
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| From Mantovani to the Beatles: Changing the Market for Film Music | |
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| Music Sells Movies or Movies Sell Music? Early Approaches to Promoting Film Music on Records | |
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| My Huckleberry Friend | |
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| Mancini, "Moon River," and Breakfast at Tiffany's | |
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| Mancini's "Le Jazz Hot": Putting Some Swing in Cinema | |
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| That Money-Making "Moon River" Sound: Mancini and the Pop Song | |
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| Chasing the Same Rainbow's End: The Meaning and Narrative Function of "Moon River" | |
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| The Midas Touch | |
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| John Barry and Goldfinger | |
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| Creating a Bond Market: Selling John Barry's Soundtracks and Theme Songs | |
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| A Spider's Touch: Music and Characterization in Goldfinger | |
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| Every Gun Makes Its Own Tune | |
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| Ennio Morricone, The Good, the Bad, and the Ugly, and "L'Esthetique du Scopitone" | |
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| A Fistful of Vinyl: Ennio Morricone and the Record Industry | |
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| The Ecstasy of Gold (Records): Leone's Image, Morricone's Sound | |
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| The Sounds of Commerce | |
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| Sixties Pop Songs and the Compilation Score | |
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| The Historical Sources and Reception of the Compilation Score | |
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| The Forms and Functions of the Compilation Score | |
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| Rock and Roll Is Here to Stay: The Case of American Graffiti | |
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| Pretty Women and Dead Presidents | |
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| Theme Songs and Soundtrack Albums After 1975 | |
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| Structural Interactions of the Record and Film Industries After 1975 | |
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| Contemporary Trends in Film and Music Cross-Promotion | |
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| The Music Supervisor | |
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| Patterns of Thematic Organization in Contemporary Film Music | |
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| Epilogue | |
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| Notes | |
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| Selected Bibliography | |
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| Index | |