| Addis, Victoria: "The musicalization of graphic narratives and P. Craig Russell’s graphic novel operas, The Magic Flute and Salomé." In: Studies in Comics 8.1 (2017), S. 7–28. |
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| Bachmann, Christian A. "Bildlaute und laute(r) Bilder. Onomatopöien, Sprechblasen und andere »audio-visuelle« Darstellungsmittel in Comics und Bildergeschichten – zur Einführung." In: Bildlaute & laute Bilder. Zur ›Audiovisualität‹ von Bilderzählungen. Hrsg. v. Christian A. Bachmann. Bochum: Ch.A. Bachmann, 2014, S. 7–24. |
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| ---: Macht der Musik. Musik in Karikatur, Bildergeschichte und Comic. 1830–1930. Berlin: Ch.A. Bachmann, 2017. (295 S.) |
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| ---: "Das Nachleben von Wilhelm Buschs ›Virtuosen‹. Zur Darstellungstradition eines Musiker-Stereotyps und seiner Rezeption im Comic um 1900." In: Farbe, Klang, Reim, Rhythmus. Interdisziplinäre Zugänge zur Musik im Bilderbuch. Hrsg. v. Lars Oberhaus und Mareile Oetken. Bielefeld: Transcript, 2017, S. 101–126. |
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| Bahl, Erin Kathleen: "“Sung Reading”. An Operatic Approach to P. Craig Russell’s Graphic Novel The Ring of the Nibelung." In: 期刊介绍 / Signs and Media 13 (2016), S. 131–158. |
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| Ballhausen, Thomas: "Die zwei Spuren der Zauberflöte. Von Liebeskinds Märchen zu Russells Comicadaption." In: Mozart im Kino. Hrsg. v. Günter Krenn. (Edition Film + Text, 8.) Wien: Filmarchiv Austria, 2006, S. 102–117. |
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| Banhold, Lars: "Authentifizierung und Narration in Reinhard Kleists Cash – I See a Darkness." In: Comic und Literatur. Konstellationen. Hrsg. v. Monika Schmitz-Emans. (linguae & litterae, 16.) Berlin u. Boston: de Gruyter, 2012, S. 119–135. |
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| ---: "»Yet Always Must it Love Sweet Music More«. Zur Funktion von Musik in V for Vendetta." In: Bildlaute & laute Bilder. Zur ›Audiovisualität‹ von Bilderzählungen. Hrsg. v. Christian A. Bachmann. Bochum: Ch.A. Bachmann, 2014, S. 129–147. |
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| Beez, Jigal: "Cartoons as Pop Idols. The “Sani Star Search” Contest in Tanzania." In: International Journal of Comic Art 11.1 (2009), S. 281–293. |
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| Beez, Jigal und Stefanie Kolbusa: "Kibiriti Ngoma. Gender Relations in Swahili Comics and Taarab-music." In: Stichproben 3.5 (2003), S. 49–71. |
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| Black, Jake: "Flop of Steel. Why “It's a Bird, It's a Plane, It's Superman” Did Not Fly Over Broadway." In: International Journal of Comic Art 7.1 (2005), S. 546–552. |
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| Borsellino, Mary: "How the Ghost of You Clings. Watchmen and Music." In: Minutes to Midnight. Twelve Essays on Watchmen. Hrsg. v. Richard Bensam. (Sequart Journal, 6.) Edwardsville: Sequart Research & Literacy Organization, 2010, S. 24–37. |
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| Brown, Kieron Michael: "Musical Sequences in Comics." In: The Comics Grid 3.9 (2013)(). |
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| Bruno, Franklin: "An Interview with Peter Blegvad. “I’m a dilettante, ‘polymorphously perverse,’ a perpetual amateur”." In: The Believer 67 (2009). |
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| Choate, Gilbert: "James Joyes, Picasso, Stravinsky, and Spiegelman." In: Alternative Media 10.2 (1978), S. 5–7. |
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| Crucifix, Benoît: "Music in Comics. Intermediality and Mahler’s Mystery Music." In: Graphixia 172 (24. Juni 2014)(). |
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| Faulstich, Werner: "Yellow Submarine." In: Die Erotik des Blicks. Studien zu Filmästhetik und Unterhaltungskultur. Hrsg. v. Werner Faulstich et al. München: Fink, 2008, S. 79–91. |
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| Favaro, Roberto: "Comics zum Hören. Geräusche, Stimmen und Musik bei Dylan Dog." In: Zwischen Dekadenz und Comic. Stimmen, Klänge und Musik in der italienischen Literatur des 20. Jahrhunderts. Essays I. (Romanice, 6.) Berlin: Weidler, 2001, S. 119–125. |
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| ---: "L’ascolto del fumetto. Rumori, voci e musiche in Dylan Dog." In: Fra decadenza e fumetto. Voci, rumori & musica nella letteratura italiana del ’900. Saggi I. Berlin: Weidler, 2001. |
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| Figueiredo, Camila: "Tunes Across Media. The Intermedial Transposition of Music in Watchmen." In: International Journal of Comic Art 12.2–3 (2010), S. 543–551. |
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| Friedmann, Jonathan L. "When Jimmy Blew the Shofar. Midrash and Musical Invective in Superman’s Pal Jimmy Olsen." In: Journal of Religion and Popular Culture 28.1 (2016), S. 43–53. |
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| Friedrich, Annegret: "Zum Künstlermythos bei Charlotte Salomon." In: Übung, ein Stück Papier zu halten. Festschrift für Kathrin Hoffmann-Curtius zum 60. Geburtstag. Hrsg. v. Maike Christadler und Hilla Frübis. Marburg: Jonas Verl. 1997, S. 37–46. |
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| Galella, Donatella: "‘Superman/Sidekick’. White Storytellers and Black Lives in The Fortress of Solitude (2014)." In: Reframing the Musical. Race, Culture, and Identity. Hrsg. v. Sarah Whitfield. London: Red Globe, 2019, S. 3–16. |
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| Garbuglia, Andrea: "Berberian’s Stripsody and Comics’ Musical Vocation." In: Sonus. A Journal of Investigations into Global Musical Possibilities 31.2 (2011), S. 44–58. |
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| Giesa, Felix: "Ein Bild, zwo, drei, vier. Comics und Musik, Musik und Comics." In: Blechtrommeln. Kinder- und Jugendliteratur & Musik. Hrsg. v. Caroline Roeder. (kjl&m extra, 12.) München: kopaed, 2012, S. 71–81. |
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| Goldberg, Nicole Wilkes und James Goldberg: "“You Wouldn’t Shoot Your Fellow Jews”. Jewish Identity & Nostalgia in Joann Sfar’s Klezmer." In: Shofar 29.2 (2011), S. 100–119. |
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| Goodall, Mark: "The ‘Book of Manson’. Raymond Pettibon and the killing of America." In: Journal of Graphic Novels and Comics 3.2 (2012), S. 159–170. |
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| Gravett, Paul: "Jerry Moriarty. Jerry Loves Jazz." In: Escape 13 (1988). |
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| Gray, Maggie: Alan Moore, Out from the Underground. Cartooning, Performance, and Dissent. (Palgrave Studies in Comics and Graphic Novels.) New York [etc.]: Palgrave Macmillan, 2017. (298 S.) |
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| Groensteen, Thierry: "Die Rhythmen der Comics." In: Medienobservationen (26. März 2012)(). |
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| Hahn, Annegret und Berit Schuck (Hrsg.): Comic Meets Theatre. Berlin: Theater der Zeit, 2006. (283 S.) |
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| Heimgartner, Stephanie: "»Kantapper, kantapper«. Geräusche und Musik im Bilderbuch." In: Bildlaute & laute Bilder. Zur ›Audiovisualität‹ von Bilderzählungen. Hrsg. v. Christian A. Bachmann. Bochum: Ch.A. Bachmann, 2014, S. 169–184. |
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| Henderson, Scott A. "Agency and Intertextuality. Tank Girl, Subcultural Aesthetics, and the Strong Female Protagonist." In: Comics and Pop Culture. Adaptation from Panel to Frame. Hrsg. v. Barry Keith Grant und Scott A. Henderson. Austin: Univ. of Texas Press, 2019, S. 279–295. |
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| Hollis, Tim und Greg Ehrbar: Mouse Tracks. The Story of Walt Disney Records. Jackson: Univ. Press of Mississippi, 2006. (240 S.) |
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| Johnston, Phillip: "Wordless! Music for Comics and Graphic Novels Turns Time Into Space (and back again)." In: Southerly 76.1 (2016), S. 96–110. |
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| Kalusche, Bernd: Musik im Comic. Funktion, Ästhetik, Ideologie. (Massenmedien und Kommunikation, 29.) Siegen: Universi, 1985. (44 S.) |
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| Krause, Bernd: "Wilhelm Buschs Karikaturenfolge Der Virtuos. Analyse und Interpretation unter Berücksichtigung möglicher Vorbilder." In: [Privatdruck] (2008)(). |
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| Laity, Kathryn A. "Moore vs. Albarn. ‘Between the Angels and the Apes’." In: Comics Forum (26. Sept. 2012)(). |
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| Lawley, Guy: "‘I like Hate and I hate everything else’. The Influence of Punk on Comics." In: Punk Rock: So What? The Cultural Legacy of Punk. Hrsg. v. Roger Sabin. London, New York: Routledge, 1999, S. 100–119. |
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| Lindekens, René: "Analyse structurale de la Stripsody de Cathy Berberian." In: Communications 24 (1976), S. 140–176. |
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| Mahrt, Nina: "AWopBopaLooBopAlopBamBoom – Musik im Comic." In: »Und wer bist du, der mich betrachtet?« Populäre Literatur und Kultur als ästhetische Phänomene. Festschrift für Helmut Schmiedt. Hrsg. v. Helga Arend. Bielefeld: Aisthesis, 2010, S. 219–228. |
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| Martin, Côme. "The musical rhythm of comics". Comics Studies Conference: 20. Apr. 2010. |
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| McDermott, Mark R. "Finding the Milieu of the Spider-Man Music LPs." In: Web-Spinning Heroics. Critical Essays on the History and Meaning of Spider-Man. Hrsg. v. Robert Moses Peaslee und Robert G. Weiner. Jefferson, London: McFarland, 2012, S. 222–233. |
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| McGee, Masani: "Hooked on the Wrong Kind of Feeling. Popular Music and Nostalgia in the Marvel Cinematic Universe." In: Assembling the Marvel Cinematic Universe. Essays on the Social, Cultural and Geopolitical Domains. Hrsg. v. Julian C. Chambliss, William Svitavsky und Daniel Fandino. Jefferson: McFarland, 2018, S. 116–126. |
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| McKittrick, Megan: "Scott Pilgrim vs. The Veteran Gamer. The Canonization and Commodification of Nostalgia in Anamanaguchi’s 8-bit Video Game Soundtrack." In: Reconstruction 14.1 (2014)(). |
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| Meredith, William: "Michaelis’ Schulz, Schulz’s Beethoven, and the Construction of Biography. Review of David Michaelis’ Schulz and Peanuts: A Biography." In: The Beethoven Journal 23.2 (2008), S. 79–91. |
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| Merritt, Russell und J. B. Kaufman: Walt Disney’s Silly Symphonies. A Companion to the Classic Cartoon Series. La Cineteca del Friuli, 2006. (258 S.) |
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| Meyer, Christina: "Medial transgressions. Comics – sheet music – theatre – toys." In: Journal of Graphic Novels and Comics 7.3 (2016), S. 293–305. |
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| Milano, Brett: "Robert Crumb. “Collecting Is Creepy”." In: Vinyl Junkies. Adventures in Record Collecting. New York: St. Martin’s Press, 2003, S. 69–76. |
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| Moist, Kevin: "“To Renew the Old World”. Record Collecting as Cultural Production." In: Studies in Popular Culture 31.1 (2008), S. 99–122. |
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| Noys, Benjamin: "No Future. Punk and the Underground Graphic Novel." In: The Cambridge History of the Graphic Novel. Hrsg. v. Jan Baetens, Hugo Frey und Stephen E. Tabachnick. (The Cambridge Companions to Philosophy, Religion and Culture.) Cambridge [etc.]: Cambridge Univ. Press, 2018, S. 235–250. |
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| Oberhaus, Lars und Mareile Oetken (Hrsg.): Farbe, Klang, Reim, Rhythmus. Interdisziplinäre Zugänge zur Musik im Bilderbuch. Bielefeld: Transcript, 2017. (298 S.) |
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| ---: "Rock den Comic. Leben und Werk von Elvis als Comicerzählung." In: Farbe, Klang, Reim, Rhythmus. Interdisziplinäre Zugänge zur Musik im Bilderbuch. Hrsg. v. Lars Oberhaus und Mareile Oetken. Bielefeld: Transcript, 2017, S. 127–158. |
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| Pellitteri, Marco: "The Aural Dimension in Comic Art." In: The Oxford Handbook of Sound and Imagination. Hrsg. v. Mark Grimshaw-Aagaard, Mads Walther-Hansen und Martin Knakkergaard. Bd. 1. (Oxford Handbooks.) New York: Oxford Univ. Press, 2019, S. 511–548. |
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| Penicka-Smith, Sarah: "Cyborg Songs for an Existential Crisis." In: Anime and Philosophy. Wide Eyed Wonder. Hrsg. v. Josef Steiff und Tristan D. Tamplin. (Popular Culture and Philosophy, 47.) Chicago: Open Court, 2010, S. 261–274. |
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| Peters, Lian W. "Music in Eric Drooker’s Flood!." In: Journal of Graphic Novels and Comics 4.2 (2013), S. 332–345. |
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| Pino, Camilo Diaz: "Sound affects. Visualizing music, musicians and (sub)cultural identity in BECK and Scott Pilgrim." In: Studies in Comics 6.1 (2015), S. 85–108. |
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| Pomier, Frédéric: "Chronique d’un curieux marriage. Chanson et bande dessinée." In: Les Cahiers de la bande dessinée 83 (1988). |
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| Priego Ramirez, Ernesto F. "On Comic Books as Expressive Objects. Notes on the Undergrounds and All that Jazz." In: Graphixia 170 (10. Juni 2014)(). |
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| Reed, S. Alexander: "Through Every Mirror in the World. Lacan's Mirror Stage as Mutual Reference in the Works of Neil Gaiman and Tori Amos." In: ImageTexT 4.1 (2008)(). |
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| Rival, Bruno: Le Rock dans la Bande Dessinée. Des décibels sur les planches. (La bulle au carré.) Turquant: L’àpart, 2011. (206 S.) |
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| Robertson, Benjamin J. "Incommensurate Nostalgias. Changin’ Times in Watchmen." In: Write in Tune. Contemporary Music in Fiction. Hrsg. v. Erich Hertz und Jeffrey Roessner. New York: Bloomsbury, 2014. |
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| Rosenthal, Martina: "Comics auf Albumcovern. Überlegungen zu einem intermedialen Phänomen." In: Theorien des Comics. Ein Reader. Hrsg. v. Barbara Eder, Elisabeth Klar und Ramón Reichert. (Kultur- und Medientheorie.) Bielefeld: Transcript, 2011, S. 109–120. |
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| Round, Julia: "Reconstructing Alice Cooper. ‘From the Inside’ to The Last Temptation." In: Journal of Graphic Novels and Comics 1 (2010), S. 151–169. |
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| Sabin, Roger: "Ally Sloper on Stage." In: European Comic Art 2 (2009), S. 205–225. |
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| Sackmann, Eckart: "Neue DDR-Comics 1989/90 – Untergrund und »Wendezeit«." In: Deutsche Comicforschung 8 (2012), S. 120–141. |
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| Schmitz-Emans, Monika: "The Languages of Music in Comics, Bandes dessinées and Fumetti." In: Translation & Multilingual Literature. Traduction & Littérature Multilingue. Berlin [etc.]: LIT, 2011, S. 195–213. |
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| ---: "Von der Katzensinfonie zur Stripsody. Konvergenzen zwischen Bildsequenz und Partitur im 19. und 20. Jahrhundert." In: Bildlaute & laute Bilder. Zur ›Audiovisualität‹ von Bilderzählungen. Hrsg. v. Christian A. Bachmann. Bochum: Ch.A. Bachmann, 2014, S. 25–53. |
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| Schulz, Christoph B. "Komposition und Comic. Cathy Berberians Stripsody." In: Bildlaute & laute Bilder. Zur ›Audiovisualität‹ von Bilderzählungen. Hrsg. v. Christian A. Bachmann. Bochum: Ch.A. Bachmann, 2014, S. 55–80. |
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| Screech, Matthew: "Remembering the Jazz Orpheus. Barney and the Blue Note by Loustal and Paringaux." In: Journal of Popular Culture 43 (2010), S. 348–367. |
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| Shirley, Ian: Can Rock & Roll Save the World? An Illustrated History of Music and Comics. London: SAF Publishing, 2005. (288 S.) |
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| Singer, Marc: "Unwrapping the Birth Caul." In: Alan Moore. Portrait of an Extraordinary Gentleman. Hrsg. v. smoky man und Gary Spencer Millidge. Leigh-on-Sea: Abiogenesis, 2003, S. 41–46. |
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| Sinker, Mark: "Concrete, so as to self-destruct. The etiquette of punk, its habits, rules, values and dilemmas." In: Punk Rock: So What? The Cultural Legacy of Punk. Hrsg. v. Roger Sabin. London, New York: Routledge, 1999, S. 120–139. |
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| Steinberg, Michael P. "Charlotte Salomon's Modernism." In: Jewish Musical Modernism, Old and New. Hrsg. v. Philip V. Bohlman und Sander L. Gilman. Chicago: Univ. of Chicago Press, 2008, S. 125–152. |
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| Summers, Tim: "‘Sparks of Meaning’. Comics, Music and Alan Moore." In: Journal of the Royal Musical Association 140.1 (2015), S. 121–162. |
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| Swayne, Steve: "So Much “More”. The Music of Dick Tracy (1990)." In: American Music 22.1 (2004), S. 50–63. |
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| Trummer, Manuel: "Powermythologie. Zur Phänomenologie des Superhelden in der Ikonografie des Heavy Metal." In: kritische berichte 39.1 (2011), S. 51–70. |
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| Tu, Ming Hung Alex: "“Silent Music”. Desiring-machine and Femininity in Some Music-themed Comics." In: International Journal of Comic Art 13.2 (2011), S. 75–86. |
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| Unseld, Melanie: "Die eigene Biographie als Singespiel. Zur Musik in Charlotte Salomons ›Leben? oder Theater?‹." In: Musik und Biographie. Festschrift für Rainer Cadenbach. Hrsg. v. Cordula Heymann-Wentzel und Johannes Laas. Würzburg: Königshausen & Neumann, 2004, S. 443–461. |
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| Warner, Rebecca Applin: "Musematic Relationships in Jeanine Tesori’s Score for Fun Home." In: Reframing the Musical. Race, Culture, and Identity. Hrsg. v. Sarah Whitfield. London: Red Globe, 2019, S. 151–166. |
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| Wienhöfer, Friederike: "Partituren anders. Die »Stripsody« von Cathy Berberian – ein Partiturbeispiel zur Erfindung und Darstellung von Geräuschsequenzen in der Orientierungsstufe (und später)." In: Kunst + Unterricht 108 (1986), S. 14–17. |
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| Wilkes Goldberg, Nicole und James Goldberg: "“You Wouldn’t Shoot Your Fellow Jews”. Jewish Identity and Nostalgia in Joann Sfar’s Klezmer." In: Visualizing Jewish Narrative. Jewish Comics and Graphic Novels. Hrsg. v. Derek Parker Royal. New York: Bloomsbury Academic, 2016, S. 55–66. |
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| Zlabinger, Tom: "Listening to the Endless. Music and Musicians in the Extended Sandman Universe." In: Neil Gaiman in the 21st Century. Essays on the Novels, Children’s Stories, Online Writings, Comics and Other Works. Hrsg. v. Tara Prescott. Jefferson: McFarland, 2015, S. 238–251. |
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