Essential Readings in Cinema Sound - an annotated bibliography:

Altman, Rick. Sound Theory, Sound Practice. New York: Routledge, 1992.
A book built around a series of new essays by Rick Altman, as well as new essays by other established figures, such as John Belton, Michel Chion and Alan Williams, and a new generation of sound sensitive scholars, attempting to renew the debate over the importance of sound to cinema.

Chion, Michel. Audio-Vision. New York: Columbia University Press, 1994.
In Audio-Vision, the French composer-filmmaker-critic Michel Chion presents a reassessment of the audiovisual media since sound's revolutionary debut in 1927 and sheds light on the mutual influences of sound and image in audiovisual perception.

Chion, Michel. The Voice in Cinema. New York: Columbia University Press, 1999.
In an exploration of a subject few others have written on at any length, Michel Chion explores the mysterious power of the human voice-particularly the disembodied voice-as used in cinema.

Ihde, Don. Listening and Voice - Phenomenologies of Sound. 2nd Edition. Albany: State University of New York Press. 2007.

Updated and expanded edition of 1976 groundbreaking study of sound. Addresses experience ranging through language, music, religion, and silence. Although written from a "phenomenological" perspective, writing remains accessible to the layperson interested in exploring and surveying the experience of 'listening' and 'voicing'. Offers a solid claim for sound as alternative to the predominance of visualism in Western thinking. Engages reader to question and verify his or her own conceptions of listening. A highly stimulating read providing in depth perspectives on the auditory dimensions of human experience.

LoBrutto, Vincent. Sound-On-Film: Interviews with Creators of Film Sound. Praeger Paperback, 1994.
Sound-On-Film contains interviews with 27 prominent men and women who discuss their careers and the art and craft of film sound. These sound creators represent many of the crafts working in film sound, including production sound, sound editing, sound design, additional dialogue replacement (ADR), Foley, re-recording mixing, and sound engineering. The book details the sound design of many highly acclaimed and seminal films, including Star Wars, The Conversation, Apocalypse Now, Raging Bull, and Terminator 2. In addition, it contains biographical background and a selected filmography of each sound creator as well as a glossary of terms and bibliography for future study.

Sider, Larry (ed.). Soundscape: The School of Sound Lectures 1998-2001. New York: Columbia University Press, 2003.
The first compendium of The School of Sound, a unique annual event exploring the use of sound in film, presentations that investigate the modern soundtrack and the ways sound combines with image in both art and entertainment. The many contributors include directors David Lynch and Mike Figgis; sound designer Walter Murch (Apocalypse Now); composer Carter Burwell (Coen Brothers); theorists Laura Mulvey and Michel Chion; critic Peter Wollen; film-makers Mani Kaul and Peter Kubelka; music producer Manfred Eicher and poet Tom Paulin.

Weis, Elizabeth and John Belton, eds. Film Sound Theory and Practice. New York: Columbia University Press, 1985.
This anthology collects essays by the most respected film historians, aestheticians, and theorists of the past sixty years and provides useful models for the analysis of sound stylistics in the form of case studies of a number of the most important sound films ever made.