I don't know if you have access to the New Grove music database online, but the following references four articles of theirs.

1. Goldsmith, Jerry [Jerrald] 

• Martin Marks. "Goldsmith, Jerry." Grove Music Online. Oxford Music Online. Oxford University Press, accessed February 25, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/49197.

This entry has the following bibliography -

• Elmer Bernstein: ‘A Conversation with Jerry Goldsmith’, Film Music Notebook (Los Angeles), iii/2 (1977), 18–31
• T. Thomas: ‘Jerry Goldsmith’, Film Score: the View from the Podium (South Brunswick, NJ, and New York, 1979, 2/1991 as Film Score: the Art and Craft of Movie Music), 285–97
• ‘The Composer: Jerry Goldsmith’, Filmmakers on Filmmaking: the American Film Institute Seminars on Motion Pictures and Television, ed. J. McBride (Los Angeles, 1983), 133–46
• T. Darter: ‘Jerry Goldsmith’, Keyboard, xi (1985), no.2, pp.19–20, 22–6; no.4, pp.44ff
• R. Bohn and others: ‘A Filmography/Discography of Jerry Goldsmith: Updated’, Soundtrack!, xii/47 (1993), 22–42
• S.M. Fry: ‘Jerry Goldsmith: a Selective Annotated Bibliography’, The Cue Sheet, x/3–4 (1993–4), 28–39
• ‘A Tribute to Jerry Goldsmith’, Soundtrack!, xviii/69 (1999), 22–51

2. Film music 

• Fred Steiner, et al. "Film music." Grove Music Online. Oxford Music Online. Oxford University Press, accessed February 25, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2249514

3. Films

• Ernie Smith, et al. "Films." The New Grove Dictionary of Jazz, 2nd ed.. Grove Music Online. Oxford Music Online. Oxford University Press, accessed February 25, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/J149900.

4. Film Musicals

• Richard Traubner, et al. "Film musical." Grove Music Online. Oxford Music Online. Oxford University Press, accessed February 25, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/49103.

Each of these last three have extensive bibliographies covering the entire Hollywood generational structure.

My own interest ins in the aesthetic infusion brought about by the diaspora of European intelligentsia to the US in the 30's. In particular, I am investigating the connections between Mahler, Korngold and 50's rhetorical devices in motion pictures,

Hope this gets you started,

Karl

Dear Karl,

thanks a lot for this bibliography - yes, I know these entries (to which Darby´s and Du Bois´ excellent chapter on Goldsmith in their book "American Film Music" could be added). But none the less it seems that there is no monographic survey on Goldsmith, that allows wide-ranging insight in his scores like Cameron N. Patrick did in his dissertation of Goldsmith´s "Star Trek" in an exemplary way (http://www.filmscoremonthly.com/features/sttmpthesis.pdf).

However, your own interest, Hollywood´s adoption of Viennese Fin de siècle, must be considered a crucial subject of media studies. For that matter there was published a study on Max Steiner three years ago (unfortunately only in German language): Peter Wegele´s "Der Filmkomponist Max Steiner" (Böhlau 2012) which covers some aspects of this aesthetic transfer.

Thanks again and best regards from Vienna,

Stefan

Dear Stefan,

I just came across this from an Los Angeles bookseller no less:

Autograph Musical Quotation Signed

KORNGOLD, Erich Wolfgang

Publication Date: 1910

Used / No Binding / Quantity Available: 1

From Houle Rare Books/Autographs/ABAA/PADA (Los Angeles, CA, U.S.A.)

Description:

("Eric Wolfgang Korngold") 1 page, 8vo, London, July 18, 1910, written on the verso of a title cover of a program being the opening three bars of Der Schneemann, minor edgewear, else fine. A rare item from his early period with more legible early signature. Erich Wolfgang Korngold was a child prodigy who, before he reached 10 years, was called a "musical genius" by Gustav Mahler. His ballet Der Schneemann, which he wrote wen he was 11, was much lauded when it was played at the Vienna Court Opera in 1910. Korngold is most known for his work in Hollywood including the score for The Adventures of Robin Hood, for which he won an Academy Award for Best Original Score, and which is considered one the greatest scores of all time. Korngold (1897-1957) enjoyed great success as one of the most respected and in-demand film composers of the 1930s and 1940s. Nominated for a total of four Academy Awards, Korngold won two, for Anthony Adverse (1936) and The Adventures of Robin Hood (1938)

Thought you might be interested.

best,

Karl

Dear Karl, interesting! Thanks a lot!

Best regards,

Stefan

Hello Stefan, I know of a dissertation by Hans Offerdal (2002) entitled Contrast and Clarity - A study of the Compositional Technique of American Composer Jerry Goldsmith. Additionally, my dissertation is very close to completion. It deals with Goldsmith’s Planet of the Apes score.