Duncan, Stuart Paul. ‘Priming Meter and Metric Conflict in Britten’s Early Vocal Music, 1943–1946’. In Essays on Benjamin Britten from a Centenary Symposium, 77–113. Edited by Forrest, David, Ankrum, Quinn Patrick, Jocoy, Stacey, and Yates, Emily Ahrens. Newcastle upon Tyne: Cambridge Scholars 2017.Google Scholar

Elliott, Graham. Benjamin Britten: The Spiritual Dimension. Oxford: Oxford University Press, 2006.Google Scholar

Evans, John, Reed, Philip, and Wilson, Paul. A Britten Source Book. Aldeburgh: Britten–Pears Library/Britten Estate, 1987.Google Scholar

Evans, Peter. ‘Britten’s Cello Symphony’. Tempo 66–7 (1963), 2–15.CrossRef Google Scholar

Evans, PeterBritten’s War Requiem’. Tempo 61–2 (1962), 20–39.CrossRef Google Scholar

Evans, PeterThe Music of Benjamin Britten. Revised edition. Oxford: Clarendon Press, 1996.CrossRef Google Scholar

Freeman, Graham. ‘“Into a Cocked Hat”: The Folk Song Arrangements of Percy Grainger, Cecil Sharp and Benjamin Britten’. Grainger Studies: An Interdisciplinary Journal 2 (2012), 33–53.Google Scholar

Gishford, Anthony (ed.). Tribute to Benjamin Britten on His Fiftieth Birthday. London: Faber and Faber, 1963.Google Scholar

Graham, Colin (ed.). The English Opera Group: 1946–1956. With cover design by John Piper. London: Vail [Mus. 7311], 1956.Google Scholar

Griffiths, Teresa (dir.). The Hidden Heart. PLG UK Classics, 2001.Google Scholar

Harper-Scott, J. P. E. Ideology in Britten’s Operas. Cambridge: Cambridge University Press, 2018.CrossRef Google Scholar

Harris, William H. ‘Britten’s Jubilate’. Musical Times 102, no. 1423 (September 1961), 566.CrossRef Google Scholar

Herbert, David (ed.). The Operas of Benjamin Britten. London: Herbert Press, 1979; New York: Herbert Press, 1989.Google Scholar

Herbert, James D. ‘“Bad Faith at Coventry”: Spence’s Cathedral and Britten’s War Requiem’. Critical Inquiry 25, no. 3 (Spring 1999), 535–65.Google Scholar

Holloway, Robin. ‘Benjamin Britten: Tributes and Memories’. Tempo 120 (March 1977), 6.Google Scholar

Holst, Imogen. Britten. Great Composers Series. London: Faber & Faber, 1966; 3rd edition, London: Faber & Faber, 1980.Google Scholar

Howard, Patricia (ed.). Benjamin Britten: The Turn of the Screw. Cambridge: Cambridge University Press, 1985.Google Scholar

Howes, Frank. ‘Britten, Benjamin’. Grove’s Dictionary of Music and Musicians, 5th ed. (London: St. Martin’s Press, 1954), Vol. 1, 949–56.Google Scholar

Keller, Hans. Britten: Essays, Letters and Opera Guides. Edited by Wintle, Christopher and Garnham, A. M.. London: Plumbago Books, 2013.Google Scholar

Kennedy, Kate (ed.). Literary Britten: Words and Music in Benjamin Britten’s Vocal Works. Woodbridge: Boydell Press, 2018.CrossRef Google Scholar

Kennedy, Michael. Britten. Dent Master Musicians. London: J. M. Dent, 1981.Google Scholar

Kildea, Paul. Benjamin Britten: A Life in the Twentieth Century. London: Allen Lane, 2013.Google Scholar

Kildea, PaulSelling Britten: Music and the Marketplace. Oxford: Oxford University Press, 2002.Google Scholar

Kovnatskaya, Lyudmila. ‘Peter Grimes at the Kirov Theatre’. Translated by Nick Winter. Melos 19/20 (5 August 1997), 64–71.Google Scholar

Kovnatskaya, LyudmilaShostakovich and Britten: Some Parallels’. In Shostakovich in Context, 175–89. Edited by Bartlett, Rosamund. Oxford: Oxford University Press, 2000.Google Scholar

LeGrove, Judith (ed.). A Musical Eye: The Visual World of Britten and Pears. Oxford: Artists Choice Editions, 2012.Google Scholar

Mark, Christopher. Britten: An Extraordinary Life. London: Associated Board of the Royal Schools of Music, 2013.Google Scholar

Mark, ChristopherEarly Benjamin Britten: A Study of Stylistic and Technical Evolution. New York: Garland, 1995.Google Scholar

Matthews, David. Britten. London: Haus Publishing, 2003 (centenary edition 2013).Google Scholar

McMahon, Brian. ‘Benjamin Britten and the B.B.C.’ PhD diss., University of Dublin, 2009.Google Scholar

Mitchell, Donald. Britten and Auden in the Thirties: The Year 1936. Seattle: University of Washington Press, 1981 (2nd ed. published in 2000 by Boydell Press).Google Scholar

Mitchell, DonaldA Curious Story: The Recording of Britten in Rehearsal’. Liner notes to War Requiem. Decca 475 7511 (2006).Google Scholar

Mitchell, Donalded.). Benjamin Britten: A Complete Catalogue of His Published Works. London: Boosey & Hawkes and Faber Music, 1973.Google Scholar

Mitchell, Donalded.). Benjamin Britten: A Complete Catalogue of His Works. London: Boosey & Hawkes, 1963.Google Scholar

Mitchell, Donalded.). Benjamin Britten: Death in Venice. Cambridge: Cambridge University Press, 1987.Google Scholar

Mitchell, Donald, and Keller, Hans (eds.). Benjamin Britten: A Commentary on His Works from a Group of Specialists. London: Rockliff, 1952.Google Scholar

Mitchell, Donald, and Evans, John (comp.). Pictures from a Life: Benjamin Britten, 1913–1976. London and New York: Faber and Faber; New York: Charles Scribner’s Sons, 1978.Google Scholar

Palmer, Christopher (ed.). The Britten Companion. London: Faber and Faber, 1984.Google Scholar

Palmer, Tony (dir.). A Time There Was … A Profile of Benjamin Britten. Kultur Studios, 1979.Google Scholar

Pears, Peter. Peter Pears: Travel Diaries 1936–1978. Edited by Reed, Philip. Woodbridge: Boydell Press, 1995.Google Scholar

Poeschle-Edrich, Barbara. ‘Osian Ellis on Benjamin Britten’s Suite for Harp’. American Harp Journal 22, no. 2 (Winter 2009), 50–3.Google Scholar

Powell, Neil. Benjamin Britten: A Life for Music. New York: Henry Holt, 2013.Google Scholar

Pyke, Cameron. Benjamin Britten and Russia. Woodbridge: Boydell Press, 2016.Google Scholar

Robinson, Suzanne. ‘An English Composer Sees America: Benjamin Britten and the American Press, 1939–42’. American Music 15, no. 3 (Fall 1997), 321–51.Google Scholar

Rochlitz, Hanna. Sea-Changes: Melville – Forster – Britten. The Story of Billy Budd and Its Operatic Adaptation. Göttingen: Universitätsverlag Göttingen, 2012.CrossRef Google Scholar

Roseberry, Eric. ‘Abraham and Isaac Revisited: Reflections on a Theme and Its Inversion’. In On Mahler and Britten: Essays in Honour of Donald Mitchell on His Seventieth Birthday, 253–66. Edited by Reed, Philip. Woodbridge: Boydell Press, 1998.Google Scholar

Roseberry, EricBritten’s Piano Concerto: The Original Version’. Tempo no. 172 (March 1990), 10–18.Google Scholar

Roseberry, EricA Debt Repaid? Some Observations on Shostakovich and His Late-Period Recognition of Britten’. In Shostakovich Studies, 229–53. Edited by Fanning, David. Cambridge: Cambridge University Press, 1995.Google Scholar

Roseberry, EricA Note on the Four Chords in Act II of A Midsummer Night’s Dream’. Tempo 66, no. 7 (1963), 36–7.Google Scholar

Rupprecht, Philip. Britten’s Musical Language. Cambridge: Cambridge University Press, 2001.Google Scholar

Rupprecht, Philip (ed.). Rethinking Britten. Oxford: Oxford University Press, 2013.CrossRef Google Scholar

Salfen, Kevin. ‘Myth and the Early Collaborations of Benjamin Britten and William Plomer’. PhD diss., University of North Texas, 2005.Google Scholar

Strode, Rosamund. ‘A Death in Venice Chronicle’. In Benjamin Britten: Death in Venice, 26–44. Edited by Mitchell., Donald Cambridge: Cambridge University Press, 1987.Google Scholar

Strode, Rosamund (comp.). Music of Forty Festivals: A List of Works Performed at the Aldeburgh Festival from 1948 to 1987. Aldeburgh: Aldeburgh Foundation and Britten–Pears Library, 1987.Google Scholar

Stroeher, Vicki P., and Vickers, Justin (eds.). Benjamin Britten Studies: Essays on an Inexplicit Art. Woodbridge: Boydell Press, 2017.Google Scholar

Vickers, Justin. ‘Benjamin Britten’s Silent “Epilogue” to The Holy Sonnets of John Donne’. Musical Times 156 (2015), 17–30.Google Scholar

Vickers, Justin. ‘Britten, Pears, and Pushkin: A History of The Poet’s Echo in Translation’. Musical Times (forthcoming).Google Scholar

Lucy, Walker (ed.). Benjamin Britten: New Perspectives on His Life and Work. Woodbridge: Boydell Press: 2009.Google Scholar

Lucy, Walkered.). Britten in Pictures. Woodbridge: Boydell Press, Britten–Pears Foundation, 2012.Google Scholar

Ward-Griffin, Danielle. ‘Realism Redux: Staging Billy Budd in the Age of Television’. Music & Letters 100, no. 3 (August 2019), 447–80.CrossRef Google Scholar

White, Eric Walter. Benjamin Britten: A Sketch of His Life and Works. London: Boosey & Hawkes, 1948.Google Scholar

White, Eric Walter.Benjamin Britten: His Life and Operas. London: Faber and Faber, 1970.Google Scholar

White, Eric Walter.Benjamin Britten: His Life and Operas, 2nd ed. Edited by Evans, John. London: Faber and Faber, 1983.Google Scholar

Whittall, Arnold. ‘Britten and Lutosławski: Taming the 20th-Century Avant-Garde’. Musical Times 154, no. 1923 (Summer 2013), 3–19.Google Scholar

Whittall, ArnoldThe Music of Britten and Tippett: Studies in Themes and Techniques. Cambridge: Cambridge University Press, 1982.Google Scholar

Wiebe, Heather. Britten’s Unquiet Pasts: Sound and Memory in Postwar Reconstruction. Cambridge: Cambridge University Press, 2012.Google Scholar

Wiebe, Heather“Now and England”: Britten’s Gloriana and the “New Elizabethans”’. Cambridge Opera Journal 17, no. 2 (July 2005), 141–72.Google Scholar

Wiegold, Peter, and Kenyon, Ghislaine (eds.). Beyond Britten: The Composer and the Community. Woodbridge: Boydell Press, 2015.Google Scholar

Yates, Martin. ‘Men of the Theatre – Arthur Sullivan and Benjamin Britten’. In Sullivan Perspektiven: Arthur Sullivans Opern, Kantaten, Orchester- und Sakralmusik, 315–33. Edited by Gier, Albert, Saremba, Meinhard, and Taylor, Benedict. Essen: Oldib Verlag, 2012.Google Scholar

Abravanel, Genevieve. Americanizing Britain: The Rise of Modernism in the Age of the Entertainment Empire. Oxford: Oxford University Press, 2012.CrossRef Google Scholar

Ackerley, Joe Randolph. E. M. Forster: A Portrait. London: Ian McKelvie, 1970.Google Scholar

Adams, Byron. ‘Gustav Holst: The Man and His Music by Michael Short’. Musical Quarterly 76 (1992), 584–91.Google Scholar

Adès, Thomas and Service, Tom. Thomas Adès: Full of Noises, Conversations with Tom Service. New York: Farrar, Straus and Giroux, 2012.Google Scholar

Adlington, Robert (ed.). Sound Commitments: Avant-Garde Music and the Sixties. Oxford: Oxford University Press, 2009.CrossRef Google Scholar

Adorno, Theodor W. ‘Opera and the Long-Playing Record’. Translated by Thomas Y. Levin. October 55 (Winter 1990), 62–6.Google Scholar

Adorno, Theodor W.Philosophy of New Music. Translated by Robert Hullot-Kentor. Minneapolis: University of Minnesota Press, 2006.Google Scholar

Albert, Harold A. The Queen and the Arts. London: W. H. Allen, 1963.Google Scholar

Aldridge, Alan. The Butterfly Ball and the Grasshopper’s Feast, with verses by Plomer, William and nature notes by Fitter, Richard, revised edition (Somerville, MA: Templar Books, 2009).Google Scholar

Alexander, Peter F. William Plomer: A Biography. New York: Oxford University Press, 1989.Google Scholar

Alford, Violet, and Gallop, Rodney. The Traditional Dance. London: Methuen, 1935.Google Scholar

Allis, Michael, and Watt, Paul (eds.). The Symphonic Poem in Britain, 1850–1950. Woodbridge: Boydell Press, 2020.CrossRef Google Scholar

Amis, John. Amiscellany. London: Faber and Faber, 1985.Google Scholar

Anderson, Robert. ‘Elgar and His Publishers’. In The Cambridge Companion to Elgar, 24–31. Edited by Grimley, Daniel and Rushton, Julian. Cambridge: Cambridge University Press, 2004.Google Scholar

Anthony, Scott, and Mansell, James G. (eds.). The Projection of Britain: A History of the GPO Film Unit. London: British Film Institute/Palgrave Macmillan, 2011.Google Scholar

Auden, W. H. Collected Poems of W. H. Auden. New York, 1945.Google Scholar

Auden, W. H.For the Time Being: A Christmas Oratorio. London: Faber and Faber, 1945.Google Scholar

Auden, W. H.In Solitude for Company’: W. H. Auden After 1940. Edited by Bucknell, Katherine and Jenkins, Nicholas. Auden Studies 3. Oxford: Clarendon Press, 1995.Google Scholar

Auden, W. H.Look, Stranger! London: Faber and Faber, 1936.Google Scholar

Auden, W. H.The Map of All My Youth’: Early Works, Friends and Influences. Edited by Bucknell, Katherine and Jenkins, Nicholas. Oxford: Clarendon Press, 1990.Google Scholar

Auden, W. H.On This Island. New York: Random House, 1937.Google Scholar

Auden, W. H.The Orators: An English Study. London: Faber and Faber, 1932 (2nd ed. 1934).Google Scholar

Auden, W. H.Poems. London: Faber and Faber, 1930 (2nd ed. 1933).Google Scholar

Auden, W. H.The Prolific and the Devourer. New York: Ecco Press, 1981.Google Scholar

Auden, W. H.Prose. Vol. 2: 1939–48. Edited by Mendelson, Edward. Princeton, NJ: Princeton University Press, 2002.Google Scholar

Mendelson, EdwardProse and Travel Books in Prose and Verse. Vol. 1: 1926–38. Edited by Mendelson, Edward. Princeton, NJ: Princeton University Press, 1996.Google Scholar

Mendelson, Edwarded.). The Oxford Book of Light Verse. Oxford: Oxford University Press, 1938.Google Scholar

Auden, W. H., and Isherwood, Christopher. The Ascent of F6. London: Faber and Faber, 1936.Google Scholar

Auden, W. H., and Isherwood, ChristopherThe Dog Beneath the Skin. London: Faber and Faber, 1935.Google Scholar

Auden, W. H., and Isherwood, ChristopherOn the Frontier. London: Faber and Faber, 1938.Google Scholar

Auden, W. H., and MacNeice, Louis. Letters from Iceland. London: Faber and Faber, 1937.Google Scholar

Austen, Jane. Mansfield Park. London: Macmillan, 1926.Google Scholar

Bacharach, A. L. (ed.). British Music of Our Time. Harmondsworth: Penguin, 1946.Google Scholar

Bacharach, A. L.ed.). The Musical Companion. London: Victor Gollancz, 1936.Google Scholar

Badiou, Alain. Saint Paul: The Foundation of Universalism. Translated by Ray Brassier. Cultural Memory in the Present. Stanford, CA: Stanford University Press, 2003.Google Scholar

Banfield, Stephen (ed.). The Blackwell History of Music in Britain. Vol. 6: The Twentieth Century. Oxford: Blackwell, 1995.Google Scholar

Bankes, Ariane and Reekie, Jonathan (comps.). New Aldeburgh Anthology. Woodbridge: Boydell Press, 2009.Google Scholar

Barnes, Jennifer. Television Opera: The Fall of Opera. Woodbridge: Boydell Press, 2003.Google Scholar

Bartie, Angela. The Edinburgh Festivals: Culture and Society in Post-War Britain. Edinburgh: Edinburgh University Press, 2013.Google Scholar

Bashford, Christina, and Marvin, Roberta Montemorra (eds.). The Idea of Art Music in a Commercial World, 1800–1930. Woodbridge: Boydell Press, 2016.Google Scholar

Beauman, Nicola. Morgan: A Biography of E. M. Forster. London: Hodder & Stoughton, 1993.Google Scholar

Begam, Richard, and Smith, Matthew Wilson (eds.). Modernism and Opera. Baltimore, MD: Johns Hopkins University Press, 2016.Google Scholar

Behrend, George. An Unexpected Life. Findochty: George Behrend, 2007.Google Scholar

Benjamin, Walter. Illuminations: Essays and Reflections. Edited by Arendt, Hannah. Translated by Harry Zohn. New York: Schocken Books, 1969.Google Scholar

Benjamin, WalterThe Work of Art in the Age of Mechanical Reproduction.’ In Illuminations: Essays and Reflections, 217–51. Edited by Arendt, Hannah. Translated by Zohn, Harry. New York: Schocken Books, 1969.Google Scholar

Benjamin, WalterThe Writer of Modern Life: Essays on Charles Baudelaire. Edited by Jennings, Michael W.. Cambridge, MA: Harvard University Press, 2006.Google Scholar

Bevir, Mark. The Making of British Socialism. Princeton: Princeton University Press, 2011.Google Scholar

Bird, John. Percy Grainger. London: Elek Books, 1976.Google Scholar

Blake, William. The Poetical Works of William Blake: Including the Unpublished French Revolution Together with the Minor Prophetic Books and Selections from the Four Zoas, Milton and Jerusalem. Edited by Sampson, John. London: Oxford University Press, 1960.Google Scholar

Bliss, Arthur. Bliss on Music: Selected Writings of Arthur Bliss, 1920–75. Edited by Roscow, Gregory. Oxford: Oxford University Press, 1991.Google Scholar

Blom, Eric. Music in England. Revised ed.Harmondsworth: Penguin Books, 1947.Google Scholar

Bloomfield, B. C. W. H. Auden: A Bibliography. Charlottesville: University of Virginia Press, 1964.Google Scholar

Blunt, Wilfrid. John Christie of Glyndebourne. New York: Theatre Arts Books, 1968.Google Scholar

Blythe, Ronald. The Time by the Sea. London: Faber, 2013.Google Scholar

Blythe, Ronalded.). Aldeburgh Anthology. London: Snape Maltings Foundation; Faber Music, 1972.Google Scholar

Boden, Anthony, and Hedley, Paul. The Three Choirs Festival: A History. Revised edition. Woodbridge: Boydell Press, 2017.Google Scholar

Bradshaw, David (ed.). The Cambridge Companion to E. M. Forster. Cambridge: Cambridge University Press, 2007.Google Scholar

Brecht, Bertolt. Bertolt Brechts Gedichte und Lieder. Edited by Suhrkamp, Peter. Berlin: Suhrkamp Verlag, 1962.Google Scholar

Bullivant, Joanna. Alan Bush, Modern Music, and the Cold War: The Cultural Left in Britain and the Communist Bloc. Cambridge: Cambridge University Press, 2017.Google Scholar

Burden, Michael. ‘Edward Gordon Craig and the Purcell Operatic Society’. Early Music 58 (2004), 442–58.Google Scholar

Burden, Michael“Gallimaufry” at Covent Garden: Purcell’s The Fairy-Queen in 1946’. Early Music 2 (1995), 269–84.Google Scholar

Burden, Michaeled.). Performing the Music of Henry Purcell. Oxford: Oxford University Press, 1996.CrossRef Google Scholar

Burra, Peter. ‘The Novels of E. M. Forster’. The Nineteenth Century and After 116 (November 1934), 581–94.Google Scholar

Callaghan, John, and Harker, Ben (eds.). British Communism: A Documentary History. Manchester: Manchester University Press, 2011.Google Scholar

Canning, Richard. Brief Lives: E. M. Forster. London: Hesperus, 2009.Google Scholar

Carey, John. The Intellectuals and the Masses: Pride and Prejudice Among the Literary Intelligentsia, 1880–1939. London: Faber and Faber, 1992.Google Scholar

Carpenter, Humphrey. The Envy of the World: 50 Years of the Third Programme and Radio 3, 1946–1996. London: Weidenfeld and Nicolson, 1996.Google Scholar

Carpenter, HumphreyW. H. Auden: A Biography. Boston: Houghton Mifflin, 1981.Google Scholar

Cartier, Rudolph. ‘Producing Television Opera’. Opera 8, no. 11 (November 1957), 679–84.Google Scholar

Case, Su-Ellen, Brett, Philip, and Foster, Susan Leigh (eds.). Decomposition: Post-Disciplinary Performance. Bloomington: Indiana University Press, 2000.Google Scholar

Central Advisory Council for Education (England). Clarke Report: School and Life London: Central Advisory Council for Education (England), 1947.Google Scholar

Clark, Jon, Heinemann, Margot, Margolies, David, and Snee, Carole (eds.). Culture and Crisis in Britain in the Thirties. London: Lawrence and Wishart, 1979.Google Scholar

Clarke, David (ed.). Tippett Studies. Cambridge: Cambridge University Press, 1999.Google Scholar

Colles, H. C. [Henry Cope] and Cruft, John. The Royal College of Music: A Centenary Record, 1883–1983. [London]: Royal College of Music, 1982.Google Scholar

Collini, Stefan. English Pasts: Essays in History and Culture. Oxford: Oxford University Press, 1999.Google Scholar

Colls, Robert and Dodd, Philip (ed.). Englishness: Politics and Culture 1880–1920, 2nd ed. London: Bloomsbury, 2014.Google Scholar

Conekin, Becky E. The Autobiography of a Nation: The 1951 Festival of Britain. Manchester: Manchester University Press, 2003.Google Scholar

Cook, Matt, Mills, Robert, Trumbach, Randolph, and Cocks, H. G. (eds.). A Gay History of Britain: Love and Sex Between Men Since the Middle Ages. Oxford: Greenwood World Publishing, 2007.Google Scholar

Cook, Nicholas, and Pople, Anthony (eds.). Cambridge History of Twentieth-Century Music. Cambridge: Cambridge University Press, 2004.CrossRef Google Scholar

Cooke, Mervyn. A History of Film Music. Cambridge: Cambridge University Press, 2008.Google Scholar

Cooke, Mervyn (ed.). The Cambridge Companion to Twentieth-Century Opera. Cambridge: Cambridge University Press, 2005.Google Scholar

Copland, Aaron. What to Listen for in Music. Revised edition. New York: McGraw-Hill, 1957.Google Scholar

Corder, Frederick. A History of the Royal Academy of Music, from 1822 to 1922. London: F. Corder, 1922.Google Scholar

Cottenet, Cécile, Murat, Jean-Christophe, and Vanfasse, Nathalie (eds.). Cultural Transformations in the English-Speaking World. Newcastle upon Tyne: Cambridge Scholars Publishing, 2010.Google Scholar

Crozier, Eric. The Life and Legend of Saint Nicolas: Patron Saint of Children and Noah Gives Thanks. London: Gerald Duckworth, 1949 (2nd edition 1952).Google Scholar

Crozier, Eric. ‘The Story of Let’s Make an Opera!’ In The Young Reader’s Guide to Music. London: Oxford University Press, 1962.Google Scholar

Culshaw, John. Putting the Record Straight: The Autobiography of John Culshaw. London: Secker & Warburg, 1981.Google Scholar

Culshaw, JohnRing Resounding: The Recording in Stereo of ‘Der Ring des Nibelungen’. New York: Viking, 1967.Google Scholar

Dalton, David. Playing the Viola: Conversations with William Primrose. New York: Oxford University Press, 1988.Google Scholar

Davenport-Himes, Richard. Auden. New York: Pantheon Books, 1995.Google Scholar

Davis, Richard. ‘The British Peace Movement in the Interwar Years’. Revue Française de Civilisation Britannique 22, no. 3 (2017), https://doi.org/10.4000/rfcb.1415.Google Scholar

Delfont, Bernard Baron. Curtain Up! The Story of the Royal Variety Performance. London: Robson Books, 1989.Google Scholar

Demuth, Norman. Musical Trends in the 20th Century. London: Rockliff, 1952.Google Scholar

Dibble, Jeremy. Charles Villiers Stanford: Man and Musician. Oxford: Oxford University Press, 2002.Google Scholar

Dibble, Jeremy, and Horton, Julian (eds.). British Musical Criticism and Intellectual Thought: 1850–1950. Woodbridge: Boydell Press, 2018.CrossRef Google Scholar

Doctor, Jennifer. The BBC and Ultra-Modern Music, 1922–1936: Shaping a Nation’s Tastes. Cambridge: Cambridge University Press, 1999.Google Scholar

Donne, John. John Donne, Dean of St Paul’s: Complete Poetry and Selected Prose. Edited by Hayward, John, London: Nonesuch Press, 1941.Google Scholar

Duncan, Ronald. All Men Are Islands: An Autobiography. London: Rupert Hart-Davis, 1964.Google Scholar

Duncan, Ronald. How to Make Enemies. London: Rupert Hart-Davis, 1968.Google Scholar

Duncan, Ronald. Postcards to Pulcinella. London: Fortune Press, 1941.Google Scholar

Duncan, Ronald. Saint Spiv. London: Dennis Dobson, 1961.Google Scholar

Durant, Henry. The Problem of Leisure. London: Routledge, 1938.Google Scholar

Ehrlich, Cyril. First Philharmonic: A History of the Royal Philharmonic Society. Oxford: Clarendon Press, 1995.Google Scholar

Eliot, T. S. Notes Towards the Definition of Culture. London: Faber and Faber, 1949.Google Scholar

Esty, Jed. A Shrinking Island: Modernism and National Culture in England. Princeton, NJ: Princeton University Press, 2004.Google Scholar

Evans, Mark (ed.). Princes as Patrons: The Art Collections of the Princes of Wales from the Renaissance to the Present Day. Foreword by HRH The Prince of Wales, . London: Merrell Holberton Publishers, in association with National Museums & Galleries of Wales and the Royal Collection, 1998.Google Scholar

Feigel, Lara. Literature, Cinema and Politics, 1930–1945. Edinburgh: Edinburgh University Press, 2010.Google Scholar

Fillion, Michelle. Difficult Rhythm: Music and the Word in E. M. Forster. Urbana: University of Illinois Press, 2010.Google Scholar

Fischer-Dieskau, Dietrich. Echoes of a Lifetime: Memories and Thoughts. London: Pan MacMillan, 1989.Google Scholar

Forster, E. M. Abinger Harvest and England’s Pleasant Land. Edited by Heine, Elizabeth. Abinger Edition, Vol. 10. London: Arnold, 1996.Google Scholar

Forster, E. M.The BBC Talks of E. M. Forster 1929–1960: A Selected Edition. Edited by Lago, Mary, Linda, K. Hughes, and McLeod Walls, Elizabeth. Columbia: University of Missouri Press, 2008.Google Scholar

Forster, E. M.Commonplace Book. Edited by Gardner, Philip. Stanford, CA: Stanford University Press, 1987.Google Scholar

Forster, E. M.George Crabbe: The Poet and the Man’. Listener (29 May 1941).Google Scholar

Forster, E. M.Howards End. Edited by Stallybrass, Oliver. Abinger Edition, Vol. 4. London: Arnold 1973.Google Scholar

Forster, E. M.The Journals and Diaries of E. M. Forster. Vol. 2: The ‘Locked Diary’ (1909–67). Edited by Gardner, Philip. London: Pickering & Chatto, 2011.Google Scholar

Forster, E. M.Maurice. Edited by Furbank, Philip Nicholas. London: Penguin Books, 2005.Google Scholar

Forster, E. M.The Prince’s Tale and Other Uncollected Writings. Edited by Furbank., P. N. Abinger Edition, Vol. 17. London: Arnold, 1998.Google Scholar

Forster, E. M.A Room with a View. London: Edward Arnold, 1968.Google Scholar

Forster, E. M.Selected Letters of E. M. Forster.Vol. I: 1879–1920; Vol. II: 1921–1970. Edited by Lago, Mary and Furbank., P. N. Cambridge, MA: Belknap Press of the Harvard University Press, 1985.Google Scholar

Forster, E. M.Two Cheers for Democracy. Edited by Stallybrass, Oliver. Abinger Edition, Vol. 11. London: Arnold 1972.Google Scholar

Francmanis, John. ‘National Music to National Redeemer: The Consolidation of a Folk-Song Construct in Edwardian England’. Popular Music 21, no. 1 (2002), 1–25.Google Scholar

Frogley, Alain, and Thomson, Aidan (eds.). The Cambridge Companion to Vaughan Williams. Cambridge University Press, 2013.Google Scholar

Fuller, John. W. H. Auden: A Commentary. Princeton, NJ: Princeton University Press, 1998.Google Scholar

Furbank, Philip Nicholas. E. M. Forster: A Life. Vol. I: The Growth of the Novelist (1879–1914); Vol. II: Polycrates’ Ring (1914–1970). London: Secker & Warburg, 1978.Google Scholar

Gardiner, Margaret. ‘Auden: A Memoir’. New Review 3, no. 28 (July 1976), 9–19.Google Scholar

Garnham, Alison. Hans Keller and the BBC: The Musical Conscience of British Broadcasting, 1959–1979. London: Ashgate, 2003.Google Scholar

Garnham, Alison, and Woodhouse, Susi, Hans Keller 1919–1985: A Musician in Dialogue with His Times. London: Routledge, 2018.Google Scholar

Garratt, James. Music and Politics: A Critical Introduction. Cambridge: Cambridge University Press, 2018.Google Scholar

Georganta, Konstantina. Conversing Identities: Encounters between British, Irish and Greek Poetry, 1922–1952. New York: Rodopi, 2012.Google Scholar

Gheon, Henri. Christmas in the Market-Place: A Nativity Play in Three Acts. Adapted into English by Crozier, Eric. London: Frederick Muller, 1944.Google Scholar

Gibbs, Alan. Holst Among Friends. London: Thames Publishing, 2000.Google Scholar

Gloag, Kenneth, and Jones, Nicholas (ed.). The Cambridge Companion to Michael Tippett. Cambridge: Cambridge University Press, 2013.Google Scholar

Glock, William. Notes in Advance. Oxford: Oxford University Press, 1991.Google Scholar

Govea, Wenonah Milton. Nineteenth- and Twentieth-Century Harpists: A Bio-Critical Sourcebook. Westport, CT: Greenwood Publishing, 1995.Google Scholar

Greenberg, Clement. Collected Essays and Criticism. Edited by O’Brian, John. Chicago: University of Chicago Press, 1986.Google Scholar

Griffiths, Paul (ed.). New Sounds, New Personalities: British Composers of the 1980s. London: Faber and Faber, 1985.Google Scholar

Grimley, Daniel M. Delius and the Sound of Place. Cambridge: Cambridge University Press, 2018.Google Scholar

Grimley, Daniel M., and Rushton, Julian (eds.). The Cambridge Companion to Elgar. Cambridge: Cambridge University Press, 2004.Google Scholar

Grisewood, Harman. One Thing at a Time. London: Hutchinson, 1968.Google Scholar

Grogan, Christopher (ed.). Imogen Holst: A Life in Music. Revised edition.Woodbridge: Boydell Press, 2010.Google Scholar

Grogan, Christophered.). Imogen Holst: A Life in Music. Woodbridge: Boydell Press, 2007.Google Scholar

Guthrie, Kate. The Art of Appreciation: Music and Middlebrow Culture in Modern Britain. Oakland: University of California Press, 2021.Google Scholar

Guthrie, KateDemocratizing Art: Music Education in Postwar Britain’. Musical Quarterly 97, no. 4 (December 2014), 575–615.Google Scholar

Hardwick, Michael and Hardwick, Mollie. Alfred Deller: A Singularity of Voice. London: Cassell, 1968.Google Scholar

Harewood, Lord [George Lascelles]. ‘Joan Cross – A Birthday Celebration’. Opera 41, no. 9 (September 1990), 1032–6.Google Scholar

Harper-Scott, J. P. E. The Quilting Points of Modernism. Cambridge: Cambridge University Press, 2012.Google Scholar

Harris, Alexandra. Romantic Moderns: English Writers, Artists and the Imagination from Virginia Woolf to John Piper. New York: Thames & Hudson, 2010.Google Scholar

Hawkes, Ralph. ‘Composer and Economics’. Tempo (New Series) 1 (September 1946), 10–12.Google Scholar

Headington, Christopher. Peter Pears: A Biography. London: Faber & Faber, 1992.Google Scholar

Hellyer, A. G. L. Your Garden: Week by Week, 5th ed. London: W. H. & L. Collingridge, 1951.Google Scholar

Hemmings, David. Blow Up and Other Exaggerations. London: Robson Books, 2004.Google Scholar

Hennessy, Peter. Having It So Good: Britain in the Fifties. London: Penguin, 2007.Google Scholar

Herbert, George. The Poems of George Herbert. London: Oxford University Press, 1907; Reprint by New York: AMS Press, 1976.Google Scholar

Herz, Judith Scherer, and Martin, Robert K. (eds.). E. M. Forster: Centenary Revaluations. London: Macmillan, 1982.Google Scholar

Hewison, Robert. Culture and Consensus: England, Art and Politics Since 1940. London: Methuen, 1995.Google Scholar

Hill, Ralph. Challenges: A Series of Controversial Essays on Music. London: Joseph Williams, 1943.Google Scholar

Hoare, Philip. Noël Coward: A Biography. New York: Simon and Schuster, 2013.Google Scholar

Hoggart, Richard. W. H. Auden. Writers and Their Work, 10. London: Longmans, Green, 1957.Google Scholar

Holloway, Robin. On Music: Essays and Diversions, 1963–2003. London: Claridge Press, 2003.Google Scholar

Holst, Imogen. The Music of Gustav Holst, 3rd ed. Oxford: Oxford University Press, 1986.Google Scholar

Holst, Imogen. Tune. London: Faber and Faber, 1962.Google Scholar

Homans, Jennifer. Apollo’s Angels: A History of Ballet. New York: Random House, 2010.Google Scholar

Hoock, Holger. The King’s Artists: The Royal Academy of Arts and the Politics of British Culture 1760–1840. Oxford: Clarendon Press, 2003.Google Scholar

Horowitz, Joseph. Artists in Exile: How Refugees from Twentieth-Century War and Revolution Transformed the American Performing Arts. New York: HarperCollins, 2008.Google Scholar

Howes, Frank. The Cheltenham Festival. London: Oxford University Press, 1965.Google Scholar

Hughes, Meirion, and Stradling, Robert. The English Musical Renaissance, 1860–1940: Construction and Deconstruction. New York: Routledge, 1993.Google Scholar

Hughes, Spike. Glyndebourne: A History of the Festival Opera. London: Methuen, 1965.Google Scholar

Huss, Fabian. ‘E. J. Moeran: Letters to Herbert Foss and Benjamin Britten’. Musical Times 152, no. 1916 (Autumn 2011), 33–42.Google Scholar

Huss, FabianThe Music of Frank Bridge. Woodbridge: Boydell Press, 2015.Google Scholar

Hynes, Samuel. The Auden Generation: Literature and Politics in England in the 1930s. Princeton, NJ: Princeton University Press, 1976.Google Scholar

Isherwood, Christopher. Christopher and His Kind. London: Eyre Methuen, 1977.Google Scholar

James, Henry. The Complete Tales of Henry James, 1892–1898. Vol. 9. Edited by Edel, Leon. London: Rupert Hart-Davis, 1964.Google Scholar

Jennings, Hilda and Gill, Winifred. Broadcasting in Everyday Life: A Survey of the Social Effects of the Coming of Broadcasting (London: BBC, July 1939).Google Scholar

Johnson, Randal (ed.). The Field of Cultural Production. New York: Columbia University Press, 1993.Google Scholar

Katz, Mark. Capturing Sound: How Technology Has Changed Music. Berkeley: University of California Press, 2004.Google Scholar

Keen, Basil. The Bach Choir: The First Hundred Years. London: Routledge, 2017.Google Scholar

Keller, Hans. ‘Book Guide: Musical Trends in the Twentieth Century by Norman Demuth’. Tempo 24 (Summer 1952): 37–8.Google Scholar

Keller, HansEditorial: On Musical Understanding’. Music Survey 2, no. 1 (1949), 6–8.Google Scholar

Keller, HansHans Keller: Essays on Music. Edited by Wintle, Christopher, Northcutt, Bayan, and Samuel, Irene. Cambridge: Cambridge University Press, 1994.Google Scholar

Kenyon, Nicholas. The BBC Symphony Orchestra: The First Fifty Years, 1930–1980. London: BBC, 1981.Google Scholar

Kershaw, Baz (ed.). The Cambridge History of British Theatre. Cambridge: Cambridge University Press, 2004.Google Scholar

King, Francis. E. M. Forster and His World. London: Thames and Hudson, 1978.Google Scholar

[Knight, Gerald H. ]. RSCM: The First Forty Years. Croydon: The Royal School of Church Music, [1968].Google Scholar

Kostelanetz, Richard. Dictionary of the Avant-Gardes. Chicago: Capella Books, 1993.Google Scholar

Krauss, Rosalind E. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge, MA: MIT Press, 1985.Google Scholar

Lago, Mary. E. M. Forster: A Literary Life. New York: St. Martin’s Press, 1995.Google Scholar

Lago, Marycomp.). Calendar of the Letters of E. M. Forster. London: Mansell, 1985.Google Scholar

Lambert, Constant. Music Ho! A Study of Music in Decline. London: Faber, 1934.Google Scholar

Lavin, Audrey A. P. Aspects of the Novelist: E. M. Forster’s Pattern and Rhythm. New York: Lang, 1995.Google Scholar

Leavis, F. R., and Thompson, Denys. Culture and Environment: The Training of Critical Awareness. London: Chatto & Windus, 1933.Google Scholar

Lebrecht, Norman. Covent Garden, the Untold Story: Dispatches from the English Culture Wars, 1945–2000. Boston, MA: Northeastern University Press, 2000.Google Scholar

LeMahieu, D. L. A Culture for Democracy: Mass Communication and the Cultivated Mind in Britain Between the Wars. Oxford: Clarendon Press, 1988.Google Scholar

Levine, June Perry. ‘The Tame in Pursuit of the Savage: The Posthumous Fiction of E. M. Forster’. Publications of the Modern Language Association of America 99, no. 1 (1984), 72–88.Google Scholar

Lew, Nathaniel G. Tonic to the Nation: Making English Music in the Festival of Britain. Abingdon: Routledge, 2017.Google Scholar

Lewison, Jeremy (ed.). Circle: Constructive Art in Britain 1924–40. Cambridge: Kettles Yard, 1982.Google Scholar

Lloyd, Christopher. Ceremony & Celebration: Coronation Day 1953. London: The Royal Collection, 2003.Google Scholar

Lowell, Robert. Phaedra: Racine’s Phèdre. London: Faber & Faber, 1971.Google Scholar

Lucas, John (ed.). The 1930s: A Challenge to Orthodoxy. Hassocks: Harvester Press, 1978.Google Scholar

Lutyens, Elisabeth. A Goldfish Bowl. London: Cassell, 1972.Google Scholar

Lycett, Andrew. Ian Fleming. New York: St. Martin’s Press, 1995.Google Scholar

MacKay, Robert. ‘Being Beastly to the Germans: Music, Censorship and the BBC in World War II’. Historical Journal of Film, Radio and Television 20, no. 4 (2000), 513–25.Google Scholar

MacNeice, Louis. The Strings Are False: An Unfinished Autobiography. London: Oxford University Press, 1965.Google Scholar

Mandinian, Edward, Dent, Edward, and Lambert, Constant. Purcell’s The Fairy Queen: As Presented by the Sadler’s Wells Ballet and the Covent Garden Opera; a Photographic Record. London: J. Lehmann, 1948.Google Scholar

Martin, Robert K., and Piggford, George (eds.). Queer Forster. Chicago: University of Chicago Press, 1997.Google Scholar

Marx, Edith and Lambert, Margaret. English Popular and Traditional Art. London: Collins, 1946.Google Scholar

McKibbin, Ross. Classes and Cultures: England 1918–1951. Oxford: Oxford University Press, 1998.Google Scholar

McMurray, Nigel. Frank O. Salisbury: Painter Laureate. Bloomington, IN: AuthorHouse, 2003.Google Scholar

Medalie, David. E. M. Forster’s Modernism. Basingstoke: Palgrave, 2002.Google Scholar

Mellers, Wilfrid. ‘Recent Trends in British Music’. Musical Quarterly 38, no. 2 (1952), 185–201.Google Scholar

Melman, Billie. The Culture Use of History: English Uses of the Past, 1800–1953. Oxford: Oxford University Press, 2006.Google Scholar

Mendelson, Edward. Early Auden. Cambridge, MA: Harvard University Press, 1983.Google Scholar

Mendelson, EdwardLater Auden. New York: Farrar, Straus and Giroux, 1999.Google Scholar

Michelangelo [Michelangelo Buonarroti]. The Sonnets of Michelangelo, 2nd ed. Translated by John Addington Symonds. London: Smith, Elder, 1904.Google Scholar

Mitchell, Donald, and Nicholson, Andrew (eds.). The Mahler Companion. Oxford: Oxford University Press, 1999.Google Scholar

Mitchell, Donald, and Keller, Hans (eds.). Music Survey: New Series 1949–1952. London: Faber Music, 1981.Google Scholar

Moffat, Wendy. A Great Unrecorded History: A New Life of E. M. Forster. New York: Farrar, Straus and Giroux, 2010.Google Scholar

Morgan, Kevin. Against Fascism and War: Ruptures and Continuities in British Communist Politics, 1935–41. Manchester: Manchester University Press, 1989.Google Scholar

Morra, Irene. Britishness, Popular Music, and National Identity: The Making of Modern Britain. London: Routledge, 2014.Google Scholar

Morra, Irene, and Gossedge, Rob (eds.). The New Elizabethan Age: Culture, Society and National Identity After World War II. London: I. B. Tauris, 2016.Google Scholar

Newman, Ernest. A Musical Motley. London: John Lane, 1919.Google Scholar

Newman, ErnestRichard Strauss. London: John Lane, 1908.Google Scholar

Newman, ErnestTestament of Music: Essays and Papers. New York: Knopf, 1962.Google Scholar

Nicholson, Steve. The Censorship of British Drama 1900–1968, Vol. One: 1900–1932. Exeter: University of Exeter Press, 2003.Google Scholar

Nicolson, Harold. The Third Programme: A Symposium of Opinions and Plans. London: BBC, 1947.Google Scholar

Niebur, Louis. Special Sound. Oxford: Oxford University Press, 2010.Google Scholar

Olechnowicz, Andrzej (ed.). The Monarchy and the British Nation, 1780 to the Present. Cambridge: Cambridge University Press, 2007.Google Scholar

Orwell, George. The Lion and the Unicorn: Socialism and the English Genius. London: Secker & Warburg, 1941.Google Scholar

Osborne, Charles. W. H. Auden: The Life of a Poet. New York: Harcourt Brace Janovitch, 1979.Google Scholar

Owen, Wilfred. The Poems of Wilfred Owen. Edited by Blunden, Edmund. London: Chatto and Windus, 1955.Google Scholar

Palmer, Andrew (ed.). Encounters with British Composers. Woodbridge: Boydell Press, 2015.Google Scholar

Panecka, Ewa. Literature and the Monarchy: The Traditional and the Modern Concept of the Office of Poet Laureate of England. Newcastle upon Tyne: Cambridge Scholars, 2014.Google Scholar

Parker, Peter. Isherwood: A Life Revealed. New York: Random House, 2004.Google Scholar

Percival, John. Theatre in My Blood: A Biography of John Cranko. New York: Herbert Press, 1983.Google Scholar

Pettitt, Stephen. Dennis Brain: A Biography. With an appreciation by Britten, Benjamin. London: R. Hale, 1976.Google Scholar

Piper, Myfanwy. ‘Order, Order!’ Axis 6 (Summer 1936), 4–8.Google Scholar

Plomer, William. At Home: Memoirs. New York: Noonday Press, 1958.Google Scholar

Plomer, WilliamCollected Poems. London: Jonathan Cape, 1973.Google Scholar

Primrose, William. Walk on the North Side, William Primrose: Memoirs of a Violist. Provo, UT: Brigham Young University Press, 1978.Google Scholar

Quinn, Patrick J. (ed.). Recharting the Thirties. London: Associated Universities Press, 1996.Google Scholar

Read, Herbert. A Coat of Many Colours. Oxford: Routledge, 2015.Google Scholar

Rosenthal, Daniel (ed.). Dramatic Exchanges: The Lives and Letters of the National Theatre. London: Profile, 2018.Google Scholar

Roth, Ernst. The Business of Music: Reflections of a Music Publisher. London: Cassell, 1969.Google Scholar

Roud, Steve. Folk Song in England. London: Faber and Faber, 2017.Google Scholar

Rupprecht, Philip. British Musical Modernism: The Manchester Group and Their Contemporaries. Cambridge: Cambridge University Press, 2015.Google Scholar

Salisbury, Frank O. Sarum Chase: New and Enlarged Edition of Portrait and Pageant. London: John Murray, 1953.Google Scholar

Sant, John. Albert W. Ketèlby (1875–1959): From the Sanctuary of His Heart. Sutton Coldfield: Manifold Publishing, 2000.Google Scholar

Saxe Wyndham, H., and L’Epine, Geoffrey (comps. and eds.). Who’s Who in Music: A Biographical Record of Contemporary Musicians, 2nd rev. ed. London: Sir Isaac Pitman & Sons, 1915.Google Scholar

Scheer, Christopher M. ‘Gustav Holst’s Beni Mora and the Orientalist Imagination’. In The Symphonic Poem in Britain, 1850–1950, 219–44. Edited by Allis, Michael and Watt, Paul. Woodbridge: Boydell Press, 2020.Google Scholar

Schmitz, Oscar. Das Land ohne Musik: Englische Gesellschaftsprobleme. Munich: G. Müller, 1914.Google Scholar

Scholes, Percy A. Learning to Listen by Means of the Gramophone: A Course in the Appreciation of Music for Use in Schools. London: The Gramophone Education Department, 1921.Google Scholar

Schuttenhelm, Thomas. The Orchestral Music of Michael Tippett: Creative Development and the Compositional Process. Cambridge: Cambridge University Press, 2014.Google Scholar

Searle, Humphrey and Layton, Robert. Britain, Scandinavia, and the Netherlands. New York: Holt, Rinehart and Winston, 1975.Google Scholar

Sharpe, Tony (ed.). W. H. Auden in Context. Literature in Context. Cambridge: Cambridge University Press, 2013.Google Scholar

Shawcross, William. Queen Elizabeth The Queen Mother: The Official Biography. Basingstoke: Macmillan, 2009.Google Scholar

Shils, Edward. The Torment of Secrecy: The Background and Consequences of American Secruity Policies: Background and Consequences of American Security Policies. London: Heinemann, 1956.Google Scholar

Sidnell, Michael. Dances of Death: The Group Theatre of London in the Thirties. London: Faber and Faber, 1984.Google Scholar

Sillito, Kenneth. From the Leader’s Chair. London: Austin Macauley Publishers, 2019.Google Scholar

Sinclair, Andrew. Arts and Cultures: The History of the 50 Years of the Arts Council of Great Britain. London: Sinclair-Stevenson, 1995.Google Scholar

Slater, Montagu. Englishmen with Swords. Reprint edition. London: Merlin Press, 1991. (Originally published 1949).Google Scholar

Slater, MontaguPeter Grimes and Other Poems. London: Bodley Head, 1946.Google Scholar

Slonimsky, Nicolas. Music Since 1900, 5th ed. New York: Schirmer Books, 1994.Google Scholar

Smith, Helen. Masculinity, Class and Same-Sex Desire in Industrial England, 1895–1957. London: Palgrave Macmillan, 2015.Google Scholar

Solie, Ruth A. (ed.). Musicology and Difference: Gender and Sexuality in Music Scholarship. Berkeley: University of California Press, 1993.Google Scholar

Soutar, William. But the Earth Abideth: A Verse-Sequence. London: Andrew Dakers, 1943.Google Scholar

Southworth, Helen. Fresca: A Life in the Making. Eastbourne: Sussex Academic Press, 2017.Google Scholar

Spalding, Frances. John Piper, Myfanwy Piper: Lives in Art. Oxford: Oxford University Press, 2009.Google Scholar

Spender, Stephen. W. H. Auden: A Tribute. London: Weidenfeld & Nicolson, 1975.Google Scholar

Spender, StephenWorld Within World: The Autobiography of Stephen Spender. London: Hamilton, 1951.Google Scholar

Stape, John H. An E. M. Forster Chronology. Basingstoke: Macmillan, 1993.Google Scholar

Sterne, Jonathan. The Audible Past: Cultural Origins of Sound Reproduction. Durham, NC: Duke University Press, 2003.Google Scholar

Stewart, Margaret. English Singer: The Life of Steuart Wilson. London: Gerald Duckworth, 1970.Google Scholar

Straus, Joseph N. ‘Disability and “Late Style” in Music’. Journal of Musicology 25, no. 1 (Winter 2008), 3–45.Google Scholar

Summers, Claude L. E. M. Forster. New York: Ungar, 1983.Google Scholar

Taruskin, Richard. Defining Russia Musically: Historical and Hermeneutical Essays. Princeton, NJ: Princeton University Press, 2000.Google Scholar

Taruskin, Richard. The Oxford History of Western Music, Vol. 4. New York: Oxford University Press, 2010.Google Scholar

Tear, Robert. Tear Here. London: André Deutsch, 1990.Google Scholar

Thacker, Toby. Music after Hitler, 1945–1955. Aldershot: Ashgate, 2007.Google Scholar

Thorpe, Marion (ed.). Peter Pears: A Tribute on His 75th Birthday London: Faber Music, 1985.Google Scholar

Tippett, Michael. Those Twentieth-Century Blues. London: Pimlico, 1991.Google Scholar

Tippins, Sherrill. February House. New York: Houghton Mifflin, 2005.Google Scholar

Tortolano, William. Samuel Coleridge-Taylor: Anglo-Black Composer, 1875–1912, 2nd ed. Lanham, MD: Scarecrow Press, 2002.Google Scholar

Trilling, Lionel. E. M. Forster. Norfolk, CT: New Directions Books, 1943.Google Scholar

Upward, Edward. Remembering the Earlier Auden. London: Enitharmon Press, 1998.Google Scholar

Vaughan Williams, Ralph. National Music and Other Essays. Edited by Kennedy, Michael. Oxford: Oxford University Press, 1997.Google Scholar

Vaughan Williams, RalphVaughan Williams on Music. Edited by Manning, David. Oxford: Oxford University Press, 2008.Google Scholar

Vishnevskaya, Galina. Galina: A Russian Story. Translated by Guy Daniels. London: Hodder & Stoughton, 1984.Google Scholar

Wallace, Helen. Boosey & Hawkes: The Publishing Story. London: Boosey & Hawkes, 2007.Google Scholar

Walton, Susana. William Walton: Behind the Façade. Oxford: Oxford University Press, 1988.Google Scholar

Ward, Stephanie. Unemployment and the State in Britain: The Means Test and Protest in 1930s South Wales and North-East England. Manchester: Manchester University Press, 2014.Google Scholar

Webber, Christopher. ‘John Shirley-Quirk: Obituary’. Opera 65, no. 6 (June 2014), 706–7.Google Scholar

Weeks, Jeffrey. Coming Out: Homosexual Politics in Britain from the Nineteenth Century to the Present. London: Quartet Books, 1977.Google Scholar

Westminster Abbey. Service of Thanksgiving for the Life of Sir Peter Pears, C. B. E., 1910–1986. London: Barnard and Westwood, 1986.Google Scholar

White, Eric Walter. The Arts Council of Great Britain. London: Davis-Poynter, 1975.Google Scholar

White, Eric Walter.A History of English Opera. London: Faber and Faber, 1983.Google Scholar

Whittall, Arnold. British Music After Britten. Woodbridge: Boydell Press, 2020.Google Scholar

Whittall, ArnoldFrom Post-Tonal to Postmodern? Two String Quartets by Joseph Phibbs’. Musical Times 157, no. 1936 (Autumn 2016), 5–22.Google Scholar

Wiebe, Heather. ‘Confronting Opera in the Sixties: Birtwistle’s Punch and Judy’. Journal of the Royal Musical Association 142 (2017), 173–204.Google Scholar

Wilson, Alexandra. Opera in the Jazz Age: Cultural Politics in 1920s Britain. Oxford: Oxford University Press, 2018.Google Scholar

Wintle, Christopher (ed.). Hans Keller and Internment: The Development of a Musical Émigré. London: Plumbago Books, 2011.Google Scholar

Witts, Richard. Artist Unknown: An Alternative History of the Arts Council. London: Little, Brown, 1998.Google Scholar

Witts, RichardShopping and Fricker: The Origins of the Cheltenham Festival of Modern British Music and the “Cheltenham Symphony”’. Musical Times 156, no. 1931 (Summer 2015), 9–21.Google Scholar

Wright, David. ‘Novello, John Stainer and Commercial Opportunities in the Nineteenth-Century British Amateur Music Market’. In The Idea of Art Music in a Commercial World, 1800–1930, 61–74. Edited by Bashford, Christina and Montemorra Marvin, Roberta. Woodbridge: Boydell Press, 2016.Google Scholar

Wright, Kenneth. ‘Television and Opera’. Tempo 45 (Autumn 1957), 8–11 and 18.Google Scholar

Wyndham, H. Saxe and L’Epine, Geoffrey (comps. and eds.). Who’s Who in Music: A Biographical Record of Contemporary Musicians, 2nd revised ed. London: Sir Isaac Pitman & Sons, 1915.Google Scholar

Young, Rob. Electric Eden: Unearthing Britain’s Visionary Music. London: Faber & Faber, 2010.Google Scholar

Book contents

Further Reading

Summary

Access options

References

Primary Sources

Secondary Sources