Book contents
- British Musical Modernism
- Music Since 1900
- British Musical Modernism
- Copyright page
- Dedication
- Contents
- Figures
- Book part
- A note on recordings
- Introduction
- 1 Between nationalism and the avant-garde: defining British modernism
- 2 Post-war motifs
- 3 Manchester avant-garde: Goehr, Davies, and Birtwistle to 1960
- 4 A Manchester generation in Paris, London, and Rome: Musgrave, Maw, Crosse, and Bennett
- 5 Group portrait in the Sixties: Davies, Birtwistle, and Goehr to 1967
- 6 Instrumental drama: Musgrave and Birtwistle in the late Sixties
- 7 Vernaculars: Bedford and Souster as pop musicians
- Epilogue
- Works cited
- Index
- References
Works cited
Published online by Cambridge University Press: 05 July 2015
Book contents
- British Musical Modernism
- Music Since 1900
- British Musical Modernism
- Copyright page
- Dedication
- Contents
- Figures
- Book part
- A note on recordings
- Introduction
- 1 Between nationalism and the avant-garde: defining British modernism
- 2 Post-war motifs
- 3 Manchester avant-garde: Goehr, Davies, and Birtwistle to 1960
- 4 A Manchester generation in Paris, London, and Rome: Musgrave, Maw, Crosse, and Bennett
- 5 Group portrait in the Sixties: Davies, Birtwistle, and Goehr to 1967
- 6 Instrumental drama: Musgrave and Birtwistle in the late Sixties
- 7 Vernaculars: Bedford and Souster as pop musicians
- Epilogue
- Works cited
- Index
- References
- Type
- Chapter
- Information
- British Musical ModernismThe Manchester Group and their Contemporaries, pp. 452 - 479Publisher: Cambridge University PressPrint publication year: 2015
References
Works cited
British Library, London. Manuscripts and papers of Richard Rodney Bennett; Cornelius Cardew; Peter Maxwell Davies; William Glock; Elisabeth Lutyens.
British Library National Sound Archive, London.
Alexander Goehr papers, Cambridge. Since 2011, held at Akademie der Künste, Berlin.
Nicholas Maw papers. Britten-Pears Library, Aldeburgh.
SPNM: Society for the Promotion of New Music, London.
Tim Souster Archive, Cambridge.
Adlington, Robert. “Big business? Anti-Americanism in British music theatre of the Vietnam era,” paper at Royal Musical Association, London, September 2013.Google Scholar
Adlington, Robert. The Music of Harrison Birtwistle. Cambridge University Press, 2000.Google Scholar
Adlington, Robert. “Music theatre since the 1960s,” in Cooke, Mervyn (ed.), Cambridge Companion to 20th-Century Opera. Cambridge University Press, 2005: 225–43.Google Scholar
Adlington, Robert (ed.). Sound Commitments: Avant-Garde Music and the Sixties. Oxford University Press, 2009.CrossRefGoogle Scholar
Adorno, Theodor W. “The aging of the new music” (1955), Gesammelte Schriften 14, 143–67; trans. Robert Hullot-Kentor and Frederic Will, in Adorno, Essays on Music, ed. Richard Leppert. Berkeley: University of California Press, 2002: 181–202.Google Scholar
Adorno, Theodor W. Aesthetic Theory, trans. Hullot-Kentor, Robert. Minneapolis: University of Minnesota Press, 1997.Google Scholar
Aguila, Jésus. Le Domaine Musical: Pierre Boulez et vingt ans de création contemporaine. Paris: Fayard, 1992.Google Scholar
Alloway, Lawrence. “Popular culture and pop art,” Studio International (July–Aug. 1969), repr. in Madoff, Steven Henry (ed.), Pop Art: A critical history. Berkeley: University of California Press, 1997.Google Scholar
Almén, Byron. A Theory of Musical Narrative. Bloomington: Indiana University Press, 2008.Google Scholar
Amis, John. Review of Boulez Structures, Scotsman (Mar. 8, 1956); repr. in Amis, My Music in London, 65.Google Scholar
Anderson, Benedict. Imagined Communities: Reflections on the rise and spread of nationalism. 1983; rev. edn. London: Verso, 1991.Google Scholar
Anderson, Virginia. “Systems and other minimalism in Britain,” in Potter et al., Ashgate Research Companion to Minimalist and Postminimalist Music, 87–106.Google Scholar
Anon. “I.C.A. contemporary music season,” Score and I.M.A. Magazine 14 (Dec. 1955), 68.Google Scholar
Arendt, Hannah. “Europe and the atom bomb” (1954), repr. in Arendt, Essays in Understanding. New York: Schocken, 1994: 418–22.Google Scholar
Arnold, Malcolm. Malcolm Arnold in Words, ed. Harris, Paul. Buckingham: Queen's Temple, 2011.Google Scholar
Arnold, Stephen. “Peter Maxwell Davies,” in Foreman, British Music Now, 71–85.Google Scholar
Ashby, Arved. “Nationalist and postnationalist perspectives in American musicology,” in Corona, Ignacio and Madrid, Alejandro L. (eds.), Postnational Musical Identities. Lanham, MD: Lexington Books, 2008: 23–44.Google Scholar
Ashby, Arved. “Twelve-tone composition as ‘ideal type,’” Journal of the American Musicological Society 54 (2001), 585–625.CrossRefGoogle Scholar
Babbitt, Milton. “Some aspects of twelve-tone composition,” The Score and I.M.A. Magazine 12 (June 1955): 53–61; repr. in Babbitt, Collected Essays, ed. Stephen Peles et al. Princeton University Press, 2003: 38–47.Google Scholar
Bacon, Francis. Francis Bacon: Interviewed by David Sylvester. New York: Pantheon, 1975.Google Scholar
Ballantine, Christopher. “The symphony in the twentieth century: some aspects of its tradition and innovation,” Music Review 32 (1971).Google Scholar
Banfield, Stephen (ed.). Blackwell History of Music in Britain, VI: The Twentieth Century. Oxford: Blackwell, 1995.Google Scholar
Banham, Reyner. “Design by choice.” Architectural Review 130 (July 1961); repr. in Banham, A Critic Writes: Essays by Reyner Banham. Berkeley: University of California Press, 1996: 67–78.Google Scholar
Baudrillard, Jean. “Hot painting: the inevitable fate of the image,” in Guilbaut, Serge (ed.), Reconstructing Modernism: art in New York, Paris, and Montreal 1945–1964. Cambridge, MA: MIT Press, 1990: 17–29.Google Scholar
Beal, Amy C. “‘Music is a universal human right’: Musica Elettronica Viva,” in Adlington, Sound Commitments, 99–144.CrossRefGoogle Scholar
Beal, Amy C. “Negotiating cultural allies: American music in Darmstadt, 1946–56,” Journal of the American Musicological Society 53 (2000), 105–40.CrossRefGoogle Scholar
Beard, David. “An analysis and sketch study of the early instrumental music of Sir Harrison Birtwistle,” D.Phil thesis, University of Oxford, 2000.Google Scholar
Beard, David. “‘Batter the Doom Drum’: the music for Peter Hall's Oresteia and other productions of Greek tragedy by Harrison Birtwistle and Judith Weir,” in Brown, Peter and Ograjensek, Suzana (eds.), Ancient Drama in Music for the Modern Stage. Oxford University Press, 2011: 369–97.Google Scholar
Beard, David. “‘From the mechanical to the magical’: Birtwistle's pre-compositional plan for Carmen Arcadiae Mechanicae Perpetuum,” Mitteilungen der Paul Sacher Stiftung 14 (April 2001), 29–33.Google Scholar
Beard, David. Harrison Birtwistle's Operas and Music Theatre. Cambridge University Press, 2012.CrossRefGoogle Scholar
Beard, David. “Taverner: an interpretation,” in Gloag and Jones, Peter Maxwell Davies 79–105.Google Scholar
Beard, David, Jones, Nicholas and Gloag, Kenneth (eds.), Harrison Birtwistle Studies. Cambridge University Press, 2015.CrossRefGoogle Scholar
Bedford, David. “Der Einfluß von Rock und Pop auf die Musik der Gegenwart,” in Haselauer, Elisabeth and Müller, Karl-Josef (eds.), Europäische Gegenwartsmusik – Einflüsse und Wandlungen. Mainz: Schott, 1984: 53–55.Google Scholar
Bedford, David. “Roll over Beethoven: rock and the serious composer,” Broadcast talk, BBC Radio 3, 1987.Google Scholar
Bedford, David and Cardew, Cornelius. “A conversation,” Musical Times 107 (March 1966), 198–202.CrossRefGoogle Scholar
Bedford, David and Self, George. Letter, in Musical Times 105 (May 1964), 362.CrossRefGoogle Scholar
Benjamin, Walter. “The work of art in the age of mechanical reproduction,” in Illuminations, trans. Zohn, Harry. New York: Schocken, 1968: 217–51.Google Scholar
Bennett, Richard Rodney. “‘A changing musical world’ or ‘The circus moves on,’” Peabody Notes [Peabody Conservatory of Music] 24/2 (Nov. 1970), 3.Google Scholar
Bennett, Richard Rodney. “Letter from Richard Rodney Bennett,” Opus [Nottingham University] 2 (Spring 1967), 24.Google Scholar
Bennett, Richard Rodney. “R.A.M. New Music Club,” Musical Times 97 (Sept. 1956), 482.CrossRefGoogle Scholar
Benoliel, Bernard. “Oldfield – with and without Bedford,” Tempo 120 (Mar. 1977): 27–9.Google Scholar
Berio, Luciano. “Commenti al Rock,” Nuova Rivista Musicale Italiana 1 (May–June 1967), 125–35.Google Scholar
Bhabha, Homi K. “DissemiNation: time, narrative and the margins of the modern nation,” in Bhabha, The Location of Culture 139–70.Google Scholar
Bhabha, Homi K. “The other question: stereotype, discrimination and the discourse of colonialism,” in Bhabha, The Location of Culture, 66–84.Google Scholar
Birtwistle, Harrison. “Note by the composer,” Three British Composers, LP recording EMI ASD 2333, 1967.Google Scholar
Birtwistle, Harrison. “Territorial rites” [part 1], Musical Times 138 (Oct. 1997): 4–8; (Nov. 1997): 12–16 [part 2].CrossRefGoogle Scholar
Birtwistle, Harrison and Maddocks, Fiona. Wild Tracks: A Conversation Diary. London: Faber, 2014.Google Scholar
Blake, Andrew. The Land Without Music: Music, culture and society in twentieth-century Britain. Manchester University Press, 1997.Google Scholar
Bohlman, Philip V. The Music of European Nationalism: Cultural identity and modern history. Santa Barbara: ABC-CLIO, 2004.Google Scholar
Borio, Gianmario. Musikalische Avantgarde um 1960: Entwurf einer Theorie der informellen Musik. Laaber-Verlag, 1993.Google Scholar
Borio, Gianmario and Danuser, Hermann (eds.). Im Zenit der Moderne: die internationalen Ferienkurse für neue Musik Darmstadt, 1946–1966. Freiburg: Rombach Verlag, 1997, 4 vols.Google Scholar
Boulez, Pierre. Boulez on Music Today, trans. Bradshaw, Susan and Bennett, Richard Rodney. London: Faber, 1971.Google Scholar
Boulez, Pierre. “Éventuellement …” La Revue musicale 212 (May 1952); trans. as “Possibly…” in Boulez, Stocktakings, 111–40.Google Scholar
Boulez, Pierre. Le Pays Fertile: Paul Klee, ed. Thévenin, Paule. Paris: Gallimard, 1989.Google Scholar
Boulez, Pierre. Orientations: Collected Writings, ed. Nattiez, Jean-Jacques, trans. Cooper, Martin. Cambridge, MA: Harvard University Press, 1986.Google Scholar
Boulez, Pierre. “Schönberg is dead,” The Score 6 (Feb. 1952), 18–22; revised version in Boulez, Stocktakings, 209–14.Google Scholar
Boulez, Pierre. Stocktakings from an Apprenticeship, trans. Walsh, Stephen. Oxford University Press, 1991.Google Scholar
Bourdieu, Pierre. The Field of Cultural Production: Essays on art and literature, ed. Johnson, Randal. New York: Columbia University Press, 1993.Google Scholar
Boyes, Georgina. The Imaginary Village: Culture, ideology, and the English folk revival. Manchester University Press, 1993.Google Scholar
Bradbury, Ernest. “Incorporated Society of Musicians: 60th annual conference,” Musical Times 99 (March 1958), 144.Google Scholar
Bradshaw, Susan. “The music of Richard Rodney Bennett,” The Listener (Feb. 28, 1963), 396.Google Scholar
Bradshaw, Susan and Bennett, Richard Rodney. “In search of Boulez,” Music and Musicians (Jan. 1963): 10–13; (Aug. 1963): 14–18, 50.Google Scholar
Brett, Philip. “Keeping the straight line intact? Britten's relations to folksong, Purcell, and his English predecessors,” in Brett, , Music and Sexuality in Britten. Berkeley: University of California Press, 2006: 154–71.Google Scholar
Brinkmann, Reinhold and Wolff, Christoph (eds.). Driven into Paradise: The musical migration from Nazi Germany to the United States. Berkeley: University of California Press, 1999.CrossRefGoogle Scholar
Britten, Benjamin. “Britten looking back” (1963); repr. in Kildea, Britten on Music, 250–3.Google Scholar
Britten, Benjamin. Letters from a Life: The Selected Letters and Diaries of Benjamin Britten, vol. I, ed. Mitchell, Donald and Reed, Philip, London: Faber, 1991; vol. V, ed. Philip Reed and Mervyn Cooke, Woodbridge: Boydell, 2010.Google Scholar
Butler, Judith. Excitable Speech: A politics of the performative. New York: Routledge, 1997.Google Scholar
Butler, Mark J. Unlocking the Groove: Rhythm, meter, and musical design in electronic dance music. Bloomington: Indiana University Press, 2006.Google Scholar
Caldwell, John. The Oxford History of English Music, vol. II: from c. 1715 to the Present Day. Oxford University Press, 1999.CrossRefGoogle Scholar
Cannadine, David. “Ian Fleming and the realities of escapism,” in Cannadine, , In Churchill's Shadow. London: Penguin, 2002: 279–311.Google Scholar
Cardew, Cornelius. “A Scratch Orchestra: draft constitution,” Musical Times 110 (June 1969); repr. in Prévost, Cornelius Cardew, 90–4.CrossRefGoogle Scholar
Cardew, Cornelius. “Report on Stockhausen's Carré,” Part I, Musical Times 102 (Oct. 1961), 619–22; (Nov. 1961), 698–700, repr. in Prévost, Cornelius Cardew, 23–37.CrossRefGoogle Scholar
Cardew, Cornelius. “Reports from abroad: Palermo,” Musical Times 104 (Dec. 1963), 886.Google Scholar
Cardew, Cornelius. “Sextet: The Tiger's Mind,” Musical Times 108 (June 1967); repr. in Prévost, Cornelius Cardew, 84–7.Google Scholar
Cardew, Cornelius. “Stockhausen in London,” Musical Times 107 (Jan. 1966), 43–4; repr. in Prévost, Cornelius Cardew, 73–5.Google Scholar
Cardew, Cornelius. Stockhausen Serves Imperialism (1974); repr. in Prévost, Cornelius Cardew, 149–227.Google Scholar
Cardew, Cornelius. “Towards an ethic of improvisation” (1971); repr. in Prévost, Cornelius Cardew, 125–33.Google Scholar
Carpenter, Humphrey (with research by Doctor, Jennifer). The Envy of the World: Fifty years of the BBC Third Programme and Radio 3. London: Weidenfeld and Nicolson, 1996.Google Scholar
Carroll, Mark. Music and Ideology in Cold War Europe. Cambridge University Press, 2003.Google Scholar
Carter, Elliott. Collected Essays and Lectures, ed. Bernard, Jonathan. University of Rochester Press, 1997.Google Scholar
Cavell, Stanley. A Pitch of Philosophy. Cambridge: Harvard University Press, 1994.CrossRefGoogle Scholar
Chanan, Michael. “Birtwistle's Down by the Greenwood Side,” Tempo 89 (Summer 1969): 19–21.Google Scholar
Clark, Caryl. “Forging identity: Beethoven's ‘ode’ as European Anthem,” Critical Inquiry 23 (1997), 789–807.CrossRefGoogle Scholar
Cobbe, Hugh. “Vaughan Williams, Germany, and the German tradition,” in Frogley, Vaughan Williams Studies, 81–98.Google Scholar
Committee for the Promotion of New Music [CPNM]. “Aims and activities.” Printed brochure, July 1949.Google Scholar
Conekin, Becky E. ‘The Autobiography of a Nation’: The 1951 Festival of Britain. Manchester University Press, 2003.Google Scholar
Cook, Nicholas and Pople, Anthony (eds.). The Cambridge History of Twentieth-Century Music. Cambridge University Press, 2004.CrossRefGoogle Scholar
Cooper, Martin. “New music performed,” in Frank, Alan (ed.), The Year's Work in Music: 1949–50. London, 1950: 47–52.Google Scholar
Corbett, John. “Experimental Oriental: new music and other others,” in Born, Georgina and Hesmondhalgh, David (eds.), Western Music and its Others. Berkeley: University of California Press, 2000: 163–86.Google Scholar
Corn, Wanda M. The Great American Thing: Modern art and national identity, 1915–1935. Berkeley: University of California Press, 1999.Google Scholar
Cott, Jonathan. Stockhausen: Conversations with the composer. New York: Simon and Schuster, 1973.Google Scholar
Cox, David. “English chamber music (since 1700),” in Robertson, Alec (ed.), Chamber Music. Harmondsworth: Penguin, 1957: 329–56.Google Scholar
Craggs, Stewart R. Peter Maxwell Davies: A source book. Rev. edn.; Aldershot: Ashgate, 2003.Google Scholar
Craggs, Stewart R. Richard Rodney Bennett: A Bio-Bibliography. New York: Greenwood, 1990.Google Scholar
Craven, David. “Abstract Expressionism and third-world art,” in Mercer, Kobena (ed.), Discrepant Abstraction. Cambridge: MIT Press, 2006: 30–51.Google Scholar
Crawford, Dorothy Lamb. Evenings on and off the Roof: Pioneering concerts in Los Angeles, 1939–1971. Berkeley: University of California Press, 1995.Google Scholar
Cross, Jonathan. “Music theory and the challenge of modernist music,” in Pople, Anthony (ed.), Theory, Analysis and Meaning in Music. Cambridge University Press, 1995: 184–94.Google Scholar
Crosse, Gordon. Contribution to Stravinsky birthday symposium, Tempo 81 (Summer 1967).Google Scholar
Crosse, Gordon. “Note by the composer,” with EMI LP, Three British Composers, ASD 2333 (1967).Google Scholar
Dahlhaus, Carl. “Form,” in Dahlhaus, , Schoenberg and the New Music, trans. Puffett, Derrick and Clayton, Alfred. Cambridge University Press, 1987: 248–64.Google Scholar
Dahlhaus, Carl. Nineteenth-Century Music, trans. Robinson, J. Bradford. Berkeley: University of California Press, 1989.Google Scholar
Danuser, Hermann. “Composers in exile: the question of musical identity,” in Brinkmann and Wolff, Driven into Paradise, 155–71.CrossRefGoogle Scholar
Dart, R. Thurston. “A background for Musica Britannica,” in Robertson, Alec (ed.), Music 1952. Harmondsworth, Middlesex: Penguin, 1952: 18–28.Google Scholar
Davies, Hugh. “Electronic music,” in Vinton, Dictionary of Contemporary Music, 215–16.Google Scholar
Davies, Hugh. “Gentle Fire: an early approach to live electronic music,” Leonardo Music Journal 11 (2001), 53–60.CrossRefGoogle Scholar
Davies, Peter Maxwell. “An introduction to Indian music,” Mus. Bac. thesis, 2 vols., University of Manchester, 1956.Google Scholar
Davies, Peter Maxwell. Comments in “The symphony orchestra – has it a future?” Composer 37 (Autumn 1970), 6–8.Google Scholar
Davies, Peter Maxwell. “Formal principles in ‘Prolation’ for orchestra,” unpublished essay, ca. 1960. British Library.Google Scholar
Davies, Peter Maxwell. Interview (2011) in Thomson, “Vaughan Williams and his successors,” 301–6.Google Scholar
Davies, Peter Maxwell. “Peter Maxwell Davies on some of his recent work,” The Listener (Jan. 23, 1969), 121.Google Scholar
Davies, Peter Maxwell. Prefatory note to St. Thomas Wake. London: Boosey and Hawkes, 1972.Google Scholar
Davies, Peter Maxwell. “Problems of a British composer today,” The Listener (Oct. 8, 1959), 563–4.Google Scholar
Davies, Peter Maxwell. “Taverner – a synopsis,” in Pruslin, Peter Maxwell Davies, 36–8.Google Scholar
Davies, Peter Maxwell. “The young British composer,” The Score and IMA Magazine 15 (March 1956), 84–5.Google Scholar
de Man, Paul. “Lyric and Modernity.” Blindness and Insight, 2nd edn. New Haven: Yale University Press, 1983: 167–73.Google Scholar
Del Mar, Norman. “On co-conducting Stockhausen's Gruppen,” Tempo 59 (Autumn 1961), 15–16, 21–3.Google Scholar
Demet, Michel-François. “Georg Trakl: Blood, the mirror, the sister,” in Williams, Eric (ed.), The Dark Flutes of Fall: Critical essays on Georg Trakl. Columbia: Camden House, 1991.Google Scholar
Dennis, Brian. Experimental Music in Schools: Towards a new world of sound. London: Oxford University Press, 1970.Google Scholar
Doctor, Jennifer. “Intersecting circles: the early careers of Elizabeth Maconchy, Elisabeth Lutyens, and Grace Williams,” Women and Music 2 (1998), 90–109.Google Scholar
Doctor, Jennifer. The BBC and Ultra-Modern Music, 1922–1936: Shaping a nation's tastes. Cambridge University Press, 1999.Google Scholar
Doctor, Jenny and Wright, David (eds.). Kenyon, Nicholas (consulting ed.). The Proms: A New History. London: Thames and Hudson, 2007.Google Scholar
Donington, Robert and Dart, Thurston, “The origin of the In Nomine,” Music and Letters 30 (April 1949), 101–06.CrossRefGoogle Scholar
Drew, David. “Messiaen: a provisional study,” The Score 10 (Dec. 1954), 33–49; 13 (Sept. 1955), 59–73; 14 (Dec. 1955), 41–61.Google Scholar
Drew, David. “The Darmstadt Summer School of New Music, 1954,” The Score 10 (Dec. 1954), 77–81.Google Scholar
Ducrot, Oswald and Todorov, Tzvetan. Encyclopedic Dictionary of the Sciences of Language. Baltimore: Johns Hopkins University Press, 1979.CrossRefGoogle Scholar
Dyer, Richard. “Alexander Goehr: his music is full of ‘good notes,’” Boston Sunday Globe (Aug. 1, 1993), B20.Google Scholar
Earle, Ben. “Taste, power, and trying to understand Op. 36: British attempts to popularize Schoenberg,” Music and Letters 84 (2003), 608–43.CrossRefGoogle Scholar
East, Leslie. “The problem of communication – two solutions: Thea Musgrave and Gordon Crosse,” in Foreman, British Music Now, 19–31.Google Scholar
Eimert, Herbert and Stockhausen, Karlheinz (eds.). Die Reihe 2: Anton Webern; 1955; English trans. Bryn Mawr: Theodore Presser, 1959.Google Scholar
Eisenstein, Sergei M. “Word and Image,” in The Film Sense; trans. Leyda, Jay. New York: Harcourt, Brace & World, 1942: 1–65.Google Scholar
Emmerson, Simon. “In what form can ‘live electronic music’ live on?” Organised Sound 11 (2006), 209–19.CrossRefGoogle Scholar
Emmerson, Simon. “Live electronic music in Britain: three case studies,” Contemporary Music Review 6 (1991), 179–95.CrossRefGoogle Scholar
Esty, Jed. A Shrinking Island: Modernism and national culture in England. Princeton University Press, 2004.CrossRefGoogle Scholar
Evans, Peter. “Instrumental music I,” in Banfield, Blackwell History, 179–277.Google Scholar
Everett, Walter. The Beatles as Musicians: Revolver Through the Anthology. Oxford University Press, 1999.Google Scholar
Feldman, Morton. “Conversations without Stravinsky” (1967); repr. in Feldman, , Give My Regards to Eighth Street: Collected Writings. Boston: Exact Change, 2000: 50–62.Google Scholar
Ferneyhough, Brian. Collected Writings, ed. Boros, James and Toop, Richard. Amsterdam: Harwood, 1995.Google Scholar
Ford, Andrew. Composer to Composer: Conversations about contemporary music. St. Leonards, NSW: Allen and Unwin, 1993.Google Scholar
Ford, Boris (ed.). The Cambridge Cultural History of Britain, IX: Modern Britain. Cambridge University Press, 1992.Google Scholar
Fosler-Lussier, Danielle. Music Divided: Bartók's Legacy in Cold War Culture. Berkeley: University of California Press, 2007.CrossRefGoogle Scholar
Foster, Hal. The First Pop Age: Painting and subjectivity in the art of Hamilton, Lichtenstein, Warhol, Richter, and Ruscha. Princeton University Press, 2012.Google Scholar
Fox, Christopher. “Music after zero hour,” Contemporary Music Review 26 (2007), 5–25.CrossRefGoogle Scholar
Frogley, Alain. “Constructing Englishness in music: national character and the reception of Ralph Vaughan Williams,” in Frogley, Vaughan Williams Studies, 1–22.CrossRefGoogle Scholar
Frogley, Alain. “Rewriting the renaissance: history, imperialism, and British music since 1840,” Music and Letters 84 (2003), 241–57.CrossRefGoogle Scholar
Frogley, Alain. “Tonality on the town: orchestrating the metropolis in Vaughan Williams's A London Symphony,” in Wörner et al., Tonality 1900–1950: 187–202.Google Scholar
Frogley, Alain and Thomson, Aidan (eds.). Cambridge Companion to Vaughan Williams. Cambridge University Press, 2013.CrossRefGoogle Scholar
Fuller, Buckminster. Operating Manual for Spaceship Earth. New York: Pocket Books, 1970.Google Scholar
Gadamer, Hans-Georg. Truth and Method, 2nd edn., trans. Weinsheimer, Joel and Marsall, Donald G.. New York: Continuum, 1989.Google Scholar
Gaiger, Jason. “Expressionism and the crisis of subjectivity,” in Art of the Avant-Gardes, ed. Edwards, Steve and Wood, Paul. New Haven: Yale University Press, 2004.Google Scholar
Garnham, A. M. Hans Keller and the BBC: The musical conscience of British broadcasting, 1959–79. Aldershot: Ashgate, 2003.Google Scholar
Garnham, A. M. “The BBC in possession, 1945–59,” in Doctor and Wright, The Proms, 130–67.Google Scholar
Gaudier-Brzeska, Henri. “Vortex,” in Blast 1 (1914), ed. Lewis, Wyndham; repr. Santa Rosa: Black Sparrow Press, 1997: 155–8.Google Scholar
Gloag, Kenneth. “Nicholas Maw's breakthrough: Scenes and Arias reconsidered,” Musical Times 152 (Summer 2011), 31–57.Google Scholar
Gloag, Kenneth and Jones, Nicholas (eds.). Peter Maxwell Davies Studies. Cambridge University Press, 2009.Google Scholar
Glock, William. Notes in Advance: An autobiography in music. Oxford University Press, 1991.Google Scholar
Glock, William. “The BBC's music policy” (1963); repr. in Glock, Notes in Advance, 200–13.Google Scholar
Goehr, Alexander. “A page of autobiography,” in Prospect: The Schweppes book of the new generation. London: Hutchinson, 1962: 60–5.Google Scholar
Goehr, Alexander. Contribution to “Personal viewpoints.” Tempo 81 (Summer 1967), 24–5.Google Scholar
Goehr, Alexander. Contribution to “Vision, Vision! Mr Woodcock!” New Statesman (Sept. 3, 1960), 300.Google Scholar
Goehr, Alexander. Finding the Key: Selected Writings, ed. Derrick Puffet. London: Faber, 1998.Google Scholar
Goehr, Alexander. “Is there only one way?” The Score 26 (Jan. 1960); repr. in Goehr, Finding the Key, 20–4.Google Scholar
Goehr, Alexander. “Learning to compose,” in Grünzweig, Alexander Goehr, 97–120.Google Scholar
Goehr, Alexander. “Naboth's Vineyard: Alexander Goehr talks to Stanley Sadie,” Musical Times 109 (1968), 625–6.CrossRefGoogle Scholar
Goehr, Alexander. “The Messiaen class,” in Goehr, Finding the Key, 42–57.Google Scholar
Goehr, Alexander. “Using models … for making original music,” Common Knowledge 8 (2002), 108–23.CrossRefGoogle Scholar
Goehr, Lydia. “Honour displaced,” in Latham (ed.), Sing, Ariel, 211–15.Google Scholar
Goehr, Lydia. “Music and musicians in exile: the romantic legacy of a double life,” in Brinkmann and Wolff, Driven Into Paradise, 66–91.CrossRefGoogle Scholar
Goehr, , Walter, and Alexander, . “Arnold Schönberg's development towards the twelve-note system,” in Hartog (ed.), European Music (1957 edition), 76–93.Google Scholar
Goffman, Erving. Interaction Ritual: Essays on face-to-face behavior. Garden City: Anchor, 1967.Google Scholar
Goffman, Erving. The Presentation of Self in Everyday Life. Garden City: Doubleday Anchor, 1959.Google Scholar
Gold, Ernest. “The new challenge,” The Score and I.M.A. Magazine 14 (Dec. 1955): 36–40.Google Scholar
Goldman, Jonathan. The Musical Language of Pierre Boulez: Writing and Composition. Cambridge University Press, 2011.Google Scholar
Grant, M. J. Serial Music, Serial Aesthetics: Compositional theory in post-war Europe. Cambridge University Press, 2001.Google Scholar
Green, Martin. Children of the Sun: A narrative of “decadence” in England after 1918. London: Constable, 1977.Google Scholar
Greenberg, Clement. “American-type painting” (1955), in Art and Culture. Boston: Beacon Press, 1961: 208–29.Google Scholar
Greenberg, Clement. Collected Essays and Criticism, ed. O'Brian, John. 4 volumes. University of Chicago Press, 1986–93.Google Scholar
Greenberg, Clement. “Modernist painting” (1960), in Greenberg, Collected Essays, vol. IV: 85–93.Google Scholar
Greenfield, Edward. “‘New Music’ in Manchester,” Manchester Guardian (May 12, 1954), 5.Google Scholar
Greenfield, Edward. “Richard Rodney Bennett's new symphony,” Guardian (Feb. 11, 1966), 11.Google Scholar
Greimas, A. J. On Meaning: Selected writings. Minneapolis: University of Minnesota Press, 1987.Google Scholar
Grieve, Alistair. Constructed Abstract Art in England After the Second World War. New Haven: Yale University Press, 2005.Google Scholar
Griffiths, Dai. “On grammar schoolboy music,” in Scott, Derek B. (ed.), Music, Culture, and Society: a reader. Oxford University Press, 2000: 143–5.Google Scholar
Griffiths, Paul. “Music” in Ford, Cambridge Cultural History, 48–83.Google Scholar
Griffiths, Paul. New Sounds, New Personalities: British Composers in Interview. London: Faber, 1985.Peter Maxwell Davies. London: Robson Books, 1982.Google Scholar
Grimley, Daniel. “Landscape and distance: Vaughan Williams, modernism and the Symphonic Pastoral,” in Riley, British Music, 147–74.CrossRefGoogle Scholar
Gropius, Walter. The New Architecture and the Bauhaus, trans. Shand, P. Morton. Cambridge, MA: MIT Press, 1965.Google Scholar
Grubbs, David. Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording. Durham, NC: Duke University Press, 2013.Google Scholar
Grünzweig, Werner (ed.). Alexander Goehr:“Fings ain't Wot They Used t'Be.” Berlin: Akademie der Künste/Wolke, 2012.Google Scholar
Guilbaut, Serge. How New York Stole the Idea of Modern Art: Abstract Expressionism, freedom, and the Cold War. University of Chicago Press, 1983.Google Scholar
Hall, Michael. Between Two Worlds: the Music of David Lumsdaine. Todmorden: Arc, 2003.Google Scholar
Hall, Richard. “Some reflexions on the teaching of musical composition,” The Score 18 (Dec. 1956): 30–4.Google Scholar
Hamilton, Iain. “Alban Berg and Anton Webern,” in Hartog (ed.), European Music (1957 edition), 94–117.Google Scholar
Hansen, Jutta Raab. NS-verfolgte Musiker in England: Spuren deutscher und österreichischer Flüchtlinge in der britischen Musikkultur. Hamburg: von Bockel Verlag, 1996.Google Scholar
Hansen, Miriam Bratu. “The mass production of the senses: classical cinema as vernacular modernism,” Modernism/Modernity 6 (1999), 59–77.CrossRefGoogle Scholar
Harker, Dave. “Still crazy after all these years: what was popular music in the 1960s,” in Moore-Gilbert and Seed (eds.), Cultural Revolution?, 236–54.Google Scholar
Harper-Scott, J. P. E. Elgar: an extraordinary life. London: Royal College of Music, 2007.Google Scholar
Harper-Scott, J. P. E. “‘Our true North’: Walton's First Symphony, Sibelianism, and the nationalization of modernism in England,” Music and Letters 89 (2008), 562–89.CrossRefGoogle Scholar
Harper-Scott, J. P. E. The Quilting Points of Musical Modernism: Revolution, reaction, and William Walton. Cambridge University Press, 2012.CrossRefGoogle Scholar
Harries, Meirion and Harries, Susie. A Pilgrim Soul: the life and work of Elisabeth Lutyens. London: Faber, 1989.Google Scholar
Harris, Alexandra. Romantic Moderns: English writers, artists and the imagination from Virginia Woolf to John Piper. London: Thames and Hudson, 2010.Google Scholar
Harrison, Charles. English Art and Modernism, 1900–1939. New Haven: Yale University Press, 1994.Google Scholar
Hartog, Howard (ed.). European Music in the Twentieth Century, New York: Praeger, 1957; rev. edn., Harmondsworth: Penguin, 1961.Google Scholar
Hatten, Robert S. “Musical agency as implied by gesture and emotion: its consequences for listeners’ experiencing of musical emotion” in Semiotics 2009, ed. Haworth, Karen and Sbrocchi, Leonard. New York: Legas, 2010: 162–9.Google Scholar
Harvey, Jonathan. “Eight Songs for a Mad King,” in Pruslin, Peter Maxwell Davies, 57–61.Google Scholar
Hedges, Anthony. “McEwen Memorial Concerts in Glasgow,” Musical Times 100 (May 1959), 278–9.Google Scholar
Hegarty, Paul and Halliwell, Martin. Beyond and Before: Progressive rock since the 1960s. New York: Continuum, 2011.Google Scholar
Heile, Björn. “Darmstadt as other: British and American responses to musical modernism,” Twentieth-Century Music 1 (2004), 161–78.CrossRefGoogle Scholar
Helm, Everett. “Darmstadt International Summer School,” Musical Times 97 (Sept. 1956), 490–1.Google Scholar
Henderson, Robert. “Harrison Birtwistle,” Musical Times 105 (March 1964), 188–9.CrossRefGoogle Scholar
Henderson, Robert. “London music: Prom novelties,” Musical Times 103 (Nov. 1962), 780.Google Scholar
Henderson, Robert. “Peter Maxwell Davies,” Musical Times 102 (Oct. 1961), 624–6.CrossRefGoogle Scholar
Henderson, Robert. “Proms,” Musical Times 103 (Oct. 1962), 701. “The Cheltenham Festival,” Musical Times 106 (Sept. 1965), 686.Google Scholar
Henri, Adrian. Total Art: Environments, happenings, and performance. Oxford University Press, 1974.Google Scholar
Hewison, Robert. Culture and Consensus: England, art and politics since 1940. London: Methuen, 1995.Google Scholar
Hewison, Robert. In Anger: British Culture in the Cold War, 1945–60. Oxford University Press, 1981.Google Scholar
Hewison, Robert. Too Much: Art and society in the Sixties, 1960–1975. Oxford University Press, 1987.Google Scholar
Hobsbawm, E. J. Nations and Nationalism Since 1780. 2nd edn. Cambridge University Press, 1990.Google Scholar
Holloway, Robin. Contribution to “Benjamin Britten: tributes and memories,” Tempo 120 (Mar. 1977), 5–6.Google Scholar
Holloway, Robin. On Music: Essays and diversions 1963–2003. Brinkworth: Claridge Press, 2003.Google Scholar
Hopkins, Antony. “The emperor's new clothes,” Musical Times 95 (Feb. 1954), 68–9.CrossRefGoogle Scholar
Hopkins, Bill. “The Piano Music,” in Northcott (ed.), Music of Alexander Goehr, 17–23.Google Scholar
Hubbs, Nadine. The Queer Composition of America's Sound: Gay modernists, American music, and national identity. Berkeley: University of California Press, 2004.CrossRefGoogle Scholar
Hyman, James. The Battle for Realism: Figurative art in Britain during the Cold War, 1945–1960. New Haven: Yale University Press, 2001.Google Scholar
Iddon, Martin. New Music at Darmstadt: Nono, Stockhausen, Cage, and Boulez. Cambridge University Press, 2013.CrossRefGoogle Scholar
Jackson, Paul R. W. The Life and Music of Sir Malcolm Arnold. Aldershot: Ashgate, 2003.Google Scholar
Jacobs, Arthur. “Down with school music!” Musical Times 105 (Mar. 1964), 182–3.CrossRefGoogle Scholar
Jameson, Fredric. A Singular Modernity: on the ontology of the present. London: Verso, 2002.Google Scholar
Jarman, Douglas. “The music of Anthony Gilbert – part 1,” Tempo 229 (July 2004), 2–17.CrossRefGoogle Scholar
Jenkins, David Fraser and Spalding, Francis, John Piper in the 1930s: Abstraction on the beach. London: Merrell, 2003.Google Scholar
Jones, Nicholas. “Peter Maxwell Davies in the 1950s: a conversation with the composer,” Tempo 254 (Oct. 2010), 11–19.CrossRefGoogle Scholar
Jones, Nicholas. “The writings of a young British composer: Peter Maxwell Davies in the 1950s,” in Gloag and Jones (eds.), Peter Maxwell Davies Studies, 21–44.Google Scholar
Josipovici, Gabriel. “English studies and European culture,” in The Lessons of Modernism and other essays. Totowa, NJ: Rowman and Littlefield, 1977.Google Scholar
Kagel, Mauricio. “Le théâtre instrumental,” La Musique et ses problèmes contemporaines 1953–1963, ed. Barrault, Jean-Louis et al. Paris: René Julliard, 1963: 285–99.Google Scholar
Kagel, Mauricio. “Neuer Raum – Neue Musik” (1966); repr. in Borio-Danuser, Im Zenit der Moderne, III: 245–53.Google Scholar
Karkoschka, Erhard. Notation in New Music. German edition, 1966; trans. Koenig, Ruth. New York: Praeger, 1972.Google Scholar
Keller, Hans. “Resistances to Britten's music: their psychology,” Music Survey (1950), 227–36; repr. in Donald Mitchell and Hans Keller (eds.), Music Survey: new series 1949–1952. London: Faber, 1981.Google Scholar
Kenyon, Nicholas. The BBC Symphony Orchestra: the first fifty years:1930–1980. London: British Broadcasting Corporation, 1981.Google Scholar
Kerman, Joseph. Concerto Conversations. Cambridge: Harvard University Press, 1999.CrossRefGoogle Scholar
Keynes, John Maynard. “The Arts Council: its policy and hopes,” The Listener (July 12, 1945), 31.Google Scholar
Kildea, Paul. Selling Britten: Music and the market place. Oxford University Press, 2002.CrossRefGoogle Scholar
Koch, Heinrich Christoph. Versuch einer Anleitung zur Composition (1793, repr. Munich: Olms. 1969); trans. Baker, Nancy K. as Introductory Essay on Composition. New Haven: Yale University Press, 1983.Google Scholar
Kovács, Inge. “Instrumentales theater,” in Stephan, Rudolf et al. (eds.), Von Kranichstein zur Gegenwart: 50 Jahre Darmstädter Ferienkurse. Stuttgart: DACO Verlag, 1996, 333–39.Google Scholar
Kovács, Inge“Musik und Szene,” in Borio and Danuser, Im Zenit der Moderne, II: 311–32.Google Scholar
Kramer, Lawrence. Music as Cultural Practice, 1800–1900. Berkeley: University of California Press, 1990.Google Scholar
Krebs, Harald. Fantasy Pieces: Metrical dissonance in the music of Robert Schumann. Oxford University Press, 1999.CrossRefGoogle Scholar
Lambert, Constant. Music Ho! A Study of Music in Decline [first published 1934]. Harmondsworth: Penguin Books, 1948.Google Scholar
Landau, Ellen G. (ed.). Reading Abstract Expressionism: Context and critique. New Haven: Yale University Press, 2005.Google Scholar
Lang, Paul Henry and Broder, Nathan (eds.). Contemporary Music in Europe: A comprehensive survey. New York: G. Schirmer, Inc., 1965.Google Scholar
Latham, Alison (ed.). Sing, Ariel: Essays and thoughts for Alexander Goehr's Seventieth Birthday. Burlington: Ashgate, 2003.Google Scholar
Leary, Timothy. “She comes in colours” (1966), in The Politics of Ecstasy. London: Paladin, 1970, 99–132.Google Scholar
Leydon, Rebecca. “Forbidden Planet: Effects and affects in the electro avant-garde,” in Hayward, Philip (ed.), Off the Planet: Music, sound and science fiction cinema. London: John Libbey, 2004: 61–76.CrossRefGoogle Scholar
Leydon, Rebecca. “Towards a typology of minimalist tropes,” Music Theory Online 8/4 (Dec. 2002).Google Scholar
Ligeti, György. “Metamorphoses of musical form,” trans. Cardew, Cornelius. In Die Reihe 7: Form – Space, ed. Eimert, Herbert and Stockhausen, Karlheinz (1960); Bryn Mawr, 1965: 5–19.Google Scholar
Link, John. “Long-range polyrhythms in Elliott Carter's recent music,” Ph.D. diss., City University of New York, 1994.Google Scholar
MacDonald, Ian. Revolution in the Head: The Beatles’ records and the Sixties, 2nd edn. London: Pimlico, 2005.Google Scholar
McGregor, Richard. “An Analysis of Thea Musgrave’s Compositional Style from 1958–1967.” Ph.D. diss., University of Liverpool, 1980.Google Scholar
McGregor, Richard. “Peter Maxwell Davies's Sources: reflections on origins, meaning and significance,” in Gloag and Jones, Peter Maxwell Davies Studies, 150–69.Google Scholar
McGregor, Richard (ed.) Perspectives on Peter Maxwell Davies. Aldershot: Ashgate, 2000.Google Scholar
Mark, Christopher. Roger Smalley: A case-study of late twentieth-century composition. Farnham: Ashgate, 2012.Google Scholar
Marston, Marlene Geller. “The serial keyboard music of Richard Rodney Bennett,” Ph.D. diss., University of Wisconsin, 1968.Google Scholar
Martin, Paul. “Analysis of selected works,” in Mary Martin. London: Tate Gallery, 1984: 35–45.Google Scholar
Marwick, Arthur. The Sixties: Cultural revolution in Britain, France, Italy and the United States, c. 1958–1974. Oxford University Press, 1998.Google Scholar
Mason, Colin. “Dartington Hall – a retreat for music lovers,” Manchester Guardian (Aug. 18, 1955), 5.Google Scholar
Mason, Colin. “Manchester musicians in London: ‘modernest moderns,’” Manchester Guardian (Jan. 10, 1956).Google Scholar
Mason, Colin. Music in Britain: 1951–1962. London: Longmans, Green/British Council, 1963.Google Scholar
Massey, Anne. The Independent Group: Modernism and Mass Culture in Britain, 1945–59. Manchester University Press, 1995.Google Scholar
Matthews, David. “The rehabilitation of the vernacular,” in Norris, Christopher (ed.), Music and the Politics of Culture. London: Lawrence and Wishart, 1989.Google Scholar
Maus, Fred Everett. “Music as drama” (1988); repr. in Music and Meaning, ed. Robinson, Jenefer. Ithaca: Cornell University Press, 1997: 105–30.Google Scholar
Mehta, Ved. “Onward and upward with the arts: the Third,” New Yorker (May 18, 1963), 98–134.Google Scholar
Mellers, Wilfrid. “Recent trends in British music,” Musical Quarterly 38 (April 1952), 185–201.CrossRefGoogle Scholar
Mellor, David Alan. “Apocalyptic visions,” in Blast to Freeze: British art in the 20th century. Wolfsburg, 2004: 107–29.Google Scholar
Melly, George. Revolt into Style: the pop arts in Britain. Harmondsworth: Penguin, 1971.Google Scholar
Meredith, Anthony and Harris, Paul. Malcolm Arnold: Rogue Genius. Salhouse: Thames/Elkin, 2004.Google Scholar
Meredith, Anthony and Harris, Paul. Malcolm Williamson: a mischievous muse. London: Omnibus, 2007.Google Scholar
Meredith, Anthony, with Harris, Paul. Richard Rodney Bennett: the complete musician. London: Omnibus, 2010.Google Scholar
Metzer, David. Musical Modernism at the Turn of the Twenty-First Century. Cambridge University Press, 2009.Google Scholar
Misch, Imke and Bandur, Markus. Karlheinz Stockhausen bei den Internationalen Ferienkursen für Neue Musik in Darmstadt 1951–1996. Kürten: Stockhausen Verlag, 2001.Google Scholar
Mitchell, Alistair and Poulton, Alan. A Chronicle of First Broadcast Performances of Musical Works in the United Kingdom, 1923–1996. Aldershot: Ashgate, 2001.Google Scholar
Mitchell, Donald. “A love poem to romantic music,” Daily Telegraph (Sept. 1, 1962), 8.Google Scholar
Mitchell, Donald. “Malcolm Arnold II: the curse of popularity” (1977), repr. in Mitchell, , Cradles of the New: Writings on Music, 1951–1991. London: Faber, 1995: 107–21.Google Scholar
Mitchell, Donald. “Some first performances,” Musical Times 95 (Apr. 1954), 201–2.CrossRefGoogle Scholar
Mitchell, Donald. The Language of Modern Music. Rev. edn. New York: St. Martin's Press, 1969.Google Scholar
Mitchell, Donald and Keller, Hans. Benjamin Britten: a commentary on his works. London: Rockliff, 1952.Google Scholar
Moore-Gilbert, Bart and Seed, John (eds.). Cultural Revolution? The challenge of the arts in the 1960s. London: Routledge, 1992.Google Scholar
Morgan, Kenneth O. Britain Since 1945: the People's Peace. Oxford University Press, 2001.Google Scholar
Musgrave, Thea. Interview in Oral History, American Music. New Haven: Yale University School of Music. May 12, 1983.Google Scholar
Musgrave, Thea. “Musical Britain,” Letter from R. Vaughan Williams, SPNM president and others, Daily Telegraph (Aug. 15, 1951).Google Scholar
New Grove Dictionary of Music and Musicians, ed. Sadie, Stanley. London: Macmillan, 1980.Google Scholar
New Grove Dictionary of Music and Musicians, 2nd edn., ed. Sadie, Stanley and Tyrrell, John. London: Macmillan, 2001.Google Scholar
Nicholls, David. “‘All made of [classical] tunes’: towards a taxonomy of rock's art music borrowings,” in Meyer, Felix et al. (eds.), Crosscurrents: American and European Music in Interaction, 1900–2000. Woodbridge: Boydell, 2014: 464–71.Google Scholar
Niebur, Louis. Special Sound: The creation and legacy of the BBC's Radiophonic Workshop. Oxford University Press, 2010.CrossRefGoogle Scholar
Northcott, Bayan. “Goehr, (Peter) Alexander,” in New Grove Dictionary (1980), vol. VII: 488–90.Google Scholar
Northcott, Bayan. (ed.), The Music of Alexander Goehr: Interviews and articles. London, Schott, 1980.Google Scholar
Nyman, Michael. Experimental Music: Cage and beyond. 1974; 2nd edn., Cambridge University Press, 1999.Google Scholar
Nyman, Michael. “First performances,” Tempo 88 (1969); repr. in Nyman, Collected Writings, 61–4.Google Scholar
Nyman, Michael. “Harrison Birtwistle,” London Magazine 11 (Oct.–Nov. 1971); repr. in Nyman, Collected Writings, 214–17.Google Scholar
Nyman, Michael. “Mr Birtwistle is out,” Music and Musicians 18 (Sept. 1969); repr. in Nyman, Collected Writings, 75–6.Google Scholar
Nyman, Michael. “Stockhausen and David Bedford,” The Listener (April 30, 1970); repr. in Nyman, Collected Writings, 95–7.Google Scholar
Osmond-Smith, David. “New beginnings: the international avant-garde, 1945–62,” in Cook and Pople, Cambridge History, 336–3.CrossRefGoogle Scholar
Ottaway, Hugh. “Radio notes: some points from the Proms,” Musical Opinion (Oct. 1961), 27.Google Scholar
Owens, Peter. “Revelation and fallacy: observations on compositional technique in the music of Peter Maxwell Davies,” Music Analysis 13 (1994), 161–201.CrossRefGoogle Scholar
Palmer, Christopher and Foreman, Lewis. “Richard Rodney Bennett,” in Foreman (ed.), British Music Now, 108–19.Google Scholar
Panufnik, Andrzej. “A composer's view of life in modern Poland,” Times (Aug. 12, 1954), 7, 8 and (Aug. 13, 1954), 7.Google Scholar
Parkinson, C. Northcote. Parkinson's Law or the Pursuit of Progress. London: John Murray, 1958.Google Scholar
Parsons, Ben. “Sets and the city: serial analysis, Parisian reception, and Pierre Boulez's Structures 1a,” Current Musicology 76 (Fall 2003), 53–79.Google Scholar
Parsons, Laurel. “Music and text in Elisabeth Lutyens's Wittgenstein motet,” Canadian University Music Review 20 (1999), 71–100.CrossRefGoogle Scholar
Payne, Anthony. Frank Bridge: Radical and conservative. London: Thames Publishing, 1984.Google Scholar
Payne, Anthony. Liner note to Crosse, Changes, LP recording Argo ZRG 656, 1970.CrossRefGoogle Scholar
Payne, Anthony. Liner note to New Music from Britain, recording Angel Stereo LP S36387, 1965.Google Scholar
Payne, Anthony. “Nicholas Maw's String Quartet,” Tempo 74 (Autumn 1965), 5–11.CrossRefGoogle Scholar
Picasso. Exhibition catalog. The Tate Gallery. London: Arts Council of Great Britain/Lund Humphries, 1960.Google Scholar
Pickering, Michael. Stereotyping: the politics of representation. New York: Palgrave, 2001.CrossRefGoogle Scholar
Piekut, Benjamin. “Actor-networks in music history: clarifications and critiques,” Twentieth-Century Music 11 (2014), 191–215.CrossRefGoogle Scholar
Piekut, Benjamin. Experimentalism Otherwise: the New York avant-garde and its limits. Berkeley: University of California Press, 2011.Google Scholar
Pinch, Trevor and Trocco, Frank. Analog Days: the invention and impact of the Moog synthesizer. Cambridge: Harvard University Press, 2002.Google Scholar
Plant, Andrew Martin. “The Life and Music of Philip Christian Darnton,” Ph.D. diss., University of Birmingham, 2002, 2 vols.Google Scholar
Poggioli, Renato. The Theory of the Avant-Garde. 1962; trans. Gerald Fitzgerald. Cambridge: Harvard University Press, 1968.Google Scholar
Pople, Anthony. “Vaughan Williams, Tallis, and the Phantasy principle,” in Frogley, Vaughan Williams Studies, 47–80.Google Scholar
Porter, Andrew. “London music: two British Symphonies,” Musical Times 101 (Dec. 1960), 766.Google Scholar
Porter, Andrew. “Some new British composers,” in Lang and Broder, Contemporary Music in Europe, 12–22.CrossRefGoogle Scholar
Potter, Keith, Gann, Kyle and Siôn, Pwyll ap (eds.). Ashgate Research Companion to Minimalist and Postminimalist Music. Farnham: Ashgate, 2013.Google Scholar
Poudrier, Ève. “Local polymetric structures in Elliott Carter's 90+ for Piano (1994),” in Heile, Björn (ed.), The Modernist Legacy: Essays on new music. Farnham: Ashgate, 2009: 205–33.Google Scholar
Prelinger, Elizabeth and Parke-Taylor, Michael (eds.). The Symbolist Prints of Edvard Munch. New Haven: Yale University Press, 1996.Google Scholar
Prince, Gerald. A Dictionary of Narratology. Lincoln: University of Nebraska Press, 1987.Google Scholar
Propp, V. Morphology of the Folktale. Rev. 2nd edn. Austin: University of Texas Press, 1968.Google Scholar
Pruslin, Stephen (ed.). Peter Maxwell Davies: Studies from two decades. London: Boosey and Hawkes, 1979.Google Scholar
Quiller-Couch, Arthur. The Oxford Book of English Verse. 1900, rev. edn, Oxford University Press, 1939.Google Scholar
Rancière, Jacques. The Politics of Aesthetics, trans. Rockhill, Gabriel. London: Continuum, 2004.Google Scholar
“Report of a meeting between the Guild and the BBC,” Composer 1 (Oct. 1958), 8–10.Google Scholar
“Report on meeting with BBC held on 10th July 1959,” Composer 3 (Oct. 1959), 7–10.Google Scholar
Reese, Gustave. “The origin of the English In Nomine,” Journal of the American Musicological Society 2/1 (Spring 1949), 7–22.CrossRefGoogle Scholar
Rees, Jonathan. “Peter Maxwell Davies's Revelation and Fall: influence study and analysis,” PhD dissertation, Open University, 2011.Google Scholar
Ricoeur, Paul. “On interpretation” (1983), repr. in Ricoeur, From Text to Action: Essays in Hermeneutics II. London: Continuum, 2008: 1–21.Google Scholar
Robbins, David (ed.). The Independent Group: Postwar Britain and the aesthetics of plenty. Cambridge: MIT Press, 1990.Google Scholar
Roberts, David L. “Alma Redemptoris Mater,” in McGregor, Perspectives on Peter Maxwell Davies, 1–22.CrossRefGoogle Scholar
Roberts, David L. “Techniques of composition in the music of Peter Maxwell Davies,” Ph.D. diss., Birmingham University, 1985, 2 vols.Google Scholar
Robison, Brian Carl. “Carmen Arcadiae Mechanicae Perpetuum: Toward a Methodology for Analyzing Harrison Birtwistle's Music Since 1977,” D.M.A. diss., Cornell University, 1999.Google Scholar
Roeder, John. “Interacting pulse streams in Schoenberg's Atonal Polyphony,” Music Theory Spectrum 16 (1994), 231–49.CrossRefGoogle Scholar
Rosenberg, Harold. “The Cold War,” Partisan Review 29 (1962), repr. in Discovering the Present. University of Chicago Press, 1973.Google Scholar
Routh, Francis. Contemporary British Music: the twenty-five years from 1945 to 1970. London: Macdonald, 1972.Google Scholar
Rowlands, Jeffrey. “Twelve-note methodology in the music of Alexander Goehr,” Ph.D diss., University of Surrey, 1989.Google Scholar
Rufer, Josef. Die Komposition mit zwölf Tönen (1952); trans. Humphrey Searle as Composition with Twelve Notes Related Only to One Another. London: Barrie and Rockliff, 1954.Google Scholar
Rupprecht, Philip. “Among the ruined languages: Britten’s triadic modernism, 1930–40,” in Wörner et al. (eds.), Tonality 1900–1950: 223–46.Google Scholar
Rupprecht, Philip. “Britten and the avant-garde in the 1950s,” in Rupprecht, (ed.), Rethinking Britten. Oxford University Press, 2013: 132–55.CrossRefGoogle Scholar
Rupprecht, Philip. “Mechanical song: Birtwistle's rhythmic imagination,” in Beard, David, Gloag, Kenneth and Jones, Nicholas (eds.), Harrison Birtwistle Studies, Cambridge University Press, 2015: 26–62.CrossRefGoogle Scholar
Rupprecht, Philip. “‘Something slightly indecent’: British composers, the European avant-garde, and national stereotypes in the 1950s,” Musical Quarterly 91 (2008), 275–327.CrossRefGoogle Scholar
Rupprecht, Philip. “Thematic drama in early Peter Maxwell Davies: from Op. 1 to the First Taverner Fantasia,” in Gloag and Jones, Peter Maxwell Davies Studies, 45–78.Google Scholar
Rushton, Julian. “Orchestral music,” in Northcott, Music of Alexander Goehr, 59–82.Google Scholar
Salazar, Adolfo. Music In Our Time: trends in music since the Romantic era, trans. Pope, Isabel. New York: W. W. Norton, 1946.Google Scholar
Samson, Jim. “Instrumental music II,” in Banfield, Blackwell History, 278–342.Google Scholar
Samuel, Raphael. “The voice of Britain,” in Samuel, , Island Stories: Unravelling Britain. London: Verso, 1998: 172–93.Google Scholar
Sandbrook, Dominic. Never Had it So Good: A history of Britain from Suez to the Beatles. London: Abacus, 2005.Google Scholar
Saunders, Frances Stonor. The Cultural Cold War: the CIA and the World of Arts and Letters. New York: New Press, 1999.Google Scholar
Savage, Roger. “The radio plays of Henry Reed,” in Drakakis, John (ed.), British Radio Drama. Cambridge University Press, 1981: 158–90.Google Scholar
Saxton, Robert. “Elisabeth Lutyens,” in Finnissy, Michael et al. (eds.), New Music 88. Oxford University Press, 1988.Google Scholar
Schiff, David. Music of Elliott Carter, 2nd edn. Ithaca: Cornell University Press, 1998.CrossRefGoogle Scholar
Schnebel, Dieter. “Das musikalische Material – Verhältnisse und Aktionen” (1964), in Schnebel, , Denkbare Musik: Schriften 1952–1972. Cologne: DuMont Schauberg, 1972: 286–9.Google Scholar
Schnebel, Dieter. “Karlheinz Stockhausen,” Die Reihe IV (Young Composers). 1958; English edition. Bryn Mawr: Presser, 1960: 121–35.Google Scholar
Schwarz, Bill. “Britain, America, and Europe,” in Morley, David and Robins, Kevin (eds.), British Cultural Studies. Oxford University Press, 2001: 155–69.Google Scholar
Seabrook, Mike. Max: The life and music of Peter Maxwell Davies. London: Victor Gollancz, 1994.Google Scholar
Shaw, Roy, and Shaw, Gwen. “The cultural and social setting,” in Ford, Cambridge Cultural History, 3–44.Google Scholar
Sheppard, Robert. “British poetry and its discontents,” in Moore-Gilbert and Seed, Cultural Revolution, 160–80.Google Scholar
Sheppard, W. Anthony. Revealing Masks: Exotic influences and ritualized performance in modernist music theater. Berkeley: University of California Press, 2001.Google Scholar
Shreffler, Anne C. “Ideologies of serialism: Stravinsky's Threni and the Congress of Cultural Freedom,” in Berger, Karol and Newcomb, Anthony (eds.), Music and the Aesthetics of Modernity. Cambridge: Harvard University Press, 2005: 217–45.Google Scholar
Shreffler, Anne C. “The myth of empirical historiography: a response to Joseph N. Straus,” Musical Quarterly 84 (2000), 30–9.CrossRefGoogle Scholar
Sinclair, Andrew. Arts and Cultures: The history of the fifty years of the Arts Council of Great Britain. London: Sinclair-Stevenson, 1995.Google Scholar
Slobin, Mark (ed.). Retuning Culture: Musical changes in central and eastern Europe. Durham: Duke University Press, 1996.Google Scholar
Smalley, Roger. “Roger Smalley writes about his new ‘Beat Music,’” The Listener (Aug. 12, 1971), 218.Google Scholar
Smalley, Roger. “Some recent works of Peter Maxwell Davies,” Tempo 84 (Spring 1968), 2–5.CrossRefGoogle Scholar
Smalley, Roger. “Stockhausen's Piano Pieces,” Musical Times 110 (Jan. 1969), 30–2.CrossRefGoogle Scholar
Smith, Barry. Peter Warlock: The Life of Philip Heseltine. Oxford University Press, 1994.CrossRefGoogle Scholar
Snowman, Daniel. The Hitler Émigrés: the cultural impact on Britain of refugees from Nazism. London: Chatto & Windus, 2002.Google Scholar
Sontag, Susan. “Notes on ‘Camp’” (1964), in Against Interpretation. New York: Delta, 1978: 275–92.Google Scholar
Souster, Tim. “Great Britain: since 1945,” in Vinton, Dictionary of Contemporary Music, 282–4.Google Scholar
Souster, Tim. “Michael Tippett's Vision,” Musical Times 107 (Jan. 1966), 20–2.CrossRefGoogle Scholar
Souster, Tim. “Performance instructions from 1972.” Spectral. London: 0dB Editions, 1982 (repr. 1999), 1–9.Google Scholar
Souster, Tim. “Rock und Konzertmusik: Beziehungen und Parallelen,” in “Über die Grenzen”: E-und U-Music-Bestandaufnahme einer Musikalischen Entwicklung, ed. Hansen, Bernhard. Glinde: Verlag Hans-Jürgen Böckel, 1985, 75–6.Google Scholar
Souster, Tim. “The rock influence,” in First American Music Conference, Keele University, England, 1975 (Keele: Music Department, 1978), 134–5.Google Scholar
Souster, Tim. “Tim Souster writes about his new composition for three orchestras, Triple Music II,” The Listener (Aug. 13, 1970), 222.Google Scholar
Spalding, Frances. John Piper, Myfanwy Piper: Lives in art. Oxford University Press, 2009.Google Scholar
Steinberg, Michael. “Elliott Carter's Second String Quartet,” The Score 27 (July 1960), 22–6.Google Scholar
Stephan, Rudolf, Knessl, Lothar et al. (eds.). Von Kranichstein zur Gegenwart: 50 Jahre Darmstädter Ferienkurse. Stuttgart: DACO Verlag, 1996.Google Scholar
Stephens, Robert. “Macmillan's warning on danger of war by muddle,” Observer (Feb. 22 1959), 1.Google Scholar
Stevens, Dennis. “P. Racine Fricker,” in Robertson, Alec (ed.), Music 1952. Harmondsworth: Pelican, 1952: 29–37.Google Scholar
Stockhausen, Karlheinz. “‘Musik kennt keine Grenzen’?” (1956), in Texte, vol. II, 210–11.Google Scholar
Stockhausen, Karlheinz. Texte zur elektronischen und instrumentalen Musik, vols. I and II, Schnebel, Dieter (ed.). Cologne: DuMont Schauberg, 1963, 1964.Google Scholar
Stockhausen, Karlheinz. “Weberns Konzert für 9 Instrumente op. 24: analyse des ersten Satzes” (1953). In Texte I, 24–31.Google Scholar
Stokes, Martin (ed.). Ethnicity, Identity and Music: The musical construction of place. Oxford: Berg, 1994.Google Scholar
Stokoe, Carolyn. “David Bedford,” in Foreman, British Music Now, 133–44.Google Scholar
Straus, Joseph N. Introduction to Post-Tonal Theory, 3rd edn. Englewood Cliffs: Prentice Hall, 2005.Google Scholar
Straus, Joseph N. “The myth of serial ‘tyranny’ in the 1950s and 1960s,” Musical Quarterly 83 (Fall 1999): 301–43.Twelve-Tone Music in America. Cambridge University Press, 2009.CrossRefGoogle Scholar
Stravinsky, Igor and Craft, Robert. Expositions and Developments. Garden City, NY: Doubleday, 1962.CrossRefGoogle Scholar
Suzuki, Dean. “Minimalism in the time-based arts,” in Potter et al., Ashgate Research Companion, 108–28.Google Scholar
Szwed, John F. Space is the Place: the Life and Times of Sun Ra. New York: Da Capo, 1998.Google Scholar
Tarasti, Eero. A Theory of Musical Semiotics. Bloomington: Indiana University Press, 1994.Google Scholar
Taruskin, Richard. Music in the Late Twentieth Century. Oxford University Press, 2005.Google Scholar
Taruskin, Richard. Stravinsky and the Russian Traditions. Berkeley: University of California Press, 1997. 2 vols.Google Scholar
Taylor, A. J. P. “Look back at the Fifties: backwards to Utopia,” New Statesman (Jan. 2, 1960), 5.Google Scholar
Taylor, Michael. “Narrative and musical structures in Harrison Birtwistle's The Mask of Orpheus and Yan Tan Tethera,” in Danuser, Hermann and Kassel, Matthias (eds.), Musiktheater Heute. Basle: Paul Sacher Stiftung, 2003: 173–93.Google Scholar
Taylor, Michael. (ed.), Sammlung Harrison Birtwistle. Basle: Paul Sacher Stiftung, 2000.Google Scholar
Tenant-Flowers, Sarah Jane. “A study of style and techniques in the music of Elisabeth Lutyens,” Ph.D. diss., Durham University, 1991. 2 vols.Google Scholar
Terry, R. R. “Preface” to Byrd, My Ladye Nevells Booke of Virginal Music, ed. Andrews, Hilda; London, 1926; repr. New York: Dover, 1969, ix.Google Scholar
Thomas, Adrian. Polish Music Since Szymanowski. Cambridge University Press, 2005.CrossRefGoogle Scholar
Thomson, Aidan J. “Vaughan Williams and his successors: composers’ forum,” in Frogley and Thomson, Cambridge Companion to Vaughan Williams, 299–321.Google Scholar
Tippett, Michael. “The festival and society,” Musical Times 110 (June 1969), 589–90.CrossRefGoogle Scholar
Trakl, Georg. Das dichterische Werk, ed. Kur, Friedrich. Munich: Deutscher Taschenbuch Verlag, 1972.Google Scholar
Vaughan Williams, Ralph. National Music and Other Essays. Oxford University Press, 1963.Google Scholar
Vaughan Williams, Ralph. Obituary notice for Schoenberg. Music and Letters 32 (1951), 322.Google Scholar
Vaughan Williams, Ralph and Lloyd, A. L. (eds.). The Penguin Book of English Folk Songs. Harmondsworth: Penguin, 1959.Google Scholar
Vojcic, Aleksandra. “A sonorous image of time stretching in Birtwistle's Harrison's Clocks,” Perspectives of New Music 48 (2010), 5–43.CrossRefGoogle Scholar
Wade, Peter. Music, Race, and Nation: Música tropical in Columbia. University of Chicago Press, 2000.Google Scholar
Walsh, Stephen, Lutyens, Elizabeth and Gilbert, Anthony, “Time Off and The Scene Machine,” Musical Times 113 (Feb. 1972), 137–9.CrossRefGoogle Scholar
Warrack, John. “Seven advanced musical works: 12-note technique,” Daily Telegraph (Jan. 10, 1956).Google Scholar
Waterhouse, John C. G. “Peter Maxwell Davies and his public image,” The Listener (May 7, 1964), 773.Google Scholar
Waterhouse, John C. G. “The music of Gordon Crosse,” Musical Times 106 (May 1965), 342–4.CrossRefGoogle Scholar
Waterhouse, John C. G. “Towards an opera,” Tempo 69 (1964); repr. in Pruslin (ed.), Peter Maxwell Davies, 18–25.CrossRefGoogle Scholar
Weiner, Martin J. English Culture and the decline of the Industrial Spirit 1850–1980. Cambridge University Press, 1981.Google Scholar
Wellens, Ian. Music on the Frontline: Nicholas Nabokov's struggle against Communism and middlebrow culture. Aldershot: Ashgate, 2001.Google Scholar
White, Eric Walter. Igor Stravinsky: The Composer and his Works, 2nd edn. London: Faber, 1979.Google Scholar
Whittall, Arnold. “‘A dark voice from within’: Peter Maxwell Davies and modern times,” in Gloag and Jones, Peter Maxwell Davies Studies, 1–20.Google Scholar
Whittall, Arnold. “British music in the modern world,” in Banfield, Blackwell History, 9–26.Google Scholar
Whittall, Arnold. “Music in the Provinces: Nottingham,” Musical Times 108 (Aug. 1967), 723–4.Google Scholar
Whittall, Arnold. “Post twelve-note analysis,” Proceedings of the Royal Musical Association 94 (1966–67), 1–17.CrossRefGoogle Scholar
Whittall, Arnold. “Scenes, arias and Albion moonlight: the 1960s reconsidered.” Unpublished keynote, British Music in the 1960s, University of Surrey, 1998.Google Scholar
Whittall, Arnold. “Schoenberg and the English: notes for a documentary,” Journal of the Arnold Schoenberg Institute 4 (1980), 24–33.Google Scholar
Whittall, Arnold. “The instrumental music of Nicholas Maw: questions of tonality,” Tempo 106 (Sept. 1973), 26–33.CrossRefGoogle Scholar
Wiebe, Heather. “Benjamin Britten, the ‘National Faith,’ and the animation of history in 1950s England,” Representations 93 (2006), 76–105.CrossRefGoogle Scholar
Wiebe, Heather. Britten's Unquiet Pasts: Sound and memory in postwar reconstruction. Cambridge University Press, 2012.CrossRefGoogle Scholar
Wiebe, Heather. “‘Now and England’: Britten's Gloriana and the New Elizabethans,” Cambridge Opera Journal 17 (2005), 141–72.CrossRefGoogle Scholar
Williams, Alistair. Music in Germany Since 1968. Cambridge University Press, 2013.CrossRefGoogle Scholar
Williams, Raymond. “Metropolitan perceptions and the emergence of modernism,” in Williams, Politics of Modernism, 37–48.Google Scholar
Williams, Raymond. “Politics and policies: the case of the Arts Council,” in Williams, Politics of Modernism, 141–50.Google Scholar
Willson, Rachel Beckles. Ligeti, Kurtág, and Hungarian Music during the Cold War. Cambridge University Press, 2007.Google Scholar
Witts, Richard. Artist Unknown: An alternative history of the Arts Council. London: Warner Books, 1998.Google Scholar
Wood, Hugh. “English contemporary music,” in Hartog, European Music (1961 edition), 145–70.Google Scholar
Wood, Hugh. “On music of conviction … and an enduring friendship,” in Latham, Sing, Ariel, 327–30.Google Scholar
Wood, Hugh. “The music of Alexander Goehr,” Musical Times 103 (May 1962), 312–14.CrossRefGoogle Scholar
Wörner, Felix, Scheider, Ullrich, and Rupprecht, Philip (eds.). Tonality 1900–1950: Concept and practice. Stuttgart: Franz Steiner, 2012.CrossRefGoogle Scholar
Wörner, Karl H. Stockhausen: Life and Work, trans. Hopkins, Bill. Berkeley: University of California Press, 1973.Google Scholar
Wright, David. “Concerts for coteries, or music for all? Glock's Proms reconsidered,” Musical Times 149 (Autumn 2008), 3–34.CrossRefGoogle Scholar
Wright, David. “Reinventing the Proms: the Glock and Ponsonby eras, 1959–85,” in Doctor et al., The Proms, 168–209.Google Scholar
Wright, Patrick. On Living in an Old Country: The national past in contemporary Britain. London: Verso, 1985.Google Scholar
Adlington, Robert. “Big business? Anti-Americanism in British music theatre of the Vietnam era,” paper at Royal Musical Association, London, September 2013.Google Scholar
Adlington, Robert. The Music of Harrison Birtwistle. Cambridge University Press, 2000.Google Scholar
Adlington, Robert. “Music theatre since the 1960s,” in Cooke, Mervyn (ed.), Cambridge Companion to 20th-Century Opera. Cambridge University Press, 2005: 225–43.Google Scholar
Adlington, Robert (ed.). Sound Commitments: Avant-Garde Music and the Sixties. Oxford University Press, 2009.CrossRefGoogle Scholar
Adorno, Theodor W. “The aging of the new music” (1955), Gesammelte Schriften 14, 143–67; trans. Robert Hullot-Kentor and Frederic Will, in Adorno, Essays on Music, ed. Richard Leppert. Berkeley: University of California Press, 2002: 181–202.Google Scholar
Adorno, Theodor W. Aesthetic Theory, trans. Hullot-Kentor, Robert. Minneapolis: University of Minnesota Press, 1997.Google Scholar
Aguila, Jésus. Le Domaine Musical: Pierre Boulez et vingt ans de création contemporaine. Paris: Fayard, 1992.Google Scholar
Alloway, Lawrence. “Popular culture and pop art,” Studio International (July–Aug. 1969), repr. in Madoff, Steven Henry (ed.), Pop Art: A critical history. Berkeley: University of California Press, 1997.Google Scholar
Almén, Byron. A Theory of Musical Narrative. Bloomington: Indiana University Press, 2008.Google Scholar
Amis, John. Review of Boulez Structures, Scotsman (Mar. 8, 1956); repr. in Amis, My Music in London, 65.Google Scholar
Anderson, Benedict. Imagined Communities: Reflections on the rise and spread of nationalism. 1983; rev. edn. London: Verso, 1991.Google Scholar
Anderson, Virginia. “Systems and other minimalism in Britain,” in Potter et al., Ashgate Research Companion to Minimalist and Postminimalist Music, 87–106.Google Scholar
Anon. “I.C.A. contemporary music season,” Score and I.M.A. Magazine 14 (Dec. 1955), 68.Google Scholar
Arendt, Hannah. “Europe and the atom bomb” (1954), repr. in Arendt, Essays in Understanding. New York: Schocken, 1994: 418–22.Google Scholar
Arnold, Malcolm. Malcolm Arnold in Words, ed. Harris, Paul. Buckingham: Queen's Temple, 2011.Google Scholar
Arnold, Stephen. “Peter Maxwell Davies,” in Foreman, British Music Now, 71–85.Google Scholar
Ashby, Arved. “Nationalist and postnationalist perspectives in American musicology,” in Corona, Ignacio and Madrid, Alejandro L. (eds.), Postnational Musical Identities. Lanham, MD: Lexington Books, 2008: 23–44.Google Scholar
Ashby, Arved. “Twelve-tone composition as ‘ideal type,’” Journal of the American Musicological Society 54 (2001), 585–625.CrossRefGoogle Scholar
Babbitt, Milton. “Some aspects of twelve-tone composition,” The Score and I.M.A. Magazine 12 (June 1955): 53–61; repr. in Babbitt, Collected Essays, ed. Stephen Peles et al. Princeton University Press, 2003: 38–47.Google Scholar
Bacon, Francis. Francis Bacon: Interviewed by David Sylvester. New York: Pantheon, 1975.Google Scholar
Ballantine, Christopher. “The symphony in the twentieth century: some aspects of its tradition and innovation,” Music Review 32 (1971).Google Scholar
Banfield, Stephen (ed.). Blackwell History of Music in Britain, VI: The Twentieth Century. Oxford: Blackwell, 1995.Google Scholar
Banham, Reyner. “Design by choice.” Architectural Review 130 (July 1961); repr. in Banham, A Critic Writes: Essays by Reyner Banham. Berkeley: University of California Press, 1996: 67–78.Google Scholar
Baudrillard, Jean. “Hot painting: the inevitable fate of the image,” in Guilbaut, Serge (ed.), Reconstructing Modernism: art in New York, Paris, and Montreal 1945–1964. Cambridge, MA: MIT Press, 1990: 17–29.Google Scholar
Beal, Amy C. “‘Music is a universal human right’: Musica Elettronica Viva,” in Adlington, Sound Commitments, 99–144.CrossRefGoogle Scholar
Beal, Amy C. “Negotiating cultural allies: American music in Darmstadt, 1946–56,” Journal of the American Musicological Society 53 (2000), 105–40.CrossRefGoogle Scholar
Beard, David. “An analysis and sketch study of the early instrumental music of Sir Harrison Birtwistle,” D.Phil thesis, University of Oxford, 2000.Google Scholar
Beard, David. “‘Batter the Doom Drum’: the music for Peter Hall's Oresteia and other productions of Greek tragedy by Harrison Birtwistle and Judith Weir,” in Brown, Peter and Ograjensek, Suzana (eds.), Ancient Drama in Music for the Modern Stage. Oxford University Press, 2011: 369–97.Google Scholar
Beard, David. “‘From the mechanical to the magical’: Birtwistle's pre-compositional plan for Carmen Arcadiae Mechanicae Perpetuum,” Mitteilungen der Paul Sacher Stiftung 14 (April 2001), 29–33.Google Scholar
Beard, David. Harrison Birtwistle's Operas and Music Theatre. Cambridge University Press, 2012.CrossRefGoogle Scholar
Beard, David. “Taverner: an interpretation,” in Gloag and Jones, Peter Maxwell Davies 79–105.Google Scholar
Beard, David, Jones, Nicholas and Gloag, Kenneth (eds.), Harrison Birtwistle Studies. Cambridge University Press, 2015.CrossRefGoogle Scholar
Bedford, David. “Der Einfluß von Rock und Pop auf die Musik der Gegenwart,” in Haselauer, Elisabeth and Müller, Karl-Josef (eds.), Europäische Gegenwartsmusik – Einflüsse und Wandlungen. Mainz: Schott, 1984: 53–55.Google Scholar
Bedford, David. “Roll over Beethoven: rock and the serious composer,” Broadcast talk, BBC Radio 3, 1987.Google Scholar
Bedford, David and Cardew, Cornelius. “A conversation,” Musical Times 107 (March 1966), 198–202.CrossRefGoogle Scholar
Bedford, David and Self, George. Letter, in Musical Times 105 (May 1964), 362.CrossRefGoogle Scholar
Benjamin, Walter. “The work of art in the age of mechanical reproduction,” in Illuminations, trans. Zohn, Harry. New York: Schocken, 1968: 217–51.Google Scholar
Bennett, Richard Rodney. “‘A changing musical world’ or ‘The circus moves on,’” Peabody Notes [Peabody Conservatory of Music] 24/2 (Nov. 1970), 3.Google Scholar
Bennett, Richard Rodney. “Letter from Richard Rodney Bennett,” Opus [Nottingham University] 2 (Spring 1967), 24.Google Scholar
Bennett, Richard Rodney. “R.A.M. New Music Club,” Musical Times 97 (Sept. 1956), 482.CrossRefGoogle Scholar
Benoliel, Bernard. “Oldfield – with and without Bedford,” Tempo 120 (Mar. 1977): 27–9.Google Scholar
Berio, Luciano. “Commenti al Rock,” Nuova Rivista Musicale Italiana 1 (May–June 1967), 125–35.Google Scholar
Bhabha, Homi K. “DissemiNation: time, narrative and the margins of the modern nation,” in Bhabha, The Location of Culture 139–70.Google Scholar
Bhabha, Homi K. “The other question: stereotype, discrimination and the discourse of colonialism,” in Bhabha, The Location of Culture, 66–84.Google Scholar
Birtwistle, Harrison. “Note by the composer,” Three British Composers, LP recording EMI ASD 2333, 1967.Google Scholar
Birtwistle, Harrison. “Territorial rites” [part 1], Musical Times 138 (Oct. 1997): 4–8; (Nov. 1997): 12–16 [part 2].CrossRefGoogle Scholar
Birtwistle, Harrison and Maddocks, Fiona. Wild Tracks: A Conversation Diary. London: Faber, 2014.Google Scholar
Blake, Andrew. The Land Without Music: Music, culture and society in twentieth-century Britain. Manchester University Press, 1997.Google Scholar
Bohlman, Philip V. The Music of European Nationalism: Cultural identity and modern history. Santa Barbara: ABC-CLIO, 2004.Google Scholar
Borio, Gianmario. Musikalische Avantgarde um 1960: Entwurf einer Theorie der informellen Musik. Laaber-Verlag, 1993.Google Scholar
Borio, Gianmario and Danuser, Hermann (eds.). Im Zenit der Moderne: die internationalen Ferienkurse für neue Musik Darmstadt, 1946–1966. Freiburg: Rombach Verlag, 1997, 4 vols.Google Scholar
Boulez, Pierre. Boulez on Music Today, trans. Bradshaw, Susan and Bennett, Richard Rodney. London: Faber, 1971.Google Scholar
Boulez, Pierre. “Éventuellement …” La Revue musicale 212 (May 1952); trans. as “Possibly…” in Boulez, Stocktakings, 111–40.Google Scholar
Boulez, Pierre. Le Pays Fertile: Paul Klee, ed. Thévenin, Paule. Paris: Gallimard, 1989.Google Scholar
Boulez, Pierre. Orientations: Collected Writings, ed. Nattiez, Jean-Jacques, trans. Cooper, Martin. Cambridge, MA: Harvard University Press, 1986.Google Scholar
Boulez, Pierre. “Schönberg is dead,” The Score 6 (Feb. 1952), 18–22; revised version in Boulez, Stocktakings, 209–14.Google Scholar
Boulez, Pierre. Stocktakings from an Apprenticeship, trans. Walsh, Stephen. Oxford University Press, 1991.Google Scholar
Bourdieu, Pierre. The Field of Cultural Production: Essays on art and literature, ed. Johnson, Randal. New York: Columbia University Press, 1993.Google Scholar
Boyes, Georgina. The Imaginary Village: Culture, ideology, and the English folk revival. Manchester University Press, 1993.Google Scholar
Bradbury, Ernest. “Incorporated Society of Musicians: 60th annual conference,” Musical Times 99 (March 1958), 144.Google Scholar
Bradshaw, Susan. “The music of Richard Rodney Bennett,” The Listener (Feb. 28, 1963), 396.Google Scholar
Bradshaw, Susan and Bennett, Richard Rodney. “In search of Boulez,” Music and Musicians (Jan. 1963): 10–13; (Aug. 1963): 14–18, 50.Google Scholar
Brett, Philip. “Keeping the straight line intact? Britten's relations to folksong, Purcell, and his English predecessors,” in Brett, , Music and Sexuality in Britten. Berkeley: University of California Press, 2006: 154–71.Google Scholar
Brinkmann, Reinhold and Wolff, Christoph (eds.). Driven into Paradise: The musical migration from Nazi Germany to the United States. Berkeley: University of California Press, 1999.CrossRefGoogle Scholar
Britten, Benjamin. “Britten looking back” (1963); repr. in Kildea, Britten on Music, 250–3.Google Scholar
Britten, Benjamin. Letters from a Life: The Selected Letters and Diaries of Benjamin Britten, vol. I, ed. Mitchell, Donald and Reed, Philip, London: Faber, 1991; vol. V, ed. Philip Reed and Mervyn Cooke, Woodbridge: Boydell, 2010.Google Scholar
Butler, Judith. Excitable Speech: A politics of the performative. New York: Routledge, 1997.Google Scholar
Butler, Mark J. Unlocking the Groove: Rhythm, meter, and musical design in electronic dance music. Bloomington: Indiana University Press, 2006.Google Scholar
Caldwell, John. The Oxford History of English Music, vol. II: from c. 1715 to the Present Day. Oxford University Press, 1999.CrossRefGoogle Scholar
Cannadine, David. “Ian Fleming and the realities of escapism,” in Cannadine, , In Churchill's Shadow. London: Penguin, 2002: 279–311.Google Scholar
Cardew, Cornelius. “A Scratch Orchestra: draft constitution,” Musical Times 110 (June 1969); repr. in Prévost, Cornelius Cardew, 90–4.CrossRefGoogle Scholar
Cardew, Cornelius. “Report on Stockhausen's Carré,” Part I, Musical Times 102 (Oct. 1961), 619–22; (Nov. 1961), 698–700, repr. in Prévost, Cornelius Cardew, 23–37.CrossRefGoogle Scholar
Cardew, Cornelius. “Reports from abroad: Palermo,” Musical Times 104 (Dec. 1963), 886.Google Scholar
Cardew, Cornelius. “Sextet: The Tiger's Mind,” Musical Times 108 (June 1967); repr. in Prévost, Cornelius Cardew, 84–7.Google Scholar
Cardew, Cornelius. “Stockhausen in London,” Musical Times 107 (Jan. 1966), 43–4; repr. in Prévost, Cornelius Cardew, 73–5.Google Scholar
Cardew, Cornelius. Stockhausen Serves Imperialism (1974); repr. in Prévost, Cornelius Cardew, 149–227.Google Scholar
Cardew, Cornelius. “Towards an ethic of improvisation” (1971); repr. in Prévost, Cornelius Cardew, 125–33.Google Scholar
Carpenter, Humphrey (with research by Doctor, Jennifer). The Envy of the World: Fifty years of the BBC Third Programme and Radio 3. London: Weidenfeld and Nicolson, 1996.Google Scholar
Carroll, Mark. Music and Ideology in Cold War Europe. Cambridge University Press, 2003.Google Scholar
Carter, Elliott. Collected Essays and Lectures, ed. Bernard, Jonathan. University of Rochester Press, 1997.Google Scholar
Cavell, Stanley. A Pitch of Philosophy. Cambridge: Harvard University Press, 1994.CrossRefGoogle Scholar
Chanan, Michael. “Birtwistle's Down by the Greenwood Side,” Tempo 89 (Summer 1969): 19–21.Google Scholar
Clark, Caryl. “Forging identity: Beethoven's ‘ode’ as European Anthem,” Critical Inquiry 23 (1997), 789–807.CrossRefGoogle Scholar
Cobbe, Hugh. “Vaughan Williams, Germany, and the German tradition,” in Frogley, Vaughan Williams Studies, 81–98.Google Scholar
Committee for the Promotion of New Music [CPNM]. “Aims and activities.” Printed brochure, July 1949.Google Scholar
Conekin, Becky E. ‘The Autobiography of a Nation’: The 1951 Festival of Britain. Manchester University Press, 2003.Google Scholar
Cook, Nicholas and Pople, Anthony (eds.). The Cambridge History of Twentieth-Century Music. Cambridge University Press, 2004.CrossRefGoogle Scholar
Cooper, Martin. “New music performed,” in Frank, Alan (ed.), The Year's Work in Music: 1949–50. London, 1950: 47–52.Google Scholar
Corbett, John. “Experimental Oriental: new music and other others,” in Born, Georgina and Hesmondhalgh, David (eds.), Western Music and its Others. Berkeley: University of California Press, 2000: 163–86.Google Scholar
Corn, Wanda M. The Great American Thing: Modern art and national identity, 1915–1935. Berkeley: University of California Press, 1999.Google Scholar
Cott, Jonathan. Stockhausen: Conversations with the composer. New York: Simon and Schuster, 1973.Google Scholar
Cox, David. “English chamber music (since 1700),” in Robertson, Alec (ed.), Chamber Music. Harmondsworth: Penguin, 1957: 329–56.Google Scholar
Craggs, Stewart R. Peter Maxwell Davies: A source book. Rev. edn.; Aldershot: Ashgate, 2003.Google Scholar
Craggs, Stewart R. Richard Rodney Bennett: A Bio-Bibliography. New York: Greenwood, 1990.Google Scholar
Craven, David. “Abstract Expressionism and third-world art,” in Mercer, Kobena (ed.), Discrepant Abstraction. Cambridge: MIT Press, 2006: 30–51.Google Scholar
Crawford, Dorothy Lamb. Evenings on and off the Roof: Pioneering concerts in Los Angeles, 1939–1971. Berkeley: University of California Press, 1995.Google Scholar
Cross, Jonathan. “Music theory and the challenge of modernist music,” in Pople, Anthony (ed.), Theory, Analysis and Meaning in Music. Cambridge University Press, 1995: 184–94.Google Scholar
Crosse, Gordon. Contribution to Stravinsky birthday symposium, Tempo 81 (Summer 1967).Google Scholar
Crosse, Gordon. “Note by the composer,” with EMI LP, Three British Composers, ASD 2333 (1967).Google Scholar
Dahlhaus, Carl. “Form,” in Dahlhaus, , Schoenberg and the New Music, trans. Puffett, Derrick and Clayton, Alfred. Cambridge University Press, 1987: 248–64.Google Scholar
Dahlhaus, Carl. Nineteenth-Century Music, trans. Robinson, J. Bradford. Berkeley: University of California Press, 1989.Google Scholar
Danuser, Hermann. “Composers in exile: the question of musical identity,” in Brinkmann and Wolff, Driven into Paradise, 155–71.CrossRefGoogle Scholar
Dart, R. Thurston. “A background for Musica Britannica,” in Robertson, Alec (ed.), Music 1952. Harmondsworth, Middlesex: Penguin, 1952: 18–28.Google Scholar
Davies, Hugh. “Electronic music,” in Vinton, Dictionary of Contemporary Music, 215–16.Google Scholar
Davies, Hugh. “Gentle Fire: an early approach to live electronic music,” Leonardo Music Journal 11 (2001), 53–60.CrossRefGoogle Scholar
Davies, Peter Maxwell. “An introduction to Indian music,” Mus. Bac. thesis, 2 vols., University of Manchester, 1956.Google Scholar
Davies, Peter Maxwell. Comments in “The symphony orchestra – has it a future?” Composer 37 (Autumn 1970), 6–8.Google Scholar
Davies, Peter Maxwell. “Formal principles in ‘Prolation’ for orchestra,” unpublished essay, ca. 1960. British Library.Google Scholar
Davies, Peter Maxwell. Interview (2011) in Thomson, “Vaughan Williams and his successors,” 301–6.Google Scholar
Davies, Peter Maxwell. “Peter Maxwell Davies on some of his recent work,” The Listener (Jan. 23, 1969), 121.Google Scholar
Davies, Peter Maxwell. Prefatory note to St. Thomas Wake. London: Boosey and Hawkes, 1972.Google Scholar
Davies, Peter Maxwell. “Problems of a British composer today,” The Listener (Oct. 8, 1959), 563–4.Google Scholar
Davies, Peter Maxwell. “Taverner – a synopsis,” in Pruslin, Peter Maxwell Davies, 36–8.Google Scholar
Davies, Peter Maxwell. “The young British composer,” The Score and IMA Magazine 15 (March 1956), 84–5.Google Scholar
de Man, Paul. “Lyric and Modernity.” Blindness and Insight, 2nd edn. New Haven: Yale University Press, 1983: 167–73.Google Scholar
Del Mar, Norman. “On co-conducting Stockhausen's Gruppen,” Tempo 59 (Autumn 1961), 15–16, 21–3.Google Scholar
Demet, Michel-François. “Georg Trakl: Blood, the mirror, the sister,” in Williams, Eric (ed.), The Dark Flutes of Fall: Critical essays on Georg Trakl. Columbia: Camden House, 1991.Google Scholar
Dennis, Brian. Experimental Music in Schools: Towards a new world of sound. London: Oxford University Press, 1970.Google Scholar
Doctor, Jennifer. “Intersecting circles: the early careers of Elizabeth Maconchy, Elisabeth Lutyens, and Grace Williams,” Women and Music 2 (1998), 90–109.Google Scholar
Doctor, Jennifer. The BBC and Ultra-Modern Music, 1922–1936: Shaping a nation's tastes. Cambridge University Press, 1999.Google Scholar
Doctor, Jenny and Wright, David (eds.). Kenyon, Nicholas (consulting ed.). The Proms: A New History. London: Thames and Hudson, 2007.Google Scholar
Donington, Robert and Dart, Thurston, “The origin of the In Nomine,” Music and Letters 30 (April 1949), 101–06.CrossRefGoogle Scholar
Drew, David. “Messiaen: a provisional study,” The Score 10 (Dec. 1954), 33–49; 13 (Sept. 1955), 59–73; 14 (Dec. 1955), 41–61.Google Scholar
Drew, David. “The Darmstadt Summer School of New Music, 1954,” The Score 10 (Dec. 1954), 77–81.Google Scholar
Ducrot, Oswald and Todorov, Tzvetan. Encyclopedic Dictionary of the Sciences of Language. Baltimore: Johns Hopkins University Press, 1979.CrossRefGoogle Scholar
Dyer, Richard. “Alexander Goehr: his music is full of ‘good notes,’” Boston Sunday Globe (Aug. 1, 1993), B20.Google Scholar
Earle, Ben. “Taste, power, and trying to understand Op. 36: British attempts to popularize Schoenberg,” Music and Letters 84 (2003), 608–43.CrossRefGoogle Scholar
East, Leslie. “The problem of communication – two solutions: Thea Musgrave and Gordon Crosse,” in Foreman, British Music Now, 19–31.Google Scholar
Eimert, Herbert and Stockhausen, Karlheinz (eds.). Die Reihe 2: Anton Webern; 1955; English trans. Bryn Mawr: Theodore Presser, 1959.Google Scholar
Eisenstein, Sergei M. “Word and Image,” in The Film Sense; trans. Leyda, Jay. New York: Harcourt, Brace & World, 1942: 1–65.Google Scholar
Emmerson, Simon. “In what form can ‘live electronic music’ live on?” Organised Sound 11 (2006), 209–19.CrossRefGoogle Scholar
Emmerson, Simon. “Live electronic music in Britain: three case studies,” Contemporary Music Review 6 (1991), 179–95.CrossRefGoogle Scholar
Esty, Jed. A Shrinking Island: Modernism and national culture in England. Princeton University Press, 2004.CrossRefGoogle Scholar
Evans, Peter. “Instrumental music I,” in Banfield, Blackwell History, 179–277.Google Scholar
Everett, Walter. The Beatles as Musicians: Revolver Through the Anthology. Oxford University Press, 1999.Google Scholar
Feldman, Morton. “Conversations without Stravinsky” (1967); repr. in Feldman, , Give My Regards to Eighth Street: Collected Writings. Boston: Exact Change, 2000: 50–62.Google Scholar
Ferneyhough, Brian. Collected Writings, ed. Boros, James and Toop, Richard. Amsterdam: Harwood, 1995.Google Scholar
Ford, Andrew. Composer to Composer: Conversations about contemporary music. St. Leonards, NSW: Allen and Unwin, 1993.Google Scholar
Ford, Boris (ed.). The Cambridge Cultural History of Britain, IX: Modern Britain. Cambridge University Press, 1992.Google Scholar
Fosler-Lussier, Danielle. Music Divided: Bartók's Legacy in Cold War Culture. Berkeley: University of California Press, 2007.CrossRefGoogle Scholar
Foster, Hal. The First Pop Age: Painting and subjectivity in the art of Hamilton, Lichtenstein, Warhol, Richter, and Ruscha. Princeton University Press, 2012.Google Scholar
Fox, Christopher. “Music after zero hour,” Contemporary Music Review 26 (2007), 5–25.CrossRefGoogle Scholar
Frogley, Alain. “Constructing Englishness in music: national character and the reception of Ralph Vaughan Williams,” in Frogley, Vaughan Williams Studies, 1–22.CrossRefGoogle Scholar
Frogley, Alain. “Rewriting the renaissance: history, imperialism, and British music since 1840,” Music and Letters 84 (2003), 241–57.CrossRefGoogle Scholar
Frogley, Alain. “Tonality on the town: orchestrating the metropolis in Vaughan Williams's A London Symphony,” in Wörner et al., Tonality 1900–1950: 187–202.Google Scholar
Frogley, Alain and Thomson, Aidan (eds.). Cambridge Companion to Vaughan Williams. Cambridge University Press, 2013.CrossRefGoogle Scholar
Fuller, Buckminster. Operating Manual for Spaceship Earth. New York: Pocket Books, 1970.Google Scholar
Gadamer, Hans-Georg. Truth and Method, 2nd edn., trans. Weinsheimer, Joel and Marsall, Donald G.. New York: Continuum, 1989.Google Scholar
Gaiger, Jason. “Expressionism and the crisis of subjectivity,” in Art of the Avant-Gardes, ed. Edwards, Steve and Wood, Paul. New Haven: Yale University Press, 2004.Google Scholar
Garnham, A. M. Hans Keller and the BBC: The musical conscience of British broadcasting, 1959–79. Aldershot: Ashgate, 2003.Google Scholar
Garnham, A. M. “The BBC in possession, 1945–59,” in Doctor and Wright, The Proms, 130–67.Google Scholar
Gaudier-Brzeska, Henri. “Vortex,” in Blast 1 (1914), ed. Lewis, Wyndham; repr. Santa Rosa: Black Sparrow Press, 1997: 155–8.Google Scholar
Gloag, Kenneth. “Nicholas Maw's breakthrough: Scenes and Arias reconsidered,” Musical Times 152 (Summer 2011), 31–57.Google Scholar
Gloag, Kenneth and Jones, Nicholas (eds.). Peter Maxwell Davies Studies. Cambridge University Press, 2009.Google Scholar
Glock, William. Notes in Advance: An autobiography in music. Oxford University Press, 1991.Google Scholar
Glock, William. “The BBC's music policy” (1963); repr. in Glock, Notes in Advance, 200–13.Google Scholar
Goehr, Alexander. “A page of autobiography,” in Prospect: The Schweppes book of the new generation. London: Hutchinson, 1962: 60–5.Google Scholar
Goehr, Alexander. Contribution to “Personal viewpoints.” Tempo 81 (Summer 1967), 24–5.Google Scholar
Goehr, Alexander. Contribution to “Vision, Vision! Mr Woodcock!” New Statesman (Sept. 3, 1960), 300.Google Scholar
Goehr, Alexander. Finding the Key: Selected Writings, ed. Derrick Puffet. London: Faber, 1998.Google Scholar
Goehr, Alexander. “Is there only one way?” The Score 26 (Jan. 1960); repr. in Goehr, Finding the Key, 20–4.Google Scholar
Goehr, Alexander. “Learning to compose,” in Grünzweig, Alexander Goehr, 97–120.Google Scholar
Goehr, Alexander. “Naboth's Vineyard: Alexander Goehr talks to Stanley Sadie,” Musical Times 109 (1968), 625–6.CrossRefGoogle Scholar
Goehr, Alexander. “The Messiaen class,” in Goehr, Finding the Key, 42–57.Google Scholar
Goehr, Alexander. “Using models … for making original music,” Common Knowledge 8 (2002), 108–23.CrossRefGoogle Scholar
Goehr, Lydia. “Honour displaced,” in Latham (ed.), Sing, Ariel, 211–15.Google Scholar
Goehr, Lydia. “Music and musicians in exile: the romantic legacy of a double life,” in Brinkmann and Wolff, Driven Into Paradise, 66–91.CrossRefGoogle Scholar
Goehr, , Walter, and Alexander, . “Arnold Schönberg's development towards the twelve-note system,” in Hartog (ed.), European Music (1957 edition), 76–93.Google Scholar
Goffman, Erving. Interaction Ritual: Essays on face-to-face behavior. Garden City: Anchor, 1967.Google Scholar
Goffman, Erving. The Presentation of Self in Everyday Life. Garden City: Doubleday Anchor, 1959.Google Scholar
Gold, Ernest. “The new challenge,” The Score and I.M.A. Magazine 14 (Dec. 1955): 36–40.Google Scholar
Goldman, Jonathan. The Musical Language of Pierre Boulez: Writing and Composition. Cambridge University Press, 2011.Google Scholar
Grant, M. J. Serial Music, Serial Aesthetics: Compositional theory in post-war Europe. Cambridge University Press, 2001.Google Scholar
Green, Martin. Children of the Sun: A narrative of “decadence” in England after 1918. London: Constable, 1977.Google Scholar
Greenberg, Clement. “American-type painting” (1955), in Art and Culture. Boston: Beacon Press, 1961: 208–29.Google Scholar
Greenberg, Clement. Collected Essays and Criticism, ed. O'Brian, John. 4 volumes. University of Chicago Press, 1986–93.Google Scholar
Greenberg, Clement. “Modernist painting” (1960), in Greenberg, Collected Essays, vol. IV: 85–93.Google Scholar
Greenfield, Edward. “‘New Music’ in Manchester,” Manchester Guardian (May 12, 1954), 5.Google Scholar
Greenfield, Edward. “Richard Rodney Bennett's new symphony,” Guardian (Feb. 11, 1966), 11.Google Scholar
Greimas, A. J. On Meaning: Selected writings. Minneapolis: University of Minnesota Press, 1987.Google Scholar
Grieve, Alistair. Constructed Abstract Art in England After the Second World War. New Haven: Yale University Press, 2005.Google Scholar
Griffiths, Dai. “On grammar schoolboy music,” in Scott, Derek B. (ed.), Music, Culture, and Society: a reader. Oxford University Press, 2000: 143–5.Google Scholar
Griffiths, Paul. “Music” in Ford, Cambridge Cultural History, 48–83.Google Scholar
Griffiths, Paul. New Sounds, New Personalities: British Composers in Interview. London: Faber, 1985.Peter Maxwell Davies. London: Robson Books, 1982.Google Scholar
Grimley, Daniel. “Landscape and distance: Vaughan Williams, modernism and the Symphonic Pastoral,” in Riley, British Music, 147–74.CrossRefGoogle Scholar
Gropius, Walter. The New Architecture and the Bauhaus, trans. Shand, P. Morton. Cambridge, MA: MIT Press, 1965.Google Scholar
Grubbs, David. Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording. Durham, NC: Duke University Press, 2013.Google Scholar
Grünzweig, Werner (ed.). Alexander Goehr:“Fings ain't Wot They Used t'Be.” Berlin: Akademie der Künste/Wolke, 2012.Google Scholar
Guilbaut, Serge. How New York Stole the Idea of Modern Art: Abstract Expressionism, freedom, and the Cold War. University of Chicago Press, 1983.Google Scholar
Hall, Michael. Between Two Worlds: the Music of David Lumsdaine. Todmorden: Arc, 2003.Google Scholar
Hall, Richard. “Some reflexions on the teaching of musical composition,” The Score 18 (Dec. 1956): 30–4.Google Scholar
Hamilton, Iain. “Alban Berg and Anton Webern,” in Hartog (ed.), European Music (1957 edition), 94–117.Google Scholar
Hansen, Jutta Raab. NS-verfolgte Musiker in England: Spuren deutscher und österreichischer Flüchtlinge in der britischen Musikkultur. Hamburg: von Bockel Verlag, 1996.Google Scholar
Hansen, Miriam Bratu. “The mass production of the senses: classical cinema as vernacular modernism,” Modernism/Modernity 6 (1999), 59–77.CrossRefGoogle Scholar
Harker, Dave. “Still crazy after all these years: what was popular music in the 1960s,” in Moore-Gilbert and Seed (eds.), Cultural Revolution?, 236–54.Google Scholar
Harper-Scott, J. P. E. Elgar: an extraordinary life. London: Royal College of Music, 2007.Google Scholar
Harper-Scott, J. P. E. “‘Our true North’: Walton's First Symphony, Sibelianism, and the nationalization of modernism in England,” Music and Letters 89 (2008), 562–89.CrossRefGoogle Scholar
Harper-Scott, J. P. E. The Quilting Points of Musical Modernism: Revolution, reaction, and William Walton. Cambridge University Press, 2012.CrossRefGoogle Scholar
Harries, Meirion and Harries, Susie. A Pilgrim Soul: the life and work of Elisabeth Lutyens. London: Faber, 1989.Google Scholar
Harris, Alexandra. Romantic Moderns: English writers, artists and the imagination from Virginia Woolf to John Piper. London: Thames and Hudson, 2010.Google Scholar
Harrison, Charles. English Art and Modernism, 1900–1939. New Haven: Yale University Press, 1994.Google Scholar
Hartog, Howard (ed.). European Music in the Twentieth Century, New York: Praeger, 1957; rev. edn., Harmondsworth: Penguin, 1961.Google Scholar
Hatten, Robert S. “Musical agency as implied by gesture and emotion: its consequences for listeners’ experiencing of musical emotion” in Semiotics 2009, ed. Haworth, Karen and Sbrocchi, Leonard. New York: Legas, 2010: 162–9.Google Scholar
Harvey, Jonathan. “Eight Songs for a Mad King,” in Pruslin, Peter Maxwell Davies, 57–61.Google Scholar
Hedges, Anthony. “McEwen Memorial Concerts in Glasgow,” Musical Times 100 (May 1959), 278–9.Google Scholar
Hegarty, Paul and Halliwell, Martin. Beyond and Before: Progressive rock since the 1960s. New York: Continuum, 2011.Google Scholar
Heile, Björn. “Darmstadt as other: British and American responses to musical modernism,” Twentieth-Century Music 1 (2004), 161–78.CrossRefGoogle Scholar
Helm, Everett. “Darmstadt International Summer School,” Musical Times 97 (Sept. 1956), 490–1.Google Scholar
Henderson, Robert. “Harrison Birtwistle,” Musical Times 105 (March 1964), 188–9.CrossRefGoogle Scholar
Henderson, Robert. “London music: Prom novelties,” Musical Times 103 (Nov. 1962), 780.Google Scholar
Henderson, Robert. “Peter Maxwell Davies,” Musical Times 102 (Oct. 1961), 624–6.CrossRefGoogle Scholar
Henderson, Robert. “Proms,” Musical Times 103 (Oct. 1962), 701. “The Cheltenham Festival,” Musical Times 106 (Sept. 1965), 686.Google Scholar
Henri, Adrian. Total Art: Environments, happenings, and performance. Oxford University Press, 1974.Google Scholar
Hewison, Robert. Culture and Consensus: England, art and politics since 1940. London: Methuen, 1995.Google Scholar
Hewison, Robert. In Anger: British Culture in the Cold War, 1945–60. Oxford University Press, 1981.Google Scholar
Hewison, Robert. Too Much: Art and society in the Sixties, 1960–1975. Oxford University Press, 1987.Google Scholar
Hobsbawm, E. J. Nations and Nationalism Since 1780. 2nd edn. Cambridge University Press, 1990.Google Scholar
Holloway, Robin. Contribution to “Benjamin Britten: tributes and memories,” Tempo 120 (Mar. 1977), 5–6.Google Scholar
Holloway, Robin. On Music: Essays and diversions 1963–2003. Brinkworth: Claridge Press, 2003.Google Scholar
Hopkins, Antony. “The emperor's new clothes,” Musical Times 95 (Feb. 1954), 68–9.CrossRefGoogle Scholar
Hopkins, Bill. “The Piano Music,” in Northcott (ed.), Music of Alexander Goehr, 17–23.Google Scholar
Hubbs, Nadine. The Queer Composition of America's Sound: Gay modernists, American music, and national identity. Berkeley: University of California Press, 2004.CrossRefGoogle Scholar
Hyman, James. The Battle for Realism: Figurative art in Britain during the Cold War, 1945–1960. New Haven: Yale University Press, 2001.Google Scholar
Iddon, Martin. New Music at Darmstadt: Nono, Stockhausen, Cage, and Boulez. Cambridge University Press, 2013.CrossRefGoogle Scholar
Jackson, Paul R. W. The Life and Music of Sir Malcolm Arnold. Aldershot: Ashgate, 2003.Google Scholar
Jacobs, Arthur. “Down with school music!” Musical Times 105 (Mar. 1964), 182–3.CrossRefGoogle Scholar
Jameson, Fredric. A Singular Modernity: on the ontology of the present. London: Verso, 2002.Google Scholar
Jarman, Douglas. “The music of Anthony Gilbert – part 1,” Tempo 229 (July 2004), 2–17.CrossRefGoogle Scholar
Jenkins, David Fraser and Spalding, Francis, John Piper in the 1930s: Abstraction on the beach. London: Merrell, 2003.Google Scholar
Jones, Nicholas. “Peter Maxwell Davies in the 1950s: a conversation with the composer,” Tempo 254 (Oct. 2010), 11–19.CrossRefGoogle Scholar
Jones, Nicholas. “The writings of a young British composer: Peter Maxwell Davies in the 1950s,” in Gloag and Jones (eds.), Peter Maxwell Davies Studies, 21–44.Google Scholar
Josipovici, Gabriel. “English studies and European culture,” in The Lessons of Modernism and other essays. Totowa, NJ: Rowman and Littlefield, 1977.Google Scholar
Kagel, Mauricio. “Le théâtre instrumental,” La Musique et ses problèmes contemporaines 1953–1963, ed. Barrault, Jean-Louis et al. Paris: René Julliard, 1963: 285–99.Google Scholar
Kagel, Mauricio. “Neuer Raum – Neue Musik” (1966); repr. in Borio-Danuser, Im Zenit der Moderne, III: 245–53.Google Scholar
Karkoschka, Erhard. Notation in New Music. German edition, 1966; trans. Koenig, Ruth. New York: Praeger, 1972.Google Scholar
Keller, Hans. “Resistances to Britten's music: their psychology,” Music Survey (1950), 227–36; repr. in Donald Mitchell and Hans Keller (eds.), Music Survey: new series 1949–1952. London: Faber, 1981.Google Scholar
Kenyon, Nicholas. The BBC Symphony Orchestra: the first fifty years:1930–1980. London: British Broadcasting Corporation, 1981.Google Scholar
Kerman, Joseph. Concerto Conversations. Cambridge: Harvard University Press, 1999.CrossRefGoogle Scholar
Keynes, John Maynard. “The Arts Council: its policy and hopes,” The Listener (July 12, 1945), 31.Google Scholar
Kildea, Paul. Selling Britten: Music and the market place. Oxford University Press, 2002.CrossRefGoogle Scholar
Koch, Heinrich Christoph. Versuch einer Anleitung zur Composition (1793, repr. Munich: Olms. 1969); trans. Baker, Nancy K. as Introductory Essay on Composition. New Haven: Yale University Press, 1983.Google Scholar
Kovács, Inge. “Instrumentales theater,” in Stephan, Rudolf et al. (eds.), Von Kranichstein zur Gegenwart: 50 Jahre Darmstädter Ferienkurse. Stuttgart: DACO Verlag, 1996, 333–39.Google Scholar
Kovács, Inge“Musik und Szene,” in Borio and Danuser, Im Zenit der Moderne, II: 311–32.Google Scholar
Kramer, Lawrence. Music as Cultural Practice, 1800–1900. Berkeley: University of California Press, 1990.Google Scholar
Krebs, Harald. Fantasy Pieces: Metrical dissonance in the music of Robert Schumann. Oxford University Press, 1999.CrossRefGoogle Scholar
Lambert, Constant. Music Ho! A Study of Music in Decline [first published 1934]. Harmondsworth: Penguin Books, 1948.Google Scholar
Landau, Ellen G. (ed.). Reading Abstract Expressionism: Context and critique. New Haven: Yale University Press, 2005.Google Scholar
Lang, Paul Henry and Broder, Nathan (eds.). Contemporary Music in Europe: A comprehensive survey. New York: G. Schirmer, Inc., 1965.Google Scholar
Latham, Alison (ed.). Sing, Ariel: Essays and thoughts for Alexander Goehr's Seventieth Birthday. Burlington: Ashgate, 2003.Google Scholar
Leary, Timothy. “She comes in colours” (1966), in The Politics of Ecstasy. London: Paladin, 1970, 99–132.Google Scholar
Leydon, Rebecca. “Forbidden Planet: Effects and affects in the electro avant-garde,” in Hayward, Philip (ed.), Off the Planet: Music, sound and science fiction cinema. London: John Libbey, 2004: 61–76.CrossRefGoogle Scholar
Leydon, Rebecca. “Towards a typology of minimalist tropes,” Music Theory Online 8/4 (Dec. 2002).Google Scholar
Ligeti, György. “Metamorphoses of musical form,” trans. Cardew, Cornelius. In Die Reihe 7: Form – Space, ed. Eimert, Herbert and Stockhausen, Karlheinz (1960); Bryn Mawr, 1965: 5–19.Google Scholar
Link, John. “Long-range polyrhythms in Elliott Carter's recent music,” Ph.D. diss., City University of New York, 1994.Google Scholar
MacDonald, Ian. Revolution in the Head: The Beatles’ records and the Sixties, 2nd edn. London: Pimlico, 2005.Google Scholar
McGregor, Richard. “An Analysis of Thea Musgrave’s Compositional Style from 1958–1967.” Ph.D. diss., University of Liverpool, 1980.Google Scholar
McGregor, Richard. “Peter Maxwell Davies's Sources: reflections on origins, meaning and significance,” in Gloag and Jones, Peter Maxwell Davies Studies, 150–69.Google Scholar
McGregor, Richard (ed.) Perspectives on Peter Maxwell Davies. Aldershot: Ashgate, 2000.Google Scholar
Mark, Christopher. Roger Smalley: A case-study of late twentieth-century composition. Farnham: Ashgate, 2012.Google Scholar
Marston, Marlene Geller. “The serial keyboard music of Richard Rodney Bennett,” Ph.D. diss., University of Wisconsin, 1968.Google Scholar
Martin, Paul. “Analysis of selected works,” in Mary Martin. London: Tate Gallery, 1984: 35–45.Google Scholar
Marwick, Arthur. The Sixties: Cultural revolution in Britain, France, Italy and the United States, c. 1958–1974. Oxford University Press, 1998.Google Scholar
Mason, Colin. “Dartington Hall – a retreat for music lovers,” Manchester Guardian (Aug. 18, 1955), 5.Google Scholar
Mason, Colin. “Manchester musicians in London: ‘modernest moderns,’” Manchester Guardian (Jan. 10, 1956).Google Scholar
Mason, Colin. Music in Britain: 1951–1962. London: Longmans, Green/British Council, 1963.Google Scholar
Massey, Anne. The Independent Group: Modernism and Mass Culture in Britain, 1945–59. Manchester University Press, 1995.Google Scholar
Matthews, David. “The rehabilitation of the vernacular,” in Norris, Christopher (ed.), Music and the Politics of Culture. London: Lawrence and Wishart, 1989.Google Scholar
Maus, Fred Everett. “Music as drama” (1988); repr. in Music and Meaning, ed. Robinson, Jenefer. Ithaca: Cornell University Press, 1997: 105–30.Google Scholar
Mehta, Ved. “Onward and upward with the arts: the Third,” New Yorker (May 18, 1963), 98–134.Google Scholar
Mellers, Wilfrid. “Recent trends in British music,” Musical Quarterly 38 (April 1952), 185–201.CrossRefGoogle Scholar
Mellor, David Alan. “Apocalyptic visions,” in Blast to Freeze: British art in the 20th century. Wolfsburg, 2004: 107–29.Google Scholar
Melly, George. Revolt into Style: the pop arts in Britain. Harmondsworth: Penguin, 1971.Google Scholar
Meredith, Anthony and Harris, Paul. Malcolm Arnold: Rogue Genius. Salhouse: Thames/Elkin, 2004.Google Scholar
Meredith, Anthony and Harris, Paul. Malcolm Williamson: a mischievous muse. London: Omnibus, 2007.Google Scholar
Meredith, Anthony, with Harris, Paul. Richard Rodney Bennett: the complete musician. London: Omnibus, 2010.Google Scholar
Metzer, David. Musical Modernism at the Turn of the Twenty-First Century. Cambridge University Press, 2009.Google Scholar
Misch, Imke and Bandur, Markus. Karlheinz Stockhausen bei den Internationalen Ferienkursen für Neue Musik in Darmstadt 1951–1996. Kürten: Stockhausen Verlag, 2001.Google Scholar
Mitchell, Alistair and Poulton, Alan. A Chronicle of First Broadcast Performances of Musical Works in the United Kingdom, 1923–1996. Aldershot: Ashgate, 2001.Google Scholar
Mitchell, Donald. “A love poem to romantic music,” Daily Telegraph (Sept. 1, 1962), 8.Google Scholar
Mitchell, Donald. “Malcolm Arnold II: the curse of popularity” (1977), repr. in Mitchell, , Cradles of the New: Writings on Music, 1951–1991. London: Faber, 1995: 107–21.Google Scholar
Mitchell, Donald. “Some first performances,” Musical Times 95 (Apr. 1954), 201–2.CrossRefGoogle Scholar
Mitchell, Donald. The Language of Modern Music. Rev. edn. New York: St. Martin's Press, 1969.Google Scholar
Mitchell, Donald and Keller, Hans. Benjamin Britten: a commentary on his works. London: Rockliff, 1952.Google Scholar
Moore-Gilbert, Bart and Seed, John (eds.). Cultural Revolution? The challenge of the arts in the 1960s. London: Routledge, 1992.Google Scholar
Morgan, Kenneth O. Britain Since 1945: the People's Peace. Oxford University Press, 2001.Google Scholar
Musgrave, Thea. Interview in Oral History, American Music. New Haven: Yale University School of Music. May 12, 1983.Google Scholar
Musgrave, Thea. “Musical Britain,” Letter from R. Vaughan Williams, SPNM president and others, Daily Telegraph (Aug. 15, 1951).Google Scholar
New Grove Dictionary of Music and Musicians, ed. Sadie, Stanley. London: Macmillan, 1980.Google Scholar
New Grove Dictionary of Music and Musicians, 2nd edn., ed. Sadie, Stanley and Tyrrell, John. London: Macmillan, 2001.Google Scholar
Nicholls, David. “‘All made of [classical] tunes’: towards a taxonomy of rock's art music borrowings,” in Meyer, Felix et al. (eds.), Crosscurrents: American and European Music in Interaction, 1900–2000. Woodbridge: Boydell, 2014: 464–71.Google Scholar
Niebur, Louis. Special Sound: The creation and legacy of the BBC's Radiophonic Workshop. Oxford University Press, 2010.CrossRefGoogle Scholar
Northcott, Bayan. “Goehr, (Peter) Alexander,” in New Grove Dictionary (1980), vol. VII: 488–90.Google Scholar
Northcott, Bayan. (ed.), The Music of Alexander Goehr: Interviews and articles. London, Schott, 1980.Google Scholar
Nyman, Michael. Experimental Music: Cage and beyond. 1974; 2nd edn., Cambridge University Press, 1999.Google Scholar
Nyman, Michael. “First performances,” Tempo 88 (1969); repr. in Nyman, Collected Writings, 61–4.Google Scholar
Nyman, Michael. “Harrison Birtwistle,” London Magazine 11 (Oct.–Nov. 1971); repr. in Nyman, Collected Writings, 214–17.Google Scholar
Nyman, Michael. “Mr Birtwistle is out,” Music and Musicians 18 (Sept. 1969); repr. in Nyman, Collected Writings, 75–6.Google Scholar
Nyman, Michael. “Stockhausen and David Bedford,” The Listener (April 30, 1970); repr. in Nyman, Collected Writings, 95–7.Google Scholar
Osmond-Smith, David. “New beginnings: the international avant-garde, 1945–62,” in Cook and Pople, Cambridge History, 336–3.CrossRefGoogle Scholar
Ottaway, Hugh. “Radio notes: some points from the Proms,” Musical Opinion (Oct. 1961), 27.Google Scholar
Owens, Peter. “Revelation and fallacy: observations on compositional technique in the music of Peter Maxwell Davies,” Music Analysis 13 (1994), 161–201.CrossRefGoogle Scholar
Palmer, Christopher and Foreman, Lewis. “Richard Rodney Bennett,” in Foreman (ed.), British Music Now, 108–19.Google Scholar
Panufnik, Andrzej. “A composer's view of life in modern Poland,” Times (Aug. 12, 1954), 7, 8 and (Aug. 13, 1954), 7.Google Scholar
Parkinson, C. Northcote. Parkinson's Law or the Pursuit of Progress. London: John Murray, 1958.Google Scholar
Parsons, Ben. “Sets and the city: serial analysis, Parisian reception, and Pierre Boulez's Structures 1a,” Current Musicology 76 (Fall 2003), 53–79.Google Scholar
Parsons, Laurel. “Music and text in Elisabeth Lutyens's Wittgenstein motet,” Canadian University Music Review 20 (1999), 71–100.CrossRefGoogle Scholar
Payne, Anthony. Frank Bridge: Radical and conservative. London: Thames Publishing, 1984.Google Scholar
Payne, Anthony. Liner note to Crosse, Changes, LP recording Argo ZRG 656, 1970.CrossRefGoogle Scholar
Payne, Anthony. Liner note to New Music from Britain, recording Angel Stereo LP S36387, 1965.Google Scholar
Payne, Anthony. “Nicholas Maw's String Quartet,” Tempo 74 (Autumn 1965), 5–11.CrossRefGoogle Scholar
Picasso. Exhibition catalog. The Tate Gallery. London: Arts Council of Great Britain/Lund Humphries, 1960.Google Scholar
Pickering, Michael. Stereotyping: the politics of representation. New York: Palgrave, 2001.CrossRefGoogle Scholar
Piekut, Benjamin. “Actor-networks in music history: clarifications and critiques,” Twentieth-Century Music 11 (2014), 191–215.CrossRefGoogle Scholar
Piekut, Benjamin. Experimentalism Otherwise: the New York avant-garde and its limits. Berkeley: University of California Press, 2011.Google Scholar
Pinch, Trevor and Trocco, Frank. Analog Days: the invention and impact of the Moog synthesizer. Cambridge: Harvard University Press, 2002.Google Scholar
Plant, Andrew Martin. “The Life and Music of Philip Christian Darnton,” Ph.D. diss., University of Birmingham, 2002, 2 vols.Google Scholar
Poggioli, Renato. The Theory of the Avant-Garde. 1962; trans. Gerald Fitzgerald. Cambridge: Harvard University Press, 1968.Google Scholar
Pople, Anthony. “Vaughan Williams, Tallis, and the Phantasy principle,” in Frogley, Vaughan Williams Studies, 47–80.Google Scholar
Porter, Andrew. “London music: two British Symphonies,” Musical Times 101 (Dec. 1960), 766.Google Scholar
Porter, Andrew. “Some new British composers,” in Lang and Broder, Contemporary Music in Europe, 12–22.CrossRefGoogle Scholar
Potter, Keith, Gann, Kyle and Siôn, Pwyll ap (eds.). Ashgate Research Companion to Minimalist and Postminimalist Music. Farnham: Ashgate, 2013.Google Scholar
Poudrier, Ève. “Local polymetric structures in Elliott Carter's 90+ for Piano (1994),” in Heile, Björn (ed.), The Modernist Legacy: Essays on new music. Farnham: Ashgate, 2009: 205–33.Google Scholar
Prelinger, Elizabeth and Parke-Taylor, Michael (eds.). The Symbolist Prints of Edvard Munch. New Haven: Yale University Press, 1996.Google Scholar
Prince, Gerald. A Dictionary of Narratology. Lincoln: University of Nebraska Press, 1987.Google Scholar
Propp, V. Morphology of the Folktale. Rev. 2nd edn. Austin: University of Texas Press, 1968.Google Scholar
Pruslin, Stephen (ed.). Peter Maxwell Davies: Studies from two decades. London: Boosey and Hawkes, 1979.Google Scholar
Quiller-Couch, Arthur. The Oxford Book of English Verse. 1900, rev. edn, Oxford University Press, 1939.Google Scholar
Rancière, Jacques. The Politics of Aesthetics, trans. Rockhill, Gabriel. London: Continuum, 2004.Google Scholar
“Report of a meeting between the Guild and the BBC,” Composer 1 (Oct. 1958), 8–10.Google Scholar
“Report on meeting with BBC held on 10th July 1959,” Composer 3 (Oct. 1959), 7–10.Google Scholar
Reese, Gustave. “The origin of the English In Nomine,” Journal of the American Musicological Society 2/1 (Spring 1949), 7–22.CrossRefGoogle Scholar
Rees, Jonathan. “Peter Maxwell Davies's Revelation and Fall: influence study and analysis,” PhD dissertation, Open University, 2011.Google Scholar
Ricoeur, Paul. “On interpretation” (1983), repr. in Ricoeur, From Text to Action: Essays in Hermeneutics II. London: Continuum, 2008: 1–21.Google Scholar
Robbins, David (ed.). The Independent Group: Postwar Britain and the aesthetics of plenty. Cambridge: MIT Press, 1990.Google Scholar
Roberts, David L. “Alma Redemptoris Mater,” in McGregor, Perspectives on Peter Maxwell Davies, 1–22.CrossRefGoogle Scholar
Roberts, David L. “Techniques of composition in the music of Peter Maxwell Davies,” Ph.D. diss., Birmingham University, 1985, 2 vols.Google Scholar
Robison, Brian Carl. “Carmen Arcadiae Mechanicae Perpetuum: Toward a Methodology for Analyzing Harrison Birtwistle's Music Since 1977,” D.M.A. diss., Cornell University, 1999.Google Scholar
Roeder, John. “Interacting pulse streams in Schoenberg's Atonal Polyphony,” Music Theory Spectrum 16 (1994), 231–49.CrossRefGoogle Scholar
Rosenberg, Harold. “The Cold War,” Partisan Review 29 (1962), repr. in Discovering the Present. University of Chicago Press, 1973.Google Scholar
Routh, Francis. Contemporary British Music: the twenty-five years from 1945 to 1970. London: Macdonald, 1972.Google Scholar
Rowlands, Jeffrey. “Twelve-note methodology in the music of Alexander Goehr,” Ph.D diss., University of Surrey, 1989.Google Scholar
Rufer, Josef. Die Komposition mit zwölf Tönen (1952); trans. Humphrey Searle as Composition with Twelve Notes Related Only to One Another. London: Barrie and Rockliff, 1954.Google Scholar
Rupprecht, Philip. “Among the ruined languages: Britten’s triadic modernism, 1930–40,” in Wörner et al. (eds.), Tonality 1900–1950: 223–46.Google Scholar
Rupprecht, Philip. “Britten and the avant-garde in the 1950s,” in Rupprecht, (ed.), Rethinking Britten. Oxford University Press, 2013: 132–55.CrossRefGoogle Scholar
Rupprecht, Philip. “Mechanical song: Birtwistle's rhythmic imagination,” in Beard, David, Gloag, Kenneth and Jones, Nicholas (eds.), Harrison Birtwistle Studies, Cambridge University Press, 2015: 26–62.CrossRefGoogle Scholar
Rupprecht, Philip. “‘Something slightly indecent’: British composers, the European avant-garde, and national stereotypes in the 1950s,” Musical Quarterly 91 (2008), 275–327.CrossRefGoogle Scholar
Rupprecht, Philip. “Thematic drama in early Peter Maxwell Davies: from Op. 1 to the First Taverner Fantasia,” in Gloag and Jones, Peter Maxwell Davies Studies, 45–78.Google Scholar
Rushton, Julian. “Orchestral music,” in Northcott, Music of Alexander Goehr, 59–82.Google Scholar
Salazar, Adolfo. Music In Our Time: trends in music since the Romantic era, trans. Pope, Isabel. New York: W. W. Norton, 1946.Google Scholar
Samson, Jim. “Instrumental music II,” in Banfield, Blackwell History, 278–342.Google Scholar
Samuel, Raphael. “The voice of Britain,” in Samuel, , Island Stories: Unravelling Britain. London: Verso, 1998: 172–93.Google Scholar
Sandbrook, Dominic. Never Had it So Good: A history of Britain from Suez to the Beatles. London: Abacus, 2005.Google Scholar
Saunders, Frances Stonor. The Cultural Cold War: the CIA and the World of Arts and Letters. New York: New Press, 1999.Google Scholar
Savage, Roger. “The radio plays of Henry Reed,” in Drakakis, John (ed.), British Radio Drama. Cambridge University Press, 1981: 158–90.Google Scholar
Saxton, Robert. “Elisabeth Lutyens,” in Finnissy, Michael et al. (eds.), New Music 88. Oxford University Press, 1988.Google Scholar
Schiff, David. Music of Elliott Carter, 2nd edn. Ithaca: Cornell University Press, 1998.CrossRefGoogle Scholar
Schnebel, Dieter. “Das musikalische Material – Verhältnisse und Aktionen” (1964), in Schnebel, , Denkbare Musik: Schriften 1952–1972. Cologne: DuMont Schauberg, 1972: 286–9.Google Scholar
Schnebel, Dieter. “Karlheinz Stockhausen,” Die Reihe IV (Young Composers). 1958; English edition. Bryn Mawr: Presser, 1960: 121–35.Google Scholar
Schwarz, Bill. “Britain, America, and Europe,” in Morley, David and Robins, Kevin (eds.), British Cultural Studies. Oxford University Press, 2001: 155–69.Google Scholar
Seabrook, Mike. Max: The life and music of Peter Maxwell Davies. London: Victor Gollancz, 1994.Google Scholar
Shaw, Roy, and Shaw, Gwen. “The cultural and social setting,” in Ford, Cambridge Cultural History, 3–44.Google Scholar
Sheppard, Robert. “British poetry and its discontents,” in Moore-Gilbert and Seed, Cultural Revolution, 160–80.Google Scholar
Sheppard, W. Anthony. Revealing Masks: Exotic influences and ritualized performance in modernist music theater. Berkeley: University of California Press, 2001.Google Scholar
Shreffler, Anne C. “Ideologies of serialism: Stravinsky's Threni and the Congress of Cultural Freedom,” in Berger, Karol and Newcomb, Anthony (eds.), Music and the Aesthetics of Modernity. Cambridge: Harvard University Press, 2005: 217–45.Google Scholar
Shreffler, Anne C. “The myth of empirical historiography: a response to Joseph N. Straus,” Musical Quarterly 84 (2000), 30–9.CrossRefGoogle Scholar
Sinclair, Andrew. Arts and Cultures: The history of the fifty years of the Arts Council of Great Britain. London: Sinclair-Stevenson, 1995.Google Scholar
Slobin, Mark (ed.). Retuning Culture: Musical changes in central and eastern Europe. Durham: Duke University Press, 1996.Google Scholar
Smalley, Roger. “Roger Smalley writes about his new ‘Beat Music,’” The Listener (Aug. 12, 1971), 218.Google Scholar
Smalley, Roger. “Some recent works of Peter Maxwell Davies,” Tempo 84 (Spring 1968), 2–5.CrossRefGoogle Scholar
Smalley, Roger. “Stockhausen's Piano Pieces,” Musical Times 110 (Jan. 1969), 30–2.CrossRefGoogle Scholar
Smith, Barry. Peter Warlock: The Life of Philip Heseltine. Oxford University Press, 1994.CrossRefGoogle Scholar
Snowman, Daniel. The Hitler Émigrés: the cultural impact on Britain of refugees from Nazism. London: Chatto & Windus, 2002.Google Scholar
Sontag, Susan. “Notes on ‘Camp’” (1964), in Against Interpretation. New York: Delta, 1978: 275–92.Google Scholar
Souster, Tim. “Great Britain: since 1945,” in Vinton, Dictionary of Contemporary Music, 282–4.Google Scholar
Souster, Tim. “Michael Tippett's Vision,” Musical Times 107 (Jan. 1966), 20–2.CrossRefGoogle Scholar
Souster, Tim. “Performance instructions from 1972.” Spectral. London: 0dB Editions, 1982 (repr. 1999), 1–9.Google Scholar
Souster, Tim. “Rock und Konzertmusik: Beziehungen und Parallelen,” in “Über die Grenzen”: E-und U-Music-Bestandaufnahme einer Musikalischen Entwicklung, ed. Hansen, Bernhard. Glinde: Verlag Hans-Jürgen Böckel, 1985, 75–6.Google Scholar
Souster, Tim. “The rock influence,” in First American Music Conference, Keele University, England, 1975 (Keele: Music Department, 1978), 134–5.Google Scholar
Souster, Tim. “Tim Souster writes about his new composition for three orchestras, Triple Music II,” The Listener (Aug. 13, 1970), 222.Google Scholar
Spalding, Frances. John Piper, Myfanwy Piper: Lives in art. Oxford University Press, 2009.Google Scholar
Steinberg, Michael. “Elliott Carter's Second String Quartet,” The Score 27 (July 1960), 22–6.Google Scholar
Stephan, Rudolf, Knessl, Lothar et al. (eds.). Von Kranichstein zur Gegenwart: 50 Jahre Darmstädter Ferienkurse. Stuttgart: DACO Verlag, 1996.Google Scholar
Stephens, Robert. “Macmillan's warning on danger of war by muddle,” Observer (Feb. 22 1959), 1.Google Scholar
Stevens, Dennis. “P. Racine Fricker,” in Robertson, Alec (ed.), Music 1952. Harmondsworth: Pelican, 1952: 29–37.Google Scholar
Stockhausen, Karlheinz. “‘Musik kennt keine Grenzen’?” (1956), in Texte, vol. II, 210–11.Google Scholar
Stockhausen, Karlheinz. Texte zur elektronischen und instrumentalen Musik, vols. I and II, Schnebel, Dieter (ed.). Cologne: DuMont Schauberg, 1963, 1964.Google Scholar
Stockhausen, Karlheinz. “Weberns Konzert für 9 Instrumente op. 24: analyse des ersten Satzes” (1953). In Texte I, 24–31.Google Scholar
Stokes, Martin (ed.). Ethnicity, Identity and Music: The musical construction of place. Oxford: Berg, 1994.Google Scholar
Stokoe, Carolyn. “David Bedford,” in Foreman, British Music Now, 133–44.Google Scholar
Straus, Joseph N. Introduction to Post-Tonal Theory, 3rd edn. Englewood Cliffs: Prentice Hall, 2005.Google Scholar
Straus, Joseph N. “The myth of serial ‘tyranny’ in the 1950s and 1960s,” Musical Quarterly 83 (Fall 1999): 301–43.Twelve-Tone Music in America. Cambridge University Press, 2009.CrossRefGoogle Scholar
Stravinsky, Igor and Craft, Robert. Expositions and Developments. Garden City, NY: Doubleday, 1962.CrossRefGoogle Scholar
Suzuki, Dean. “Minimalism in the time-based arts,” in Potter et al., Ashgate Research Companion, 108–28.Google Scholar
Szwed, John F. Space is the Place: the Life and Times of Sun Ra. New York: Da Capo, 1998.Google Scholar
Tarasti, Eero. A Theory of Musical Semiotics. Bloomington: Indiana University Press, 1994.Google Scholar
Taruskin, Richard. Music in the Late Twentieth Century. Oxford University Press, 2005.Google Scholar
Taruskin, Richard. Stravinsky and the Russian Traditions. Berkeley: University of California Press, 1997. 2 vols.Google Scholar
Taylor, A. J. P. “Look back at the Fifties: backwards to Utopia,” New Statesman (Jan. 2, 1960), 5.Google Scholar
Taylor, Michael. “Narrative and musical structures in Harrison Birtwistle's The Mask of Orpheus and Yan Tan Tethera,” in Danuser, Hermann and Kassel, Matthias (eds.), Musiktheater Heute. Basle: Paul Sacher Stiftung, 2003: 173–93.Google Scholar
Taylor, Michael. (ed.), Sammlung Harrison Birtwistle. Basle: Paul Sacher Stiftung, 2000.Google Scholar
Tenant-Flowers, Sarah Jane. “A study of style and techniques in the music of Elisabeth Lutyens,” Ph.D. diss., Durham University, 1991. 2 vols.Google Scholar
Terry, R. R. “Preface” to Byrd, My Ladye Nevells Booke of Virginal Music, ed. Andrews, Hilda; London, 1926; repr. New York: Dover, 1969, ix.Google Scholar
Thomas, Adrian. Polish Music Since Szymanowski. Cambridge University Press, 2005.CrossRefGoogle Scholar
Thomson, Aidan J. “Vaughan Williams and his successors: composers’ forum,” in Frogley and Thomson, Cambridge Companion to Vaughan Williams, 299–321.Google Scholar
Tippett, Michael. “The festival and society,” Musical Times 110 (June 1969), 589–90.CrossRefGoogle Scholar
Trakl, Georg. Das dichterische Werk, ed. Kur, Friedrich. Munich: Deutscher Taschenbuch Verlag, 1972.Google Scholar
Vaughan Williams, Ralph. National Music and Other Essays. Oxford University Press, 1963.Google Scholar
Vaughan Williams, Ralph. Obituary notice for Schoenberg. Music and Letters 32 (1951), 322.Google Scholar
Vaughan Williams, Ralph and Lloyd, A. L. (eds.). The Penguin Book of English Folk Songs. Harmondsworth: Penguin, 1959.Google Scholar
Vojcic, Aleksandra. “A sonorous image of time stretching in Birtwistle's Harrison's Clocks,” Perspectives of New Music 48 (2010), 5–43.CrossRefGoogle Scholar
Wade, Peter. Music, Race, and Nation: Música tropical in Columbia. University of Chicago Press, 2000.Google Scholar
Walsh, Stephen, Lutyens, Elizabeth and Gilbert, Anthony, “Time Off and The Scene Machine,” Musical Times 113 (Feb. 1972), 137–9.CrossRefGoogle Scholar
Warrack, John. “Seven advanced musical works: 12-note technique,” Daily Telegraph (Jan. 10, 1956).Google Scholar
Waterhouse, John C. G. “Peter Maxwell Davies and his public image,” The Listener (May 7, 1964), 773.Google Scholar
Waterhouse, John C. G. “The music of Gordon Crosse,” Musical Times 106 (May 1965), 342–4.CrossRefGoogle Scholar
Waterhouse, John C. G. “Towards an opera,” Tempo 69 (1964); repr. in Pruslin (ed.), Peter Maxwell Davies, 18–25.CrossRefGoogle Scholar
Weiner, Martin J. English Culture and the decline of the Industrial Spirit 1850–1980. Cambridge University Press, 1981.Google Scholar
Wellens, Ian. Music on the Frontline: Nicholas Nabokov's struggle against Communism and middlebrow culture. Aldershot: Ashgate, 2001.Google Scholar
White, Eric Walter. Igor Stravinsky: The Composer and his Works, 2nd edn. London: Faber, 1979.Google Scholar
Whittall, Arnold. “‘A dark voice from within’: Peter Maxwell Davies and modern times,” in Gloag and Jones, Peter Maxwell Davies Studies, 1–20.Google Scholar
Whittall, Arnold. “British music in the modern world,” in Banfield, Blackwell History, 9–26.Google Scholar
Whittall, Arnold. “Music in the Provinces: Nottingham,” Musical Times 108 (Aug. 1967), 723–4.Google Scholar
Whittall, Arnold. “Post twelve-note analysis,” Proceedings of the Royal Musical Association 94 (1966–67), 1–17.CrossRefGoogle Scholar
Whittall, Arnold. “Scenes, arias and Albion moonlight: the 1960s reconsidered.” Unpublished keynote, British Music in the 1960s, University of Surrey, 1998.Google Scholar
Whittall, Arnold. “Schoenberg and the English: notes for a documentary,” Journal of the Arnold Schoenberg Institute 4 (1980), 24–33.Google Scholar
Whittall, Arnold. “The instrumental music of Nicholas Maw: questions of tonality,” Tempo 106 (Sept. 1973), 26–33.CrossRefGoogle Scholar
Wiebe, Heather. “Benjamin Britten, the ‘National Faith,’ and the animation of history in 1950s England,” Representations 93 (2006), 76–105.CrossRefGoogle Scholar
Wiebe, Heather. Britten's Unquiet Pasts: Sound and memory in postwar reconstruction. Cambridge University Press, 2012.CrossRefGoogle Scholar
Wiebe, Heather. “‘Now and England’: Britten's Gloriana and the New Elizabethans,” Cambridge Opera Journal 17 (2005), 141–72.CrossRefGoogle Scholar
Williams, Alistair. Music in Germany Since 1968. Cambridge University Press, 2013.CrossRefGoogle Scholar
Williams, Raymond. “Metropolitan perceptions and the emergence of modernism,” in Williams, Politics of Modernism, 37–48.Google Scholar
Williams, Raymond. “Politics and policies: the case of the Arts Council,” in Williams, Politics of Modernism, 141–50.Google Scholar
Willson, Rachel Beckles. Ligeti, Kurtág, and Hungarian Music during the Cold War. Cambridge University Press, 2007.Google Scholar
Witts, Richard. Artist Unknown: An alternative history of the Arts Council. London: Warner Books, 1998.Google Scholar
Wood, Hugh. “English contemporary music,” in Hartog, European Music (1961 edition), 145–70.Google Scholar
Wood, Hugh. “On music of conviction … and an enduring friendship,” in Latham, Sing, Ariel, 327–30.Google Scholar
Wood, Hugh. “The music of Alexander Goehr,” Musical Times 103 (May 1962), 312–14.CrossRefGoogle Scholar
Wörner, Felix, Scheider, Ullrich, and Rupprecht, Philip (eds.). Tonality 1900–1950: Concept and practice. Stuttgart: Franz Steiner, 2012.CrossRefGoogle Scholar
Wörner, Karl H. Stockhausen: Life and Work, trans. Hopkins, Bill. Berkeley: University of California Press, 1973.Google Scholar
Wright, David. “Concerts for coteries, or music for all? Glock's Proms reconsidered,” Musical Times 149 (Autumn 2008), 3–34.CrossRefGoogle Scholar
Wright, David. “Reinventing the Proms: the Glock and Ponsonby eras, 1959–85,” in Doctor et al., The Proms, 168–209.Google Scholar
Wright, Patrick. On Living in an Old Country: The national past in contemporary Britain. London: Verso, 1985.Google Scholar