Unger M.P. Historical Dictionary of Choral Music
Подождите немного. Документ загружается.
502 • BIBLIOGRAPHY
———. Source Readings in American Choral Music. Missoula, Mont.: College
Music Society, 1995.
DeVenney, David P., and Craig R. Johnson. The Chorus in Opera. A Guide to
the Repertory. Metuchen, N.J.: Scarecrow Press, 1993.
Dorsey, Scott. The Choral Journal: An Index to Volumes 19–32. Monograph
No. 7. Lawton, Okla.: American Choral Directors Association, 1992.
Dox, Thurston J. American Oratorios and Cantatas: A Catalog of Works Writ-
ten in the United States from Colonial Times to 1985. 2 vols. Metuchen, N.J.:
Scarecrow Press, 1986.
Hays, Alfred, ed. “Passion Settings of the German Baroque; A Guide to the
Printed Editions.” Research Memorandum Series 114 (October 1974).
Hines, Stuart. “New Music for Chorus with Overtone Singing.” Choral Journal
47/10 (April 2007): 20–31.
Hutcheson, Robert J. “Twentieth-Century Settings of the Passion. An An-
notated Bibliography.” Research Memorandum Series 127 (March 1979);
continued 129 (November 1979).
John, James, and Emily John. “With Harp and Voice: An Annotated Bibliogra-
phy of Harp/Choral Works.” Choral Journal 50/1 (August 2009): 30–38.
Kean, Ronald M. “Multicultural and Ethnically Inspired Choral Music: An An-
notated List.” Choral Journal 33/10 (May 1993): 45–54.
Kitz, Mitchell, ed. Canadian Choral Music Catalogue. Toronto: Canadian
Music Centre, 1993.
Kjelson, Lee, and James McCray. The Conductor’s Manual of Choral Music
Literature. Van Nuys, Calif.: Alfred Publishing, 1985.
Kroeger, Karl. American Fuging-Tunes, 1770–1820: A Descriptive Catalog.
Westport, Conn.: Greenwood Press, 1993.
Osborne, William. American Singing Societies and Their Partsongs: Ten
Prominent American Composers of the Genre (1860–1940) and the Seminal
Singing Societies that Performed the Repertory. Monograph No. 8. Lawton,
Okla.: American Choral Directors Association, 1994.
Paine, Gordon. The Choral Journal: An Index to Volumes 1–18. Monograph
No. 3. Lawton, Okla.: American Choral Directors Association, 1978.
Reynolds, Robert D. “Textless Choral Music.” Research Memorandum Series
145 (August 1987).
———. “Textless Choral Music.” Choral Journal 41/2 (September 2000): 19–34.
Robinson, Ray. Choral Music: A Norton Historical Anthology. New York: W.
W. Norton, 1978.
Rosewall, Michael. Directory of Choral-Orchestral Music. New York: Rout-
ledge, 2006.
Ruden, Jan Olof. Swedish Choral Music: A Selective Catalogue. Stockholm:
Swedish Music Information Centre, 1987.
BIBLIOGRAPHY • 503
Sachs, Joel. “A Checklist of the Works of Johann Nepomuk Hummel.” Notes,
2nd ser., 30/4 (1974): 732–754.
Sharp, Avery T. “A Descriptive Catalog of Selected, Published Eighteenth-
through Twentieth-Century Stabat Mater Settings for Mixed Voices with
a Discussion of the History of the Text.” Ph.D. diss., University of Iowa,
1978.
——— and James Michael Floyd. Choral Music: A Research and Information
Guide. New York: Routledge, 2001.
Svövérffy, Joseph, and Eva C. Topping. A Guide to Byzantine Hymnography:
A Classified Bibliography of Texts and Studies. Brookline, Mass.: Classical
Folia Editions; Leyden: E. J. Brill, 1978.
Temperley, Nicholas. The Hymn Tune Index: A Census of English-Language
Hymn Tunes in Printed Sources from 1535 to 1820. 4 vols. Oxford: Claren-
don Press; New York: Oxford University Press, 1998.
Threlfalt, Robert, and Geoffrey Norris. Catalogue of the Compositions of S.
Rachmaninoff. Brookfield, Vt.: Scolar Press, 1982.
Tiemstra, Suzanne Spicer. “Anthologies, Collections, and Series of Latin Amer-
ican Choral Music.” Research Memorandum Series 170 (January 1997).
———. The Choral Music of Latin America: A Guide to Compositions and
Research. Westport, Conn.: Greenwood Press, 1992.
Tortolano, William. Original Music for Men’s Voices. Metuchen, N.J.: Scare-
crow Press, 1981.
Turbet, Richard. Tudor Music: A Research and Information Guide. New York:
Garland, 1994.
Turner, Ronald A. A Study Guide to Anthem Literature: History and Performance
Practice. Louisville, Ky.: Southern Baptist Theological Seminary, 1981.
Wachsmuth, Karen. A Bibliography of Twentieth-Century Hungarian Choral
Music. Monograph No. 13. Lawton, Okla.: American Choral Directors As-
sociation, 2002.
Wasson, D. DeWitt. Hymntune Index and Related Hymn Materials. Lanham,
Md.: Scarecrow Press, 1998.
Werf, Hendrick van der. Integrated Directory of Organa, Clausulae, and
Motets of the Thirteenth Century. Rochester, N.Y.: Hendrick van der Werf,
1989.
Werning, Daniel J. A Selected Source Index for Hymn and Chorale Tunes in
Lutheran Worship Books. St. Louis, Mo.: Concordia, 1985.
White, Evelyn Davidson. Choral Music by African American Composers: A
Selected, Annotated Bibliography. Lanham, Md.: Scarecrow Press, 1996.
Whitten, Lynn. A Classified Annotated Bibliography of Articles Related to
Choral Music in Five Major Periodicals through 1980. Monograph No. 4.
Lawton, Okla.: American Choral Directors Association, 1982.
504 • BIBLIOGRAPHY
Yeats-Edwards, Paul. English Church Music: A Bibliography. London: White
Lion, 1975.
STUDIES OF INDIVIDUAL COMPOSERS,
CONDUCTORS, CHOIRS, AND CHORAL EVENTS
Famous Choral Composers
Bach, Johann Sebastian
Alwes, Chester. “J. S. Bach’s ‘Lutheran’ Masses: Aspects of Chronology and
Structure.” Choral Journal 29/7 (February 1989): 5–11.
Ambrose, Z. Philip, ed. and trans. The Texts to Johann Sebastian Bach’s
Church Cantatas. Neuhausen-Stuttgart: Hänssler, 1984.
Arnold, Denis. Bach. Oxford: Oxford University Press, 1984.
Boyd, Malcolm, ed. Bach. Oxford: Oxford University Press, 1999.
Butt, John. Bach: Mass in B Minor. Cambridge: Cambridge University Press,
1991.
———, ed. The Cambridge Companion to Bach. Cambridge: Cambridge Uni-
versity Press, 1997.
Chafe, Eric T. Analyzing Bach Cantatas. Oxford: Oxford University Press, 1999.
———. Tonal Allegory in the Music of J. S. Bach. Berkeley: University of
California Press, 1991.
Cook, Grant W., III. “Bach in Boston: The Emergence of the St. Matthew Pas-
sion, from 1868 to 1879.” Choral Journal 41/9 (April 2001): 21–33.
Crist, Stephen A. “Recitatives and Arias in Bach’s Leipzig Church Cantatas.”
Choral Journal 41/4 (November 2000): 9–20.
Curtis, John. “Bach and Graupner: The Audition Cantatas.” Choral Journal
39/7 (February 1999): 9–15.
David, Hans T. and Arthur Mendel, eds. The New Bach Reader: A Life of
Johann Sebastian Bach in Letters and Documents. Revised and enlarged by
Christoph Wolff. New York: W. W. Norton, 1998.
Dreyfus, Laurence. Bach’s Continuo Group. Cambridge, Mass.: Harvard Uni-
versity Press, 1987.
Dürr, Alfred. Johann Sebastian Bach’s St. John Passion: Genesis, Transmis-
sion and Meaning. Translated by Alfred Clayton. Oxford: Oxford University
Press, 2000.
———. The Cantatas of J. S. Bach. Translated by Richard D. P. Jones. Oxford:
Oxford University Press, 2005.
Folan, Thomas. “Bach’s G Minor Mass: Aspects of Parody.” American Choral
Review 40/1 (Spring 1998).
BIBLIOGRAPHY • 505
Geck, Martin. Johann Sebastian Bach. Life and Work. Translated by John Har-
graves. New York: Harcourt, 2006.
Hamer, Brian. “Bach’s Use of the Chiasm in the St. John Passion.” Choral
Journal 41/4 (November 2000): 29–36.
Hochreiter, Karl. Performance Practice of the Instrumental-Vocal Works of
Johann Sebastian Bach. Translated by Melvin P. Unger. Lanham, Md.:
Scarecrow Press, 2002.
Leaver, Robin A. J. S. Bach and Scripture, Glosses from the Calov Bible Com-
mentary. St. Louis, Mo.: Concordia, 1985.
Marissen, Michael. Lutheranism, Anti-Judaism, and Bach’s St. John Passion.
New York: Oxford University Press, 1998.
Melamed, Daniel. R. Hearing Bach’s Passions. New York: Oxford University
Press, 2005.
———. J. S. Bach and the German Motet. Cambridge: Cambridge University
Press, 1995.
——— and Michael Marissen. An Introduction to Bach Studies. New York:
Oxford University Press, 1998.
Meyer, Ulrich. Biblical Quotation and Allusion in the Cantata Libretti of
Johann Sebastian Bach. Studies in Liturgical Musicology, No. 5. Lanham,
Md.: Scarecrow Press, 1997.
Parrott, Andrew. The Essential Bach Choir. Rochester, N.Y.: Boydell Press,
2000.
Rathey, Markus. “Christmas 1723: Johann Sebastian Bach’s Artistic Evolu-
tion.” Choral Journal 48/1 (July 2007): 14–23.
Rilling, Helmuth. “Bach’s Significance.” Translated by Gordon Paine. Choral
Journal 25/10 (June 1985): 7–14.
Sargent, Martha. “Bach Cantatas for Choirs.” Choral Journal 41/4 (November
2000): 39–45.
Stauffer, George B. Bach: The Mass in B Minor (The Great Catholic Mass).
New York: Schirmer Books, 1997.
Steinitz, Paul. Bach’s Passions. New York: Charles Scribner’s Sons, 1978.
Stokes, Richard, trans. Johann Sebastian Bach: The Complete Church and
Secular Cantatas. Introduction by Martin Neary. Lanham, Md.: Scarecrow
Press, 2004.
Unger, Melvin P. “Bach’s First Two Leipzig Cantatas: The Question of
Meaning Revisited.” BACH. Journal of the Riemenschneider Bach Institute
(Spring-Summer/Fall-Winter 1997): 87–125.
———. Handbook to Bach’s Sacred Cantata Texts, an Interlinear Translation
with Reference Guide to Biblical Quotations and Allusions. Lanham, Md.:
Scarecrow Press, 1996.
———. J. S. Bach’s Major Works for Voices and Instruments: A Listener’s
Guide. Lanham, Md.: Scarecrow Press, 2005.
506 • BIBLIOGRAPHY
Wolff, Christoph. Johann Sebastian Bach: The Learned Musician. New York:
W. W. Norton, 2000.
———, ed. The World of the Bach Cantatas; Johann Sebastian Bach’s Early
Sacred Cantatas. New York: W. W. Norton, 1997.
Beethoven, Ludwig van
Arnold, Denis, and Nigel Fortune, eds. The Beethoven Companion. London:
Faber, 1971.
Breuning, Gerhard von. Memories of Beethoven: From the House of the
Black-Robed Spaniards. Edited by Maynard Solomon and translated by
Henry Mins and Maynard Solomon. Cambridge: Cambridge University
Press, 1992.
Cook, Grant William, III. “Beethoven’s Choral Director, Ignaz Karl Dirzka
(1779–1827).” Choral Journal 46/6 (December 2005): 48–53.
Cook, Nicholas. Beethoven: Symphony No. 9. Cambridge: Cambridge Univer-
sity Press, 1993.
Cooper, Barry. Beethoven. Oxford: Oxford University Press, 2000.
———, ed. The Beethoven Compendium. 2nd ed. London: Thames and Hudson,
1996.
Drabkin, William. Beethoven: Missa Solemnis. Cambridge: Cambridge Uni-
versity Press, 1991.
Fiske, Roger. Beethoven’s “Missa solemnis.” New York: Charles Scribner’s
Sons, 1979.
Forbes, Elliot. “Beethoven’s Choral Music: A Reappraisal.” American Choral
Review 24/2–3 (April and July 1982).
Kerst, Friedrich. Beethoven: The Man and the Artist, as Revealed in His Own
Words. Translated and edited by Henry Edward Krehbiel. New York: Dover,
1964.
Kinderman, William. Beethoven. Oxford: Oxford University Press, 1995.
Lang, Paul Henry, ed. The Creative World of Beethoven. New York: W. W.
Norton, 1971.
Lester, Joel. “Revisions in the Autograph of the Missa Solemnis Kyrie.” Jour-
nal of the American Musicological Society 23/3 (1970): 420–438.
Lockwood, Lewis. Beethoven: The Music and the Life. New York: W. W.
Norton, 2003.
Ohl, John F. “Beethoven: Missa Solemnis.” Choral Journal 21/6 (February
1981): 9–17.
Robbins, Landon H. C. Beethoven: A Documentary Study. Translated by Rich-
ard Wadleigh and Eugene Hartzell. New York: Macmillan/Collier, 1975.
Solomon, Maynard. Late Beethoven: Music, Thought, Imagination. Berkeley:
University of California Press, 2003.
BIBLIOGRAPHY • 507
Stanley, Glenn. The Cambridge Companion to Beethoven. Cambridge: Cam-
bridge University Press, 2000.
Stolzfus, Fred. “Beethoven’s Mass in C: Notes on History, Structure, and Per-
formance Practice.” Choral Journal 23/3 (November 1982): 26–30.
Sullivan, J. W. N. Beethoven: His Spiritual Development. New York: Vintage
Books, 1960.
Thayer, Alexander Wheelock. The Life of Beethoven. Edited by Elliott Forbes.
2 vols. Princeton, N.J.: Princeton University Press, 1964.
Berlioz, Hector
Albright, Daniel. Berlioz’s Semi-Operas: “Roméo et Juliette”and “La Damna-
tion de Faust.” Rochester, N.Y.: University of Rochester Press, 2001.
Bloom, Peter. “Berlioz and the ‘Prix de Rome’ of 1830.” Journal of the Ameri-
can Musicological Society 34/2 (1981): 279–304.
———. The Life of Berlioz. Cambridge: Cambridge University Press, 1998.
———, ed. Berlioz Studies. Cambridge: Cambridge University Press, 1992.
Cairns, David. Berlioz 1803–1832: The Making of an Artist. Volume 1 of 2.
London: A. Deutsch, 1989; 2nd rev. ed., Berkeley: University of California,
2000.
———. Berlioz 1832–1869: Servitude and Greatness. Volume 2 of 2. London:
Allen Lane/The Penguin Press, 1999; Berkeley: University of California
Press, 2000.
Cone, Edward T. “Berlioz’s Divine Comedy: The Grande Messe des morts,”
Nineteenth-Century Music 4/1 (1980): 3–16. Reprinted in Music: A View
from Delft, edited by Robert Morgan. Chicago: University of Chicago Press,
1989 (pp. 139–157).
Di Grazia, Donna M. “Volcanic Eruptions: Berlioz and His Grand Messe des
morts.” Choral Journal 43/4 (November 2002): 27–52.
Findlay, Meredith Claire. The Requiem Masses of Luigi Cherubini and Hector
Berlioz: Their Place in History. Northampton, Mass.: Smith College, 1974.
Holoman, D. Kern. Berlioz. Cambridge, Mass.: Harvard University Press,
1989.
Janower, David. “Tonal Unity in Berlioz’s Requiem.” Choral Journal 26/8
(March 1986): 31–36.
Kean, Ronald. “Medievalism in Hector Berlioz’s Grande Messe de morts.”
Choral Journal 43/5 (December 2002): 7–23.
Langford, Jeffrey, and Jane Denker Graves. Hector Berlioz: A Guide to Re-
search. New York: Garland, 1989.
Macdonald, Hugh. Berlioz. London: J. Dent, 1982.
———. “Berlioz’s Messe solennelle,” Nineteenth-Century Music 16/3 (Spring
1993): 267–285.
508 • BIBLIOGRAPHY
———. “Berlioz’s Napoleonic Te deum.” Choral Journal 43/4 (November
2002): 9–17.
O’Neal, Melinda. “Berlioz’s L’Enfance du Christ: trilogie sacrée, Op. 25: A
Conductor’s Analysis for Performance.” D.Mus. diss., Indiana University,
1987.
Rushton, Julian. “Ecstasy of Emulation: Berlioz’s Messe solennelle and His
Debt to Lesueur.” Musical Times 140/1868 (Autumn 1999): 11–18.
———. “The Genesis of Berlioz’s La Damnation de Faust.” Music and Letters
56 (1975): 129–146.
———. The Music of Berlioz. Oxford: Oxford University Press, 2001.
Stark, Eric. “Berlioz’s La Damnation de Faust: The Dramatic Function of its
Elements with Emphasis on the Chorus and Orchestra as Providers of Time
and Place Cues.” D.Mus. diss., Indiana University, 2001.
Brahms, Johannes
Avins, Styra, ed. Johannes Brahms: Life and Letters. New York: Oxford Uni-
versity Press, 1997.
Bell, A. Craig. Brahms: The Vocal Music. Madison, N.J.: Fairleigh Dickinson
University Press, 1996.
Botstein, Leon, ed. The Compleat Brahms: A Guide to the Musical Works of
Johannes. New York: W. W. Norton, 1999.
Breden, Sharon. “Brahms on Death and Destiny: Philosophical, Theological,
and Musical Implications.” Choral Journal 38/2 (September 1997): 9–14.
Clive, Peter. Brahms and His World: An Annotated Bibliography of Primary
and Secondary Sources. Lanham, Md.: Scarecrow Press, 2006.
Daverio, John. “The ‘Wechsel der Töne’ in Brahms’s Schichalslied.” Journal
of the American Musicological Society 46/1 (1993): 84–113.
DeVenney, David. “Writings on the Choral Music of Johannes Brahms.” Re-
search Memorandum Series 139 (September 1985); continued 147 (February
1988).
Frisch, Walter, ed. Brahms and His World. Princeton, N.J.: Princeton Univer-
sity Press, 1990.
Hancock, Virginia. Brahms’s Choral Compositions and His Library of Early
Music. Ann Arbor, Mich.: UMI Research Press, 1983.
John, James. “Brahms and the ‘Clara Emblem’: Musical Allusion as a Key
to Understanding the Thematic Sources at the Heart of Ein deutsches Re-
quiem.” Choral Journal 44/5 (December 2003): 15–27.
———. “Poetry and Text Setting in Brahms’s Nanie, Op. 82.” American Choral
Review 47/2 (Summer/Fall 2005).
Kross, Siegfried. “The Choral Music of Johannes Brahms.” American Choral
Review 25/4 (October 1983).
BIBLIOGRAPHY • 509
Locke, Benjamin. “Christiane: Cryptography in Brahms’s Ein deutsches Re-
quiem.” Choral Journal 39/2 (September 1998): 9–14.
———. “Melodic Unity in Brahms’s Schaffe in mir Gott, ein rein Herz.” Choral
Journal 27/9 (April 1987): 5–7.
Luhring, Alan A. “Dialectical Thought in Nineteenth-Century Music as Exhib-
ited in Brahms’s Setting of Hölderlin’s Schicksalslied.” Choral Journal 25/8
(April 1985): 5–13.
MacDonald, Malcolm. Brahms. New York: Schirmer Books, 1990.
Melamed, Daniel R., and Virginia Hancock. “Brahms’s Kyrie and Missa ca-
nonica. Two Discussions of the Mass Movements and Their Publication.”
Choral Journal 28/9 (April 1988): 11–15.
Moore, Michael. “Brahms’s A German Requiem and the Matter of Aesthetic
Meaning.” Choral Journal 47/10 (April 2007): 8–19.
Musgrave, Michael. Brahms: A German Requiem. New York: Cambridge
University Press, 1996.
———. A Brahms Reader. New Haven, Conn.: Yale University Press, 2000.
———. The Cambridge Companion to Brahms. Cambridge: Cambridge Uni-
versity Press, 1999.
Notley, Margaret. Lateness and Brahms: Music and Culture in the Twilight of
Viennese Liberalism. Oxford and New York: Oxford University Press, 2006.
Seller-McKenna, Daniel. Brahms and the German Spirit. Cambridge, Mass.:
Harvard University Press, 2004.
Swafford, Jan. Johannes Brahms. A Biography. New York: Alfred A. Knopf,
1999.
Britten, Benjamin
Alwes, Chester. “Words and Music: Benjamin Britten’s ‘Evening Primrose.’”
Choral Journal 45/1 (August 2004): 27–33.
Carpenter, Humphrey. Benjamin Britten: A Biography. New York: Charles
Scribner’s Sons, 1992.
Cooke, Mervyn. Britten: War Requiem. Cambridge: Cambridge University
Press, 1996.
Elliott, Graham. Benjamin Britten: The Spiritual Dimension. London: Oxford
University Press, 2006.
Evans, Peter. The Music of Benjamin Britten: An Analytic Commentary. Min-
neapolis: University of Minnesota Press, 1979.
Hodgson, Peter J. Benjamin Britten: A Guide to Research. New York: Rout-
ledge, 1996.
Holst, Imogen. Britten. 3rd ed. London: Faber, 1980.
Kuster, Andrew Thomas. “Benjamin Britten’s Poetic Alterations.” Choral
Journal 40/7 (February 2000): 9–13.
510 • BIBLIOGRAPHY
Lundergan, Edward J. “Christ’s Nativity: An Early Choral Suite by Benjamin
Britten.” Choral Journal 48/12 (June/July 2008): 18–30.
———. Lundergan, Edward J. “Musical Metaphor: Cyclic-Interval Structures in
Britten’s War Requiem.” Choral Journal 38/7 (February 1998): 9–20.
Nash, Ethan. “Understanding and Performing Bernstein’s Chichester Psalms.”
Choral Journal 49/8 (February 2009): 9–31.
Riddles, Mark. “The Instruments Are by Their Rhimes: An Examination of
the Text in Britten’s Rejoice in the Lamb.” Choral Journal 36/7 (February
1996): 17–22.
Rupprecht, Philip. Britten’s Musical Language. Cambridge: Cambridge Uni-
versity Press, 2002.
Sieck, Stephen. “Benjamin Britten’s First Twenty Years: Reconciling the Pub-
lic and Private Narratives.” Choral Journal 48/12 (June/July 2008): 9–17.
———. “Early Signs of a Gift for Drama: Benjamin Britten’s A Boy Was Born,
Op. 3.” Choral Journal 45/2 (September 2004): 8–16.
Sinclair, Frances T. “Celebration of Youth and Innocence: Benjamin Britten’s
Welcome Ode.” Choral Journal 39/10 (May 1999): 9–14.
Unger, Mel. “Britten’s Hymn to St. Cecilia: An Exegesis.” Choral Journal 22/8
(April 1982): 17–21.
Whittall, Arnold. The Music of Britten and Tippett. Cambridge: Cambridge
University Press, 1990.
Zobel, Elizabeth Warden. “Textural Density and Expression in Benjamin
Britten’s War Requiem.” Choral Journal 45/7 (February 2005): 89–93.
Bruckner, Anton
Albrecht, Theodore. “Anton Bruckner and the Liedertafel Movement.” Ameri-
can Choral Review 22/1 (January 1980).
Jackson, Timothy L., and Paul Hawkshaw, eds. Bruckner Studies. Cambridge:
Cambridge University Press, 1997.
Johnson, Stephen. Bruckner Remembered. London: Faber, 1998.
Harrandt, Andrea. “Bruckner and the Liedertafel Tradition: His Secular Music
for Male Voices.” Choral Journal 37/5 (December 1996): 15–21.
Howie, Crawford. Anton Bruckner: A Documentary Biography. Lewiston,
N.Y.: Mellen Press, 2002.
———, Timothy Jackson, and Paul Hawkshaw, eds. Perspectives on Anton
Bruckner. Aldershot, Hampshire, UK: Ashgate, 2001.
Matthews, Theodore K. The Masses of Anton Bruckner: A Comparative Analy-
sis. Ann Arbor, Mich.: University Microfilms, 1975.
Miller, Ronald L. “The Motets of Anton Bruckner.” Choral Journal 37/2 (Sep-
tember 1996): 19–25.
BIBLIOGRAPHY • 511
Simpson, Robert Wilfred Levick. The Essence of Bruckner. 2nd ed. London:
David & Charles, 1967.
Watson, Derek. Bruckner. London: J. M. Dent, 1975.
Weinert, William. “Bruckner’s Mass in F Minor: Culmination of the Sym-
phonic Mass.” Choral Journal 37/2 (September 1996): 9–16.
Williamson, John, ed. The Cambridge Companion to Bruckner. Cambridge:
Cambridge University Press, 2004.
Byrd, William
Andrews, Herbert Kennedy. Technique of Byrd’s Vocal Polyphony. London:
Oxford University Press, 1964.
Brown, Alan, and Richard Turbet, eds. Byrd Studies. Cambridge: Cambridge
University Press, 2006.
Burton, Sean. “Sacred and Political Duality: An Analysis of Selected Motets
from William Byrd’s Gradualia.” Choral Journal 47/6 (December 2006):
6–20.
Fellowes, Edmund H. William Byrd. London: Oxford University Press, 1948.
Harley, John. William Byrd, Gentleman of the Chapel Royal. Aldershot, Hamp-
shire, UK: Scolar Press, 1997.
Holst, Imogen. Byrd. London: Faber, 1972.
Kerman, Joseph. The Masses and Motets of William Byrd. Berkeley: University
of California Press, 1978.
Turbet, Richard. William Byrd: A Guide to Research. Garland Composer Re-
source Manuals 7. New York: Garland, 1987.
Elgar, Edward
Anderson, Robert. Elgar. New York: Schirmer Books, 1993.
Craggs, Stewart R. Edward Elgar: A Source Book. Brookfield, Vt.: Scolar
Press, 1995.
Foster, Michael. Elgar’s Gigantic Work: The Story of the Apostles Trilogy.
London: Thames, 1995.
Grimley, Daniel M., and Julian Rushton, eds. The Cambridge Companion to
Elgar. Cambridge: Cambridge University Press, 2005.
Houtchens, Alan, and Janis P. Stout. “‘This Dreadful Winnowing-Fan’: Rheto-
ric of War in Edward Elgar’s The Spirit of England.” Choral Journal 44/9
(April 2004): 9–19.
Kennedy, Michael. The Life of Elgar. Cambridge: Cambridge University Press,
2004.