Abbate, Carolyn. 1988. Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. Princeton, New Jersey: Princeton University Press.
Adlington, Robert. 2001. “Counting Time, Countering Time: Louis Andriessen's De Tijd.” Indiana Theory Review 22/1: 1–35.
Adlington, Robert. 2004a. Louis Andriessen: De Staat. In Landmarks in Music Since 1950. Aldershot: Ashgate Publishing.
Adlington, Robert. 2004b. “Louis Andriessen, Hanns Eisler and the Lehrstück.” Journal of Musicology, 21/3: 381–407.
Andriessen, Bas. 1998. “Ensembles (2): LOOS, Neerlands radicale antipode voor muzikale behaagzucht.” Mens en Melodie 4: 153–58.
Andriessen, Louis. 1963a. “Opera met spreekkoor in kleine Scala. Luciano Berio in gezelschap van Purcell.” De Volkskrant, May 25.
Andriessen, Louis. 1963b. “Zonderlinge toestanden bij ballet-première.” De Volkskrant, May 4.
Andriessen, Louis. 1963c. “Lulu in de Scala. Alban Berg geen concurrent voor Verdi. Italianen kunnen niet buiten hun belcanto.” De Volkskrant, March 2.
Andriessen, Louis. 1963d. Preface to Registers. Amsterdam: Donemus.
Andriessen, Louis. 1965. “Interieur verslag van de gebeurtenissen sinds Ittrospezione II voor orkest.” Reprinted in Muzikale en politieke commentaren en analyses bij een programma van een politiek-demonstratief experimenteel concert. Amsterdam: Polak and Van Gennep, 1968.
Andriessen, Louis. 1968a. “Muziek: De tijd in tegenspraak.” De Gids 8: 179–81.
Andriessen, Louis. 1968b. Ives Celebration. Program notes to Charles Ives Centennial Festival-Conference.
Andriessen, Louis. 1975. “Kompeneren voor De Maatregel.” Te elfder ure 20/2: 429–46.
Andriessen, Louis. 1976. Program notes to Louis Andriessen: De Staat, Il Principe, Il Duce, Hoketus. Composers Voice: CV 7702. Amsterdam: Donemus.
Andriessen, Louis. 1977. Notes to De Staat, Il Duce, Il Principe, and Hoketus. Key Notes 6: 42–44.
Andriessen, Louis. 1980. “Crossing the Cultural Landscape”. Rijksacademie De Balie: 109–22.
Andriessen, Louis. 1994. Preface to De Staat, Boosey and Hawkes (HPS 1234).
Andriessen, Louis. 2001. “Trilogie van de Laatste Dag.” Tijdschrift voor Muziektheorie 6/3: 213–21.
Andriessen, Louis.2002a. Gestolen tijd: Alle verhalen. Ed. Zegers, Mirjam. Amsterdam: Querido.
Andriessen, Louis. 2002b. The Art of Stealing Time: Louis Andriessen. Trans. Clare Yates. East Sussex: Arc Music.
Andriessen, Louis. 2003. Program notes to Inanna. Amsterdam: ZT Hollandia.
Andriessen, Louis and Harsh, Edward. 1992. “The Past as a Presence in Part One of Louis Andriessen's De Materie.” Contemporary Music Review 6/2: 59–70.
Andriessen, Louis and Schönberger, Elmer. 1989. The Apollonian Clockwork: On Stravinsky. Trans. Jeff Hamburg. Oxford and New York: Oxford University Press.
Baker, James M. et al. 1997. Music Theory in Concept and Practice. Rochester: University of Rochester Press.
Bakhtin, Mikhail. 1973. Problems of Dostoevsky's Poetics. Trans. R. W. Rotsel. Ann Arbor, MI: Ardi.
Bakhtin, Mikhail.1981. The Dialogic Imagination: Four Essays. Ed. Holquist, Michael, trans. Caryl Emerson and Michael Holquist. Austin: University of Texas Press.
Banes, Sally. 1993. Greenwich Village 1963: Avant-Garde Performance and the Effervescent Body. Durham, N.C.: Duke University Press.
Bang on a Can. 14 Nov. 2003 www.bangonacan.org/adsinterview.html.
Barthes, Roland. 1974. S/Z. Trans. Richard Miller. New York: Hill and Wang.
Barthes, Roland. 1977. Image Music Text. Trans. Stephen Heath. New York: Hill and Wang.
Becx, Caspar. 2000. “Henk Badings.” In Van der Klis: 26–29.
Bergson, Henri. 1946. The Creative Mind: An Introduction to Metaphysics. New York: Wisdom Library.
Bernard, Jonathan. 2003. “Minimalism and the Resurgence of Tonality in Recent American Music.” American Music 20/1: 112–33.
Bernlef, J. 1993. “De Rechterhand weet wat de linkerhand deed: Louis Andriessen en de jazzpratijk.” In Van der Waa: 52–68.
Berry, Mark. 2002. “Music, Postmodernism, and George Rochberg's Third String Quartet.” In Lochhead and Auner: 235–48.
Bloom, Harold. 1973. The Anxiety of Influence. New York: Oxford University Press.
Boulez, Pierre. 1952. “Schönberg est mort.” The Score 6: 18–22.
Braas, Ton. 1988/89. “Matthijs Vermeulen's Symphonies.” Key Notes 25: 18–24.
Braas, Ton. 1997. Door het geweld van zijn verlagen: Een biographie van Mattheus Vermeulen. Amsterdam: Uitgeverij De Bezig bij.
Braas, Ton.2001. “Nederlandse avant-garde in het interbellum.” In Grijp: 568–73.
Brackett, David. 2002. “Where's it At? Postmodern Theory and the Contemporary Musical Field.” In Lochhead and Auner: 207–31.
Braddock, Rowena and Routley, Nicholas. 2004. “Productive Disjunction: Reading ‘the Blanks’ in Writing to Vermeer.” Musicology Australia vol. 27, forthcoming.
Brand, Juliane et al, eds. 1987. The Berg-Schoenberg Correspondence: Selected Letters. New York and London: W. W. Norton & Company.
Brown, Earle. 1961. Prefatory notes in Available Forms I. Associated Music Publishers, Inc.
Bruls, Willem and Engeler, Chris. 1999. “Naar een vertrouwen in beelden: Een debat over twee wereldpremières bij DNO.” Odeon: De Nederlandse Opera 9/35: 10–13.
Bryant-Bertail, Sarah. 2002. Space and Time in Epic Theater: The Brechtian Legacy. Suffolk: Camden House.
Bumann, Ulrich. 1989. “Etwas mit Marx und Mores im Sinn.” Die Welt, June 3.
Bürger, Peter. 1984. Theory of the Avant-Garde. Translated by Michael Shaw. Minneapolis: University of Minnesota Press.
Burkholder, J. Peter. 1996. All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. New Haven and London: Yale University Press.
Caldwell, Chris. 5 December 2005. “Music on the Edge.” http://www.musicontheedge.com/smb.html.
Carl, Gene. 1987. “A sense of escalation: Diderik Wagenaar's discrete evolution.” Key Notes 24: 14–22.
Ch'en, Ku-ying. 1977. Lao Tzu: Text, Notes, and Comments. Trans. Rhett Y. W. Young and Roger T. Ames. San Francisco: Chinese Materials Center, Inc.
Cody, Joshua. 1994. “Exclusive Interviews with Louis Andriessen and Peter Greenaway.” The Paris New Music Review 1/19: 1–19.
Coenen, Alcedo. 1997. “Louis Andriessen's De Materie.” Key Notes 25: 1–12.
Cross, Jonathan. 1998. The Stravinsky Legacy. Cambridge: Cambridge University Press.
Cross, Jonathan, ed. 2003. The Cambridge Companion to Stravinsky. Cambridge: Cambridge University Press.
Cuciurean, John. 2000. “A theory of pitch, rhythm, and intertextual allusion for the late music of Györgi Ligeti.” Ph.D. dissertation: State University of New York at Buffalo.
Beer, Roland. 1985. “The awesome symphony orchestra: Kaalslag.” Key Notes 21: 26–32.
Beer, Roland. 1986. “Hoketus stopt na tien jaar: ‘Het geluid is op’.” De Volkskrant, September 13.
Beer, Roland. 1989. “Indrukwekkend monlithisch muziekstuk en gestileerd avondje: De materie gaat over Andriessen en Wilson.” De Volkskrant, 3 June.
Bondt, Cornelis. 1999. Liner notes to the CD Het Gebroken Oor.
Degens, Ralph. 1986. “De C-serie als natturreservaat: Mausoleum indrukweekend.” Trouw, March 1.
De Groot, Rokus. 2001. “Componist in Nederland tussen vrij beroep en staatsambt.” In Grijp: 845–51.
Derrida, Jacques. 1973. Speech and Phenomena, and Other Essays on Husserl's Theory of Signs. Trans. David B. Allison. Evanston: Northwestern University Press.
Derrida, Jacque. 1998. Of Grammatology. Trans. Gayatri C. Spivak. Baltimore: Johns Hopkins University Press.
Desmedt, Elisabeth. 1988. Louis Andriessen: Eerst Muziek, Dan Politiek. Thesis: Rijksuniversiteit, Ghent.
Donker, Janny. 1989. “Geest en materie in het brein van Robert Wilson.” In De Materie: Louis Andriessen en Robert Wilson. Amsterdam: Uitgave van de Nederlandse Opera: 65–73.
Dox, Thurston J. 1981. “Hendrik Andriessen: The Path to Il Pensiero.” Key Notes 13/1: 16–24.
Dramm, David. 2003. “Filosofische Boombox.” In Oskamp: 70–78.
Eco, Umberto. 1989. The Open Work. Trans. Anna Cancogni. Cambridge: Harvard University Press.
Eco, Umberto. 1994. Six Walks in the Fictional Woods. Cambridge, MA: Harvard University Press.
Elliott, Bridget and Purdy, Anthony. 1997. Peter Greenaway: Architecture and Allegory. West Sussex: Academy Editions.
Everett, Yayoi Uno and Lau, Fred, eds. 2004. Locating East Asia in Western Art Music. Middlebury, CT: Wesleyan University Press.
Everett, Yayoi Uno. 2002. “Musical Design and Signification in ‘Writing to Vermeer’ by Louis Andriessen.” Tijdschrift voor Muziektheorie 7/2: 67–79.
Everett, Yayoi Uno. 2004. “Modeling Parody and Irony in the Music by Kurt Weill, Peter Maxwell Davies, and Louis Andriessen.” Music Theory Online, vol. 10/4.
Flothuis, Marius. 1999. “Bernard Haitink en het Amsterdamse muziekleven.” In Korenhof: 66–72.
Ford, Andrew. 1993. Composer to Composer: Conversations about Contemporary Music. London: Quartet Books.
Foster, Hal. 1983. The Anti-Aesthetic. Seattle, WA: Bay Press.
Foucault, Michel. 1986. “Of Other Spaces.” Trans. Jay Miskowiec. Diacritics 16: 22–27.
Gitlin, Todd. 1993. The Sixties: Years of Hope, Days of Rage, 2nd edition. New York: Bantam.
Greenaway, Peter. 1993a. “Rosa.” In Van der Waa, 238–48.
Greenaway, Peter.1993b. Unpublished original script for Rosa.
Greenaway, Peter. 1999. “Text” from the Program Notes to Writing to Vermeer. Amsterdam: Het Muziektheater, 22–29.
Griffiths, Paul. 1981. Modern Music: The Avant-Garde Since 1945. New York: George Braziller, Inc. Originally published in England, London: J. M. Dent & Sons Ltd.
Grijp, Louis P., ed. 2001. Een muziekgeschiedenis der Nederlanden. Amsterdam: Amsterdam University Press-Salomé.
Haakman, Anton. 1986. “Pijper on Pijper.” Key Notes 23: 36–40.
Haakman, Anton. “Hal Hartley: reviews, interviews, new films, excerpts and more.” 15 Sept. 2004 http://members.fortunecity.com/vanessa77/index95.html.
Hamburg, Jeff. 1986. “I have nothing to say and I have said it: An American in Holland.” Key Notes 23: 41–49.
Harsh, Edward D. 1993. “Over het onschadelijk maken(?) van muzikale draken.” In Van der Waa: 88–109.
Hartley, John. 2002. Communication, Cultural and Media Studies: The Key Concepts. 3rd ed. New York: Routledge.
Harvey, David. 1984. The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change. Oxford: Oxford University Press.
Hatten, Robert. 1991. “On Narrativity in Music: Expressive Genres and Levels of Discourse in Beethoven.” Indiana Theory Review 12: 75–98.
Hicks, Michael. 1982. “Text, Music and Meaning in Berio's Sinfonia, Third Movement.” Perspectives on New Music 20: 199–224.
Hiu, Pay-Uun. 1993. “De Haagse Hik.” In Van der Waa: 72–87.
Hiu, Pay-Uun. 1996. “Een cultuur apart? De Nederlandse ensemblecultuur gespiegeld aan Europese ontwikkelingen.” In Schönberger et al: 24–57.
Hiu, Pay-Uun.2001. “Eigenwijze ensembles en een eigenwijze ensemblecultuur.” In Grijp: 757–64.
Hiu, Pay-Uun. 2003. “Big Noise.” Trackings II (Autumn) http://www.donemus.nl/english/articles.php.
Hobbs, Stuart D. 1997. The End of the American Avant Garde. New York and London: New York University Press.
Holland, Bernard. 2000. “The Chaos Outside Vermeer's Quiet Rooms.” The New York Times. July 13.
Hutcheon, Linda. 1985. A Theory of Parody: The Teachings of Twentieth-Century Art Forms. New York and London: Methuen, Inc.
Hutcheon, Linda. 1988. A Poetics of Postmodernism: History, Theory, Fiction. New York: Routledge, 1988.
Huyssen, Andreas. 1986. After the Great Divide: Modernism, Mass Culture, Postmodernism. Bloomington: Indiana University Press.
Hyde, Martha. 1996. “Neoclassic and Anachronistic Impulses in Twentieth-Century Music.” Music Theory Spectrum 18: 200–35.
Hyde, Martha.2003. “Stravinsky's Neo-classicism.” In Cross: 98–136.
Innes, Christopher. 1996. The Theatre of Robert Wilson. Cambridge: Cambridge University Press.
Jameson, Frederick. 1984. “Postmodernism, or the Cultural Logic of Late Capitalism.” New Left Review 146: 53–92.
Jameson, Frederick. 1991. Postmodernism, or the Cultural Logic of Late Capitalism. Durham: Duke University Press.
Janssen, Paul. 2001. Liner notes to CDDutch Composers: Pijper, Wagenaar, Dopper, Röntgen.
Kallitsis, Christos. Peter Greenaway. 12 Nov. 2002 http://www.magnet.gr/greenaway/words.htm.
Kennedy, James C. 1995. Nieuw Babylon in aanbouw: Nederland in de jaren zestig. Amsterdam: Boom.
Kien, Hein. 1976. “The Composer Kees van Baaren: Towards a Revaluation of the Sound Material.” Key Notes 4: 4–13.
Klein, Michael. 2005. Intertextuality in Western Art Music. Bloomington: Indiana University Press.
Koleva, Tatiana. 3 Nov. 2004 http://www.tatiankoleva.com.
Kolsteeg, Johan. 1997. “Donemus at 50: Time bombs with a pungent order.” Key Notes 31/4: 7–10.
Kolsteeg, Johan. 2001. “De promotie van Nederlandse muziek.” In Grijp: 541–46.
Koopmans, Rudy. 1976. “On Music and Politics: Activism of Five Dutch Composers.” Key Notes 4: 20–38.
Koopmans, Rudy. 1982. Tien Jaar Volharding. Amsterdam.
Korenhof, Paul. 1989. “Amusementswaarde ontbreekt bij opera De Materie.” Leids Dagblad. June 2.
Korenhof, Paul, ed. 1999. Bernard Haitink: een vriendenboek. Amsterdam: Uitgeverij Anthos.
Korsyn, Kevin. 1991. “Towards a New Poetics of Musical Influence.” Music Analysis 10/12: 3–72.
Kouneva, Penka. 1991. “Trans-historicism in Louis Andriessen's De Stijl.” Thesis: Duke University.
Kramer, Jonathan. 1988. Time of Music: New Meanings, New Temporalities, New Listening Strategies. New York: Schirmer Books.
Kramer, Jonathan.1995. “Beyond Unity: Toward an Understanding of Musical Postmodernism.” In Marvin and Hermann: 11–33.
Kramer, Lawrence. 1991. “Musical Narratology: A Theoretical Outline.” Indiana Theory Review 12: 141–62.
Kramer, Lawrence. 1995. Classical Music and Postmodern Knowledge. Berkeley: University of California Press, 1995.
Kristeva, Julia. 1980. “The Bounded Text.” In Desire in Language: A Semiotic Approach to Literature and Art, ed. Roudiez, Leon S.. Trans. Thomas Gora, Alice Jardine, and Leong S. Roudiez. New York: Columbia University Press: 36–63.
Lane, Richard J. 2000. Jean Baudrillard. London and New York: Routledge.
Lelong, Stéphane, ed. 1996. Nouvelle Musique. Paris: Editions Balland.
Leydon, Rebecca V. 1996. “Narrative Strategies and Debussy's Late Style.” Ph.D. Dissertation: McGill University.
Lindemans, Micha F. 14 Sept. 2004 “Inanna.” http://www.pantheon.org/articles/i/inanna.html.
Lochhead, Judith and Auner, Joseph, eds. 2002. Postmodern Music/Postmodern Thought. New York and London: Routledge.
LOOS ensemble. 21 Nov. 2003 http://www.loosensemble.nl.
Lukács, György. 1970. “Art and Objective Truth.” In Writer and Critic and Other Essays, trans. Arthur D. Kahn. London: Merlin Press.
Lunn, Eugene. 1982. Marxism & Modernism: an historical study of Lukács, Brecht, Benjamin and Adorno. Berkeley: University of California Press.
Lyotard, Jean-François. 1984. The Postmodern Condition: A Report on Knowledge. Trans. G. Bennington and B. Massumi. Minneapolis: University of Minnesota Press.
Mak, Geert. 1986. The Amsterdam Dream: Korte Geschiedenis van de politieke cultuur in de jaren tachtig. Amsterdam: Uitgeverij De Populier.
Martland, Steve. 1987. “Steve Martland and the Victories of Thatcher Rule.” Key Notes 24: 3–13.
Marvin, Elizabeth W. and Hermann, Richard, eds. 1995. Concert Music, Rock, and Jazz since 1945. Rochester, NY: University of Rochester Press.
Marx, Karl. 1977. Capital, vol. 1. Trans. Ben Fowkes. New York: Vintage Books.
Marx, Karl. 1897. Zur Kritik der politischen Oekonomie. Stuttgart: Dietz.
Maus, Fred E. 1991. “Music as Narrative.” Indiana Theory Review 12: 1–34.
McCreless, Patrick. 1988. “Roland Barthes's S/Z from a Musical Point of View.” In Theory Only x/7: 1–29.
McCreless, Patrick. 1991. “The Hermeneutic Sentence and Other Literary Models for Tonal Closure.” Indiana Theory Review 12: 35–74.
Micheels, Pauline. 2001. “Het Nederlandse muziekleven tijdens de Duitse besetting.” In Grijp: 625–43.
Midgette, Anne. 2004. “Challenging Opera Arrives in New York, Only on Film.” The New York Times, May 11.
Ministry of Health, Welfare, and Culture. “The Development of Cultural Policy in the Netherlands” in Cultural Policy in the Netherlands (updated from 1993). 11 March 2004 http://www.minocw.nl/english_oud/cubeleid_engels/.
Monelle, Raymond. 2000. The Sense of Music: Semiotic Essays. Princeton, NJ: Princeton University Press.
Mueller, Roswitha. 1994. “Learning for a new society: the Lehrstück.” In Thompson and Sacks: 79–95.
Muller, Theo. 1997. “An Age of Scandal, Protest & Schism: Composers at War.” Key Notes 16/2: 15–17.
Muzikale en politieke commentaren en analyses bij een programma van een politiek-demonstratief experimenteel concert (program notes). 1968. Amsterdam: Polak and Van Gennep.
Nash, John. Vermeer. 1991. Amsterdam: Rijksmuseum.
Nattiez, Jean-Jacques. 1990. “Can One Speak of Narrativity in Music?” Journal of the Royal Musical Association 115/2: 240–57.
Newcomb, Anthony. 1987. “Schumann and Late Eighteenth-Century Narrative Strategies.” Nineteenth-Century Music 11/2: 164–74.
Novak, Jelena. 2003. “Opera in the Age of Media.” In Symposium: Music and Media. Belgrade University of the Arts.
Obenhaus, Mark. 1987. Einstein on the Beach: The Changing Image of Opera. Video. Los Angeles: Direct Cinema.
Op de Coul, Paul. 2001. “Willem Pijper en de opera in het interbellum.” In Grijp: 617–24.
Oskamp, Jacqueline, ed. 2003. Radicaal gewoon: Bestaat er zoiets als Nederlandse muziek?Amsterdam: Mets & Schilt.
Osmond-Smith, David. 1981. “From Myth to Music: Lèvi-Strauss's ‘Mythologique’ and Berio's ‘Sinfonia’.” Music Quarterly 17: 230–60.
Osmond-Smith, David. 1985. Playing on Words: a Guide to Luciano Berio's Sinfonia. London: Royal Musical Association.
Otten, Willem J. 1994. “The Hymn of Defeat.” Key Notes 7 24/2: 14–15.
Otten, Willem J. and Schönberger, Elmer. 1978. “Louis Andriessen's Matthew Passion and Orpheus: Two steps from the Hades of the Operatic Tradition.” Key Notes 7: 22–34.
Overbeeke, Emanuel. 2004. “Vervolgde componisten in Nederland.” In Van Lambalgen, 147–59.
Paddison, Max. 1996. Adorno, Modernism and Mass Culture: Essays on Critical Theory and Music. London: Kahn & Averil.
Pasler, Jann. 1993. “Postmodernism, Narrativity, and the Art of Memory.” Contemporary Music Review 7: 3–32.
Peters, Peter. 1994. “De Notenkrakers en de politiek: geëmancipeerde arbeiders en dissonanten.” Mens en Melodie 49: 610–17.
Rehn, Tina. 1999. “Between materiality and virtuality.” Program Notes to Writing to Vermeer. Amsterdam: Het Muziektheater, pp. 30–39.
Reich, Steve. 1974. Writings about Music. New York: Universal Edition.
Reininghaus, Frieder. 1995. “Il dissoluto punito: Rosa von Peter Greenaway und Louis Andriessen in Amersterdam uraufgeführt.” Neue Zeitschrift für Musik: 58–59.
Richardson, John. 1999. Singing Archaeology: Philip Glass's Akhnaten. Hanover, NH: Wesleyan University Press.
Ricoeur, Paul. 1984. Time and Narrative. Translated by K. McLaughlin and D. Pellauer. Chicago: University of Chicago Press.
Righart, Hans. 1995. De eindeloze jaren zestig: Geschiedenis van een generatie-conflict. Amsterdam: Uitgeverij de Arbeiderspers.
Rockwell, John. 1980. “Robert Wilson's Stageworks: Originality and Influences.” In Stearns: 12–43.
Rupprecht, Philip. 2001. Britten's Musical Language. Cambridge: Cambridge University Press.
Samama, Leo. 2001. “Muziek in het onbehangen in de cultuur in de jaren zestig.” In Grijp: 743–48.
Samama, Leo. 1986. Zeventig jaar Nederlandse muziek 1915–1985: Voorspel tot een nieuwe dag. Amsterdam: E. M. Queridos Uitgeverij B.V.
Schama, Simon. 1987. The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age. New York: Alfred A. Knopf.
Schat, Peter. 1999. Het componeren van de hemel. Amsterdam: Donemus.
Schiff, David. 1983. The Music of Elliott Carter. London: Eulenberg Books.
Schneeweisz, Oswin. 1998. “Louis Andriessen verrast met Trilogie.” Algemeen Dagblad, February 2.
Schönberger, Elmer. 1981. “Louis Andriessen on Conceiving Time.” Key Notes 13/1 (1981): 5–11.
Schönberger, Elmer. 1986. “The Hole in the Dome.” Key Notes 23: 3–8.
Schönberger, Elmer.1993a. “Het Stravinsky-gevoel.” In Van der Waa: 210–37.
Schönberger, Elmer. 1993b. Program notes to Louis Andriessen: De Tijd.
Schönberger, Elmer. 1996a. Program notes to Louis Andriessen: Nocturnen / Ittrospezione III / Anachronie I / Contra Tempus / Anachronie II.
Schönberger, Elmer. 1998. Introduction to brochure on Louis Andriessen. New York: Boosey and Hawkes.
Schönberger, Elmer.2001a. “Louis Andriessen.” In New Grove Dictionary of Music and Musicians, 2nd edition. Edited by Sadie, Stanley. London: Macmillan Publishers, vol. 1: 637–40.
Schönberger, Elmer.2001b. “Serialisme in Nederland, pro en contra.” In Grijp: 670–74.
Schönberger, Elmer et al, eds. 1996b. Ssst! Nieuwe ensembles voor nieuwe Muziek. Amsterdam: Uitgeverij International Theatre & Film Books.
Schwarz, K. Robert. 1994. Program notes to: Louis Andriessen: M is for Man, Music, Mozart. Nonesuch 79342.
Schwarz, K. Robert. 1996. “From Rebel to Guru to (Horror of Horrors) Elder Statesman?” New York Times. December 1.
Service, Tom. 2002. “Powerful Politics at the South Bank.” The Guardian. October 17.
Sheinberg, Esti. 2002. Irony, Satire, Parody and the Grotesque in the Music of Shostakovich: At Theory of Musical Incongruities. Aldershot: Ashgate Publishing.
Silverman, Hugh J. 1990. Postmodernism – Philosophy and the Arts. New York and London: Routledge.
Stanley, John. 1996. Program notes to Steve Martland: Patrol. BMG Classics-Catalyst.
Staverman, Désirée. 2000a. “Alphons Diepenbrock.” In Van der Klis: 101–05.
Staverman, Désirée.2000b. “Jan Ingenhoven.” In Van der Klis: 183–85.
Stearns, Robert, ed. 1980. Robert Wilson: from a Theatre of Images. Cincinnati, OH: The Contemporary Arts Center.
Straub, Heinriette. 2001. “De Nederlandse Mahlertraditie.” In Grijp: 574–81.
Straus, Joseph. 1990. Remaking the Past: Musical Modernism and the influence of the Tonal Tradition. Cambridge, MA: Harvard University Press.
Straus, Joseph. 2001. Stravinsky's Late Music. Cambridge: Cambridge University Press.
Stravinsky, Igor. 1970. Poetics of Music: in the Form of Six Lessons. 3rd edition. Translated by A. Knodel and I. Dahl. New York: Vintage Books.
Takken, Wilfred. 2003. “Jazzy blues en kale regie in Inanna.” Nieuwe Rotterdamse Courant. October 10.
Thomson, Peter and Sacks, Glendyr, eds. 1994. The Cambridge Companion to Brecht. Cambridge: Cambridge University Press,
Tommasini, Anthony. 2000. “A Hip Audience Packs the Hall to Hear Hip Works.” The New York Times. October 3.
Tommasini, Anthony. 2002. “Power to the People (New Music, Too).” The New York Times. May 8.
Tousignant, François. 1999. “Musique contemporaine: non, monsieur Andriessen.” October 7.
Tra, Gijs. 1978. “Instant Composers Pool: a decade of musical and political innovation.” Key Notes 7: 7–8.
Trochimczyk, Maja. 2002. The Music of Louis Andriessen. New York: Routledge.
Berg, Erik. 1985. “Derek Bailey, Extemporisations of a Dutch-phile.” Key Notes 22/2: 32–34.
Klis, , ed. 2002. The Essential Guide to Dutch Music: 100 Composers and Their Work. Amsterdam: Amsterdam University Press/Muziekgroep Nederland.
Ven, Aad. 1998. “Doodse noten van Louis Andriessen.” Haagsche Courant, February 2.
Waa, Frits. 1984. review of the première of the two-piano version, De Volkskrant, November 17.
Waa, Frits. 1993a. Louis Andriessen. In the Promotional Brochure with a Catalogue of Works. Amsterdam: Donemus.
Waa, Frits. 1997. “The Curious Pursuits of Louis Andriessen: a Skull, a Spider, and a Scherzo.” Key Notes 31/4: 10–14.
Waa, Frits. 1998a. Program notes to: Louis Andriessen/Huba de Graaf/Huib Emmer/Las Torstensson: Pianoduo Cees van Zeeland and Gerard Bouwhuis. NM Classics 92074.
Waa, Frits. 1998b. “Andriessens botsende akkoorden vertolkt in monsterverbond.” De Volkskrant. February 2.
Waa, Frits. 1999a. Program notes to Orkest de Volharding 1972–1992. Trajekten, NM Classics 92021.
Waa, Frits. 1999b. “De muziek.” Program notes for Writing to Vermeer. Amsterdam: Het Muziektheater, 13–19.
Waa, Frits, ed. 1993b. De slag van Andriessen. Amsterdam: Uitgeverij de Bezige.
Weetering, Conrad. 1988. “Schilderen met mensen, licht, decors en kleren.” Algemeen Dagblad. May 25.
Weetering, Conrad. 1991. “The Music.” In the program book to Writing to Vermeer. Amsterdam: De Nederlandse Opera.
Kempen, Johan. “Andriessens Mausoleum dipe teleurstelling.” Haarlems Dagblad, March 3, 1986.
Lambalgen, Bente-Helene, Overbeeke, Emanuel, and Samama, Leo, eds. 2004. Entartete Musik: Verboden Muziek onder het nazi-bewind. Amsterdam: University of Amsterdam Press.
Marissing, Lidy. 1973. “Met het orkestje van Andriessen de straat op.” De Volkskrant, September 18.
Vermeulen, Ernst. 1992. “Kees van Baaren's Antischool.” Key Notes 26/1: 14–17.
Visser, Harm. 1979. “Een anarchist in de Muziek: Van Agt heeft van Louis Andriessen niets te vrezen.” Tijd, Amsterdam.
Visser, Harm. 1984. “De Snelheid.” Intermagazine 6 (June).
Vogel, Hans. 1986. “Andriessen is een ster in de USA.” Het Parool. May 30.
Waterfield, Robin, trans. 1993. Plato: Republic. Oxford and New York: Oxford University Press.
Wehrung, Brendan. “The Life and Art of Willem Mengelberg.” 15 March 2004 http://www.geocities.com/Paris/1947/m-pol.html.
Whitehead, Kevin. 1997. “De Volharding at 25: ‘Once you start, you keep playing till the end’.” Key Notes 27/3: 4–7.
Whitehead, Kevin. 1999. New Dutch Swing. New York: Billboard Books.
Whittall, Arnold. 1997. “Modernist Aesthetics, Modernist Music: Some Analytical Perspectives.” In Baker et al.: 157–80.
Whittall, Arnold. 2001. “Andriessen's Recent Music: Three for All.” The Musical Times: 9–20.
Whittall, Arnold. 2003. Exploring Twentieth-Century Music: Tradition and Innovation. Cambridge: Cambridge University Press.
Willett, John. 1992. Brecht on Theater: The Development of an Aesthetic. New York: Hill and Wang.
Willett, John.1997. “Modernist Aesthetics, Modernist Music: Some Analytical Perspectives.” In Baker et al: 157–80.
Williams, Alastair. 1997. New Music and the Claims of Modernity. Aldershot: Ashgate.
Wilson, Robert. 15 October 2004. http://www.robertwilson.com/works/masterDeafman.htm/.
Woods, Alan. 1996. Being Naked Playing Dead: The Art of Peter Greenaway. Manchester University Press.
Wright, David. 1993. “Louis Andriessen: Polity, Time, Speed, Substance.” Tempo 187: 7–13.
Zwart, Frits. 2001. “De glansrijke carrière van Willem Mengelberg.” In Grijp: 525–31.
