AdornoT. W. (1970). Ästhetische Theorie. Gesammelte Schriften, Vol. 7, TiedemannRolf (ed.). Frankfurt am Main: Suhrkamp Verlag. Trans. as: Aesthetic Theory, (trans. Robert Hullot-Kentor, 1997). London: Athlone Press.
2.
AdornoT. W. (1973a). Über den Fetischcharakter in der Musik und die Regression des Hörens (1938). In TiedemannRolf (ed.), Gesammelte Schriften, Vol. 14, Dissonanzen (1956) (pp. 14–50). Frankfurt am Main: Suhrkamp Verlag. Trans. as: “On the Fetish Character in Music and the Regression of Listening” (trans. anon, 1978). In Andrew Arato and Eike Gebhardt (eds), The Essential Frankfurt School Reader (pp. 270-99). Oxford: Basil Blackwell.
3.
AdornoT. W. (1973b). Das Altern der neuen Musik (1955). In TiedemannRolf (ed.), Gesammelte Schriften, Vol. 14, Dissonanzen (1956) (pp. 143–67). Frankfurt am Main: Suhrkamp Verlag.
4.
AdornoT. W. (1978). Vers une musique informelle. In TiedemannRolf (ed.), Gesammelte Schriften, Vol. 16, Quasi una fantasia (1963) (pp. 493–530). Frankfurt am Main: Suhrkamp Verlag.
5.
AdornoT. W. (1980). Minima Moralia (1951). Gesammelte Schriften, Vol. 4, Rolf Tiedemann (ed.). Frankfurt am Main: Suhrkamp Verlag. Trans. as: Minima Moralia, (trans. E.F.N. Jephcott, 1974). London: NLB/Verso.
6.
AdornoT. W. (1982a). Schubert (1928). In Rolf Tiedemann (ed.), Gesammelte Schriften, Vol. 17, Moments musicaux (1964) (pp. 18–33). Frankfurt am Main: Suhrkamp Verlag.
7.
AdornoT. W. (1982b). Nachtmusik (1929). In Rolf Tiedemann (ed.), Gesammelte Schriften, Vol. 17, Moments musicaux (1964) (pp. 52–9). Frankfurt am Main: Suhrkamp Verlag.
8.
AdornoT. W. (1982c). Neue Tempi (1930). In Rolf Tiedemann (ed.), Gesammelte Schriften, Vol. 17, Moments musicaux (1964) (pp. 66–73). Frankfurt am Main: Suhrkamp.
9.
AdornoT. W. (1984a). Zum Problem der Reproduktion (1925). In TiedemannRolf, and SchultzKlaus (eds), Gesammelte Schriften, Vol., 19, Musikalische Schriften VI (pp. 440–44). Frankfurt am Main: Suhrkamp Verlag.
10.
AdornoT. W. (1984b). Zur gesellschaftlichen Lage der Musik (1932). In TiedemannRolf (ed.), Gesammelte Schriften Vol. 18, Musikalische Schriften, V (pp. 752–3). Frankfurt am Main: Suhrkamp Verlag. Trans. as: “On the Social Situation of Music” (trans. Wes Blomster; revised Richard Leppert, 2002). In Theodor W. Adorno, Essays on Music, selected with Introduction, Commentary and Notes by Richard Leppert. Berkeley & Los Angeles: University of California Press.
11.
AdornoT. W. (1986). Husserl and the problem of Idealism. In TiedemannRolf (ed.), Gesammelte Schriften, Vol. 20.1 (pp. 119–34). Frankfurt am Main: Suhrkamp Verlag.
12.
AdornoT. W. (2001b). Zu einer Theorie der musikalischen Reproduktion, ed. LonitzHenri.Frankfurt am Main: Suhrkamp Verlag.
13.
AdornoT. W., & BenjaminW. (1995). Briefwechsel 1928-1940, ed. LonitzHenri.Frankfurt am Main: Suhrkamp Verlag.
14.
BachelardG. (1950). La dialectique de la durée.Paris: Presses Universitaires de France.
15.
BenjaminWalter (1963). Ursprung des deutschen Trauerspiels.Frankfurt am Main: Suhrkamp Verlag. Trans. as: The Origin of German Tragic Drama (trans. John Osborne, with an Introduction by George Steiner, 1977). London: NLB.
16.
BergsonH. (1889). Essai sur les données immédiates de la conscience. Paris. Trans. as: Time and Free Will (tran. F.L. Pogson, 1910). New York: Allen.
17.
CageJ. (1968). Silence.London: Marion Boyars.
18.
CarterE. (1984). New Approaches to the Organization of Time. In WeissPiero, and TaruskinRichard (eds), Music in the Western World: A History in Documents (pp. 526–29). New York & London: Schirmer Books,
19.
EcoU. (1981). The Poetics of the Open Work. In The Role of the Reader: Explorations in the Semiotics of Texts (pp. 47–66). London: Hutchinson.
20.
FerneyhoughB. (1995). Aspects of Notational and Compositional Practice (1978). In BorosJames, and ToopRichard (eds), Collected Writings (pp. 2–13). Amsterdam: Harwood Academic Publishers.
21.
HusserlE. (1992). Ideen an einer reinen Phänomenologie und phänomenologischen Philosophie (1913). Gesammelte Schriften, Vol. 5, StröckerElisabeth (ed.). Hamburg: Mainer. Trans. as: Ideas: General Introduction to Pure Phenomenology (1931). New York & London: Collier Macmillan.
22.
LukácsG. (1920). Die Theorie des Romans. Berlin: P. Cassirer. Trans. as: The Theory of the Novel. (trans. Anna Bostok, 1971). London: Merlin Press.
23.
MarxK. (1976). Capital, Vol. 1 (trans. Ben Fowkes). Harmondsworth: Penguin.
24.
PaddisonM. (1993). Adorno's Aesthetics of Music.Cambridge: Cambridge University Press.
25.
PaslerJ. (1982). Jeux: Playing with Time and Form.Nineteenth-Century Music (Summer), 60–75.
26.
StockhausenK. (1958). Structure and experimental time.Die Reihe, 2.Pennsylvania: Theodor Presser.
27.
StockhausenK. (1955, 1959). … how time passes …Die Reihe, 3.Pennsylvania: Theodor Presser.
28.
WatsonB. (2004). Derek Bailey and the Story of Free Improvisation.London: Verso.