Page 106 - Weiss, Jernej, ur. 2020. Konservatoriji: profesionalizacija in specializacija glasbenega dela ▪︎ The conservatories: professionalisation and specialisation of musical activity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 4
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konservator iji: profesionalizacija in specializacija glasbenega dela
Matthews, David. Michael Tippett. London: Faber, 1980.
Mellers, Wilfrid. Studies in Contemporary Music. London: Dennis Dobson, 1947.
Mitchell, Donald, and Hans Keller, eds. Benjamin Britten, a commentary on his
works from a group of specialists. London: Rockliff, 1952.
Morris, Reginald Owen. Contrapuntal Technique in the Sixteenth Century. Ox-
ford: Clarendon Press, 1922.
Morris, Reginald Owen. Figured Harmony at the Keyboard. Parts 1 and 2. London:
Oxford University Press, 1933.
Morris, Reginald Owen. Introduction to Counterpoint. Oxford and London: Ox-
ford University Press, 1944.
Morris, Reginald Owen. The Oxford Harmony. Vol. 1. London: Oxford Universi-
ty Press, 1946.
“Obituary: Frederick Corder.” The Musical Times 73, no. 1076 (1 October 1932): 943.
Oram, Daphne. An Individual Note of Music, Sound and Electronics. London: Gal-
liard, 1972. 2nd ed., [Wakefield:] Anomie, 2016.
Payne, Anthony. Frank Bridge: Radical and Conservative. London: Thames, 1999.
Powell, Neil. Benjamin Britten: A Life for Music. London: Hutchinson, 2013.
Rodmell, Paul. Charles Villiers Stanford. Aldershot, UK: Ashgate, 2017.
Rufer, Josef. Composition with Twelve Notes related only to one another. London:
Barrie & Rockliff, 1959.
Schafer, Murray. British Composers in Interview. London: Faber, 1963.
Scott-Sutherland, Colin. Arnold Bax. London: Dent, 1973.
Searle, Humphrey. The Music of Liszt. London: Williams & Norgate, 1954.
Stein, Erwin. “The Symphonies.” In Benjamin Britten, a commentary on his works
from a group of specialists, edited by Donald Mitchell and Hans Keller, 247.
London: Rockliff, 1952.
Stuckenschmidt, Hans Heinz. Arnold Schoenberg. London: John Calder, 1959.
Wildgans, Friedrich. Anton Webern. London: Calder & Boyars, 1966.
Wright, David. “The South Kensington Music Schools and the Development of the
British Conservatoire in the Late Nineteenth Century.” Journal of the Royal
Musical Association 130, no. 2 (2005): 236–82.
104
Matthews, David. Michael Tippett. London: Faber, 1980.
Mellers, Wilfrid. Studies in Contemporary Music. London: Dennis Dobson, 1947.
Mitchell, Donald, and Hans Keller, eds. Benjamin Britten, a commentary on his
works from a group of specialists. London: Rockliff, 1952.
Morris, Reginald Owen. Contrapuntal Technique in the Sixteenth Century. Ox-
ford: Clarendon Press, 1922.
Morris, Reginald Owen. Figured Harmony at the Keyboard. Parts 1 and 2. London:
Oxford University Press, 1933.
Morris, Reginald Owen. Introduction to Counterpoint. Oxford and London: Ox-
ford University Press, 1944.
Morris, Reginald Owen. The Oxford Harmony. Vol. 1. London: Oxford Universi-
ty Press, 1946.
“Obituary: Frederick Corder.” The Musical Times 73, no. 1076 (1 October 1932): 943.
Oram, Daphne. An Individual Note of Music, Sound and Electronics. London: Gal-
liard, 1972. 2nd ed., [Wakefield:] Anomie, 2016.
Payne, Anthony. Frank Bridge: Radical and Conservative. London: Thames, 1999.
Powell, Neil. Benjamin Britten: A Life for Music. London: Hutchinson, 2013.
Rodmell, Paul. Charles Villiers Stanford. Aldershot, UK: Ashgate, 2017.
Rufer, Josef. Composition with Twelve Notes related only to one another. London:
Barrie & Rockliff, 1959.
Schafer, Murray. British Composers in Interview. London: Faber, 1963.
Scott-Sutherland, Colin. Arnold Bax. London: Dent, 1973.
Searle, Humphrey. The Music of Liszt. London: Williams & Norgate, 1954.
Stein, Erwin. “The Symphonies.” In Benjamin Britten, a commentary on his works
from a group of specialists, edited by Donald Mitchell and Hans Keller, 247.
London: Rockliff, 1952.
Stuckenschmidt, Hans Heinz. Arnold Schoenberg. London: John Calder, 1959.
Wildgans, Friedrich. Anton Webern. London: Calder & Boyars, 1966.
Wright, David. “The South Kensington Music Schools and the Development of the
British Conservatoire in the Late Nineteenth Century.” Journal of the Royal
Musical Association 130, no. 2 (2005): 236–82.
104
