AdornoT. W. (2006). Philosophy of new music (Hullot-KentorR., Ed. and Trans.). Minneapolis: University of Minnesota Press.
2.
AppleM. W. (2004). Creating difference: Neo-liberalism, neo-conservatism and the politics of educational reform. Educational Policy, 18(1), 12–44.
3.
ApplegateC. (1998). How German is it? Nationalism and the idea of serious music in the early nineteenth century. 19th-Century Music, 21, 274–296.
4.
BotsteinL. (1987). Wagner and our century [Review of the books Pro and contra Wagner, by MannT., Trans. A. Blunden, and The darker side of genius: Richard Wagner's anti-Semitism, by J. Katz]. 19th-Century Music, 11, 92–104.
5.
BurgessA. (1990). You've had your time: Being the second part of the confessions of Anthony Burgess. London: Penguin Books.
6.
ChomskyN. (1987). The manufacture of consent. In PeckJ. (Ed.), The Chomsky reader (pp. 121–136). New York: Pantheon Books
7.
CraneT. (1995). Meaning. In HonderichT. (Ed.), The Oxford companion to philosophy (pp. 541–542). Oxford, England: Oxford University Press.
8.
CristE. B. (2003). Aaron Copland and the Popular Front. Journal of the American Musicological Society, 56, 409–465.
9.
CristE. B. (2005). Music for the common man: Aaron Copland during the depression and war. New York: Oxford University Press.
10.
CustoderoL. A. (2010). Meaning and experience: The musical learner. In AbelesH. F. & CustoderoL. A., Critical issues in music education: Contemporary theory and practice (pp. 61–86). New York: Oxford University Press.
11.
DeweyJ. (1934). Art as experience. New York: Perigee Books.
12.
ElliottD. J. (1995). Music matters: A new philosophy of music education. New York: Oxford University Press.
13.
ElliottD. J. (Ed.). (2005). Praxial music education: Reflections and dialogues. New York: Oxford University Press.
14.
FiskeH. (1993). Music cognition and aesthetic attitudes. Lewiston, NY: Edwin Mellen Press.
GoehrL. (2007). The imaginary museum of musical works: An essay in the philosophy of Music (Rev. ed.). New York: Oxford University Press.
17.
GreenL. (1988). Music on deaf ears: Musical meaning, ideology, and education. Manchester, England: Manchester University Press.
18.
Hanoch-RoeG. (2002). Beethoven's Ninth: An “ode to choice” as presented in Stanley Kubrick's A Clockwork Orange. International Review of the Aesthetics and Sociology of Music, 33, 171–179.
19.
Kertz-WelzelA. (2005). The pied-piper of Hamelin: Adorno on music education. Research Studies in Music Education, 25(1), 1–12.
20.
LevitinD. (2006). This is your brain on music: The science of a human obsession. New York: Penguin Group.
21.
LockwoodL. (2003). Beethoven: The music and the life. New York: Norton.
22.
LuceH. R. (1941, February). The American century. Life, 17, 61–65.
23.
MacerolloJ. (2008). Joseph Macerollo (with Schafer, R. M.). Notations, 15(2), 18.
24.
MacMillanM. (2008). The uses and abuses of history. Toronto, Ontario, Canada: Viking Canada.
25.
ReimerB. (1970). A philosophy of music education. Englewood Cliffs, NJ: Prentice Hall.
26.
ReimerB., & WrightJ. (Eds.). (1992). On the nature of musical experience. Niwot: University Press of Colorado.
27.
RossA. (2007). The rest is noise: Listening to the twentieth century. New York: Farrar, Straus & Giroux.
28.
SaidE. (2000). Glenn Gould, the virtuoso as intellectual. Raritan, 20(1), 1–16.
29.
SchroederD. (2002). Cinema's illusions, opera's allure: The operatic impulse in film. New York: Continuum International.
30.
SpottsF. (2003). Hitler and the power of aesthetics. Woodstock, NY: Overlook Press.
31.
StewartG. (1981). Coppola's Conrad: The repetitions of complicity. Critical Inquiry, 7, 455–474.
32.
TaruskinR. (2004). The poietic fallacy. Musical Times, 145(1886), 7–34.
33.
WallaceH. A. (1942, May 8). The price of free world victory: The century of the common man. Speech presented to the Free World Association, Hotel Commodore, New York City.
34.
WestbrookR. B. (1991). John Dewey and American democracy. Ithaca, NY: Cornell University Press.
35.
WhiteD. W. (1992). The “American century” in world history. Journal of World History, 3(1), 105–127.
36.
Wilson-SmithM. (2008). American valkyrie: Richard Wagner, D. W. Griffith, and the birth of classical cinema. Modernism/Modernity, 15(2), 221–234, 236–242.
37.
WoodfordP. (2005). Democracy and music education: Liberalism, ethics, and the politics of practice. Bloomington: Indiana University Press.
38.
WoodfordP. (2010). Democratic elitism or democratic citizenship? The politics of music, meaning, and education in Cold-War America. Eufonia. Didactica de la Musica, 50, 23–33.