[229] 3 Цар. 4:33.

[230] 3 Цар. 4:32.

[231] Jones J. The "Song of Songs" as a Drama in the Commentators from Origen to the Twelfth Century, Comparative Drama, Vol. 17, No. 1 (Spring 1983), pp. 17-39. https://www.jstor.org/stable/41153051.

[232] Evangelisti S. Wives, Widows, and Brides of Christ: Marriage and the Convent in the Historiography of Early Modern Italy, The Historical Journal, Vol. 43, No. 1 (Mar., 2000), pp. 233-247. https://www.jstor.org/stable/3021020.

[233] 1 Кор. 14:34.

[234] Stras L. Voci Pari Motets and Convent Polyphony in the 1540s: The Materna Lingua Complex. Journal of the American Musicological Society, vol. 70, no. 3, 2017, pp. 617-96. https://www.jstor.org/stable/26417317.

[235] https://eprints.soton.ac.uk/402244/1/cpXVI_EM_complete.pdf.

[236] https://www.cambridge.org/core/books/women-and-music-in-sixteenthcentury-ferrara/9548A80A582795FCBD51F09CB6DDFDCA.

[237] https://www.theguardian.com/music/musicblog/2017/mar/10/radical-motets-from-16th-century-nunnery-musica-secreta-lucrezia-borgia.

[238] Песн. 2:2.

[239] https://scholarworks.uni.edu/cgi/viewcontent.cgi?article=1708&context=etd.

[240] 3 Цар. 11:11.

[241] 3 Цар. 14 1-18 или 3 Цар. 16:34.

[242] 3 Цар. 15:25-30 или 3 Цар. 16:8-13.

[243] 4 Цар. 6:26-30.

[244] 3 Цар. 15:9-15.

[245] 3 Цар. 22:43.

[246] 4 Цар. 2:11.

[247] 4 Цар. 12:1-2.

[248] 3 Цар. 14:23-24.

[249] 3 Цар. 19:11-12.

[250] 4 Цар. 2:11.

[251] 4 Цар. 10:1-31.

[252] Дан. 4:6.

[253] Дан. 5:25-28.

[254] Müller I. Das Flackern der Zeichen: Identität und Alterität in Heinrich Heines «Belsatzar»-Romanze, Zeitschrift für Germanistik, Neue Folge XXX (2020), Peter Lang, Bern, H. 2, S. 437-454. URL: https://goo-gl.me/33b9s.

[255] Heine H. Säkularausgabe. Т. 20: Briefe 1815-1831 / Еd. Fritz Eisner. Berlin, 1970. S. 61.

[256] Gorrell L. The Nineteenth-century German Lied. Amadeus Press, 1993. P. 139.

[257] https://www.booksite.ru/fulltext/1/001/001/241/1.htm.

[258] https://www.jstor.org/stable/738284.

[259] 3 Цар. 19:13.

[260] Лк. 1:28.

[261] Лк. 1:33.

[262] Лк. 1:38.

[263] Лк. 1:34.

[264] http://www.soundexpanse.com/peter-ablinger-in-new-york/.

[265] https://rusneb.ru/­catalog/002744­_000053_RU___%D0%93%D0­%9F%D0%9D%D0­%A2%D0%91­+%D0%A0%­D0%BE%D1%81%­D1%81%D0%­B8%D0%B8­___KNB_IBIS­___85.103­(4%D0%98%­D1%82%D0%­B0)42___%D0%­92+27-17759/. С. 311.

[266] https://naxosdirect.com/­items/peter-ablinger-verk%C3%BCndigung-416924.

[267] https://classics.nsu.ru/plato/Pythagoreans_manual.pdf.

[268] https://www.colta.ru/articles/music_modern/18395-chto-takoe-akusmatika?part=2.

[269] https://endic.ru­ozhegov/SHum-39907.htm.

[270] Sudo M. Listening to Noise and Listening to Oneself: An Analysis of Peter Ablinger's Orgel und Rauschen, Musicologica Austriaca: Journal for Austrian Music Studies (December 22, 2020). URL: https://goo-gl.me/GVnqm.

[271] Haelle T., Willingham E. The Informed Parent A Science-Based Resource for Your Child's First Four Years. Penguin Publishing Group, 2016.

[272] https://ablinger.mur.at/rauschen.html.

[273] http://www.soundexpanse.com/peter-ablinger-in-new-york/.

[274] https://ablinger.mur.at/scores/werk89verkuend_legend.pdf.

[275] http://amkob113.ru/bart/brt-9.html.

[276] https://studylib.ru/doc/3741499/o-prekrasnom-v-muzyke-st.-ganslik.

[277] Adorno Th. W. Philosophy of New Music. University of Minnesota Press, 2020.

[278] Barrett G. D. After Sound: Toward a Critical Music. Bloomsbury Publishing USA, 2016. P. 106.

[279] В. В. Стасов. Избранные сочинения в трех томах. Живопись, скульптура, музыка. Том третий. — М.: Искусство, 1952. URL: http://az.lib.ru/s/stasow_w_w/text_1889_list-shuman-i-berlioz_v-rossii.shtml.

[280] http://cheloveknauka.com/obrazno-simvolicheskaya-priroda-renessansnogo-myshleniya.

[281] https://cyberleninka.ru/article/n/navyk-utopicheskogo-vzglyada-na-materiale-avtorskih-fotografiy-poslednih-desyatiletiy-sotsializma.

[282] http://lib.ru/INOOLD/MOR/utopia.txt.

[283] http://istmat.info/files/uploads/28379/utopia_a-l-morton_1956.pdf.

[284] Мф. 1:19.

[285] Мф. 1:20.

[286] Мф. 2:1; Лк. 2:1-3.

[287] https://azbyka.ru/otechnik/Andrej_Desnickij/sorok-biblejskih-portretov/#0_160.

[288] Мф. 2:1.

[289] Лк. 2:10.

[290] https://elar.urfu.ru/bitstream/10995/44491/1/m_th_m.v.chichkina_2016.pdf.

[291] http://siglind-bruhn.de/ekphr2.htm.

[292] https://d-nb.info/1102250341/34.

[293] Hatfield R. Botticelli's Uffizi «Adoration»: A Study in Pictorial Content. Princeton University Press, 1976.

[294] https://digitalcommons.ithaca.edu/cgi/viewcontent.cgi?article=4512&context=music_programs.

[295] Webb M. Ottorino Respighi: His Life and Times. Troubador Publishing Ltd, 2019.

[296] https://limelight­magazine.com.au/­reviews/ottorino-respighi-his-life-and-times-michael-webb/.

[297] https://www.jstor.org/stable/41228643.

[298] https://www.proquest.com/openview/629aaa6847326a896cd21c31842cf131/1?pq-origsite=gscholar&cbl=18750&diss=y.

[299] http://paduaresearch.cab­.unipd.it/3116/­1/martina.buran.pdf.

[300] https://www.tandfonline.com/doi/full/10.1080/00043079.2019.1527643.

[301] Мф. 2:2.

[302] Ис. 40:3.

[303] Лопухин А. П. Толковая Библия или комментарий на все книги Священного Писания Ветхого и Нового Заветов. Евангелие от Матфея. — М.: Directmedia, 2013. С. 81.

[304] Мф. 3:11.

[305] Ин. 1:31.

[306] Мк. 1:10-11.

[307] https://www.bach-cantatas.com/Texts/BWV7-Rus1.htm.

[308] https://docplayer.com/­34146220-Sidorova-e-horal-i-horalnaya-obrabotka-v-tvorchestve-i-s-baha-lekciya-po-kursu-analiz-muzykalnyh-proizvedeniy-m-ram-imeni-gnesinyh-s.html.

[309] Мартынов В. История богослужебного пения. — М.: Музей Органической Культуры, 2014. С. 94.

[310] http://stmus.ru/­Archive%20­files/starmus-2017-1.pdf.

[311] https://readli.net/chitat-online/?b=161609&pg=.

[312] https://books.google.ru/books/about/The_Hymns_of_Martin_Luther.html?id=Lim5jwEACAAJ&redir_esc=y.

[313] https://dspace.spbu.ru/bitstream/11701/25707/1/Kvalifikacionnaa_rabota.pdf.

[314] https://www.chandos.net/chanimages/Booklets/CX7716.pdf.

[315] Apel W. The History of Keyboard Music to 1700. Indiana University Press, 1997. P. 354.

[316] Ливанова Т. История западноевропейской музыки до 1789 года. Том 2 (XVIII век). — М.: Музыка, 1982.

[317] Сапонов М. Интернированный святой (сорванный замысел Альберта Швейцера) // Научный вестник Московской консерватории. 2019. №2 (37). С. 74-97. URL: https://nv.mosconsv.ru/­sites/default/­files/2019-12/19_2_saponov_schweitzer.pdf.

[318] Humphreys D. The Esoteric Structure of Bach's Clavierübung III. University College Cardiff Press, 1983.

[319] Рим. 6:3-4.

[320] Толкование Августина. Против Юлиана. С1. 0351, 1.664.53.

[321] https://www.americanbachsociety.org/Newsletters/BachNotes10.pdf.

[322] Горохова И., Янкус А. «Клавирное упражнение»: к истории традиции // Научный вестник Московской консерватории. 2016. №2 (25). С. 108-127. URL: https://nv.mosconsv.ru/sites/default/files/pdf/16_2_gorochova_jankus.pdf.

[323] Ин. 1:30.

[324] Библия. — М.: Российское Библейское Общество, 2000. Новый Завет. Приложения: Последовательность Евангельских событий по четырём евангелистам. С. 1361-1371.

[325] Мф. 9:9.

[326] Мф. 3:3.

[327] Мф. 5:12.

[328] Stove R. J. César Franck: His Life and Times. Scarecrow Press, 2012.

[329] Гюнтер Р., Корсунский А. Р. Упадок и гибель Западной Римской империи. — М.: Изд-во МГУ, 1984.

[330] https://cyberleninka.ru/article/n/parizhskaya-kommuna-i-tserkov/viewer.

[331] Loeser M. César Francks Oratorium Les Béatitudes: Werkintention und -gestaltung, Archiv für Musikwissenschaft, 65. Jahrg., H. 3. (2008), pp. 177-187. URL: https://www.jstor.org/stable/25162423.

[332] Bellaigue C. Revue Musicale, Revue des Deux Mondes (1829-1971), Troisième Période, Vol. 116, No. 3 (1er Avril 1893), pp. 702-706. URL: https://www.jstor.org/stable/44761342.

[333] Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap. Vol. 45. César Franck et son temps, 1991. P. 27-39.

[334] https://www.gramophone.co.uk/review/franck-les-beatitudes-1.

[335] http://citeseerx.ist­.psu.edu/viewdoc/­download?doi=­10.1.1.826.­5352&rep­=rep1&type=pdf.

[336] Berlioz H., Barzun J. The Art of Music and Other Essays. Indiana University Press, 1994. P. 206.

[337] https://www.nietzsche.ru/works/main-works/vagner/.

[338] Dreyfus L. Wagner and the Erotic Impulse. Harvard University Press, 2012. P. 101.

[339] Thomson A. Vincent D'Indy and His World. Clarendon Press, 1996.

[340] Debussy as Musical Critic, The Musical Times, Vol. 59, No. 905 (Jul. 1, 1918), pp. 295-298. URL: https://www.jstor.org/stable/909301.

[341] https://libgen.ggfwzs.net/book/38629176/4ae298.

[342] Deruchie A. The French Symphony at the Fin de Siècle: Style, Culture, and the Symphonic Tradition. BOYE6, 2013. P. 84.

[343] Gilman L. Stories of Symphonic Music. Outlook Verlag, 2020. P. 87.

[344] Taruskin R. Music in the Early Twentieth Century: The Oxford History of Western Music. Oxford University Press, 2009. Revised ed. P. 61.

[345] https://academic.oup.com/ml/article-abstract/III/4/317/1037814.

[346] https://imwerden.de/­pdf/shiller_ss­_v_7_tt_tom1_­1955_text.pdf.

[347] https://academic.oup.com/ml/article-abstract/XI/2/110/1059283?redirectedFrom=fulltext.

[348] Ин. 4:14.

[349] Мф. 5:38-39.

[350] Лк. 6:20-26.

[351] Лк. 7:14-15.

[352] Лк. 8:51-56.

[353] Мк. 9:2-3.

[354] Лк. 9:33.

[355] Мф. 17:9.

[356] Мк. 8:34.

[357] Лк. 10:38-42.

[358] https://azbyka.ru/syn-chelovecheskij/3.

[359] Ин. 10:40-41.

[360] Ин. 11.

[361] Ин. 11:4.

[362] Ин. 11:15.

[363] https://ekzeget.ru/bible/evangelie-ot-ioanna/glava-11/stih-21/.

[364] Ин. 11:21-27.

[365] https://ekzeget.ru/bible/evangelie-ot-ioanna/glava-11/stih-35/.

[366] Ин. 11:43, синодальный перевод.

[367] https://ekzeget.ru/bible/evangelie-ot-ioanna/glava-11/stih-44/.

[368] Ин. 11:53.

[369] https://www.jstor.org/stable/23765477.

[370] http://journals.tsu.ru/­uploads/import/­1191/files/01-087.pdf.

[371] https://imslp.org/wiki/Lazarus,_D.689_(Schubert,_Franz).

[372] Кириллина Л. В. Бетховен. Жизнь и творчество: В 2 т. — М.: Научно-издательский центр «Московская консерватория», 2009. Т. 2. С. 176.

[373] Bostridge J. Schubert's Winter Journey: Anatomy of an Obsession. Vintage, 2014.

[374] Купровская Е. Второе воскрешение «Лазаря». — М.: Музыка, 2014.

[375] http://www.dslib.net/muz-iskusstvo/kompozicii-s-intertekstualnoj-modelju-v-svete-hudozhestvennoj-sistemy-je-v.html.

[376] Putz F. Franz Schubert, 1797-1828. Federal Press Service, 1997. P. 59.

[377] https://www.jstor.org/stable/24615762?read-now=1&refreqid=excelsior%3Aaabc4b6a53f860dcf87ff33f61236102&seq=1#page_scan_tab_contents.

[378] https://mus.academy/articles/ekaterina-kuprovskaya-denisov-veril-v-boga-tak-kak-veryat-matematiki.

[379] Денисов Э. Записные книжки. Тетрадь III (1995). URL: https://goo-gl.me/L749z.

[380] http://www.kholopov.ru/hol-avant-retro.pdf.

[381] Раку М. Музыкальная классика в мифотворчестве советской эпохи. — М.: НЛО, 2015.

[382] https://textarchive.ru/c-2869371.html.

[383] Письма Денисова Фирсовой и Смирнову — II. URL: https://goo-gl.me/Ss3sD.

[384] https://www.kommersant.ru/doc/128146.

[385] https://muzobozrenie.ru/vechnaya-zhizn-lazarya/.

[386] Лк. 18:34.

[387] 1 Кор. 15:54-55, синодальный перевод.

[388] https://www.bach-cantatas.com/Pic-Festival/Cantata-Singers-2012-2013-Prog.pdf.

[389] https://www.litmir.me/br/?b=226036&p=102.

[390] https://cupdf.com/­document/frank-martin-golgotha-new-amsterdam-singers-2018-07-04-todays-performance-of.html.

[391] https://www.collection­scanada.gc.ca/obj/­thesescanada/vol2/002/­NR90332.PDF?­is_thesis=1&oclc­_number=91098­4501.

[392] https://www.jstor.org/stable/1193856.

[393] Мк. 12:25.

[394] Bruhn S. Frank Martin's Musical Reflections on Death. Pendragon Press, 2011.

[395] https://cyberleninka.ru/article/n/razvitie-sienskogo-poliptiha-v-1-y-treti-xiv-v.

[396] http://musiksalon.universaledition.com/en/article/a-work-that-has-tremendous-charisma.

[397] Мк. 15:37.

[398] Мк. 10:32.