(3) How to interpret music of the past http://www.people.fas.harvard.edu/~jsterron/expose/pdfs ; "In 'A Thousand Plateaus', Deleuze and Guattari refer to Glenn Gould as an illustration of the third principle of the rhizome, that of 'multiplicity' : When Glenn Gould speeds up the performance of a piece, he is not just displaying virtuosity, he is transforming the musical points into lines, he is making the whole piece proliferate’ (1987: 8)." http://www.euppublishing.com/doi/full/10.3366/dls.2015.0204
(5) " A Nous Paris" No. 739, 5-11/09/2016; str. 36 "Graindelavoix chante Dufay"
(6) "What radical music perceives is the untransfigured suffering of man [...] The seismographic registration of traumatic shock becomes, at the same time, the technical structural law of music. It forbids continuity and development. Musical language is polarized according to its extreme; towards gestures of shock resembling bodily convulsions on the one hand, and on the other towards a crystalline standstill of a human being whom anxiety causes to freeze in her tracks [...] Modern music sees absolute oblivion as its goal. It is the surviving message of despair from the shipwrecked." Adorno, Theodor W. (2003) The Philosophy of Modern Music. Translated into English by Anne G. Mitchell and Wesley V. Blomster. Continuum International Publishing Group, str. 41–42
(7) R. Scruton - 'The Uses of Pessimism: and the Danger of False Hope' 2010, str.89, Oxford University Press
(8) R. Scruton - "There’s a real question as to what beauty is and why it’s important to us. Many pseudo-philosophers try to answer these questions and tell us they’re not really answerable. I draw on art and literature, and music in particular, because music is a wonderful example of something that’s in this world but not of this world. Great works of music speak to us from another realm even though they speak to us in ordinary physical sounds." https://www.theguardian.com/books/2014/aug/15/roger-scruton-notes-on-nonsense-richard-dawkins-original-sin-islamism-and-more
(9) Virgil Nemoianu - Postmodernism and Cultural Identities: Conflicts and Coexistence , 2010, (ISBN: 9780813216843), str. 207
(10) "As the power structures that fund research ‘intellectually police’ the mechanisms of knowledge production in order to standardize – and thereby render marketable – the new knowledge and understanding researchers achieve, research that does not replicate existing designs so as to converge on the ‘leading project’ of the current ‘research market’ risks becoming marginalized and forced out. Within the neoliberal university, where the processes of standardization continue to curtail plurality of perspectives and diversity of methods, negotiating a research path through the confines of socio-economic forces while simultaneously keeping in clear sight the intrinsic value of the pursuit of knowledge and understanding often becomes a political act, requiring political judgement. " za: Mine Doğantan-Dack http://parsejournal.com/article/artistic-research-in-classical-music-performance/
(11) Ibid.: "When practitioners of artistic research speak on behalf the discipline, there is almost always a moment that is, for them, ‘existential and political’. For example, Borgdorff speaks of ‘the emancipation’ of the discipline from the scientific paradigm that sets the problematic notion of ‘scientific objectivity’ as the basic aim of research, and writes: ‘We knew we would face tough resistance, and, though that may dampen our spirits from time to time, it is a challenge we can meet’. Other authors speak of overcoming ‘the resistance of established disciplines’ and allude to the struggle awaiting artistic researchers in this endeavour. The need to be ‘bold’ in undertaking artistic research, to have ‘the courage’ to ask the difficult questions concerning artistic experience and scrutinize the ‘ideological battlefield’ between scholars and practitioners appear just as essential and urgent as rigorous theoretical and philosophical arguments in putting the case forward for artistic research to the scholarly and artistic communities. The discourses that grow out of the commitment of artistic researchers to the discipline at times resemble genres of political discourse, leading to a manifesto, or a declaration of value judgements."
(13) na podst. V. Nemoianu, Op. cit. str. 209
Kevin Bazzana, "Wondrous Strange: The Life and Art of Glenn Gould", 2005