Читаем Библейские мотивы. Сюжеты Писания в классической музыке полностью

[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.