[1. Aragon Louis, (1987), Le Paysan de Paris, Gallimard, Paris]Search in Google Scholar
[2. Artaud Antonin, (1925), Déclaration du 27 janvier 1925 http://www.24601.fr/sl/declaration-du-27-janvier-1925-antonin-artaud/02.10.2018]Search in Google Scholar
[3. Benjamin Walter, (1999), Surrealism: The Last Snapshot of the European Intelligentsia, in Michael Jennings, Howard Eiland, and Gary Smith (eds.) Walter Benjamin, Selected Writings, Vol. 2: 1927-1934, Harvard University Press, Cambridge]Search in Google Scholar
[4. Breton André & Rivera Diego, (1938), Pour un art révolutionnaire indépendant, Le Monde diplomatique, February 2014, https://www.monde-diplomatique.fr/2014/02/BRETON/50079 02.10.2018]Search in Google Scholar
[5. Breton André, (1924), Manifeste du surréalisme, https://inpoesia.me/2012/01/02/andre-breton-manifeste-du-surrealisme-1924/02.10.2018]Search in Google Scholar
[6. Calkins Susan, (2010), Modernism in Music and Erik Satie’s Parade, in “International Review of the Aesthetics and Sociology of Music”, vol. 41, no. 1, June 2010, 3-19]Search in Google Scholar
[7. Deeter Alissa and Peavler Robert, (2014), The Mélodies of Francis Poulenc: A Study Guide, The Scarecrow Press, Inc., Lanham]Search in Google Scholar
[8. Gascoyne David, (1970), A Short Survey of Surrealism, Routledge, Abingdon-on-Thames]Search in Google Scholar
[9. Kates Gary, (1995), Monsieur d’Eon is a woman. A tale of political and sexual masquerade, The John Hopkins University Press, Baltimora, MA]Search in Google Scholar
[10. La Révolution Surréaliste, Second Manifeste du Surréalisme, http://melusine-surrealisme.fr/site/Revolution_surrealiste/Revol_surr_12.htm (accessed 2 October 2018)]Search in Google Scholar
[11. Lautréamont Comte de, (1953), Oeuvres complétes, José Corti, Paris]Search in Google Scholar
[12. Lebaron Anne, (2002), “‘Reflections of Surrealism in Postmodern Musics’ in Judy Lochhead and Joseph Auner (eds.), Postmodern Music/Postmodern Thought, Studies in Contemporary Music and Culture 4, Garland., New York and London]Search in Google Scholar
[13. Machart Renaud, (1995), Poulenc, Seuil, Paris]Search in Google Scholar
[14. Marco Tomas, (1980), Ciclo de musica para una exposicion: Matisse, Fundacion Juan March]Search in Google Scholar
[15. Paddison Max, (1993), Adorno’s Aesthetics of Music, Cambridge University Press, Cambridge and New York]Search in Google Scholar
[16. Poulenc Francis, (1935), Éloge de la banalité, Présence 3, n. 8, 24-25]Search in Google Scholar
[17. Poulenc Francis, (1985), Diary of My Songs [Journal de mes mélodies], trans. Winifred Radford, Victor Gollancz Ltd., London]Search in Google Scholar
[18. Puchner Martin, (2006), Poetry of the Revolution: Marx, Manifestos, and the Avant-Gardes, Princeton University Press, Princeton10.1515/9781400844128]Search in Google Scholar
[19. Rosemont Franklin and Kelley Robin D.G. (eds.), (2009), Black, Brown & Beige: Surrealist Writings from Africa and the Diaspora, University of Texas Press, Austin]Search in Google Scholar
[20. Schmidt Carl B., (2001), Entrancing Muse: A Documented Biography of Francis Poulenc, Pendragon Press, Hillsdale, NY]Search in Google Scholar
[21. Whitesell Lloyd, (2004), Twentieth-Century Tonality, or, Breaking Up Is Hard to Do, in Arved Mark Ashby (ed.) The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology, University of Rochester Press, Rochester, NY]Search in Google Scholar