See Georg W. Forcht, ‘Frank Wedekind auf dem Montmartre’, in Frank Wedekind, ed. by Georg W. Forcht (Heidelberg: Centaurus Verlag & Media 2009), pp. 10–24.
 Derek Paget defines this, as early as 1987, as ‘a form of theatre firmly predicated upon the taping and subsequent transcription of interviews with 'ordinary' people, done in the context of research into a particular region, subject area, issue, event, or combination of these things. This primary source is then transformed into a text which is acted, usually by the performers who collected the material in the first place.’ In Derek Paget, ‘“Verbatim Theatre”: Oral History and Documentary Techniques’, New Theatre Quarterly (1987), pp. 317-36 (p. 317).
 See: Alecky Blythe and Adam Cork, London Road (London: Nick Hern Books, 2011). The production has since been made into a feature film starring Olivia Coleman and Tom Hardy, also directed by Rufus Norris (2015).
 See Demetris Zavros, ‘London Road: The “Irruption of the Real” and Haunting Utopias in the Verbatim Musical’, in Twenty-First Century Musicals: From Stage to Screen, ed. by George Rodosthenous (London: Routledge, 2018), forthcoming; and David Roesner, ‘Genre Counterpoints: Challenges to the Mainstream Musical’, in Oxford Handbook of the British Musical, ed. by Olaf Jubin and Robert Gordon (Oxford: Oxford University Press, 2017), pp. 651–71.
 See e.g., Carol Martin (ed.), Dramaturgy of the Real on the World Stage (Basingstoke: Palgrave Macmillan, 2010); Boris Nikitin, Carena Schlewitt and Tobias Brenk (eds.), Dokument, Fälschung, Wirklichkeit: Materialband zum zeitgenössischen Dokumentarischen Theater (Berlin: Theater der Zeit, 2014).
 Edmund Husserl, The Crisis of European Sciences and Transcendental Phenomenology. An Introduction to Phenomenological Philosophy (Evanston: Northwestern University Press, 1970 ).
 More generally, Carol Martin asserts that ‘inherent in the very idea of documentary is an anxiety about truth and authenticity’ (Martin, Dramaturgies of the Real, 1).
 Luciano Berio, Remembering the Future (Boston: Harvard University Press, 2006), p. 49.
 Mary Louise Serafine, Music as Cognition (New York: Columbia University Press, 1988), p. 7. See also: Mary Louise Serafine, ‘What Music Is’, The Journal of Aesthetic Education (1989, 23/3), pp. 31–37.
 See David Roesner, Musicality in Theatre — Music as Model, Method and Metaphor in Theatre-Making (Farnham: Ashgate, 2014) for a more comprehensive exploration of the notion of a musicality dispositif.
 Catherine Bouko, for example, speaks about ‘jazz musicality’ in her article ‘Jazz Musicality in Postdramatic Theatre and the Opacity of Auditory Signs’, Studies in Musical Theatre (2010, 4/1): pp. 75–87.
 See e.g. Sara Jane Bailes and Nicholas Till (eds.), Beckett and Musicality (Ashgate, VT: Burlington, 2014) and Konrad Boehmer (ed.), Schönberg and Kandinsky: An Historic Encounter (Amsterdam: Harwood Academic, 1997).