APA 6th Edition Županović, L. (2006). Izvori za glazbeni barok u Varaždinu. Radovi Zavoda za znanstveni rad Varaždin, (16-17), 149-152. Preuzeto s https://hrcak.srce.hr/8697
MLA 8th Edition Županović, Lovro. "Izvori za glazbeni barok u Varaždinu." Radovi Zavoda za znanstveni rad Varaždin, vol. , br. 16-17, 2006, str. 149-152. https://hrcak.srce.hr/8697. Citirano 10.12.2019.
Chicago 17th Edition Županović, Lovro. "Izvori za glazbeni barok u Varaždinu." Radovi Zavoda za znanstveni rad Varaždin , br. 16-17 (2006): 149-152. https://hrcak.srce.hr/8697
Harvard Županović, L. (2006). 'Izvori za glazbeni barok u Varaždinu', Radovi Zavoda za znanstveni rad Varaždin, (16-17), str. 149-152. Preuzeto s: https://hrcak.srce.hr/8697 (Datum pristupa: 10.12.2019.)
Vancouver Županović L. Izvori za glazbeni barok u Varaždinu. Radovi Zavoda za znanstveni rad Varaždin [Internet]. 2006 [pristupljeno 10.12.2019.];(16-17):149-152. Dostupno na: https://hrcak.srce.hr/8697
IEEE L. Županović, "Izvori za glazbeni barok u Varaždinu", Radovi Zavoda za znanstveni rad Varaždin, vol., br. 16-17, str. 149-152, 2006. [Online]. Dostupno na: https://hrcak.srce.hr/8697. [Citirano: 10.12.2019.]
Sažetak In this text the author defines five possible sources of music baroque in Varaždin: the Jesuit Church, the Franciscan Monastery, the Ursuline Convent, parish church of St. Nicholas and the Musikverein. In his detailed description of each of the possible sources the author has emphasized that no evidence was kept of the first source (the Jesuit church). With the Franciscans (the second source) rich holding are to be found comprising first and foremost three "large carol books with 51 masses and another carol book with choral masses and chorus psalms". (These are the so called Remete carol book (Remetinečki kantual) of 1707 and two song books by Konrad Potočnik of 1731 and 1732 who arrived to Varaždin from Križevci following the closure of their monastery in 1786). In the third source, the convent of the Ursulines, there is the priceless treasury of music holdings to be found including mostly spiritual but also secular topics largely due to famous scientist and researcher of this city, the late Kre.imiru Filić. He was the first to find it and spoke about it in great detail in his work The Music Life of Varaždin (1972). His text represented the basis for the notes comprising the .historical. concert entitled THE LATE 18TH CENTURY VARAŽDIN COMPOSERS (in 1973). The choir of St. Nicholas Church represented the hotbed of spirituals and foreign as well as Varaždin musicians
-the organ players, including the famous L.I.Ebner. As for the Musikvereina it is worth mentioning that L.I. Ebner and his daughter and student took part in the music events and often performed (secular) concert/concert like works of the took part in the twentieth century. The most important feature of the twentieth century are the Varaždin Baroque Evenings. They encourage research and presentations of the Croatian Baroque musical heritage. Its contribution is comprehensive and significant, especially because it became an initiative signpost for other musical areas in Croatia and first "weaver" of such holdings into everyday Croatian Music life.