The stylised form of the dance was often used by Czech composers such as Antonín Dvořák in the eighth dance from his Slavonic Dances and in his 6th Symphony, and by Bedřich Smetana in The Bartered Bride and in his second volume for piano of Czech Dances (České tance 2), published in 1879 (Op. 21). The use of the furiant by central European composers closely parallels their use of the dumka, a dance which often precedes the furiant.
- Randel, D. M., Ed., The New Harvard Dictionary of Music, Harvard University Press, 1986.
- Wright, Craig (2007). Listening to Music. Cengage Learning. p. 323. ISBN 978-0-495-18973-2.
- Keller, James M. (2010). Chamber Music: A Listener's Guide. Oxford University Press US. p. 175. ISBN 978-0-19-538253-2.