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Tables of Contents for Twentieth-Century Music
Chapter/Section Title
Page #
Page Count
Foreword
ix
 
Preface
xi
 
part one Introduction
1
6
Twentieth-Century Music and The Past
1
6
Bibliographical Notes
6
1
part two The Breakdown of Traditional Tonality
7
38
The Sources
7
10
Bibliographical Notes
15
2
The Revolution: Paris
17
16
Debussy
20
4
After Debussy
24
2
The Russians
26
4
Bibliographical Notes
30
3
The Revolution: Vienna
33
12
Schoenberg
33
4
Berg and Webern
37
6
Bibliographical Notes
43
2
part three The New Tonalities
45
66
Stravinsky and Neo-Classicism
45
9
Bibliographical Notes
52
2
Neo-Classicism and Neo-Tonality in France
54
8
Ravel
55
2
D'Indy and Roussel
57
1
``Les Six''
57
4
Bibliographical Notes
61
1
The Diffusion of Neo-Classicism and Neo-Tonality
62
7
Hindemith and Gebrauchsmusik
62
3
The Diffusion of Neo-classicism
65
2
Bibliographical Notes
67
2
National Styles
69
26
Eastern Europe: Bartok
70
4
Eastern Europe: Hungary, Popland, and Czechoslovakia (Czech Republic)
74
2
Eastern Europe: Russia
76
3
Northern Europe: Scandinavia
79
2
Northern Europe: Great Britain
81
2
Southern Europe: Italy and Spain
83
2
Latin America
85
2
The United States
87
4
Bibliographical Notes
91
4
Opera and Musical Theater
95
16
Puccini and Versimo
96
1
The Wagnerian Tradition and Expressionist Opera
97
4
The Mixed Genre and Chamber Opera
101
5
Opera in English
106
1
Bibliographical Notes
107
4
part four Atonality and Twelve-tone Music
111
22
The Viennese School
111
12
Schoenberg and the Twelve-tone Idea
111
6
Berg and Webern
117
3
Bibliographical Notes
120
3
The Diffusion of Twelve-Tone Music
123
10
Central Europe
124
1
Elsewhere in Europe
125
4
The United States
129
3
Bibliographical Notes
132
1
part five The Avant-garde
133
62
Introduction: Before World War Ii
133
16
Sources
135
1
Ives
136
3
Other Innovators; Varese
139
6
Cowell: Non-Western Influences
145
1
Bibliographical Notes
146
3
Technological Culture and Electronic Music
149
8
The Background
150
2
Principal Centers
152
3
Bibliographical Notes
155
2
Ultra-Rationality and Serialism
157
6
Babbitt and American Serialism
158
1
European Serialism
159
3
Bibliographical Notes
162
1
Anti-Rationality and Aleatory
163
7
Cage and His ``School''
163
5
Bibliographical Notes
168
2
The New Performed Music: The United States
170
12
The New Virtuosity in America
172
6
``Third Stream'': The New Performance Practice
178
2
Bibliographical Notes
180
2
Post-Serialism: The New Performance Practice In Europe
182
13
Stockhausen
183
3
Boulez
186
2
Italy
188
2
Xenakis and Eastern Europe
190
2
Bibliographical Notes
192
3
part six Post-modernism
195
70
Beyond Modern Music
195
15
The Setting for Post-modernism
196
2
The Transition from Modern to Post-Modern: Happenings, Concept Art, and New Ensembles
198
6
Sound as Image: Music and Language
204
3
Bibliographical Notes
207
3
Back to Tonality
210
21
The Darmstadt Controversy
210
3
Minimalism
213
6
Neo-Romanticism in America
219
3
Neo-Expressionism and New Tonality in Europe
222
7
Bibliographical Notes
229
2
Popular and World Music
231
15
Jazz and Rock
231
7
Non-Western Currents and New Age Music
238
5
Bibliographical Notes
243
3
Media and Theater
246
19
Introduction
246
1
Media and Multi-media
247
6
Performance Art and Music-Theater
253
9
The New Musical Culture
262
1
Bibliographical Notes
263
2
Appendix: Music Examples
265
62
Index
327