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Tables of Contents for Modernism and Music
Chapter/Section Title
Page #
Page Count
List of Illustrations
ix
Acknowledgments
xi
Introduction
1
22
from ``The Future of the Opera'' (1927)
15
5
Arnold Schoenberg
from From My Life (1944)
20
3
Sergei Prokofiev
Testing the Boundaries between Speech and Music
23
41
from Genesis of a Music (1949)
30
8
Harry Partch
Foreword to Pierrot Lunaire (1912)
38
1
Arnold Schoenberg
``The Relationship to the Text'' (1912)
39
4
Arnold Schoenberg
``Voice in Opera'' (1929)
43
2
Alban Berg
from ``Sirens'' (1922)
45
4
James Joyce
from The Waves (1931)
49
3
Virginia Woolf
from ``The Music of Poetry'' (1942)
52
3
T. S. Eliot
from ``Words, Music, and Program Music'' (1925)
55
5
Carl Nielsen
from A Composer's World (1949--50)
60
4
Paul Hindemith
Testing the Boundaries between the Visual Arts and Music
64
39
Painting and Architecture
64
2
from Harmonielehre (1911)
66
5
Arnold Schoenberg
Letter to Nicolas Slonimsky (1936)
71
1
George Antheil
``Composer's Notes on 1952--53 Re-Editing'' [of Ballet Mecanique] (1953)
71
1
George Antheil
from Philosophy of Modern Music (1948)
72
8
Theodor Adorno
[Time-canvas] (1983)
80
2
Morton Feldman
from Formalized Music (1971)
82
4
Iannis Xenakis
Embodying Physical Movement: Ballet and Film
84
2
``The Technique of Moving Plastic'' (1922)
86
7
Emile Jaques-Dalcroze
from Composing for the Films (1947)
93
10
Hanns Eisler
The New Music Theater
103
34
from The Birth of Tragedy (1872)
108
6
Friedrich Nietzsche
Letter to Richard Strauss (1911)
114
3
Hugo von Hofmannsthal
``Shifts in Musical Composition'' (1927)
117
3
Kurt Weill
``Opera---Where To?'' (1929)
120
4
Kurt Weill
``The 'Problem of Opera''' (1928)
124
3
Alban Berg
from ``Is Opera Still Possible Today?'' (1936)
127
7
Ernst Krenek
from ``The World of Opera'' (1967)
134
3
W. H. Auden
Fuller Universes of Music
137
56
Abolishing the Old Rules
137
2
from Monsieur Croche antidilettante (1901)
139
2
Claude Debussy
from Sketch of a New Esthetic of Music (1907)
141
7
Ferruccio Busoni
``Degeneration and Regeneration in Music'' (1907)
148
9
Max Reger
from Essays before a Sonata (1920)
157
2
Charles Ives
from ``Postface to 114 Songs'' (1922)
159
1
Charles Ives
``Music and Its Future'' (1929)
159
6
Charles Ives
``Free Music'' (1938)
165
4
Percy Grainger
Pantonality
167
2
Correspondence (1911)
169
8
Arnold Schoenberg
Vassily Kandinsky
Noise
172
5
``The Art of Noises: Futurist Manifesto'' (1913)
177
8
Luigi Russolo
``Music and the Times'' (1936)
185
5
Edgard Varese
Fragments from Silence (1961)
190
3
John Cage
New Discipline: The Twelve-Tone Method
193
31
from ``Composition with Twelve Tones'': [fiat lux] (1941)
194
8
Arnold Schoenberg
from ``The Path to Twelve-Note Composition'' (1932)
202
14
Anton Webern
from Dr. Faustus (1947)
216
6
Thomas Mann
[The Twelve-Tone Method] (1951)
222
1
Arthur Honegger
[The Twelve-Tone Method] (1976)
222
1
Leonard Bernstein
[The Twelve-Tone Method] (1963)
223
1
Benjamin Britten
Isms
224
113
Symbolism
226
3
from Richard Wagner and Tannhauser in Paris (1861)
229
2
Charles Baudelaire
from Swann's Way (1913)
231
6
Marcel Proust
Primitivism and Exoticism
234
3
``What I Wished to Express in The Consecration of Spring'' (1913)
237
2
Igor Stravinsky
from An Autobiography (1934)
239
5
Igor Stravinsky
``The Influence of Peasant Music on Modern Music'' (1931)
244
11
Bela Bartok
Expressionism
251
4
``Beethoven'' (1870)
255
10
Richard Wagner
Murderer, Hope of Women (1907, 1917)
265
6
Oskar Kokoschka
from Die gluckliche Hand (1910--13): [brain-storm]
271
1
Arnold Schoenberg
from Philosophy of Modern Music (1948)
272
8
Theodor Adorno
Neoclassicism and the New Objectivity
276
4
Sonnets to Orpheus 1.3 (1922)
280
2
Rainer Maria Rilke
from An Autobiography (1936)
282
1
Igor Stravinsky
from Expositions and Developments [Expressivity] (1962)
283
1
Igor Stravinsky
Robert Craft
from Expositions and Developments [Pulcinella] (1962)
284
2
Igor Stravinsky
Robert Craft
from Dialogues (1968)
286
2
Igor Stravinsky
Robert Craft
from Themes and Conclusions (1969)
288
1
Igor Stravinsky
Robert Craft
from Three Satires (1925)
289
2
Arnold Schoenberg
from ``New Humanity and Old Objectivity'' (1931)
291
4
Ernst Krenek
``Music and Mathematics'' (1937)
295
2
Ernst Krenek
Constant Lambert, ``The Age of Pastiche'' (1934)
297
3
Constant Lambert, [Stravinsky as Pasticheur] (1934)
300
5
from Lectures in America (1935)
305
2
Gertrude Stein
Interview: [Ravel's Toys] (1933)
307
1
Maurice Ravel
Interview: ``Finding Tunes in Factories'' (1933)
308
10
Maurice Ravel
Dadaism and Surrealism
309
9
Ursonate: Rondo (1921--32)
318
2
Kurt Schwitters
Program Note for Parade (1917)
320
2
Guillaume Apollinaire
from Memoirs of an Amnesiac (1912)
322
2
Erik Satie
from Cock and Harlequin (1918)
324
3
Jean Cocteau
``For General Intelligibility as a Confession'' (1919)
327
2
Erwin Schulhoff
``Hornpipe'' (1922)
329
1
Edith Sitwell
from ``What Is Called the New Music, and Why?'' (1937)
330
7
Ernst Krenek
Music, Social Responsibility, and Politics
337
30
``On Old and New Music'' (1925)
339
4
Hanns Eisler
``The Modern Theatre Is the Epic Theatre'' (1930)
343
6
Bertolt Brecht
Peter Suhrkamp
Munchhausen (1931)
349
2
Friedrich Hollaender
``Cabaret'' (1932)
351
4
Friedrich Hollaender
from A Composer's World (1949--50)
355
5
Paul Hindemith
Der Kaiser von Atlantis: Final Scene (1943--44)
360
1
Peter Kien
A Survivor from Warsaw (1947)
361
3
Arnold Schoenberg
Rayok: The Music Lesson (1957)
364
3
L. N. Lebedinski
Testing the Boundaries between Popular and High Art
367
42
``On a Negro Orchestra'' (1919)
368
7
Ernest Ansermet
from The Big Sea (1940)
375
2
Langston Hughes
``Moon-Faced, Starry-Eyed'' (1946--47)
377
1
Langston Hughes
``The Negroes Are Conquering Europe'' (1926)
378
3
Ivan Goll
from Tune In, America (1931)
381
5
Daniel Gregory Mason
``The Composer and the Machine Age'' (1933)
386
4
George Gershwin
``The Negro on the Spiral, or A Method of Negro Music'' (1934)
390
8
George Antheil
``Has Jazz Influenced the Symphony?'' (1947)
398
6
Gene Krupa
Leonard Bernstein
``Once Again Swing'' (1939)
404
1
Elliott Carter
from ``The Rhythmic Basis of American Music'' (1955)
405
4
Elliott Carter
Bibliographical Note
409
2
Credits
411
4
Index
415