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| Introduction | |
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| Twentieth-Century Music and the Past | |
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| Bibliographical Notes | |
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| The Breakdown of Traditional Tonality | |
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| The Sources | |
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| Bibliographical Notes | |
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| The Revolution: Paris | |
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| Debussy | |
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| After Debussy | |
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| The Russians | |
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| Bibliographical Notes | |
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| The Revolution: Vienna | |
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| Schoenberg | |
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| Berg and Webern | |
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| Bibliographical Notes | |
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| The New Tonalities | |
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| Stravinsky and Neo-Classicism | |
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| Bibliographical Notes | |
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| Neo-Classicism and Neo-Tonality in France | |
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| Ravel | |
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| "Les Six" | |
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| Bibliographical Notes | |
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| Neo-Classicism and Neo-Tonality Outside of France | |
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| Hindemith and Gebrauchsmusik | |
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| The Diffusion of Neo-classicism | |
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| Bibliographical Notes | |
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| National Styles | |
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| Eastern Europe: Bartok | |
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| Eastern Europe: Hungary and Czechoslovakia | |
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| Eastern Europe: Russia | |
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| Northern Europe: Scandinavia | |
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| Northern Europe: England | |
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| Southern Europe: Italy and Spain | |
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| Latin America | |
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| The United States | |
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| Bibliographical Notes | |
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| Musical Theater | |
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| Puccini and Verismo | |
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| The Wagnerian Tradition and Expressionist Opera | |
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| The Mixed Genre and Chamber Opera | |
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| Opera in English | |
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| Bibliographical Notes | |
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| Atonality and Twelve-tone Music | |
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| The Viennese School | |
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| Schoenberg and the Twelve-tone Idea | |
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| Berg and Webern | |
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| Bibliographical Notes | |
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| The Diffusion of Twelve-Tone Music | |
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| Central Europe | |
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| Elsewhere in Europe | |
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| The United States | |
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| Bibliographical Notes | |
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| The Avant-garde | |
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| Introduction: Before World War II | |
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| Sources | |
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| Ives | |
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| Other Innovators: Varese | |
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| Cowell: Non-Western Influences | |
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| Bibliographical Notes | |
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| Technological Culture and Electronic Music | |
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| The Background | |
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| Principal Centers | |
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| Bibliographical Notes | |
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| Ultra-Rationality and Serialism | |
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| Babbitt and American Serialism | |
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| European Serialism | |
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| Bibliographical Notes | |
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| Anti-Rationality and Aleatory | |
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| Cage and His "School" | |
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| Bibliographical Notes | |
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| The New Performed Music: The United States | |
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| The New Virtuosity | |
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| "Third Stream"; The New Performance Practice | |
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| Bibliographical Notes | |
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| Post-Serialism: The New Performance Practice in Europe | |
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| Stockhausen | |
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| Boulez | |
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| Xenakis and Eastern Europe | |
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| Italy | |
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| Bibliographical Notes | |
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| Post-modernism | |
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| Beyond Modern Music | |
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| The Setting for Post-modernism | |
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| Happenings, Concept Art, the New Ensembles | |
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| Sound as Image: Music and Language | |
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| Bibliographical Notes | |
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| Back to Tonality | |
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| The Darmstadt Controversy | |
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| Neo-Romanticism | |
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| Neo-expressionism and New Tonality in Europe | |
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| Minimalism | |
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| Bibliographical Notes | |
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| Pop as Culture | |
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| Jazz and Rock | |
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| Non-Western Currents and New-age Music | |
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| Bibliographical Notes | |
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| Media and Theater | |
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| Media and Multi-media | |
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| Performance Art and Music Theater | |
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| The New Musical Culture | |
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| Bibliographical Notes | |
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| Music Examples | |
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| Index | |