| |
| |
| |
| Romanticism | |
| |
| |
| Musical Interlude | |
| |
| |
| |
| Music In The Nineteenth Century: The Romantic Period | |
| |
| |
| |
| Franz Schubert | |
| |
| |
| |
| Music in Paris Under Louis Philippe: Berlioz and Chopin | |
| |
| |
| |
| Leipzig and the Gewandhaus: Mendelssohn and the Schumanns | |
| |
| |
| |
| German Opera in the Nineteenth Century: Weber and Wagner | |
| |
| |
| |
| Opera in Italy: Rossini and Verdi | |
| |
| |
| |
| Nationalism and Virtuosity: Franz Liszt | |
| |
| |
| |
| Vienna in the Late Nineteenth Century: Brahms and Bruckner | |
| |
| |
| |
| Music and Ballet in Nineteenth-Century Russia: Mussorgsky and Tchaikovsky | |
| |
| |
| |
| Vienna at the turn of the Twentieth Century: Gustav and Alma Mahler | |
| |
| |
| |
| England at the End of the Romantic Period: Elgar and Vaughan Williams | |
| |
| |
| |
| Opera in Milan After Verdi: Puccini, Toscanini, and Mascagni | |
| |
| |
| |
| Paris of the Belle Epoque: Debussy, FaurT, and Lili Boulanger | |
| |
| |
| |
| The Twentieth Century | |
| |
| |
| Musical Interlude | |
| |
| |
| |
| Music Since 1900 | |
| |
| |
| |
| Richard Strauss in Berlin | |
| |
| |
| |
| Music in Russian During the Silver Age: Igor Stravinsky | |
| |
| |
| |
| Atonality: Schoenberg and Scriabin | |
| |
| |
| |
| French Music at the Time of World War I: Ravel and Satie | |
| |
| |
| |
| Music in Paris After World War I: Stravinsky and the Six | |
| |
| |
| |
| Vienna in the Aftermath of War: Twelve-Tone Methods | |
| |
| |
| |
| Musical Theater in Germany in the 1920's: Berg and Weill | |
| |
| |
| |
| BTla Bart=k and Hungarian Folk Music | |
| |
| |
| |
| Early Jazz | |
| |
| |
| |
| Paul Hindemith and Music in Nazi Germany | |
| |
| |
| |
| Music in Soviet Russia: Prokofiev and Shostakovich | |
| |
| |
| |
| Self-Reliance in American Music: Ives, Seeger, and Nancarrow | |
| |
| |
| |
| American Composers Return from Europe: Copland and Barber | |
| |
| |
| |
| Tin Pan Alley and the Broadway Musical | |
| |
| |
| |
| Contemporary Music | |
| |
| |
| Musical Interlude | |
| |
| |
| |
| After World War II | |
| |
| |
| |
| Reflections on War: Britten, Penderecki, and Others | |
| |
| |
| |
| Twelve-Tone Music and Serialism After World War II | |
| |
| |
| |
| Alternatives to Serialism: Chance, Electronics, Textures | |
| |
| |
| |
| Harlem in the 1930s, 1940s, and 1950s: Big Bands, Bebop, and Cool Jazz | |
| |
| |
| Musical Interlude | |
| |
| |
| |
| The Birth Of Rock | |
| |
| |
| |
| Music of the 1960s and 1970s: Live Processes, Minimalism, Metric Modulations | |
| |
| |
| |
| Returning to the Known: Music of the Recent Past | |