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| Acknowledgments | |
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| Sources and Permissions | |
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| Introduction: Music and the New Audio Culture | |
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| Theories | |
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| Music and Its Others: Noise, Sound, Silence | |
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| Introduction | |
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| "Noise and Politics" | |
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| "The Art of Noises: Futurist Manifesto" | |
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| "Sound, Noise, Varese, Boulez" | |
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| "The Liberation of Sound" | |
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| "The Joys of Noise" | |
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| "The Future of Music: Credo" | |
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| "The Music of the Environment" | |
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| "Listening for Silence: Notes on the Aural Life" | |
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| "Rough Music, Futurism, and Postpunk Industrial Noise Bands" | |
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| "Noise" | |
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| "The Beauty of Noise: An Interview with Masami Akita of Merzbow" | |
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| Modes of Listening | |
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| Introduction | |
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| "Visual and Acoustic Space" | |
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| "The Politics of Hearing" | |
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| "Acousmatics" | |
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| "Profound Listening and Environmental Sound Matter" | |
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| "Adequate Modes of Listening" | |
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| "Ambient Music" | |
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| "The Aural Walk" | |
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| "Some Sound Observations" | |
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| "Compose Yourself" | |
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| Music in the Age of Electronic (Re)production | |
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| Introduction | |
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| "The Prospects of Recording" | |
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| "The Studio as Compositional Tool" | |
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| "Bettered by the Borrower: The Ethics of Musical Debt" | |
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| "Plunderphonia" | |
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| "Operating System for the Redesign of Sonic Reality" | |
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| Practices | |
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| The Open Work | |
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| Introduction | |
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| "The Poetics of the Open Work" | |
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| "Composition as Process: Indeterminacy" | |
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| "Visual Sounds: On Graphic Scores" | |
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| "Transformations and Developments of a Radical Aesthetic" | |
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| "The Game Pieces" | |
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| "Introduction to Catalog of Works" | |
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| Experimental Musics | |
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| Introduction | |
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| "Towards (a Definition of) Experimental Music" | |
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| "Introduction to Themes & Variations" | |
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| "Generating and Organizing Variety in the Arts" | |
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| "A Scratch Orchestra: Draft Constitution" | |
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| "The Generation Game: Experimental Music and Digital Culture" | |
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| Improvised Musics | |
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| Introduction | |
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| "Change of the Century" | |
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| "Free Improvisation" | |
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| "Little Bangs: A Nihilist Theory of Improvisation" | |
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| "Improvised Music After 1950: Afrological and Eurological Perspectives" | |
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| Minimalisms | |
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| Introduction | |
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| "Rap, Minimalism, and Structures of Time in Late Twentieth-Century Culture" | |
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| "Thankless Attempts at a Definition of Minimalism" | |
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| "Music as a Gradual Process" | |
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| "Basic Concepts of Minimal Music" | |
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| "LYssophobia: On Four Violins" | |
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| "Digital Discipline: Minimalism in House and Techno" | |
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| DJ Culture | |
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| Introduction | |
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| "Production-Reproduction: Potentialities of the Phonograph" | |
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| "The Invisible Generation" | |
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| "Record, CD, Analog, Digital" | |
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| "Algorithms: Erasures and the Art of Memory" | |
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| "Replicant: On Dub" | |
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| "Post-Rock" | |
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| Electronic Music and Electronica | |
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| Introduction | |
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| "Introductory Remarks to a Program of Works Produced at the Columbia-Princeton Electronic Music Center" | |
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| "Electronic and Instrumental Music" | |
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| "Stockhausen vs. the 'Technocrats'" | |
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| "Breakthrough Beats: Rhythm and the Aesthetics of Contemporary Electronic Music" | |
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| "The Aesthetics of Failure: 'Post-Digital' Tendencies in Contemporary Computer Music" | |
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| Chronology | |
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| Glossary | |
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| Selected Discography | |
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| Selected Bibliography | |
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| Notes for Quotations | |
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| Index | |