| |
| |
| Preface | |
| |
| |
| |
| Vienna: 1885-1915 | |
| |
| |
| |
| The German Romantic Legacy | |
| |
| |
| |
| Schoenberg to 1909: Extending Traditions | |
| |
| |
| |
| Webern: Opus 1 to Opus 12 | |
| |
| |
| |
| Alban Berg Before Wozzeck | |
| |
| |
| |
| Paris: 1885-1915 | |
| |
| |
| |
| Debussy: Impressionism and Symbolism | |
| |
| |
| |
| Maurice Ravel to the Mallarme Songs (1913) | |
| |
| |
| |
| Exoticism: Importations from Abroad | |
| |
| |
| |
| Symbolist Reverberations Abroad (I): Decadent Symbolism | |
| |
| |
| |
| Symbolist Reverberations Abroad (II): Synesthetic Symbolism | |
| |
| |
| |
| Emeblems of Crisis: 1909-1914 | |
| |
| |
| |
| Expressionism: The Path to Pierrot | |
| |
| |
| |
| Primitivism: The Road to the Rite | |
| |
| |
| |
| Futurism: Manifestos and Machines | |
| |
| |
| |
| The New Simplicities: France | |
| |
| |
| |
| The New Simplicities: Germany | |
| |
| |
| |
| Toward Neoclassicism | |
| |
| |
| |
| Zemlinsky's Lyric Symphony: Against the Tide | |
| |
| |
| |
| Berg: Wozzeck and the Violin Concerto | |
| |
| |
| |
| Weberns Path to the New Music | |
| |
| |
| |
| Emerging National AspirationS: 1910-1945 | |
| |
| |
| |
| Hungary: Bela Bartok | |
| |
| |
| |
| Russians Abroad and At Home | |
| |
| |
| |
| The Twentieth-Century Spanish and English Renaissance | |
| |
| |
| |
| An "American" Music for America | |
| |
| |
| |
| Beyond Nationalism: 1920-1950 | |
| |
| |
| |
| Rituals, Liturgies, and Voices of War | |
| |
| |
| |
| Postwar Serialism and the Rise of an International Avant-Garde | |
| |
| |
| |
| Europe: In Search of a Common Practice | |
| |
| |
| |
| The United States of America | |
| |
| |
| |
| Serialism and the European Old Guard | |
| |
| |
| |
| The International Avant-Garde: Choice and Chance | |
| |
| |
| Part 8 | |
| |
| |
| |
| Electronics and Explorations of Duration, Timbre, and Space | |
| |
| |
| |
| The New Virtuosity | |
| |
| |
| |
| Past Imperfect-Future Subjunctive | |
| |
| |
| |
| Users of the Past: A Synthesis | |
| |
| |
| |
| Users of the Past: The Generic Revivals | |
| |
| |
| |
| Envoi | |
| |
| |
| Notes | |
| |
| |
| Index | |