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Prelude | |
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1945 | |
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Rational and Irrational: Western Europe, 1945-50 | |
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Paris, 1945-48 | |
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The Young Boulez | |
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Boulez's Second Piano Sonata | |
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Other Stories | |
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Musique Concr�te | |
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Variations: Nono | |
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Silencing Music: Cage, 1946-52 | |
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Rhythmic Structuring | |
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Towards Silence | |
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Around Cage | |
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Total Organization: Western Europe, 1949-54 | |
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The Moment of Total Serialism 1: Darmstadt 1949 and Darmstadt 1951 | |
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Interlude: The Patrons of Modernism | |
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The Moment of Total Serialism 2: Paris 1952 | |
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The Human Voice 1: Nono | |
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Electronic Music | |
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The Human Voice 2: Barraqu� | |
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Classic Modernism and Other Kinds: The United States, 1945-55 | |
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Schoenberg | |
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Carter | |
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Babbitt | |
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Homemade Music | |
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Wolpe | |
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After Silence | |
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The Cold War | |
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Extension and Development: Western Europe, 1953-56 | |
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From Points to Groups | |
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Systems of Organization | |
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Le Marteau sans ma�tre | |
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Sound and Word | |
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...how time passes... | |
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Statistics | |
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1956 | |
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Mobile Form: 1956-61 | |
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Cage | |
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Stockhausen and Boulez | |
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Boulez and Berio | |
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Barraqu� | |
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Exit from the Labyrinth | |
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Elder Responses | |
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Stravinsky | |
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Messiaen | |
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Var�se | |
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Symphonists and Others | |
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Reappraisal and Disintegration: 1959-64 | |
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Questioning Voices: Ligeti, Bussotti, Kagel | |
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Stumbling Steps: Kurt�g | |
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Listening Ears: Cage, Young, Babbitt | |
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Exploiting the Moment: Stockhausen | |
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The Last Concert: Nono | |
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1965 | |
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Of Elsewhen and Elsewhere | |
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The Distant Past | |
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(The Imaginary Past) | |
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The Distant or Not So Distant East | |
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Quotation | |
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Meta-Music | |
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Music Theatre | |
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Opera and 'Opera' | |
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Music Theatre | |
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Instrumental Theatre | |
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Politics | |
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Cardew | |
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Rzewski | |
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The Composer in the Factory | |
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Virtuosity and Improvisation | |
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The Virtuoso | |
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Virtuosity in Question | |
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The Electric Musician | |
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Improvisation | |
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Orchestras or Computers | |
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Orchestras | |
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Computer Music | |
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Minimalism and Melody | |
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New York Minimalism | |
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Minimalism in Europe | |
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Melody | |
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Ending | |
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1975 | |
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Holy Minimalisms | |
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P�rt | |
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G�recki and Tavener | |
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(Messiaen) | |
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Ustvolskaya | |
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New Romanticisms | |
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Rihm | |
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Schnittke, and the Hectic Present | |
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Gubaidulina, and the Visionary Future | |
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Silvestrov, and the Reverberating Past | |
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Symphony? | |
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Feldman and Loss | |
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Lachenmann and Regain | |
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New Simplicities | |
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Cage, or Innocence | |
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Denyer, or Outsiderness | |
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Kurt�g, or Immediacy | |
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Holliger, or Extremity | |
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Sciarrino, or Intimacy | |
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New Complexities | |
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Ferneyhough | |
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Finnissy | |
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Charged Solos | |
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Old Complexities | |
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Carter and the Poets | |
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Xenakis and the Arditti Quartet | |
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Nono and Listening | |
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Stockhausen and Licht | |
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Birtwistle and Ritual | |
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Berio and Memory | |
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IRCAM and Boulez | |
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Spectralisms | |
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Radulescu and Tenney | |
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Grisey | |
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Vivier | |
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(Unholy?) Minimalisms | |
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Reich | |
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Andriessen | |
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Referencings | |
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Kagel, et al. | |
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Donatoni | |
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Bolcom and Adams | |
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Ligeti | |
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1989 | |
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Towards Mode/Meme | |
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Rootless Routes: Ligeti | |
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Memory's Memorials: Berio and Kurt�g | |
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Remade Modes: Adams, Ad�s, Benjamin | |
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Pesson's Past and Pauset's | |
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Traditions' Tracks: Around Zorn | |
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Towards the Strange Self | |
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Schneewittchen | |
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Entr'acte: Kurt�g's Beckett | |
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Luci mie traditrici | |
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Entr'acte: Birtwistle's Celan | |
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Three Sisters | |
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Entr'acte: Kyburz's No-one | |
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Das M�dchen mit den Schwefelh�lzern | |
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Towards Transcendence | |
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Gubaidulina and Christ | |
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Haas and Darkness | |
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Harvey and the Goddess | |
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Grisey and Rebirth | |
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Riehm and Reality | |
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2001 | |
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Towards Change? | |
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Resources | |
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Index | |