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| List of Illustrations | |
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| Acknowledgments | |
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| Introduction | |
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| from "The Future of the Opera" (1927) | |
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| from From My Life (1944) | |
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| Testing the Boundaries between Speech and Music | |
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| from Genesis of a Music (1949) | |
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| Foreword to Pierrot Lunaire (1912) | |
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| "The Relationship to the Text" (1912) | |
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| "Voice in Opera" (1929) | |
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| from "Sirens" (1922) | |
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| from The Waves (1931) | |
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| from "The Music of Poetry" (1942) | |
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| from "Words, Music, and Program Music" (1925) | |
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| from A Composer's World (1949-50) | |
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| Testing the Boundaries between the Visual Arts and Music | |
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| Painting and Architecture | |
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| from Harmonielehre (1911) | |
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| Letter to Nicolas Slonimsky (1936) | |
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| "Composer's Notes on 1952-53 Re-Editing" [of Ballet Mecanique] (1953) | |
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| from Philosophy of Modern Music (1948) | |
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| [Time-canvas] (1983) | |
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| from Formalized Music (1971) | |
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| Embodying Physical Movement: Battlet and Film | |
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| "The Technique of Moving Plastic" (1922) | |
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| from Composing for the Films (1947) | |
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| The New Music Theater | |
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| from The Birth of Tragedy (1872) | |
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| Letter to Richard Strauss (1911) | |
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| "Shifts in Musical Composition" (1927) | |
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| "Opera--Where To?" (1929) | |
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| "The 'Problem of Opera'" (1928) | |
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| from "Is Opera Still Possible Today?" (1936) | |
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| from "The World of Opera" (1967) | |
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| Fuller Universes of Music | |
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| Abolishing the Old Rules | |
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| from Monsieur Croche antidilettante (1901) | |
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| from Monsieur Croche antidilettante (1901) | |
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| "Degeneration and Regeneration in Music" (1907) | |
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| from Essays before a Sonata (1920) | |
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| from "Postface to 114 Songs" (1922) | |
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| "Music and Its Future" (1929) | |
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| "Free Music" (1938) | |
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| Pantonality | |
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| Correspondence (1911) | |
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| Noise | |
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| "The Art of Noises: Futurist Manifesto" (1913) | |
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| "Music and the Times" (1936) | |
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| Fragments from Silence (1961) | |
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| New Discipline: The Twelve-Tone Method | |
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| from "Composition with Twelve Tones": [fiat lux] (1941) | |
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| from "The Path to Twelve-Note Composition" (1932) | |
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| from Dr. Faustus (1947) | |
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| [The Twelve-Tone Method] (1951) | |
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| [The Twelve-Tone Method] (1976) | |
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| [The Twelve-Tone Method] (1963) | |
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| Isms | |
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| Symbolism | |
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| from Richard Wagner and Tannhauser in Paris (1861) | |
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| from Swann's Way (1913) | |
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| Primitivism and Exoticism | |
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| "What I Wished to Express in The Consecration of Spring" (1913) | |
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| from An Autobiography (1934) | |
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| "The Influence of Peasant Music on Modern Music" (1931) | |
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| Expressionism | |
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| "Beethoven" (1870) | |
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| Murderer, Hope of Women (1907, 1917) | |
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| from Die gluckliche Hand (1910-13): [brain-storm] | |
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| from Philosophy of Modern Music (1948) | |
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| Neoclassicism and the New Objectivity | |
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| Sonnets to Orpheus 1.3 (1922) | |
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| from An Autobiography (1936) | |
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| from Expositions and Developments [Expressivity] (1962) | |
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| from Expositions and Developments [Pulcinella] (1962) | |
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| from Dialogues (1968) | |
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| from Themes and Conclusions (1969) | |
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| from Three Satires (1925) | |
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| from "New Humanity and Old Objectivity" (1931) | |
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| "Music and Mathematics" (1937) | |
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| "The Age of Pastiche" (1934) | |
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| [Stravinsky as Pasticheur] (1934) | |
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| from Lectures in America (1935) | |
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| Interview: [Ravel's Toys] (1933) | |
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| Interview: "Finding Tunes in Factories" (1933) | |
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| Dadaism and Surrealism | |
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| Ursonate: Rondo (1921-32) | |
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| Program Note for Parade (1917) | |
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| from Memoirs of an Amnesiac (1912) | |
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| from Cock and Harlequin (1918) | |
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| "For General Intelligibility as a Confession" (1919) | |
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| "Hornpipe" (1922) | |
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| from "What Is Called the New Music, and Why?" (1937) | |
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| Music, Social Responsibility, and Politics | |
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| "On Old and New Music" (1925) | |
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| "The Modern Theatre Is the Epic Theatre" (1930) | |
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| Munchhausen (1931) | |
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| "Cabaret" (1932) | |
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| from A Composer's World (1949-50) | |
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| Final Scene (1943-44) | |
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| A Survivor from Warsaw (1947) | |
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| Rayok: The Music Lesson (1957) | |
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| Testing the Boundaries between Popular and High Art | |
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| "On a Negro Orchestra" (1919) | |
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| from The Big Sea (1940) | |
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| "Moon-Faced, Starry-Eyed" (1946-47) | |
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| "The Negroes Are Conquering Europe" (1926) | |
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| from Tune In, America (1931) | |
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| "The Composer and the Machine Age" (1933) | |
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| "The Negro on the Spiral, or A Method of Negro Music" (1934) | |
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| "Has Jazz Influenced the Symphony?" (1947) | |
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| "Once Again Swing" (1939) | |
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| from "The Rhythmic Basis of American Music" (1955) | |
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| Bibliographical Note | |
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| Credits | |
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| Index | |