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| Preface: New Music and the Village Voice | |
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| Introduction: the importance of being downtown | |
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| Interviews | |
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| Shouting at the Dead: Robert Ashley's Neoplatonist TV Operas | |
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| The Part That Doesn't Fit Is Me: Yoko Ono, the Inventor of Downtown | |
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| Midtown Avant-Gardist: Philip Glass Sails Columbus into a Clash of Keys and Cultures | |
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| Trimpin's Machine Age: A Revolutionary Tinker Revives the Dream of Infinitely Fluid Music | |
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| Dancing with the Audience: Carman Moore's Mass Attempts to Heal the World | |
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| Harps from Heaven: Glenn Branca Reemerges from the Thick of Theory | |
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| Shadowing Capote: Mikel Rouse | |
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| The Dance Between: David First | |
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| Raising Ghosts: Leroy Jenkins Brings the African Burial Ground to Life | |
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| Opera Meets Oprah: Mikel Rouse Hawks Salvation in an Opera for Real People | |
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| A Difficult Woman: A Cosmic Piano Concerto from the Outspoken Composer of Vagina | |
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| Monkey Business: Fred Ho De-Europeanizes Opera with Martial Arts | |
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| Music and/versus society | |
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| Plundering for Art: Sampling | |
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| Mozarts Live! "Performing Mozart's Music" | |
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| Killers in the Audience | |
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| Letting Euro Go | |
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| What Normal People Hear: Rose Rosengard Subotnik | |
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| Dysfunctional Harmony: Repealing the Suppression of Creativity | |
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| Don't Touch That Dahl: Classical Radio | |
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| Spin It Around: New Music in the Public's Hands | |
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| Paradise at Our Fingertips: Voltaire's Bastards | |
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| What's Your AQ? | |
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| Dump the Multicult | |
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| No More Heroes | |
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| Music of the Excluded Middle | |
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| Medicine Music: The Uses of Art | |
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| Who Killed Classical Music? Forget It, Jake-It's Uptown | |
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| Musical politics | |
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| Paradigms Lost: Rhys Chatham/John Zorn | |
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| Blurred Out: On Language | |
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| Rock Rules: Bandwagonism | |
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| Pulitzer Hacks: Amateur Composers versus the Professionals | |
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| Composer's Clearinghouse: The Pulitzer Prize | |
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| Obitchuaries: Critics Take Their Final Potshots at John Cage | |
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| Totally Ismic: Totalism | |
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| The Last Barbarian: John Cage | |
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| Berlitz's Downtown for Musicians: New-Music Performance | |
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| What Are We, Chopped Liver? The New Generation | |
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| The Great Divide: Uptown Composers Are Stuck in the Past | |
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| Y Not 2K? Nostalgia for Modernism as the Millennium Ends | |
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| Ding! Dong! The Witch Is Dead: Modernism Loses Its Grip as the Odometer Turns Over | |
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| Aesthetics | |
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| Let X = X: Minimalism versus Serialism | |
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| A Tale of Two Sohos: Plato/Aristotle | |
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| A Secret Manifesto: Fred Lerdahl | |
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| The Modernist Dance: War in the Brain | |
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| It's Only as Good as It Sounds: Richard Rorty | |
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| Noises of Fate: You Don't Need a Sampler to Recontextualize | |
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| Sounding the Image | |
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| Waiting for Monteverdi: Minimalism | |
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| Dads versus Shadows: James Hillman | |
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| Vexing the Purists: Vexations | |
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| Musical Amnesia Cured! Imagism | |
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| End of the Paper Trail: Scores | |
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| Reflections on books, figures, and events | |
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| No Shortcuts: John Cage | |
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| E.T., Go Home: Tuning | |
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| Composing the Lingo: Harry Partch, American Inventor | |
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| Morton Feldman's Abstract Expressions | |
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| One-Note Wonder: A New York Retrospective for Italy's Saintly Mystic, Giacinto Scelsi | |
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| Father of Us All: The Critic as Composer | |
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| Minimalism Isn't Pretty: Tony Conrad Makes a Truculent Comeback | |
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| Grand Old Youngster: Turning the Century at Lincoln Center | |
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| Concert reviews | |
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| Maximal Spirit: La Monte Young | |
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| Big Machines, Little Issues: The 1987 International Computer Music Conference | |
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| First Flight: John Adams | |
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| Admiring the Waterfall: David Garland | |
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| Yawn: R.I.P. Hayman | |
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| Searching for the Plague: Diamanda Galas | |
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| Oceans without Walls: Laurie Anderson | |
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| Insiders, Outsiders, and Old Boys: New Music America '89 | |
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| Dark Stormy Night: Nicolas Collins | |
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| Let There Be Noise: David Rosenboom/Trichy Sankaran | |
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| Music in Time of War: The Composer-to-Composer Symposium | |
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| Don't Worry, Be Hopi | |
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| Enough of Nothing: Postminimalism | |
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| Voltage High: Ron Kuivila | |
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| Isn't That Spatial? Henry Brant | |
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| The Limits of Craft: Frederic Rzewski/Philip Glass | |
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| Opera Is Relative: Einstein on the Beach | |
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| Well-Tuned Blues: The Forever Bad Blues Band | |
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| Voice of the Unutterable: The S.E.M. Ensemble | |
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| How Peculiar? The American Eccentrics | |
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| Flutes and Flying Branches: The Taos Pueblo Powwow | |
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| The Tingle of p x m[superscript n] - 1: La Monte Young and Marian Zazeela | |
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| The British Don't Have Oral Sex: Now Eleanor's Idea | |
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| View from the Gap: Emerging Voices | |
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| Bang! Crunch! Who's on First? Twisted Tutu | |
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| Regarding Henry: The World's First Multicultural Modernist Conservative Patron Saint of Outsiders | |
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| What Our Pulses Say: David Garland | |
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| Mistaken Memories: Tony Conrad: One-Idea Composer or Late Bloomer? | |
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| Passings | |
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| Legacy of the Quiet Touch: Morton Feldman, 1926-1987 | |
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| The Antidote to Publicity: Virgil Thomson, 1896-1989 | |
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| That Which Is Fundamental: Julius Eastman, 1940-1990 | |
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| Philosopher No More: John Cage (1912-1992) Quietly Started a Spiritual Revolution | |
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| Index | |