Readings

 

    Arved Ashby on Mahler and his Seventh Symphony, from Experiencing Mahler: A Listener's Companion (Bloomsbuty, 2020)
    Ton De Leeuw, "Introduction" to Music of the Twentieth Century: A Study of Its Elements and Structure (Amsterdam University Press, 2005)
    Mark DeVoto on "The Debussy sound: colour, texture, gesture," from The Cambridge Companion to Debussy (Cambridge, 2003)
    Alex Ross on “The Velvet Revolution of Claude Debussy,” The New Yorker, Oct. 18, 2018.
    Arnold Schoenberg, Excerpts from “New Music: My Music,” from Style and Idea: Selected Writings of Arnold Schoenberg, ed. Leonard Stein, transl. Leo Black (Berkeley and Los Angeles: University of California Press, 1975).
    Arnold Schoenberg, Foreward to Pierrot Lunaire
    Carl Dahlhaus,"Schoenberg's Orchestral Piece Op. 16, No. 3 and the concept of Klangfarbenmelodie," in Schoenberg and the New Music, trans. Derrick Puffett and Alfred Clayton (Cambridge, UK: Cambridge University Press, 1987), 141–43.
    Carl van Vechten, “A New Principle in Music,” from Music and Bad Manners (NT: Alfred Knopf, 1916), 217–25.
    Lynne Rogers, "Evoking the Past, Inspiring the Future," in Stravinsky in Context, edit. Graham Griffiths (Cambridge University Press, 2020), 304-312.
    Amanda Bayley, Excerpt from “The String Quartets and works for chamber orchestra,” in The Cambridge Companion to Bartók, edit. Amanda Bayley (Cambridge UK: Cambridge University Press, 2011), 151-53; 160-63; 169-171.
    Joseph Auner, “Bartók and the search for a mother tongue,” in Music in the twentieth and twenty-first centuries (NT: W. W. Norton, 2013), 67–70.
    Béla Bartók, “The Influence of Peasant Music on Modern Music (1931)” in Béla Bartók: Essays, ed. by Benjamin Suchoff (London: Faber & Faber, 1976), 322–23.
    Peter Burkholder, Excerpts from "Ives and the Four Musical Traditions," in Peter Burkholder, ed., Charles Ives and His World (Princeton University Press, 1996)
    Charles Ives, "Music and Its Future" (1929)
    Joseph Auner, “Berg's Allusions to Tonality,” in Music in the twentieth and twenty-first centuries (NT: W. W. Norton, 2013), 133-36.
    Joseph Auner, “Ruth Crawford Seeger’s New Compositional Systems,” in Music in the twentieth and twenty-first centuries (NY: W. W. Norton, 2013), 140-41.
    William Robin, “The Pioneering Modernist Who Wrote an Audacious String Quartet,” The New York Times (Oct. 13, 2017).
    Leonora Saavedra, Excerpt from “Preface,” in Carlos Chávez and His World (Princeton: Princeton University Press, 2015).
    Donald Mitchell, "Catching on to the Technique in Pagoda-Land," Tempo 146 (Sep., 1983), 13-24.
    Anthony Pople, Excerpts from “Messiaen’s Musical Language: an Introduction,” in The Messiaen Companion (London: Faber & Faber, 1995), 15–50.
    Vivian Perlis and Libby Van Cleve, “Exploring the World of Duke Ellington,” in Composers’ Voices from Ives to Ellington (New Haven: Yale University Press, 2005), 351–67.
    Martha Hyde, Excerpt from "Stravinsky’s neoclassicism," in The Cambridge Companion to Stravinsky, edit. Jonathan Cross (Cambridge: Cambridge University Press, 2003), 98–102.
    Joseph Auner, “Post-World War II Contexts,” in Music in the twentieth and twenty-first centuries (NY: W. W. Norton, 2013), 191-99.
    Pierre Boulez, “Tendencies in Recent Music,” in Stocktakings from an Apprenticeship, ed. by Paule Thévenin, tran. by Stephen Walsh (Oxford: Clarendon Press, 1991), 173-79.
    Joseph Auner, “Electronic Music,” in Music in the twentieth and twenty-first centuries (NY: W. W. Norton, 2013), 212-14.
    Joseph Auner, “Shostakovich,” “The Past in the Present,” and “Cage and Chance,” in Music in the twentieth and twenty-first centuries (NY: W. W. Norton, 2013), 183-88, 258–61, 200-10.
    Michael O'Brien, "Witold Lutosławski Venetian Games," The Moldenhauer Archives, Library of Congress.
    John Cage, “The Future of Music: CREDO,” from Silence: Lectures and Writings (Wesleyan, CT: Wesleyan University Press, 1961)
    Milton Babbitt, “The Composer as Specialist,,” in The Collected Essays of Milton Babbitt, ed. Stephen Peles, Milton Babbitt, Stephen Dembski, Andrew Mead, Joseph N. Straus (Princeton: Princeton University Press, 2011), 48–54.
    Paul Griffiths, Program Notes, György Kurtág, Kafka Fragments, Op. 24 (1985–1987).
    György Ligeti, “György Ligeti interviews himself,” (1971), trans. Geoffrey Skelton, in Ligeti in Conversation with Péter Várnai, Josef Häusler, Claude Samuel and Himself (London: Eulenburg, 1983), 124–37.
    Amy Bauer, Excerpt from Chapter 4 Ligeti’s Laments: Nostalgia, Exoticism and the Absolute (Farnham, UK: Ashgate, 2011).
    Joseph Auner, “Xenakis and Spectralism,” in Music in the twentieth and twenty-first centuries (NY: W. W. Norton, 2013), 243–46.
    Amy Bauer, Liam Cagney and Will Mason, “excerpt from introduction, The Oxford Handbook on Spectral Music, edited by Bauer, Cagney and Mason (Oxford, 2025), 1–2.
    Gérard Grisey, “Did you say spectral?,” trans; Joshua Fineberg, Contemporary Music Review 19:3 (2000), 1–3.
    Joseph Auner, "Making Traditions in East Asia,” in Music in the twentieth and twenty-first centuries (NY: W. W. Norton, 2013), 274–76).
    Julian Anderson, “Seductive Solitary. Julian Anderson Introduces the Work of Kaija Saariaho,” The Musical Times 133/1798 (Dec., 1992), 616-19.
    Steve Reich, "Music as a gradual process" (1968), and Music for 18 Musicians (1976), program note.
    Joseph Auner, “Minimalism and its Repercussions," in Music in the twentieth and twenty-first centuries (NY: W. W. Norton, 2013), 278–94.
    Joseph Auner, "Border Crossings,” in Music in the twentieth and twenty-first centuries (NY: W. W. Norton, 2013), 301-302.
    Robert Raines, “Interview with Tania León,” in Composition in the Digital World: conversations with 21st century American composers (Oxford University Press, 2015), 189–201.
    Drew Massey,"Introduction," in Thomas Adès in Five Essays (Oxford University Press, 2020),1-7.
    Lloyd Whitesell, “Twentieth-Century Tonality, or, Breaking Up Is Hard to Do,” in The Pleasure of Modernist Music, ed. Arved Ashby (Rochester: University of Rochester Press, 2004), 103–120.
    Evan Ziporyn, "Who Listens if You Care?" New Observations 86 (1991).
    Laurent Bayle and Catherine Provenzano, "The Interface between Classical Music and Technology," in Classical Music: Contemporary Perspectives and Challenges, edited by Michael Beckerman and Paul Boghossian (Cambridge, UK: Open Book Publishers, 2021), 103–118.