Modernism and Music: An Anthology of Sources Book

	List of Illustrations
	Acknowledgments
1	Introduction	1
	"The Future of the Opera"	15
	From My Life	20
2	Testing the Boundaries between Speech and Music	23
	Genesis of a Music	30
	Foreword to Pierrot Lunaire	38
	"The Relationship to the Text"	39
	"Voice in Opera"	43
	"Sirens"	45
	The Waves	49
	"The Music of Poetry"	52
	"Words, Music, and Program Music"	55
	A Composer's World	60
3	Testing the Boundaries between the Visual Arts and Music	64
	Painting and Architecture	64
	Harmonielehre	66
	Letter to Nicolas Slonimsky	71
	"Composer's Notes on 1952-53 Re-Editing" [of Ballet Mecanique]	71
	Philosophy of Modern Music	72
	[Time-canvas]	80
	Formalized Music	82
	Embodying Physical Movement: Ballet and Film	84
	"The Technique of Moving Plastic"	86
	Composing for the Films	93
4	The New Music Theater	103
	The Birth of Tragedy	108
	Letter to Richard Strauss	114
	"Shifts in Musical Composition"	117
	"Opera - Where To?"	120
	"The 'Problem of Opera'"	124
	"Is Opera Still Possible Today?"	127
	"The World of Opera"	134
5	Fuller Universes of Music	137
	Abolishing the Old Rules	137
	Monsieur Croche antidilettante	139
	Sketch of a New Esthetic of Music	141
	"Degeneration and Regeneration in Music"	148
	Essays before a Sonata	157
	"Postface to 114 Songs"	159
	"Music and Its Future"	159
	"Free Music"	165
	Pantonality	167
	Correspondence	169
	Noise	172
	"The Art of Noises: Futurist Manifesto"	177
	"Music and the Times"	185
	Fragments from Silence	190
6	New Discipline: The Twelve-Tone Method	193
	"Composition with Twelve Tones": [fiat lux]	194
	"The Path to Twelve-Note Composition"	202
	Dr. Faustus	216
	[The Twelve-Tone Method]	222
	[The Twelve-Tone Method]	222
	[The Twelve-Tone Method]	223
7	Isms	224
	Symbolism	226
	Richard Wagner and Tannhauser in Paris	229
	Swann's Way	231
	Primitivism and Exoticism	234
	"What I Wished to Express in The Consecration of Spring"	237
	An Autobiography	239
	"The Influence of Peasant Music on Modern Music"	244
	Expressionism	251
	"Beethoven"	255
	Murderer, Hope of Women	265
	Die gluckliche Hand (1910-13): [brain-storm]	271
	Philosophy of Modern Music	272
	Neoclassicism and the New Objectivity	276
	Sonnets to Orpheus 1.3	280
	An Autobiography	282
	Expositions and Developments [Expressivity]	283
	Expositions and Developments	284
	Dialogues	286
	Themes and Conclusions	288
	Three Satires	289
	"New Humanity and Old Objectivity"	291
	"Music and Mathematics"	295
	"The Age of Pastiche"	297
	[Stravinsky as Pasticheur]	300
	Lectures in America	305
	Interview: [Ravel's Toys]	307
	"Finding Tunes in Factories"	308
	Dadaism and Surrealism	309
	Ursonate: Rondo	318
	Program Note for Parade	320
	Memoirs of an Amnesiac	322
	Cock and Harlequin	324
	"For General Intelligibility as a Confession"	327
	"Hornpipe"	329
	"What Is Called the New Music, and Why?"	330
8	Music, Social Responsibility, and Politics	337
	"On Old and New Music"	339
	"The Modern Theatre Is the Epic Theatre"	343
	Munchhausen	349
	"Cabaret"	351
	A Composer's World	355
	Der Kaiser von Atlantis: Final Scene	360
	A Survivor from Warsaw	361
	The Music Lesson	364
9	Testing the Boundaries between Popular and High Art	367
	"On a Negro Orchestra"	368
	The Big Sea	375
	"Moon-Faced, Starry-Eyed"	377
	"The Negroes Are Conquering Europe"	378
	Tune In, America	381
	"The Composer and the Machine Age"	386
	"The Negro on the Spiral, or A Method of Negro Music"	390
	"Has Jazz Influenced the Symphony?"	398
	"Once Again Swing"	404
	"The Rhythmic Basis of American Music"	405
	Bibliographical Note	409
	Credits	411
	Index	415