Music in the Western World

Contents

• Part I : THE HERITAGE OF ANTIQUITY.
• 1. Orpheus and the Magical Powers of Music (Ovid).
• 2. Pythagoras and the Numerical Properties of Music (Nicomachus).
• 3. Plato''s Musical Idealism.
• 4. Aristotle on the Purposes of Music.
• 5. The Kinship of Music and Rhetoric (Quintilian).
• 6. Music in Temple and Synagogue: The Judaic Heritage (Bible, Philo of Alexandria).
• 7. Music in the Christian Churches of Jerusalem, c. A.D. 400 (Egeria).
• Part II : THE MIDDLE AGES.
• 8. The Church Fathers on Psalmody and on the Dangers of Unholy Music (St. Basil, St. John Chrysostom, Origen of Alexandria, Eusebius of Caesarea, Honorius of Autun).
• 9. The Testimony of St. Augustine.
• 10. The Transmission of the Classical Legacy (Boethius, Shakespeare).
• 11. Music as a Liberal Art (Scholia enchiriadis).
• 12. Before Notation (Isidore of Seville, St. Augustine, John the Deacon, Notker Balbulus, Costumal of St. Benigne).
• 13. Embellishing the Liturgy (Notker Balbulus, Ethelwold).
• 14. Musical Notation and Its Consequences (Odo of Cluny, Guido of Arezzo, Chaucer).
• 15. Music in Courtly Life (Raimbaut de Vaqueiras, Roman de la rose).
• 16. The Emergence of Polyphony (Aldhelm, Scotus Erigena, Hucbald, Regino of Prum, Giraldus Cambrensis, Anon. IV, John of Salisbury).
• 17. The Forms and Practices of Music, c. 1300 (Johannes de Grocheo, Aegidius of Murino).
• 18. The First Musical Avant Garde (Jean de Muris, Jacobus of Liege, John XXII, motet and madrigal texts).
• 19. The Life of Francesco Landini (Filippo Villani).
• 20. A Letter from Guillaume de Machaut.
• Part III : THE RENAISSANCE.
• 21. The Fount and Origin" (Martin Le Franc, Tinctoris).
• 22. Music at Church and State Festivities in the Early Renaissance (Manetti, d''Escouchy).
• 23. The Triumph of Emperor Maximilian.
• 24. Music as a Business (Petrucci, Francis I, Tallis and Byrd).
• 25. Music in Castiglione''s Courtier.
• 26. Josquin des Prez in the Eyes of His Contemporaries (Glareanus, "Gian," Coclico, Luther).
• 27. Luther and Music (Luther, Walther, parody texts).
• 28. The Swiss Reformers (Calvin).
• 29. The Reformation in England (cathedral injunctions, John Bull).
• 30. High Renaissance Style (Aron, Zarlino).
• 31. Willaert the Reformer (Zarlino, Stocker).
• 32. Music at a Medici Wedding (Giunti).
• 33. Lasso and Palestrina as Revealed in Their Letters.
• 34. The Life of the Church Musician (Constitutiones Capellae Pontificae, Zarlino, etc.).
• 35. The Genres of Music in the High Renaissance (Morley, Cerone, Vicentino).
• 36. The Counter Reformation (Bishop Franco, Council of Trent, Palestrina, Animuccia, Ruffo, Gregory XIII, Coryat).
• 37. Palestrina: Fact and Legend (Agazzari, Cresollio, Guidiccioni, Baini, Palestrina).
• 38. Madrigals and Madrigalism (Mazzone, Zarlino Morely).
• 39. Gesualdo, Nobleman Musician (Fontanelli).
• 40. The Most Musical Court in Europe (Bottrigari, Guistiniani).
• 41. Music and Dancing as Social Graces (anonymous conversation book, Arbeau, Byrd, Morely, Shakespeare).
• 42. Renaissance Instrumentalists (Tinctoris, Ventemille, cathedral and municipal documents).
• 43. Radical Humanism: The End of the Renaissance (Vicentino, Mersenne, Le Jeune, Galilei).
• Part IV : THE BAROQUE.
• 44. The Birth of a "New Music" (Caccini).
• 45. The "Second Practice" (Artusi, Monteverdi).
• 46. The Earliest Operas (Gagliano, Striggio).
• 47. Basso Continuo and Figured Bass (Agazzari, Banchieri).
• 48. From the Letters of Monteverdi.
• 49. Venice, 1637: Opera Opens for Business (Ivanovich).
• 50. Schutz Recounts His Career.
• 51. The Doctrine of Figures (Bernhard).
• 52. Music and Scientific Empiricism (Milton, Bacon).
• 53. Music in the Churches of Rome, 1639 (Maugars).
• 54. Music under the Sun King (Pierre Rameau).
• 55. Rationalistic Distaste for Opera (Corneille, Saint Evremond, La Bruyere).
• 56. A New Sound Ideal (Mersenne, La Blanc).
• 57. The Baroque Sonata (North, Purcell, Couperin).
• 58. Modern Concert Life is Born (North).
• 59. The Mature Baroque: The Doctrine of the Affections (Descartes, Mattheson).
• 60. The Art of Music Reduced to Rational Principles (J. P. Rameau).
• 61. The Earliest Musical Conservatories (Burney).
• 62. Castrato Singers (Burney).
• 63. The Conventions of the Opera Seria (Goldoni).
• 64. Opera Audiences in Eighteenth Century Italy (Sharp).
• 65. Domenico Scarlatti at the Harpsichord (Burney).
• 66. A Traveler''s Impressions of Vivaldi (Uffenbach).
• 67. Couperin on His Pieces de Clavecin.
• 68. The Piano Is Invented (Maffei).
• 69. Addison and Steele Poke Fun at Handel''s First London Opera.
• 70. Some Contemporary Documents Relating to Handel''s Oratorios.
• 71. Bach''s Duties and Obligations at Leipzig.
• 72. Bach Remembered by His Son.
• 73. Bach''s Obituary (C. P. E. Back, Agricola).
• Part V : THE PRE CLASSICAL PERIOD.
• 74. The Cult of the Natural (Heinichen, Scheibe).
• 75. The Advice and Opinions of an Italian Singing Master (Tosi).
• 76. From Geminiani''s Violin Tutor.
• 77. From Quantz''s Treatise on Flute Playing.
• 78. Carl Philipp Emanuel Bach on Playing Keyboard Instruments.
• 79. The Rise of the Italian Comic Opera Style (La serva padrona, d''Holbach, Hiller).
• 80. From Rousseau''s Dictionary of Music.
• Part VI : THE CLASSICAL PERIOD.
• 81. A Side Trip into Aesthetics (Rousseau, Avison, Beattie, Twining, Smith, Kant).
• 82. Haydn''s Duties in the Service of Prince Esterhazy.
• 83. Gluck''s Operatic Manifesto.
• 84. "Folk Song" a New Name for Something Very Old (Herder).
• 85. Some General Thoughts on Music by Dr. Burney.
• 86. Frederick the Great Gives a Concert (Burney).
• 87. The Young Mozart as a Scientific Curiosity (Barrington).
• 88. From Mozart''s Letters.
• 89. Haydn''s Reception in London (Burney, London dailies).
• 90. Sonata Form and the Symphony Described by a Contemporary of Haydn (Kollmann).
• 91. A Musical Episode of the French Revolution.
• 92. Vienna, 1800.
• 93. Beethoven''s Heiligenstadt Testament.
• 94. The First Reactions to Beethoven''s "Eroica" Symphony.
• 95. A Contemporary Portrait of Beethoven.
• 96. The First Performance of Beethoven''s Ninth Symphony.
• Part VII : THE LATER NINETEENTH CENTURY: ROMANTICISM AND OTHER PREOCCUPATIONS.
• 97. Music as a Proper Occupation for the British Female (Burgh).
• 98. Leigh Hunt on Rossini.
• 99. Schubert Remembered by a Friend (Spaun).
• 100. Paganini, the Spectacular Virtuoso (Hunt).
• 101. The Virtuoso Conductor (Spohr).
• 102. The State of Music in Italy in 1830.
• 103. From the Writings of Berlioz.
• 104. The Program of the Symphonie Fantastique.
• 105. From the Writings of Schumann.
• 106. Liszt, the All Conquering Pianist.
• 107. From the Writings of Liszt.
• 108. Glimpses of Chopin Composing, Playing the Piano. (Sand, Mikuli. Hogarth, Heine).
• 109. Mendelssohn and Queen Victoria.
• 110. Verdi''s Rise to Solitary Eminence (Basevi).
• 111. From the Writings of Wagner.
• 112. Wagner''s Beethoven.
• 113. The "Music of the Future" Controversy (Schumann, Mendelssohn, Liszt, Brendel, Brahms).
• 114. P.T. Barnum Brings the Swedish Nightingale to America.
• 115. Smetana and the Czech National Style (Novotny).
• 116. The "New Russian School" (Stasov).
• 117. Musorgsky, a Musical Realist.
• 118. Chaikovsky on Inspiration and Self Expression.
• 119. Brahms on Composing (Henschel).
• 120. The "Brahmin" Point of View (Hanslick).
• 121. Verdi at the Time of Otello.
• 122. Grieg on the Norwegian Element in His Music.
• 123. The Post Wagnerians: Mahler.
• 124. The Post Wagnerians: Richard Strauss.
• Part VIII : THE TWENTIETH CENTURY.
• 125. Debussy and Musical Impressionism.
• 126. Questioning Basic Assumptions (Busoni).
• 127. From the Writings of Charles Ives.
• 128. Musical Expressionism (Schoenberg, Wellesz, et al.).
• 129. The Retreat to the Ivory Tower (Berg).
• 130. The Death of Tonality? (Webern).
• 131. Arnold Schoenberg on Composition with Twelve Tones.
• 132. The Rite of Spring (Stravinsky, Van Vechten, Cui, Du Mas).
• 133. A Futurist Manifesto (Russolo).
• 134. The New Folklorism (Bartok, Stravinsky, Vaughan Williams).
• 135. The Cataclysm (Bartok).
• 136. Between the Wars (Sessions).
• 137. The New Objectivity (Stravinsky).
• 138. Anti Romantic Polemics from Stravinsky''s Autobiography.
• 139. Schoenberg on Stravinsky, Stravinsky on Schoenberg.
• 140. The Cult of Blague: Satie and "The Six" (Satie, Collet, Milhaud).
• 141. Polytonality (Milhaud).
• 142. The Only Twentieth Century Aesthetic? (Thomson).
• 143. The Making of Wozzeck (Berg).
• 144. Approaching the Limits of Compression (Schoenberg, Webern).
• 145. The Assimilation of Jazz (Gershwin, Ravel).
• 146. "New Musical Resources" (Cowell).
• 147. Retrenchment (Hindemith).
• 148. Music and the Social Conscience (Weill, Hindemith, Copland).
• 149. Music and Ideology (Russian Association of Proletarian Musicians).
• 150. Composers on Trial (Shostakovich, Prokofiev).
• 151. Music Under and After the Nazis ("Entartete Musik" Exhibition, three readings on Carl Orff).
• 152. The Outlook after World War II (Thomson).
• 153. New Developments in Serialism (Boulez, Adorno, Krenek, Babbitt, Wuorinen).
• 154. Stravinsky the Serialist.
• 155. Postwar Compositional "Issues" (Sessions).
• 156. Music and the Cold War ( Nabokov, Ligeti,).
• 157. Music and the "New Left" (Fluxus Group, Cardew, Henze).
• 158. The Master of "Organized Sound" (Varese).
• 159. The Music of Chance (Cage).
• 160. New Approaches to the Organization of Time (Carter).
• 161. Composer and Society (Britten, Babbitt, Rochberg).
• Part IX : THE RECENT PAST, AND THE PRESENT.
• 162. Defection (Ned Rorem on the Beatles).
• 163. "Minimalism" (Reich, R. Wilson, Glass).
• 164. Fusion (Harrison).
• 165. New Eclecticism (Schnittke).
• 166. New Romanticism ( Druckman, Del Tredici, Kriesberg).
• 167. Technological Revolution (Mathews, Lansky).
• 168. Postmodernist paradigms (S. Johnson, Lerdahl, Boros).
• 169. Feminist Perspectives (Oliveros, Broido and Oteri, Monk,, McClary).
• 170. New topicality (Adams, Corigliano).
• 171. Millennium''s end (Ferneyhough, Gann, Monk, Slobin).
• 172. A Glimpse of the Future? (Tommasini)."