Twentieth Century Music: How it Developed, How to Listen to It

Table of contents

• Title Page iii
• Acknowledgments vii
• Author's Foreword ix
• Contents xi
• Prelude 1
• Chapter I - The Art of Listening: Yesterday and Today 3
• Part I: Looking Backward 11
• Chapter II - Past Innovations and Prejudices 13
• Chapter III - The Beginnings of the Modern Era: Bach and Eighteenth Century Developments 21
• Chapter IV - The Classical Viennese Era and the Romantic Movement: Haydn, Mozart, Beethoven, Schubert, Schumann, Chopin 32
• Chapter V - Nineteenth Century Points the Way: Program Music and Postromanticists 46
• Chapter VI - Nationalism Based on Folk Music: Russia, Czechoslovakia, Hungary, Norway, England, Spain, America 61
• Chapter VII - Nationalism in France: "La Société Nationale De Musique," César Franck and His Followers 78
• Chapter VIII - Realism: Richard Strauss 90
• Interlude 99
• Chapter IX - Breaking Down Established Rules: New Scales, Melodies, Chords, Harmonic Resources, Rhythms, Etc. 101
• Part II: Looking Forward 129
• Chapter X - Impressionistic Methods--Debussy and His Influence 131
• Chapter XI - Impressionism and the Twentieth Century Renaissance: England, Poland, Hungary, Spain, Italy, America, etc. 160
• Chapter XII - Scriabin, the Mystic Impressionist, and Sibelius, a Modern Symphonist 176
• Chapter XIII - Stravinsky Before and After the World War 192
• Chapter XIV - Schoenberg and His Innovations: Atonality 209
• Chapter XV - Polytonal and Atonal Ramifications: Neoclassicism, Dissonant Counterpoint, Gebrauchsmusik, Quarter-Tones, Ether-Music 228
• Chapter XVI - The New Opera: Berg, Hindemith, Weill, Krenek, Honegger, Milhaud, Gruenberg, etc. 253
• Chapter XVII - Jazz and American Music 270
• Postlude 291
• Chapter XVIII - The New Esthetic: Effect of the War, the Machine, Radio, etc. 293
• Bibliography 317
• Index 325
• Pronouncing Glossary of Foreign Names 341

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