BAIN MUSC 725
Contemporary Styles II (1945-80)

Bibliography

MUSC 725 | AS CSL | Grove/Oxford | Harvard Dictionary | JSTOR | Naxos2 | USC OPAC

Analytic Approaches

Antokoletz, Elliott. 2014. A History of Twentieth-Century Music in a Theoretic-Analytical Context. New York: Routledge. {GB} - *

Cook, Nicholas. 1994. A Guide to Music Analysis. New York: Oxford University Press. {GB}

Hanninen, Dora A. 2012. A Theory of Music Analysis: On Segmentation and Associative Organization. Rochester, NY: University of Rochester Press. {GB}

Hermann, Richard and Elizabeth Marvin, eds. 2002. Music, Rock, and Jazz Since 1945: Essays and Analytical Studies. Rochester: University of Rochester Press. {GB}

Lester, Joel. 1989. Analytic Approaches to Twentieth-Century Music. New York: Norton. {GBd}

Lewin, David. 2007. Musical Form and Transformation: Four Analytic Essays. New York: Oxford University Press. {GB}

Schuijer, Michiel. 2008. Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts. Rochester: University of Rochester Press. {GB}

Composer Aesthetics and Practice

Albright, Daniel. 2004. Modernism and Music: An Anthology of Sources. Chicago: University of Chicago Press. {GB}

Babbitt, Milton and Stephen Perles. 2003. The Collected Essays of Milton Babbitt. Princeton: Princeton University Press. {GB}

Boulez, Pierre. 1968. Notes of an Apprenticeship. New York: Knopf. {GBd}

___________. 1981. Orientations. London: Faber and Faber. {GB}

Cage, John. 1961. Silence: Lectures and Writings. Middletown, CT: Wesleyan. {GB}

Cowell, Henry. 1930/1996. New Musical Resources. Cambridge: Cambridge University Press. {GB; Archive.org}

Cox, Christopher and Daniel Warner, ed. 2004. Audio Culture: Readings in Modern Music. New York: Continuum. {GBd}

Debussy, Claude, Ferruccio Busoni, and Charles Ives. 1962. Three Classsics in the Aesthetic of Music. Mineola, NY: Dover. {GBd; Archive.org}

Duckworth, William. 1995. Talking Music. New York: Schirmer. {GB}

Gann, Kyle. 2006. Music Downtown: Writings from the Village Voice. Berkeley: University of California Press. {GB}

Grant, M.J. 2005. Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe. New York: Cambridge University Press. {GB}

Johnson, Steven, ed. 2002. The New York Schools of Music and Visual Arts: John Cage, Morton Feldman. New York: Routledge. {GBd}

Maconie, Robin, ed. 1989. Stockhausen on Music: Lectures and Interviews. New York: Marion Boyers. {GBd}

Morgan, Robert. ed. 1998. The Twentieth Century. Source Readings in Music History. New York: Norton. {GB}

Partch, Harry. 1979. Genesis Of A Music: An Account Of A Creative Work, Its Roots, And Its Fulfillments, 2nd ed.. New York: Hachette Books. {GBd}

Reich, Steve and Paul Hillier, ed. 2004. Writings on Music, 1965-2000. New York: Oxford University Press. {GB}

Reynolds, Roger. 2005. Mind Models: New Forms of Musical Experience. New York: Routledge.

Rochberg, George. 2005. The Aesthetics of Survival: A Composer's View of Twentieth-Century Music. Ann Arbor: University of Michigan. {GB}

Schaeffer, Pierre. 1967/2017. Treatise on Musical Objects. Berkeley: University of California Press. {GB}

Schaeffer, Pierre. 2012. In Search of Concrete Music. Berkeley: University of California Press. {GB}

Schnittke, Alfred. 2002. A Schnittke Reader. Bloomington: Indiana University Press. {GB}

Stockhausen, Karlheinz and Robin Maconie. 2000. Stockhausen on Music. Marion Boyars Publishers Ltd. {GB}

Xenakis, Iannis. 1992. Formalized Music: Thought and Mathematics in Composition, Pendragon Revised Edition. Hillsdale, NY: Pendragon. {GB}

Contemplating Music

Adorno, Theodor W. 1958/2004. Philosophy of Modern Music. New York: Continuum. {GB}

Agawu, Kofi. 2014. Playing with Signs: A Semiotic Interpretation of Classic Music. Princeton: Princeton University Press. {GB}

Attali, Jacques. 1985. Noise: The Political Economy of Music. Manchester University Press. {GB}

Bernstein, Leonard. 1981. The Unanswered Question: Six Talks at Harvard. Cambridge, MA: Harvard University Press. {GB}

Bregman, Albert S. 1994. Auditory Scene Analysis: The Perceptual Organization of Sound. Cambridge: MA: MIT Press. {GB}

Cook, Nicholas. 1990. Music, Imagination, and Culture. New York: Oxford University Press. {GB}

Dahlhaus, Carl. 1983. Analysis and Value Judgment. New York: Pendragon Press. {GB}

Kerman, Joseph. 1985. Contemplating Music: Challenges to Musicology. Cambridge: Harvard University Press. {GB}

Nattiez, Jean-Jacques. 1990. Music and Discourse: Toward a Semiology of Music. Princeton: Princeton University Press. {GB}

Meyer, Leonard B. 1956. Emotion and Meaning in Music. Chicago: University of Chicago Press. {GB}

McClary, Susan. 1991/2002. Feminine Endings: Music, Gender, and Sexuality. Minneaoplis: University of Minnesota Press. {GB}

Roads, Curtis. 2004. Microsound. New York: Cambridge: MA: MIT Press {GB}

Ross, Alex. 2010. Listen to This. New York: Farrar, Straus and Giroux. {GB; Companion Website}

Sloboda, John. 1986. The Musical Mind: The Cognitive Psychology of Music. New York: Oxford University Press. {GB}

Zbikowski, Lawrence M. 2002. Conceptualizing Music: Cognitive Structure, Theory, and Analysis. New York: Oxford University Press, 2002, 140-154. {GB}

History

Auner, Joseph. 2013. Music in the Twentieth and Twenty-First Centuries. New York: Norton. {GBd; Norton}

Brindle, Reginald Smith. 1987. The New Music: The Avant-Garde Since 1945, 2nd ed. New York: Oxford University Press. {GBd}

Christensen, Thomas, ed. 2002. The Cambridge History of Western Music Theory. New York: Cambridge University Press. {GB; GP}

Chadabe, Joel. 1997. Electric Sound: The Past and Promise of Electronic Music. Upper Saddle River, NJ: Prentice Hall. {GBd}

___________. 2000. "A Brief History of Electronic Music: The Electronic Century." Electronic Musician (Feb.-May, 2000). {EM}

Childs, Paul. 2000. Modernism. New York: Routledge. {GB}

Collins, Nicholas and Julio d'Escrivan Rincón. 2017. The Cambridge Companion to Electronic Music, 2nd ed. New York: Cambridge University Press. {GB}

Collins, Nicholas, Margaret Schedel and Scott Wilson. 2013. Electronic Music. New York: Cambridge University Press. {GB}

Dean, Roger T, ed. 2018. The Oxford Handbook of Algorithmic Music. New York: Oxford University Press. {GB}

Dean, Roger T, ed. 2009. The Oxford Handbook of Computer Music. New York: Oxford. {GB}

Emmerson, Simon and Leigh Landy, eds. 2016. Expanding the Horizon of Electroacoustic Music Analysis. Cambridge: Cambridge University Press. {GB}

Fink, Robert Wallace. 2005. Repeating Ourselves: American Minimal Music as Cultural Practice. Berkeley: University of California Press. {GB}

Gann, Kyle. 1997. American Music in the Twentieth Century. New York: Schirmer. {GBd} - *

Gloag, Kenneth. 2012. Postmodernism in Music (Cambridge Introductions to Music). New York: Cambridge University Press. {GB}

Griffiths, Paul. 1978. A Concise History of Avant-garde Music: from Debussy to Boulez. New York: Oxford University Press. {GBd}

Griffiths, Paul. 2010. Modern Music and After: Directions Since 1945, 3rd ed. New York: Oxford University Press. {GB; TOC}

Grubbs, John, ed. 1976. Current Thought in Musicology. Austin, TX: University of Texas Press. {GB}

Holmes, Thom. 2015. Electronic and Experimental Music, 5th ed. New York: Routledge. {GB}

Kramer, Jonathan D. 2016. Postmodern Music, Postmodern Listening. New York: Bloomsbury. {GB}

Kramer, Lawrence. 1995. Classical Music and Postmodern Knowledge. Berkeley: University of California Press. {GB}

Landy, Leigh. 2007. Understanding the Art of Sound Organization. Cambridge, MA: MIT Press. {GB}

Manning, Peter. 2013. Electronic and Computer Music. 4th ed. New York: Oxford. {GB}

Morgan, Robert. 1991. Twentieth-Century Music: A History of Musical Style in Modern Europe and America. New York: Norton. {GBd}

Nyman, Micheal. 1999. Experimental Music: Cage and Beyond. New York: Cambridge University Press. {GB}

Potter, Keith. 2002. Four Musical Minimalists. Cambridge: Cambridge University Press. {GB}

Potter, Keith, Kyle Gann, and Pwyll Ap Sion, eds. 2013. The Ashgate Research Companion to Minimalist and Postminimalist Music. New York: Routledge. {GB}

Roads, Curtis. 2015. Composing Electronic Music: A New Aesthetic. New York: Oxford. {GB; Companion Website}

Ross, Alex. 2007. The Rest is Noise. New York: Farrar, Straus and Giroux. {GBd}

Schwartz, Elliott and Daniel Godfrey. 1993. Music Since 1945: Issues, Materials, and Literature. New York: Schirmer. {GBd}

Seaton, Douglass. 2010. The Ideas and Styles in the Western Musical Tradition, 3rd ed. New York: Oxford. {GBd}

Simms, Bryan. 2010. Music of the Twentieth Century: Style and Structure. New York: Schirmer. {GBd}

Taruskin, Richard. 2010a. Music in the Early Twentieth Century. New York: Oxford University Press. {GB}

______________. 2010b. Music in the Late Twentieth Century. New York: Oxford University Press. {GB} - *

Watkins, Glenn. 1994. Pyramids at the Louvre: Music, Culture, and Collage from Stravinsky to the Postmodernists. Cambridge: Harvard University Press. {GBd}

____________. 1998. Soundings: Music in the Twentieth Century: New York: Schirmer. {GBd}

Whittall, Arnold. 2003. Exploring Twentieth-Century Music: Tradition and Innovation. New York: Cambridge University Press. {GB}

____________. 2008. Serialism. New York: Cambridge University Press. {GBd}

____________. 2000. Musical Composition in the Twentieth Century. New York: Oxford University Press. {GBd}

Post-Tonal Theory & Analysis

See also: BAIN MUSC 525 Bibliography

Bailey, Kathryn. 1991. The Twelve-Note Music of Anton Webern. Cambridge: Cambridge University Press. {GB}

Cowell, Henry. 1930/1996. New Musical Resources. Cambridge, MA: Havard University Press. {GB; Archive.org}

Erickson, Robert. 1975. Sound Structure in Music. Berkeley: University of California Press. {GB}

Forte, Allen. 1973. The Structure of Atonal Music. New Haven: Yale University Press. {GB}

Kopp, David. Chromatic Transformations in Nineteenth-Century Music. Cambridge: Cambridge University Press. {GB}

Kostka, Stefan and Matthew Santa. 2018. Materials and Techniques of Post-Tonal Music, 5th ed. New York: Routledge. {5/e: GB; 4/e GB}

Lambert, Philip. 2018. Basic Post-Tonal Theory and Analysis. New York: Oxford. {GBd}

Messiaen, Olivier. 1944/1956. Technique of my musical language. Paris: Leduc. {GB}

Pearsall, Edward. 2012. Twentieth-Century Music and Practice. New York: Routledge. {GB}

Perle, George. 1962/1991. Serial Composition and Atonality, 6th ed. Berkeley: University of California Press. {GB}

___________. 1977/1996. Twelve-Tone Tonality. Berkeley: University of California Press. {1/e: GB; 2/e: GB}

___________. 1990. The Listening Composer. Berkeley: University of California Press. {GB; Full-text: EBSCO E-Book}

Rahn, John. 1980. Basic Atonal Theory. New York: Longman. {GBd}

Stein, Deborah. 2005. Engaging Music: Essays in Music Analysis. New York: Oxford University Press. {GB}

Straus, Joseph N. 2016. Introduction to Post-Tonal Theory, 4th ed. New York: Norton. {4/e: GB; 3/e: GB}

_____________. 2001. Stravinsky's Late Music. New York: Cambridge University Press. {GB} 

Tymoczko, Dmitri. 2010. A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice. New York: Oxford University Press. {GB}

Rhythm Analysis

Arom, Simha. 2004. African Polyphony and Polyrhythm: Musical Structure and Methodology. Cambridge University Press. {GB}

Cooper, Grosvenor and Leonard B. Meyer. 1960. The Rhythmic Structure of Music. Chicago: University of Chicago Press. {GB}

Gann, Kyle. 1995. The Music of Conlon Nancarrow. New York: Cambridge University Press. {GB} 

Kramer, Jonathan D. 1988. The Time of Music: New Meanings, New Temporalities, New Listening Strategies. New York: Schirmer. {GB}

Messiaen, Olivier. 1944/1956. Technique of my musical language. Paris: Leduc. {GB}

Sethares, William. 2007. Rhythm and Transforms. New York: Springer. {GB; Companion Website}

Toussaint, Godfried T. 2013. The Geometry of Musical Rhythm: What Makes a "Good" Rhythm Good? Boca Raton, FL: CRC Press. {GB}  

Yust, Jason. 2018. Organized Time: Rhythm, Tonality, and Form. New York: Oxford University Press. {GB}

Style Analysis

Crocker, Richard L. 1966. A History of Musical Style. Mineola, NY: Dover. {GB}

Cope, David. 1981. Experiments in Musical Intelligence. See: <http://artsites.ucsc.edu/faculty/cope/experiments.htm>.

Cope, David. 2001. New Directions in Music, 7th ed. Long Grove, IL: Waveland, 2001. {GBd} - *

LaRue, Jan. 1970/ 2011. Guidelines for Style Analysis, Expanded 2nd ed. Warren, MI: Harmonie Park Press. {GBd}

Meyer, Leonard. 1989. Style and Music: Theory, History, and Ideology. Chicago: University of Chicago Press. {GB}

Varga, Bálint András. 2011. Three Questions for Sixty-Five Composers. Rochester: University of Rochester Press. {GB; Full-text: JSTOR}

Tuning Theory

Barbour, J. Murray. 1951/2004. Tuning and Temperament: A Historical Survey. Mineola, NH: Dover. {GB}

Blackwood, Easley. 1985/2014. The Structure of Recognizable Diatonic Tunings. Princeton NJ: Princeton University Press. {GB; Full-text: JSTOR}

Benson, David. 2007. Music: A Mathematical Offering. Cambridge: Cambridge University Press. {GB | Website}

Bregman, Albert. 1990. Auditory Scene Analysis: The Perceptual Organization of Sound. Cambridge, MA: MIT Press. {GB}

Campbell, Murray and Clive Greated. 1987/2001. The Musician's Guide to Acoustics. New York: Oxford University Press. {GB}

Christensen, Thomas. 2002. The Cambridge History of Western Music Theory. Cambridge: Cambridge University Press. {GB}

Deutsch, Diana. ed. 1982/2012. The Psychology of Music, 3rd ed. New York: Academic Press {GB}

Doty, David B. 1994/2002. The Just Intonation Primer: An Introduction to the Theory and Practice of Just Intonation, 3rd ed. San Francisco, CA: Just Intonation Network. {Website}

Gann, Kyle. 2019. The Arithmetic of Listening: Tuning Theory and History for the Impractical Musician. Champaign, IL: University of Illinois Press. {NGB; Companion Website}

Ives, Charles. 1962. "Some Quarter-Tone Impressions." In Essays Before a Sonata, the Majority and Other Writings. New York: Norton. {GB}

Jorgensen, Owen Henry. 1991. Tuning: Containing the Perfection of Eighteenth-century Temperament, the Lost Art of Nineteenth-century Temperament, and the Science of Equal Temperament, Complete with Instructions for Aural and Electronic Tuning. East Lansing, MI: Michigan State University Press.

Johnston, Ben. 2006. Maximum Clarity and Other Writings on Music. Champaign: University of Illinois Press. {GB}

Loy, D. G. 2006. Musimathics: The Mathematical Foundations of Music, Vol. 1-2. Cambridge, Mass: MIT Press. {Website | Vol. 1: GB; Vol. 2: GB}

Mathieu, W. A. Harmonic Experience: Tonal Harmony from Its Natural Origins to Its Modern Expression. Rochester, VT: Inner Traditions/Bear.

Partch, Harry. 1974. Genesis of a Music. New York: Da Capo Press. {GBd}

Pierce, John. 1992. The Science of Musical Sound. W H Freeman. {GBd}

Roederer, Juan. 1973/2008. The Physics and Psychophysics of Music: An Introduction, 4th ed. New York: Springer. {GB}

Sabat, Marc and Thomas Nicholson. 2018. Fundamental Principles of Just Intonation and Microtonal Composition. Available online at: <http://www.marcsabat.com>.

Sethares, William A. 2005. Tuning, Timbre, Spectrum, Scale, 2nd ed. New York: Springer. {GB; Website}

Von Gunden, Heidi. 1986. The Music of Ben Johnston. Lanham, MD: Scarecrow Press. {GBd}

GB - Google Books Preview; GBd - (description only); NGB - New Google Books

AS CSL - Alexander Street Press Classical Scores Library

JSTOR - Journal article available via USC's JSTOR subscription

TOC - Table of Contents