A.  Glenn Watkins, “Debussy: Impressionism and Symbolism,” in Soundings: Music in the Twentieth Century (New York: Schirmer, 1988), 64-103 (Note: many pages in this reading are taken up with score and libretto examples; it’s not as long as it looks!) [ML197 .W44 1988]

 

B.  Barbara Tuchman, “‘Neroism Is in the Air’: Germany: 1890-1914,” in The Proud Tower: A Portrait of the World Before the War, 1890-1914 (New York: Macmillan, 1962), 291-347 [D398 .T8]

 

C.  Alex Ross, “Prince Igor: Reëxamining Stravinsky’s reign,” The New Yorker (November 6, 2000), 84-93

 

D.  James Hepokoski, “Sibelius,” in The Nineteenth-Century Symphony, ed. D. Kern Holoman (New York: Schirmer, 1997), 417-49 [ML1255 .N5 1996]

 

E.  Peter Gay, “The Revolt of the Son: Expressionist Years” and “The Revenge of the Father: Rise and Fall of Objectivity,” in Weimar Culture: The Outsider as Insider (New York: Harper & Row, 1968), 102-45 [DD239 .G38 1968]

 

F.  Douglas Jarman, from Alban Berg, Wozzeck (Cambridge: Cambridge University Press, 1989), first three chapters, 1-24 [ML410 .B47 J3 1989]

 

G.  Leon Botstein, “Out of Hungary: Bartók, Modernism, and the Cultural Politics of Twentieth-Century Music,” in Peter Laki, ed., Bartók and His World (Princeton: Princeton University Press, 1995), 3-63 (Note: over ten pages are footnotes.) [ML410 .B26 B272 1995]

 

H.  J. Peter Burkholder, “Ives and the Four Musical Traditions,” in Burkholder, ed., Charles Ives and His World (Princeton: Princeton University Press, 1996), 3-34 [ML410 .I94 C33 1996]

 

I.  Francis Maes, “‘The Secret Diary of a Nation’: The Works of Shostakovich,” in A History of Russian Music: From Kamarinskaya to Babi Yar, trans. Arnold J. Pomerans and Erica Pomerans (Berkeley: University of California Press, 2002), 343-74 [ML300 .M1313 2002]

 

J.  From Mervyn Cooke, ed., The Cambridge Companion to Benjamin Britten (Cambridge: Cambridge University Press, 1999) [ML410 .B853 C36 1999]:

       Paul Kildea, “Britten, Auden and ‘otherness’” (pp. 36-53)

       Donald Mitchell, “Violent climates” (pp. 188-216)

 

K. Andrew Clements, “Western Europe, 1945-70,” in Modern Times: From World War I to the Present (Music and Society series), ed. Robert P. Morgan (Englewood Cliffs, NJ: Prentice Hall, 1993), 257-88

 

L.  Eric Hobsbawm, “The Avant-garde Dies ¾ The Arts After 1950,” in The Age of Extremes: A History of the World, 1914-1991 (New York: Random House, 1994), 500-21 [D421 .H582 1994]

 

M.  K. Robert Schwarz, “Steve Reich, Minimalist,” in Minimalists (London: Phaidon, 1996), 49-76 [ML390 .S3976 1996]