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Works Cited in Alex Ross's the Rest Is Noise

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Works Cited in Alex Ross's the Rest Is Noise Works Cited in Alex Ross’s The Rest Is Noise Collections: Berlin Document Center, microfilm copies at National Archives II, College Park, MD. Leonard Bernstein Collection, Music Division, Library of Congress. Aaron Copland Collection, Music Division, Library of Congress. Records of the Federal Music Project, RG 69, National Archives II, College Park, MD. Morton Feldman Papers, Music Library, University at Buffalo, State University of New York. George Gershwin Collection, Music Division, Library of Congress. Serge Koussevitzky Archive, Music Division, Library of Congress. Alma Mahler-Werfel Collection, University of Pennsylvania. Records of the Office of Military Government, United States, RG 260, National Archives II, College Park, MD. Princeton Radio Research Project, Paul Lazarsfeld Papers, Columbia University. Britten-Pears Library, Aldeburgh, England. Arnold Schönberg Center, Vienna. Third Reich Collection, Rare Book and Special Collections, Library of Congress. Bernd Alois Zimmermann Collection, Archives of the Akademie der Künste, Berlin. Interviews: John Adams, Thomas Adès, Björk, Russell Campitelli, Alexander Dunkel, Osvaldo Golijov, György Ligeti, Donald Mitchell, Carlos Moseley, Kent Nagano, David Raksin, Steve Reich, Esa-Pekka Salonen, Alfred Schnittke, Ronald Schoenberg, Christian Strauss, Michael Tilson Thomas, Milton Weiss. Published sources: Adorno, Theodor W. Aesthetic Theory, ed. Gretel Adorno and Rolf Tiedemann, trans. C. Lenhardt (Routledge, 1984). ______. Alban Berg: Master of the Smallest Link, trans. Juliane Brand and Christopher Hailey (Cambridge University Press, 1991). ______. Essays on Music, ed. Richard Leppert, trans. Susan H. Gillespie (University of California Press, 2002). ______. “Kritik des Musikanten,” in Gesammelte Schriften (Suhrkamp, 1973), vol. 14, pp. 67–107. ______. Minima Moralia: Reflections from Damaged Life, trans. E.F.N. Jephcott (Verso, 1978). ______. Philosophie der neuen Musik (Suhrkamp, 1976). Adorno, Theodor W., and Alban Berg. Theodor W. Adorno, Alban Berg: Briefwechsel, 1925–1935, ed. Henri Lonitz (Suhrkamp, 1997). Adorno, Theodor W., and Hanns Eisler. Composing for the Films (Athlone, 1994). Akhmatova, Anna. The Complete Poems of Anna Akhmatova, ed. Roberta Reeder, trans. Judith Hemschemeyer (Zephyr, 1997). Albright, Daniel. Untwisting the Serpent: Modernism in Music, Literature, and Other Arts (University of Chicago Press, 2000). Aldrich, N. B. “What Is Sound Art,” at emfinstitute.emf.org/articles/aldrich03/lucier.html (accessed July 17, 2006) Amis, John. Amiscellany: My Life, My Music (Faber, 1986). Anderson, Julian. “Sibelius and Contemporary Music,” in Grimley, Cambridge Companion to Sibelius, pp. 196–218. Anderson, Martin. Obituary for Ilya Musin, Independent, June 11, 1999. Anderson, Paul Allen. Deep River: Music and Memory in Harlem Renaissance Thought (Duke University Press, 2001). Andriessen, Louis, and Elmer Schönberger. The Apollonian Clockwork: On Stravinsky, trans. Jeff Hamburg (Oxford University Press, 1989). Ansermet, Ernest. Écrits sur la musique (Baconnière, 1970). Ansermet, Ernest, and Igor Stravinsky. Correspondance Ernest Ansermet–Igor Strawinsky (1914–1967) (Georg, 1990–92). Antheil, George. Bad Boy of Music (Samuel French, 1990). Appel, Alfred Jr. Jazz Modernism: From Ellington and Armstrong to Matisse and Joyce (Yale University Press, 2002). Ardov, Michael. Memories of Shostakovich, trans. Rosanna Kelly and Michael Meylac (Short, 2004). Artizov, Andrei, and Oleg Naumov, eds. Vlast’ i khudozhestvennaia intelligentsiia: Dokumenty TsK RKP(b)-VKP(b), VChK-OGPU-NKVD o kul’turnoi politike, 1917–1953 gg. (Demokratiia, 1999), pp. 290–95. Ashley, Tim. Richard Strauss (Phaidon, 1999). Attinello, Paul. “Imploding the System: Kagel and the Deconstruction of Modernism,” in Postmodern Music, Postmodern Thought, ed. Judy Lochhead and Joseph Auner (Routledge, 2002), pp. 263–86. Auden, W. H. The English Auden: Poems, Essays, and Dramatic Writings, 1927–1939, ed. Edward Mendelson (Faber, 1977). Auner, Joseph. A Schoenberg Reader: Documents of a Life (Yale University Press, 2003). ______. “Proclaiming the Mainstream: Schoenberg, Berg, and Webern,” in Cook and Pople, Cambridge History of Twentieth-Century Music, pp. 228–59. ______. “The Second Viennese School as a Historical Concept,” in Schoenberg, Berg, and Webern: A Companion to the Second Viennese School, ed. Bryan R. Simms (Greenwood, 1999), pp. 1–36. Austin, Larry. “John Cage’s Williams Mix (1951–3),” in A Handbook to Twentieth-Century Musical Sketches, ed. Patricia Hall and Friedemann Sallis (Cambridge University Press, 2004), pp. 189–213. Babbitt, Milton. “Battle Cry,” politics, Nov. 1945, p. 346. ______. The Collected Essays of Milton Babbitt, ed. Stephen Peles et al. (Princeton University Press, 2003). ______. “On Having Been and Still Being an American Composer,” in Perspectives on Musical Aesthetics, ed. John Rahn (Norton, 1994), pp. 145– 51. ______. “Who Cares If You Listen?,” High Fidelity 8:2 (Feb. 1958), pp. 38–40, 126–27. ______. Words About Music, ed. Stephen Dembski and Joseph N. Straus (University of Wisconsin Press, 1987). Bach, Josef Bach. “Der neuste Fall Schönberg,” Arbeiter Zeitung, Jan. 2, 1909. Baker, David J. “ ‘It Vas Premiere: The Night Shostakovich Came to the Met,” Opera News 59:6 (Dec. 10, 1994), p. 17. Ball, Malcolm. “Licht aus Stockhausen,” www.stockhausen.org/licht_by_malcolm_ball.html (accessed Aug. 13, 2006). Balliett, Whitney. Collected Works: A Journal of Jazz, 1954–2000 (St. Martin’s, 2000). Barker, Andrew. “Battles of the Mind: Berg and the Cultural Politics of ‘Vienna 1900,’ ” in Pople, Cambridge Companion to Berg, pp. 24–37. Barna, Yon. Eisenstein (Indiana University Press, 1973). Barnes, Christopher. Boris Pasternak: A Literary Biography, Volume 2: 1928– 1960 (Cambridge University Press, 1998). Barrault, Jean-Louis. “Travailler avec Boulez,” Résonance 8 (1995), pp. 16–21. Bartlett, Rosamund, ed. Shostakovich in Context (Oxford University Press, 2000). Bartók, Béla. Béla Bartók Essays, ed. Benjamin Suchoff (Bison Books, 1992). ______. Béla Bartók Letters, ed. János Demény, trans. Péter Balabán and István Farkas (St. Martin’s, 1971), ______. Rumanian Folk Music (Martinus Nijhoff, 1967–75). Bartók, Peter. My Father (Bartók Records, 2002). Bartoli, Georges. The Death of Stalin (Praeger, 1975). Baudelaire, Charles. The Painter of Modern Life and Other Essays, trans. Jonathan Mayne (Phaidon, 1964). Beal, Amy C. New Music, New Allies: American Experimental Music in Germany from Zero Hour to Reunification (University of California Press, 2006). Beaumont, Antony. Zemlinsky (Cornell University Press, 2000). Beckerman, Michael, ed. Dvořák and His World (Princeton University Press, 1993). ______, ed. Janáček and His World (Princeton University Press, 2003). ______. New Worlds of Dvořák: Searching in America for the Composer’s Inner Life (Norton, 2003). Béhague, Gerard. Heitor Villa-Lobos: The Search for Brazil’s Musical Soul (University of Texas Press, 1994). Bek, Josef. Erwin Schulhoff: Leben und Werk (Bockel, 1994). Beller, Steven. Vienna and the Jews, 1867–1938: A Cultural History (Cambridge University Press, 1989). ______, ed., Rethinking Vienna 1900 (Berghahn Books, 2001). Bellincioni, Gemma. Io e il palcoscenico: Trenta e un anno di vita artistica (R. Quinteri, 1920). Below, Nicolaus von. Als Hitlers Adjutant, 1937–45 (Hase and Koehler, 1980). Benitez, Vincent P. “Simultaneous Contrast and Additive Designs in Olivier Messiaen’s Opera, Saint François d’Assise,” Music Theory Online 8:2 (Aug. 2002). Benjamin, Walter. Selected Writings, Volume 2, 1927–1934, ed. Michael W. Jennings, Howard Eiland, and Gary Smith, trans. Rodney Livingstone et al. (Harvard University Press, 1999). ______. Selected Writings, Volume 3, 1935–1938, ed. Howard Eiland and Michael W. Jannings, trans. Edmund Jephcott, Howard Eiland, et al. (Harvard University Press, 2002). Beres, Derek. Global Beat Fusion: The History of the Future of Music (iUniverse, 2005). Berg, Alban. Briefe an seine Frau (Langen Müller, 1965). ______. Letters to His Wife, ed. and trans. Bernard Grun (St. Martin’s, 1971). Berg, Alban, and Arnold Schoenberg. The Berg-Schoenberg Correspondence: Selected Letters, ed. Juliane Brand, Christopher Hailey, and Donald Harris (Norton, 1987). Berg, Erich Alban. Alban Berg: Leben und Werk in Daten und Bildern (Insel, 1976). ______. Der unverbesserliche Romantiker: Alban Berg, 1885–1935 (Österreichischer Bundesverlag, 1985). Berio, Luciano. Remembering the Future (Harvard University Press, 2006). Bernheimer, Martin. “Igor Stravinsky Has Another Tiff with the Times,” Los Angeles Times, July 5, 1970. Bernstein, David W., and Christopher Hatch, eds. Writings Through John Cage’s Music, Poetry, and Art, ed. and (University of Chicago Press, 2001). Bernstein, Leonard. “The Absorption of Race Elements into American Music,” in Findings (Simon and Schuster, 1982), pp. 36–99. ______. The Joy of Music (Simon and Schuster, 1959). ______. The Unanswered Question: Six Talks at Harvard (Harvard University Press, 1976). Bertensson, Sergei, and Jay Leyda. Sergei Rachmaninoff: A Lifetime in Music (Indiana University Press, 2001). Beyer, Anders. The Voice of Music: Conversations with Composers of Our Time, ed. and trans. Jean Christensen and Anders Beyer (Ashgate, 2000). Biddle, George. An American Artist’s Story (Little, Brown, 1939). Bindas, Kenneth J. All of This Music Belongs to the Nation: The WPA’s Federal Music Project and American Society (University of Tennessee Press, 1995). Binkiewicz, Donna M. Federalizing
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