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 the Muse: United States Arts Policy and the National Endowment for the Arts, 1965–1980 (University of North Carolina Press, 2004). Bird, John. Percy Grainger (Oxford University Press, 1999). Bird, Kai, and Martin J. Sherwin, American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer (Knopf, 2005). Black, Allida M., ed. Courage in a Dangerous World: The Political Writings of Eleanor Roosevelt (Columbia University Press, 1999). Blaukopf, Herta, ed. Gustav Mahler, Richard Strauss: Correspondence, 1888– 1911, trans. Edmund Jephcott (University of Chicago Press, 1984). Blaukopf, Kurt, and Herta Blaukopf. Mahler: His Life, Work, and World (Thames and Hudson, 2000). Blitzstein, Marc. “Coming—the Mass Audience!” Modern Music 13:4 (May–June 1936), pp. 23–29. Block, Geoffrey. Enchanted Evenings: The Broadway Musical from “Show Boat” to Sondheim (Oxford University Press, 1997). Bloom, Peter. “History, Memory, and the Oboe Concerto of Richard Strauss,” Pendragon Review 2 (2001), pp. 3–25. Blumauer, Manfred. Festa Teatrale: Musiktheater in Graz (Edition Strahalm, 1998). Bockris, Victor, and Gerard Malanga. Up-Tight: The Velvet Underground Story (Omnibus, 2002). Born, Georgina. Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (University of California Press, 1995). Botstein, Leon. “Beyond the Illusions of Realism: Painting and Debussy’s Break with Tradition,” in Debussy and His World, ed. Jane F. Fulcher (Princeton University Press, 2001), pp. 141–79. ______. “Habits of Listening and the Crisis of Musical Modernism in Vienna, 1870–1914” (Ph.D. diss., Harvard University, 1985). ______. “Whose Gustav Mahler?” in Mahler and His World, ed. Karen Painter (Princeton University Press, 2002), pp. 127–56. Boulez, Pierre. “Éventuellement . . .,” La Revue Musicale 212 (April 1952), pp. 117–48. ______. Notes of an Apprenticeship, trans. Herbert Weinstock (Knopf, 1968). Boulez, Pierre, and John Cage. The Boulez-Cage Correspondence, ed. Jean- Jacques Natticez, trans. Robert Samuels (Cambridge University Press, 1993). Bowles, Paul. “Duke Ellington in Recital for Russian Relief,” New York Herald Tribune, Jan. 25, 1943. ______. Without Stopping (Ecco, 1985). Brand, Juliane. “A Short History of Von heute auf morgen with Letters and Documents,” Journal of the Arnold Schoenberg Institute 14:2 (Nov. 1991), pp. 241–70. Brecht, Bertolt. Brecht on Theatre: The Development of an Aesthetic, ed. and trans. John Willett (Hill and Wang, 1964). ______. The Measures Taken and Other Lehrstücke, trans. Carl R. Mueller (Arcade, 2001). Boyer, Richard O. “The Hot Bach,” pts. 1–3, New Yorker, June 24–July 8, 1944. Brady, Frank. Citizen Welles: A Biography of Orson Welles (Scribner, 1989). Brand, Juliane, and Christopher Hailey, eds. Constructive Dissonance: Arnold Schoenberg and the Transformations of Twentieth-Century Culture (University of California Press, 1997). Brendel, Alfred. Me of All People: Alfred Brendel in Conversation with Martin Meyer, trans. Richard Stokes (Cornell University Press, 2002). Brenman-Gibson, Margaret. Clifford Odets, American Playwright: The Years from 1906 to 1940 (Atheneum, 1981). Brett, Philip. “Musicality, Essentialism, and the Closet,” in Queering the Pitch: The New Gay and Lesbian Musicology, ed. Philip Brett, Elizabeth Wood, and Gary C. Thomas (Routledge, 1994), pp. 9–26. ———. Music and Sexuality in Britten: Selected Essays, ed. George E. Haggerty (University of California Press, 2006). ______. “ ‘Peter Grimes’: The Growth of the Libretto,” in The Making of “Peter Grimes”: Notes and Commentaries, ed. Paul Banks (Boydell, 2000), pp. 53– 78. ______. “Salvation at Sea: Billy Budd,” in Palmer, Britten Companion, pp. 133– 43. Bridcut, John. Britten’s Children (Faber, 2006). Briner, Andres, Dieter Rexroth, and Giselher Schubert, eds. Paul Hindemith: Leben und Werk in Bild und Text (Atlantis, 1988). Britten, Benjamin. Benjamin Britten: A Catalogue of the Published Works, ed. Paul Banks et al. (Britten-Pears Library, 1999). ______. Letters from a Life: Selected Letters and Diaries of Benjamin Britten, 1913–1976, vols. 1 and 2 (Faber, 1991), vol. 3 (University of California Press, 2004), ed. Donald Mitchell, Philip Reed, and Mervyn Cooke. ______. “On Winning the First Aspen Award,” in Schwartz and Childs, Contemporary Composers on Contemporary Music, pp. 115–26. Britten, Beth. My Brother Benjamin (Kensal Press, 1986). Brody, Martin. “Founding Sons: Copland, Sessions, and Berger on Genealogy and Hybridity,” in Oja and Tick, Aaron Copland and His World, pp. 15–43. Bronson, Fred. Billboard’s Hottest Hot 100 Hits (Billboard Books, 2003). Brown, Frederick. An Impersonation of Angels: A Biography of Jean Cocteau (Viking, 1968). Brown, Julie. “Bartók, the Gyspies, and Hybridity in Music,” in Western Music and Its Others: Difference, Representation, and Appropriation in Music, ed. Georgina Born and David Hesmondhalgh (University of California Press, 2000), pp. 119–42. Brown, Malcolm Hamrick, eds. A Shostakovich Casebook (Indiana University Press, 2004). Brown, Royal S. Overtones and Undertones: Reading Film Music (University of California Press, 1994). Broyles, Michael. Mavericks and Other Traditions in American Music (Yale University Press, 2004).

Brüstle, Christa. “The Musical Image of Bruckner,” in The Cambridge Companion to Bruckner, ed. John Williamson (Cambridge University Press, 2004), pp. 244–60. Bullard, Truman Campbell. “The First Performance of Igor Stravinsky’s Sacre du Printemps” (Ph.D. diss., Eastman School of Music, 1971). Bundler, David. Interview with Gérard Grisey, www.angelfire.com/music2/davidbundler/grisey.html (accessed Aug. 13, 2006). Burde, Wolfgang. György Ligeti: Eine Monographie (Atlantis, 1993). Burkholder, J. Peter. All Made of Tunes: Charles Ives and the Uses of Musical Borrowing (Yale University Press, 1995). ______, ed. Charles Ives and His World (Princeton University Press, 1996). ______. “The Organist in Ives,” Journal of the American Musicological Society 55:2 (Summer 2002), pp. 255–310. Burns, Walter Noble. The Saga of Billy the Kid (University of New Mexico Press, 1999). Burt, Peter. The Music of Tōru Takemitsu (Cambridge University Press, 2001). Burton, Humphrey. Leonard Bernstein (Doubleday, 1994). Busch, Sabine. Hans Pfitzner und der Nationalsozialismus (J. B. Metzler, 2001). Busoni, Ferruccio. Letters to His Wife, trans. Rosamond Ley (Edward Arnold, 1938). ______. Selected Letters, ed. and trans. Antony Beaumont (Faber, 1987).

Cage, John. For the Birds: John Cage in Conversation with Daniel Charles, trans. Richard Gardner, Tom Gora, and John Cage (Boyars, 1995). ______. Silence: Lectures and Writings by John Cage (Wesleyan University Press, 1973). Cale, John, and Victor Bockris. What’s Welsh for Zen: The Autobiography of John Cale (Bloomsbury, 1999). Calic, Edouard. Reinhard Heydrich, trans. Lowell Bair (William Morrow, 1982). Callow, Simon. Orson Welles: The Road to Xanadu (Viking, 1996). Campbell, Karen. “A Russian Composer’s Path to Freedom,” Christian Science Monitor, Aug. 27, 1997. Canetti, Elias. The Memoirs of Elias Canetti (Farrar, Straus and Giroux, 1999). Cardew, Cornelius. Stockhausen Serves Imperialism (ubuclassics, 2004). Carnegy, Patrick. “The Novella Transformed: Thomas Mann as Opera,” in Benjamin Britten, “Death in Venice,” ed. Donald Mitchell (Cambridge University Press, 1987), pp. 168–77. Carner, Mosco. Alban Berg: The Man and the Work (Holmes and Meier, 1983). Carpenter, Humphrey. Benjamin Britten: A Biography (Faber, 1992). ______. The Envy of the World: Fifty Years of the BBC Third Programme and Radio 3, 1945–1996 (Weidenfeld and Nicolson, 1996). Carpenter, Tethys. “The Musical Language of Elektra,” in Puffett, Richard Strauss, “Elektra,” pp. 74–106. Carr, Jonathan. Mahler (Overlook, 1997). Carroll, Brendan. The Last Prodigy: A Biography of Erich Wolfgang Korngold (Amadeus, 1997). Carroll, Mark. Music and Ideology in Cold War Europe (Cambridge University Press, 2003). Carter, Marva Griffin. “The Life and Music of Will Marion Cook” (Ph.D. diss., University of Illinois at Urbana-Champaign, 1988). ______. “Removing the ‘Minstrel Mask’ in the Musicals of Will Marion Cook,” Musical Quarterly 84:1 (Spring 2000), pp. 206–220. Casella, Alfredo. Music in My Time, trans. Spencer Norton (University of Oklahoma Press, 1955). Chadabe, Joel. Electric Sound: The Past and Promise of Electronic Music (Prentice Hall, 1997). Chalmers, Kenneth. Béla Bartók (Phaidon, 1995). Chipp, Herschel B. Theories of Modern Art: A Source Book by Artists and Critics (University of California Press, 1968). Clarkson, Austin. “Lecture on Dada by Stefan Wolpe,” Musical Quarterly 72:2 (1986), pp. 202–215. ______. “Stefan Wolpe: Broken Sequences,” in Kater and Riethmüller, Music and Nazism, pp. 219–40. Clements, Andrew. “Helmut Lachenmann: Truth, Beauty, and Relevance,” notes to recording of Streichtrio, TemA, Trio fluido (Auvidis Montaigne MO 782023). Cocteau, Jean. Le Coq et l’Arlequin, in Oeuvres complètes de Jean Cocteau (Marguerat, 1946–51), pp. 13–49. Cogan, Robert. New Images of Musical Sound (Harvard University Press, 1984). Coleman, Peter. The Liberal Conspiracy: The Congress for Cultural Freedom and the Struggle for the Mind of Postwar Europe (Free Press, 1989). Collaer, Paul. Darius Milhaud, trans. Jane Hohfeld Galante (San Francisco Press, 1988). Collins, Theresa M. Otto Kahn: Art, Money, and Modern Time (University of North Carolina Press, 2002). Conquest, Robert. The Great Terror: A Reassessment (Oxford University Press, 1990). ______. The Harvest of Sorrow: Soviet Collectivization and the Terror-Famine (Oxford University Press, 1986). Cook, Susan C. “Flirting with the Vernacular: America in Europe, 1900–45,” in Cook and Pople, Cambridge History of Twentieth-Century Music, pp. 152– 85. Cook, Will Marion. “Clorindy, the Origin of the Cakewalk,” in Readings in Black American Music, ed. Eileen Southern (Norton, 1983), pp. 217–23. ______. “Will Marion Cook on Negro Music,” New York Age, Sept. 21, 1918. Cooke, Mervyn. Britten and the Far East: Asian Influences in the Music of Benjamin Britten (Boydell, 1998). ______. “Britten and the Gamelan: Balinese Influences in Death in Venice,” in Mitchell, Benjamin Britten, “Death in Venice,” pp. 115–28. ______, ed. The Cambridge Companion to Benjamin Britten (Cambridge University Press, 1999). ______. “Distant Horizons: From Pagodaland to the Church Parables,” in Cooke, Cambridge Companion to Benjamin Britten, pp. 167–87. Copland, Aaron. Aaron Copland: A Reader: Selected Writings, 1923–1972, ed. Richard Kostelanetz (Routledge, 2004). ______. Copland on Music (Doubleday, 1960). ______. Music and Imagination (Harvard University Press, 1952). Copland, Aaron, and Vivien Perlis. Copland: 1900 Through 1942 (St. Martin’s, 1984). ______. Copland Since 1943 (St. Martin’s, 1989). Cott, Jonathan. Stockhausen: Conversations with the Composer (Picador, 1974). Cowell Henry. New Musical Resources (Cambridge University Press, 1996). Cowell, Henry, and Sidney Cowell. Charles Ives and His Music (Oxford University Press, 1969). Crabbe, George. The Poetical Works of George Crabbe (Oxford University Press, 1932). Craft, Robert. Stravinsky: Chronicle of a Friendship (Vanderbilt University Press, 1994). ______. Stravinsky: Glimpses of a Life (St. Martin’s, 1993). Crafton, Donald. The Talkies: American Cinema’s Transition to Sound, 1926– 1931 (University of California Press, 1999). Crane, Hart. The Letters of Hart Crane, 1916–1932, ed. Brom Weber (Hermitage House, 1952). Craven, David. Art and Revolution in Latin America, 1910–1990 (Yale University Press, 2002). Crawford, Dorothy Lamb. Evenings On and Off the Roof: Pioneering Concerts in Los Angeles, 1939–1971 (University of California Press, 1995). ______. “Arnold Schoenberg in Los Angeles,” Musical Quarterly 86:1 (Spring 2002), pp. 6–48. Crawford, Richard. America’s Musical Life: A History (Norton, 2001). Crist, Elizabeth. Music for the Common Man: Aaron Copland During the Depression and War (Oxford University Press, 2005). Culver, John C., and John Hyde. American Dreamer: A Life of Henry A. Wallace (Norton, 2000).

Darrell, R. D. “Sights and Sounds,” New Masses, April 27, 1937. Davies, Gwilym. “Percy Grainger’s Folk Music Research in Gloucestershire, Worcestershire, and Warwickshire, 1907–1909,” Folk Music Journal 6: 3 (1992), pp. 339–58. Deathridge, John. “Richard Strauss and the Broken Dream of Modernity,” in Richard Strauss und die Moderne, ed. Bernd Edelmann, Birgit Lodes, and Reinhold Schlötterer (Henschel, 2001), pp. 79–92. Debussy, Claude. Correspondance, 1884–1918, ed. François Lesure (Hermann, 1993). ______. Debussy Letters, ed. François Lesure and Roger Nichols, trans. Roger Nichols (Harvard University Press, 1987), ______. Debussy on Music, ed. and trans. Richard Langham Smith (Knopf, 1977). Decsey, Ernst. Musik war sein Leben: Lebenserinnerungen (Hans Deutsch, 1962). ______. “Nachtrag,” Grazer Tagespost, May 17, 1906. Denning, Michael. The Cultural Front: The Laboring of American Culture in the Twentieth Century (Verso, 1997). Deschner, Günther. Reinhard Heydrich: Statthalter der totalen Macht (Bechtle, 1977). Dingle, Christopher. “ ‘La statue reste sur son piédestal’: Messiaen’s La Transfiguration and Vatican II,” Tempo 212 (April 2000), pp. 8–11. Doctor, Jennifer. The BBC and Ultra-modern Music, 1922–1936: Shaping a Nation’s Tastes (Cambridge University Press, 1999). Don, Gary W. “Brilliant Colors Provocatively Mixed: Overtone Structures in the Music of Debussy,” Music Theory Spectrum 23:1 (Spring 2001), pp. 61–73. Dorigné, Michel. Serge Prokofiev (Fayard, 1994). Dostoevsky, Fyodor. The Devils, trans. David Magarshack (Penguin, 1971). ______. The Gambler, trans. Constance Garnett, in Great Short Works of Fyodor Dostoevsky (HarperCollins, 2004). Downes, Stephen. Szymanowski, Eroticism, and the Voices of Mythology (Ashgate, 2003). Dreher, Carl. Sarnoff: An American Success (Quadrangle, 1977). Drew, David. Kurt Weill: A Handbook (University of California Press, 1987). Duberman, Martin. Black Mountain: An Exploration in Community (Dutton, 1972). Dubinsky, Rostislav. Stormy Applause: Making Music in a Worker’s State (Hill and Wang, 1989). Du Bois, W. E. B. The Souls of Black Folk, in Three Negro Classics (Avon, 1965). Duckworth, William. Talking Music: Conversations with John Cage, Philip Glass, Laurie Anderson, and Five Generations of American Experimental Composers (Schirmer Books, 1995). Duckworth, William, and Richard Fleming, eds. Sound and Light: La Monte Young and Marian Zazeela (Bucknell University Press, 1996). Dufallo, Richard. Trackings: Composers Speak with Richard Dufallo (Oxford University Press, 1989). Duke, Vernon. Passport to Paris (Little, Brown, 1955). Dümling, Albrecht. “Zwischen Autonomie und Fremdbestimmug: Die Olympische Hymne von Robert Lubahn und Richard Strauss,” Richard Strauss-Blätter 38 (Dec. 1997), pp. 68–102. Dümling, Albrecht, and Peter Girth, eds. Entartete Musik: Zur Düsseldorfer Ausstellung von 1938: Eine kommentierte Rekonstruktion (Düsseldorf, 1988). Dutilleux, Henri. Henri Dutilleux: Music—Mystery and Memory: Conversations with Claude Glayman, trans. Roger Nichols (Ashgate, 2003). Dvořák, Antonín. “Real Value of Negro Melodies,” New York Herald, May 21, 1893. Dylan, Bob. Chronicles, Volume 1 (Simon and Schuster, 2004).

Edwards, Allen. Flawed Words and Stubborn Sounds: A Conversation with Elliott Carter (Norton, 1971). Egk, Werner. Die Zeit wartet nicht (R. S. Schulz, 1973). Ehlers, Paul. “Die Musik und Adolf Hitler,” Zeitschrift für Musik, April 1939, pp. 356–62. Eisenstein, Sergei. Beyond the Stars: The Memoirs of Sergei Eisenstein, ed. Richard Taylor, trans. William Powell (Seagull, 1995). Eisenstein, Sergei, Vsevolod Pudovkin, and Grigori Aleksandrov, “Statement on Sound,” in The Film Factory: Russian and Soviet Cinema in Documents, 1896–1939 ed. Richard Taylor and Ian Christie (Harvard University Press, 1988), pp. 234–35. Eisler, Hanns. Musik und Politik, ed. Günter Mayer (VEB, 1973). ______. “Notes on ‘Doctor Faustus,’ ” in Hanns Eisler: A Miscellany, ed. David Blake (Harwood, 1995), pp. 251–58. ______. A Rebel in Music: Selected Writings, ed. Manfred Grabs (International Publishers, 1978). Eiseman, David. “George Ives as Theorist: Some Unpublished Documents,” Perspectives of New Music 14:1 (Fall–Winter 1975), pp. 139–47. Ellington, Duke. Music Is My Mistress (Doubleday, 1973). Ellison, Ralph. Invisible Man (Penguin, 1965). Evans, Joan. “Stravinsky’s Music in Hitler’s Germany,” Journal of the American Musicological Society 56:3 (Fall 2003), pp. 525–94. Ewen, David. A Journey to Greatness: The Life and Music of George Gershwin (Holt, 1956). Eybl, Martin. Die Befreiung des Augenblicks: Schönbergs Skandalkonzerte 1907 und 1908 (Böhlau, 2004).

Fairclough, Pauline. “The ‘Perestroyka’ of Soviet Symphonism: Shostakovich in 1935,” Music & Letters 83:2 (May 2002), pp. 259–74. ______. A Soviet Credo: Shostakovich’s Fourth Symphony (Ashgate, 2006). Farneth, David, Elmar Juchem, and Dave Stein, eds. Kurt Weill: A Life in Pictures and Documents (Overlook, 2000). Fauser, Annegret. Musical Encounters at the 1889 Paris World’s Fair (University of Rochester Press, 2005). Fay, Laurel E. “Found: Shostakovich’s Long-Lost Twin Brother,” New York Times, April 6, 2003. ______. Shostakovich: A Life (Oxford University Press, 2000). ______, ed. Shostakovich and His World (Princeton University Press, 2004). ______. “Shostakovich Versus Volkov: Whose Testimony?,” in Brown, Shostakovich Casebook, pp. 11–21. ______. “Volkov’s Testimony Reconsidered,” in Brown, Shostakovich Casebook, pp. 22–66. Feisst, Sabine M. “Arnold Schoenberg and the Cinematic Art,” Musical Quarterly 83:1 (Spring 1999), pp. 93–113. Feldman, Morton. “An Interview with Robert Ashley, August 1964,” in Schwartz and Childs, Contemporary Composers on Contemporary Music, pp. 363–66. ______. Give My Regards to Eighth Street: Collected Writings of Morton Feldman, ed. B. H. Friedman (Exact Change, 2000). ______. Morton Feldman Essays, ed. Walter Zimmermann (Beginner, 1985).

______. Morton Feldman Says: Selected Interviews and Lectures, 1964–1987, ed. Chris Villars (Hyphen, 2006). Feldman, Morton, Earle Brown, and Heinz-Klaus Metzger. “Morton Feldman, Earle Brown, and Heinz-Klaus Metzger in Discussion,” as heard on the LP set Music Before Revolution (German EMI/Odeon 1C 165-28954/57Y). Fergison, Drue. “Bringing Les Noces to the Stage,” in The Ballets Russes and Its World, ed. Lynn Garafola and Nancy Van Norman Baer (Yale University Press, 1999), pp. 167–88. Ferneyhough, Brian. Collected Writings (Harwood, 1995). Fest, Joachim. Albert Speer: Conversations with Hitler’s Architect, trans. Patrick Camiller (Polity, 2007). ______. Speer: The Final Verdict, trans. Ewald Osers and Alexandra Dring (Harcourt, 2001). Feuchtwanger, Lion. Moskau 1937: Ein Reisebericht für meine Freunde (Aufbau, 1993). Fink, Robert. Repeating Ourselves: American Minimal Music as Cultural Practice (University of California Press, 2005). Fischer, Jens Malte. Richard Wagners “Das Judentum in der Musik” (Insel, 2000). Fitzpatrick, Sheila. The Commissariat of Enlightenment: Soviet Organization of Education and the Arts Under Lunacharsky, October 1917–1921 (Cambridge University Press, 1970). Flanagan, Hallie. Arena (Duell, Sloan and Pearce, 1940). Foerster, Josef Bohuslav. Der Pilger: Erinnerungen eines Musikers (Artia, 1955). Forster, E. M. “George Crabbe: The Poet and the Man,” in Benjamin Britten: Peter Grimes, ed. Eric Crozier (John Lane/Bodley Head, 1946). Forte, Allen. The Atonal Music of Anton Webern (Yale University Press, 1998). ______. “Reflections upon the Gershwin-Berg Connection,” Musical Quarterly 83:2 (Summer 1999), pp. 150–68. Fournier, Gabriel. “Erik Satie et son époque,” La Revue Musicale ( June 1952), pp. 129–35. Fradin, Dennis Brindell, and Judith Bloom Fradin. Ida B. Wells: Mother of the Civil Rights Movement (Clarion, 2000). Frank, Hans. Im Angesicht des Galgens (Friedrich Alfred Beck, 1953). Frankenstein, Alfred. “Music Like None Other on Earth,” San Francisco Sunday Chronicle, Nov. 8, 1964. Friedwald, Will. Stardust Melodies: A Biography of Twelve of America’s Most Popular Songs (Pantheon, 2002). Frigyesi, Judit. Béla Bartók and Turn-of-the-Century Budapest (University of California Press, 1998). Frisch, Walter. The Early Works of Arnold Schoenberg, 1893–1908 (University of California Press, 1993). ______. German Modernism: Music and the Arts (University of California Press, 2005). ______, ed. Schoenberg and His World (Princeton University Press, 1999). Fuegi, John. Brecht and Company: Sex, Politics, and the Making of Modern Drama (Grove, 1994). Fulcher, Jane. “Speaking the Truth to Power,” in Debussy and His World, ed. Jane Fulcher (Princeton University Press, 2001), pp. 203–232.

Gann, Kyle. American Music in the Twentieth Century (Schirmer Books, 1997). ______. “I-80 Avant-Garde,” Village Voice, Nov. 17, 1987. ______. Music Downtown (University of California Press, 2006). ______. The Music of Conlon Nancarrow (Cambridge University Press, 1995). Garafola, Lynn. Diaghilev’s Ballets Russes (Da Capo, 1998). García Lorca, Federico. Deep Song and Other Prose, trans. Christopher Maurer (New Directions, 1975). Garros, Véronique, Natalia Korenevskaya, and Thomas Lahusen, eds. Intimacy and Terror: Soviet Diaries of the 1930s, trans. Carol A. Flath (New Press, 1995). Gay, Peter. Weimar Culture: The Outsider as Insider (Harper and Row, 1968). Gefors, Hans. “Make Change Your Choice!: Nørgård and Nordic Melody,” in Anders Beyers, ed., The Music of Per Nørgård (Scolar, 1996), pp. 35–55. Gelatt, Roland. The Fabulous Phonograph: From Edison to Stereo (Appleton- Century, 1965). Gelernter, David. 1939: The Lost World of the Fair (Free Press, 1995). Gerigk, Herbert. “Eine Lanze für Schönberg!,” Die Musik 27:2 (Nov. 1934), pp. 87–91. Gershwin, George. “Rhapsody in Catfish Row,” New York Times, Oct. 20, 1935. Gilbert, G. M. Nuremberg Diary (Da Capo, 1995). Giles, Patrick. “Sharps & Flats,” Salon, Nov. 18, 1999. Gillespie, Dizzy, with Al Fraser. To Be, or Not . . . to Bop (Da Capo, 1985). Gilliam, Bryan. “The Annexation of Anton Bruckner: Nazi Revisionism and the Politics of Appropriation,” Musical Quarterly 78:3 (Fall 1994), pp. 584–604. ______. “‘Friede im Innern’: Strauss’s Public and Private Worlds in the Mid 1930s,” Journal of the American Musicological Society 57:3 (Fall 2004), pp. 565–98. ______. The Life of Richard Strauss (Cambridge University Press, 1999). ______, ed. Richard Strauss and His World (Princeton University Press, 1992). ______, ed. Richard Strauss: New Perspectives on the Composer and His Works (Duke University Press, 1992). Gillies, Malcolm, ed. The Bartók Companion (Amadeus, 1993). ______. Bartók Remembered (Faber, 1990). Gilmore, Bob. Harry Partch: A Biography (Yale University Press, 1998). Glikman, Isaak. Pis’ma k drugu : Dmitrii Shostakovich—Isaaku Glikmanu (DSCH/Kompositor, 1993). ______. Story of a Friendship: The Letters of Dmitri Shostakovich to Isaak Glikman, 1914–1975, trans. Anthony Phillips (Cornell University Press, 2001). Glass, Philip. Music by Philip Glass (Harper and Row, 1987). Gloag, Kenneth. Tippett, “A Child of Our Time” (Cambridge University Press, 1999). Gmeiner, Josef. “Ideal und Bête noire: Richard Strauss—Alban Bergs beschädigtes Leitbild,” in Musica conservata: Günter Brosche zum 60. Geburtstag, ed. Josef Gmeiner et al. (Hans Schneider, 1999), pp. 71–92. Goebbels, Joseph. Die Tagebücher von Joseph Goebbels, ed. Elke Fröhlich (K. G. Saur, 1987–). Goethe, Johann Wolfgang von. Faust, ed. Cyrus Hamlin, trans. Walter Arndt (Norton, 2001). Goldberg, Isaac. George Gershwin: A Study in American Music (Ungar, 1958). Goldensohn, Leon. The Nuremberg Interviews, ed. Richard Gellately (Knopf, 2004). Goldmark, Daniel. Tunes for ’Toons: Music and the Hollywood Cartoon (University of California Press, 2005. Goléa, Antoine. Rencontres avec Olivier Messiaen ( Juilliard, 1960). ______. Rencontres avec Pierre Boulez (Julliard, 1958). Goodman, Peter W. Morton Gould: American Salute (Amadeus, 2000). Gordon, Eric A. Mark the Music: The Life and Work of Marc Blitzstein (St. Martin’s, 1989). Gorky, Maxim. Maxim Gorky: Selected Letters, ed. and trans. Andrew Barratt and Barry P. Scherr (Clarendon, 1997). Goss, Glenda Dawn. Jean Sibelius and Olin Downes: Music, Friendship, Criticism (Northeastern University Press, 1995), Gottlieb, Jack. Funny, It Doesn’t Sound Jewish: How Yiddish Songs and Synagogue Melodies Influenced Tin Pan Alley, Broadway, and Hollywood (SUNY Press, 2004). Gratzer, Wolfgang. Zur “Wunderlichen Mystik” Alban Bergs: Eine Studie (Böhlau, 1993). Griffiths, Paul. György Ligeti (Robson Books, 1983). ______. Modern Music: The Avant Garde Since 1945 (Braziller, 1981). ______. Olivier Messiaen and the Music of Time (Cornell University Press, 1985). Grimley, Daniel M., ed. The Cambridge Companion to Sibelius (Cambridge University Press, 2004). Gushee, Lawrence. Pioneers of Jazz: The Story of the Creole Band (Oxford University Press, 2005). Gutman, Robert W. Richard Wagner: The Man, His Mind, and His Music (Harcourt Brace Jovanovich, 1968).

Hailey, Christopher. Franz Schreker, 1878–1934: A Cultural Biography (Cambridge University Press, 1993). Haimo, Ethan. “Schoenberg and the Origins of Atonality,” in Brand and Hailey, Constructive Dissonance, pp. 71–86. Hajdu, David. Lush Life: A Biography of Billy Strayhorn (Farrar, Straus and Giroux, 1996). Hall, Michael. Leaving Home: A Conducted Tour of Twentieth-Century Music with Simon Rattle (Faber, 1996). Hall, Patricia. “Berg’s Sketches and the Inception of Wozzeck: 1914–18,” Musical Times 146 (Autumn 2005), pp. 3–24. ______. A View of Berg’s “Lulu” Through the Manuscript Sources (University of California Press, 1996). Hallowell, John. Main Currents in Political Thought (Holt, 1950). Hamann, Brigitte. Hitler’s Vienna: A Dictator’s Apprenticeship (Oxford University Press, 1999). ______. Brigitte Hamann, Winifred Wagner oder Hitlers Bayreuth (Piper, 2002). Harrison, Charles, and Paul Wood, eds. Art in Theory, 1900–2000: An Anthology of Changing Ideas (Blackwell, 2003). Harley, James. Xenakis: His Life in Music (Routledge, 2004). Harvey, Jonathan. The Music of Stockhausen (University of California Press, 1975). Hefling, Stephen. Mahler, “Das Lied von der Erde” (Cambridge University Press, 2000). Hein, Annette. “Es ist viel ‘Hitler’ in Wagner”: Rassismus und antisemitische Deutschtumsideologie in den “Bayreuther Blättern” (1878–1938) (Niemeyer, 1996). Helmholtz, Hermann von. On the Sensations of Tone as a Physiological Basis for the Theory of Music, trans. Alexander J. Ellis (Dover Books, 1954). Hemingway, Andrew. Artists on the Left: American Artists and the Communist Movement, 1926–1956 (Yale University Press, 2002). Henze, Hans Werner. Bohemian Fifths: An Autobiography, trans. Stewart Spencer (Princeton University Press, 1999). ______. Music and Politics: Collected Writings, 1953–81, trans. Peter Labanyi (Faber, 1982). Hepokoski, James. “Rotations, Sketches, and the Sixth Symphony,” in Jackson, Sibelius Studies, pp. 322–51. ______. Sibelius: Symphony No. 5 (Cambridge University Press, 1993). Hertsgaard, Mark. A Day in the Life: The Music and Artistry of the Beatles (Delacorte, 1995). Hess, Carol A. Manuel de Falla and Modernism in Spain (University of Chicago Press, 2001). Heydrich, Lina. Leben mit einem Kriegsverbrecher (Ludwig, 1976). Heyman, Barbara B. Samuel Barber: The Composer and His Music (Oxford University Press, 1992). Heyworth, Peter. Otto Klemperer: His Life and Times, Volume 1, 1885–1933 (Cambridge University Press, 1996). ______. Otto Klemperer, His Life and Times, Volume 2: 1933–1973 (Cambridge University Press, 1996). ______. “Taking Leave of Predecessors,” New Yorker, March 24 and 31, 1973. Hicks, Michael. Henry Cowell, Bohemian (University of Illinois Press, 2002). ______. “John Cage’s Studies with Schoenberg,” American Music 8:2 (1990), pp. 125–40. Hill, Christopher C. “Consonance and Dissonance,” in The New Harvard Dictionary of Music, ed. Don Michael Randel (Harvard University Press, 1986), pp. 197–99. Hill, Peter, ed. The Messiaen Companion (Faber, 1995). Hillier, Paul. Arvo Pärt (Oxford University Press, 1997). Hilmar, Rosemary. Alban Berg: Leben und Wirken in Wien bis zu seinen ersten Erfolgen als Komponist (Böhlau, 1978). Hindemith, Paul. “Notizen zu meinen ‘Feldzugs-Erinnerungen,’ ” Hindemith Jahrbuch 18 (1989), pp. 55–159. ______. Selected Letters of Paul Hindemith, ed. and trans. Geoffrey Skelton (Yale University Press, 1995). Hindley, Clifford. “Eros in Life and Death: Billy Budd and Death in Venice,” in Cooke, Cambridge Companion to Benjamin Britten, pp. 147–66. Hinton, Stephen. “Aspects of Hindemith’s Neue Sachlichkeit,” Hindemith Jahrbuch 14 (1985), pp. 22–80. ______. “Die Dreigroschenoper: The 1928 Full Score,” in Die Dreigroschenoper: A Facsimile of the Holograph Full Score, ed. Edward Harsh (Kurt Weill Foundation for Music, 1996), pp. 5–10. ______, ed. Kurt Weill, “The Threepenny Opera” (Cambridge University Press, 1990). ______. “Lehrstück: An Aesthetics of Performance,” in Hindemith Jahrbuch 22 (1993), pp. 68–96. Hitler, Adolf. Hitler: Reden und Proklamationen, 1932–1945, ed. Max Domarus (Schmidt, 1962–65). ______. Hitler: Reden, Schriften, Anordnungen, Februar 1925 bis Januar 1933 (K. G. Saur, 1992–2003). ______. Mein Kampf (NSDAP, 1943). ______. Monologe im Führer-Hauptquartier, 1941–1944, ed. Werner Jochmann (Knaus, 1980). ______. Sämtliche Aufzeichnungen, 1905–1924, ed. Eberhard Jäckel with Axel Kühn (Deutsche Verlags-Anstalt, 1980). Hobsbawm, Eric. The Age of Extremes: The Short Twentieth Century, 1914–1991 (Abacus, 1995). Hoffman, Heinrich. Hitler Was My Friend, trans. R. H. Stevens (Burke, 1955). Holland, Bernard. “Bringing Sibelius out of Bleak Oblivion,” New York Times, Dec. 8, 1997. Holmes, Thom. Electronic and Experimental Music, 2nd ed. (Routledge, 2002). Holst, Imogen. Britten (Crowell, 1965). Hoopes, James. Van Wyck Brooks: In Search of American Culture (University of Massachusetts Press, 1977). Hoover, Kathleen, and John Cage. Virgil Thomson: His Life and Music (Sagamore, 1959). Horowitz, Joseph. Classical Music in America: A History of Its Rise and Fall (Norton, 2005). ______. Understanding Toscanini: A Social History of American Concert Life (University of California Press, 1994) ______. Wagner Nights: An American History (University of California Press, 1994). Hughes, Langston. “The Negro Artist and the Racial Mountain,” in The Portable Harlem Renaissance Reader, ed. David Levering Lewis (Penguin, 1994), pp. 91–95. Huneker, James. Overtones: A Book of Temperaments (1904; Scribner’s, 1922).

Huttunen, Matti. “The National Composer and the Idea of Finnishness: Sibelius and the Formation of Finnish National Style,” in Grimley, Cambridge Companion to Sibelius, pp. 7–21.

Ingólfsson, Árni Heimir. “ ‘This Music Belongs to Us’: Scandinavian Music and ‘Nordic’ Ideology in the Third Reich,” paper delivered at the American Musicological Society New England Chapter meeting, March 23, 2002. Ivashkin, Alexander. Alfred Schnittke (Phaidon, 1996). Ives, Charles. Charles E. Ives: Memos, ed. John Kirkpatrick (Norton, 1972). ______. Essays Before a Sonata, The Majority, and Other Writings, ed. Howard Boatwright (Norton, 1970).

Jablonski, Edward. Gershwin (Da Capo, 1998). Jablonski, Edward, and Lawrence D. Stewart. The Gershwin Years (Doubleday, 1958). Jackson, Lawrence. Ralph Ellison: Emergence of Genius ( John Wiley, 2002). Jackson, Timothy. “The Metamorphosis of the Metamorphosen: New Analytical and Source-Critical Discoveries,” in Gilliam, Richard Strauss, pp. 193–241. Jackson, Timothy, and Veijo Murtomäki, eds. Sibelius Studies (Cambridge University Press, 2002). Jacobson, Bernard. A Polish Renaissance (Phaidon, 1996). James, William. The Varieties of Religious Experience (Penguin, 1958). Jameux, Dominique. Pierre Boulez, trans. Susan Bradshaw (Faber, 1991). Janáček, Leoš. Janáček’s Uncollected Essays on Music, ed. and trans. Mirka Zemanová (Marion Boyars, 1989). ______. Letters and Reminiscences, ed. Bohumír Štědroň, trans. Geraldine Thomsen (Artia, 1955). Janáčková, Zdenka. My Life with Janáček: The Memoirs of Zdenka Janáčková, ed. and trans. John Tyrrell (Faber, 1998). Janik, Allan, and Stephen Toulmin, Wittgenstein’s Vienna (Touchstone, 1973). Jarman, Douglas. Alban Berg, “Lulu” (Cambridge University Press, 1991). ______. Alban Berg, “Wozzeck” (Cambridge University Press, 1989). Jezic, Diane Peacock. The Musical Migration and Ernst Toch (Iowa State University Press, 1989). Johnson, H. Earle. Symphony Hall, Boston (Little, Brown, 1950). Johnson, Harold E. Jean Sibelius (Knopf, 1959). Johnson, Robert Sherlaw. Messiaen (University of California Press, 1975). Johnson, Stephen. “When the Wall Came Down,” BBC Music Magazine, Nov. 2002. Johnston, William M. The Austrian Mind (University of California Press, 1972). Jones, LeRoi [Amiri Baraka], Blues People: Negro Music in White America (Quill, 1999). Joseph, Charles M. Stravinsky and Balanchine: A Journey of Invention (Yale University Press, 2002). ______. Stravinsky Inside Out (Yale University Press, 2001). Junge, Traudl. Until the Final Hour, trans. Melissa Müller (Arcade, 2002).

Kaes, Anton, Martin Jay, and Edward Dimendberg, eds. The Weimar Republic Sourcebook (University of California Press, 1994). Kahan, Sylvia. Music’s Modern Muse: A Life of Winnaretta Singer,Princesse de Polignac (University of Rochester Press, 2003). Kahn, Douglas. Noise Water Meat: A History of Sound in the Arts (MIT Press, 1999). Kaplan, Gilbert. The Correct Movement Order in Mahler’s Sixth Symphony (Kaplan Foundation, 2004). ______. The Mahler Album (Kaplan Foundation, 1995). Karas, Joza. Music in Terezín, 1941–1945 (Beaufort, 1985). Karner, Stefan. Die Steiermark im Dritten Reich, 1938–1945 (Leykam, 1986). Kater, Michael H. Composers of the Nazi Era: Eight Portraits (Oxford University Press, 2000). ______. “Jupiter in Hell,” New York Times, Jan. 6, 2002. ______. The Twisted Muse: Musicians and Their Music in the Third Reich (Oxford University Press, 1997). Kater, Michael, and Albrecht Riethmüller, eds. Music and Nazism: Art Under Tyranny, 1933–1945 (Laaber, 2003). Katz, Mark. Capturing Sound: How Technology Has Changed Music (University of California Press, 2004). Kazin, Michael. The Populist Persuasion: An American History (Cornell University Press, 1998). Keiler, Allan. Marian Anderson: A Singer’s Journey (University of Illinois Press, 2002). Kelly, Thomas Forrest. First Nights: Five Musical Premieres (Yale University Press, 2000). Kenez, Peter. Cinema and Soviet Society from the Revolution to the Death of Stalin (Tauris, 2001). Kennedy, David M. Freedom from Fear: The American People in Depression and War, 1929–1945 (Oxford University Press, 1999). Kennedy, Michael. Richard Strauss: Man, Musician, Enigma (Cambridge University Press, 1999). Kessler, Harry. In the Twenties: The Diaries of Harry Kessler, trans. Charles Kessler (Holt, Rinehart, and Winston, 1971). Kienzl, Wilhelm. Meine Lebenswanderung: Erlebtes und Erschautes (J. Engelhorns Nachf., 1926). Kildea, Paul. “Britten, Auden, and ‘Otherness,’ ” in Cooke, Cambridge Companion to Benjamin Britten, pp. 36–53. Kilpeläinen, Kari. “Sibelius Eight: What Happened to It?,” Finnish Music Quarterly 4 (1995). Kirk, Elise K. American Opera (University of Illinois Press, 2001). Klenau, Paul von. “Zu Paul von Klenaus ‘Michael Kohlhaas,’ ” Zeitschrift für Musik, May 1934, pp. 530–31. Knapp, Raymond. The American Musical and the Formation of National Identity (Princeton University Press, 2005). Koblyakov, Lev. Pierre Boulez: A World of Harmony (Harwood, 1990).

Köhler, Joachim. Wagner’s Hitler: The Prophet and His Disciple, trans. Ronald Taylor (Polity, 2000). Korngold, Julius. Die Korngolds in Wien: Der Musikkritiker und das Wunderkind: Aufzeichnungen (M & T, 1991). Kostelanetz, Richard, ed. Writings on Glass: Essays, Interviews, Criticism (University of California Press, 1999). Kovnatskaya, Lyudmila. “Shostakovich and Britten: Some Parallels,” in Bartlett, Shostakovich in Context, pp. 175–89. Kowalke, Kim H. “Burying the Past: Carl Orff and His Brecht Connection,” Musical Quarterly 84:1 (Spring 2000), pp. 58–83. ______, ed. A New Orpheus: Essays on Kurt Weill (Yale University Press, 1986). Kozinn, Allan. The Beatles (Phaidon, 1995). Krämer, Ulrich. Alban Berg als Schüler Arnold Schönbergs: Quellenstudien und Analysen zum Frühwerk (Universal, 1996). Kraus, Karl. “Die Büchse der Pandora,” in Grimassen: Ausgewählte Werke, Band I, 1902–1914 (Langen Müller, 1971), pp. 51–61. Kreimeier, Klaus. The Ufa Story: A History of Germany’s Greatest Film Company, 1918–1945, trans. Robert Kimber and Rita Kimber (Hill and Wang, 1996). Krell, David Farrell, and Donald L. Bates. The Good European: Nietzsche’s Work Sites in Word and Image (University of Chicago Press, 1997). Krenek, Ernst. “A Composer’s Influences,” Perspectives of New Music 3:1 (Fall– Winter 1964), pp. 36–41. Kubizek, August. Adolf Hitler, mein Jugendfreund (Leopold Stocker, 1953). ______. The Young Hitler I Knew, trans. E. V. Anderson (Tower, 1954). Kundera, Milan. Testaments Betrayed, trans. Linda Asher (HarperCollins, 1995). ______. “Die Weltliteratur,” trans. Linda Asher, New Yorker, Jan. 8, 2007. Kunitz, Joshua. “The Shostakovich ‘Affair,’ ” New Masses, June 9, 1936. ______. “Stairway That Leads Nowhere,” New Masses, May 5, 1936. Kurtz, Michael. Stockhausen: Eine Biographie (Bärenreiter, 1988).

La Grange, Henry-Louis de. Mahler, Volume 1 (Doubleday, 1973); Volume 2: Vienna:The Years of Challenge (1897–1904) (Oxford University Press, 1995); Volume 3: Vienna: Triumph and Disillusion (1904–1907) (Oxford University Press, 1999). ______. Gustav Mahler: Chronique d’une vie, vol. 3, Le génie foudroyé (Fayard, 1984). Lally, Kevin. Wilder Times: The Life of Billy Wilder (Holt, 1996). Lambert, Constant. Music Ho! A Study of Music in Decline (Hogarth, 1985). Langbein, Hermann. People in Auschwitz, trans. Harry Zohn (University of North Carolina Press, 2004). Larner, Gerald. Maurice Ravel (Phaidon, 1996). Large, Brian. Martinů (Holmes and Meier, 1975). Large, David Clay. Where Ghosts Walked: Munich’s Road to the Third Reich (Norton, 1997). Leaming, Barbara. Orson Welles: A Biography (Limelight, 1995). Lebrecht, Norman. Mahler Remembered (Norton, 1988). Leibowitz, René. Schoenberg and His School: The Contemporary Stage of the Language of Music, trans. Dika Newlin (Da Capo, 1975). Leonard, Raymond W. Secret Soldiers of the Revolution: Soviet Military Intelligence, 1918–1933 (Greenwood, 1999). Lerdahl, Fred. “Spatial and Psychoacoustic Factors in Atonal Prolongation,” Current Musicology 63 (1997), pp. 7–26. Lesh, Phil. Searching for the Sound: My Life with the Grateful Dead (Little, Brown, 2005). Lesure, François. Claude Debussy: Biographie critique (Klincksieck, 1994). Leur, Walter van de. Something to Live For: The Music of Billy Strayhorn (Oxford University Press, 2002). Levant, Oscar. The Memoirs of an Amnesiac (Bantam, 1965). ______. A Smattering of Ignorance (Doubleday, 1940). Levas, Santeri. Sibelius: A Personal Portrait, trans. Percy Young (Dent, 1972). Levi, Erik. “Atonality, 12-Tone Music, and the Third Reich,” Tempo 178 (Sept. 1991), pp. 17–21. Levin, Gail, and Judith Tick, Copland’s America: A Cultural Perspective (Watson-Guptill, 2000). Levin, Meyer. “We Liberated Who’s Who,” Saturday Evening Post, July 21, 1945. Levy, Beth E. “From Orient to Occident: Aaron Copland and the Sagas of the Prairie,” in Oja and Tick, Aaron Copland and His World, pp. 307–349. Lewis, David Levering. W. E. B. Du Bois: Biography of a Race (Holt, 1993). Lewisohn, Mark. The Beatles Recording Sessions (Harmony, 1988). Lifton, Robert Jay. The Nazi Doctors (Basic Books, 2000). Ligeti, György. “Metamorphoses of Musical Form,” in Die Reihe 7 (Presser, 1965), pp. 5–19. ______. “Pierre Boulez: Decision and Automatism in Structure 1a,” trans. Leo Black, Die Reihe 4 (Presser, 1960), pp. 36–62. ______. “Träumen Sie in Farbe?”: György Ligeti im Gespräch mit Eckhard Roelcke (Paul Zsolnay, 2003). Lindberg, Magnus. Interview with Peter Szendy, in Magnus Lindberg (FMIC/IRCAM, 1993), pp. 7–25. List, Kurt. “Music Chronicle: The State of American Music,” Partisan Review 15:1 (Jan. 1948), pp. 85–90. ______. “The Music of Soviet Russia,” politics 1 (May 1944), pp. 103–108. Locke, Alain. The Negro and His Music (Associates in Negro Folk Education, 1936). ______. “Toward a Critique of Negro Music,” Opportunity 12:11–12 (Nov.–Dec. 1934), pp. 328–31, 365–67, 385. Lopes, Paul. The Rise of a Jazz Art World (Cambridge University Press, 2002). Lorentz, Pare. “The River,” in The New Deal: A Documentary History, ed. William E. Leuchtenburg (University of South Carolina Press, 1968), pp. 128– 36. Lukács, Georg. The Theory of the Novel, trans. Anna Bostock (MIT Press, 1971).

Machart, Renaud. Poulenc (Seuil, 1995). MacDonald, Ian. Revolution in the Head: The Beatles’ Records and the Sixties (Pimlico, 1998). ______. The New Shostakovich (Northeastern University Press, 1990). MacDonald, Malcolm. Varèse: Astronomer in Sound (Kahn and Averill, 2003). McKinzie, Richard D. The New Deal for Artists (Princeton University Press, 1973). MacMillan, Margaret. Paris 1919: Six Months That Changed the World (Random House, 2001. McNally, Dennis. A Long Strange Trip: The Inside History of the Grateful Dead (Broadway Books, 2002) McNeil, Legs, and Gillian McCain, Please Kill Me: The Uncensored Oral History of Punk (Penguin, 1996). McQuere, Gordon D. “The Theories of Boleslav Yavorsky,” in Russian Theoretical Thought in Music, ed. Gordon D. McQuere (UMI Research Press, 1983), pp. 109–64. Maconie, Robin. Other Planets: The Music of Karlheinz Stockhausen (Scarecrow, 2005). ______. The Works of Karlheinz Stockhausen (Clarendon, 1990). Maegaard, Jan. “1923—The Critical Year of Modern Music,” in The Nielsen Companion, ed. Mina Miller (Amadeus, 1995), pp. 96–115. Magee, Jeffrey. The Uncrowned King of Swing: Fletcher Henderson and Big Band Jazz (Oxford University Press, 2005). Magoun, Francis Peabody Jr., trans. The Kalevala (Harvard University Press, 1963). Mahler, Alma. Gustav Mahler: Memories and Letters, ed. Donald Mitchell, trans. Basil Creighton (Viking, 1969). ______. Mein Leben (Fischer, 1963). Mahler, Gustav. Ein Glück ohne Ruh’: Die Briefe Gustav Mahlers an Alma, ed. Henry-Louis de La Grange and Günther Weiss (Siedler, 1995). ______. Gustav Mahler: Letters to His Wife, ed. Henry-Louis de La Grange, Günther Weiss, and Knud Martner, trans. Antony Beaumont (Cornell University Press, 2004). ______. Mahler’s Unknown Letters, ed. Herta Blaukopf, trans. Richard Stokes (Northeastern University Press, 1987). ______. Selected Letters of Gustav Mahler, ed. Knud Martner, trans. Eithne Wilkins, Ernst Kaiser, and Bill Hopkins (Farrar, Straus and Giroux, 1979). Malkiel, Henrietta. “Awaiting the Great American Opera: How Composers Are Paving the Way,” Musical America, April 25, 1925. Mallarmé, Stéphane. Collected Poems, trans. Henry Weinfield (University of California Press, 1994). Mandell, Richard D. The Nazi Olympics (University of Illinois Press, 1987). Mandelstam, Nadezhda. Hope Against Hope: A Memoir, trans. Max Hayward (Atheneum, 1970). Mann, Klaus. Briefe und Antworten, Band II: 1937–1949, ed. Martin Gregor- Dellin (Edition Spangenberg, 1975). ______. The Turning Point (Fischer, 1942). ______. Der Wendepunkt: Ein Lebensbericht (Nymphenburger, 1969). Mann, Thomas. Death in Venice and Other Stories, trans. David Luke (Bantam, 1988). ______. Diaries, 1918–1939, ed. Hermann Kesten, trans. Richard Winston and Clara Winston (Abrams, 1982). ______. Doctor Faustus, trans. John E. Woods (Vintage, 1999). ______. Doktor Faustus (Fischer, 1971). ______. Letters of Thomas Mann, 1889–1955, trans. Richard Winston and Clara Winston (Knopf, 1971). ______. The Magic Mountain, trans. John E. Woods (Knopf, 1995). ______. Politische Schriften und Reden (Fischer, 1968). ______. Reflections of a Nonpolitical Man, trans. Walter D. Morris (Ungar, 1983). ______. Stories of Three Decades, trans. Helen T. Lowe-Porter (Knopf, 1936). ______. The Story of a Novel: The Genesis of “Doctor Faustus,” trans. Richard Winston and Clara Winston (Knopf, 1961). ______. Tagebücher, 1944–1.4.1946, ed. Inge Jens (Fischer, 1986). ______. Tagebücher, 28.5.1946–31.12.1948, ed. Inge Jens (Fischer, 1989). ______. Tagebücher, 1949–1950, ed. Inge Jens (Fischer, 1991). Manning, Peter. Electronic and Computer Music (Oxford University Press, 2004). Maritain, Jacques. Art and Scholasticism and The Frontiers of Poetry, trans. Joseph W. Evans (University of Notre Dame Press, 1974). Maser, Werner. Hitler: Legend, Myth, and Reality, trans. Peter Ross and Betty Ross (Harper and Row, 1973). Massip, Catherine, ed. Portrait(s) d’Olivier Messiaen (Bibliothèque National de France, 1996). Matossian, Nouritza. Xenakis (Kahn and Averill, 1986). Matthews, David. Britten (Haus, 2003). Matthiessen, F. O. The American Renaissance: Art and Expression in the Age of Emerson and Whitman (Oxford University Press, 1941). Mattis, Olivia. “Edgard Varèse’s ‘Progressive’ Nationalism: Amériques Meets Américanisme,” in Edgard Varèse: Die Befreiung des Klangs, ed. Helge de la Motte-Haber (Wolke,1992), pp. 149–78. Maximenkov, Leonid. “Stalin and Shostakovich: Letters to a ‘Friend,’ ” in Fay, Shostakovich and His World, pp. 43–58. Mayakovsky, Vladimir. The Bedbug and Selected Poetry, trans. Max Hayward and George Reavey (Indiana University Press, 1975). Mayer, Arno J. The Furies: Violence and Terror in the French and Russian Revolutions (Princeton University Press, 2000). Mead, Andrew. An Introduction to the Music of Milton Babbitt (Princeton University Press, 1994). Medvedev, Roy A., and Zhores A. Medvedev, The Unknown Stalin: His Life, Death, and Legacy, trans. Ellen Dahrendorf (Tauris, 2003). Meehan, Patricia. A Strange Enemy People: Germans Under the British, 1945– 1950 (Peter Owen, 2001).

Mellers, Wilfrid. Music in a New Found Land: Themes and Developments in the History of American Music (Knopf, 1965). Melvin, Sheila, and Jindong Cai. Rhapsody in Red: How Western Classical Music Became Chinese (Algora, 2004). Menger, Pierre-Michel. Le Paradoxe du musicien: Le compositeur, le mélomane, et l’État dans la société contemporaine (Flammarion, 1983). Merson, Martin. “My Education in Government,” Reporter, Oct. 7, 1954. Messiaen, Olivier. “Entretien avec Claude Samuel,” booklet included with the 1988 Erato box-set recording of Messiaen’s works (ECD 75505). ______. “Le rythme chez Igor Strawinsky,” La Revue Musicale 191 (1939), pp. 91–92. ______. The Technique of My Musical Language, trans. John Satterfield (Leduc, 1956). Meyer, Donald C. “The NBC Symphony Orchestra” (Ph.D. diss., University of California at Davis, 1994). ______. “Toscanini and the NBC Symphony Orchestra: High, Middle, and Low Culture, 1937–1954,” in Perspectives on American Music, 1900–1950, ed. Michael Saffle (Garland, 2000), pp. 301–322. Meyer, Krzysztof. Dimitri Chostakovitch (Fayard, 1994). Meyer, Esther da Costa, and Fred Wasserman, eds. Schoenberg, Kandinsky, and the Blue Rider (Jewish Museum, 2003). Mikheyeva-Sollertinskaya, Lyudmila. “Shostakovich As Reflected in His Letters to Sollertinsky,” in Bartlett, Shostakovich in Context, pp. 67–77. Milhaud, Darius. Études (Aveline, 1927). ______. Notes Without Music: An Autobiography, trans. Donald Evans (Knopf, 1953). Miller, Arthur. Timebends (Grove, 1987). Miller, James. “Michel Foucault: The Heart Laid Bare,” Grand Street 39 (1991), pp. 53–64. Miller, Leta E. “Henry Cowell and John Cage: Intersections and Influences, 1933–1941,” Journal of the American Musicological Society 59:1 (Spring 2006), pp. 47–111. ______. “ONCE and Again: The Evolution of a Legendary Festival,” essay included with the recording Music from the ONCE Festival, 1961–1966 (New World 80567-2). Miller, Leta E., and Fredric Lieberman. Lou Harrison: Composing a World (Oxford University Press, 1998). Mitchell, Donald. Benjamin Britten, “Death in Venice” (Cambridge University Press, 1987). ______. Gustav Mahler, Volume II: The Wunderhorn Years (University of California Press, 1995). ______. “Violent Climates,” in Cooke, Cambridge Companion to Benjamin Britten, pp. 188–216. Moldenhauer, Hans. The Death of Anton Webern: A Drama in Documents (Philosophical Library, 1961). Moldenhauer, Hans, and Rosaleen Moldenhauer. Anton von Webern: A Chronicle of His Life and Work (Knopf, 1979). Monod, David. Settling Scores: German Music, Denazification, and the Americans, 1945–1953 (University of North Carolina Press, 2005). Monsaingeon, Bruno. Sviatoslav Richter: Notebooks and Conversations, trans. Stewart Spencer (Princeton University Press, 2001). Montefiore, Simon Sebag. Stalin: The Court of the Red Tsar (Weidenfeld and Nicolson, 2003). Monteux, Doris. It’s All in the Music (Farrar, Straus and Giroux, 1965). Moore, Jerrold Northrop. Edward Elgar: A Creative Life (Oxford University Press, 1999). Morgenstern, Soma. Alban Berg und seine Idole: Erinnerungen und Briefe, ed. Ingolf Schulte (Aufbau, 1999). Morley, Michael. “ ‘Suiting the Action to the Word’: Some Observations on Gestus and Gestische Musik,” in Kowalke, A New Orpheus, pp. 183–201. Morros, Boris. My Ten Years as a Counterspy (Viking, 1959). Most, Andrea. Making Americans: Jews and the Broadway Musical (Harvard University Press, 2004). Mostel, Raphael. “The Tale of a Chance Meeting That Set the Music World on Its Ear,” Forward, Feb. 2, 2001. Moussinac, Léon. Sergei Eisenstein (Crown, 1970). Mumma, Gordon. “The ONCE Festival and How It Happened” (1967), reprinted at brainwashed.com/mumma/writing.html (accessed July 17, 2006). Murray, Albert. Stomping the Blues (Da Capo, 2000). Murray, Stephen O., and Will Roscoe, Islamic Homosexualities: Culture, History, and Literature (NYU Press, 1997).

Nabokov, Nicolas. “The Atonal Trail: A Communication,” Partisan Review, May 1948, pp. 580–85. ______. Bagázh: Memoirs of a Russian Cosmopolitan (Atheneum, 1975). ______. “Introduction à l’oeuvre du XXe siècle,” La Revue Musicale 212 (April 1952), pp. 5–8. ______. “The Case of Dmitri Shostakovich,” Harper’s 186 (March 1943), pp. 422–31. ______. Old Friends and New Music (Little, Brown, 1951). ______. Old Friends and New Music, expanded ed. (Hamish Hamilton, 1951). Nelson, Amy. Music for the Revolution: Musicians and Power in Early Soviet Russia (Penn State University Press, 2004). Newlin, Dika. Schoenberg Remembered: Diaries and Recollections, 1938–1976 (Pendragon, 1980). ______. “Secret Tonality in Schoenberg’s Piano Concerto,” Perspectives of New Music 13:1 (Fall–Winter 1974), pp. 137–39. Newman, Richard, and Karen Kirtley, Alma Rosé: Vienna to Auschwitz (Amadeus, 2000). Nice, David. Prokofiev: From Russia to the West, 1891–1935 (Yale University Press, 2003). Nicholls, David. American Experimental Music, 1890–1940 (Cambridge University Press, 1990).

Nicholson, Stuart, ed. Reminiscing in Tempo: A Portrait of Duke Ellington (Northeastern University Press, 1999). Nielsen, Carl. Living Music, trans. Reginald Spink (Hutchinson, 1953). Nietzsche, Friedrich. The Birth of Tragedy and The Case of Wagner, trans. Walter Kaufmann (Vintage, 1967). ______. On the Genealogy of Morals and Ecce Homo, trans. Walter Kaufmann and R. J. Hollingdale (Vintage, 1967). Nono, Luigi. “Geschichte und Gegenwart in der Musik von heute,” Darmstädter Beiträge zur neuen Musik (1960), pp. 41–47. Nono-Schoenberg, Nuria, ed. Arnold Schönberg, 1874–1951: Lebensgeschichte in Begegnungen (Ritter Klagenfurt, 1992). Norton, Robert E. Secret Germany: Stefan George and His Circle (Cornell University Press, 2002). Nyman, Michael. Experimental Music: Cage and Beyond (Cambridge University Press, 1999).

Oja. Carol J. “Gershwin and American Modernists of the 1920s,” Musical Quarterly 78:4 (Winter 1994), pp. 646–68. ______. Making Music Modern: New York in the 1920s (Oxford University Press, 2000). Oja, Carol J., and Judith Tick, eds. Aaron Copland and His World (Princeton University Press, 2005). Oliver, Michael. Benjamin Britten (Phaidon, 1996). Op de Coul, Paul. “Modern Chamber Music at the 1920 Mahler Festival: A Prelude to the International Society for Contemporary Music,” in Gustav Mahler: The World Listens (Het Concertgebouw, 1995), pp. I.77–86. Orenstein, Arbie, ed. A Ravel Reader (Columbia University Press, 1990). Orledge, Robert. Debussy and the Theatre (Cambridge University Press, 1982). ______. “Evocations of Exoticism,” in The Cambridge Companion to Ravel, ed. Deborah Mawer (Cambridge University Press, 2000). Orlov, Henry. “A Link in the Chain,” in Brown, Shostakovich Casebook, pp. 193– 215. Osmond-Smith, David. Berio (Oxford University Press, 1991).

Page, Tim. “Music in 12 Parts,” in Kostelanetz, Writings on Glass, pp. 98–101. Palmer, Christopher, ed. The Britten Companion (Faber, 1984). Panksepp, Jaak, and Günther Bernatzky, “Emotional Sounds and the Brain: The Neuroaffective Foundations of Musical Appreciation,” Behavioural Processes 60 (2002), pp. 133–55. Panofsky, Walter. Richard Strauss: Partitur eines Lebens (Piper, 1965). Partch, Harry. Genesis of a Music: An Account of a Creative Work, Its Roots and Its Fulfillments, 2nd ed. (Da Capo, 1974). ______. Harry Partch: Enclosure 3, ed. Philip Blackburn (American Composers Forum, 1997). Pasler, Jann, ed. Confronting Stravinsky: Man, Musician, and Modernist, ed. Jann Pasler (University of California Press, 1986).

______. “Stravinsky and the Apaches,” Musical Times 123 ( June 1982), pp. 403–407. Payne, Robert. The Life and Death of Lenin (Simon and Schuster, 1964). Peduzzi, Lubomír. Pavel Haas: Život a dílo skladatele (Muzejní a vlastivědná společnost v Brně, 1993). Péguy, Charles. Notre jeunesse (Gallimard, 1933). Peress, Maurice. “Arnold, Maurice,” in International Dictionary of Black Composers, ed. Samuel A. Floyd Jr. (Fitzroy Dearborn, 1999), pp. 43–45. ______. Dvořák to Duke Ellington: A Conductor Explores America’s Music and Its African-American Roots (Oxford University Press, 2004). ______. “My Life with Black, Brown, and Beige,” Black Music Research Journal 13:2 (Fall 1993), pp. 147–59. Perle, George. The Operas of Alban Berg, Vol. 1: “Wozzeck” (University of California Press, 1980). ______. The Operas of Alban Berg, Vol. 2: “Lulu” (University of California Press, 1985). Perlis, Viven. Charles Ives Remembered: An Oral History (Yale University Press, 1974). Perlis, Vivien, and Libby Van Cleve. Composers’ Voices from Ives to Ellington (Yale University Press, 2005). Perloff, Nancy. Art and the Everyday: Popular Entertainment and the Circle of Erik Satie (Clarendon, 1991). Pescatello, Ann M. Charles Seeger: A Life in American Music (University of Pittsburgh Press, 1992). Peyser, Joan. Boulez: Composer, Conductor, Enigma (Schirmer Books, 1976). ______. The New Music (Delta, 1971). ______. “Pierre Boulez—from Wagner’s ‘Ring’ to Computer Practice,” New York Times, Dec. 7, 1980. Pfitzner, Hans. “Glosse zum II. Weltkrieg,” in Sämtliche Schriften, ed. Bernhard Adamy (Schneider, 1987), vol. 4, pp. 327–43. Phelps, Thomas. “Stefan Wolpe: Eine Einführung,” in Stefan Wolpe, Lieder mit Klavierbegleitung, 1929–1933 (Southern, 1993), pp. 1–45. Picker, Henry. Hitlers Tischgespräche im Führerhauptquartier, 1941–1942, ed. Percy Ernst Schramm (Seewald, 1963). Pollack, Howard. Aaron Copland: The Life and Work of an Uncommon Man (Holt, 1999). ______. George Gershwin: His Life and Work (University of California Press, 2006). Pople, Anthony, ed. The Cambridge Companion to Berg (Cambridge University Press, 1997). ______. “Messiaen’s Musical Language: An Introduction,” in Hill, Messiaen Companion, pp. 15–50. ______. “The Musical Language of Wozzeck,” in Pople, Cambridge Companion to Berg, pp. 145–64. Porter, Lewis. John Coltrane: His Life and Music (University of Michigan Press, 1998).

Potter, Keith. Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass (Cambridge University Press, 2000). Potter, Pamela M. Most German of the Arts: Musicology and Society from the Weimar Republic to the End of Hitler’s Reich (Yale University Press, 1998). Poulenc, Francis. Correspondance, 1910–1963, ed. Myriam Chimènes (Fayard, 1994). ______. Entretiens avec Claude Rostand (Julliard, 1954). ______. My Friends and Myself (Dobson, 1978). ______. “Vive Strawinsky,” Le Figaro, April 7, 1945. Pound, Ezra. “Tibor Serly, Composer,” quoted in György Novák, “ ‘I am a Vi====olerplayer’: Pound and Serly in the Early 1930s,” Americana 2:1 [online journal]. Prater, Donald A. European of Yesterday: A Biography of Stefan Zweig (Clarendon, 1972). ______. Thomas Mann: A Life (Oxford University Press, 1995). Prendergast, Mark. The Ambient Century: From Mahler to Trance—the Evolution of Sound in the Electronic Age (Bloomsbury, 2000). Prendergast, Roy M. Film Music: A Neglected Art (Norton, 1992). Press, Stephen. “Prokofiev’s Vexing Entry into the USA,” Three Oranges Journal 6 (Nov. 2003), pp. 22–26. Prieberg, Fred K. Musik im NS-Staat (Fischer, 1982). ______. Trial of Strength: Wilhelm Furtwängler in the Third Reich, trans. Christopher Dolan (Northwestern University Press, 1994). Pritchett, James. The Music of John Cage (Cambridge University Press, 1993). Prokofiev, Sergei. Prokofiev by Prokofiev, ed. David H. Appel, trans. Guy Daniels (Doubleday, 1979). ______. “Prokofiev’s Correspondence with Stravinsky and Shostakovich,” trans. Natalia Rodriguez and Malcolm Hamrick Brown, in Slavonic and Western Music: Essays for Gerald Abraham, ed. Malcolm Hamrick Brown and Roland J. Wiley (UMI Research Press), pp. 271–92. ______. Soviet Diary 1927 and Other Writings, ed. and trans. Oleg Prokofiev (Northeastern University Press, 1992). Puccini, Giacomo. Puccini: 276 lettere inedite, ed. Giuseppe Pintorno (Nuove Edizioni, 1974). Puffett, Derrick, ed. Richard Strauss, “Elektra” (Cambridge University Press, 1989).

Quin, Esther. “Stumbling on Lost Cigars of Bertolt Brecht: Bob Dylan’s Rebellion,” PN Review 30:2 (Nov.–Dec. 2003), pp. 47–53.

Rabinovich, David. Dmitry Shostakovich (Lawrence and Wishart, 1959). Radzinsky, Edvard. Stalin, trans. H. T. Willetts (Doubleday, 1996). Rae, Charles Bodman. The Music of Lutosławski, 3rd ed. (Omnibus, 1999). Randall, Annie J., and Rosalind Gray Davis. Puccini and “The Girl”: History and Reception of “The Girl of the Golden West” (University of Chicago Press, 2005). Rattenbury, Ken. Duke Ellington, Jazz Composer (Yale University Press, 1990). Rayno, Don. Paul Whiteman: Pioneer in American Music, Vol. 1: 1890–1930 (Scarecrow, 2003). Reich, Steve. Writings on Music, 1965–2000, ed. Paul Hillier (Oxford University Press, 2002). Reich, Willi. Alban Berg (Reichner, 1937). ______. Alban Berg, trans. Cornelius Cardew (Harcourt, Brace and World, 1965). ______. Arnold Schönberg; oder, Der konservative Revolutionär (Fritz Molden, 1968). ______. Schoenberg: A Critical Biography, trans. Leo Black (Praeger, 1971). Reis, Claire R. Composers, Conductors, and Critics (Detroit Reprints in Music, 1974). Revill, David. The Roaring Silence: John Cage: A Life (Arcade, 1992). Reynolds, Simon. Generation Ecstasy: Into the World of Techno and Rave Culture (Routledge, 1999). Rich, Alan. “Surging Forward by Standing Still,” LA Weekly, March 15, 2006. Riethmüller, Albrecht. “Stefan Zweig and the Fall of the Reich Music Chamber President, Richard Strauss,” trans. Sherri Jones, in Kater and Riethmüller, Music and Nazism, pp. 269–91. Riis, Thomas L. “Dvořák and His Black Students,” in Rethinking Dvořák: Views from Five Countries, ed. David R. Beveridge (Clarendon, 1996), pp 265–73. ______, ed. The Music and Scripts of “In Dahomey,” Recent Researches in American Music, vol. 25 (A-R Editions, 1996). Riley, John. Dmitri Shostakovich: A Life in Film (Tauris, 2005). Riley, Terry. “The Trinity of Eternal Music,” in Duckworth and Fleming, Sound and Light, pp. 98–103. Ringer, Alexander. “Assimilation and the Emancipation of Historical Dissonance,” in Brand and Hailey, Constructive Dissonance, pp. 23–34. ______. Arnold Schoenberg: The Composer as Jew (Clarendon, 1990). ______. “Schoenberg, Weill, and Epic Theater,” Journal of the Arnold Schoenberg Institute 4:1 (June 1980), pp. 77–98. Rischin, Rebecca. For the End of Time: The Story of the Messiaen Quartet (Cornell University Press, 2003). Rivière, Jacques. “La crise du concept de littérature,” Nouvelle Revue Française 125 (Feb. 1924), pp. 159–70. ______. “Petrouchka,” Nouvelle Revue Française 33 (1911). ______. “Le sacre du printemps,” Nouvelle Revue Française 59 (Nov. 1913). ______. “La saison russe,” Nouvelle Revue Française 67 ( July 1914). Robinson, Harlow. Sergei Prokofiev: A Biography (Northeastern University Press, 2002). Rockwell, John. All American Music: Composition in the Late Twentieth Century (Knopf, 1983). ______. “Kurt Weill’s Operatic Reform and Its Context,” in Kowalke, A New Orpheus, pp. 51–59. ______. “The Prussian Ministry of Culture and the Berlin State Opera, 1918– 1931” (Ph.D. diss., University of California at Berkeley, 1972). Rolland, Romain. Journal des années de guerre, 1914–1919 (Michel, 1952). Roman, Zoltan. Gustav Mahler’s American Years, 1907–1911: A Documentary History (Pendragon, 1989). Romerstein, Herbert, and Eric Breindel, The Venona Secrets: Exposing Soviet Espionage and America’s Traitors (Regnery, 2000). Rorem, Ned. Knowing When to Stop (Simon and Schuster, 1994). ______. Setting the Tone: Essays and a Diary (Limelight, 1984). Rösch, Gertrud Maria. “ ‘I thought it wiser not to disclose my identity’: Die Begegnung zwischen Klaus Mann und Richard Strauss im Mai 1945,” Thomas Mann Jahrbuch 14 (2001), pp. 233–48. Rose, Paul Lawrence. Wagner: Race and Revolution (Yale University Press, 1992). Rosenfeld, Paul. Discoveries of a Music Critic (Vienna House, 1972). Rosenstiel, Léonie. Nadia Boulanger: A Life in Music (Norton, 1982). Ross, Alex. “The Connoisseur of Chaos,” New Republic, Sept. 28, 1992. Rossiter, Frank R. Charles Ives and His America (Liveright, 1975). Rufer, Josef. Das Werk Arnold Schönbergs (Bärenreiter, 1959). Rupprecht, Philip. Britten’s Musical Language (Cambridge University Press, 2001). Ryding, Erik, and Rebecca Pechefsky. Bruno Walter: A World Elsewhere (Yale University Press, 2001).

Sachs, Harvey. Music in Fascist Italy (Norton, 1987). Sadie, Stanley. New Grove Dictionary of Music and Musicians, 2nd ed., ed. (Macmillan, 2001). Sales, Grover. Jazz: America’s Classical Music (Da Capo, 1992). Salisbury, Harrison E. The 900 Days: The Siege of Leningrad (Pan, 2000). ______. “Visit with Dmitri Shostakovich,” New York Times, Aug. 8, 1954. Samuel, Claude. Olivier Messiaen: Music and Color, trans. E. Thomas Glasow (Amadeus, 1986). Sarnoff, David. Looking Ahead: The Papers of David Sarnoff (McGraw-Hill, 1968). Saunders, Frances Stonor. The Cultural Cold War: The CIA and the World of Arts and Letters (New Press, 1999). Sayer, Ian, and Douglas Botting. Nazi Gold (Grove, 1984). Schabas, Ezra. Theodore Thomas: America’s Conductor and Builder of Orchestras, 1835–1905 (University of Illinois Press, 1989), pp. 131–36. Schaeffer, Pierre. À la Recherche d’une musique concrète (Seuil, 1952). Schebera, Jürgen. Hanns Eisler: Eine Biographie in Texten, Bildern, und Dokumenten (Schott, 1998). ______. Kurt Weill: An Illustrated Life, trans. Caroline Murphy (Yale University Press, 1995). Schertz-Parey, Walter. Winifred Wagner: Ein Leben für Bayreuth (Stocker, 1999). Scherwatzky, Robert. Die grossen Meister deutscher Musik in ihren Briefen und Schriften (Deuerlichsche Verlagsbuchhandlung, 1939). Schiff, David. Gershwin, “Rhapsody in Blue” (Cambridge University Press, 1997). ______. The Music of Elliott Carter, 2nd ed. (Cornell University Press, 1998). Schirach, Baldur von. Ich glaubte an Hitler (Mosaik, 1967). Schirach, Henriette von, ed., Anekdoten um Hitler: Geschichten aus einem halben Jahrhundert (Türmer, 1980). Schmalfeldt, Janet. Berg’s “Wozzeck”: Harmonic Language and Dramatic Design (Yale University Press, 1983). Schneider, David E. “Bartók and Stravinsky: Respect, Competition, Influence, and the Hungarian Reaction to Modernism in the 1920s,” in Bartók and His World, ed. Peter Laki (Princeton University Press, 1995), pp. 79–100. Schnittke, Alfred. A Schnittke Reader, ed. Alexander Ivashkin, trans. John Goodliffe (Indiana University Press, 2002). Schoenberg, Arnold. Arnold Schoenberg: Letters, ed. Erwin Stein, trans. Eithne Wilkins and Ernst Kaiser (University of California Press, 1987). ______. “Attempt at a Diary,” trans. Anita Luginbühl, Journal of the Arnold Schoenberg Institute 9:1 ( June 1986), pp. 7–51. ______. Style and Idea: Selected Writings of Arnold Schoenberg, ed. Leonard Stein, trans. Leo Black (University of California Press, 1984). ______. Texte (Universal, 1926). ______. Theory of Harmony, trans. Roy E. Carter (University of California Press, 1983). ______. “War Clouds Diary,” trans. Paul A. Pisk, Journal of the Arnold Schoenberg Institute 9:1 (June 1986), pp. 53–77. Schonberg, Harold C. “Concert Fuss,” New York Times, Jan. 20, 1973. Schonberg, Harold C., Richard Shepard, Raymond Ericson, Brian O’Doherty, Sam Zolotow, Anon., Howard Klein, and Marjorie Rubin, “A Long, Long, Long Night (and Day) at the Piano,” New York Times, Sept. 11, 1963. Schopenhauer, Arthur. The World as Will and Representation, trans. E. F. J. Payne (Dover, 1966). Schorske, Carl. Fin-de-Siècle Vienna: Politics and Culture (Vintage, 1981). Schramm, Percy Ernst. “Adolf Hitler: Anatomie eines Diktators,” Der Spiegel, Jan. 28, 1964. Schröder, Klaus Albrecht. Richard Gerstl, 1883–1908 (Kunstforum der Bank Austria, 1993). Schroeder, Christa. Er war mein Chef, ed. Anton Joachimsthaler (Langen Müller, 1985). Schubert, Giselher. Preface to Paul Hindemith, Ludus tonalis, (Schott, 1989). Schuh, Willi. Richard Strauss: A Chronicle of the Early Years, 1864–1898, trans. Mary Whittall (Cambridge University Press, 1982). Schuller, Gunther. Early Jazz: Its Roots and Musical Development (Oxford University Press, 1968). ______. Musings: The Musical Worlds of Gunther Schuller (Oxford University Press, 1986). Schultz, Wolfgang-Andreas. “Avant-Garde and Trauma: Twentieth-Century Music and the Experiences from the World War,” (unpublished English translation). Schwartz, Elliott, and Barney Childs, eds. Contemporary Composers on Contemporary Music (Da Capo, 1998).

Schwartz, Evan I. The Last Lone Inventor: A Tale of Genius, Deceit, and the Birth of Television (HarperCollins, 2002). Schwarz, Boris. Music and Musical Life in Soviet Russia, 1917–1970 (Norton, 1972). Schwarz, K. Robert. Minimalists (Phaidon, 1996). Sebald, W. G. The Rings of Saturn, trans. Michael Hulse (New Directions, 1998). Seeger, Charles. “Grass Roots for American Composers,” Modern Music 16:3 (March–April 1939), pp. 143–49. ______. “Manual of Dissonant Counterpoint,” in Studies in Musicology II, 1929–1979, ed. Ann M. Pescatello (University of California Press, 1994), pp. 163–228. Seroff, Victor. Dmitri Shostakovich: The Life and Background of a Soviet Composer (Knopf, 1943). Sessions, Roger. The Correspondence of Roger Sessions, ed. Andrea Olmstead (Northeastern University Press, 1992). ______. “Schoenberg in the United States,” in Frisch, Schoenberg and His World, pp. 327–36. ______. “Vienna—Vale, Ave,” Modern Music, 15:4 (May–June 1938), pp. 203– 208. Seton, Marie. Sergei M. Eisenstein (Dennis Dobson, 1978). Shawn, Allen. Arnold Schoenberg’s Journey (Farrar, Straus and Giroux, 2001). Sherwood, Gayle. “Questions and Veracities: Reassessing the Chronology of Ives’s Choral Works,” Musical Quarterly 78:3 (Fall 1994), pp. 429–47. Shostakovich, Maxim. “Six Lectures on the Shostakovich Symphonies,” trans. John-Michael Albert, in Allan B. Ho and Dmitry Feofanov, Shostakovich Reconsidered (Toccata, 1998), pp. 400–418. Shreffler. Anne C. “Ideologies of Serialism: Stravinsky’s Threni and the Congress for Cultural Freedom,” in Music and the Aesthetics of Modernity, ed. Karol Berger and Anthony Newcomb (Harvard University Press, 2005), pp. 217–45. ______. “The Myth of Empirical Historiography: A Response to Joseph N. Straus,” Musical Quarterly 84:1 (Spring 2000), pp. 30–39. Sibelius, Jean. Dagbok, 1909–1944 (Svenska litteratursällkapet i Finland, 2005). Simeone, Nigel. Olivier Messiaen: A Bibliographical Catalogue of Messiaen’s Works (Schneider, 1998). Simeone, Nigel, and Peter Hill. Messiaen (Yale University Press, 2005). Simon, Robert A. “Mr. Copland Here, There, and at the Fair,” New Yorker, June 3, 1939. Simms, Bryan R. “ ‘My Dear Hagerl’: Self-Representation in Schoenberg’s String Quartet No. 2,” Nineteenth-Century Music 26:3 (Spring 2003), pp. 258–77. Sinclair, James B. A Descriptive Catalogue of the Music of Charles Ives (Yale University Press, 1992). Slonimsky, Nicholas. Music Since 1900, 5th ed. (Schirmer Books, 1994). ______. “Roy Harris: The Story of an Oklahoma Composer Who Was Born in a Log Cabin on Lincoln’s Birthday,” in A Celebration of American Music: Words and Music in Honor of H. Wiley Hitchcock, ed. Richard Crawford, R. Allen Lott, and Carol J. Oja (University of Michigan Press, 1990), pp. 309–18.

Slotten, Hugh Richard. Radio and Television Regulation: Broadcast Technology in the United States, 1920–1960 ( Johns Hopkins University Press, 2000). Smith, Dave. “Following a Straight Line: La Monte Young,” Contact 18 (Winter 1977–78), pp. 4–9. Smith, Jean Edward. Lucius D. Clay: An American Life (Holt, 1990). Smith, Steven C. A Heart at Fire’s Center: The Life and Music of Bernard Herrmann (University of California Press, 1991). Sollertinsky, Dmitri, and Ludmilla Sollertinsky. Pages from the Life of Dmitri Shostakovich, trans. Graham Hobbs and Charles Midgley (Harcourt Brace Jovanovich, 1980). Solomon, Maynard. “Charles Ives: Some Questions of Veracity,” Journal of the American Musicological Society 40:3 (Fall 1987), pp. 443–70. Specht, Richard. Gustav Mahler (Schuster and Loeffler, 1913). Speer, Albert. Inside the Third Reich, trans. Richard Winston and Clara Winston (Macmillan, 1970). Spitz, Bob. The Beatles: The Biography (Little, Brown, 2005). Splitt, Gerhard. “Oper als Politikum: ‘Friedenstag’ (1938) von Richard Strauss,” Archiv für Musikwissenschaft 55:3 (1998), pp. 220–51. ______. Richard Strauss, 1933–1935: Ästhetik und Musikpolitik zu Beginn der nationalsozialistischen Herrschaft (Centaurus, 1987). Spotts, Frederic. Hitler and the Power of Aesthetics (Overlook, 2003). Stalin, Joseph, et al. Soviet Union, 1935 (Co-operative Publishing Society of Foreign Workers in the U.S.S.R., 1935). Steegmuller, Francis. Cocteau: A Biography (Nonpareil Books, 1986). Stein, Gertrude. Selected Writings of Gertrude Stein, ed. Carl Van Vechten (Vintage, 1972). Stein, Leonard. “Schoenberg and ‘Kleine Modernsky,’ ” in Pasler, Confronting Stravinsky, pp. 310–24. Steinitz, Richard. György Ligeti: Music of the Imagination (Northeastern University Press, 2003). Steinitzer, Max. Richard Strauss: Biographie (Schuster and Loeffler, 1922). Steinweis, Alan E. Art, Ideology, and Economics in Nazi Germany: The Reich Chambers of Music, Theater, and the Visual Arts (University of North Carolina Press, 1993). Stevens, Halsey. The Life and Music of Béla Bartók (Clarendon, 1993). Stewart, John L. Ernst Krenek: The Man and His Music (University of California Press, 1991). Stirner, Max. The Ego and Its Own, ed. David Leopold (Cambridge University Press, 1995). Stockhausen, Karlheinz. “...how time passes...,” Die Reihe 3 (Presser, 1959), pp. 10–40. ______. “Music and Speech,” Die Reihe 6 (Presser, 1964), pp. 40–64. ______. Stockhausen on Music, ed. Robin Maconie (Marion Boyars, 1989). Stolyarova, Galina. “Remembering an Orchestra That Played on Through the Horrific Siege of Leningrad,” St. Petersburg Times, Feb. 5, 2004. Straus, Joseph N. The Music of Ruth Crawford Seeger (Cambridge University Press, 1995). ______. “The Myth of Serial ‘Tyranny’ in the 1950s and 1960s,” Musical Quarterly 83:3 (Fall 1999), pp. 301–43. Strauss, Richard. Betrachtungen und Erinnerungen, ed. Willi Schuh (Piper, 1989). ______. Ihr aufrichtig Ergebener, vol. 2 of Richard Strauss im Briefwechsel mit zeitgenössischen Komponisten und Dirigenten, ed. Gabriele Strauss and Monika Reger (Henschel, 1998). ______. Der Strom der Töne trug mich fort: Die Welt um Richard Strauss in Briefen, ed. Franz Grasberger (Hans Schneider, 1967). Strauss, Richard, and Hugo von Hofmannsthal. A Working Friendship: The Correspondence Between Richard Strauss and Hugo von Hofmannsthal, ed. Franz Strauss, Alice Strauss, and Willi Schuh, trans. Hanns Hammelmann and Ewald Osers (Random House, 1961). Strauss, Richard, and Alfred Kerr. “Der Briefwechsel zwischen Alfred Kerr und Richard Strauss,” ed. Marc Konhäuser, Richard Strauss–Blätter 39 ( June 1998), pp. 34–51. Strauss, Richard, and Romain Rolland. Richard Strauss and Romain Rolland: Correspondence, Together with Fragments from the Diary of Romain Rolland and Other Essays, ed. Rollo Myers (Calder and Boyars, 1968). Strauss, Richard, and Max von Schillings. Richard Strauss, Max von Schillings: Ein Briefwechsel, ed. Roswitha Schlötterer (W. Ludwig, 1987). Strauss, Richard, and Willi Schuh. Briefwechsel mit Willi Schuh (Atlantis, 1969). Strauss, Richard, and Stefan Zweig. A Confidential Matter: The Letters of Richard Strauss and Stefan Zweig, 1931–1935, trans. Max Knight (University of California Press, 1977). ______. Richard Strauss–Stefan Zweig: Briefwechsel, ed. Willi Schuh (Fischer, 1957). Stravinsky, Igor. An Autobiography (Norton, 1962). ______. Chroniques de ma vie (Denoël/Gonthier, 1962). ______. Poetics of Music in the Form of Six Lessons, trans. Arthur Knodel and Ingolf Dahl (Harvard University Press, 1970). ______. Stravinsky: Selected Correspondence, ed. Robert Craft, 3 vols. (Knopf, 1982–85). Stravinsky, Igor, and Robert Craft. Conversations with Igor Stravinsky (Doubleday, 1959). ______. Dialogues and a Diary (Doubleday, 1963). ______. Expositions and Developments (Doubleday, 1962). ______. Memories and Commentaries (Doubleday, 1960). Stravinsky, Vera, and Robert Craft. Stravinsky in Pictures and Documents (Simon and Schuster, 1978). Stresemann, Wolfgang. Zeiten und Klänge: Ein Leben zwischen Musik und Politik (Ullstein, 1994). Strickland, Edward. American Composers: Dialogues on Contemporary Music (Indiana University Press, 1991). ______. Minimalism: Origins (Indiana University Press, 1993). Strouse, Jean. Morgan: American Financier (Random House, 1999).

Stuckenschmidt, Hans Heinz. Arnold Schoenberg: His Life, World, and Work, trans. Humphrey Searle (Schirmer Books, 1978). Swafford, Jan. Charles Ives: A Life with Music (Norton, 1996).

Takemitsu, Tōru. “Contemporary Music in Japan,” Perspectives of New Music 27:2 (1989), pp. 198–204. Tamm, Brian. Brian Eno: His Music and the Vertical Color of Sound (Da Capo, 1995). Tarasti, Eero. Heitor Villa-Lobos: The Life and Works, 1887–1959 (McFarland, 1995). Taruskin, Richard. Defining Russia Musically: Historical and Hermeneutical Essays (Princeton University Press, 1997). ______. Stravinsky and the Russian Traditions: A Biography of the Works Through “Mavra,” 2 vols. (University of California Press, 1996). Taubman, Howard. “The ‘Duke’ Invades Carnegie Hall,” New York Times, Jan. 17, 1943. Tawaststjerna, Erik. Sibelius, Volume I: 1865–1905, trans. Robert Layton (University of California Press, 1976). ______. Sibelius, Volume II: 1904–1914, trans. Robert Layton (University of California Press, 1986). ______. Sibelius, Volume III: 1914–1957, trans. Robert Layton (Faber, 1997). Taylor, Richard, and Ian Christie, eds. Inside the Film Factory: New Approaches to Russian and Soviet Cinema (Routledge, 1991). Taylor, Ronald. Kurt Weill: Composer in a Divided World (Northeastern University Press, 1992). Tenschert, Roland. “Strauss as Librettist,” in Richard Strauss, “Salome,” ed. Derrick Puffett (Cambridge University Press, 1989), pp. 36–50. Thomas, Adrian. Polish Music Since Szymanowski (Cambridge University Press, 2005). Thomas, Walter. Richard Strauss und seine Zeitgenossen (Langen Müller, 1964). Thomson, Virgil. “George Gershwin,” Modern Music 13:1 (Nov.–Dec. 1935), pp. 13–19. ______. “In the Theatre,” Modern Music 15:2 ( Jan.–Feb. 1938), pp. 112–14. ______. Music Reviewed, 1940–1954 (Vintage, 1967). ______. Selected Letters of Virgil Thomson, ed. Tim Page and Vanessa Weeks Page (Summit, 1988). ______. Virgil Thomson (Dutton, 1985). ______. A Virgil Thomson Reader (Houghton Mifflin, 1981). Thurber, James . “There’s an Owl in My Room,” New Yorker, Nov. 17, 1934. Tibbetts, John C. Composers in the Movies: Studies in Musical Biography (Yale University Press, 2005). ______, ed. Dvořák in America, 1892–1895 (Amadeus, 1993). Tick, Judith. Ruth Crawford Seeger: A Composer’s Search for American Music (Oxford University Press, 1997). Tippett, Michael. Those Twentieth Century Blues (Hutchinson, 1991). Toland, John. Adolf Hitler (Anchor Books, 1976).

Tomkins, Calvin. The Bride and the Bachelors: Five Masters of the Avant-Garde (Penguin, 1976). ______. “Living Well Is the Best Revenge,” New Yorker, July 28, 1962. Tommasini, Anthony. Virgil Thomson: Composer on the Aisle (Norton, 1997). Tomoff, Kiril. Creative Union: The Professional Organization of Soviet Composers, 1939–1953 (Cornell University Press, 2006). Toop, Richard. György Ligeti (Phaidon, 1999). Trakl, Georg. Dichtungen und Briefe, ed. Walther Killy and Hans Szklenar (Müller, 1969). Trenner, Franz. Richard Strauss: Chronik zu Leben und Werk, ed. Florian Trenner (Verlag Dr. Richard Strauss, 2003). Trevor-Roper, H. R. The Last Days of Hitler (Macmillan, 1947). Trochimczyk, Maja, ed. The Music of Louis Andriessen (Routledge, 2002). Tsaritsyn, Victor. “This Strong, Brilliant Gift . . . ,” Neva, September 2004. Tuchman, Barbara. The Guns of August (Ballantine, 1994). ______. The Proud Tower (Macmillan, 1966). Turbow, Gerald D. “Art and Politics: Wagnerism in France,” in Wagnerism in European Culture and Politics, ed. David C. Large and William Weber (Cornell University Press, 1984), pp. 134–66. Tucker, Mark, ed. The Duke Ellington Reader (Oxford University Press, 1993). ______. “The Genesis of Black, Brown, and Beige,” Black Music Research Journal 13:2 (Fall 1993), pp. 131–50. ______. “In Search of Will Vodery,” Black Music Research Journal 16:1 (Spring 1996), pp. 123–82. Tyrrell, John. Janáček’s Operas: A Documentary Account (Princeton University Press, 1992).

Ullmann, Viktor. 26 Kritiken über musikalische Veranstaltungen in Theresienstadt, ed. Ingo Schultz (Bockel, 1993).

Vaget, Hans Rudolf. “Hitler’s Wagner: Musical Discourse as Cultural Space,” in Kater and Riethmüller, Music and Nazism, pp. 15–31. ______. “The Spell of Salome: Thomas Mann and Richard Strauss,” in German Literature and Music: An Aesthetic Fusion, 1890–1989, ed. Claus Reschke and Howard Pollack (Fink, 1992), pp 39–60. Van Vechten, Carl. Nigger Heaven (University of Illinois Press, 2000). ______. “The Great American Composer: His Grandfathers Are the Present Writers of Our Popular Ragtime Songs,” Vanity Fair, April 1917. Vidal, Gore. Point to Point Navigation (Doubleday, 2006). Viertel, Salka. The Kindness of Strangers (Holt, Rinehart, and Winston, 1969). Vishnevskaya, Galina. Galina: A Russian Story, trans. Guy Daniels (Harcourt Brace Jovanovich, 1984). Volkogonov, Dmitri. Stalin: Triumph and Tragedy (Forum, 1996). Volkov, Solomon. Testimony: The Memoirs of Dmitri Shostakovich (Harper and Row, 1979).

Von Glahn, Denise. “New Sources for ‘The “St. Gaudens” in Boston Common (Colonel Robert Gould Shaw and His Colored Regiment),’ ” Musical Quarterly 81:1 (Spring 1997), pp. 13–50. Vulliamy, Ed. “Orchestral Manoeuvres,” Observer, Nov. 25, 2001.

Wagner, Cosima. Cosima Wagner’s Diaries, Volume II: 1878–1883 Jovanovich, 1980). Wagner, Friedelind. The Royal Family of Bayreuth (Eyre and Spottiswoode, 1948). Wagner, Richard. Gesammelte Schriften und Dichtungen (Siegel’s Musikalienhandlung, 1907). ______. Selected Letters of Richard Wagner, ed. and trans. Stewart Spencer and Barry Millington (Norton, 1988). Walsh, Stephen. The Music of Stravinsky (Clarendon, 1988). ______. Stravinsky: A Creative Spring: Russia and France, 1882–1934 (Knopf, 1999). ______. Stravinsky: The Second Exile: France and America, 1934–1971 (Knopf, 2006). Walter, Bruno. Gustav Mahler, trans. Lotte Walter Lindt (Quartet Books, 1990). Walton, Chris. “Beneath the Seventh Veil: Richard Strauss’s Salome and Kaiser Wilhelm II,” Musical Times 146 (Winter 2005), pp. 5–27. Warnaby, John. “Peter Maxwell Davies’s Recent Music, and Its Debt to His Earlier Scores,” in Perspectives on Peter Maxwell Davies, ed. Richard McGregor (Ashgate, 2000), pp. 75–92. Watkins, Glenn. Proof Through the Night: Music and the Great War (University of California Press, 2003). ______. Pyramids at the Louvre: Music, Culture, and Collage from Stravinsky to the Postmodernists (Harvard University Press, 1994). ______. Soundings (Schirmer Books, 1988). Watson, Steven. Factory Made: Warhol and the Sixties (Pantheon, 2003). ______. Prepare for Saints: Gertrude Stein, Virgil Thomson, and the Mainstreaming of American Modernism (Random House, 1998). Weber, William. “The Rise of the Classical Repertoire in Nineteenth-Century Orchestral Concerts,” in The Orchestra: Origins and Transformations, ed. Joan Peyser (Billboard Books, 2000). Webern, Anton. Briefe an Heinrich Jalowetz, ed. Ernst Lichtenhahn (Schott, 1999). ______. The Path to the New Music, ed. Willi Reich (Universal, 1960). Weill, Kurt. Musik und musikalisches Theater: Gesammelte Schriften, ed. Stephen Hinton and Jürgen Schebera (Schott, 2000). Weill, Kurt, and Lotte Lenya. Speak Low (When You Speak Love): The Letters of Kurt Weill and Lotte Lenya, ed. and trans. Lys Symonette and Kim H. Kowalke (University of California Press, 1996). Weininger, Otto. Geschlecht und Charakter (Braumüller, 1919). ______. Über die letzten Dinge (Braumüller, 1918). Weinstein, Allen, and Alexander Vassiliev, The Haunted Wood: Soviet Espionage in America—the Stalin Era (Random House, 1999). Weinstein, Joan. The End of Expressionism: Art and the November Revolution in Germany, 1918–19 (University of Chicago Press, 1990). Weisgal, Meyer. …So Far: An Autobiography (Random House, 1971). Weiß, Günther. “Richard Strauss und Felix Wolfes,” Jahrbuch der Bayerischen Staatsoper 1988/89 (Bruckmann, 1988), pp. 77–92. Welles, Orson, and Peter Bogdanovich. This Is Orson Welles (HarperCollins, 1992). Wellesz, Egon. Arnold Schönberg (Heinrichshofen, 1985). Wellesz, Egon, and Emmy Wellesz. Egon Wellesz: Leben und Werk (Zsolnay, 1981). Werbeck, Walter. Die Tondichtungen von Richard Strauss (Hans Schneider, 1996). Werth, Alexander. Musical Uproar in Moscow (Turnstile, 1949). Weschler, Lawrence. “Paradise: The Southern California Idyll of Hitler’s Cultural Exiles,” in Exiles + Emigrés: The Flight of European Artists from Hitler, ed. Stephanie Barron and Sabine Eckmann (Abrams, 1997), pp. 341–62. White, Eric Walter. Stravinsky: The Composer and His Works (University of California Press, 1979). Whiting, Steven Moore. Satie the Bohemian: From Cabaret to Concert Hall (Oxford University Press, 1999). Whittall, Arnold. Musical Composition in the Twentieth Century (Oxford University Press, 1999). Widdig, Bernd. Culture and Inflation in Weimar Germany (University of California Press, 2001). Wiedemann, Fritz. Der Mann, der Feldherr werden wollte (Blick + Bild, 1964). Wiéner, Jean. Allegro appassionato (Belfond, 1978). Wilde, Oscar. “The Decay of Lying,” in The Complete Works of Oscar Wilde (Perennial Library, 1989), pp. 970–92. Wilhelm, Kurt. Richard Strauss: An Intimate Portrait, trans. Mary Whittall (Rizzoli, 1989). ______. Richard Strauss persönlich: Eine Bildbiographie (Kindler, 1984). Willett, John. “Production as Learning Experience: Taniko, He Who Says Yes, The Measures Taken” in Brecht and East Asian Theatre, ed. Antony Tatlow and Tak-Wai Wong (Hong Kong University Press, 1982), pp. 145–61. Wilson, Elizabeth. Shostakovich: A Life Remembered, 2nd ed. (Princeton University Press, 2006). Wilson, Olly. “The Heterogeneous Sound Ideal in African-American Music,” in New Perspectives on Music: Essays in Honor of Eileen Southern, ed. Josephine Wright (Harmonie Park Press, 1992), pp. 326–37. Wittgenstein, Ludwig. Tractatus Logico-Philosophicus, trans. C. K. Ogden (Routledge, 1981). Woideck, Carl. Charlie Parker: His Music and Life (University of Michigan Press, 1996). Wortley, Russell, and Michael Dawney. “George Butterworth’s Diary of Morris Dance Hunting,” Folk Music Journal 3:3 (1977), pp. 193–207. Wulf, Josef. Musik im Dritten Reich: Eine Dokumentation (Mann, 1963).

Xenakis, Iannis. Formalized Music: Thought and Mathematics in Composition (Pendragon, 1992).

Yakovlev, Alexander. A Century of Violence in Soviet Russia, trans. Anthony Austin (Yale University Press, 2002). Yakubov, Manashir. Preface to Dmitri Shostakovich, Symphony No. 7, “Leningrad,” Op. 60 (1941): Facsimile Edition of the Manuscript (Zen-On Music Company, 1992). Yedlin, Tovah. Maxim Gorky: A Political Biography (Praeger, 1999). Youmans, Charles. Richard Strauss’s Orchestral Music and the German Intellectual Tradition (Indiana University Press, 2005). Young, Edgar. Lincoln Center, the Building of an Institution (NYU Press, 1980).

Zappa, Frank. “Edgard Varèse: Idol of My Youth,” Stereo Review 26:6 (June 1971), pp. 62–63. Zelinsky, Hartmut. Richard Wagner—ein deutsches Thema (Zweitausendeins, 1976). Zemanová, Mirka. Janáček: A Composer’s Life (Northeastern University Press, 2002). Ziffrin, Marilyn J. Carl Ruggles: Composer, Painter, and Storyteller (University of Illinois Press, 1994). Zimmermann, Bernd Alois. Bernd Alois Zimmermann: “Du und Ich und Ich und die Welt”: Dokumente aus den Jahren 1940 bis 1950, ed. Heribert Henrich (Wolke, 1998).