Taruskin: “From Expression to Revelation”

Taruskin: “Reaching for Limits” (Maximalism)

Watkins: “Futurism” and “Primitivism”

Taruskin: “Inner Occurrences (Transcendentalism, III)”

Sublett: “‘Pierrot lunaire’ at 95”

Auner: “Proclaiming the mainstream: Schoenberg, Berg, and Webern”

Taruskin: “Transgression” in “In the Search of ‘Real’ America”

Taruskin: “Containing Multitudes (Transcendentalism, II)”

Morgan: “The Experimental Tradition in American Music”

Ives: “Notes to 114 Songs”

Bick: “Copland, Hollywood, and American Musical Modernism”

Taruskin: “Music and the Social Conscience”

McBurney: “Whose Shostakovich?”

Danuser: “Rewriting the past: classicisms of the inter-war period”

Watkins: “Davies, Eight Songs of a Mad King”

Taruskin: Davies, “Music in the Late Twentieth Century”

Osmond-Smith: “New beginnings: the international avant-garde, 1945-62”

Morgan: “Innovations in Form and Texture”

Gubaidulina: “My Desire is Always to Rebel, to Swim against the Stream!”

Taruskin: “Collage as Theater”

Strickland: Minimalism, Chapter N?

Strempel: “Libby Larsen’s Royal Portraits of Song”

Morgan: “Corresponding Developments in American Music”

Fink: (Post-)minimalisms 1970-2000: the search for a new mainstream”

Zaslaw: “Mozart as a working stiff”

Weber: “The Rise of the Classical Repertoire in Nineteenth-Century Orchestral Concerts”

Brown: “The Orchestra in Beethoven’s Vienna”

Oja: “New Music and the New Negro”: The Background of William Grant Still’s…”

Hefling: “Miners Digging from Opposite Sides”

Friesenhagen and Scholen: “Haydn’s symphonies: problems of instrumentation and…”

Hallmark: The Star Conductor and Musical Virtuosity

Ritchey: Echoes of the Guillotine: Berlioz and the French Fantastic

Burkholder: The Twentieth Century and the Orchestras as Museum