The New Music
Subtitle: 1900–1960
Edition: Revised and Enlarged Edition
Publisher: W. W. Norton & Company
Published: 1968
Place of publication: New York
Language: eng
Number of pages: 194
Copyright date: 1968 Aaron Copland
Subjects: Music -- History and criticism -- Modern
Description: In this book, Aaron Copland provides an introduction to the formative ideas of our century, and a survey of recent and current trends. He shows first of all how contemporary music grew naturally out of the work of such masters as Mussorgsky and Debussy, through Schoenberg, Stravinsky, Bartók, Hindemith, to the work Of younger Americans and others.

Then the author discusses individually certain leading composers of Europe and America. A special section is devoted to six outstanding Americans, together with a discussion of Carlos Chávez and a review of certain aspects of Mr. Copland’s own career as a composer. The closing section deals with developments in new musical media—serialism, “chance” music, and electronic music.

The book is based on an earlier work by Mr. Copland, *Our New Music*. The author has added new material, bringing each subject up to date and discussing important changes that have taken place. Schoenberg, Bartók, Hindemith, and other composers are seen from a new vantage point. Dodecaphonic developments are discussed. The famous autobiographical essay, “Composer from Brooklyn,” has been brought up to date. The result is a brilliant panorama of twentieth-century music.
Notes: 1941 edition had the title: Our new music.  Includes bibliographical references and index.

6
Table of contents: title: Preface
pagenum: 9; title: Preface to the Revised Edition
pagenum: 11; title: Acknowledgments
pagenum: 13; title: 1. SURVEY OF CONTEMPORARY EUROPEAN COMPOSERS (1900–1960); title: The Argument
pagenum: 17; title: Preliminaries
pagenum: 19; title: The Background—Late Nineteenth Century
pagenum: 23; title: Nationalism
pagenum: 23; title: Mussorgsky’s Realism
pagenum: 25; title: The Impressionism of Debussy
pagenum: 28; title: The Late Romantics: Mahler, Strauss, Scriabin, Fauré, Sibelius
pagenum: 31; title: The Foreground—Before 1914
pagenum: 41; title: Schoenberg’s Expressionism
pagenum: 41; title: Stravinsky’s Dynamism
pagenum: 45; title: Béla Bartók
pagenum: 50; title: Music between the Wars (1918–1939)
pagenum: 53; title: Music after the First World War
pagenum: 53; title: Ravel and Roussel
pagenum: 54; title: Satie and “Les Six”
pagenum: 56; title: The Lyricism of Milhaud
pagenum: 59; title: The Jazz Interlude
pagenum: 62; title: The Neoclassic Movement
pagenum: 71; title: The Neoclassic Influence
pagenum: 75; title: The Depression Years
pagenum: 80; title: Dodecaphonic Developments
pagenum: 85; title: Stravinsky’s Conversion
pagenum: 92; title: 2. COMPOSERS IN AMERICA; title: Composers without a Halo
pagenum: 97; title: New Music in the U.S.A.
pagenum: 102; title: The Ives Case
pagenum: 109; title: Roy Harris
pagenum: 118; title: Sessions and Piston
pagenum: 127; title: Thomson and Blitzstein
pagenum: 135; title: Composer from Mexico: Carlos Chávez
pagenum: 145; title: Composer from Brooklyn: An Autobiographical Sketch
pagenum: 151; title: 3. THE PRESENT DAY; title: The Generation of the Fifties
pagenum: 171; title: The Music of Chance
pagenum: 177; title: New Electronic Media
pagenum: 182; title: Index
pagenum: 189