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| Preface | page 11 | |
| PART I: PRE-WAR PIONEERS | ||
| (a) | The Revolutionary Situation | 19 |
| (b) | Impressionism and Disruption | 24 |
| (c) | Debussy as Key-figure | 38 |
| (d) | Music and the Naughty 'Nineties | 49 |
| PART II: POST-WAR PASTICHEURS | ||
| (a) | The Age of Pastiche | 63 |
| (b) | Diaghileff and Stravinsky as Time Travellers | 69 |
| (c) | Surrealism and Neo-Classicism | 78 |
| (d) | 'Toute réaction est vraie' | 87 |
| (e) | Synthetic Melody | 97 |
| (f) | Abstraction in Music | 112 |
| (g) | Eric Satie and his Musique d'ameublement | 123 |
| PART III: NATIONALISM AND THE EXOTIC | ||
| (a) | Nationalism and Democracy | 141 |
| (b) | The Russian Nationalists | 154 |
| (c) | The Conflict between Nationalism and Form | 161 |
| (d) | Nationalism and the Modern Scene | 170 |
| (e) | The Cult of the Exotic | 184 |
| (f) | Exoticism and 'Low Life' | 192 |
| (g) | The Spirit of Jazz | 201 |
| (h) | Symphonic Jazz | 215 |
| PART IV: THE MECHANICAL STIMULUS | ||
| (a) | The Apalling Popularity of Music | 233 |
| (b) | Mechanical Romanticism | 239 |
| (c) | Craft for Craft's Sake | 246 |
| (d) | Mechanical Music and the Cinema | 256 |
| (e) | The Disappearing Middlebrow | 268 |
| PART V: ESCAPE OR SUBMISSION | ||
| (a) | A Psychological Cul-de-sac | 277 |
| (b) | Schönberg and Official revolution | 287 |
| (c) | Sibelius and the Integration of Form | 304 |
| (d) | The Symphonic Problem | 312 |
| (e) | Sibelius and the Music of the Future | 326 |
| Index | 333 |
All:The music, ho! Enter Mardian the Eunuch Cleopatra: Let it alone; let's to billiards.
—WILLIAM SHAKESPEARE
Part I
Table of Contents
