Norton anthology of Western music / edited by J. Peter Burkholder and Claude V. Palisca.

Volume One. Ancient to Baroque
Volume Two. Classic to Romantic
Volume Three. The twentieth century and after.

Volume One (xxv, 966 pages). The ancient and medieval worlds
Music in antiquity
Epitaph of Seikilos, song (epigram)
Euripides : Orestes, Greek tragedy, excerpt : Stasimon chorus
Roman liturgy and chant
Mass for Christmas Day, Gregorian chant mass. (a) Introit : Puer natus est nobis ; (b) Kyrie ; (c) Gloria ; (d) Gradual : Viderunt omnes ; (e) Alleluia : Alleluia Dies sanctificatus ; (f) Credo ; (g) Offertory : Tui sunt caeli ; (h) Sanctus ; (i) Agnus Die ; (j) Communion : Viderunt omnes ; (k) Ite, missa est
Chants from Vespers for Christmas Day, Gregorian chant office. (a) First Psalm with antiphon : antiphon Tecum principium and psalm Dixit Dominus ; (b) Hymn : Christe Redemptor omnium
Tropes on chants from mass for Christmas Day, introductory trope (liturgical drama), untexted trope, prosula, and intercalated tropes. (a) Tropes on introit Puer natus : Quem queritis in presepe (introductory trope / liturgical drama) and melisma (untexted trope) ; (b) Alleluia Multipharie olim Deus with prosula Natus est nobis - Multis loquutionibus ; (c) Troped offertory : Qui es sine principio - Tui sunt caeli
Sequences Victimae paschali laudes and Dies irae. (a) Attributed to Wipo : sequence for Easter Day, Victimae paschali laudes ; (b) Attributed to Thomas of Celano : sequence from the mass for the dead, Dies irae
Hildegard of Bingen : Ordo virtutum, sacred music drama : closing chorus, In principio omnes
Song and dance music to 1300
Bernart de Ventadorn : Can vei la lauzeta mover, canso (troubadour song)
Comtessa de Dia : A chantar, canso (troubadour song)
Adam de la Halle : Jeu de Robin et de Marion, musical play : rondeau, Robins m'aime
Walther von der Vogelweide : Palästinalied (Nū alrēst lebe ich mir werde), minnelied
Cantiga 159, Non sofre Santa María, cantiga (song), from Cantigas de Santa María
La quarte estampie royal, estampie, from La manuscrit du roi
Polyphony through the thirteenth century
Organa from Musica enchiriadis. (a) Tu patris sempiternus es filius, in parallel organum ; (b) Sit gloria domini, in parallel organum ; (c) Rex caeli domine, in mixed parallel and oblique organum
Alleluia Justus ut palma, Alleluia in note-against-note organum, from Ad organum faciendum
Jubilemus, exultemus, versus in Aquitanian polyphony
Leoninus and colleagues : Viderunt omnes, organum duplum
Clausulae on Dominus, from Viderunt omnes. (a) Dominus, clausula no. 26 ; (b) Dominus, clausula no. 29
Perotinus : Viderunt omnes, organum quadruplum
Motets on tenor Dominus. (a) Factum est salutare / Dominus ; (b) Fole acostumance / Dominus ; (c) Super te Ierusalem / Sed fulsit virginitas / Dominus
Adam de la Halle : De ma dame vient / Dieus, comment porroie / Omnes, motet
Petrus de Cruce (Pierre de la Croix) : Aucun ont trouvé / Lonc tans / Annuntiante, motet
Sumer is icumen in, rota
New developments in the fourteenth century
Philippe de Vitry : Cum statua / Hugo, Hugo / Magister invidie, motet
Guillaume de Machaut : La Messe de Nostre Dame, mass : Kyrie and Gloria. (a) Kyrie ; (b) Gloria
Guillaume de Machaut : Douce dame jolie, virelai
Guillaume de Machaut : Rose, liz, printemps, verdure, rondeau
Philipoctus de Caserta : En remirant vo douce pourtaiture, ballade
Jacopo da Bologna : Non al suo amante, madrigal
Francesco Landini : Così pensoso, caccia
Francesco Landini : Non avrà ma' pietà, ballata
The renaissance
England and Burgundy in the fifteenth century
Alleluia : a newë work, carol
John Dunstable : Quam pulchra es, motet or cantilena
Gilles Binchois : De plus en plus, rondeau
Guillaume Du Fay : Resvellies vous, ballade
Guillaume Du Fay : Christe, redemptor omnium, hymn in fauxbourdon style
Guillaume Du Fay : Se la face ay pale, ballade and cantus-firmus mass. (a) Se la face ay pale, ballade ; (b) Missa Se la face ay pale, cantus-firmus mass : Gloria
Franco-Flemish composers, 1450-1520
Antoine Busnoys : Je ne puis vivre, virelai
Jean de Ockeghem : Missa prolationum, mass : Kyrie
Henricus Isaac : Puer natus est, motet (Introit setting), from Choralis Constantinus
Henricus Isaac : Innsbruck, ich muss dich lassen, Lied
Josquin Desprez : Faulte d'argent, chanson
Josquin Desprez : Mille regretz, chanson
Josquin Desprez : Ave Maria... virgo serena, motet
Josquin Desprez : Missa Pange lingua, paraphrase mass : Kyrie and part of Credo. (a) Kyrie ; (b) Credo, excerpt : Et incarnatus est and Crucifixus
Madrigal and secular song in the sixteenth century
Juan del Encina : Oy comamos y bebamos, villancico
Jacques Arcadelt : Il bianco e dolce cigno, madrigal
Cipriano de Rore : Da le belle contrade d'oriente, madrigal
Luca Marenzio : Solo e pensoso, madrigal
Carlo Gesualdo : "Io parto" e non più dissi, madrigal
Claudin de Sermisy : Tant que vivray, chanson
Clément Janequin : Martin menoit son pourceau, chanson
Orlande de Lassus : La nuict froide et sombre, chanson
Claude Le Jeune : Revecy venir du printans, chanson
Ballettos. (a) Giovanni Giacomo Gastoldi : A lieta vita, balletto ; (b) Thomas Moreley : Sing we and chant it, ballett
Thomas Weelkes : As Vesta was, madrigal
John Dowland : Flow, my tears, air or lute song
Sacred music in the era of the reformation
Martin Luther : Nun komm, der Heiden, Heiland and Ein feste Burg, chorales. (a) Attributed to St. Ambrose : Veni redemptor gentium, hymn ; (b) Martin Luther : Nun komm, der Heiden Heiland, chorale ; (c) Martin Luther : Ein feste Burg, chorale ; (d) Johann Walter : Ein feste Burg, setting for four voices
Loys Bourgeois : Psalm 134 (Or sus, serviteurs du Seigneur), metrical psalm. (a) Psalm 134, Or sus, seviteurs du Seigneur ; (b) William Kethe : Psalm 100, All people that on earth do dwell
Thomas Tallis : If ye love me, anthem
William Byrd : Sing joyfully unto God, anthem
Nicholas Gombert : Ave regina caelorum, motet
Giovanni Pierluigi da Palestrina : Pope Marcellus Mass, mass : Credo and Agnus Dei I. (a) Credo ; (b) Agnus Dei I
Tomás Luis de Victoria : O magnum mysterium, motet and imitation mass. (a) O magnum mysterium, motet ; (b) Missa O magnum mysterium, imitation mass : Kyrie ; (c) Missa O magnum mysterium : Glorai ; (d) Missa O magnum mysterium : Sanctus
Orlande de Lassus : Cum essem parvulus, motet
The rise of instrumental music
Tielman Susato : dances from Danserye : Pavane and Gilliard La dona and Moresca La morisque. (a) No. 38 : Pavane La dona ; (b) No. 50 : Galliard La dona ; (c) No. 5 : Moresca La morisque
Anthony Holborne : The night watch and The fairie-round, consort dances. (a) The night watch, almain ; (b) The fairie-round, galliard
Luis de Narváez : from Los seys libros del Delphin, intabulation and variation set. (a) Cancion Mille regres, intabulation of Josquin's Mille regretz ; (b) Cuatro diferencias sobre "Guárdame las vacas," variation set
William Byrd : John come kiss me now, variations
Giovanni Gabrieli : Canzon septimi toni a 8, ensemble canzona, from Sacrae symphoniae
The seventeenth century
New styles in the seventeenth century
Claudio Monteverdi : Cruda Amarilli, madrigal
Giulio Caccini : Vedrò 'l mio sol, solo madrigal
The invention of opera
Jacopo Peri : Le musiche sopra l'Euridice, opera : excerpt. (a) Aria : Nel pur ardor ; (b) Dialogue in recitative : Per quel vago boschetto
Claudio Monteverdi : L'Orfeo, opera : excerpt from act II. (a) Aria / canzonetta : Vi ricorda o boschi ombrosi ; (b) Song : Mira, deh mira Orfeo ; (c) Dialogue in recitative : Ahi, caso acerbo ; (d) Recitative : Tu se' morta ; (e) Choral madrigal : Ahi, caso acerbo
Claudio Monteverdi : L'incoronazione di Poppea, opera : act I, scene 3. (a) Dialogue in recitative : Signore, deh non partire ; (b) Aria : In un sospir ; (c) Aria : Signor, sempre mi vedi ; (d) Dialogue in mixed styles : Adorati miei rai
Francesco Cavalli : Artemisia, opera : act I, scene 3. (a) Aria : Dubbia m'appar la luce ; (b) Dialogue in recitative : Vuo' legger l'epitafio ; (c) Duet : Pietà di mie pene
Music for chamber and church in the early seventeenth century
Barbara Strozzi : Lagrime mie, cantata
Giovanni Gabrieli : In ecclesiis, sacred concerto (motet)
Alessandro Grandi : O quam tu pulchra es, solo motet (sacred concerto)
Giacomo Carissimi : Historia di Jephte, oratorio : conclusion. (a) Recitative : Plorate colles ; (b) Chorus : Plorate filii Israel
Heinrich Schütz : Saul, Saul, was verfolgst du mich, SWV 415, sacred concerto, from Symphoniae sacrae III
Girolamo Frescobaldi : Toccata no. 3
Girolamo Frescobaldi : Ricercare after the Credo, from Mass for the Madonna, in Fiori musicali
Biagio Marini : Sonata IV per il violino per sonar con due corde, sonata for violin and continuo
France, England, Spain, the New World, and Russia in the seventeenth century
Jean-Baptiste Lully : Armide, opera (tragédie en musique or tragédie lyrique) : excerpts. (a) Overture ; (b) Conclusion of divertissement from act II, scene 4 : Laissons au tendre amour ; (c) Act II, scene 5 : Enfin il est en ma puissance
Jean-Baptiste Lully : Te Deum, grand motet (motet à grand choeur) : conclusion
Marc-Antoine Charpentier : Le reniement de Saint Pierre, historia or oratorio : conclusion. (a) Narration and dialogue in recitative : Ministri ergo Judeorum ; (b) Chorus : Et introductus est Petrus in domum ; (c) Recitative and quartet : "Et tu cum Jesu Nazareno eras?" ; (d) Chorus : Tunc respixit Jesus
Denis Gaultier : La coquette virtuose, courante
Elisabeth-Claude Jacquet de la Guerre : suite no. 3 in A minor, keyboard suite, from Pièces de clavecin. (a) Prelude ; (b) Allemande ; (c) Courante I and II ; (d) Sarabande ; (e) Gigue ; (f) Chaconne ; (g) Gavotte ; (h) Menuet


Henry Purcell : Dido and Aeneas, opera : conclusion : (a) Recitative : Thy hand, Belinda ; (b) Lament (ground bass aria) : When I am laid in earth ; (c) Chorus : With drooping wings
Tomás de Torrejón y Velasco, La púrpura de la rosa, opera : Excerpt. (a) Dialogue in strophic song : Y bien, ¿qué es lo que adviertes? ; (b) Chorus : Corred, corred, cristales
Juan Gutiérrez de Padilla : Albricias pastores, villancico
Italy and Germany in the late seventeenth century
Antonio Sartorio : Giulio Cesare in Egitto, opera : act II, scenes 3-4. (a) Scene 3, recitative : Mostra Cleopatra ; (b) Aria : Se qualcuna mi bramasse ; (c) Scene 4, aria : Son prigioniero ; (d) Trio : Vaga Lidia, ove sei? ; (e) Aria : Alla carcere d'un crine
Alessandro Scarlatti : Clori vezzosa, e bella, cantata : conclusion. (a) Recitative : Vivo penando ; (b) Aria : Sì, sì ben mio
Alessandro Scarlatti : La Griselda, opera : excerpt from act I, scene 2
Arcangelo Corelli : trio sanata in D major, op. 3, no. 2. (a) First movement, grave ; (b) Second movement, allegro ; (c) Third movement, adagio ; (d) Fourth movement, allegro
Dieterich Buxtehude : praeludium in E major, BuxWV 141, organ prelude
The eighteenth century
The early eighteenth century in Italy and France
Antonio Vivaldi : Concerto for violin and orchestra in A minor, op. 3, no. 6, from L'estro armonico. (a) First movement, allegro ; (b) Second movement, largo ; (c) Third movement, presto
François Couperin : Vingt-cinquième ordre, keyboard quite : excerpts. (a) La visionaire ; (b) La muse victorieuse ; (c) Les ombres errantes
Jean-Philippe Rameau : Hippolyte et Aricie, opera : act IV, conclusion. (a) Conclusion of scene 3 ; (b) Scene 4
German composers of the late baroque
Georg Philipp Telemann : Paris quartet no. 1 in G major (Concerto primo), TWV 43 : G1 : movements 3-5. (a) Third movement, presto ; (b) Fourth movement, largo ; (c) Fifth movement, allegro
Johann Sebastian Bach : Prelude and fugue in A minor, BWV 543. (a) Prelude ; (b) Fugue
Johann Sebastian Bach : chorale prelude on Durch Adams Fall, BWV 637
Johann Sebastian Bach : The well-tempered clavier, book I : prelude no. 8 in E-flat minor and fugue no. 8 in D-sharp minor, BWV 853. (a) Prelude no. 8 in E-flat minor ; (b) Fugue no. 8 in D-sharp minor
Johann Sebastian Bach : Nun komm, der Heiden Heiland, BWV 62, cantata. (a) No. 1, chorus : Nun komm, der Heiden Heiland ; (b) No. 2, aria (tenor) : Bewundert, o Menschen ; (c) No. 3, recitative (bass) : So geht aus Gottes Herrlichkeit und Thron ; (d) No. 4, aria (bass) : Streite, siege, starker Held! ; (e) No. 5, accompanied recitative (soprano and alto) : Wir ehren diese Herrlichkeit ; (f) No. 6, chorale : Lob sei Gott, dem Vater, ton
Johann Sebastian Bach : St. Matthew Passion, BWV 224 : excerpt. (a) No. 26, biblical narrative : Und der Hohepriester antwortete ; (b) No. 37, chorale : Wer hat dich so geschlagen ; (c) No. 38, biblical narrative : Petrus aber saß draußen im Palast ; (d) No. 39, aria : Erbarme dich ; (e) No. 40, chorale : Bin ich gleich von dir gewichen
George Frideric Handel : Giulio Cesare, opera : act II, scenes 1-2. (a) Scene 1, recitative : Eseguisti, oh Niren ; (b) Scene 2, recitative with sinfonia : Da Cleopatra apprenda ; (c) Aria : V'adoro, pupille
George Frideric Handel : Saul, oratorio : act II, scene 10. (a) No. 66, accompanied recitative : The time at length is come ; (b) No. 67, recitative : Where is the son of Jesse? ; (c) No. 68, chorus : O fatal consequence of rage
Appendixes and indexes.

Volume Two (xxiii, 1288 pages). The eighteenth century
Opera and vocal music in the early classic period
Giovanni Battista Pergolesi : La serva padrona, excerpt. (a) Recitative : Ah, quanto mi sta male ; (b) Aria : Son imbrogliato io
Johann Adolf Hasse : Cleofide : act II, scene 9, Digli ch'io son fedele
Jean-Jacques Rousseau : Le devin du village, scene I
John Gay : The beggar's opera : excerpt from scene 13. (a) Air XV : My heart was so free ; (b) Air XVI : Were I laid on Greenland's coast
Christoph Willibald Gluck : Orfeo ed Euridice : beginning of act II, scene I
William Billings : Creation, from The continental harmony
Instrumental music : sonata, symphony, and concerto
Domenico Scarlatti : sonata in D major, K. 119
Baldassare Galuppi : keyboard sonata in D major, op. 2, no. 1 (Illy no. 1). (a) First movement, adagio ; (b) Second movement, allegro assai ; (c) Third movement (theme and variations)
Carl Philipp Emanuel Bach : sonata in A major, H. 186, Wq. 55 / 4 : second movement, poco adagio
Giovanni Battista Sammartini : symphony in F major, J-C 32. (a) First movement, presto ; (b) Second movement, andante ; (c) Third movement, allegro assai
Johann Stamitz : sinfonia a 8 in E-flat major, op. 11, no. 3 : first movement, allegro assai
Johann Christian Bach : concerto for harpsichord or piano and strings in E-flat major, op. 7, no. 5 : first movement, allegro di molto
Classic music in the late eighteenth century
Joseph Haydn : string quartet in E-flat major, op. 33, no. 2 (The joke), Hob. III : 38. (a) First movement, allegro moderato, cantabile ; (b) Second movement, scherzo : allegro ; (c) Third movement, largo sostenuto ; (d) Fourth movement, finale : presto
Joseph Haydn : symphony no. 88 in G major, Hob 1 : 88. (a) First movement, adagio - allegro ; (b) Second movement, largo ; (c) Third movement, menuetto : allegretto ; (d) Fourth movement, finale : allegro con spirito
Joseph Haydn : The creation : no. 2, In the beginning God
Wolfgang Amadeus Mozart : piano sonata in F major, K. 332 : first movement, allegro
Wolfgang Amadeus Mozart : symphony no. 41 in C major (Jupiter), K. 551 : finale
Wolfgang Amadeus Mozart : Don Giovanni : act I, scenes 1-2. (a) Scene 1 ; (b) Scene 2
Wolfgang Amadeus Mozart : Ave verum corpus, K. 618
The nineteenth century
Revolution and change
Ludwig van Beethoven : piano sonata in C minor, op. 13 (Pathétique) : first movement
Ludwig van Beethoven : symphony no. 3 in E-flat major, op. 55 (Eroica) : first movement, allegro con brio
Ludwig van Beethoven : string quartet in A minor, op. 132 : movements 3-5. (a) Third movement, molto adagio (Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart) - andante (Neue Kraft fühlend) ; (b) Fourth movement, Alla Marcia, assai vivace - più allegro ; (c) Fifth movement, allegro appassionato
The romantic generation : song and piano music
Franz Schubert : Gretchen am Spinnrade, D. 118
Robert Schumann : Dichterliebe, op. 48 : excerpts. (a) No. 1, Im wunderschönen Monat Mai ; (b) No. 2, Aus meinen Tränen sprießen ; (c) No. 7, Ich grolle nicht ; (d) No. 12, Am leuchtenden Sommermorgen ; (e) No. 16, Die alten, bösen Lieder
Stephen Foster : Jeanie with the light brown hair
Franz Schubert : impromptu in G-flat major, op. 90 (D. 899), no. 3
Robert Schumann : Carnaval, op. 9 : nos. 5, 6, and 7. (a) No. 5, Eusebius ; (b) No. 6, Florestan ; (c) No. 7, Coquette
Fanny Mendelssohn Hensel : Das Jahr : no. 12, December
Fryderyk Chopin : Mazurka in B-flat major, op. 7, no. 1
Fryderyk Chopin : nocturne in D-flat, major, op. 27, no. 2
Franz Liszt : Trois études de concert : no. 3, Un sospiro
Louis Moreau Gottschalk : Souvenir de Porto Rico (Marche des Gibaros), op. 31
Romanticism in classical forms : choral, chamber, and orchestral music
Franz Schubert : Die Nacht, op. 17, no. 4, D. 983c
Felix Mendelssohn : St. Paul, op. 36 : nos. 13-16. (a) No. 13, recitative and arioso : Und zog mit einer Schar ; (b) No. 14, recitative and chorus : Und als er auf dem Wege war ; (c) No. 15, chorus : Mache dich auf, werde Licht ; (d) No. 16, choral : Wachet auf, ruft uns die Stimme
Franz Schubert : string quintet in C major, D. 956 : first movement, allegro ma non troppo
Clara Schumann : piano trio in G minor, op. 17 : third movement, andante
Hector Berlioz : Symphonie fantastique : fifth movement, "Dream of a witches' sabbath"
Felix Mendelssohn : violin concerto in E minor, op. 64 : first movement, allegro molto appassionato
Robert Schumann : symphony no. 1 in B-flat major, op. 38 (Spring) : first movement, andante un poco maestoso - allegro molto vivace
Romantic opera and musical theater to midcentury
Gioachino Rossini : Il barbiere di Siviglia : act I, no. 7, Una voce poco fa
Vincenzo Bellini : Norma : excerpt from act I, scene 4, Casta Diva
Giacomo Meyerbeer : Les Huguenots : conclusion of act II. (a) Orchestral introduction and scene : entrée de la cour (entrance of the court), Oui, d'un heureux hymen ; (b) Slow section : serment (oath), Par l'honneur ; (c) Accompanied recitative : scène (scene), Et maintenant ; (d) Fast conclusion : strette (stretta), O transport!
Carl Maria von Weber : Der Freischütz : act II, finale, Wolf's Glen scene. (a) Chorus and dialogue : Milch des Mondes fiel aufs Kraut ; (b) Accompanied recitative with spoken dialogue : Trefflich bedient! ; (c) Melodrama : Schütze, der im Dunkeln wacht
Opera and musical theatre in the later nineteenth century
Richard Wagner : Tristan und Isolde : prelude and conclusion of act I. (a) Prelude to act 1 ; (b) Conclusion of act I
Giuseppe Verdi : La traviata : act III, scena and duet. (a) Scena : Signora ; (b) Tempo d'attacco : Colpevol sono ; (c) Cantabile : Parigi, o cara ; (d) Tempo di mezzo : Ah non più ; (e) Cabaletta : Ah! Gran Dio! Morir si giovane
Giacomo Puccini : Madama Butterfly : excerpt from act I
Georges Bizet : Carmen : act I, no. 10, seguidilla and duet
Francisco Asenjo Barbieri : El barberillo de Lavapiés : nos. 9 and 10. (a) No. 9, seguidilla : En el templo di Marte ; (b) No. 10, finale to act II : La puerta de esta casa
Modest Musorgsky : Boris Godunov : coronation scene
Arthur Sullivan : The pirates of Penzance : act II, no. 17, When the foeman bares his steel
Late romanticism in German musical culture
Johannes Brahms : symphony no. 4 in E minor, op. 98 : fourth movement, allegro energico e passionato
Johannes Brahms : Quintet for piano and strings in F minor, op. 34 : first movement, allegro non troppo
Richard Strauss : Don Quixote, op. 35 : themes and variations 1-2
Diverging traditions in the later nineteenth century
César Franck : violin sonata in A major : fourth movement, allegretto poco mosso
Gabriel Fauré : La bonne chanson, op. 61 : no. 6, Avant que tu ne t'en ailles
Piotr Il'yich Tchaikovsky : symphony no. 6 in B minor (Pathétique), op. 74 : third movement, allegro molto vivace
Antonín Dvořák : Slavonic dances, op. 46 : no. 1, presto
Amy Beach : Gaelic symphony (symphony in E minor), op. 32 : second movement, alla Siciliana - allegro vivace
John Philip Soua : The stars and stripes forever
Appendixes and indexes.

Volume Three (xx1, 986 pages). The twentieth century and after
The early twentieth century : vernacular music
Scott Joplin : Maple leaf rag. (a) piano roll ; (b) as played by Jelly Roll Morton
The early twentieth century : the classical tradition
Gustav Mahler : Kindertotenlieder : no. 1, Nun will die Sonn' so hell aufgeh'n
Richard Strauss : Salome, op. 54 : scene 4, conclusion, Ah! Ich habe deinen Mund geküsst
Claude Debussy : Nocturnes : no. 1, Nuages
Maurice Ravel : Rapsodie espagnole : movements 1-2. (a) First movement, Prélude à la nuit ; (b) Second movement, Malagueña
Manuel de Falla : Homenaje
Gustav Holst : Suite no. 1 in E-flat for military band, op. 28, no. 1 : second movement, Intermezzo
Serge Rachmaninoff : prelude in G minor, op. 23, no. 5
Alexander Scriabin : Vers la flamme, op. 72
Jean Sibelius : symphony no. 4 in A minor, op. 63 : third movement, Il tempo largo
Erik Satie : Embryons desséchés : no. 3, de Podophthalma
Radical modernists
Arnold Schoenberg : Pierrot lunaire, op. 21 : excerpts. (a) No. 8, Nacht ; (b) No. 13, Enthauptung
Arnold Schoenberg : piano suite, op. 25 : excerpts. (a) Prelude ; (b) Minuet and trio
Alban Berg : Wozzeck, op. 7 : act III, scenes 2-3. (a) Scene 2 ; (b) Scene 3
Anton Webern : symphony, op. 21 : first movement, Ruhig schreitend
Igor Stravinsky : The rite of spring : excerpts. (a) Danse des adolescentes ; (b) Danse sacrale
Igor Stravinsky : Octet for wind instruments : first movement, Sinfonia
Béla Bartók : Mikrokosmos : no. 123, Staccato and legato
Béla Bartók : Music for strings, percussion and celesta : third movement, adagio
Charles Ives : The unanswered question
Charles Ives : Piano sonata no. 2, Concord, Mass., 1840-1860 : third movement, The Alcotts
Between the world wars : Jazz and popular music
George Gershwin : I got rhythm, from Girl crazy
Bessie Smith : Back water blues
King Oliver : West End blues. (a) Original sheet music (not on recording) ; (b) Transcription of recording by Louis Armstrong and his hot five
Duke Ellington : Cotton tail
Between the world wars : the classical tradition
Darius Milhaud : La création du monde, op. 81a : first tableau
Kurt Weill : Die Dreigroschenoper : prelude, Die Moritat von Mackie Messer
Paul Hindemith : Symphony Mathis der Maler : second movement, Grablegung
Sergey Prokofiev : Alexander Nevsky, op. 78 : fourth movement, Arise, ye Russian people
Dmitri Shostakovich : symphony no. 5, op. 47 : second movement, allegretto
Heitor Villa-Lobos : Bachianas brasileiras no. 5 : no. 1, aria (cantilena)
Edgard Varèse : Hyperprism
Henry Cowell : The banshee
Ruth Crawford Seeger : String quartet 1931 : fourth movement, allegro possible
Aaron Copland : Appalachian spring : excerpt with variations on 'Tis the gift to be simple
William Grant Still : Afro-American symphony (symphony no. 1) : first movement, moderato assai
Postwar crosscurrents
Charlie Parker and Dizzy Gillespie : Anthropology. (a) Lead sheet ; (b) Transcription of Charlie Parker's solo
Miles Davis : So what
John Coltrane : Giant steps
Leonard Bernstein : West Side story : act 1, no. 8, Cool
Postwar heirs to the classical tradition
Benjamin Britten : Peter Grimes : act III, scene 2, To hell with all your mercy!
Olivier Messiaen : Quatuor pour la fin du temps : first movement, Liturgie de cristal
Pierre Boulez : Le marteau sans maître : movement 6, Bourreaux de solitude
John Cage : Sonatas and interludes : sonata V
John Cage : Music of changes : book I
Edgard Varèse : Poème électronique
Milton Babbitt : Philomel : section I
Krzysztof Penderecki : Threnody for the victims of Hiroshima
The late twentieth century
Bright Sheng : Seven tunes heard in China : no. 1, Seasons
Steve Reich : Come out
John Adams : Short ride in a fast machine
György Ligeti : Étude no. 9, Vertige
Sofia Gubaidulina : Rejoice! Sonata for violin and violoncello : fifth movement, Listen to the still small voice within
Alfred Schnittke : concerto grosso no. 1 : second movement, toccata
Arvo Pärt : Seven magnificat antiphons : excerpts. (a) No. 1 : O Weisheit ; (b) No. 6 : O König aller Völker
The twenty-first century
Kaija Saariaho : L'amour de loin : act IV, scene 3, Tempête
Caroline Shaw : Partita for 8 voices : first movement, allemande
Osvaldo Golijov : La Pasión según San Marcos : nos. 24-26. (a) No. 24, Escarnio y Negación ; (b) No. 25, Desgarro de la Túnica ; (c) No. 26, Lúa descolorida (Aria de las lágrimas de Pedro)
Thomas Adès : violin concerto, Concentric paths, op. 23 : first movement, Rings
John Adams : Doctor Atomic : Act I, conclusion, Batter my heart
Jennifer Higdon : blue cathedral
Appendixes and indexes.