Part 1: Heritage Of Antiquity:
Orpheus and the magical powers of music (Ovid)
Pythagoras and the numerical properties of music (Nicomachus)
Aristotle on the purposes of music
Kinship of music and rhetoric (Quintilian)
Music in temple and synagogue: Judaic heritage (bible, Philo of Alexandria)
Music in the Christian churches of Jerusalem, c A D 400 (Egeria)
Church fathers of psalmody and on the dangers of unholy music (St Basil, St John Chrysostom, Origen of Alexandria, Eusebius of Caesarea, Honorius of Autun)
Testimony of St Augustine
Transmission of the classical legacy (Boethius, Shakespeare)
Music as a liberal art (Scholia enchiriadis)
Before notation (Isidore of Seville, St Augustine, John the Deacon, Notker Balbulus, Costumal of St Benigne)
Embellishing the liturgy (Notker Balbulus, Ethelwold)
Musical notation and its consequences (Odo of Cluny, Guido of Arezzo, Chaucer)
Music in courtly life (Raimbaut de Vaqueiras, Roman de la rose)
Emergence of polyphony (Aldhelm, Scotus Erigena, Hucbald, Regino of Prum, Giraldus Cambrensis, Anon, IV, John of Salisbury)
Forms and practices of music, c 1300 (Johannes de Grocheo, Aegidius of Murino)
First musical Avant-Garde (Jean de Muris, Jacobus of Liege, John XXII, motet and madrigal texts)
Life of Francesco Landini (Filippo Villani)
Letter from Guillaume de Machaut
Fount and origin (Martin Le Franc, Tinctoris)
Music at church and state festivities in the early renaissance (Manetti, d'Escouchy)
Triumph of Emperor Maximilian
Music as a business (Petrucci, Francis I, Tallis and Byrd)
Music in Castiglione's Courtier
Josquin des Prez in the eyes of his contemporaries (Glareanus, Gian, Coclico, Luther)
Luther and music (Luther, Walther, parody texts)
Reformation in England (cathedral injunctions, John Bull)
High renaissance style (Aron, Zarlino)
Willaert the reformer (Zarlino, Stocker)
Music at a Medici wedding (Giunti)
Lasso and Palestrina as revealed in their letters
Life of the church musician (Constitutiones Capellae Pontificiae, Zarlino, etc)
Genres of music in the high renaissance (Morley, Cerone, Vicentino)
Counter reformation (Bishop Franco, Council of Trent, Palestrina, Animuccia, Ruffo, Gregory XIII, Coryat)
Palestrina: fact and legend (Agazzari, Cresollio, Guidiccioni, Baini, Palestrina)
Madrigals and Madrigalism (Mazzone, Zarlino-Morley)
Gesualdo, Nobleman musician (Fontanelli)
Most musical court in Europe (Bottrigari, Giustiniani)
Music and dancing as social graces (anonymous conversation book, Arbeau, Byrd, Morley, Shakespeare)
Renaissance instrumentalists (Tinctoris, Ventemille, cathedral and municipal documents)
Radical humanism: end of the Renaissance (Vicentino, Mersenne, Le Jeune, Galilei)
Birth of a new music (Caccini)
Second practice (Artusi, Monteverdi)
Earliest operas (Gagliano, Striggio)
Basso Continuo and figured bass (Agazzari, Banchieri)
From the letters of Monteverdi
Schutz recounts his career
Doctrine of figures (Bernhard)
Music and scientific empiricism (Milton, Bacon)
Music in the churches of Rome, 1639 (Maugars)
Music under the sun king (Pierre Rameau)
Rationalistic distaste for opera (Corneille, Saint-Evremond, La Bruyere)
New sound ideal (Mersenne, Le Blanc)
Baroque sonata (North, Purcell, Couperin)
Modern concert life is born (North)
Mature Baroque: Doctrine of the affections (Descartes, Mattheson)
Art of music reduced to rational principles (J P Rameau)
Earliest musical conservatories (Burney)
Castrato singers (Burney)
Conventions of the opera seria (Goldoni)
Opera audiences in eighteenth-century Italy (Sharp)
Domenico Scarlatti at the harpsichord (Burney)
Traveler's impressions of Vivaldi (Uffenbach)
Couperin on his Pieces de Clavecin
Piano is invented (Maffei)
Addison and Steele poke fun at Handel's first London opera
Some contemporary documents relating to Handel's oratorios
Bach's duties and obligations at Leipzig
Bach remembered by his son
Bach's obituary (C P E Bach, Agricola)
Part 5: Pre-Classical Period:
Cult of the natural (Heinichen, Scheibe)
Advice and opinions of an Italian singing master (Tosi)
From Geminiani's violin tutor
From Quantz's treatise on flute playing
Carl Philipp Emanuel Bach on playing keyboard instruments
Rise of the Italian comic opera style (La serva padrona, d'Holbach, Hiller)
From Rousseau's Dictionary of Music
Part 6: Classical Period:
Side trip into aesthetics (Rousseau, Avison, Beattie, Twining, Smith, Kant)
Haydn's duties in the service of Prince Esterhazy
Gluck's operatic manifesto
Some general thoughts on music by Dr Burney
Frederick the Great gives a concert (Burney)
Young Mozart as a scientific curiosity (Barrington)
Haydn's reception in London (Burney, London dailies)
Sonata form and the symphony described by a contemporary of Haydn (Kollmann)
Musical episode of the French Revolution
Beethoven's Heiligenstadt testament
First reactions to Beethoven's 'Eroica' symphony
Contemporary portrait of Beethoven
First performance of Beethoven's ninth symphony
Part 7: Later Nineteenth Century: Romanticism And Other Preoccupations:
Music as a proper occupation for the British female (Burgh)
Schubert remembered by a friend (Spaun)
Paganini, the spectacular virtuoso (Hunt)
Virtuoso conductor (Spohr)
State of music in Italy in 1830
From the writings of Berlioz
Program of the Symphonie Fantastique
From the writings of Schumann
Liszt, the all-conquering pianist
From the writings of Liszt
Glimpses of Chopin composing, playing the piano
Mendelssohn and Queen Victoria
From the writings of Wagner
Music of the future controversy (Schumann, Liszt, Brendel, Brahms)
P T Barnum brings the Swedish nightingale to America
Smetana and the Czech National Style (Novotny)
New Russian school (Stasov)
Musorgsky, a musical realist
Chaikovsky on inspiration and self-expression
Brahms on composing (Henschel)
Brahim point of view (Hanslick)
Verdi at the time of Otello
Grieg on the Norwegian element in his music
Post-Wagnerians: Richard Strauss
Part 8: Twentieth Century:
Debussy and musical impressionism
Questioning basic assumptions (Busoni)
From the writings of Charles Ives
Musical expressionism (Schoenberg, Wellesz, et al)
Retreat to the ivory tower (Berg)
Death of tonality? (Webern)
Arnold Schoenberg on composition with twelve tones
Rite of Spring (Stravinsky, Van Vechten, Cui, Du Mas)
Futurist manifesto (Russolo)
New folklorism (Bartok, Stravinsky, Vaughan Williams)
Between the wars (sessions)
New objectivity (Stravinsky)
Anti-Romantic Polemics from Stravinsky's autobiography
Schoenberg on Stravinsky, Stravinsky on Schoenberg
Cult of Blague: Satie and The Six (Satie, Collet, Milhaud)
Only twentieth-century aesthetic? (Thomson)
Approaching the limits of compression (Schoenberg, Webern)
Assimilation of jazz (Gershwin, Ravel)
New musical resources (Cowell)
Music and the social conscience (Weill, Hindemith, Copland)
Music and ideology (Russian Association of Proletarian Musicians)
Composer on trial (Prokofiev)
Outlook after World War II (Thomson)
New developments in serialism (Boulez, Babbitt)
Postwar compositional "issues" (sessions)
Master of organized sound (Varese)
New approaches to the organization of time (Carter)
Contemporary composer and society (Babbitt, Rochberg)