Ideas and Styles chapter
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Page(s)
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Piece
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OAWM 3
|
21
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371-73
|
Gustav Mahler, First Symphony, Third movement
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1
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21
|
371-73
|
Gustav Mahler, Fifth Symphony, Fourth movement, Adagietto
|
2
|
22
|
389-91
|
Richard Strauss, Salome, Last scene
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3
|
22
|
394-95
|
Arnold Schoenberg, Sechs kleine Klavierstücke (Six Little Piano Pieces), Op. 19, No. 6
|
4a
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22
|
393-96
|
Anton Webern, Sechs Bagatellen für Streichquartet (Six Bagatelles for String Quartet), Op. 9, No. 5
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5
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22
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393-96
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Anton Webern, Fünf Stücke für Orchester (Five Pieces for Orchestra), Op. 10, No. 4
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6
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22
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394-95
|
Arnold Schoenberg, Pierrot lunaire (Moonstruck Pierrot), Op. 21: No. 1, “Mondestrunken” (Moondrunk)
|
7a
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22
|
394-95
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Arnold Schoenberg, Pierrot lunaire (Moonstruck Pierrot), Op. 21: No. 18, “Der Mondfleck” (The Moonspot)
|
7b
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22
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384-89
|
Claude Debussy, Children’s Corner: “Golliwogg’s Cakewalk”
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8
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23
|
411-12
|
Erik Satie, Trois Sarabandes (Three Sarabandes), Sarabande 1
|
9
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22
|
384-89
|
Claude Debussy, Pour le piano (For the piano), Second movement, Sarabande
|
10
|
22
|
384-89
|
Claude Debussy, Préludes, Book 1, “Voiles”
|
11
|
22
|
384-89
|
Claude Debussy, Pelléas et Mélisande, Act 4, Scene 4
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12
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21
|
369-70
|
Gabriel Fauré, La bonne chanson (The Good Song), Op. 61, No. 1
|
13
|
22
|
388
|
Lili Boulanger, Pie Jesu
|
14
|
22
|
391-93
|
Igor Stravinsky, The Rite of Spring: Introduction
|
15a
|
22
|
391-93
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Igor Stravinsky, The Rite of Spring: “The Augurs of Spring (Dances of the Young Girls)”
|
15b
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22
|
391-93
|
Igor Stravinsky, The Rite of Spring: “Dance of the Earth”
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15c
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22
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391-93
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Igor Stravinsky, The Rite of Spring: “Sacrificial Dance (The Chosen One)”
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15d
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21
|
379-80
|
Jean Sibelius, The Swan of Tuonela, Op. 22, No. 3
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16
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21
|
379-80
|
Ralph Vaughan Williams, Fantasia on a Theme of Thomas Tallis
|
17
|
23
|
416-19
|
Béla Bartók, Fourteen Bagatelles: Bagatelle No. 4
|
18a
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23
|
416-19
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Béla Bartók, Fourteen Bagatelles: Bagatelle No. 2
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18b
|
23
|
416-19
|
Béla Bartók, Dance Suite, Movements 1–4
|
19
|
23
|
416
|
Leoš Janáček, Po zarostlém chodníčku (On an Overgrown Path), “Lístek odvanutý” (A Blown-away Leaf)
|
20
|
21
|
373
|
Alexander Nikolayevich Scriabin, Vers la flame (Toward the Flame), Op. 72
|
21
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22
|
396-98
|
Charles Ives, The Concord Sonata, Third movement, “The Alcotts”
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22
|
22
|
396-98
|
Charles Ives, Three Places in New England, “Putnam’s Camp”
|
23
|
23
|
412-14
|
Igor Stravinsky, Octet for Wind Instruments: Tema con variazione
|
24a
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23
|
412-14
|
Igor Stravinsky, Octet for Wind Instruments: Finale
|
24b
|
23
|
403-6
|
Arnold Schoenberg, Suite for Piano, Op. 25: Gavotte
|
25a
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23
|
403-6
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Arnold Schoenberg, Suite for Piano, Op. 25: Menuett/Trio
|
25b
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23
|
403-6
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Arnold Schoenberg, Suite for Piano, Op. 25: Gigue
|
25c
|
23
|
406-8
|
Alban Berg, Lyric Suite, Sixth movement, “Largo desolato” (Broken-hearted largo)
|
26
|
23
|
408-10
|
Anton Webern, Symphony, Op. 21, First movement
|
27
|
23
|
422-24
|
W. C. (William Christopher) Handy, “St. Louis Blues”
|
28
|
23
|
412, 424
|
Maurice Ravel, Violin Sonata, Second movement, “Blues”
|
29
|
23
|
422-24
|
Irving Berlin and Ted Snyder, “That Mysterious Rag”
|
30
|
23
|
424
|
George Gershwin, Rhapsody in Blue
|
31
|
23
|
411-12
|
Erik Satie, Parade: “Little American Girl”
|
32a
|
23
|
411-12
|
Erik Satie, Parade: “Ragtime of the Passenger Steamer”
|
32b
|
23
|
411-12
|
Darius Milhaud, Saudades do Brasil (Memories of Brazil),
“Ipanema,” Op. 67
|
33
|
23
|
421-22
|
Virgil Thomson, Susie Asado
|
34
|
23
|
415-16
|
Paul Hindemith, Kammermusik Nr. 1 (Chamber Music No. 1), First movement
|
35
|
22
|
395-96
|
Alban Berg, Wozzeck, Act 3
|
36
|
23
|
422-24
|
Kurt Weill, Die Dreigroschenoper (The Threepenny Opera): “Moritat vom Mackie Messer” (Ballad of Mack the Knife)
|
37a
|
23
|
422-24
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Kurt Weill, Die Dreigroschenoper (The Threepenny Opera): Zweites Dreigroschenfinale (Second-Act Finale)
|
37b
|
23
|
419-21
|
Dmitry Shostakovich, Symphony No.5 in D Minor, Op. 47, Third movement, Largo
|
38
|
23
|
419-21
|
Sergey Prokofiev, Alexander Nevsky: Third movement (“The Crusaders of Pskov”)
|
39a
|
23
|
419-21
|
Sergey Prokofiev, Alexander Nevsky: Fourth movement (“Arise, People of Russia”)
|
39b
|
23
|
419-21
|
Sergey Prokofiev, Alexander Nevsky: Fifth movement (“Field of the Dead”)
|
39c
|
23
|
416-19
|
Béla Bartók, Concerto for Orchestra, Fourth movement, “Intermezzo interrotto” (Interrupted Intermezzo)
|
40
|
4, 23
|
47, 414-15
|
Carl Orff, Carmina Burana (Songs of Beuren): “O Fortuna” (No. 1)
|
41a
|
4, 23
|
47, 414-15
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Carl Orff, Carmina Burana (Songs of Beuren): “Tempus est iocundum” (No. 22)
|
41b
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4, 23
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47, 414-15
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Carl Orff, Carmina Burana (Songs of Beuren): “Dulcissime” (No. 23)
|
41c
|
23
|
424-426
|
Ruth Crawford Seeger, Prelude No. 6
|
42
|
23
|
424-26
|
Henry Cowell, The Tides of Manaunaun
|
43
|
22
|
396-98
|
Charles Ives, Three Quarter-Tone Pieces, No. 2, Allegro
|
44
|
23
|
421-22
|
Aaron Copland, Billy the Kid: “The Open Prairie”
|
45a
|
23
|
421-22
|
Aaron Copland, Billy the Kid: Excerpt from “Street in a Frontier Town”
|
45b
|
23
|
421-22
|
Samuel Barber, Adagio for Strings, Op. 11
|
46
|
23
|
411-12
|
Benjamin Britten, Peter Grimes, Act 3, Scene 2
|
47
|
24
|
431-32
|
Olivier Messiaen, Quatuor pour le fin du temps (Quartet for the End of Time): First movement, “Liturgie de cristal” (Liturgy of crystal)
|
48a
|
24
|
431-32
|
Olivier Messiaen, Quatuor pour le fin du temps (Quartet for the End of Time): Fifth movement, “Louange à l’éternité de Jésus”
(Praise to the eternity of Jesus)
|
48b
|
24
|
431-32
|
Olivier Messiaen, Quatuor pour le fin du temps (Quartet for the End of Time): Sixth movement, “Danse de la fureur, pour les sept trompettes”
(Dance of the fury, for the seven trumpets)
|
48c
|
24
|
431-32
|
Olivier Messiaen, Mode de valeurs et d’intensités (Scheme of Note Values and Dynamics)
|
49
|
24
|
431-32
|
Pierre Boulez, Structures, Ia
|
50
|
23
|
426
|
John Cage, Bacchanale for prepared piano
|
51
|
24
|
441-43
|
Morton Feldman, Rothko Chapel
|
52
|
24
|
431-32
|
Igor Stravinsky, Requiem Canticles: Lacrimosa
|
53a
|
24
|
431-32
|
Igor Stravinsky, Requiem Canticles: Libera me
|
53b
|
24
|
431-32
|
Igor Stravinsky, Requiem Canticles: Postlude
|
53c
|
24
|
431-32
|
Milton Babbitt, Composition for Four Instruments
|
54
|
24
|
431-32
|
Elliott Carter, First String Quartet, First movement, “Fantasia”
|
55
|
24
|
444-46
|
Steve Reich, Music for 18 Musicians
|
56
|
24
|
446-48
|
Philip Glass, Einstein on the Beach, Prologue and Knee Play 1
|
57
|
24
|
443-46
|
Arvo Pärt, Tabula Rasa (Clean slate), Second movement, “Silentium”
|
58
|
23
|
448-53
|
Leonard Bernstein, West Side Story, “Cool”
|
59
|
24
|
442-43
|
Luciano Berio, Sinfonia, Second Movement, O King
|
60
|
24
|
442-43
|
George Rochberg, Third String Quartet, Third movement
|
61
|
24
|
432-34, 439-40
|
George Crumb, Ancient Voices of Children, No. 4, “Todas las tardes en Granada, todas las tardes se muere un niño” (Each afternoon
in Granada, each afternoon a child dies) and “Ghost Dance”
|
62
|
24
|
442-44
|
Sofia Asgatovna Gubaidulina, In croce for organ and cello
|
63
|
24
|
442-44
|
Alfred Schnittke, Third String Quartet, First movement
|
64
|
24
|
446-48
|
John Adams, Nixon in China, “News, News”
|
65
|
24
|
442-44
|
Kaija Saariaho, L’amour de loin (Love from Afar),
Excerpt from Act 3
|
66
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