Music since 1900 – serie

Elliott Carter's Late Music

Music in Germany since 1968

Stravinsky's Piano

Genesis of a Musical Language

Britten's Unquiet Pasts

Sound and Memory in Postwar Reconstruction

The Musical Language of Pierre Boulez

Writings and Compositions

Elliott Carter's Late Music

Luigi Dallapiccola and Musical Modernism in Fascist Italy

British Musical Modernism

The Manchester Group and their Contemporaries

Luigi Nono

A Composer in Context

Music in Germany since 1968

Harrison Birtwistle's Operas and Music Theatre

Schoenberg's Tonal Music

Depictive Text Painting and the Birth of the 'Musical Idea'

Alan Bush, Modern Music, and the Cold War

The Cultural Left in Britain and the Communist Bloc

Avant-Garde on Record

Musical Responses to Stereos

Gérard Grisey and Spectral Music

Composition in the Information Age

Yugoslav Avant-Garde Music, 1945-1991

Yugoslav Avant-Garde Music, 1945-1991

The Orchestral Music of Michael Tippett

Creative Development and the Compositional Process

Music and Protest in 1968

John Cage and David Tudor

Correspondence on Interpretation and Performance

The Spectral Piano

From Liszt, Scriabin, and Debussy to the Digital Age

Stravinsky and the Russian Period

Sound and Legacy of a Musical Idiom

New Music at Darmstadt

Nono, Stockhausen, Cage, and Boulez

French Music and Jazz in Conversation

From Debussy to Brubeck

Schoenberg's Twelve-Tone Music

Symmetry and the Musical Idea

Prokofiev's Soviet Operas

The Graph Music of Morton Feldman

Musical Witness and Holocaust Representation

Transformations of Musical Modernism