1. Definitions given are derived from Webster's New Universal Unabridged Dictionary.

   2. The definitions presented in this paragraph are based on information published at the URLs listed below.

http://www.arts.ouc.bc.ca/fina/glossary/h_list.html

http://www.yale.edu/lawweb/jbalkin/writings.htm

http://www.endtime.com/03_oldsite/ezine/jan_feb00/historicism.htm

http://www.as.ua.edu/ant/Faculty/murphy/histor.htm

   3. These examples of contemporary usage appeared at the following URLs:

http://precollege.juilliard.edu/pages/Composers/Bios/Brahms.htm

http://www.may.ie/academic/music/jgarratt/jgarratt.shtml

http://www.wku.edu/Music/wolinskisyllabi328.html

   1. This passage is quoted from Adam Gopnik's article, "The Porcupine: A Pilgrimage to Popper," which appeared in the 1 April 2002 edition of The New Yorker. The full text is posted online at the following URL:

http://www.newyorker.com/critics/atlarge/?020401crat_atlarge

   2. This passage is quoted from the notes accompanying the world premiere recording of Easley Blackwood's Cello Sonata, op. 31, on which the composer himself accompanies cellist Kim Scholes in a performance of both his own work and the Cello Sonata of Frank Bridge. The recording is listed in the Cedille Records catalog as CDR 90000 008.

   3. This etymology appears in Webster's New Universal Unabridged Dictionary. For an in-depth discussion of the problems associated with temporal boundaries, see my monograph, Has the Arrow of Time Missed Its Mark?, at the following URL:

http://www.newmusicclassics.com/resume_folder/arrow_of_time.html

   4. Quoted in Paul Davies' About Time: Einstein's Unfinished Revolution (New York: Simon and Schuster, 1995), 70.

   1;. I apologize if my description of postmodernism inadvertently summons to mind Jaba the Hut, as one of my proofreaders has kindly forewarned me.

   2. This statement might be considered in light of the following:

Modernism's purported effort to escape the dominant culture and to promote artistic autonomy has now been declared an illusion by the Postmodernists. In such a critical stance, deconstruction was born: not only were all texts now seen to conceal the seeds of their opposite as well as all intermediate grounds, but the notion of a creative construction or discovery that certifies the self's power to act autonomously was held to be a fiction. (Watkins, 404–405)

   1. Quoted in Watkins, 215.

   1. For further information, see Gottfried Semper, The Four Elements of Architecture and Other Writings, trans. H. F. Mallgrave and W. Herrmann (New York: Cambridge University Press, 1989).

   2. Most of the quotations by music critics cited in this book appear in Slonimsky's Lexicon of Musical Invective.

   1. Frank J. Tipler, The Physics of Immortality (New York: Doubleday, 1994), xii.

   2. Milton Babbitt, "Who Cares if You Listen?", High Fidelity 8/2 (February 1958): 39–40.

   3. Quoted in Watkins, 38.

   4. Igor Stravinsky, Poetics of Music (Cambridge, Mass., 1939/R 1954, 1977), 82.

   5. Watkins, 58.

   6. Pierre Boulez and Michel Foucault, "Contemporary Music and the Public," CNAC magazine no. 15 (May–June 1983). Translation appears in Rahn, 86.

   7. Pierre Boulez, Orientations (Cambridge, Mass.: 1986). Quoted in Watkins, 59.

   8. Among Debussy's lesser known or smaller historicist works are the following: Rodrigue et Chimène (unfinished, 1890–92); Le Roi Lear (1904–06, completed by Roger-Ducasse in 1926); Six épigraphes antiques (piano duet arrangement of Chansons de Bilitis, 1914); Trois chansons de Charles d'Orléans (1898–1908); "Le gladiateur: 'Mort aux romains'" (1898); L'enfant prodigue (1906–08); and "Syrinx" (1913).

   9. Quoted in Calvin Tomkins, The Bride and the Bachelors: Five Masters of the Avant Garde, expanded ed. (New York: Penguin, 1976), 91.

 10. See "What is Valuable in Art and Can Music Still Achieve It?" in Rahn, 56.

 11. Quoted from Charles Ives, "Epilogue," in Essays Before a Sonata and Other Writings, ed. Howard Boatwright (New York: Norton, 1961), 79–80. See also Grout, 774.

 12. Jacques Attali, Noise: The Political Economy of Music, trans. Brian Massumi, foreword by Frederic Jameson, afterword by Susan McClary (Minneapolis: University of Minnesota Press, 1985), 7. Quoted in Rahn, 14.

 13. Clive Aslet, "Classicism of the Year 2000," in New Classicism in Architecture and Urbanism, Architectural Design Profile 71 (1988): 7.

 14. Luigi Russolo, The Art of Noises, trans. Barclay Brown (New York: Pendragon Press, 1986), 76.

 15. Grout and Palisca, 660.

 16. The Suite for Piano—Schönberg's first completely dodecaphonic composition—was consciously modeled after baroque prototypes, as evidenced by the names assigned to each of its movements: "Präludium," "Gavotte," "Musette," "Intermezzo," "Menuett and Trio," and "Gigue."

 17. Otto Deri, Exploring Twentieth-Century Music (New York: Holt, Rinehart and Winston, 1968), 271.

 18. I created this mock citation as a kind of mimetic exercise à la maniere de Pierre Boulez to bring the succeeding quotations by Boulez and Edward Said into sharper focus. See n. 19.

 19. The first quotation was spoken by Pierre Boulez in the course of an interview with Michel Foucault that was published as "Contemporary Music and the Public," CNAC magazine no. 15 (May–June 1983). The translated text appears in Rahn, 89. The second quotation is derived from Edward Said's "The Politics of Knowledge," Raritan 11 (Summer 1991): 72–73. See Watkins, 483, n. 36. For a critical review of Said, the following URL may be of interest:

http://www.newcriterion.com/archive/17/jan99/said.htm

As a mild example of his postcolonial critical posture, Said states that Verdi's Aida represents "an imperial notion of the non-European world."

 20. Gardner, 155, 162.

 21. Quoted in Watkins, 424.

 22. "Beyond Global Village Economy," in Towards a Cosmic Music: Texts by Karlheinz Stockhausen, trans. Tim Nevil (Longmead, Eng.: 1989), 24–25, 30–31.

 23. Watkins, 60.

 24. This text was published by CNN, with an accompanying video clip, at the following URL on 19 January 2001:

http://www3.cnn.com/2001/ALLPOLITICS/stories/01/19/video.rickymartin/index.html

   1. Quoted in Watkins, 127.

   2. "Historicism and the Question of Originality in the Arts" is published at the following URL:

http://www.newmusicclassics.com/resume_folder/historicism_introduction.html

   1. Trachtenberg and Hyman, 401–02.

   2. Ibid, 443–44.

   1. Lawrence Gowing, Paintings in the Louvre (New York: Stewart, Tabori and Chang, 1987), 584–85.

   2. Kristin A. Mortimer and William G. Klingelhofer, Harvard University Art Museums: A Guide to the Collections (New York: Abbeville Press, 1986), 174.

   1. Quoted in Gardner, 250.

   2. Oxford Companion to Literature, s.v. "Waste Land, The."

   3. Gardner, 11.

   4. T. S. Eliot, "Tradition and the Individual Talent," in Selected Essays (New York: 1950), 4.

   1. Trachtenberg and Hyman, 442–43.

   2. Information about the Nashville Parthenon was derived from the following URL:

http://www.nashville.gov/parthenon/History.htm

   3. Information about the Cathedral of Christ the Savior was obtained from the following URLs:

http://www.stots.edu/library/khram.html

http://www.litosonline.com/articles/48/art4801.shtml

http://www.moskva.ru/guide/churchs/hrhrspas1e.html

   1. Adrian Eeles, Canaletto (London: Hamlyn, 1984), 35.

   2. The following URL provides both a reproduction of the photograph and information about Samuel Bourne:

http://www.photographymuseum.com/bourne.html

   3. The most complete Web source for information about the "Pacific 97 Triangles" is the "Stamp Issues" link at the following USPS web page:

http://shop.usps.com/cgi-bin/vsbv/postal_store_non_ssl/home.jsp

Since the year of issue is 1997, and available information is evidently retroactive for approximately five years, the source material consulted may no longer appear online after 2003. Further information about historical triangle issues is available at the following URL:

http://home.iae.nl/users/triangle/

   1. Oxford Companion to English Literature, s.v. "Pope, Alexander."

   2. Alexander Pope, preface to The Iliad of Homer, translated by Mr. Pope, vol. 1 (London: W. Bowyer for Bernard Lintott, 1715). This text is available online at:

http://www.saltana.com.ar/1/esc/94.html

   3. This text, edited by Maxwell S. Luria and Richard L. Hoffman, and translated by Craig E. Bertolet, is available at the following URL:

http://www.auburn.edu/~bertocr/Sumer.html

   4. Ezra Pound, "Poems," Blast 2 (London: July 1915), 20. This text is available online at the following URL:

http://www.americanpoems.com/poets/ezrapound/

   5. Oxford Companion to English Literature, s.v., "Pound, Ezra."

   1. Oxford Companion to Gardens, s.v. "Pope's Garden."

   2. Michael Charlesworth, "Alexander Pope's Garden at Twickenham: An Architectural Design Proposed," Journal of Garden History 7.1 (1987): 58–72.

   3. I am deeply indebted for most of the information about Mt. St. Bernard to Victoria M. Young, "A. W. N. Pugin's Mount Saint Bernard Abbey: The International Character of England's Nineteenth-Century Monastic Revival," published at the following URL:

http://www.19thc-artworldwide.org/spring_02/articles/youn.html

   4. Quinlan Terry: Selected Works, with an introduction by Ken Powell, Architectural Monographs no. 27 (New York: St. Martin's Press, 1993), 7.

   5. For an image of Quinlan Terry's Villa Veneto and further information, the following URL is highly recommended:

http://home.btconnect.com/erithandterry/houses/veneto.html

   1. For this historical and technical information, I am much indebted to the following URL:

http://www.thepotteries.org/walks/etruria/3a.htm

   2. Timothy Hilton, The Pre-Raphaelites (London: Thames and Hudson, 1970), 22.

   3. To view digital reproductions of Ligare's work and to learn more about the artist, the following URL is highly recommended:

http://www.davidligare.com/Ligare4.html

   1. The Oxford Companion to English Literature, s.v. "Chatterton, Thomas."

   2. The text of the poem, with annotations, is published online at the following URL:

http://eir.library.utoronto.ca/rpo/display/poem456.html

   3. Louise J. Kaplan, The Family Romance of the Impostor-Poet Thomas Chatterton (New York: Atheneum, 1988), 172.

   4. "Salammbô, independently of the lady herself, is henceforth the name of a battle, of several battles." The correspondence between Flaubert and Sainte-Beuve concerning Salammbô is available at the following URL:

http://www.lyc-hoche-versailles.ac-versailles.fr/cdi/litter/data/flaubert/1salambo.htm

   1. Trachteberg and Hyman, 444–47.

   2. Ibid., 447–53.

   1. Stephen F. Eisenman, introduction to Nineteenth Century Art, 2d ed. (Thames and Hudson: 2002). Excerpts from Eisenman's book appear online at:

http://www.thamesandhudsonusa.com/college/19thC_art/introduction3.htm

   2. Joyce Plesters, "Identification of the Materials of Painting, Section II: Ultramarine Blue, Natural and Artificial," Studies in Conservation II (May 1966): 77. This source is cited at the following URL:

http://www.lilinks.com/mara/history5.html

   3. For more information about Carlo Maria Mariani, the following URL is highly recommended:

http://www.carlomariamariani.com/home.html

The Moon Enters Closed Eyes is reproduced on the following web page:

http://www.carlomariamariani.com/paintings/pnt8.html

   1. The text quoted appears at the following URL:

http://www.starwars.com/community/askjc/steve/askjc20000515.html

   2. John Calhoun, "Origins of the Jedi," Entertainment Design, 1 July 1999. The article is published online at:

http://www.entertainmentdesignmag.com/ar/show_business_origins_jedi/index.htm

   3. This quotation and subsequent information about the design of the film have been taken from the article cited in n. 2.

   4. Tom Stoppard, The Invention of Love (New York: Grove Press, 1997), 42.

   1. Quoted in Grout and Palisca, 153.

   2. Quoted in Lippman, 37.

   3. Lippman, 30, and Grout and Palisca, 271.

   4. Lippman, 33–35.

   5. Watkins, 273.

   1. Grout and Palisca, 521.

   2. H. C. Robbins-Landon, The Mozart Compendium: A Guide to Mozart's Life and Music (New York: Schirmer Books, 1990), 307.

   3. See also m. 14, where parallel octaves occur between the bass and the lowest "voice" of the treble between beats 3 and 4.

   4. Warren Kirkendale, "New Roads to Old Ideas in Beethoven's Missa Solemnis," Musical Quarterly 56 (1970). See also Maynard Solomon, Beethoven, 2d rev. ed. (New York: Schirmer Books, 1998), 401, 676.

   5. Maynard Solomon, Beethoven, 2d rev. ed. (New York: Schirmer Books, 1998), 666.

   6. Ibid., 402–403.

   7. Solomon, Beethoven, 34.

   8. Solomon, Beethoven, 295.

   9. Solomon, Beethoven, 396.

 10. Solomon, Beethoven, 392.

 11. Watkins, 461.

 12. The following URL has proved to be especially helpful in reviewing the life and works of Hovhaness:

http://www.hovhaness.com/

 13. The Three Haikus are published by Peters.

   1. Gardner, 200.

   2. Ibid., 203.

   3. Gardner, 215.

   4. Gardner, 216.

   5. Gardner, 216–17.

   6. Gardner, 217.

   7. Igor Stravinsky and Robert Craft, Conversations (Garden City, New Jersey, 1959), 103. See also Watkins, 373.

   8. Andrew Ross, The Failure of Modernism: Symptoms of American Poetry (New York: 1986), 81, 63. See also Watkins, 371–72.

   9. Quoted in Gardner, 218.

 10. Ms. Carr's research was presented on 6 August 2002 at the IMS 2002 conference in Leuven, Belgium. A short synopsis was formerly available at the following URL:

http://millennium.arts.kuleuven.ac.be/ims2002/6augustabstr.htm

 11. Quoted in Scott Messing, Neoclassicism in Music from the Genesis of the Concept through the Schoenberg/Stravinsky Polemic (Ann Arbor, UMI Research Press, 1988), 115–16.

 12. See Constant Lambert, Music Ho! A Study of Music in Decline, 2nd ed. (New York, October House, 1967).

 13. Igor Stravinksy and Robert Craft, Expositions and Developments (Garden City, New York: Doubleday, 1962), 128.

 14. Ibid., 112.

 15. Quoted by Joseph Horowitz in "Repertoire Notes" at the web site of publisher Boosey and Hawkes:

http://www.boosey.com/pages/cr/catalogue/cat_detail.asp?musicid=3471

 16. Watkins, 292–93.

    1. Karl Geiringer, Johann Sebastian Bach: The Culmination of an Era (New York: Oxford University Press, 1966), 37.

    2. Ralph Waldo Emerson. The Portable Emerson, with an introduction and notes by Mark van Doren (The Viking Press, 1965), 286.

    3. H. C. Robbins-Landon, The Mozart Compendium: A Guide to Mozart's Life and Music (New York: Schirmer Books, 1990), 307. The author does not indicate the key of the fragmentary sarabande.

    4. Biographical information and sound samples of the First and Fifth Symphonies of Easley Blackwood are available at the following URLs:

https://www.cedillerecords.org/blackwood.html

https://www.cedillerecords.org/016.html

    5. For sound samples of Blackwood's microtonal works, the following URL is recommended:

https://www.cedillerecords.org/018.html

    6. Bruce Duffie, "Easley Blackwood: The Composer in Conversation with Bruce Duffie," New Music Connoisseur Magazine (Summer 2001). Published online at:

http://www.bruceduffie.com/blackwood.html

   7. Ibid.

   8. Easley Blackwood and Frank Bridge. Blackwood and Bridge Cello Sonatas. Easley Blackwood and Kim Scholes. Cedille compact disc CDR 90000 008, notes.

   9. Ibid.

   1. For much of the information contained in this section, I am indebted to Professor Christoph Wolff of Harvard University, in whose course—Mozart's Magic Flute—I was enrolled in 1977–78.

   2. For further information about the Janissaries, I found the following URLs particularly instructive:

http://www.wikipedia.org/wiki/Janissaries

http://www.cankan.com/gturkishfolks/12mehter_janissary%20band.htm

http://musicalconfrontations.com/janissaries.htm

   3. The New Oxford Companion to Music, s.v. "Turkish music."

   4. Harvard Dictionary of Music, s.v. "Gypsy music."

   5. Louis Spohr, Symphonies Nos. 3 and 6 "Historical," Alfred Walter and the Czecho-Slovak State Philharmonic Orchestra, Marco Polo compact disc 8.223439, notes.

   6. Ibid.

   7. Harlow Robinson. Sergei Prokofiev: A Biography, with a new foreword and afterword by the author (Boston: Northeastern University Press, 2002), 54.

   8. Ibid., 131.

   9. Robinson, 173.

 10. Robinson, 507.

   1. Gardner, 35.

   2. Ibid., 405.

   3. Ibid.

   4. Gardner, 369.

   5. Gardner, 20.

   6. Gardner, 140.

   7. Gardner, 25.

   1. The translation is my own. The original text is as follows:

   2. Benjamin Boretz, "Interface Part IV: On Thinking About Various Issues Induced by the Problem of Discovering That One Is Not a 'Composer', and That the Space Which One Inhabits Musically Is Not 'America'," in Rahn, 131.