Modern Music: A Quarterly Review

Volume 3: November 1925 – June 1926

Number 1 (November 1925 – December 1925)

• Page 2: Michel Larionov, A Parisian Group Drawn [drawing of Stravinsky, Diaghilev, Cocteau, and Satie]
• Pages 3-8: Emile Vuillermoz, "Honegger and His Time"
• Pages 9-15: Boris de Schloezer, "The Soviet Fosters a Provincial Art"
• Page 16: Michel Larionov, Lord Berners at the Piano, and Leonide Massine [drawing]
• Pages 17-19: Alfredo Casella, "The Festival at Venice"
• Page 20: Natalie Gontcharova, A Scene from the Ballet Les Noces by Igor Stravinsky [drawing]
• Page 21: [blank page]
• Pages 22-24: Darius Milhaud, "The Day After Tomorrow"
• Pages 25-29: Zoltan Kodaly, "New Music From Old"
• Pages 30-39: Forecast and Review
  • Pages 30-31: Albert Roussel, "The Future Orchestra"
  • Pages 31-33: Paul Stefan, "Echoes From Prague"
  • Pages 33-35: Scott Goddard, "Music Heard in England"
  • Pages 35-37: André Coeuroy, "French Gains and Losses"
  • Pages 37-39: B.H. Haggin, "Two Notable Books" [Adolf Weissmann, The Problems of Modern Music; and Rosamond Johnson and Lawrence Brown, The Book of American Negro Spirituals]
• Page 40: Contributors to This Issue

Number 2 (January 1926 – February 1926)

• Pages 3-9: Henry Prunieres, "The Departure from Opera"
• Pages 10-16: Gilbert Seldes, "Jazz Opera or Ballet?"
• Pages17-20: Ottorino Respighi, "Marionettes as Seen by an Italian"
• Pages 21-26: M.L., "Skyscrapers: An Experiment in Design: An Interview with Robert Edmond Jones"
• Pages 27-35: Forecast and Review
  • Pages 27-30: Victor Belaiev, "New Visions in the Russian Theatre"
  • Pages 30-31: Hugo Riesenfeld, "Film Music"
  • Pages 31-35: A. Walter Kramer, "For a New Repertoire at the Opera House"
• Page 36: Contributors to this Issue

Number 3 (March 1926 – April 1926)

• Page 2: Camille Roche, [drawing of Arthur Honegger]
• Pages 3-7: Paul Pisk, "The Tonal Era Draws to a Close"
• Pages 8-12: Daniel Lazarus, "Study of a Recent French Movement"
• Pages 13-20: Aaron Copland, "America's Young Men of Promise"
• Pages 21-26: Alfred Einstein, "Paul Hindemith"
• Pages 27-31: Adolfo Salazar, "A New Generation in Spain"
• Pages 32-40: Forecast and Review
  • Pages 32-36: Raymond Petit, "Music Written for French Films"
  • Pages 36-38: Adolph Weissmann, "Unexpected Developments in Germany"
  • Pages 38-40: Paul Stefan, "Wozzek [sic], An Atonal Opera"
• Page 41: Contributors to this Issue

Number 4 (May 1926 – June 1926)

• Pages 3-9: Pitts Sanborn, "The 1925 – 1926 Season"
• Pages 10-15: Edwin Evans, "Half-Time in England"
• Pages 16-20: Leon Vallas, "Young Romantics in Central Europe"
• Page 21: Caesar Kunwald, Zoltan Kodaly [a charcoal drawing]
• Pages 22-27: Erwin Stein, "Schoenberg and the German Line"
• Pages 28-35: Forecast and Review
  • Pages 28-30: Guido Gatti, "A Young Florentine" [Mario Castelnuovo Tedesco]
  • Pages 30-33: Henry Prunieres, "Honegger's Judith"
  • Pages 33-35: Victor Belaiev, "Russia's Newest Composers"
• Page 36: Contributors to this Issue

Volume 4: November 1926 – June 1927

Number 1 (November 1926 – December 1926)

• Page 2: Wozzeck, Act I, Scene 2 [scene from the Berlin 1925 production of the opera]
• Pages 3-8: Boris de Schloezer, "The Operatic Paradox"
• Pages 9-14: Emerson Whithorne, "Where Do We Go from Here?"
• Pages 15-18: Raymond Petit, "Mystics in Music Today"
• Pages 19-24: Egon Wellesz, "The Return to the Stage"
• Pages 25-38: Forecast and Review
  • Pages 25-28: Henry O. Osgood, "The Blues"
  • Pages 28-31: Aaron Copland, "Playing Safe at Zurich"
  • Pages 31-33: Erwin Felber, "Step-Children of Music"
  • Pages 33-36: Roger Sessions, "An American Evening Abroad"
  • Pages 36-38: Arthur Hoeree, "Last Spring in Paris"
• Page 39: Contributors to this Issue
• Page 40: Index to Back Numbers

Number 2 (January 1927 – February 1927)

• Pages 3-8: Henrietta Straus, "Honest Antagonism"
• Pages 9-14: Aaron Copland, "Jazz Structure and Influence"
• Pages 15-20: Marion Bauer, "Impressionists in America"
• Pages 21-23: Lazare Saminsky, "East Meets West"
• Pages 24-27: Pitts Sanborn, "A Glance Toward the Left"
• Pages 28-31: Howard Hanson, "Of Critics, Publishers and Patrons"
• Pages 32-38: Forecast and Review
  • Pages 32-33: Frederick Jacobi, "In Retrospect"
  • Pages 33-37: Alexander Fried, "'For the People'"
  • Pages 37-38: Newman Levy, "The Ballads of the Nineties"
• Page 39: Contributors to this Issue
• Page 40: Index to Back Numbers

Number 3 (March 1927 – April 1927)

• Pages 3-7: Hugo Leichtentritt, "Musical Transmigrations"
• Pages 8-14: H.H. Stuckenschmidt, "Machines—A Vision of the Future"
• Page 15: [image of stage and costume design for Bartok's Tanz Suite]
• Page 16: [blank page]
• Pages 17-21: Alfredo Casella, "Russia, 1926"
• Pages 22-28: John Redfield, "A Wider Range for Chamber Music"
• Pages 29-33: Henry Cowell, "Our Inadequate Notation"
• Pages 34-38: Forecast and Review
  • Pages 34-37: Eric Blom, "Young Britons"
  • Pages 37-38: Nicolas Slonimsky, "Vladimir Dukelsky"
• Page 39: Contributors to this Issue
• Page 40: Index to Back Numbers

Number 4 (May 1927 – June 1927)

• Pages 3-7: Frederick Jacobi, "Music and Words"
• Pages 8-14: Mario Labroca, "The Rebirth of Italian Opera"
• Pages 15-19: Leonide Sabaneyev, "To Conquer New Tonal Regions"
• Pages 20-26: Adolph Weissmann, "Germany's Latest Music Dramas"
• Pages 27-37: The Spring Season in Review
  • Pages 27-30: Roy D. Welch, "A Symphony Introduces Roger Sessions"
  • Pages 30-33: Richard Hammond, "Ballyhoo"
  • Pages 33-35: Herbert Peyser, "Now It Can Be Told"
  • Pages 35-37: Edward Burlingame Hill, "Copland's Jazz Concerto in Boston"
• Page 38: Contributors to this Issue
• Pages 40-41: Index to Back Numbers

Volume 5: November 1927 – June 1928

Number 1 (November 1927 – December 1927)

• Page 2: Ralph Stackpole, Ernest Bloch [portrait]
• Pages 3-11: Roger Huntington Sessions, "Ernest Bloch"
• Pages 12-21: Hugo Leichtentritt, "Harmonic Daring in the 16th Century"
• Pages 22-24: Alban Berg, "A Word About 'Wozzeck'"
• Pages 25-30: Edwin Evans, "Arnold Bax"
• Pages 31-42: Forecast and Review
  • Pages 31-34: Aaron Copland, "Baden-Baden, 1927"
  • Pages 34-38: Adolph Weissmann, "A Festival That Failed" [International Society for Contemporary Music: fifth festival at Frankfort]
  • Pages 38-39: Lazare Saminsky, "More About 'Faustus'" [Busoni]
  • Pages 39-42: André Coeuroy, "'Oedipus' and Other Music Heard in Paris" [Stravinsky]
• Page 43: Contributors to this Issue
• Page 44: Index to Back Numbers

Number 2 (January 1928 – February 1928)

• Pages 3-8: André Coeuroy, "Picasso and Stravinsky"
• Pages 9-18: Henry Cowell, "The Music of Edgar Varese" [sic]
• Page 19: Stefan Hirsch, Edgar Varese [portrait drawing]
• Pages 20-23: Richard Hammond, "Maurice Ravel, 1927"
• Pages 24-28: Irving Weil, "The Noise-Makers"
• Pages 29-32: Alexander Fried, "The Prestige of Good Music"
• Pages 33-38: Forecast and Review
  • Pages 33-36: Oscar Thompson, "New Music Heard Before Christmas"
  • Pages 36-38: Lazare Saminsky, "Russian Composers in Review"
• Page 39: Contributors to this Issue
• Page 40: Index to Back Numbers

Number 3 (March 1928 – April 1928)

• Pages 3-8: Arthur Lourie, "'Neogothic and Neoclassic'"
• Pages 9-15: Roger Sessions, "On Oedipus Rex" [Stravinsky's opera]
• Pages 16-20: Aaron Copland, "Music Since 1920"
• Pages 21-25: Boris de Schloezer, "An Age of Plenty"
• Pages 26-34: Forecast and Review
  • Pages 26-28: Henrietta Straus, "The Fruits of Victory"
  • Pages 28-33: Domenico de Paoli, "Young Voices in Milan"
  • Pages 33-34: Robert Simon, review of The American Songbag by Carl Sandburg (published by Harcourt, Brace & Co.)
• Page 35: Contributors to this Issue
• Page 36: Index to Back Numbers

Number 4 (May 1928 – June 1928)

• Pages 3-10: Hugo Leictentritt, "Schönberg [Schoenberg] and Tonality"
• Pages 11-15: Frederick Jacobi, "The New Apollo"
• Pages 16-18: Alfredo Casella, "Reflections on the European Season"
• Pages 19-20: [production design images for Hindemith's Cardillac by Leo Pasetti]
• Pages 21-27: Henry Cowell, "New Terms for New Music"
• Pages 28-31: Carlos Chavez, "Technique and Inner Form"
• Pages 32-38: Forecast and Review
  • Pages 32-34: Edward Burlingame Hill, "The Young Composers' Movement"
  • Pages 34-36: Marc Blitzstein, "Hin und Zurück in Philadelphia" [Hindemith]
  • Pages 36-38: Marion Bauer, review of Music: A Science and an Art by John Redfield (published by Alfred A. Knopf)
• Page 39: Contributors to this Issue
• Page 40: Index to Back Numbers

Volume 6: November 1928 – June 1929

Number 1 (November 1928 – December 1928)

• Pages 3-10: Boris de Schloezer, "The Drift of the Century"
• Pages 11-16: Andre Schaeffner, "Georges Auric—Peasant of Paris"
• Pages 17-23: Adolph Weissmann, "Ernst Krenek"
• Page 24: [image of design for Stravinsky's Apollon Musagete by A. Bauchant]
• Pages 25-28: Richard Hammond, "Ballets Russes, 1928"
• Pages 29-34: Alfred Einstein, "The Newer Counterpoint"
• Pages 35-42: Forecast and Review
  • Pages 35-38: Alfredo Casella, "Siena's Festival"
  • Pages 38-40: Oscar Thompson, "More Fun, Less Music"
  • Pages 40-42: Hans Gutman, "Berlin and Modern Works"
• Page 43: Contributors to this Issue
• Page 44: Index to Back Numbers

Number 2 (January 1929 – February 1929)

• Page 2: [Portrait of Prokofiev by Natalia Gontcharova]
• Pages 3-9: Leonid Sabaneyeff, "Russia's Strong Man" [Prokofiev]
• Pages 10-13: G. Francesco Malipiero, "A Plea for True Comedy"
• Pages 14-19: Aaron Copland, "The Lyricism of Milhaud"
• Pages 20-25: Robert Simon, "Jerome Kern"
• Pages 26-29: Carol Berard, "Recorded Noises - Tomorrow's Instrumentation"
• Pages 30-42: Forecast and Review
  • Pages 30-32: Arthur Mendel, "First Fruits of the Season"
  • Pages 32-35: Herbert Peyser, "Jonny Over There" [Krenek's Jonny Spielt Auf]
  • Pages 35-39: Henry Prunières, "Stravinsky and Ravel, Winter, 1928"
  • Pages 39-42: Domenico de Paoli, "Pizzetti's Fra Gherardo"
• Page 43: Contributors to this Issue
• Page 44: Index to Back Numbers

Number 3 (March 1929 – April 1929)

• Page 2: [design for Stravinsky's Les Noces, second tableau, by Sergei Soudeikine]
• Pages 3-11: Hugo Leichtentritt, "On the Art of Bela Bartok"
• Pages 12-18: Henry Cowell, "Music of the Hemispheres"
• Pages 19-25: Richard Hammond, "Viewing Les Noces in 1929"
• Pages 26-29: Lazare Saminsky, "Race and Revolution"
• Pages 30-36: Forecast and Review
  • Pages 30-32: Leonid Sabaneyeff, "Dawn in Sweden"
  • Pages 32-36: Pitts Sanborn, "Making the Grand Tour"
• Page 37: Contributors to this Issue
• Pages 38-39: Index to Back Numbers

Number 4 (May 1929 – June 1929)

• Pages 3-9: Irving Weil, "The American Scene Changes"
• Pages 10-14: Aloys Mooser, "Geneva—Another Disappointment"
• Pages 15-19: Aaron Copland, "From a Composer's Notebook"
• Pages 20-24: Oscar Thompson, "Heard in New York"
• Pages 25-33: Forecast and Review
  • Pages 25-28: Nikolai Lopatnikoff, "New Life in Berlin"
  • Pages 28-31: Marion Bauer, "Discovering the Dynamic Line"
  • Pages 31-33: Henry Cowell, "Hidden Irish Treasure"
• Pages 34-35: Index to Back Numbers
• Page 36: Contributors to this Issue

Volume 7: December 1929 – July 1930

Number 1 (December 1929 – January 1930)

• Page 2: [image of a design by Johannes Schröder for Schoenberg's opera Die Glückliche Hand]
• Pages 3-11: Arthur Lourie, "An Inquiry Into Melody"
• Pages 12-23: "Farewell to Diaghilev"
  • Pages 12-15: Darius Milhaud, "I. The Brilliant Impresario"
  • Pages 15-19: Andre Schaeffner, "II. Though Far From Russia"
  • Pages 19-23: Nicholas Roerich, "III. A Lone Fighter"
• Pages 24-28: Paul Stefan, "Schönberg's Operas"
• Pages 29-33: Jefrey Mark, "An Exact Notation"
• Pages 34-44: Forecast and Review
  • Pages 34-37: Hans Gutman, "Tabloid Hindemith" [on Hindemith's opera Neues vom Tage]
  • Pages 37-39: Lazare Saminsky, "Jürg Jenatch" [Heinrich Kaminski' opera]
  • Pages 39-42: Oscar Thompson, "Fly-Wheel Opera" [Max's Brand's Maschinist Hopkins]
  • Pages 42-44: Mary Ellis Opdyke, "De Falla in Review"
• Page 45: Contributors to this Issue

Number 2 (February 1930 – March 1930)

• Page 2: Robert Edmond Jones, The Creature of Destiny [design for the chimera in Schoenberg's opera Die Glückliche Hand]
• Pages 3-10: Hans Gutman, "Young Germany , 1930"
• Pages 11-14: Darius Milhaud, "Experimenting With Sound Films"
• Pages 15-19: Hermann Closson, "The Case Against 'Gebrauchmusik'"
• Pages 20-23: Richard Hammond, "Music and the Dance Theatre"
• Pages 24-27: Nicolas Slonimsky, "Composers of New England"
• Pages 28-41: Forecast and Review
  • Pages 28-31: Oscar Thompson, "Variations and the Season's New Music"
  • Pages 31-34: André Schaeffner, "Stravinsky's 'Capriccio'"
  • Pages 34-38: Henry Cowell, "Vocal Innovators of Central Europe"
  • Pages 38-41: Eberhard Preussner, "Germany's New Music Literature"
• Page 42: Contributors to this Issue

Number 3 (April 1930 – May 1930)

• Page 2: Giorgio di Chirico, Dècor for Krenek's Opera Orest [image]
• Pages 3-17: Boris de Schloezer, "The Way of Understanding" [taken from the introductory section of the author's book La Domaine Musicale]
• Pages 18-21: Paul Amadeus Pisk, "Schönberg's Twelve-Tone Opera" [Von Heute auf Morgen]
• Pages 22-24: H.H. Stuckenschmidt, "Hellenic Jazz" [on Krenek's Leben des Orest]
• Page 25: Giorgio di Chirico, Two Designs for Krenek's Opera Orest [images]
• Pages 26-31, Edwin Evans, "Walton and Lambert"
• Pages 32-36: Dane Rudhyar, "The Mystic's Living Tone"
• Pages 37-45: Forecast and Review
  • Pages 37-41: Raymond Petit, "A Critical Portrait of Stravinsky"
  • Pages 41-43: Willi Reich, "Berg's New Work, Der Wein"
  • Pages 43-45: Marion Bauer, "New Musical Resources" [on Henry Cowell]
• Page 46: Contributors to this Issue

Number 4 (June 1930 – July 1930)

• Page 2: Oskar Kokoschka, Arnold Schönberg [painting]
• Pages 3-10: Erwin Stein, "Schönberg's New Structural Form"
• Pages 11-16: George Antheil, "Wanted–Opera By and For Americans"
• Pages 17-24, Paul Stefan, "Music in Post-Empire Austria"
• Pages 25-31: Charles Louis Seeger, "On Dissonant Counterpoint"
• Pages 32-41: The German Opera Season Reviewed
  • Pages 32-36: Hans Gutman, "Mahagonny and Other Novelties"
  • Pages 36-38: Nikolai Lopatnikoff, "Christophe Colombe" [Milhaud]
  • Pages 38-41: Theodor Wiesengrund-Adorno, "Transatlantic"
• Page 42: Contributors to this Issue

Volume 8: November 1930 – June 1931

Number 1 (November 1930 – December 1930)

• Pages 3-9: A. Walter Kramer, "American Composers. III: Louis Gruenberg"
• Pages 10-20: Frederick Jacobi, "Liege, 1930"
• Pages 21-26: Domenico de Paoli, "Italy's New Music of the Theatre"
• Pages 27-32: Hans Gutman, "The Festivals as Music Barometers"
• Pages 33-44: Forecast and Review
  • Pages 33-35: Irving Weil, "Mr. Kleiber Presents–"
  • Pages 35-37: Alfred V. Frankenstein, "Hindemith and Bach at Chicago"
  • Pages 37-40: Lazare Saminsky, "St. Francis by Faggi and by Malipiero"
  • Pages 40-41: Alexander Smallens, "Musica Americana in a Handy Manual" [American Composers of To-Day by The International Society for Contemporary Music]
  • Pages 41-44: Aaron Copland, "Modern Orchestration Surveyed" [review of Egon Wellesz, Die Neue Instrumentation]
• Page 45: Contributors to this Issue
• Pages 46-47: Index to Back Numbers of Modern Music
• Page 48: Coming Features of Modern Music

Special Supplement to Vol. 8, No. 1

• Pages 1-24: Joseph Yasser, "The Future of Tonality: Tonality and Atonality as Synthesized By Supra-Tonality"

Number 2 (January 1931 – February 1931)

• Page 2: Robert Edmond Jones, "Stravinsky's 'Oedipus Rex': A Preliminary Sketch" [image]
• Pages 3-8: Paul Rosenfeld, "The Destiny of Exile"
• Pages 9-13: Hugh Ross, "Szymanowski and His Stabat Mater"
• Pages 14-19: Hans Heinsheimer, "A New Patron for Music"
• Pages 20-22: Mary Wigman, "Composition in Pure Movement"
• Pages 23-28: Richard Hammond, "American Composers. IV: Emerson Whithorne"
• Pages 29-38: Theodor Wiesengrund-Adorno, "Berg and Webern–Schönberg's Heirs"
• Pages 39-47: Forecast and Review
  • Pages 39-42: Marc Blitzstein, "New York Chronicle of New Music"
  • Pages 42-45: Walter Piston, "Stravinsky as Psalmist—1931"
  • Pages 45-47: Henry Cowell, "The 'Sones' of Cuba"
• Page 48: Contributors to this Issue

Number 3 (March 1931 – April 1931)

• Page 2: Lee Simonson, "Figure from The Age of Steel" [Prokofiev]
• Pages 3-9: Boris de Schloezer, "Man, Music and the Machine"
• Pages 10-14: Hans Heinsheimer, "Film Opera – Screen vs. Stage"
• Pages 15-19: Max Butting, "Music of and for the Piano"
• Pages 20-24: Charles Weyl, "The Orchestra on the Air"
• Page 25: Robert Edmond Jones, design of The Barracks' Scene in Wozzeck [image]
• Pages 26-31: Joseph Schillinger, "Electricity, A Musical Liberator"
• Pages 32-34: Henry Cowell, "Music of and for the Records"
• Pages 35-47: Forecast and Review
  • Pages 35-38: Richard Hammond, "Pioneers of Movie Music"
  • Pages 38-42: Marc Blitzstein, "Dancers of the Season"
  • Pages 42-45: Colin McPhee, "Winter Chronicle New York"
  • Pages 45-46: Alfred Einstein, "Schönberg's Super-Film Musik"
  • Pages 46-47: Marion Bauer, "World Almanac of Radio" [review of Andre Coeuroy, Panorama de la Radio]
• Page 48: Contributors to this Issue

Number 4 (May 1931 – June 1931)

• Pages 3-11: Arthur Lourie, "The Crisis in Form"
• Pages 12-16: Alfred Schlee, "Expressionism in the Dance"
• Pages 17-28: Randall Thompson, "American Composers V. George Antheil"
• Pages 29-32: Nikolai Lopatnikoff, "Independents in Central Europe"
• Pages 33-47: Forecast and Review
  • Pages 33-39: Marc Blitzstein, "Spring Season in the East"
  • Pages 39-42: Bernard Rogers, "Rochester's American Series"
  • Pages 42-44: Alfred V. Frankenstein, "The Coolidge Festival—Music and Dance"
  • Pages 44-47: Wladimir Vogel, "New Drift in Germany's I.S.C.M."
• Page 48: Notes on Contributors

Volume 9: November 1931 – June 1932

Number 1 (November 1931 – December 1931)

• Pages 3-7: Hans Heinsheimer, "Youth Leaves the Vanguard"
• Pages 8-16: John Tasker Howard, "American Composers VI: John Alden Carpenter"
• Pages 17-23: Aaron Copland, "Contemporaries at Oxford, 1931"
• Pages 24-27: Alfred Schlee, "Laban and the Berlin Staatsoper"
• Pages 28-30: Jerzy Fitelberg, "Aspects of Instrumentation Today"
• Pages 31-45: Forecast and Review
  • Pages 31-33: Randall Thompson, "The Bartered Cow" [review of Louis Gruenberg's opera Jack and the Beanstalk]
  • Pages 33-35: Hans Gutman, "Janacek's House of the Dead"
  • Pages 35-38: Arthur Mendel, "Source Book of American Music" [review of John Tasker Howard, Our American Music]
  • Page 38-41: Lazare Saminsky, "Encounters Stimulating and Otherwise"
  • Pages 41-44: Hans Gutman, "Standstill at Bremen"
  • Pages 44-45: Paul Pisk, "The Bacchantes of Wellesz" [review of Wellesz's Die Bakchantinnen]
• Page 46: Contributors to this Issue
• Pages 47-48: Index to Back Numbers of Modern Music

Number 2 (January 1932 – February 1932)

• Pages 51-61: Arthur Hoeree, "The Renaissance of Choral Music"
• Pages 63-66: Willi Reich, "Schönberg's New Männerchor"
• Pages 67-73: Virgil Thomson, "American Composers VII: Aaron Copland"
• Pages 74-78: Raymond Petit, "Latin Gaiety Today"
• Pages 79-93: Forecast and Review
  • Pages: 79-85: Marc Blitzstein, "Tame Season in New York"
  • Pages 85-88: Aaron Copland, "Stravinsky and Hindemith Premieres" [Stravinsky's Violin Concerto and Hindemith's oratorio Das Unaufhörliche]
  • Pages 88-89: Richard Hammond, "Paris Notes"
  • Pages 90-92: Nikolai Lopatnikoff, "America in Berlin"
  • Pages 92-93: Henry Boys, "America in London"
• Page 94: Notes on Contributors
• Pages 95-96: Index to Back Numbers of Modern Music

Number 3 (March 1932 – April 1932)

• Pages 98,147: 114: Diego Rivera, Costume Designs for a ballet by Carlos Chavez [images]
• Pages 99-107: Adolph Weiss, "The Lyceum of Schönberg"
• Pages 108-113: Alfred Schlee, "Under the Red Flag"
• Pages 115-120: Hans Heinsheimer, "German Music on the Breadline"
• Pages 121-139: Forecast and Review
  • Pages 121-127: Marc Blitzstein, "Premieres and Experiments—1932"
  • Pages 127-130: Paul Stefan, "Vienna Resists the Depression"
  • Pages 130-133: Jeffrey Mark, "The 'Organic' Approach to Music" [review of Arthur Lourie, Serge Koussevitzsky and His Epoch; and Cecil Gray, Sibelius]
  • Pages 134-137: Alexander Smallens, "The Professor Looks at Music" [review of Daniel Gregory Mason, Tune In, America: A Study of Our Coming Musical Independence]
  • Pages 137-138: Lazare Saminsky, "Mediterranean Stravinsky—A New Myth" [brief review of Domenico de Paoli, Igor Stravinski]
  • Pages 138-139: Lazare Saminsky, "A Conductor on the Modern Orchestra" [brief review of Herman Scherchen, Lehrbuch des Dirigieren]
• Page 140: Contributors to this Issue

Number 4 (May 1932 – June 1932)

• Pages 143-147: Aaron Copland, "The Composer and His Critic"
• Pages 148-152: Robert Russell Bennett, "Orchestrating for Broadway"
• Pages 153-159: Paul Rosenfeld, "American Composers VIII: Carlos Chavez"
• Pages 160-163: Guido M. Gattti, "Opera Advances in Italy"
• Pages 164-187: Forecast and Review
  • Pages 164-168: Marc Blitzstein, "Music and Theatre - 1932"
  • Pages 168-172: Israel Citkowitz, "Spring Concerts in New York"
  • Pages 172-176: Alfred H. Meyer, "Yaddo—A May Festival"
  • Pages 176-178: Pitts Sanborn, "All-America on the Air"
  • Pages 178-182: Harrington Shortall, "Chicago's Season in Review"
  • Pages 182-184: Emanuel Balaban, "Progress At Rochester"
  • Pages 184-187: Jerzy Fitelberg, "More Americans and Kurt Weill in Berlin"
• Page 188: Contributors to this Issue

Volume 10: November 1932 – June 1933

Number 1 (November 1932 – December 1932)

• Page 2: Jo Mielziner, Sketch for Louis Gruenberg's opera The Emperor Jones [image]
• Pages 3-9: Gilbert Seldes, "An Open Letter to Roxy"
• Pages 10-17: Boris de Schloezer, "The Enigma of Stravinsky"
• Page 18: Pavel Tchelitchev, Portrait of Igor Markevitch [image]
• Pages 19-23: Virgil Thomson, "Igor Markevitch: Little Rollo in Big Time"
• Pages 24-33: Henry Cowell, "American Composers IX: Charles Ives"
• Pages 34-39: Frederick Jacobi, "Reflections on the Vienna Festival"
• Pages 40-57: Forecast and Review
  • Pages 40-42: André Schaeffner, "The Russians in Paris"
  • Pages 42-46: Alfred Schlee, "The Germans in Paris"
  • Pages 46-48: Paul Stefan, "Italy Glances at the New World of Music"
  • Pages 49-52: Ashley Pettis, "Musical Flashlights from Moscow"
  • Pages 52-54: Isaac Goldberg, "A Composer on the Music of Our Day" [review of Lazare Saminsky, Music Of Our Day, published by Thomas Crowell Company]
  • Pages 54-56: Richard Donovan, "American Music, 1912 - 1932" [review of American Composers, published by the United States section of the International Society for Contemporary Music]
  • Pages 56-57: Lazare Saminsky, "New Tonal Horizons" [review of Joseph Yasser, A Theory of Evolving Tonality, published by the American Library of Musicology]
• Pages 58-59: Index to Back Numbers of Modern Music
• Page 60: Contributors to this Issue

Number 2 (January 1933 – February 1933)

• Pages 63-78: Roger Sessions, "Music in Crisis: Some Notes on Recent Musical History"
• Pages 79-86: Eugen Braudo, "The Russian Panorama"
• Pages 87-92: Aaron Copland, "The Composer in America, 1923-1933"
• Pages 93-95: Lazare Saminsky, "Europe and America in Music Today"
• Pages 96-102: Marc Blitzstein, "Popular Music–An Invasion: 1923-1933"
• Pages 103-106: Irving Kolodin, "Ten Years of Modern Music Recording"
• Pages 107-117: Forecast and Review
  • Pages 107-109: Virgil Thomson, "Home Thoughts"
  • Pages 109-110: Randall Thompson, "The Emperor at the Opera" [review of Louis Gruenberg's opera The Emperor Jones]
  • Pages 110-114: Israel Citkowitz, "Experiment and Necessity—New York, 1932"
  • Pages 114-115: I.[srael] C.[itkowitz], "Birthday and Baptism"
  • Pages 115-117: Hans Heinsheimer, "Nightmare in Germany" [discusses the rise of Hitler and Nazism in Germany and its effect upon the arts]
• Pages 118-119: Index to Back Numbers of Modern Music
• Page 120: Contributors to this Issue

Number 3 (March 1933 – April 1933)

• Page 2: Robert Edmond Jones, Preliminary Sketch of Pierrot Lunaire [image]
• Pages 123-129: Eric Blom, "The Twentieth Century Slump"
• Pages 130-139: Hugo Leichtentritt, "Bartok and the Hungarian Folk-Song"
• Page 140: Oscar Walleck, Design for World Premiere of a Malipiero work [image]
• Pages 141-148: Virgil Thomson, "Now in Paris"
• Pages 149-153: Henry Cowell, "Towards Neo-Primitivism"
• Pages 154-171: Forecast and Review
  • Pages 154-157: Israel Citkowitz, "Winter Music—New York, 1933"
  • Pages 157-160: Paul Love, "False Dawn for the Dance"
  • Pages 160-162: Theodore Chanler, "All-American"
  • Pages 162-163: Nicolas Slonimsky, "The Gaiety and Sadness of Harris" [review of premiere of Roy Harris's Overture from the Gaiety and Sadness of the American Scene]
  • Pages 163-167: H.H. Stuckenschmidt, "German Season Under the Crisis"
  • Pages 167-170: André Schaeffner, "Paris Season Under the Crisis"
  • Pages 170-171: Irving Kolodin, "A Book and Two Chapters on New Music" [reviews of Guido Pannian, Modern Composers; and Marion Bauer and Ethel Peyser, appendage to Music through the Ages]
  • Page 172: Contributors to this Issue

Number 4 (May 1933 – June 1933)

• Pages 175-181: Serge Tchemodanoff, "An Economic Approach to Music"
• Pages 182-187: Mark Brunswick, "American Composers, X: Roger Huntington Sessions"
• Pages 188-191: Virgil Thomson, "A Little About Movie Music"
• Pages 192-196: Julius Hijman, "Dutch Contemporaries"
• Pages 197-227: Forecast and Review
  • Pages 197-199: Israel Citkowitz, "Spring Finale in New York"
  • Pages 199-203: Paul Love, "Dance Premiere and Season's End"
  • Pages 203-207: Alfred V. Frankenstein, "Washington—Festival and Experiment"
  • Pages 207-209: Adelaide Hooker, "Crusading for Americans at Rochester"
  • Pages 209-213: X.T., "Kultur - Terror" [more on the effect of Nazism on the arts in Germany]
  • Pages 213-219: Eugen Braudo, "Concerts, Opera, Ballet in Russia Today"
  • Pages 219-223: H.T. Parker, "Boston's First Times"
  • Pages 223-225: A.F., "New Music in Chicago"
  • Pages 226-227: Irving Kolodin, "Composers About Composers" [review of Henry Cowell, ed., American Composers on American Music]
• Page 228: Contributors to this Issue

Volume 11: November 1933 – June 1934

Number 1 (November 1933 – December 1933)

• Pages 3-12: Roger Sessions, "Music and Nationalism: Some Notes on Dr. Göbbel's Letter to Furtwängler"
• Pages 13-17: Virgil Thomson, "Most Melodious Tears"
• Pages 18-23: Israel Citkowitz, "The Role of Heinrich Schenker"
• Pages 24-27: Alfred Schlee, "Decline of the Prima Ballerina"
• Pages 28-29: André Derain, [image designs for various stage works]
• Pages 30-33: Frederick Jacobi, "Festival Impressions—Amsterdam, 1933"
• Pages 34-52: Forecast and Review
  • Pages 34-40: Marc Blitzstein, "Talk - Music - Dance; New York, 1933"
  • Pages 40-42: Randall Thompson, "The Second Year at Yaddo"
  • Pages 42-46: Virgil Thomson, "Paris News"
  • Pages 46-49: Eugen Braudo, "Preparations in Moscow and Leningrad"
  • Pages 49-52: H.H. Stuckenschmidt, "Under the Swastika"
• Page 53: Contributors to this Issue
• Pages 54-56: Index to Back Numbers of Modern Music

Number 2 (January 1934 – February 1934)

• Page 58: Pablo Picasso, Décor for De Falla's El Sombrero [image]
• Pages 59-64: Aaron Copland, "One Hundred and Fourteen Songs" [on Charles Ives's songs]
• Pages 65-72: Alfred Einstein, "German Opera, Past and Present"
• Pages 73-83: Walter Piston, "American Composers, XI: Roy Harris"
• Page 84: Pablo Picasso, Costume Designs for De Falla's El Sombrero de Tres Picos [images]
• Pages 85-88: Nikolai Lopatnikoff, "Finnish Youth Movement"
• Pages 89-94: George Antheil, "Opera – A Way Out"
• Pages 95-111: Forecast and Review
  • Pages 95-99: Guido Gatti, "Italy's Newest Recruits"
  • Pages 99-103: Marc Blitzstein, "Mid-Season in New York "
  • Pages 103-106: Alfred V. Frankenstein, "Chicago Premieres"
  • Pages 106-109: John Weatherwax, "On the Pacific Coast"
  • Pages 109-111: Irving Kolodin, "Books of the Month" [reviews of Marion Bauer, Twentieth Century Music, published by G.B. Putnam's Sons; and From Bach to Stravinsky—The History of Music by Its Foremost Critics, published by Norton]
• Page 112: Contributors to this Issue

Number 3 (March 1934 – April 1934)

• Pages 115-120: Roger Sessions, "New Vistas in Musical Education"
• Pages 121-127: Charles Seeger, "On Proletarian Music"
• Pages 128-133: Irving Kolodin, "American Composers and the Phonograph"
• Pages 134-137: Irving Kolodin, "A Tabulation of Contemporary Music on Records (As of March 1st, 1934)"
• Pages 138-141: Gilbert Seldes, "Delight in the Theatre"
• Pages 142-159: Forecast and Review
  • Pages 142-147: Theodore Chanler, "New York, 1934"
  • Pages 147-149: Alfred Schlee, "German Opera in Transition"
  • Pages 149-153: Paul Love, "Dance Invasion of America"
  • Pages 153-156: Gerth-Wolfgang Baruch, "Czech and Other Novelties in Prague"
  • Pages 156-159: Guido Gatti, "More Italian Opera"
• Page 160: Contributors to this Issue

Number 4 (May 1934 – June 1934)

• Pages 167-187: Arnold Schönberg (translated by Adolph Weiss), "Problems of Harmony" [this article was first presented as a lecture at the Berlin Akademie der Künste]
• Page 188: Drawing of Arnold Schoenberg by [Alfred Joseph] Frueh [image]
• Pages 189-194: Lincoln Kirstein, "In Defense of the Ballet"
• Page 195: Cipriano Osso, Settings for the Roman Premiere of Malipiero's Opera The Prodigal Son [images]
• Pages 196-199: Paul Stefan, "Vienna Menaced But Not Doomed" [Nazi activity]
• Pages 200-203: Raymond Petit, "Exotic and Contemporary Music"
• Pages 204-223: Forecast and Review
  • Pages 204-209: Theodore Chanler, "New York, Spring, 1934"
  • Pages 209-213: Frederick Jacobi, "The I. S. C. M. at Florence"
  • Pages 213-216: Guido Gatti, "Malipiero and Pirandello at the Opera"
  • Pages 216-218: Alfred V. Frankenstein, "New Music and the Monte Carlo in Chicago"
  • Pages 218-221: Adelaide Hooker, "Rochester Sees 'Anthony Comstock'"
  • Pages 221-223: Irving Kolodin, "Recordings of the Last Months"
• Page 224: Contributors to this Issue

Volume 12: November 1934 – June 1935

Number 1 (November 1934 – December 1934)

• Page 2: Pablo Picasso, Drawing of Stravinsky [image]
• Pages 3-7: André Schaeffner, "On Stravinsky, Early and Late"
• Pages 8-11: Paul Bekker, "Dream at Twilight"
• Page 12: Portrait of Paul Hindemith by Richard Heinisch [image]
• Pages 13-17: Roger Sessions, "Hindemith's Mathis der Mahler"
• Page 18: Nicolas Remisoff, Design for Aaron Copland's Ballet Hear Ye! Hear Ye! [image]
• Pages 19-22: Alfredo Casella, "Modern Music in Modern Italy"
• Pages 23-30: Dmitri Shostakovitch [Shostakovich], "My Opera, Lady Macbeth of Mtzensk"
• Pages 31-38: David Josef Bach, "New Music by Berg, Webern, Krenek"
• Pages 39-48: Forecast and Review
  • Pages 39-41: Luis Sandi, "Music in Mexico, 1934"
  • Pages 41-43: Alfred V. Frankenstein, "Festival at Pittsfield"
  • Pages 43-44: Frederick Jacobi, "Nabokoff's Oratorio, Job"
  • Pages 44-47: Hans Gutman, "Literature, Music and the Ballet in Paris"
  • Pages 47-48: Arthur Mendel, "Orchestral Version of [Roy] Harris' Chorale"'
• Page 49: Contributors to this Issue
• Pages 50-52: Index to Back Numbers of Modern Music

Number 2 (January 1935 – February 1935)

• Page 54: Serge Soudeikine, Decor for Stravinsky's Ballet Mavra
• Pages 55-61: Alfred Einstein, "Art and Technology"
• Pages 62-68: George Antheil, "Composers in Movieland"
• Pages 69-72: Nicolas Slonimsky,"Lazare Saminsky"
• Pages 73-78: Frederick Jacobi, "Reflections on Ariadne and Mavra" [Richard Strauss]
• Pages 79-81: Richard Gilbert, "Discs as a Medium for New Music"
• Pages 82-85: Alfred Schlee, "Dancers in Germany Today"
• Pages 86-96: Forecast and Review
  • Pages 86-89: Cecil Michener Smith, "Copland's Hear Ye, Hear Ye!; Ibert's Ballet"
  • Pages 89-90: Lazare Saminsky, "New Malipiero, New Harris and Weil[l]" [Malipiero's Symphony; Harris's Song for Occupations; Weill's Night Scenes]
  • Pages 90-92: Israel Citkowitz, "Choral Music, New York, January 1935"
  • Pages 92-94: Herbert Elwell, "Whithorne's Symphony; Josten's Serenade"
  • Pages 94-96: Aaron Copland, "Scherchen on Conducting and Ewen on Composers" [reviews of Herman Scherchen, Handbook of Conducting; and David Ewen, Composers of Today]
• Page 97: Contributors to this Issue
• Pages 98-100: Index to Back Numbers of Modern Music

Number 3 (March 1935 – April 1935)

• Page 102: Franz Rederer, Portrait of Alban Berg created February 1935 [image]
• Pages 103-111: Willi Reich, "Lulu — The Text and Music"
• Pages 112-115: Frederick Jacobi, "On Hearing Stravinsky's Perséphone
• Pages 116-122: Arthur Farwell, "Pioneering for American Music"
• Pages 123-126: Virgil Thomson, "Socialism at the Metropolitan"
• Page: 127: Decor by Caspar Neher for the Dresden premiere of Rudolf Wagner-Régeny's opera Der Günstling" [images]
• Pages 128-134: Marc Blitzstein, "Theatre-Music in Paris"
• Pages 135-148: Forecast and Review
  • Pages 135-138: Randall Thompson, "Jacobi's Quartet and Sessions' Sonata" [Jacobi's String Quartet No. 2 and Sessions' first Piano Sonata]
  • Pages 138-141: Lehman Engel, "Les Ballets Américains"
  • Pages 141-143: Israel Citkowitz, "Symphonic Music, New York"
  • Pages 143-146: Arthur V. Berger, "Boston Hears American Works"
  • Page 146: L.E., "Dance Note"
  • Pages 146-148: Pitts Sanborn, "Music Ho! A Brilliant Survey" [review of Music Ho! by Constant Lambert]
• Page 149: Contributors to this Issue
• Pages 150-152: Index to Back Numbers of Modern Music

Number 4 (May 1935 – June 1935)

• Pages 155-162: Alfred Einstein, "Music as Wish Fulfillment"
• Pages 163-169: Colin McPhee, "The 'Absolute' Music of Bali"
• Pages 170-178: Roger Sessions, "Heinrich Schenker's Contribution"
• Page 179: Frederick Kiesler, Design for Act II of Malibran by Robert Russell Bennet [image]
• Pages 180-186: Hans Eisler, "Reflections on the Future of the Composer"
• Pages 187-207: Forecast and Review
  • Pages 187-192: Israel Citkowitz, "Symphonic and Chamber Music, New York"
  • Pages 192-194: Paul Bowles, "[Virgil] Thomson's Mass and Other Choral Works"
  • Pages 194-196: Marion Bauer, "Native Opera—Metropolitan and Juilliard"
  • Pages 196-200: Cecil Michener Smith, "Spring Festival, Washington, 1935"
  • Pages 200-201: C.E., "Americans in Chicago"
  • Pages 201-203: Adelaide V. Hooker, "Tenth Rochester Celebration"
  • Pages 203-204: Lehman Engel, "Dancers, Foreign and Home-Grown"
  • Pages 205-207: Richard Gilbert, "A 'Premiere' by Disc; More Modern Records"
  • Page 207: L.E., "Shostakovich 'Accompanies' a Film" [The Youth of Maxim
• Page 208: Contributors to this Issue

Volume 13: November 1935 – June 1936

Number 1 (November 1935 – December 1935)

• Pages 3-12: Alfred Einstein, "The Composer, the State and Today"
• Pages 13-19: Virgil Thomson, "George Gershwin"
• Pages 20-25: Nicolas Slonimsky, "Russia Revisited"
• Pages 26-31: Edward Burlingame Hill, "Charles Martin Loeffler"
• Pages 32-37: H.H. Stuckenschmidt, "Opera in Germany Today"
• Pages 38-44: Louis Gruenberg, "Modern Youth at Prague, 1935"
• Pages 45-58: Forecast and Review
  • Pages 45-47: Israel Citkowitz, "Schönberg's Suite for String Orchestra"
  • Pages 47-50: Marc Blitzstein, "Composers as Lecturers and in Concerts"
  • Pages 50-51: Eva Goldbeck, "A Thomson Soiree"
  • Pages 51-53: Frederick Jacobi, "Stravinsky Begins His Chronicles" [review of Volume 1 of Chroniques de ma Vie]
  • Pages 53-55: Lehman Engel, "Dancers in New York, Autumn, 1935"
  • Page 56: L.E., "Manifestoes of the Modern Dance" [brief review of Virginia Stewart, ed., Modern Dance]
  • Pages 56-58: Roger Sessions, "For the Layman" [review of Olga Samaroff, The Layman's Music Book, published by Norton]
• Page 59: Contributors to this Issue

Number 2 (January 1936 – February 1936)

• Pages 3-11: Israel Citkowitz, "American Composers, XII: Walter Piston ― Classicist"
• Pages 12-14: Lazare Saminsky, "The Composer and the Critic"
• Pages 15-18: Ernst Toch, "Sound-Film and Music Theatre"
• Pages 19-24: Grigori Schneerson, "The Changing Course of Russian Music"
• Pages 25-28: Eva Goldbeck, "On Books About Music"
• Pages 29-33: Adelaide F. Hooker, "Japanese Riddle ― East By West"
• Pages 34-47: Forecast and Review
  • Pages 34-40: Marc Blitzstein, "New York Medley, Winter, 1935"
  • Pages 40-41: Lazare Saminsky, "The Work of Roger Sessions"
  • Pages 41-43: David Diamond, "Premiere in Rochester: [Bernard] Rogers' Frescoes"
  • Pages 43-45: Lehman Engel, "Dancers, European and American"
  • Pages 45-47: Aaron Copland, "Active Market in New Music Records"
• Page 48: Contributors to this Issue

Number 3 (March 1936 – April 1936)

• Pages 3-13: H.H. Stuckenschmidt, "Vocal Style in the 20th Century"
• Pages 14-21: Edwin Denby, "A Good Libretto"
• Pages 22-28; Howard Hanson, "American Procession at Rochester"
• Pages 29-34: Moses Smith, "Alban Berg ― Finale: A Requiem"
• Pages 35-40: Carlos Chavez, "Revolt in Mexico"
• Pages 41-59: Forecast and Review
  • Pages 41-46: Colin McPhee, "New York ― January, February, 1936"
  • Pages 46-49: Guido Gatti, "The Noblest Roman of Them All" [Gian Francesco Malipiero]
  • Pages 49-50: Frederick Jacobi, "Rubin Goldmark: A Tribute"
  • Pages 50-53: Lehman Engel, "New Laboratories and Gebrauchmusik"
  • Pages 53-55: Arthur V. Berger, "Rosenfeld's 'Experience and Criticism'"[review of Paul Rosenfeld, Discoveries of a Music Critic, published by Harcourt Brace]
• Pages 55-58: Arthur W. Locke, "Festival at Hartford"
• Pages 58-59: L.E., "New Winter Dances"
• Page: 60: Contributors to this Issue

Number 4 (May 1936 – June 1936)

• Page 2: Natalia Gontcharova, Decors for Stravinsky's Les Noces
• Pages 3-11: Aaron Copland, "Our Younger Generation: Ten Years Later"
• Pages 12-17: Virgil Thomson, "Swing Music"
• Pages 18-22: Otto Luening, "Musical Finds in the Southwest"
• Pages 23-29: Marc Blitzstein, "Coming ― The Mass Audience!"
• Pages 30-34: Carleton Sprague Smith, "The I.S.C.M. Meets ar Barcelona"
• Pages 35-58: Forecast and Review
  • Pages 35-39: André Schaeffner, "Stravinsky' Two-Piano Concerto and Other Parisian Novelties"
  • Pages 39-42: Colin McPhee, "New York's Spring Season, 1936"
  • Pages 43-44: Israel Citkowitz, "Biblical Texts Set to Music"
  • Pages 44-46: Edwin Denby, "Revival of Diaghilev's Noces"
  • Pages 46-47: E.D., "Thomson Scores for a New Deal Film" [The Plow That Broke the Plains]
  • Pages 48-49: Herbert Elwell, "Premieres in Cleveland"
  • Pages 49-52: Goddard Lieberson, "Rochester's Sixth Festival"
  • Pages 52-53: Cecil Michener Smith, "Modern Works in Chicago"
  • Pages 53-56: George Antheil, "Good Russian Advice About Movie Music" [review of Leonid Sabaneyeff, Music for the Films, published by the Pitman Publishing Corporation]
  • Pages 56-57: E.D., "'Compiling' the Dance" [review of Lincoln Kirstein, Dance, published by G.P. Putnam]
  • Pages 57-58: Virgil Thomson, "The Official Stravinsky" [review of Stravinsky, Chroniques de ma Vie Volume II, published by Denoël et Steel]
• Page 59: Contributors to this Issue
• Page 60: Table of Contents: Volume XIII, Numbers 1-3

Volume 14: November 1936 – June 1937

Number 1 (November 1936 – December 1936)

• Pages 3-11: Alfred Einstein, "National and Universal Music"
• Pages 12-17: Davidson Taylor, "To Order, For Radio"
• Pages 18-23: Roy D. Welch, "The College, the Composer, and Music"
• Pages 24-27: Felix Roderic Labunski, "A New Generation in Poland"
• Pages 28-38: Forecast and Review
  • Pages 28-31: Colin McPhee, "New York, Autumn of 1936"
  • Pages 31-33: David Diamond, "Paradise Lost and the Fourteenth of July" [includes a review of Igor Markevitch's oratorio Le Paradis Perdu]
  • Pages 33-36: Isadore Freed, "Forum Portraits: Saminsky, Josten, Finney"
  • Pages 36-37: Robert Sabin, "Recording Premieres at Rochester" [including George F. McKay's Sinfonietta No. 2, Erik Leidzen's Fugue with Chorale, David Diamond's Psalm for Orchestra, and Victor Alessandro's and Robert McBride's Rhapsody on Mexican Themes]
  • Pages 37-38: Marion Bauer, "More Pessimism by Cecil Gray" [review of Predicaments or Music and the Future by Cecil Gray, published by Oxford University Press]
  • Page 38: Marion Bauer, "Composite Stravinsky" [brief review of Merle Armitage, ed., Stravinsky, published by Schirmer]
• Pages 39-42: Scores and Records (reviewed by Aaron Copland)
• Pages 42-46: In the Theatre
  • Pages 42-44: Frederick Jacobi, "WPA Shows with Music"
  • Pages 44-46: Marc Blitzstein, "Weill Scores for Johnny Johnson"
• Pages 46-49: On the Hollywood Front (reviews by George Antheil)
• Pages 49-53: With the Dancers (reviews by Edwin Denby)
• Pages 53-54: Over the Air (remarks by Cecil Michener Smith)
• Page 55: Contributors to this Issue
• Page 56: Table of Contents, Volume 13, Nos. 1-4

Number 2 (January 1937 – February 1937)

• Page 58: Richard Heinisch, Portrait of Paul Hindemith [image]
• Pages 59-66: Roger Sessions, "The New Musical Horizon"
• Pages 67-75: H.H. Stuckenschmidt, "Hindemith Today"
• Pages 76-81: Irma Goebel Labastille, "Americanismo Musical"
• Pages 82-86: George Antheil, "Breaking Into the Movies"
• Pages 87-97: Forecast and Review
  • Pages 87-89: Colin McPhee, "Winter Season, New York, 1936"
  • Pages 90-92: Elliott Carter, "The New York Season - (Continued), 1937"
  • Pages 92-93: Goddard Lieberson, "More One-Man Shows"
  • Pages 93-95: Gerald Strang, "Moderns on the Pacific Coast"
  • Pages 95-96: Richard Sabin, "Works by Jacobi, Diamond, McBride" [Jacobi's Concerto for Piano and Orchestra, Diamond's Psalm for Orchestra, and McBride's Mexican Rhapsody etc.]
  • Pages 96-97: Cecil Michener Smith, "Chicago Novelties"
• Pages 98-101: Scores and Records (reviews by Aaron Copland)
• Pages 101-105: In the Theatre (reviews by Virgil Thomson of Erika Mann's The Pepper-Mill, Kurt Weill's music for The Eternal Road, and Paul Bowles's music for Dr. Faustus]
• Pages 105-108: On the Hollywood Front (reviews by George Antheil)
• Pages 108-112: With the Dancers (reviews by Edwin Denby)
• Pages 113-114: Over the Air (remarks by Cecil Michener Smith)
• Page 115: Contributors to this Issue
• Page 116: Table of Contents, Volume 13, Nos. 1-4/Volume 14, No. 1

Number 3 (March 1937 – April 1937)

• Pages 119-123: Alfred Einstein, "Will Modern Music Endure?"
• Pages 124-131: David Diamond, "American Composers, XIII: Frederick Jacobi"
• Pages 132-135: Willi Reich, "Swiss Panorama"
• Pages 136-142: Hans Nathan, "The Viennese Lied, 1910-1937"
• Pages 143-146: Lincoln Kirstein, "Working With Stravinsky"
• Pages 147-166: Forecast and Review
  • Pages 147-154: Elliott Carter, "Late Winter, New York, 1937"
  • Pages 154-157: Goddard Lieberson, "Concerts Free and Paid For"
  • Pages 157-158: Arthur V. Berger, "Boston Hears a New Russian Work" [Yuri Shaporin's Symphony in C Minor]
  • Pages 159-161: Ray Brown, "Saminsky's Pueblo and Other News from Washington" [Saminsky's Pueblo: A Moon Epic]
  • Pages 161-162: Cecil Michener Smith, "New Music in Chicago"
  • Pages 162-164: Jerzy Fitelberg, "Parisian Novelties"
  • Pages 164-166: Alfred N. Goldsmith, "Chavez on Music and Electricity" [review of Carlos Chavez, Toward a New Music, published by Norton]
• Pages 167-170: Scores and Records (reviews by Aaron Copland)
• Pages 170-173: In the Theatre (Virgil Thomson on Robert Simon's and Albert Stoessel's Garrick, and remarks on Juilliard operas)
• Pages 173-176: With the Dancers
  • Pages 173-175: Edwin Denby on Dollar and Balanchine's Classic Ballet
  • Pages 175-176: Elliott Carter on Catherine Littlefield's production of Tchaikovsky's Sleeping Beauty
• Pages 176-178: Over the Air (reviews by Goddard Lieberson)
• Page 179: Contributors to this Issue
• Page 180: Table of Contents: Volume 13, Nos. 1-4/Volume 14, Nos. 1-2

Number 4 (May 1937 – June 1937)

• Pages 183-188: Kurt Weill, "The Future of Opera in America"
• Pages 189-192: Edwin Gerschefski, "To the Brass Band"
• Pages 193-197: Mark Brunswick, "Suicide in Vienna"
• Pages 198-199: Frederick Jacobi, "Homage to Arthur Foote"
• Pages 200-203: Ernst Krenek, "The New Music and Today's Theatre"
• Pages 204-207: Nicolai Lopatnikoff, "England's Young Composers"
• Pages 208-228: Forecast and Review
  • Pages 208-215: Cecil Michener Smith, "Hindemith and the Coolidge Festival"
  • Pages 215-217: Elliott Carter, "Season's End in New York"
  • Pages 217-220: Goddard Lieberson, "Spring Fancies, 1937"
  • Pages 221-223: Frederick Yeiser, "Whithorne's Symphony; Dett's Moses" [Emerson Whithorne's Second Symphony, and Nathaniel Dett's The Ordering of Moses
  • Pages 223-224: Gerald Strang, "Schönberg, Mahler, and Others in Los Angeles"
  • Pages 224-225: Cecil Michener Smith, 'What Chicago Needs"
  • Pages 225-228: Robert Sabin, "American Festival at Rochester, 1937"
• Page 229: Scene Sketches for Marc Blitzstein's opera The Cradle Will Rock [images]
• Pages 230-233: Scores and Records (reviews by Aaron Copland)
• Pages 233-237: In the Theatre (reviews by Virgil Thomson)
• Pages 237-239: With the Dancers (reviews and remarks by Elliott Carter
• Pages 239-240: Films Seen in New York (reviews by Virgil Thomson)
• Pages 241-242: Over the Air (remarks by Goddard Lieberson)
• Page 243: Contributors to this Issue
• Page 244: Tables of Contents for Vol. 13, Nos. 1-4 and Vol. 14, Nos. 1-3

Volume 15: November 1937 – June 1938

Number 1 (November 1937 – December 1937)

• Page 2: George Gershwin as Seen By Alfred Frueh [drawings]
• Pages 3-7: Frederick Jacobi, "The Future of Gershwin"
• Pages 8-12: Kurt List, "Lulu, After the Premiere"
• Pages 13-16: Goddard Lieberson, "Britannia Rules the Air"
• Pages 17-23: Alfred N. Goldsmith, "Electicity Becomes Music: Introducing The 'Emino'"
• Pages 24-26: Raymond Petit, "Roussel—Ave, Vale"
• Pages 27-44: Forecast and Review
  • Pages 27-32: Lazare Saminsky, "Europe Takes Fresh Bearings"
  • Pages 32-36: Mark Brunswick, "Paris, 1937—The I.S.C.M."
  • Pages 36-37: Elliott Carter, "Opening Notes, New York"
  • Pages 37-40: Alma Goudy, "Coolidge Fiesta in Mexico"
  • Pages 40-44: Alfred Einstein, "Internationalism à la Venice and Florence"
• Pages 45-48: Scores and Records (reviews by Aaron Copland) [here with some interesting remarks on Mahler, Sibelius, and others]
• Pages 48-51: On the Hollywood Front (remarks by George Antheil)
• Pages 51-53: In the Theatre (reviews by Elliott Carter) [reviews of Milhaud's Le Pauvre Matelot, Ibert's Angélique, Samuel Barlow's music for Amphitryon 38 etc.]
• Pages 53-55: Over the Air (reviews by Goddard Lieberson)
• Pages 55-56: With the Dancers (remarks by Elliott Carter)
• Pages 57-67: Recent Books
  • Pages 57-63: Roger Sessions, "Hindemith on Theory" [review of Unterweisung im Tonsatz by Paul Hindemith, published by B. Schott's Söhne]
  • Pages 63-65: Marion Bauer, "Hither and Yon in the 20th Century" [review of Twentieth Century Composers by David Ewen, published by Thomas Y. Crowell Company]
  • Pages 65-67: H.H. Stuckenschmidt, "Memorial to Berg" [review of Alban Berg by Willi Reich et al., published by Herbert Reichner Verlag]
• Page 68: Contributors to this Issue

Number 2 (January 1938 – February 1938)

• Page 70: Clarence A. Brodeur, pen-and-ink sketch of Nadia Boulanger [image]
• Pages 71-75: Carlos Chavez, "The Function of the Concert"
• Pages 76-80: Herbert Elwell, "Nadia Boulanger: A Tribute"
• Pages 81-85: Marc Blitzstein, "On Writing Music for the Theatre"
• Pages 86-91: Davidson Taylor, "Why Not Try the Air?"
• Pages 92-95: Temporary Executive Board of the American Composers' Alliance, "The Composers Organize: A Proclamation"
• Pages 96-108: Forecast and Review
  • Page 96: Elliott Carter, "Homage to Ravel"
  • Pages 96-103: E.C., "Vacation Novelties, New York"
  • Pages 103-106: Leonard Bernstein, "Season of Premieres in Boston"
  • Pages 106-108: [Unsigned], "New Works for the Mid-West"
• Pages 109-111: Scores and Records (reviews by Aaron Copland)
• Pages 112-114: In the Theatre (remarks by Virgil Thomson) [a response to Alfred Einstein and notes on Marc Blitzstein's The Cradle Will Rock]
• Pages 115-117: Over the Air (remarks by Goddard Lieberson)
• Pages 117-118: On the Hollywood Front (brief reviews by George Antheil)
• Pages 118-122: With the Dancers (report by Elliott Carter)
• Pages 123-131: Recent Books
  • Pages 123-128: Roger Sessions, "Exposition by Krenek" [review of Ṻber Neue Musik by Ernst Krenek, published by Verlag der Ringbuchhandling]
  • Pages 128-130: William Schuman, "A Novel One-Volume Encyclopedia" [review of Music Since 1900 by Nicolas Slonimsky, published by Norton]
  • Pages 130-131: Herbert Weinstock, "Neither Fish, Flesh Nor Fowl" [review of La Musica Contemporanea by Herbert Fleischer, published by Ulrico Hoepli)
• Page 132: Contributors to this Issue

Number 3 (March 1938 – April 1938)

• Pages 135-139: Alfred Einstein, "Cycle of Three Centuries"
• Pages 140-144: Charles C. Cushing, "Maurice Ravel: 1875-1937"
• Pages 145-152: Roger Sessions, "To Revitalize Opera"
• Pages 153-159: Paul Rosenfeld, "The Newest American Composers"
• Pages 160-166: Virgil Thomson, "Swing Again"
• Pages 167-178: Forecast and Review
  • Pages 167-171: Elliott Carter, "Orchestras and Audiences; Winter, 1938"
  • Pages 171-174: Lazare Saminsky, "Electric Marvels in Pittsburgh" [new electronic instruments]
  • Pages 174-176: Grigori Schneerson, "Shostakovich Rehabilitated" [on the January premiere of Shostakovich's Fifth Symphony in Moscow]
  • Pages 176-178: Cecil Michener Smith, "Composers Of and In Chicago"
• Pages 179-182: Scores and Records (reviews by Aaron Copland)
• Pages 183-184: In the Theatre (review of Paul Bowles's opera Denmark Vesey by Virgil Thomson)
• Pages 184-187: With the Dancers (Edwin Denby, "Balanchine Again' Debut of the Caravan")
• Pages 187-189: On the Hollywood Front (remarks by George Antheil)
• Pages 189-191: Over the Air (remarks by Goddard Lieberson)
• Pages 192-199: Recent Books
  • Pages 192-197: Roger Sessions, "Escape by Theory" [review of Der Freie Satz: Das Erste Lehrbuch der Musik by Heinrich Schenker, published by Universal Edition]
  • Pages 197-198: Edward Burlingame Hill, "Composers in America" [review of Composers in America: Bibliographical Sketches of Living Composers With a Record of Their Works by Claire Reis, published by The Macmillan Company]
  • Page 199: Elliott Carter, "Musical Reactions—Bold and Otherwise" [brief review of Of Men and Music by Deems Taylor, published by Simon and Schuster]
• Page 200: Contributors to this Issue

Number 4 (May 1938 – June 1938)

• Page 202: Roman Clemens, Decors for Paul Hindemith's Mathis der Maler [images]
• Pages 203-208: "Vienna – Vale, Ave: A Letter from Roger Sessions"
• Pages 209-215: Raymond Hall, "The Macbeth of Bloch"
• Pages 216-221: John A. Gutman, "Casting the Film Composer"
• Pages 222-227: William Schuman, "Unconventional Case History"
• Pages 228-243: Forecast and Review
  • Pages 228-233: Elliott Carter, "Season's End, New York, Spring, 1938"
  • Pages 233-235: Kurt List, "Political Art—Notes on Krenek's Karl V"
  • Pages 235-238: Arthur Cohn, "How News Comes to Philadelphia"
  • Pages 238-239: Pauline Konstantin, "Third Service for the Temple"
  • Pages 239-241: Leonard Bernstein, "Boston Carries On"
  • Pages 241-243: Elliott Carter, "Recent Festival in Rochester"
• Pages 244-248: Scores and Records (reviews by Aaron Copland)
• Pages 248-251: Theatre and Dance (Edwin Denby, "World's Fair and Other Shows)
• Pages 251-254: On the Hollywood Front (remarks by George Antheil)
• Pages 255-256: Over the Air (remarks and reviews by Goddard Lieberson)
• Pages 257-263: Recent Books
  • Pages 257-262: Roger Sessions, "The Function of Theory" [discussion of three volumes: Paul Hindemith, Unterweisung im Tonsatz; Ernst Krenek, Ueber die Neue Musik; and Heinrich Schenker, Der Freie Satz]
  • Pages 262-263: Ernest Lubin, "Tovey's Analysis" [review of Essays in Musical Analysis Volume 5 by Donald Tovey, published by Oxford University Press]
• Page 264: Contributors to this Issue

Volume 16: November 1938 – June 1939

Number 1 (November 1938 – December 1938)

• Page 2: Jan Tichacek, Set Design for Orson Welles' Mercury Theatre production of Georg Büchner's drama Danton's Tod [image]
• Pages 3-9: Mark Brunswick, "After Munich"
• Page 10: Kathryn Nason, portrait of Edward Burlingame Hill [image]
• Pages 11-16: George Henry Lovett Smith, "American Composers, XIV: Edward Burlingame Hill"
• Pages 17-22: Virgil Thomson, "French Landscape With Figures"
• Pages 23-27: Ernst Krenek, "The Transplanted Composer"
• Pages 28-32: Hans Heinsheimer, "Challenge of the New Audience"
• Pages 33-49: Forecast and Review
  • Pages 33-38: Elliott Carter, "Coolidge Crusade; WPA; New York Season"
  • Pages 38-41: Arno Huth, "Forbidden Opus—Protestant" [on Hindemith's Mathis der Mahler]
  • Pages 41-44: H.H. Stuckenschmidt, "Forbidden Opus—Catholic" [on Krenek operatic music]
  • Pages 44-49: Pitts Sanborn, "Strauss in Munich; Blum in Paris"
• Pages 50-54: Scores and Records (reviews by Aaron Copland)
• Pages 54-58: In the Theatre (remarks by John Gutman) [discusses theater music by Weill, Engel, and Blitzstein]
• Pages 58-61: With the Dancers (remarks by Edwin Denby)
• Pages 62-65: On the Hollywood Front (remarks by George Antheil)
• Pages 65-69: Over the Air (remarks by Goddard Lieberson)
• Pages 70-71: Recent Books
  • Pages 70-71: Marion Bauer, "The Last Hundred Years" [review of Gerald Abraham, A Hundred Years of Music, published by Alfred Knopf]
• Page 72: Contributors to this Issue

Number 2 (January 1939 – February 1939)

• Pages 75-81: Adolfo Salazar, "America, North and South"
• Pages 82-85: Henry Pleasants, "First-Time Fever" [on premieres and subsequent performances of new works]
• Page 86: Mahonri Young, Portrait of Arthur Shepherd [image]
• Pages 87-93: Denoe Leedy, "American Composers XV: Arthur Shepherd"
• Pages 94-98: Davidson Taylor, "Long Range Policy for Radio"
• Pages 99-121: Forecast and Review
  • Pages 99-103: Elliott Carter, "Once Again Swing; Also 'American Music'" [bemoans critical ignorance about new music, and the lack of performances of it]
  • Pages 104-109: Virgil Thomson, "More From Paris"
  • Pages 109-112: Paul Rosenfeld, "Ives' Concord Sonata"
  • Pages 112-114: Arno Huth, "Triumph of Reaction, Belgium, 1938"
  • Pages 114-116: George Henry Lovett Smith, "Boston News"
  • Pages 116-119: Arthur Cohn, "Americans in the Fleisher Collection"
  • Pages 119-121: Joan Pack, "Youth Movement"
  • Page 121: Q------N, "Czech Twilight"
• Pages 122-125: Scores and Records (reviews by Aaron Copland)
• Pages 125-128: In the Theatre (remarks by John Gutman) [treats among other things Milhaud's Christophe Colomb and Cole Porter's music for Leave It to Me]
• Pages 128-130: With the Dancers (remarks by Edwin Denby) [discusses La Argentinita, George Balanchine's choreography for The Boys from Syracuse, etc.]
• Pages 130-133: On the Hollywood Front (remarks by George Antheil) [praises Adolphe Borchard's music for The Story of a Cheat, etc.]
• Pages 133-134: Over the Air (remarks by Goddard Lieberson)
• Pages 135-139: Recent Books
  • Pages 135-137: William Schuman, "Layman's Guide and Student Opera" [review of What To Listen For in Music by Aaron Copland; and The Second Hurricane by Aaron Copland, score published by C.C. Birchard and Co.]
  • Pages 137-139: Roger Sessions, "A Lesson From Mozart" [review of Mozart: the Man and his Works by W.J. Turner, published by Alfred Knopf]
• Page 140: Notes on Contributors

Number 3 (March 1939 – April 1939)

• Page 142: Robert Edmond Jones, Preliminary Sketch for Douglas Moore's and Stephen Vincent Benet's The Devil and Daniel Webster [image]
• Pages 143-149: Charles Louis Seeger, "Grass Roots for American Composers"
• Pages 150-155: Alfred Einstein, "Universality and Music Today"
• Pages 156-159: Stefan Wolpe, "Music, Old and New, in Palestine"
• Pages 160-167: Colin McPhee, "The Decline of the East"
• Pages 168-171: Ceicao de Barros-Barreto, "Brazil Mirrors its Own Nature"
• Pages 172-184: Forecast and Review
  • Pages 172-179: Elliott Carter, "The Case of Mr. Ives" and "Further Notes on the Winter Season"
  • Pages 180-182: Paul Rosenfeld, "Lukas Foss - A New Talent"
  • Pages 182-184: Leonard Bernstein, "The Latest From Boston"
• Pages 185-188: New Records (reviews by Aaron Copland)
• Pages 188-190: In the Theatre (reviews by John Gutman) [includes material on Gilbert & Sullivan's The Mikado, Noel Coward's Set to Music, etc.]
• Pages 190-194: With the Dancers (remarks by Edwin Denby)
• Pages 194-196: On the Hollywood Front (remarks by George Antheil)
• Pages 197-199: Recent Books
  • Pages 197-199: George Herzog, "Music Cyclopedias–New Style" [review of the Oxford Companion to Music by Percy A. Scholes, published by Oxford University Press; and The International Cyclopedia of Music and Musicians edited by Oscar Thompson, published by Dodd, Mead and Company]
• Page 200: Contributors to this Issue

Number 4 (May 1939 – June 1939)

• Page 202: Decors for Railroads on Parade, set to music by Kurt Weill [images]
• Pages 203-213: Fugitivus [pseudonym of a German critic], "Inside Germany" [a description of musical life inside Nazi Germany]
• Pages 214-219: Paul Rosenfeld, "Variation on the Grass Roots Theme" [a response to Charles Louis Seeger's piece in the previous issue]
• Pages 220-224: Humphrey Searle, "Growing Pains in England"
• Pages 225-228: Minna Lederman, "Fan Mail for Mr. [Grover] Whalen"
• Pages 229-237: Virgil Thomson, "More and More from Paris"
• Pages 238-263: Forecast and Review
  • Pages 238-243: Elliott Carter, "O Fair World of Music!" [argues that there is much worth hearing outside of the standard repertoire, and discusses recent performance examples]
  • Pages 243-249: Emilia Elsner, "Troubled Warsaw is Host to the Nations"
  • Pages 249-254: E.C., "Season of Hindemith and Americans" [Hindemith performances, Roy Harris's Third Symphony, etc.]
    • Page 254: Colin McPhee, "Further Seasonal Note" [on a choir festival directed by Lazare Saminsky at Temple Emanuel]
  • Pages 254-256: John N. Burk, "Bloch Revisits Boston"
  • Pages 256-259: Cecil Michener Smith, "Chicago Moves Forward" [on the 1938-1939 season and its "most varied experience in contemporary music of past years"]
    • Page 259: René Devries, "Jacobi's Concerto" [Frederick Jacobi's Violin Concerto]
  • Pages 259-261: Henry Pleasants, "New Music for Philadelphia" [review of Nicolai Berezowsky's Toccata, Variations and Finale etc.]
  • Pages 261-263: Moses Smith, "Bowdoin College Series" [remarks on performances of Copland's Piano Variations, Robert McBride's Hot-Shot Divertimento, and the premiere of Walter Piston's Sonata for Violin and Piano]
• Pages 264-267: Scores and Records (reviews by Colin McPhee)
• Pages 268-271: With the Dancers (remarks by Edwin Denby) [particularly positive remarks on the Broadway musical Mexicana]
• Pages 271-275: Over the Air (remarks by David Diamond) [includes substantial material on Gian-Carlo Menotti's The Old Maid and the Thief]
• Pages 276-278: In the Theatre (remarks by John Gutman)
• Pages 278-280: On the Hollywood Front (remarks by George Antheil) [includes material on Prokofiev's music for Alexander Nevsky, Georges Auric's music for The Love of Paris, and mention of Stokowski beginning work on what would become Disney's Fantasia]
• Pages 281-287: Recent Books
  • Pages 281-285: Paul Bowles, "Anatomy of Jazz" [review of Jazz, Hot and Hybrid by Winthrop Sargeant, published by Arrow Editions; and American Jazz Music by Wilder Hobson, published by Norton]
  • Pages 285-287: Kurt List, "The Social Approach" [review of Music and Society by Elie Siegmeister, published by the Critic's Group Press]
• Page 288: Contributors to this Issue

Volume 17: October 1939 – June 1940

Number 1 (October 1939 – November 1939)

• Page 2: Henri Matisse, "Head of Dancer" Sketch [image]
• Pages 3-9: Alfred Einstein, "War, Nationalism, Tolerance"
• Pages 10-17: Burle Marx, "Brazilian Portrait—Villa-Lobos"
• Pages 18-24: Paul Rosenfeld, "Folksong and Culture-Politics"
• Pages 25-28: Arthur Mendel, "The Quintet of Roy Harris"
• Pages 29-33: Isadore Freed, "The Teacher Needs the Composer"
• Pages 34-51: Forecast and Review
  • Pages 34-38: Elliott Carter, "The New Season Opens"
  • Pages 38-40: Humphrey Searle, "News From Britain"
  • Pages 40-41: Arno Huth, "Letter from France"
  • Pages 41-43: Arno Huth, "Switzerland Carries On"
  • Pages 43-45: George Henry Lovett Smith, "American Festival in Boston"
  • Pages 45-46: Paul Bowles, "Negro and Non-Negro Music"
  • Pages 47-48: Frederick Jacobi Jr., "Harvard Soirée"
  • Pages 48-49: Henry Pleasants, "Philadelphia Greets Thompson" [review of performance of Randall Thompson's Second Symphony]
  • Pages 49-51: George Herzog, "Musicology Steps Out" [report on the International Congress of the American Musicological Society]
• Pages 52-54: Scores and Records (reviews by Colin McPhee) [recordings of music by Chavez, Griffes, Ives, Ravel, and others; scores by Bloch, Harries, Sowerby etc.]
• Page 55: Over the Air (remarks by Conlon Nancarrow)
• Pages 56-60: With the Dances (remarks by Edwin Denby)
• Pages 60-62: On the Film Front (remarks by Paul Bowles) [on film scores by Honegger for Harvest, Copland for The City, etc.]
• Pages 63-66: New Books
  • Pages 63-65: Aaron Copland, "Thomson's Musical Taste" [review of The State Of Music by Virgil Thomson]
  • Pages 65-66: Ray Brown, "Saminsky Revises Music of Our Day" [review of Music of Our Day by Lazare Saminsky, published by Thomas Y. Crowell]
• Page 67: Invitation to Readers [to submit correspondence that will be included in future issues]
• Page 68: Contributors to this Issue

Number 2 (January 1940 – February 1940)

• Pages 71-75: Roger Sessions, "On the American Future" [letter]
• Pages 76-80: Nicolas Slonimsky, "Caturla of Cuba" [Alejandro García Caturla]
• Pages 81-83: Frederick Jacobi, "Bloch's Violin Concerto"
• Pages 84-86: Henry Pleasants, "New Note on a Familiar Theme" [discusses the balance between orchestras programming old and new repertoire]
• Pages 87-92: Carlos Chavez, "Music for the Radio"
• Pages 93-109: Forecast and Review
  • Pages 93-101: Elliott Carter, "American Music in the New York Scene" [contains remarks on Roy Harris's Third Symphony, and various works by Roger Sessions, Walter Piston, and Edward Burlingame Hill, etc.]
  • Pages 101-103: Guido M. Gatti, "A Strenuous Italian Season"
  • Pages 103-104: Paul Bowles, "From Spirituals to Swing"
  • Pages 104-106: Herbert Elwell, "Cleveland First-Times" [remarks on the world premiere of William Walton's Violin Concerto, etc.]
  • Pages 106-108: George Henry Lovett Smith, "Boston Looks West" [significant remarks on Nicolai Lopatnikoff's Second Symphony, Bloch's Violin Concerto, etc.]
  • Pages 108-109: Humphrey Searle, "British Pickp-Up"
• Pages 110-113: Scores and Records (reviews by Colin McPhee) [Hindemith, Bax, Shostakovich, etc.]
• Pages 113-115: On the Film Front (remarks by Paul Bowles) [discusses film scores by Toch, Kabalevsky, and others]
• Pages 115-116: Over the Air (remarks by Conlon Nancarrow)
• Pages 116-120: With the Dancers (remarks by David Diamond) [discusses ballet music by Copland, Ray Green, Paul Nordoff, Henry Brant, etc.]
• Pages 121-125: New Books
  • Pages 121-123: Marion Bauer, "Krenek on Music Here and Now" [review of Music Here and Now by Ernst Krenek and translated by Barthold Fles, published by Norton)
  • Pages 123-125: Paul Rosenfeld, "An Idea for a Biography" [reviews of Men and Music by Wallace Brockway and Herbert Weinstock, published by Simon and Schuster; and How Music Grew, revised edition, by Marion Bauer and Ethel Peyser, published by G.P. Putnam's Sons]
• Page 126: Contributors to this Issue

Number 3 (March 1940 – April 1940)

• Page 130: Baccio M. Bacci, Decors for a Contemporary Opera: Volo di Notte by Luigi Dallapiccola [image]
• Pages 131-140: Henry Pleasants and Tibor Serly, "Bartok's Historic Contribution"
• Pages 141-147: Aaron Copland, "Second Thoughts on Hollywood"
• Pages 148-153: Ernst Krenek, "Teaching Composition"
• Pages 154-159: Paul Bowles, "Calypso – Music of the Antilles"
• Pages 160-163: Paul Nettl, "Czechs at Home and Far Away"
• Pages 164-178: Forecast and Review
  • Pages 164-170: Elliott Carter, "Stravinsky and Other Moderns in 1940"
  • Pages 171-173: Cecil Michener Smith, "Contemporary Music, Chicago Style"
  • Pages 173-174: Ray Brown, "Villa-Lobos in Washington"
  • Pages 174-175: Henry Pleasants, "Philadelphia Premiere of Bartok Work" [Deux Images, and Edward Burlingame Hill's Sinfonietta for String Orchestra]
  • Pages 175-176: Humphrey Searle, "More About Music in Britain"
  • Pages 176-178: Arno Huth, "Swiss War-Season"
• Pages 179-181: Records and Scores (reviews by Colin McPhee) [treats Hindemith's Four-Hand Piano Sonata, McBride pops, Leuning's Suite for Soprano and Flute, Chavez's Ten Preludes for Piano, etc.]
• Pages 181-184: Theatre Music (reviews by Marc Blitzstein) [some shows covered: Too Many Girls, Pins and Needles, Night Music, Reunion in New York, etc.]
• Pages 184-187: On the Film Front (reviews of film music by Paul Bowles) [treats scores by Luis Gruenberg and Alfred Newman, etc.]
• Pages 187-191: With the Dancers (remarks by Peter Lindamood)
• Pages 191-193: Over the Air (remarks by Conlon Nancarrow)
• Pages 194-199: Recent Books
  • Pages 194-196: Minna Lederman, "Star-Spangled Orchestras" [review of America's Symphony Orchestras by Margaret Grant and Herman S. Hettinger, published by Norton]
  • Pages 196-197: Marc Blitzstein, "Pierrot Lunaire in Lindy's" [review of A Smattering of Ignorance by Oscar Levant, published by Doubleday Doran in 1940]
  • Pages 197-199: William Schuman, "Taylor-Made Topics" [review of The Well-Tempered Listener by Deems Taylor, published by Simon & Schuster]
• Page 200: Contributors to this Issue

Number 4 (May 1940 – June 1940)

• Page 202: Sketch of Carlos Chavez by Miguel Covarrubias [image]
• Pages 203-209: Virgil Thomson, "Paris, April 1940" [letter]
• Pages 210-213: Ross Lee Finney, "Piston's Violin Sonata"
• Pages 214-220: Donald Duff, "Flamenco"
• Pages 221-225: Frederick Jacobi, "In Defense of Modernism"
• Pages 226-232: Paul Rosenfeld, "'Americanism' in American Music"
• Pages 233-236: Marion Bauer, "Stefan Wolpe"
• Pages 237-259: Forecast and Review
  • Pages 237-241: Elliott Carter, "The Changing Scene, New York 1940"
  • Pages 241-245: Harrison Kerr, "More on the Spring Season"
  • Pages 245-246: Colin McPhee, "South America Once More"
  • Pages 246-250: Arno Huth, "Dance of Death in Basle" [premiere of Honegger's La Danse des Morts etc.]
  • Pages 250-254: Charles Seeger, "New Works at the Coolidge Festival" [Malipiero's Quattro vecchi canzoni; Pizzetti's Epithalamium; Fitelberg's Sonata for Two Violins and Two Pianos; Harris's Viola Quintet; and Berezowsky's Sextet for Three Violins, Two Violas and Violincello]
  • Pages 254-255: George Henry Lovett Smith, "Boston Premieres" [American premieres of Hindemith's Viola Concerto and Prokofiev's Cello Concerto etc.]
  • Pages 255-258: Arthur Cohn, "Americans at Rochester" [music by Bernard Rogers, Kent Kennan, Frederick Jacobi, Roy Harris, etc.]
  • Pages 258-259: Humphrey Searle, "Music, Dance, Theatre in England"
• Pages 260-263: Records and Scores (reviews by Colin McPhee) [Hanson's Romantic Symphony, Piston's The Incredible Flutist, Ravel, Sibelius, etc.]
• Pages 263-265: Over the Air (remarks by Conlon Nancarrow)
  • Pages 263-264: "Swing, Jazz, Boogie-Woogie"
  • Page 265: "Back to the 'Long-Hairs'"
• Pages 265-267: On the Film Front (remarks by Paul Bowles) [brief treatment of Waxman's score for Rebecca, Janssen's score for Lights Out in Europe, Milhaud's score for The Mayor's Dilemma, and Kosma's music for The Human Beast]
• Pages 267-270: With the Dancers (remarks by Peter Lindamood) [discussion of Zunguru by Asadata Dafora, etc.]

Volume 18: November 1940 – June 1941

Number 1 (November 1940 – December 1940)

• Page 2: Darius Milhaud, Self Portrait (1940) [image]
• Pages 3-7: Douglas Moore, "Our Lyric Theatre"
• Pages 8-11: Roy Harris, "Folksong—American Big Business"
• Pages 12-14: Paul Bowles, "Sylvestre Revueltas"
• Pages 15-17: Virgil Thomson, "Chaplin Scores"
• Pages 18-21: Aaron Copland, "The Composers Get Wise"
• Pages 22-26: Alfred Einstein, "Affinities of the Ages"
• Pages 27-30: Paul Rosenfeld, "Griffes on Grand Street"
• Pages 31-36: Lazare Saminsky, "In the Argentine"
• Pages 37-54: Forecast and Review
  • Pages 37-41: Donald Fuller, "New York, 1940 – The Season Opens"
  • Pages 41-43: Colin McPhee, "Jungles of Brazil" [report on the Festival of Brazilian Music and the music of Heitor Villa-Lobos]
  • Pages 43-44: Remi Gassmann, "Milhaud, Carpenter, Harris in Chicago"
  • Pages 45-46: Darius Milhaud, "Paris Opera Just Before the Occupation"
  • Pages 46-49: Henry Cowell, "Drums Along the Pacific"
  • Pages 49-52: Arthur Cohn, "New Works at Yaddo" [i.e. Richard Donovan's Serenade, David Diamond's Concerto for Chamber Orchestra, etc.]
  • Pages 52-54: John Kirkpatrick, "Bennington's Festival of the Arts"
• Pages 55-58: Records and Scores (remarks by Colin McPhee)
• Pages 58-61: On the Film Front (remarks by Paul Bowles) [some of the film scores commented upon: Richard Hageman - The Long Voyage Home, Marc Blitzstein - Valley Town, Douglas Moore - Power and the Land, Fred Stewart - Children Must Learn etc.]
• Pages 61-64: With the Dancers (remarks by Edwin Denby) [treats Balanchine's Poker Game etc.]
• Pages 64-65: Over the Air (remarks by Charles Mills) [treats broadcasts of works by Villa-Lobos, Henry Cowell, Ernest Bloch, Constant Lambert, etc.]
• Pages 66-67: Recent Books
  • Page 66: Henry Cowell, "Music in History" [review of Music in History by Howard D. McKinney and W.R. Anderson, published by the American Book Company]
  • Pages 66-67: Edwin Denby, "A Dancer Who Thinks" [review of Serge Diaghilev by Serge Lifar, published by G.P. Putnam's Sons]
• Page 68: Contributors to this Issue

Number 2 (January 1941 – February 1941)

• Page 70: Howard Bay, "No for an Answer," Project for Marc Blitzstein's Opera [image]
• Pages 71-75: Benjamin Britten, "England and the Folk-Art Problem"
• Pages 76-80: Frederick Jacobi, "America's Popular Music"
• Pages 81-83: Samuel L.M. Barlow, "Blitzstein's Answer" [treats Marc Blitzstein's No For an Answer]
• Pages 84-89: Martha Alter, "American Composers, XVI: Howard Hanson"
• Pages 90-97: Columbia University's Office of Radio Research, "Making A Hit"
• Pages 98-99: Henry Cowell, "Roldan and Caturla of Cuba"
• Pages 100-106: Paul Nettl, "Alexandrian America"
• Pages 107-123: Forecast and Review
  • Pages 107-113: Donald Fuller, "Mid-Season, New York, 1940-41"
  • Pages 113-114: Herbert Elwell, "[Roy]Harris' Folksong Symphony"
  • Pages 114-116: Remi Gassmann, "The New Stravinsky"
  • Pages 116-118: Arno Huth, "Paris – By Grace of Goering"
  • Pages 118-120: Grosvenor Cooper, "Three Milhauds"
  • Pages 120-121: Henry Pleasants, "Schönberg, Shostakovich, Stokowski"
  • Pages 121-123: Arno Huth, "Swiss Premiere – Honegger's Nicolas de Flue"
• Pages 124-125: Scores and Records (remarks by Colin McPhee)
• Pages 125-127: In the Theatre (remarks by Samuel L.M. Barlow)
• Pages 128-131: With the Dancers (remarks by Edwin Denby)
• Pages 131-133: Over the Air (remarks by Charles Mills)
• Pages 133-134: On the Film Front (remarks by Paul Bowles)
• Pages 135-139: Recent Books
  • Pages 135-137: Minna Lederman, "Radio Blueprint" [review of Radio and the Printed Page by Paul Lazarsfeld; published by Duell, Sloan and Pearce in 1940]
  • Pages 137-139: Alan Lomax, "Songs of the American Folk" [review of A Treasury of American Song by Olin Downes and Elie Siegmeister; published by Howell, Soskin and Company in 1940]
• Page 140: Contributors to this Issue

Number 3 (March 1941 – April 1941)

• Page 142: Costume Designs by José Guadalupe Posada for Silvestre Revueltas's ballet La Coronela [images]
• Pages 143-146: Ernst Krenek, "The Survival of Tradition"