Modern Music: A Quarterly Review

Volume 3: November, 1925 – June, 1926

Number 1 (November – 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 – 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 – 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 – 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 – 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 – 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 – 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 – 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 – 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 – 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 – 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 – 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 – 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 – 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 – 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 – 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"