Readings—

• J. Peter Burkholder, A History of Western Music
• Chapter 34—Postwar Crosscurrents, pp. 893-940
• Chapter 35—The End of the Millennium, pp. 941-965
• J. Peter Burkholder, Norton Anthology of Western Music, Vol. 2 (NAWM)
• NAWM 159-172, pp. 1216-1426
• Smithsonian Collection of Classic Jazz booklet—MCD S661c or M12 S661c
• The Recordings—notes on all SCCJ recordings from the Encounter 7 Listening List
• Piero Weiss & Richard Taruskin, Music in the Western World: A History in Documents (RESERVE)
• John Cage, The Music of Chance, pp. 522-525
• Josiah Fisk, ed., Composers on Music (RESERVE)
• John Cage, various writings, pp. 379-387
• Philip Glass, Minimalism and From Soundpieces: Compositions, pp. 466-468
• Steve Reich, Writings on Music, 1965-2000 (RESERVE)
• Early Works (1965-68) pp. 19-25
• Music as a Gradual Process (1968), pp. 34-36
• Electric Counterpoint (1987), pp. 145-147
• Non-Western Music and the Western Composer (1988), p. 147-151
• [Steve Reich on John Adams, Philip Glass, and Arvo Pärt], pp. 233-235
• John Adams, Doctor Atomic pages on the John Adams website (www.earbox.com)
• Kaija Saariaho, Prisma CD-ROM (RESERVE MCD S112p)

Kaija Saariaho, Prisma CD-ROM

One of the most intriguing composers to emerge in recent years is Kaija Saariaho. She and several of her classmates from Helsinki Conservatory (including composer/conductor Esa-Pekka Salonen) have gone on to international careers. A decisive phase in her career was the time she spent at IRCAM in Paris (Institute for Music & Acoustic Research and Coordination), one of the world’s leading facilities for electronic composers. Many of the software tools Saariaho uses were created at IRCAM, and the research done there has profoundly affected her thinking, even in her purely acoustic (non-electronic) works. Few of her works are purely electronic, however; she is especially interested in the interactions between live performers and electronic sounds.

Explore Saariaho’s Prisma CD-ROM (RESERVE MCD S112p). Please note that this package contains two discs: an audio CD entitled Private Gardens and a CD-ROM entitled Prisma. Choose the CD-ROM for this exercise. To access the program on this disc, you must insert it into the computer’s CD-ROM drive, then find and open the program entitled Prisma.

This program contains five different modules, briefly described on the back of the CD case. Browse through a few of these modules. You are welcome to explore any that look interesting, but to answer the questions below, you especially want to look at the module entitled Spectra (the red one). This module focuses on the role of electronics in Saariaho’s music. Here are just a few suggestions for getting around in the Spectra module. When you first open the module you will sit through some introductory comments by Jean-Baptiste Barrière. When he’s done, move the mouse around the screen and menus magically appear when you pass over specific objects. There are six areas to explore:

• Space (move the mouse over the left speaker)
• This describes spatialisation, the ways Saariaho positions and moves her electronic sounds in the performance space
• Sound Material (move the mouse over the computer screen)
• This describes the ways Saariaho creates and works with electronic sounds, including analysis, synthesis, filtering, and studio processing
• Real Time (move the mouse over the microphone)
• This describes the techniques Saariaho uses to process sounds in the performance itself
• Writing (move the mouse over the manuscript paper)
• This describes the ways Saariaho uses music notation in her work
• Medium (move the mouse over the mixing board)
• This describes the ways Saariaho uses media such as magnetic tape or sampling
• Places (move the mouse over the coffee cup)
• This describes how Saariaho works at the studio and at home

Once you’ve finished looking at Spectra, use the information you found there to write a one-page report that answers these questions:

• What kind of “analysis” are they talking about in the Sound Material section? Why is this so important to Saariaho’s compositional process?
• In your own words, what do the following terms mean as they apply to Saariaho’s music?
• Cross-synthesis
• Sound processing
• Spatialisation
• Amplification
• Temporal expansion
• What role does color play in Saariaho’s music?
• How does music software help Saariaho in her compositional process?
• How do you reconcile this technological sophistication with the fact that Saariaho describes herself as an intuitive composer?

Listening Report 7

Postwar Crosscurrents & the End of the Millennium

For the listening portion of the 20th Century Unit (Final) Exam, I will play excerpts from the Final Exam Listening List below. For each excerpt you will:

• Identify composer, title, & section
• Identify the overall style:

• For works on the Jazz/Rock lists, you must also identify the structure (12-bar blues, 32-bar AABA, verse/refrain, or other)
• Describe the situation (what’s going on?) in any excerpts from works that have words, a program, or that reflect on political/historical/“current” events in any way
• Identify any electronic instruments or techniques used (if appropriate)
• Describe important musical features (heard in the excerpt) of:
• the overall style
• the composer/performer’s style
• the piece itself

Before you listen, use Encounter 7 readings to guide your understanding of characteristic features of the styles listed above. Use your listening report to help you identify these features as you listen. As always, you really want to read the NAWM notes and follow the score for every work from NAWM.

Each cluster of works listed below is accompanied by a set of Study Questions and, in many cases, Listening Report Questions (highlighted in blue). The Study Questions are designed to help you prepare for the Postwar Crosscurrents (Final) Exam and require no written report; for the Listening Report Questions, you must provide written answers to be turned in with this Encounter. For the Listening Report Questions, listen as many times as necessary to provide complete answers to each question.

Encounter 7 Listening

Postwar Crosscurrents

Traditional Media

A) NAWM 160—Olivier Messiaen, Quartet for the End of Time (1940-41)

• Mvmt. i: Liturgie de cristal—CD12, track 16

B) Benjamin Britten, War Requiem, CD1—Blackboard RESERVE

• Benjamin Britten, War Requiem (1961-62)
• II: Dies irae (from “Be slowly lifted up” to the end)
• See Blackboard Assignments module/Encounter Listening/Encounter 7/Britten, War Requiem

Listening Report Questions on A-B:

• 1. Britten’s War Requiem blends texts from the traditional Requiem Mass with poetry written by British soldier Wilfred Owen during World War I. In this excerpt, as in the other movements of this requiem, Britten interposes Owen’s texts so that they comment on the Latin Requiem texts. What features of Britten’s music sound Neoclassical? Do you hear any resemblance to Stravinsky in this excerpt? Explain. Is there a message here? Explain.

Study Questions on A-B:

• a. Written in a German prison camp in 1941, Messiaen’s quartet focuses on texts from the book of Revelations. What features of this work remind you of Debussy? What features remind you of Stravinsky and Neoclassicism? What features are unique to Messiaen? Is there a message here? Explain.

New Sounds and Textures 1a—The Impact of Electronic Media (1950s)

Musique concrète &
Chance Music

C) The 25-Year Retrospective Concert of the Music of John Cage, CD3—Blackboard RESERVE

• John Cage, Williams Mix (1952)
  • See Blackboard Assignments module/Encounter Listening/Encounter 7/Cage, Williams Mix

Early Synthesis

(see D in Serialism below)

Questions on C:

• b. Cage’s Williams Mix provides an example of both musique concrète and chance music. What makes this musique concrète? What kinds of sounds do you hear in this work? What makes it a chance work? What is the overall effect of this work? What do you think Cage was trying to express with this work? Was it meant to be serious? humorous? thought-provoking? Is chance a valid approach to the creation of a musical work? Why or why not? Do the articles by Cage (in Weiss/Taruskin & Fisk) help you understand this music any better? Explain.

Serialism

D) NAWM 164—Milton Babbitt, Philomel, for Soprano, Recorded Soprano, and Synthesized Sound (1964)

• Section I—CD12, tracks 28-32

Questions on D:

• c. Babbitt’s Philomel provides an example of both total serialism and early electronic music. It was created on one of the very first synthesizers (the RCA Mark V) at the Columbia-Princeton Electronic Music Center. What features of this music result from serial procedures? What do synthesized sounds add to this work? What do you think Babbitt is trying to express in this music (what is the story about, here?)? Can you hear the text-painting described in the NAWM notes?

R&B and Rock’n’Roll

Rhythm & Blues

E) Bloodshot Eyes: The Best of Wynonie Harris CD—Blackboard RESERVE

• Wynonie Harris, All She Wants to Do Is Rock (1949)
• See Blackboard Assignments module/Encounter Listening/Encounter 7/Wynonie Harris, All She Wants to Do Is Rock

R&B and Rock’n’Roll

F¹) Muddy Waters, The Anthology CD set —Blackboard RESERVE

• Muddy Waters, Got My Mojo Workin’ (1957)—CD2, track 10
• See Blackboard Assignments module/Encounter Listening/Encounter 7/Muddy Waters, Got My Mojo Workin’

F²) Little Richard, 18 Greatest Hits CD—Blackboard RESERVE

• Little Richard, Slippin’ and Slidin’ (1956)
• See Blackboard Assignments module/Encounter Listening/Encounter 7/Little Richard, Slippin’ and Slidin’

Rock’n’Roll Covers

G) Elvis Presley, Golden Records CD—Blackboard RESERVE

• Elvis Presley, Good Rockin’ Tonight (1954)
• See Blackboard Assignments module/Encounter Listening/Encounter 7/Elvis Presley, Good Rockin’ Tonight

Study Questions on E-G:

• d. Situated on the rhythm side of rhythm & blues, singer Wynonie Harris was one of the most popular (and risqué) R&B artists of the 1940s; the jump boogie tune All She Wants to Do Is Rock was one of a series of hit recordings for Harris in 1949. Harris was among the first to introduce the word “rock” into the R&B vocabulary, and it does not yet refer to a musical style, as you will hear! What is the form of this song? What features of this song are typical of 1940s jazz? What features anticipate 1950s rock’n’roll?
• e. Born McKinley Morganfield, Muddy Waters was one of the most important figures in the transition from the rural Delta blues to electrified urban blues. Do you hear any elements of country blues here? What elements make this song a good example of urban blues?
• f. Little Richard is widely regarded as the man who created the rock’n’roll vocal sound. How would you describe his vocal style? On the basis of Slippin’ and Slidin’ what would you describe as the most significant features of rock’n’roll? Where does he use 12-bar blues most strictly, in the verse, the chorus, or both? What is distinctive about his piano style?
• g. Which elements of Good Rockin’ Tonight are typical of R&B? Which are typical of ’50s rock’n’roll? Which are typical of Elvis? Do any elements of this performance remind you of Wynonie Harris (who recorded this song seven years earlier)? Explain.

From Bebop to Free Jazz

Bebop

H) NAWM 159—Charlie Parker and Dizzy Gillespie, Anthropology (1945, rec. 1951)—CD12, tracks 8-15

Cool Jazz

I) Smithsonian Collection of Classic Jazz CD set—RESERVE MCD S661c (or M12 S661c LP set)

• Miles Davis, Boplicity (1949) —CD4, track 1 (or LP Side 9, band 1)

Hard Bop

J) Smithsonian Collection of Classic Jazz LP set—RESERVE M12 S661c

• Charles Mingus, Hora Decubitus (1963)—LP Side 10, band 5
• Alternate Recording: Blackboard Assignments module/Encounter Listening/Encounter 7/Charles Mingus, Hora decubitus

Modal Jazz

K) Smithsonian Collection of Classic Jazz CD set—RESERVE MCD S661c (or M12 S661c LP set)

• John Coltrane, Alabama (1963)—CD5, track 6 (or LP Side 12, band 4)

Study Questions on H-K:

• h. How is Anthropology typical of bebop? How does bop differ from earlier jazz styles (swing, etc.)? What popular song is Anthropology based on? What form does this work use? Explain.
• i. Don’t be fooled by the title—Boplicity is cool jazz through and through. Based on your reading of the textbook and the SCCJ booklet’s notes on this work, what musical features make Boplicity typical of cool jazz? What is the basic structure used here, 12-bar blues or 32-bar AABA? What is the overall “feel” of this music? How does it differ from bop?
• j. While some hard bop charts sound lighter and funkier, Mingus puts the “hard” in hard bop. Based on your reading of the textbook and the SCCJ booklet’s notes on this work, what musical features make Hora decubitus a good example of hard bop? Do you hear any elements of “free jazz” here? What is the basic structure used here, 12-bar blues or 32-bar AABA? What is the overall “feel” of this music? How does it differ from bop?
• k. John Coltrane played alongside Miles Davis on Kind of Blue, the album that put modal jazz on the map, but went on to a solo career shortly thereafter. Coltrane continued to use modal approaches in much of his work, though in rather different ways than did Miles. What musical features make Alabama a good example of modal jazz? What is the overall “feel” of this music? How does it differ from bop? What is Coltrane trying to express in this particular piece? Is there a message? Explain.

New Sounds and Textures 1b—The Impact of Electronic Media (1960s)

Texture and Process (Sound Mass)

L) NAWM 165—Krzysztof Penderecki, Threnody: To the Victims of Hiroshima (1960)—CD12, tracks 33-39

Voltage Controlled Synthesis (Moog & Buchla)

• Morton Subotnick, Silver Apples of the Moon (Part 1 excerpt; 1967)
  • See Blackboard Assignments module/Encounter Listening/Encounter 7/Subotnick, Silver Apples of the Moon

Listening Report Questions on L-M:

• 2. Penderecki’s Threnody for the Victims of Hiroshima is a sound mass composition, a purely acoustic work inspired by the new sounds and textures of electronic music. All of the sounds in this work are made by a string orchestra: violins, violas, cellos, and basses. Which sonorities sound like they could be electronic? What special effects do the string players use here? Do you hear the big blocks of sound that give this style its name? Specifically, is this an effective lament for victims of the atomic bomb dropped at Hiroshima? Is this program music? Explain.

Study Questions on L-M:

• l. Subotnick’s Silver Apples of the Moon was created on one of the first voltage-controlled synthesizers (a Buchla instrument). Do you notice any difference between these electronic sounds and those used by Babbitt? Can you hear the short ostinato patterns created by the Buchla sequencer module? What is Subotnick trying to express in this music? What do you find most interesting about the way this piece is put together? Does the style of this piece differ from earlier electronic pieces? Explain.

New Sounds and Textures 2

The New Virtuosity—Quotation and Collage; New Instruments, Sounds & Scales

N) Berio, Sinfonia/Eindrücke CD—RESERVE MCD B511s

• Luciano Berio, Sinfonia (1968/69), mvmt. iii—track 3 (1st 5:36 only)
• Alternate Recording: Blackboard Assignments module/Encounter Listening/Encounter 7/Berio, Sinfonia

O) Kronos On Stage–Black Angels/Ghost Opera DVD—RESERVE VIDEO 785.7194 K93

• George Crumb, Black Angels, for Electric String Quartet (1970)
  • Image 4: Devil-Music—DVD track 2, starting at 3:25
  • Image 5: Danse macabre—DVD track 2, starting at 5:05
• Alternate Recording: NAWM 163—CD12, tracks 26-27
• Alternate Recording: MCD C571b—Crumb, Black Angels & Lutoslawski, String Quartet CD—tracks 4-5

Listening Report Questions on N-O:

• 3. Make sure you follow the NAWM score as you watch this DVD performance. What is Crumb trying to express in Black Angels? What new sounds does Crumb explore in this work? Which sounds do you find most fascinating, visually and sonically? Is this electronic music? How is this music representative of the “new virtuosity”?

Study Questions on N-O:

• m. What is Berio trying to express in this music? What role do quotation and collage play here? What meanings do these “found objects” take on in this context? How is this work representative of the “new virtuosity”? What is the effect of the Mahler Scherzo that runs throughout this movement? In this work, what is Berio saying about the symphonic tradition?

’60s Rock

Folk & Protest Music

P) The Freewheelin’ Bob Dylan CD

• Bob Dylan, Blowin’ in the Wind (1963)
  • Alternate Recording: Blackboard Assignments module/Encounter Listening/Encounter 7/Bob Dylan, Blowin’ in the Wind

The Beatles & the British Invasion

Q) The Beatles: 1967-1970 CD set—RESERVE MCD B369 1967/70

• Lennon/McCartney, A Day in the Life, from Sgt. Pepper’s Lonely Hearts Club Band (1967)—CD1, track 6

Motown & Soul

R) Aretha Franklin, 30 Greatest Hits, CD1—Blackboard RESERVE

• Otis Redding, Respect, performed by Aretha Franklin (1967)
• See Blackboard Assignments module/Encounter Listening/Encounter 7/Aretha Franklin, Respect

The Guitar Virtuoso & Hard Rock

S) The Cream, Wheels of Fire CD—Blackboard RESERVE

• The Cream, Crossroads (1968)
• See Blackboard Assignments module/Encounter Listening/Encounter 7/Cream, Crossroads

Study Questions on P-S:

• n. On the basis of Blowin’ in the Wind, what would you describe as the most significant features of early ’60s folk music? What do you think his lyrics have to say about the situation in the 1960s? Does Dylan’s unique voice add to or detract from the effect of this song? Explain.
• o. The final complete song on Side 2 of the Sgt. Pepper album, A Day in the Life is representative of the Beatles’ “psychedelic” phase, reflecting the experience of LSD and other drugs used by the emerging youth culture of the ’60s. How is this song typical of 1960s rock? How is it atypical? How would you describe the lyrics? What is the basic structure used here, 12-bar blues, 32-bar AABA, verse/refrain, or other? Explain.
• p. On the basis of Respect, what would you describe as the most significant features of 1960s soul music? What do you think the lyrics are about? What does Aretha Franklin’s singing style add to the effect of the song? Explain.
• q. On the basis of Crossroads, what are the most significant features of 1960s hard rock—especially as performed by guitar virtuosos such as Eric Clapton? What innovations can you hear in Clapton’s playing? Explain. As a cover of a Robert Johnson song, what features does this song borrow from country blues or from Muddy Waters’s electrified urban blues? What impact did these earlier styles have on hard rock?

The End of the Millennium

Minimalism

Minimalism

T) Steve Reich, Different Trains CD—Blackboard RESERVE

• Steve Reich, Electric Counterpoint, for electric guitar & tape (1987)
• Mvmt. III - Fast
  • See Blackboard Assignments module/Encounter Listening/Encounter 7/Reich, Electric Counterpoint

Postminimalism

U) John Adams, Doctor Atomic DVD—RESERVE VIDEO 782.14 D637

• John Adams, Doctor Atomic (2003)
• Act II, Scene 3: At the sight of this (chorus)—Disc 2, chapter 5, 0:58:39–1:03:32
• Act II, Scene 4: To what benevolent demon (monologue)—Disc 2, chapter 6, 1:03:32–1:11:11

The New Accessibility

Radical Simplification

V) NAWM 170—Arvo Pärt, Seven Magnificat Antiphons

• Arvo Pärt, Seven Magnificat Antiphons (1988/91)
• No. 1: O Weisheit—CD12, track 65
• No. 6: O König aller Völker—CD12, track 66

Listening Report Questions on T-V:

• 4. What features of Adams’s Doctor Atomic are typical of minimalism? of postminimalism? What features do not sound so typical? Is there an audible “process” at work in this piece? Explain. What do the quotes from the Bhagavad-Gita and Baudelaire add to your understanding of the story? How do Adams’s comments in the interview on his website (www.earbox.com/inter-doctoratomic.html) help you understand this music better?

Study Questions on T-V:

• r. What features of Reich’s Electric Counterpoint are typical of minimalism? Is there an audible “process” at work in this piece? Explain. How do Philip Glass’s comments (RESERVE readings from Fisk) help you understand this music better? How do the Reich RESERVE readings affect your understanding of minimalist music in general and this work in specific?
• s. Estonian composer Arvo Pärt is one of several composers growing up behind the Iron Curtain who adopted minimalist techniques but adapted them into a simple, profoundly spiritual style. What features of Pärt’s Seven Magnificat Antiphons are typical of minimalism? What features do not sound so typical? Is there an audible “process” at work in this piece? Explain. What is Pärt trying to express in these two movements? What do you think about Reich’s comments on Pärt (RESERVE reading)?

Mixed Media

Jazz Fusion & the Music Video

W) Future2Future Live DVD—RESERVE VIDEO 781.63 F886

• Herbie Hancock, Rockit (1983 music video)—select Bonus Video/Rockit: The Original Music Video from 1982

New Technologies

X) Kaija Saariaho, Prisma/Private Gardens CD & CD-ROM—MCD S112p

• Kaija Saariaho, Six Japanese Gardens, for percussions and electronics (1995)
• Mvmt. iv: Rock Gardens of Ryoan-ji—Private Gardens CD, track 9
• Alternate Recording: See Blackboard Assignments module/Encounter Listening/Encounter 7/Saariaho, Ryoan-ji
• Mvmt. vi: Stone Bridges—Private Gardens CD, track 11
• Alternate Recording:See Blackboard Assignments module/Encounter Listening/Encounter 7/Saariaho, Stone Bridges

Study Questions on W-X:

• t. Since the 1960s, jazz fusion pioneer Herbie Hancock has melded jazz with a variety of popular styles, including funk, techno, hip-hop, and rap. He has also shown a long-standing interest in new technologies, ranging from the latest & greatest electronic keyboards to music videos to the first-ever Internet live jam. Hancock scored one of the biggest hits of his career with the MTV video, Rockit (1982). What features of this work are typical of jazz? What other musical genres does he borrow from? What features of the video are typical of music videos? Which features are innovative (for 1982)? Is there a message? Expain.
• u. You already had a chance to explore Saariaho’s compositional techniques in Part I. Which of those techniques can you hear most clearly in these two pieces? What kinds of colors does she use here? How does Saariaho’s music differ from the other electronic works on the Listening List? Are the electronic sounds integrated with the percussion instruments, or distinct from them (or both)? Explain. What is Saariaho trying to express? Is this program music? (Check out the photographs of Ryoan-ji and a Japanese stone bridge in the Blackboard Encounter 7 Listening module.) Explain.

Interactions with Non-Western Musics

Classical Composers

Y) Kronos On Stage–Black Angels/Ghost Opera DVD—RESERVE VIDEO 785.7194 K93

• Tan Dun, Ghost Opera, for string quartet & pipa (1995)
  • Act III: Dialogue with ”Little Cabbage“—DVD track 7

World Beat

Z) Paul Simon, Graceland CD—Blackboard RESERVE

• Paul Simon & Ladysmith Black Mambazo, Diamonds on the Soles of Her Shoes (1986)
• See Blackboard Assignments module/Encounter Listening/Encounter 7/Paul Simon, Graceland

Listening Report Questions on Y-Z:

• 5. Born and raised in China, composer Tan Dun emerged in the early 1980s as the leading composer of the Chinese “New Wave” that followed the collapse of China’s so-called Cultural Revolution. Always controversial, his music was denounced for its “spiritual pollution” in 1983, and performances were banned for a time. He took this opportunity to move to New York, finish graduate degrees at Columbia, and inaugurate a career in the U.S. Today, Tan Dun is probably best known as the Oscar-winning composer of the score for Crouching Tiger, Hidden Dragon. and his powerful, full-scale opera, The First Emperor, premiered at New York’s Metropolitan Opera the year before last (with Plácido Domingo, Paul Groves, and Elizabeth Futral; directed by Zhang Yimou, who also did House of Flying Daggers and Hero). Rather than choose one or the other, his music integrates both Asian and Western traditions. Which aspects of this movement from Ghost Opera sound Chinese? Which sound more like Western classical or avant-garde music? What other postwar crosscurrents can you hear in Tan Dun’s music? Explain.

Study Questions on Y-Z:

• v. Since the early days of radio and recorded music, Western popular music has had a pronounced influence on the popular musics of nations around the globe. By the 1980s, these non-Western (yet Western-influenced) popular styles began to be heard worldwide. The collective name given to these styles is World Beat, and these styles in turn have influenced Western musicians as diverse as Peter Gabriel, Joni Mitchell, Brian Eno and Herbie Hancock. Paul Simon had been drawing on non-Western musics since his Simon & Garfunkel days in the 1960s, but the emergence of World Beat inspired him to go even farther. For his Graceland album he decided to collaborate with South African musicians to create songs that fused Western and South African pop styles. Which elements of Diamonds on the Soles of Her Shoes sound typical of Western pop? Which elements sound more like African popular music (i.e. the township jive we heard in class)? Does this song fuse these elements effectively? Explain.

Extra Credit Listening—

• VIDEO 782.1 D285—Adams, The Death of Klinghoffer (DVD)
• VIDEO 782.14 D637—Adams, Doctor Atomic (DVD)
• VIDEO 782.1 E37—Adams, El niño (DVD)
• MCD A214h 1994—Adams, Harmonielehre, A Short Ride in a Fast Machine, etc. (Rattle)
• MCD A214d—Adams, The Dharma at Big Sur/My Father Knew Charles Ives
• MCD B112ph—Babbitt, Philomel
• MCD B112p—Babbitt, Piano Music (Taub)
• MCD B511s—Berio, Sinfonia & Eindrücke (Boulez)
• MCD B763ma—Boulez, Le marteau sans maître, Notations, Structures (Boulez)
• MCD C131i—Cage, In a Landscape (prepared piano music)
• MCD C571b—Crumb, Black Angels & Lutoslawski, String Quartet (Cikada Quartet)
• VIDEO 785.7194 K93—Kronos on Stage DVD (Crumb, Black Angels & Tan Dun, Ghost Opera)
• MCD E12m—Early Modulation/Vintage Volts (electronic music by Luening, Ussachevsky, Mathews, Schaeffer, Xenakis, Cage, Subotnick, etc.)
• MCD L974c—Lutoslawski, Concerto for Orchestra, Jeux vénitiens, Livre pour orchestre, Mi-parti
• M12 N352s—Penderecki, The New Music LP
• MCD R347t—Reich, Tehillim
• MCD R347c—Reich, The Cave (Hillier)
• MCD R347th—Reich, Three Tales CD & DVD
• M12 R573c—Riley, Cadenza on the Night Plain and Other String Quartets LP
• M12 R573i—Riley, In C LP
• VIDEO 782.1 A525—Saariaho, L’amour de loin (DVD)
• MCD S112p—Saariaho, Prisma/Private Garden (CD with CD-ROM)
• M12 S864g—Stockhausen, Gesang der Jünglinge & Kontakte LP
• M12 S941s—Subotnick, Silver Apples of the Moon LP
• M12 V296—Varèse, Music of Edgar Varèse LP
• MCD B369 1962/66—The Beatles: 1962-1966
• MCD B369 1967/70—The Beatles: 1967-1970
• M12 G786j v.25—Contemporary currents: Coleman, Hancock, Jarrett, Corea (The Greatest Jazz Recordings of All Time: 97-100) LP set
• MCD D263b 1999—Miles Davis, Bitches Brew
• MCD D263c 1988—Miles Davis, Complete Birth of the Cool
• MCD D263k 1997—Miles Davis, Kind of Blue
• MCD G381p—Miles Davis, Porgy and Bess
• VIDEO 781.63 F886—Herbie Hancock, Future2Future Live DVD (includes Rockit music video)
• MCD M943a—Muddy Waters, Anthology: 1947-1972
• M12 R682—Rock & roll, the early days LP
• MCD S661c (or M12 S661c LP set)—Smithsonian Collection of Classic Jazz