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Music in the Late Twentieth Century

Further Reading


Further Reading

The Twentieth Century

General Sources

Adorno, Theodor W. Quasi una Fantasia: Essays on Modern Music, trans. Rodney Livingstone. New York: Norton, 1994.

Albright, Daniel. Untwisting the Serpent: Modernism in Music, Literature, and Other Arts. Chicago: University of Chicago Press, 2000.

Antokoletz, Elliott. Twentieth-Century Music. Englewood Cliffs, N.J.: Prentice Hall, 1992.

Austin, William W. Music in the Twentieth Century. New York: Norton, 1966.

Battcock, Gregory, ed. Breaking the Sound Barrier: A Critical Anthology of the New Music. New York: E. P. Dutton, 1981.

Burbank, Richard. Twentieth-Century Music: A Chronology. London: Thames and Hudson, 1984.

Cope, David H. New Directions in Music. 5th ed., Dubuque, Iowa: William C. Brown, 1989.

Gann, Kyle. American Music in the Twentieth Century. New York: Schirmer, 1997.

Hitchcock, H. Wiley. Music in the United States. 4th ed., Englewood Cliffs, N.J.: Prentice Hall, 1999.

Kallin, Anna, and Nicolas Nabokov, eds. Twentieth-Century Composers. 3 vols. Vol. I: Virgil Thomson, American Music since 1910; Vol. II: Hans Heinz Stuckenschmidt, Germany and Central Europe; Vol. III: Humphrey Searle and Robert Layton, Britain, Scandinavia and the Netherlands. New York: Holt, Rinehart and Winston, 1971–72.

Mitchell, Donald. The Language of Modern Music. London: Faber and Faber, 1963.

Morgan, Robert P. Twentieth-Century Music. New York: Norton, 1991.

Salzman, Eric. Twentieth-Century Music: An Introduction. 4th ed., Englewood Cliffs, N.J.: Prentice Hall, 2001.

Schwartz, Elliott, and Barney Childs, eds. Contemporary Composers on Contemporary Music. New York: Holt, Rinehart and Winston, 1967. Expanded ed., New York: Da Capo, 1998.

Schwartz, Elliot, and Daniel Godfrey, eds. Music since 1945: Issues, Materials, and Literature. New York: Schirmer, 1993.

Sheppard, W. Anthony. Revealing Masks: Exotic Influences and Ritualized Performance in Modernist Music Theater. Berkeley and Los Angeles: University of California Press, 2001.

Simms, Bryan R. Music of the Twentieth Century: Style and Structure. New York: Schirmer, 1986.

Simms, Bryan R., ed. Composers on Modern Musical Culture. New York: Schirmer, 1999.

Slonimsky, Nicolas. Music since 1900. 4th ed., New York: Scribners, 1971.

——. Supplement to Music since 1900. New York: Scribners, 1986.

Vinton, John, ed. Dictionary of Contemporary Music. New York: E. P. Dutton, 1971.

Watkins, Glenn. Pyramids at the Louvre: Music, Culture, and Collage from Stravinsky to the Postmodernists. Cambridge: Harvard University Press, 1994.

——. Soundings: Music in the Twentieth Century. New York: Schirmer, 1988.

Whittall, Arnold. Exploring Twentieth-Century Music: Tradition and Innovation. Cambridge: Cambridge University Press, 2003.

——. Musical Composition in the Twentieth Century. Oxford: Oxford University Press, 1999.

Yates, Peter. Twentieth-Century Music. New York: Pantheon Books, 1967.

Chapter 1 Starting from Scratch

Adorno, Theodor W. Philosophy of Modern Music, trans. Anne G. Mitchel and Wesley V. Blomster. New York: Seabury Press, 1973.

Bandur, Markus. Aesthetics of Total Serialism. Basel: Birkhäuser, 2001.

Boulez, Pierre. Boulez on Music Today, trans. Susan Bradshaw and Richard Rodney Bennet. Cambridge: Harvard University Press, 1971.

——. Orientations: Collected Writings, ed. Jean-Jacques Nattiez, trans. Martin Cooper. Cambridge: Harvard University Press, 1986.

——. Stocktakings from an Apprenticeship, trans. Stephen Walsh. Oxford: Clarendon Press, 1991.

Brindle, Reginald Smith. The New Music. Oxford: Oxford University Press, 1974.

——. Serial Composition. New York: Oxford University Press, 1966.

Carroll, Mark. Music and Ideology in Cold War Europe. Cambridge: Cambridge University Press, 2003.

Cott, Jonathan. Stockhausen: Conversations with the Composer. New York: Simon and Schuster, 1975.

Glock, William, ed. Pierre Boulez: A Symposium. London: Eulenburg Books, 1986.

Grant, M.J. Serial Music, Serial Aesthetics: Compositional Theory in Postwar Europe. Cambridge: Cambridge University Press, 2001.

Griffiths, Paul. Boulez. London: Oxford University Press, 1978.

——. Modern Music: The Avant-Garde since 1945. London: J. M. Dent, 1981.

Harvey, Jonathan. The Music of Stockhausen. Berkeley and Los Angeles: University of California Press, 1975.

Henze, Hans Werner. Bohemian Fifths: An Autobiography, trans. Stewart Spencer. London: Faber & Faber, 1998.

——. Music and Politics: Collected Writings, 1953–81, trans. P. Labanyi. London: Faber & Faber, 1982.

Hodeir, André. Since Debussy: A View of Contemporary Music, trans. Noel Burch. New York: Grove Press, 1961.

Koblyakov, Lev. Pierre Boulez: A World of Harmony. Milton Park: Taylor & Francis, 1990.

Kurtz, Michael. Stockhausen: A Biography, trans. Richard Toop. New York: Farrar Straus & Giroux, 1993.

Leibowitz, René. Schoenberg and His School: The Contemporary Stage of the Language of Music, trans. Dika Newlin. New York: Philosophical Library, 1949. Reprint, New York, Da Capo, 1975.

Maconie, Robin. Stockhausen on Music: Lectures and Interviews. London: Marion Boyars, 1989.

——. The Works of Karlheinz Stockhausen. London: Oxford University Press, 1976.

Stacy, Peter F. Boulez and the Modern Concept. Lincoln: University of Nebraska Press, 1987.

Tannenbaum, Mya. Conversations with Stockhausen. Oxford: Oxford University Press, 1987.

Williams, Alastair. New Music and the Claims of Modernity. Aldershot, U.K.: Ashgate, 1997.

Wörner, Karl Heinrich. Stockhausen: Life and Work, trans. G. W. Hopkins. London: Faber & Faber, 1973.

Chapter 2 Indeterminacy

Bailey, Derek. Improvisation: Its Nature and Practice in Music. Ashebourne, Derbyshire: Moorland, 1980.

Bois, Mario. Iannis Xenakis, the Man and His Music: A Conversation wth the Composer and a Description of His Works. London: Boosey & Hawkes, 1967.

Cage, John. A Year from Monday. Middletown, Conn.: Wesleyan University Press, 1967.

——. Empty Words: Writings, 1973–78. Middletown, Conn.: Wesleyan University Press, 1979.

——. For the Birds: In Conversation with Daniel Charles. London: Boyars, 1981.

——. M: Writings, 1967–73. Middletown, Conn.: Wesleyan University Press, 1973.

——. Silence. Middletown, Conn.: Wesleyan University Press, 1961.

Cage, John, ed. Notations. New York: Something Else Press, 1969.

Cardew, Cornelius. Stockhausen Serves Imperialism and Other Essays. London: Latimer, 1974.

Cardew, Cornelius, ed. Scratch Music. Cambridge, Mass.: MIT Press, 1974.

Cole, Hugo. Sounds and Signs: Aspects of Musical Notation. Oxford: Oxford University Press, 1974.

DeLio, Thomas. Circumscribing the Open Universe: Essays on Cage, Feldman, Wolff, Ashley and Lucier. Washington, D.C.: Rowman and Littlefield, 1984.

DeLio, Thomas, ed. The Music of Morton Feldman. Westport, Conn.: Greenwood Press, 1996.

Feldman, Morton. Essays, ed. Walter Zimmerman. Kerpen: Beginner Press, 1985.

Gena, Peter, ed. A John Cage Reader. New York: C. F. Peters, 1982.

Kaprow, Allan. Assemblage, Environments, and Happenings. New York: Abrams, 1966.

Karkoschka, Erhard. Notation in New Music. New York: Praeger, 1972.

Kostelanetz, Richard, ed. Conversing with Cage. New York: Limelight Editions, 1987.

——. John Cage. New York: Praeger, 1970.

——. John Cage: Writer. New York: Limelight Editions, 1993.

Nattiez, Jean-Jacques, ed. The Boulez-Cage Correspondence, trans. R. Samuels. Cambridge: Cambridge University Press, 1993.

Pritchett, James. The Music of John Cage. Cambridge: Cambridge University Press, 1993.

Revill, David. The Roaring Silence: John Cage, A Life. New York: Arcade, 1992.

Stone, Kurt. Music Notation in the Twentieth Century. New York: Norton, 1980.

Varga, Bálint András. Conversations with Iannis Xenakis. New York: Farrar, Straus and Giroux, 1996.

Xenakis, Iannis. Arts, Sciences: Alloys, trans. Sharon Kanach. New York: Pendragon Press, 1985.

——. Formalized Music: Thought and Mathematics in Composition. Bloomington: Indiana University Press, 1971.

Chapter 3 The Apex

Babbitt, Milton. Words about Music, ed. Stephen Dembski and Joseph N. Straus. Madison: University of Wisconsin Press, 1987.

Boretz, Benjamin, and Edward T. Cone. Perspectives on American Composers. Princeton: Princeton University Press, 1971.

——. Perspectives on Contemporary Music Theory. New York: Norton, 1972.

——. Perspectives on Notation and Performance. New York: Norton, 1976.

——. Perspectives on Schoenberg and Stravinsky. Princeton: Princeton University Press, 1968.

Copland, Aaron, and Vivian Perlis. Copland: Since 1943. New York: St. Martin’s Press, 1989.

Craft, Robert. Stravinsky: Chronicle of a Friendship, 1948–1971. Rev. ed., Nashville: Vanderbilt University Press, 1994.

Forte, Allen. The Structure of Atonal Music. New Haven: Yale University Press, 1973.

Krenek, Ernst. Horizons Circled: Reflections on My Life in Music. Berkeley and Los Angeles: University of California Press, 1974.

Lang, Paul Henry, ed. Problems of Modern Music. New York: Norton, 1962.

Mead, Andrew W. An Introduction to the Music of Milton Babbitt. Princeton: Princeton University Press, 1994.

Nabokov, Nicolas. Bagazh: Memoirs of a Russian Cosmopolitan. New York: Atheneum, 1975.

Peles, Stephen, et al., eds. The Collected Essays of Milton Babbitt. Princeton: Princeton University Press, 2003.

Perspectives of New Music, Vol. XIV/2 and XV/1 (1976), special issue.

Straus, Joseph N. Stravinsky’s Late Music. Cambridge: Cambridge University Press, 2001.

Sravinsky, Igor, and Robert Craft. Conversations with Igor Stravinsky. Garden City, N.Y.: Doubleday, 1959.

Werth, Alexander, ed. Musical Uproar in Moscow. London: Turnstile Press, 1949. Reprint, Westport, Conn.: Greenwood Press, 1973.

Wuorinen, Charles. Simple Composition. New York: Longman, 1979.

Chapter 4 The Third Revolution

Appleton, Jon, and Ronald Perera, eds. The Development and Practice of Electronic Music. Englewood Cliffs, N.J.: Prentice Hall, 1974.

Chadabe, Joel. Electric Sound: The Past and Promise of Electronic Music. Upper Saddle River, N.J.: Prentice Hall, 1997.

Ernst, David. The Evolution of Electronic Music. New York: Schirmer, 1977.

Heikinheimo, Seppo. The Electronic Music of Karlheinz Stockhausen: Studies of the Esthetical and Formal Problems of Its First Phase, trans. Brad Absetz. Helsinki: Suomen Musikkitieteellinin Seura, 1972.

Howe, Hubert S., Jr. Electronic Music Synthesis. New York: Norton, 1975.

Jacobson, Bernard. A Polish Renaissance. London: Phaidon Press, 1996.

Mirka, Danuta. The Sonoristic Structuralism of Krzysztof Penderecki. Katowice: Akademia Muzyczna, 1997.

Ouellette, Fernand. A Biography of Edgard Varèse, trans. D. Coltman. New York: Orion Press, 1966.

Robinson, Ray. Krzysztof Penderecki: A Guide to His Work. Princeton: Prestige, 1983.

Robinson, Ray, and Allen Winold. A Study of the Penderecki St Luke Passion. Celle, N.J.: Warner Bros., 1983.

Steinitz, R. György Ligeti: Music of the Imagination. Boston: Northeastern University Press, 2003.

Schwartz, Elliott. Electronic Music: A Listener’s Guide. New York: Praeger, 1972.

Stucky, Steven. Lutoslawski and His Music. Cambridge: Cambridge University Press, 1981.

Thomas, Adrian. Górecki. Oxford: Oxford University Press, 1997.

Toop, Richard. György Ligeti. London: Phaidon Press, 1999.

Van Solkema, Sherman, ed. The New Worlds of Edgard Varèse: A Symposium. Brooklyn, N.Y.: Institute for Studies in American Music, 1979.

Chapter 5 Standoff (I)

Banks, Paul, ed. The Making of Peter Grimes. Woodbridge: Boydell Press/Britten-Pears Library, 1995.

Brett, Philip, ed. Benjamin Britten: Peter Grimes. Cambridge: Cambridge University Press, 1983.

Britten, Benjamin. On Receiving the First Aspen Award. London: Faber & Faber, 1964.

Carpenter, Humphrey. Benjamin Britten: A Biography. New York: Simon and Schuster, 1993.

Cooke, Mervyn. Britten and the Far East: Asian Influences in the Music of Benjamin Britten. Woodbridge: Boydell Press/Britten-Pears Library, 1998.

——. Britten: War Requiem. Cambridge: Cambridge University Press, 1996.

Cooke, Mervyn, ed. The Cambridge Companion to Benjamin Britten. Cambridge: Cambridge University Press, 1999.

Cooke, Mervyn, and Philip Reed, eds. Benjamin Britten: Billy Budd. Cambridge: Cambridge University Press, 1993.

Evans, Peter. The Music of Benjamin Britten. Rev. ed., Oxford: Oxford University Press, 1995.

Howard, Patricia, ed. Benjamin Britten: The Turn of the Screw. Cambridge: Cambridge University Press, 1985.

Howes, Frank. The English Musical Renaissance. London: Secker and Warburg, 1966.

Hughes, Meirion, and Robert Stradling. The English Musical Renaissance, 1840–1940: Constructing a National Music. 2nd ed., Manchester: Manchester University Press, 2001.

Kennedy, Michael. Britten. London: J. M. Dent, 1981.

Kildea, Paul. Selling Britten: Music and the Market Place. Oxford: Oxford University Press, 2002.

Mitchell, Donald. Benjamin Britten: Death in Venice. Cambridge: Cambridge University Press, 1987.

——. Britten and Auden in the Thirties: The Year 1936. Seattle: University of Washington Press, 1981.

Mitchell, Donald, and Hans Keller, eds. Benjamin Britten: A Commentary on His Works from a Group of Specialists. London: Rockliff, 1952.

Mitchell, Donald, and Philip Reed, eds. Letters from a Life: Selected Letters and Diaries of Benjamin Britten. Berkeley and Los Angeles: University of California Press, 1991.

Palmer, Christopher, ed. The Britten Companion. London: Faber and Faber, 1984.

Pirie, Peter J. The English Musical Renaissance. London: Victor Gollancz, 1979.

White, Eric Walter. Benjamin Britten: His Life and Operas. 3rd ed., London: Faber and Faber, 1983.

Wilcox, Michael. Benjamin Britten’s Operas. Bath: Absolute Press, 1997.

Chapter 6 Standoff (II)

Carter, Elliott. Collected Essays and Lectures, 1937–1995, ed. Jonathan W. Bernard. Rochester, N.Y.: University of Rochester Press, 1997.

Edwards, Allen. Flawed Words and Stubborn Sounds: A Conversation with Elliott Carter. New York: Norton, 1971.

Pollack, Howard. Harvard Composers: Walter Piston and His Students, from Elliott Carter to Frederic Rzewski. Metuchen, N.J.: Scarecrow Press, 1992.

Rosen, Charles. The Musical Languages of Elliott Carter. Washington, D.C.: United States Government Printing Office, 1984.

Schiff, David. The Music of Elliott Carter. London: Eulenburg Books, 1983. 2nd ed., Ithaca, N.Y.: Cornell University Press, 1998.

Stone, Kurt, and Else Stone, eds. The Writings of Elliott Carter: An American Composer Looks at Modern Music. Bloomington: Indiana University Press, 1977.

Chapter 7 The Sixties

Berio, Luciano. Two Interviews, ed. and trans. David Osmond-Smith. London: Marion Boyars, 1985.

Davis, Edward E., ed. The Beatles Book. New York: Cowles, 1968.

Davis, Jerome. Talking Heads. New York: Vintage Books, 1986.

DeLio, Thomas, ed. Contiguous Lines: Issues and Ideas in the Music of the Sixties and Seventies. Lanham, N.Y.: University Press of America, 1985.

Eisen, Jonathan, ed. The Age of Rock: Sounds of the American Cultural Revolution. New York: Vintage Books, 1969.

Friedlander, Paul. Rock and Roll: A Social History. Boulder: Westview Press, 1996.

Frith, Simon. Sound Effects: Youth, Leisure and the Politics of Rock ‘n’ Roll. New York: Random House, 1981.

Frith, Simon, and Andrew Goodwin, eds. On Record: Rock, Pop, and the Written Word. New York: Random House, 1990.

Gitlin, Todd. The Sixties: Years of Hope, Days of Rage. New York: Bantam Books, 1987.

Hamm, Charles, Bruno Nettl, and Ronald Byrneside. Contemporary Music and Music Cultures. Englewood Cliffs, N.J.: Prentice Hall, 1975.

Haskell, Barbara. Blam! The Explosion of Pop, Minimalism, and Performance, 1958–1964. New York: Norton, 1984.

Kozinn, Allan. The Beatles. London: Phaidon Press, 1995.

Macdonald, Ian. Revolution in the Head: The Beatles’ Records and the Sixties. Rev. ed., London: Fourth Estate, 1994.

Marcus, Greil. Mystery Train: Images of American Rock ‘n’ Roll Music. New York: E. P. Dutton, 1975.

Moore, A. F. The Beatles: Sgt. Pepper’s Lonely Hearts Club Band. Cambridge: Cambridge University Press, 1997.

Osmond-Smith, David. Berio. Oxford: Oxford University Press, 1991.

——. Playing with Words: A Guide to Luciano Berio’s Sinfonia. London: Royal Musical Association, 1985.

Rockwell, John. All American Music: Composition in the Late Twentieth Century. New York: Knopf, 1983.

Tamm, Eric. Brian Eno: His Music and the Vertical Color of Sound. New York: Farrar Straus & Giroux, 1989.

Thomson, Elizabeth, and David Gutman, eds. The Lennon Companion. Rev. ed., New York: Da Capo Press, 2004.

Chapter 8 A Harmonious Avant-Garde?

Battcock, Gregory, ed. Minimal Art: A Critical Anthology. New York: E. P. Dutton, 1968.

Haydon, Geoffrey. John Tavener: Glimpses of Paradise. London: Victor Gollancz, 1994.

Hillier, Paul. Arvo Pärt. Oxford: Oxford University Press, 1997.

Jones, Robert T., ed. Music by Philip Glass. New York: Harper & Row, 1987.

Kostelanetz, Richard, ed. Writings on Glass: Essays, Interviews, Criticism. New York: Schirmer, 1998.

Mertens, Wem. American Minimal Music. New York: Alexander Broude, 1983.

Potter, Keith. Four Musical Minimalists. Cambridge: Cambridge University Press, 2000.

Reich, Steve. Writings about Music. New York: Oxford University Press. 2002.

Schwarz, K. Robert. Minimalists. London: Phaidon, 1996.

Strickland, Edward. Minimalism: Origins. Bloomington: Indiana University Press, 1993.

Tavener, John, with Mother Thekla, and Ivan Moody. Ikons: Meditations in Words and Music. London: HarperCollins, 1995.

——. The Music of Silence: A Composer’s Testament, ed. Brian Keeble. London: Faber & Faber, 1999.

Young, La Monte, and Marian Zazeela. Selected Writings. Munich: Heiner Friedrich, 1969.

Chapter 9 After Everything

Attali, Jacques. Noise: The Political Economy of Music, trans. Brian Massumi. Minneapolis: University of Minnesota Press, 1985.

Gillespie, Don, ed. George Crumb: Profile of a Composer. New York: C. F. Peters, 1985.

Griffiths, Paul. Modern Music and After: Directions since 1945. Oxford: Oxford University Press, 1995.

——. Peter Maxwell Davies. London: Robson, 1982.

Ivashkin, Alexander. Alfred Schnittke. London: Phaidon, 1996.

Kaczynski, Tadeusz. Conversations with Witold Lutoslawski, trans. Yolanta May. London: J. & W. Chester, 1984.

Lochhead, Judy, and Joseph Auner, eds. Postmodern Music/Postmodern Thought. New York: Routledge, 2002.

Meyer, Leonard B. Music, the Arts, and Ideas. 2nd ed., Chicago: University of Chicago Press, 1994.

Nyman, Michael. Experimental Music: Cage and Beyond. New York: Schirmer, 1974.

Penderecki, Krzysztof. Labyrinth of Time: Five Addresses for the End of the Millennium, ed. Ray Robinson, trans. William Brand. Chapel Hill, N.C.: Hinshaw Music, 1998.

Pruslin, Stephen, ed. Peter Maxwell Davies: Studies from Two Decades. London: Boosey & Hawkes, 1970.

Reynolds, Roger. Mind Models: New Forms of Music Experience. New York: Praeger, 1975.

Rochberg, George. The Aesthetics of Survival: A Composer’s View of Twentieth-Century Music, ed. William Bolcom. Ann Arbor: University of Michigan Press, 1984.

Seabrook, Mike. Max: The Life and Music of Peter Maxwell Davies. London: Trafalgar Square, 1994.

Shepherd, John, Phil Virden, Graham Vulliamy, and Trevor Wishart. Whose Music? A Sociology of Musical Languages. London: Latimer New Dimensions, 1977.

Slobin, Mark. Subcultural Sounds: Micromusics of the West. Middletown, Conn.: Wesleyan University Press, 1993.

Small, Christopher. Musicking. Middletown, Conn.: Wesleyan University Press, 1998.

Willis, Brian. Art after Modernism: Rethinking Representation. Boston: Godine, 1984.

Chapter 10 Millennium’s End

Anderton, Craig. MIDI for Musicians. New York: Amsco, 1986.

Biggs, Hayes, and Susan Orzel, eds. Musically Incorrect: Conversations about Music at the End of the Twentieth Century. New York: C. F. Peters, 1998.

Boom, Michael. Music through MIDI. Redmond, Wash.: Microsoft Press, 1987.

Born, Georgina. Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Avant-Garde. Berkeley and Los Angeles: University of California Press, 1995.

Brentano, Robyn. Outside the Frame: Performance and the Object: A Survey History of Performance Art in the USA since 1950. Cleveland: Cleveland Center for Contemporary Art, 1994.

DeFuria, Steve. The MIDI Book. Milwaukee: Hal Leonard Books, 1988.

Dodge, Charles, and Thomas A. Jerse. Computer Music: Synthesis, Composition, and Performance. New York: Schirmer, 1985.

Ferneyhough, Brian. Collected Writings, ed. James Boros and Richard Toop. London: Routledge, 1995.

Gilmore, Bob. Harry Partch: A Biography. New Haven: Yale University Press, 1998.

Goldberg, Roselee. Performance Art: From Futurism to the Present. Rev. ed., New York: Thames & Hudson, 2001.

Howell, John. Laurie Anderson. New York: Thunder’s Mouth Press, 1992.

Jabobson, Linda, ed. Cyberarts: Exploring Art and Technology. San Francisco: Backbeat Books, 1992.

Kornick, Rebecca H. Recent American Opera. New York: Columbia University Press, 1991.

Manning, Peter. Electronic and Computer Music. Oxford: Clarendon Press, 1985.

Mathews, Max. The Technology of Computer Music. Cambridge, Mass.: MIT Press, 1985.

Partch, Harry. “Bitter Music”: Collected Journals, Essays, Introductions, and Librettos, ed. Thomas McGeary. Urbana: University of Illinois Press, 1991.

——. Genesis of a Music. 2nd ed., Madison: University of Wisconsin Press, 1974.

Roads, Curtis, ed. The Music Machine. Cambridge, Mass.: MIT Press, 1989.

Roads, Curtis, and John Strawn, eds. Foundations of Computer Music. Cambridge, Mass.: MIT Press, 1985.

Roth, Moira. Amazing Decade: Women and Performance Art, 1970–1980. Hollywood, Calif.: Astro Artz, 1984.

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