Dedication

pp v-vi

Contents

pp vii-viii

List of Illustrations

pp ix-x

List of Music Examples

pp xi-xii

List of Contributors

pp xiii-xvi

Acknowledgments

pp xvii-xviii

About the Cover

pp xix-xx

Introduction - Introduction

pp 1-14

Part I - Time and the (Post)Modern

pp 15-16

1 - Music and Postmodern Time

pp 17-36

2 - ‘Aesthetic Indigestion’: Alfred Schnittke, Anachronism, and the Contemporary Cadenza's Musical Pasts

pp 37-54

3 - John Adams's Post-stylistic Approach to the Past: A Response to the Uncertain Future of a Globalized World?

pp 55-72

Part II - Manifestations of History

pp 73-74

4 - Germany, Post Modernism, and the Sphericity of Time

pp 75-90

5 - Visions of the ‘End of History’, ‘1968’, and the Emergence of ‘Postmoderne Musik’ in West Germany

pp 91-116

Part III - Receptions of the Past

pp 117-118

6 - (Neo-)Schenkerism and the Past: Recovering a Plurality of Critical Contexts

pp 119-137

7 - From Bach to Neruda: Historicity and Heterogeneous Temporality in the Chilean Cantata (1941–1969)

pp 138-167

8 - Time Re-Covered: Double Temporality in Ol ga Neuwirth's Hommage à Klaus Nomi

pp 168-194

Part IV - Nostalgias and the Temporalities of Belonging

pp 193-194

9 - The Past Is Home: Eduardo Martínez Torner in Postwar London; An Exile's Nostalgia for Spanish Musicology

pp 195-224

10 - Historical Nostalgia, Nature, and the Future in Three Iconic Albums from 1971: Aqualung, Who's Next, and Led Zeppelin IV

pp 225-248

11 - Indie Neofado's Temporality: A Tale of Two Nostalgias

pp 249-272

Bibliography

pp 273-296

Index

pp 297-305