| Contents |
V. 1. The earliest notations to the sixteenth century -- v. 2. The seventeenth and eighteenth centuries -- v. 3. The nineteenth century -- v. 4. The early twentieth century -- v. 5. The late twentieth century -- v. 6. Resources: chronology, bibliography, master index. |
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V. 1. The curtain goes up: "Gregorian" chant, the first literate repertory, and how it got that way. Literacy ; The Romans and the Franks ; The Carolingian Renaissance ; The chant comes north ; The legend of St. Gregory ; The origins of Gregorian chant ; Monastic psalmody ; The development of the liturgy ; The mass and its music ; Neumes ; Persistence of oral tradition ; Psalmody in practice: the office ; Psalmody in practice: the mass ; Evidence of "oral tradition" ; Why we will never know how it all began ; Beginnings, as far as we know them -- New styles and forms: Frankish additions to the original chant repertory. Longissimae melodiae ; Prosa ; Sequences ; How they were performed ; Hymns ; Tropes ; The mass ordinary ; Kyries ; The full Franko-Roman mass ; "Old Roman" and other chant dialects ; What is art? -- Retheorizing music: new Frankish concepts of musical organization and their effect on composition. Musica ; Tonaries ; A new concept of mode ; Mode classification in practice ; Mode as a guide to composition ; Versus ; Liturgical drama ; Marian antiphons ; Theory and the art of teaching -- Music of Feudalism and Fin' Amors: the earliest literate secular repertories: Aquitaine, France, Iberia, Italy, Germany. Binarisms ; Aquitaine. Troubadours ; Minstrels ; High (Latinate) and low ("popular") style ; Rhythm and meter ; Trobar clus -- France. Trouvères ; Social transformation ; Adam de la Halle and the formes fixes ; The first opera? -- Geographical diffusion. Cantigas ; A note on instruments ; Laude and related genres ; Minnesang ; Popularization, then and since ; Meistersinger ; Peoples and nations ; What is an anachronism? ; Philosophy of history -- Polyphony in practice and theory: early polyphonic performance practices and the twelfth-century blossoming of polyphonic composition. Another renaissance ; "Symphonia" and its modifications ; Guido, John, and discant ; Polyphony in aquitanian monastic centers ; The Codex Calixtinus -- Notre Dame de Paris: Parisian cathedral music in the twelfth and thirteenth centuries and its makers. The cathedral-university complex ; Piecing the evidence together ; Measured music ; Whys and wherefores ; Organum cum alio ; Theory or practice? ; Conductus at Notre Dame -- Music for an intellectual and political elite: the thirteenth-century motet. A new class ; The nascent motet ; "Franconian" notation ; Confluence of traditions ; A new trobar clus? ; Tenor "families" ; Color and talea ; The art of mélange ; The "Petronian" motet -- Business math, politics, and paradise: the Ars Nova: notational and stylistic change in fourteenth-century France, isorhythmic motets from Machaut to Du Fay. A "new art of music"? ; Music from mathematics ; Putting it into practice ; Representing it ; Backlash ; Establishing the prototype: the Roman de Fauvel ; Taking a closer look ; More elaborate patterning ; Isorhythm ; Music about music ; Machaut: the occult and the sensuous ; Musica ficta ; Cadences ; Ciconia: the motet as political show ; Du Fay: the motet as mystical summa ; A final word from Dante -- Machaut and his progeny: Machaut's songs and mass, music at the Papal Court of Avignon, Ars subtilior. Maintaining the art of courtly song ; Redefining (and re-refining) a genre ; The top-down style ; Cantilena ; Functionally differentiated counterpoint ; The luxuriant style ; What instrumentalists did ; Machaut's Mass and its background ; Avignon ; Votive formularies ; Ci commence la messe de nostre dame ; Kyrie ; Gloria ; Dismissal ; Subtilitas ; Canon ; Ars Subtilior ; Berry and Foix ; Outposts ; Faux-naïveté -- |
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V. 1 (continued). "A pleasant place", music of the Trecento: Italian music of the fourteenth century. Vulgar eloquence ; Madrigal culture ; A new discant style ; The "wild bird" songs ; Ballata culture ; Landini ; Late-century fusion ; An important side issue: periodization -- Island and mainland: music in the British Isles through the early fifteenth century and its influence on the continent. The first masterpiece? ; Viking harmony ; Insular fauna? ; Pes motets and rondellus ; The Worcester fragments ; Nationalism? ; "English descant" ; The beginnings of "functional" harmony? ; Old Hall and Roy Henry ; Fortunes of war ; Dunstable and the "contenance angloise" ; Voluptuousness and how to acquire it ; Fauxbourdon and faburden ; Du Fay and Binchois -- Emblems and dynasties: the cyclic mass ordinary setting. The internationalism of the upper crust ; The "Tinctoris generation" ; The cyclic Mass ; Cantus firmus as trope of glory ; "Caput" and the beginnings of four-part harmony ; How controversies arise (and what they reveal) ; Patterns of emulation ; The composer as virtuoso ; Farther along the emulation chain ; The man at arms ; "Pervading imitation" ; An esthetic paradox (or, the paradox of "esthetics") ; Old and young alike pay tribute -- Middle and low: the fifteenth-century motet and chanson, early instrumental music, music printing. Hailing Mary ; Personal prayer ; The English keep things high ; The Milanese go lower still ; Fun in church? ; Love songs ; Instrumental music becomes literate at last ; Music becomes a business ; "Songs" without words -- Josquin and the humanists: Josquin des Prez in fact and legend, parody masses. What legends do ; A poet born, not made ; Josquin as the spirit of a (later) age ; Recycling the legend back into music ; What Josquin was really like ; A model masterpiece ; Parodies ; Facts and myths -- A perfected art: sixteenth-century church music, new instrumental genres. All is known ; The triad comes of age ; "Il eccelentissimo Adriano" and his contemporaries ; Gombert ; Clemens ; Willaert and the art of transition ; The progress of a method ; Academic art ; Spatialized form ; Alternatives to perfection ; Peeking behind the curtain ; Dances old and new -- The end of perfection: Palestrina, Byrd, and the final flowering of imitative polyphony. Palestrina and the ecumenical tradition ; Besting the Flemings, or, the last of the tenoristas ; Parody pairs ; Palestrina and the bishops ; Freedom and constraint ; Cryogenics ; Byrd ; Church and state ; The first English cosmopolite ; The music of defiance ; Musical hermeneutics ; The peak (and limit) of stylistic refinement -- Commercial and literary music: vernacular song genres in Italy, Germany, and France, Lasso's cosmopolitan career. Music printers and their audience ; Vernacular song genres: Italy ; Germany: the Tenorlied ; The "Parisian" chanson ; Music as description ; Lasso: the cosmopolite supreme ; The literary revolution and the return of the madrigal ; "Madrigalism" in practice ; Paradox and contradiction ; Exterior "nature" and interior "affect" ; Postscript: The English madrigal -- Reformations and Counter-Reformations: music of the Lutheran church, Venetian cathedral music. The challenge ; The Lutheran chorale ; The response ; Augenmusik ; "Concerted" music ; The art of orchestration is born ; "Songs" for instruments -- Pressure of radical humanism: the "representational" style and the basso continuo, intermedii, Favole in musica. The technical, the esthetic, and the ideological ; Academies ; The representational style ; Intermedii ; The "monodic revolution" ; Madrigals and arias redux ; Favole in musica ; Oratorio. |
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V. 2. Opera from Monteverdi to Monteverdi: princely and public theaters, Monteverdi's contributions to both. Court and commerce ; From Mantua to Venice ; Poetics and esthetics ; Opera and its politics ; Sex objects, sexed and unsexed ; The quintessential princely spectacle ; The carnival show -- Fat times and lean: organ music from Frescobaldi to Scheidt, Schütz's career, oratorio and cantata. Some organists ; The toccata ; Sweelinck: his patrimony and his progeny ; Lutheran adaptations: the chorale partita ; The chorale concerto ; Ruin ; A creative microcosm ; Luxuriance ; Shriveled down to the expressive nub ; Carissimi: oratorio and cantata ; Women in music: a historians' dilemma -- Courts resplendent, overthrown, restored: tragédie lyrique from Lully to Rameau, English music in the seventeenth century. Sense and sensuousness ; The politics of patronage ; Drama as court ritual ; Atys, the king's opera ; Art and politics: some caveats ; Jacobean England ; Masque and consort ; Ayres and suites: harmonically determined form ; Distracted times ; Restoration ; Purcell ; Dido and Aeneas and the question of "English opera" ; The making of a classic -- Class and classicism: opera seria and its makers. Naples ; Scarlatti ; Neoclassicism ; Metastasio ; Metastasio's musicians ; The fortunes of Artaserse ; Opera seria in (and as) practice ; "Performance practice" -- The Italian concerto style and the rise of tonality-driven form: Corelli, Vivaldi, and their German imitators. Standardized genres and tonal practices ; What, exactly, is "tonality"? ; The spread of "tonal form" ; The fugal style ; Handel and "defamiliarization" ; Bach and "dramatized" tonality ; Vivaldi's five hundred ; "Concerti madrigaleschi" -- Class of 1685 (I): careers of J. S. Bach and G. F. Handel compared, Bach's instrumental music. Contexts and canons ; Careers and lifestyles ; Roots (domestic) ; Roots (imported) ; Bach's suites ; A close-up ; "Agrémens" and "doubles" ; Stylistic hybrids ; The "Brandenburg" Concertos ; "Obbligato" writing and/or arranging ; What does it all mean? -- Class of 1685 (II): Handel's operas and oratorios, Bach's cantatas and Passions, Domenico Scarlatti. Handel on the Strand ; Lofty entertainments ; Messiah ; "Borrowing" ; Back to Bach: the cantatas ; The old style ; The new style ; Musical symbolism, musical idealism ; What music is for ; Bach's "testaments" ; The Bach revival ; Cursed questions ; Scarlatti, at last -- The comic style: mid-eighteenth-century stylistic change traced to its sources in the 1720s, Empfindsamkeit, Galanterie, "War of the Buffoons." You can't get there from here ; The younger Bachs ; Sensibility ; The London Bach ; Sociability music ; "Nature" ; Intermission plays ; The "War of the Buffoons" -- Enlightenment and Reform: the operas of Piccinni, Gluck, and Mozart. Novels sung on stage ; Noble simplicity ; Another querelle ; What was Enlightenment? ; Mozart ; Idomeneo ; Die Entführung aus dem Serail ; The "Da Ponte" operas ; Late works ; Don Giovanni close up ; Music as a social mirror ; Music and (or as) morality -- Instrumental music lifts off: the eighteenth-century symphony, Haydn. Party music goes public ; Concert life is born ; An army of generals ; The Bach sons as "symphonists" ; Haydn ; The perfect career ; The Esterházy years ; Norms and deviations: creating musical meaning ; Sign systems ; Anatomy of a joke ; The London tours ; Addressing throngs ; Variation and development ; More surprises ; The culminating work -- The composer's voice: Mozart's piano concertos, his last symphonies, the fantasia as style and as metaphor. Art for art's sake? ; Psychoanalyzing music ; The "symphonic" concerto is born ; Mozart in the marketplace ; Composing and performing ; Performance as self-dramatization ; The tip of the iceberg ; Fantasia as metaphor ; The coming of museum culture -- The first Romantics: late eighteenth-century music esthetics, Beethoven's career and his posthumous legend. The beautiful and the sublime ; Classic or Romantic? ; Beethoven and "Beethoven" ; Kampf und Sieg ; The Eroica ; Crisis and reaction ; The "Ninth" ; Inwardness -- C-Minor moods: the "struggle and victory" narrative and its relationship to four C-minor works of Beethoven. Devotion and derision ; Transgression ; Morti di Eroi ; Germination and growth ; Letting go ; The music century. |
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V. 3. Real worlds, and better ones: Beethoven vs. Rossini, Bel canto Romanticism. Deeds of music ; The dialectical antithesis ; The code Rossini ; Imbroglio ; Heart throbs ; "Realism" ; Bel canto ; Utopia -- The music trance: Romantic Characterstücke, Schubert's career. The I and the we ; Private music ; Altered consciousness ; Salon culture ; Schubert: a life in art ; Privatizing the public sphere ; Crossing the edge ; Only connect ; New cycles ; B-minor moods ; Constructions of identity -- Volkstümlichkeit: the Romantic lied, Mendelssohn's career, the Two Nationalisms. The lied is born ; The discovery of the folk ; Kultur ; Lyrics and narratives ; The lied grows up: Haydn, Mozart, Beethoven ; Schubert and romantic irony ; Representations of consciousness ; Romantic nationalism ; The liturgy of nationhood ; The oratorio reborn ; Mendelssohn and civic nationalism ; Nationalism takes a turn ; Epilogue: two prodigies -- Nations, states, and peoples: Romantic opera in Germany (Mozart, Weber), France (Auber, Meyerbeer), and Russia (Glinka). Peasants (Germany). Mr. Natural ; Der Freischütz -- History (France). Opera and revolution ; Bourgeois kings ; Grandest of the grand ; Vagaries of reception -- Peasants and history (Russia). A newcomer to the tradition -- Virtuosos: Paganini and Liszt. Stimulus ; Response ; The concerto transformed ; A divided culture -- Critics: Schumann and Berlioz. The public sphere ; What is a philistine? ; Literary music ; How music poses questions ; Anxiety and recoil ; Instrumental drama ; The limits of music ; Varieties of representation ; Discriminating romanticisms -- Self and other: Chopin and Gottschalk as exotics, Orientalism. Genius and stranger ; National or universal? ; Or exotic? ; The pinnacle of salon music ; The Chopinesque miniature ; Nationalism as a medium ; Harmonic dissolution ; Playing "romantically" ; The Chopinesque sublime ; Sonata later on ; Nationalism as a message ; America joins in ; Art and democracy ; Stereotyping the other: "Orientalism" ; Sex à la russe ; The other in the self -- Midcentury: the New German school, Liszt's symphonic poems, harmonic explorations. Historicism ; The new German school ; The symphony later on ; But what does it really mean? ; The new madrigalism ; Art and truth ; Art for art's sake -- Slavs as subjects and citizens: Smetana, Glinka, and Balakirev. Progressive vs. popular ; The nationalist compact ; Fluidity ; Folk and nation ; How the acorn took root ; National becomes nationalist ; The politics of interpretation -- Deeds of music made visible (class of 1813, I): Wagner. The problem ; Art and revolution ; The artwork of the future, modeled (as always) on the imagined past ; From theory into practice: The Ring ; Form and content ; The texture of tenseless time ; The sea of harmony ; Desire and how to channel it ; The ultimate experience ; How far can you stretch a dominant? ; When resolution comes ; The problem revisited -- Artist, politician, farmer (class of 1813, II): Verdi. Spooked ; The galley years ; The popular style ; Tragicomedy ; Opera as modern drama ; A job becomes a calling ; Compression and expansion ; Comedization -- Cutting things down to size: Russian realism (Musorgsky [Mussorgsky], Chaikovsky [Tchaikovsky]), opéra lyrique, operetta, Verismo. Going too far ; Art and autocracy ; Stalemate and subversion ; Crisis ; Codes ; Lyric drama ; Satyr plays ; Operetta and its discontents ; Verismo ; Truth or sadism? -- The return of the symphony: Brahms. The dry decades ; Museum culture ; New paths ; Three "Firsts" ; Struggle (with whom?) ; A choral (and a nationalistic) interlude ; Inventing tradition ; Victory through critique ; Reconciliation and backlash ; Brahminism ; Developing variation -- The symphony goes (inter)national: Bruckner, Dvořák, Beach, Franck, Saint-Saëns, Borodin, Chaikovsky. Germany recedes ; Symphony as sacrament ; A Bohemian prescription for America ; An American response ; War brings it to France ; Symphonist as virtuoso ; The epic style ; Symphonies of suffering. |
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V. 4. Reaching (for) limits: modernism, Mahler, Strauss, Schoenberg. Modernism ; Maximalism ; Mahler: maximalizing the symphony ; Is there or isn't there? (Not even the composer knows for sure) ; High tension composing ; Half-steps over fifths ; Lyrisches intermezzo ; Folklore for city folk ; What then? ; Decadence ; Strauss: Maximalizing opera ; Consummation ; Another madwoman ; Hysteria -- Getting rid of glue: Satie, Debussy, Fauré, Ravel, Lili Boulanger. Denaturing desire ; Halfsteplessness ; Impressionism ; Symbolism ; Mélodie ; "Essentially" (and intolerantly) French ; The exoticized self ; The sensual surface ; Russian fantasy ; Female competition -- Aristocratic maximalism: ballet from sixteenth-century France to nineteenth-century Russia, Stravinsky. A missing genre ; Ballet d'action ; Off to Russia ; Chaikovsky's [Tchaikovsky's] ballets ; Ballet finds its theorist ; Back to France ; Stravinsky ; Petrushka ; The Rite of Spring ; The ne plus ultra ; The reaction -- Extinguishing the "Petty 'I'" (Transcendentalism, I): Scriabin, Messiaen. Maximalism reaches the max ; Rush-to-the-patent-office modernism ; From expression to revelation ; Extinguishing the "I" ; Approaching the ultimate ; Ecstasy, and after ; Atonality? ; The final burst ; A maximalist against the tide ; "The charm of impossibilities" ; So old it's new ; The summa summarum -- Containing multitudes (Transcendentalism, II): Ives, Ruggles, Crawford, microtonality. Maximalism, American style ; Two American careers ; Sexual, and stylistic, politics ; Terms of reception ; Manner and substance ; Nostalgia ; Reaching, and transcending, the limit ; Accepting boundaries ; More patent-office modernism ; Transcendentalism vs. futurism -- Inner occurrences (Transcendentalism, III): Schoenberg, Webern, and expressionism, atonality. Rejecting success ; Expression becomes an "ism" ; Art and the unconscious ; "Emancipation of dissonance" ; Theory and practice ; Atonality? ; "Contextuality" ; Tonal or atonal? ; A little "set theory" ; Grundgestalt ; Psychological realism ; Atonal triads ; Crossing the cusp ; Musical space ; "Brahminism" revisited ; Maxing out ; At the opposite extreme ; The ivory tower -- Epilogue: how myths become history. Schoenberg's Brahms ; Ontogeny becomes phylogeny ; "Motivicization" in practice -- Socially validated maximalism: Bartók, Janáček. What is Hungarian? ; A change of course ; A precarious symbiosis ; A bit of theory ; Symmetrical fugue, symmetrical sonata ; A new tonal system? ; Retreat? ; The oldest twentieth-century composer? ; Speech-tunelets ; A musico-dramatic laboratory ; Research vs. communication -- Pathos is banned: Stravinsky and neoclassicism. The "real" twentieth century begins ; Pastiche as metaphor ; Cracking (jokes) under stress ; Breaking with tradition ; The end of the "long nineteenth century" ; Vital vs. geometrical ; Some more troubling politics ; And now the music ; Plus some famous words about it -- Lost, or rejected, illusions: Prokofieff [Prokofiev], Satie again, Berg's Wozzeck, Neue Sachlichkeit, Zeitoper, Gebrauchsmusik (Hindemith, Krenek, Weill), Korngold, Rachmaninoff [Rachmaninov], and a new stile antico. Breaching the fourth wall ; Art as plaything ; A new attitude toward the "classics"? ; "How" vs. "what" ; Putting things "in quotes" ; Irony and social reality ; "Americanism" and media technology ; Music for political action ; Righteous renunciation, or what? ; New-morality plays ; The death of opera? ; From Vienna to Hollywood ; A new stile antico? -- The cult of the commonplace: Satie, the French "Six," and surrealism, Thomson and the "lost generation." The anti-Petrushka ; "Lifestyle modernism" ; Nakedness ; Gender bending ; From subject to style: Surrealist "classicism" ; Groups ; Finding oneself -- In search of the "real" America: European "jazz", Gershwin, Copland, the American "Symphonists." Americans in Paris, Parisians in America ; Transgression ; Redemption ; "Sociostylistics" ; The great American Symphony ; Ferment on the left ; "Twentieth-century Americanism" ; Prairie neonationalism -- In search of utopia: Schoenberg, Webern, and twelve-tone technique. Progress vs. restoration ; Discovery or invention? ; Nomos (the law) ; Giving music an axiomatic basis ; Irony claims its due ; Back again to Bach ; Consolidation ; Spread ; Clarification ; Epitome -- Music and totalitarian society: Casella and Respighi (Fascist Italy), Orff, Hindemith, Hartmann (Nazi Germany), Prokofieff [Prokofiev] and Shostakovich (Soviet Russia). Mass politics ; Music and music-making in the new Italy ; Degeneracy ; Youth culture ; Varieties of emigration ; Shades of gray ; Socialist realism and the Soviet avant-garde ; Protagonist or victim? ; Readings [Shostakovich Symphony No. 5]. |
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V. 5. Starting from scratch: music in the aftermath of World War II, Zhdanovshchina, Darmstadt. A new age ; Cold war ; Denunciation and contrition ; Breaking ranks ; Zero hour ; Polarization ; Darmstadt ; Fixations ; "Total serialism" ; Disquieting questions ; Disquieting answers ; Solace in ritual ; Poster boy -- Indeterminacy: Cage and the "New York school." Means and ends ; Whose liberation? ; Ne plus ultra (going as far as you can go) ; Purification and its discontents ; Permission ; Music and politics revisited ; Internalized conflict ; Conflicts denied ; New notations ; Preserving the sacrosanct -- The apex: Babbitt and Cold War serialism. Conversions ; "Mainstream" dodecaphony ; The grand prize ; The path to the new/old music ; Requiem for a heavyweight ; Academicism, American style ; An integrated musical time/space ; Full realization ; Another cold war ; Logical positivism ; The new patronage and its fruits ; Elites and their discontents ; Life within the enclave ; But can you hear it? ; Ultimate realization or reductio ad absurdum? -- The third revolution: music and electronic media, Varèse's career. Tape ; An old dream come true ; Generating synthetic sounds ; A maximalist out of season ; "Real" vs. "pure" ; The new technology spreads ; The big science phase ; A happy ending ; Big questions reopened ; Reciprocity ; Renaissance or co-option? -- Standoff (I): music in society, Britten. History or society? ; Some facts and figures ; A modern hero ; Social themes and leitmotives ; Allegory (but of what?) ; Exotic/erotic ; To serve by challenging -- Standoff (II): music in history, Carter. Explain nothing ; From populism to problem-solving: an American career ; Theory: The time screen ; Practice: the First Quartet ; Reception ; A wholly disinterested art? ; At the pinnacle -- The sixties: Changing patterns of consumption and the challenge of pop. What were they? ; The music of youth ; The British "invasion" ; Defection ; Rock'n'roll becomes rock ; Fusion ; Integration without prejudice? ; Radical chic -- A harmonious avant-garde?: minimalism, Young, Riley, Reich, Glass, their European emulators. New sites of innovation ; Legendary beginnings ; Music as spiritual discipline ; A contradiction in terms? ; "Classical" minimalism ; Secrets of structure ; "All music is folk music" ; A postmodernist masterwork? ; "Crossover": who's on top? ; Disco at the Met ; Americanization ; Closing the spiritual circle -- After everything: Postmodernism: Rochberg, Crumb, Lerdahl, Schnittke. Postmodernism? ; Its beginnings for music ; A parenthesis on collage ; Collage as theater ; Apostasy ; Esthetics of pastiche ; Accessibility ; Cognitive constraints? ; Where to go from here? ; One proposal ; The end of Soviet music ; Polystylistics -- Millennium's end: the advent of postliteracy, Partch, Monk, Anderson, Zorn, new patterns of patronage. Grand old men ; Terminal complexity ; "Big science" eclipsed ; Twentieth-century "orality" ; Hobo origins ; Imaginary folklore ; A feminine redoubt ; Music and computers ; The elite phase ; Spectralism ; "Then along came MIDI!" ; First fruits ; Modernists in postmodernist clothing? ; A glimpse of the future? ; Back to nature ; Paying the piper, calling the tune ; A new topicality ; A new spirituality. |
| Contents |
V. 6. Chronology -- Further reading: a checklist of books in English -- List of musical examples in order of appearance -- List of musical examples by composer -- Master index. |
| Abstract |
Intends to illuminate, through a representative sampling of masterworks, those themes, styles, and currents that give shape and direction to each musical age. Taking a critical perspective that challenges the wisdom of the field, the author sets the details of music--the chronological sweep of figures, works, and musical ideas--within the larger context of world affairs and cultural history. |
| Local note | Little--305140019830 |
| Local note | Little--305140019848 |
| Local note | Little--305140019855 |
| Local note | Little--305140019863 |
| Local note | Little--305140019962 |
| Local note | Little--305140019871 |
| Bibliography note | Includes bibliographical references and index. |
| LCCN | 2004017897 |
| ISBN | 0195169794 (set) |
| ISBN | 9780195169799 (set) |
| ISBN | 0195222709 (v. 1) |
| ISBN | 9780195222708 (v. 1) |
| ISBN | 0195222717 (v. 2) |
| ISBN | 9780195222715 (v. 2) |
| ISBN | 0195222725 (v. 3) |
| ISBN | 9780195222722 (v. 3) |
| ISBN | 0195222733 (v. 4) |
| ISBN | 9780195222739 (v. 4) |
| ISBN | 0195222741 (v. 5) |
| ISBN | 9780195222746 (v. 5) |
| ISBN | 019522275X (v. 6) |
| ISBN | 9780195222753 (v. 6) |
