The editors present this volume of essays in the belief that ""the music of our time is best understood as the product of a continuing aesthetic revolution that involves a multiplicity of new ways of thinking about music""--also best articulated by the composers themselves. Consequently, they refer to the proponents of European music before 1945 (Busoni, Debussy, Satie, Milhaud, Bloch, Stravinsky, Berg, Bartok, Hindemith, Prokofiev, Shostakovich, Williams, Britten) and of experimental music and recent American developments (Ives, Cowell, Copland, Harris, Barber, Thomson, Sessions, Carter and Cage to Feldman and Wuorinen) with its concern for sound and structure for their own sake. A cross section of cultures, generations, ideas has been aimed for and reached. A few major names are missing (not from editorial preference); but enough known and new composers are present to give a sense of the creative continuum. For the student, amateur or professional.