Cover -- Title Page -- Copyright Page -- Dedication Page -- Foreword by George E. Lewis -- Contents -- Introduction -- Part I. Time, Narrative, And Memory -- 1.  Narrative and Narrativity in Music -- 2.  Postmodernism, Narrativity, and the Art of Memory -- 3.  Resituating the Spectral Revolution: French Antecedents -- Part II. Self-Fashioning -- 4.  Deconstructing d'Indy, or the Problem of a Composer's Reputation -- 5.  New Music as Confrontation: The Musical Sources of Cocteau's Identity -- 6.  Inventing a Tradition: John Cage's "Composition in Retrospect" -- Part III. Identity And Nation -- 7.  Pelleas and Power: Forces behind the Reception of Debussy's Opera -- 8.  The Ironies of Gender, or Virility and Politics in the Music of Augusta Holmes -- 9.  Race, Orientalism, and Distinction in the Wake of the "Yellow Peril" -- Part IV. Patrons And Patronage -- 10. Countess Greffulhe as Entrepreneur: Negotiating Class, Gender, and Nation -- 11. The Political Economy of Composition in the American University, 1965-1985 -- Part V. The Everyday Life Of The Past -- 12. Concert Programs and Their Narratives as Emblems of Ideology -- 13. Material Culture and Postmodern Positivism: Rethinking the "Popular" in Late Nineteenth-Century French Music -- Appendix -- Appendix 1. Definitions of Terminology Used in Chapter 1 -- Appendix 2. Public Performances and Publications of Music by Augusta Holmes -- Appendix 3. Relationship between NEA Support and Composers' Educational Background -- Appendix 4. Relationship between NEA Support and Composers' Institutional Affiliation -- Appendix 5. Educational Background and Institutional Affiliation of Most Frequent NEA Panelists -- Appendix 6. Winners of Largest NEA Composer Grants Each Year, 1973-1985 -- Index.