Elliott Schwartz - Contemporary Composers On Contemporary Music

ACKNOWLEDGMENTS Grateful acknowledgment is made to the following publishers, authors, and agents who have so generously granted permission to reprint from their publications:

Aspen Institute for Humanistic Studies, Aspen, Colorado, for Remarks on Receiving the Aspen Award, by Benjamin Britten; first printed in the Saturday Review, August 22, 1964.

Victor Bator for The Influence of Peasant Music on Modern Music, by Bla Bartk; first printed in Tempo, Winter 1949-50; copyright by Victor Bator, Trustee of the Bla Bartk Estate.

John Cage for An Interview with Roger Reynolds, first printed in Generation; copyright 1962 by the University of Michigan.

The Chrysalis West Foundation for What Concerns Me Is Music, by Charles Wuorinen; first printed in Genesis West, September, 1962; copyright 1962 by The. Chrysalis West Foundation.

Cornell University Press, Ithaca, New York, for excerpts from The Making of Music, by Ralph Vaughan Williams; copyright 1955 by Cornell University.

Dobson Books, Ltd., London, England, for excerpts from Erik Satie, by Rollo H. Myers.

Doubleday & Company, Inc., Garden City, New York, for excerpts from Dialogues and a Diary, by Igor Stravinsky with Robert Craft; 1961, 1962, 1963 by Igor Stravinsky.

Dover Publications, Inc., New York, New York, for excerpts from Sketch of a New Esthetic of Music, by Ferruccio Busoni, reprinted 1962 in Three Classics in the Aesthetic of Music, by Debussy, Busoni, and Ives.

Harvard University Press, Cambridge, Massachusetts, for excerpts from Music and Imagination, by Aaron Copland; copyright 1952 by the President and Fellows of Harvard College; and for excerpts from A Composers World, by Paul Hindemith, copyright 1952 by the President and Fellows of Harvard College.

High Fidelity, Great Barrington, Massachusetts, for Who Cares If You Listen, by Milton Babbitt; copyright 1958 by High Fidelity.

Journal of Music Theory, New Haven, Connecticut, for Some Random Remarks on Electronic Music, by Otto Luening; copyright 1964 by Yale School of Music.

Alfred A. Knopf, Inc., New York, New York, for excerpts from Notes Without Music by Darius Milhaud; copyright 1952, 1953 by Alfred A. Knopf, Inc.; and for excerpts from New Musical Resources, by Henry Cowell. Copyright 1930 by Alfred A. Knopf, Inc.; copyright renewed 1958 by Henry Cowell.

Kulchur, New York, New York, for An Interview with Morton Feldman, by Robert Ashley; copyright 1965 by Kulchur.

Modern Music for FolksongAmerican Big Business, by Roy Harris; copyright 1940 by the League of ComposersI.S.C.M.

Music Journal, New York, New York, for Music and the Times, by Dimitri Shostakovich; copyright 1965 by Music Journal.

The Musical Quarterly, New York, for Shop Talk by an American Composer, by Elliott Carter; copyright 1960 by G. Schirmer, Inc.; and for Man and Music, by Ernest Bloch; copyright 1933 by G. Schirmer, Inc.

The Music Review, Essex, England, for Why is Schoenbergs Music so Hard to Understand? by Alban Berg; copyright 1956 by The Music Review.

W. W. Norton & Company, Inc., New York, New York, for excerpts from Essays Before a Sonata and Other Writings, by Charles Ives. Selected and edited by Howard Boatwright. Copyright 1961, 1962 by W. W. Norton & Company, Inc.

Opera News, New York, New York, for On Waiting for a Libretto, by Samuel Barber; copyright 1958 by The Metropolitan Opera Guild, Inc.; and for Grand and Not So Grand, by Jack Beeson; copyright 1963 by The Metropolitan Opera Guild, Inc.

C. F. Peters Corporation for a portion of the score of John Cages Concert for Piano and Orchestra for Elaine de Kooning; copyright 1960 by Henmar Press Inc., New York, New York.

Princeton University Press, Princeton, New Jersey, for The Changing Composer-Performer Relationship: A Monologue and a Dialogue, by Lukas Foss; copyright 1963 by Princeton University; and for excerpts from The Musical Experience of Composer, Performer, Listener, by Roger Sessions; copyright 1950 by Princeton University.

Random House, Inc., New York, New York, for excerpts from Composers on Music, edited by Sam Morgenstern; copyright 1956 by Pantheon Books, Inc.; and for excerpts from The State of Music; Second Edition, Revised by Virgil Thomson; copyright 1939, copyright 1962 by Virgil Thomson.

The University of Wisconsin Press, Madison, Wisconsin, for excerpts from Genesis of a Music, by Harry Partch; copyright 1949 by the Regents of the University of Wisconsin; copyright renewed 1964 by Harry Partch.

The Viking Press, Inc., New York, New York, for excerpts from Monsieur Croche the Dilettante Hater, by Claude Debussy; copyright 1928 by The Viking Press, Inc.; copyright 1956 by The Viking Press, Inc.

La Monte Young for Composers, Performance and Publication, and Music, Electronic and Performed, by Richard Maxfield; originally printed in An Anthology, edited by La Monte Young; copyright 1963 by La Monte Young and Jackson MacLow.

ACKNOWLEDGMENTS TO THE EXPANDED EDITION Grateful acknowledgment is made to the following publishers and authors who have so generously granted permission to reprint from their publications:

T. J. Anderson, for Elliott Schwartzs interview with the composer, undertaken in 1996 expressly for this volume.

Cornelius Cardew Estate, for On Criticism by Cornelius Cardew. For further information contact (UK) +44-181-299-1826.

European American Music Distributors Corporation, sole U.S. and Canadian agent for B. Schotts Soehne and Ernst Eulenberg, Ltd., London, for Gyrgy Ligetian interview with Josef Husler; originally published in German in Gyrgy Ligeti: eine Monographie, by Ove Nordwall; copyright 1971 by B. Schotts Soehne, Mainz; copyright renewed. English translation by Sarah E. Soulsby published in Gyrgy Ligeti: in Conversation; 1983 by Ernst Eulenberg, Ltd., London. All rights reserved.

Brian Ferneyhough and James Boros, for Composing a Viable (if Transitory Self): Brian Ferneyhough in Conversation with James Boros, first printed in Perspectives of New Music