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Front MatterSource: Perspectives of New Music, Vol. 1, No. 1 (Autumn, 1962)Published by: Perspectives of New MusicStable URL: http://www.jstor.org/stable/832171.
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PERSPECTIVES
OF
NEW
FALL 19 6 2
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Arthur
Berger,
Editor
Benjamin
Boretz,
Associate
Editor
Advisory
Board: Aaron
Copland,
Ernst
Krenek,
Darius
Milhaud,
Walter
Piston,
Roger Sessions,
Igor
Stravinsky
Editorial Board: Milton
Babbitt,
Arthur
Berger,
Benjamin
Boretz,
Elliott
Carter,
Lukas
Foss,
Leon
Kirchner,
Billy
Jim
Layton,
George Perle,
Mel
Powell,
Gunther
Schuller,
Seymour
Shifrin
Editorial
communications
nd
manuscripts
hould
be addressed
to:
Editorial
Office,
25
West
86th
Street,
New York
24,
N.Y.
Subscriptions:Perspectives of
New
Music,
Princeton
University
Press,
Prince-
ton,
N.J.
Rates:
$4.00
a
year,
$2.50
an
issue.
Copyright,
962, by
Princeton
University
ress
Perspectives
of
New Music.
Published
twice
yearly by
Princeton
University
Press
for the
Fromm
Music Foundation. Fall
1962.
Volume
I,
No. 1. Entered
as
Second
Class
matter
n the
Post Office
t
Princeton,
New
Jersey,
under the
Act of March
3,
1879.
Printed n the United
States of America
by
Princeton
University
ress. Music
illustrations
y
Music-Book
Associates.
The emblem on the cover
is
a
reproduction
of
a
drawing
made
by
Igor
Stravinsky
s
a
visual
representation
f
his recent
music,
originallypublished
in
Igor Stravinsky
nd Robert
Craft,
Conversations
with
Igor
Stravinsky,
New
York:
Doubleday, 1959,
p.
120.
Copyright
1958,
1959,
by
Igor
Stravinsky.
Used by permission.
The
music
examples
in this
issue are
reprinted
by
kind
permission
of the
copyright
wners
as
follows:
Boosey
and
Hawkes,
Inc.,
New
York.
Copland: Nonet,
Copyright
1960;
Piano
Quartet,
Copyright
1952;
Piano
Sonata,
Copyright
1942;
Piano
Variations,
Copyright
1932.
Edward
B.
Marks,
Inc.,
New
York. Sessions:
Quintet, Copyright
1960;
Violin
Concerto,
Copyright
959.
C. F. Peters
Corporation,
New York.
Schojnberg:
Phantasie,
Op. 47, Copyright
1952.
G.
Schirmer, nc.,
New
York.
Sch5nberg:
4th
Quartet,Op.
37,
Copyright
939;
Violin
Concerto,Op. 36, Copyright
1938.
AssociatedMusic Publishers, nc., New York. Scho5nberg:uite, Op. 25, Copy-
right
1925
by
Universal
Edition,
Vienna.
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CONTENTS
FALL 1962
PAUL FROMM
Young
Composers:
Perspective
and
Prospect
1
ARTHUR
BERGER
and
BENJAMIN
BORETZ
Editorial
Note
4
In
Memoriam:
Irving
Fine
(1914-1962)
6
IGOR
STRAVINSKY
and ROBERT CRAFT
A
Quintet
of
Dialogues
7
EDWARD
T. CONE
Stravinsky:
The
Progress
of a
Method
18
ERNST
KRENEK
Tradition in Perspective 27
KARLHEINZ
STOCKHAUSEN
The
Concept
of
Unity
n
Electronic
Music
39
MILTON
BABBITT
Twelve-Tone
Rhythmic
Structure and the
Electronic
Medium
49
CHARLES
ROSEN
The
Proper
Study
of Music
80
DAVID LEWIN
A
Theory
of
Segmental
Association
in
Twelve-Tone
Music
89
ANDREW
IMBRIE
Roger
Sessions: In HonorofHis
Sixty-fifth
irthday
117
COLLOQUY
AND
REVIEW
ELLIOTT
CARTER
The
Milieu of
the
American
Composer
149
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CONTENTS
SEYMOUR SHIFRIN
A
Note
from he Underground
152
MICHAEL STEINBERG
Tradition nd
Responsibility
154
JOHN BACKUS
Die Reihe:
A
Scientificvaluation 160
ERIC SALZMAN
PAUL
DES
MARAIS
AaronCopland's Nonet: Two Views 172
PETER WESTERGAARD
Some
Problems n
Rhythmic
heory
nd
Analysis
180
HENRY WEINBERG
Letter rom
taly
192
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CONTRIBUTORS
IGOR
STRAVINSKY
s
currently
t
work on a
cantata,
Abraham
and
Isaac,
which
was
commissioned
y
theStateof srael
and will
be
performed
here
at
a
festival ext
year.
ROBERTCRAFTwillrecord he
complete
orks f
Schtinberg
orColumbia
Records.
Volume
of
the
erieswill
appear
arly
n
1963.
HENRY
WEINBERG,
omposer,
s on the
faculty
f
the
University
f
Pennsylvania.
PETER
WESTERGAARD,
omposer,
eaches t Columbia
University.
The Spring,1963 issuewill deal in partwith practical ssuesraisedby
recentmusical
developments,
articularly
n
relation o
performance,
he
performer,
nd
notation,
s well as their
mplications
or
he future
ourse
of
musical
ctivity
s a
whole.Contents:
Charles
Wuorinen:
The Outlook
or
Young Composers
LeonardStein:
The
Performer's
oint
of
View
Gunther
chuller:
American
rchestras
nd
New
Music
Kurt
Stone:
Problems
nd Methods
f
Notation
PierreBoulez:
Sonata
LukasFoss: The ChangingComposer-PerformerelationshipAllenForte:Contextnd
Continuity
n an
Atonal
Work
Peter
Westergaard:
ome
Analytic
ssues in
Webern
MichaelKassler:
The
Use of
Formalized
anguages
for
the
Assertion
f Music
John
Perkins:
Dallapiccola's
Art
of
Canon
and
contributions
o
COLLOQUY
AND
REVIEW
by
Mel
Powell,
George
Rochberg,
enjamin
Boretz,
Harold
S.
Powers,
John
Hollander,
Godfrey
Winham,
Robert
Cogan,
Martin
Boykan,
Barclay
Brown,
Eric
Salzman,
and
others.
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