Front Matter Source: Perspectives of New Music, Vol. 5, No. 1 (Autumn - Winter, 1966) Published By: Perspectives of New Music Accessed: 18-06-2017 19:22 UTC

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Front Matter Source: Perspectives of New Music, Vol. 5, No. 1 (Autumn - Winter, 1966) Published By: Perspectives of New Music Accessed: 18-06-2017 19:22 UTC

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Front Matter

Source: Perspectives of New Music, Vol. 5, No. 1 (Autumn - Winter, 1966)

Published by: Perspectives of New Music
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Accessed: 18-06-2017 19:22 UTC

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PERSPECT I VES

NEW

MF S IC
FALL-WI NTER 1 966

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Editorial communications and manuscripts should be addressed to: Editorial
Office, 225 West 86th Street, New York 24, N.Y.
Subscriptions: Perspectives of New Music, Princeton University Press, Prince-
ton, N.J. Rates: $5.00 a year, $3.00 an issue.

Copyright, 1966, by Princeton University Press

Perspectives of New Music. Published twice yearly by Princeton University

Press for the Fromm Music Foundation. Fall-Winter 1966. Volume 5, No. 1.
Entered as Second Class matter in the Post Office at Trenton, New Jersey,
under the Act of March 3, 1879. Printed in the United States of America by
Princeton University Press. Music illustrations by Music-Book Associates.
The emblem on the cover and contents page is a reproduction of a drawing
made by Igor Stravinsky as a visual representation of his "recent music,"
originally published in Igor Stravinsky and Robert Craft, Conversations with
Igor Stravinsky, New York: Doubleday, 1959, p. 120. Copyright 1958, 1959,
by Igor Stravinsky. Used by permission.

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4:Fttj
FALL-WINTER 1966

PERSPECTIVES OF NEW MUSIC

PUBLISHED BY PRINCETON UNIVERSITY PRESS

FOR THE FROMM MUSIC FOUNDATION

Benjamin Boretz and Edward T. Cone, E

Advisory Board: Aaron Copland, Ernst K
Piston, Roger Sessions, Igor Stravinsky
Editorial Board: Milton Babbitt, Arthur
Carter, Edward T. Cone, Lukas Foss, An
Billy Jim Layton, George Perle, Mel Pow
Shifrin, Claudio Spies, Peter Westergaar
Editorial Assistant: Elaine Barkin

CONTENTS

CHOU WEN-CHUNG
"Open Rather Than Bounded" 1
A Varise Chronology 7
EDGARD VARhSE
The Liberation of Sound 11

ROBERT CRAFT
The Rite of Spring: Genesis of a Masterpiece 20
MARK DEVOTO
Some Notes on the Unknown Altenberg Lieder 37

JOHN MAC IVOR PERKINS

Arthur Berger: The Composer as Mannerist 75

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CONTENTS

HENRI POUSSEUR
The Question of Order in New Music 93

BEN JOHNSTON
Proportionality and Expanded Musical Pitch Relations 112

COLLOQUY AND REVIEW

LUIGI DALLAPICCOLA
Words and Music in Nineteenth-Century Italian Opera 121

IAIN HAMILTON
Reflections of a British Composer in America 134
JOHN C. HEISS
For the Flute: A List of Double-Stops, Triple-Stops,
Quadruple-Stops, and Shakes 139

CHARLES WUORINEN
Music in the Twentieth Century by William W. Austin 142

HARVEY SOLLBERGER
Footnote to Stravinsky 148
MICHEL P. PHILIPPOT
Pierre Boulez Today 153
MICHAEL KASSLER
Arnold Schoenberg: A Perspective, by Glenn Gould 161
MARTIN BOYKAN
Seymour Shifrin: Satires of Circumstance 163

COMMUNICATIONS 170

CONTRIBUTORS 173

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The music examples in this issue are reprinted by kind permission of the
copyright owners as follows:
Belmont Music Publishers, Los Angeles. Schoenberg: Gurre-Lieder, Copyright
1911; Quartet No. 2, Op. 10, Copyright 1912, Renewed 1940.
Franko Colombo, Inc., New York. Varese: Deserts, Copyright 1954; lonisation,
Copyright 1933.
C. F. Peters Corp., New York. Schoenberg: Five pieces for Orchestra, Op. 16,
Copyright 1922, Renewed 1960; Shifrin: Song of Moses, Copyright 1960.
Theodore Presser Co., Bryn Mawr. Berg: Altenberg Lieder, Opus 4, Copyright
1953, Universal Edition, Vienna; Boulez: Structures I, Copyright 1955;
Pousseur: Characters, Copyright 1962; Webern: Three pieces for cello and
piano, Op. 11, Copyright 1924; Concerto, Op. 24, Copyright 1948, Universal
Edition, Vienna.

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