Contents
List of Illustrations
Acknowledgments
Foreword: A Less “Cloistered” Music - Kyle Gann
Preface
One: An Overview of Earle Brown’s Techniques and Media - Jason Cady
Two: The Early Years - Carolyn Brown
Three: Earle Brown’s Study and Use of the Schillinger System of Musical Composition - Louis Pine
Four: Energy Fields: Earle Brown, Open Form, and the Visual Arts - David Ryan
Five: Four Musicians at Work and Earle Brown’s Indices - Rebecca Y. Kim
Six: Their Man in Europe, Our Man in America: Earle Brown and the European Avant-Garde - Richard Toop
Seven: Collage and the Feedback Condition of Earle Brown’s Calder Piece - Elizabeth Hoover
Eight: Imagining an Ever-Changing Entity: Compositional Process in Earle Brown’s Cross Sections and Color Fields - Fredrick Gifford
Nine: Then and Now: Changing Perspectives on Performing Earle Brown’s Open Form Scores - Stephen Drury
Ten: “Let’s Hear Some Sounds”: Earle Brown at CalArts - George Brunner
Eleven: Farewell to the Closed Form: Earle Brown and the New York School - Hans Zender (Translated by Felix Koch)
Why I Am a 12-Tone Composer (ca. 1951)
Letter to Ray Grismer (April 4, 1957)
Varèse (1961)
Letter to Leonard Bernstein (July 9, 1963)
Remarks Delivered to the National Music Council, New York City (1966)
An “Open Letter” to Some Critics and Friends (October 15, 1973)
Earle Brown, Composer (ca. 1976)
Work List
Notes
Bibliography
Contributors
Index