Front Matter

Source: Perspectives of New Music, Vol. 1, No. 1 (Autumn, 1962)

Published by: Perspectives of New Music
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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 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:
$4.00
a
year, $2.50
an issue.
Copyright, 1962, by
Princeton
University
Press
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 in the Post Office at
Princeton,
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 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.
The music
examples
in this issue are
reprinted by
kind
permission
of the
copyright
owners 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
1959.
C. F. Peters
Corporation,
New York.
Schojnberg:
Phantasie, Op. 47, Copyright
1952.
G.
Schirmer, Inc.,
New York.
Sch5nberg:
4th
Quartet, Op. 37, Copyright 1939;
Violin
Concerto, Op. 36, Copyright
1938.
Associated Music
Publishers, Inc.,
New York.
Scho5nberg: Suite, 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
in 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 Honor of His
Sixty-fifth Birthday
117
COLLOQUY
AND REVIEW
ELLIOTT CARTER
The Milieu of the American
Composer
149
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CONTENTS
SEYMOUR SHIFRIN
A Note from the Underground 152
MICHAEL STEINBERG
Tradition and
Responsibility
154
JOHN BACKUS
Die Reihe: A Scientific Evaluation 160
ERIC SALZMAN
PAUL DES MARAIS
Aaron
Copland's
Nonet: Two Views 172
PETER WESTERGAARD
Some Problems in
Rhythmic Theory
and
Analysis
180
HENRY WEINBERG
Letter from
Italy
192
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CONTRIBUTORS
MILTON BABBITT has
recently
received a commission from the Ford
Foundation to
compose
a work for the
soprano Bethany
Beardslee.
JOHN BACKUS
is Associate Professor of
Physics
at the
University
of
Southern California. He holds advanced
degrees
in both nuclear
physics
and
music,
and is now
engaged
in research in the field of musical acoustics.
At
present
he is
investigating
the acoustical and
physical
behavior of
woodwind instruments with the
help
of a
grant
from the National Science
Foundation.
ELLIOTT CARTER is
currently
the resident
composer
at the American
Academy
in
Rome,
where he is at work on a Piano Concerto commissioned
by
the Ford Foundation for Jacob Lateiner.
EDWARD T.
CONE,
composer, pianist,
and
critic,
is Professor of Music at
Princeton.
PAUL DES
MARAIS,
composer,
is on the
faculty
of the
University
of Cali-
fornia at Los
Angeles.
PAUL FROMM is President of the Fromm Music Foundation.
ANDREW
IMBRIE,
composer,
is Professor of Music at the
University
of
California,
Berkeley.
He was commissioned to
compose
the
required
Ameri-
can work for all violinists
entering
the
Naumberg
Foundation
competition.
ERNST KRENEK has been
living
in Los
Angeles
since 1947.
Among
his
most
important
recent works are Sestina and
Quaestio Temporis.
DAVID LEWIN holds a B.A. in mathematics as well as a master's
degree
in
theory
and
composition.
He has been a Junior Fellow at
Harvard,
and is
now a member of the Music
Department
of the
University
of
California,
Berkeley.
CHARLES
ROSEN,
pianist,
holds a Ph.D. in French literature and has been
on the
faculty
of the Massachusetts Institute of
Technology. Among
his
recent
recordings
are the Movements for
piano
and orchestra
by Stravinsky,
and Elliott Carter's Double Concerto.
ERIC SALZMAN,
composer
and
critic,
recently
left the Music
Department
of the New York Times to become the musical director of radio station
WBAI in New York.
SEYMOUR
SHIFRIN, composer,
lives in
Berkeley,
where he is Associate
Professor of Music at the
University
of California. He
completed
his Second
String Quartet
this
year.
MICHAEL STEINBERG is on the
theory faculty
at the Manhattan School of
Music and is music critic for Second
Coming.
KARLHEINZ STOCKHAUSEN is director of the electronic music studio of the
Cologne
Radio and
Co-editor,
with Herbert
Eimert,
of Die Reihe.
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CONTRIBUTORS
IGOR STRAVINSKY is
currently
at work on a
cantata,
Abraham and
Isaac,
which was commissioned
by
the State of Israel and will be
performed
there
at a festival next
year.
ROBERT CRAFT will record the
complete
works of
Schtinberg
for Columbia
Records. Volume I of the series will
appear early
in 1963.
HENRY
WEINBERG,
composer,
is on the
faculty
of the
University
of
Pennsylvania.
PETER
WESTERGAARD,
composer,
teaches at Columbia
University.
The
Spring,
1963 issue will deal in
part
with
"practical"
issues raised
by
recent musical
developments, particularly
in relation to
performance,
the
performer,
and
notation,
as well as their
implications
for the future course
of musical
activity
as a whole. Contents:
Charles Wuorinen: The Outlook for
Young Composers
Leonard Stein: The Performer's Point of View
Gunther Schuller: American Orchestras and New Music
Kurt Stone: Problems and Methods of Notation
Pierre Boulez: Sonata
Lukas Foss: The
Changing Composer-Performer Relationship
Allen Forte: Context and
Continuity
in an Atonal Work
Peter
Westergaard:
Some
Analytic
Issues in Webern
Michael Kassler: The Use of Formalized
Languages
for the
Assertion of Music
John Perkins:
Dallapiccola's
Art of Canon
and contributions
to COLLOQUY
AND
REVIEW
by
Mel
Powell, George
Rochberg, Benjamin Boretz,
Harold S.
Powers,
John
Hollander,
Godfrey
Winham,
Robert
Cogan,
Martin
Boykan, Barclay
Brown,
Eric
Salzman,
and others.
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