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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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