Interviews with Elliott Carter are listed under the name of the interviewer
Albright, Daniel. “Elliott Carter and Poetry: Listening To, Listening Through.” In Music Speaks: On the Language of Opera, Dance, and Song. University of Chicago Press, 2009, pp. 105–21.
Alsen, Eberhard (ed.). The New Romanticism: A Collection of Critical Essays. New York: Garland, 2000.
Arthur, Claire. “Cooperation and Other Unifying Processes in Elliott Carter’s Esprit rude/Esprit doux Trilogy.” MA thesis, University of British Columbia, 2008.
Auden, W. H. “In Memory of W. B. Yeats.” In Collected Shorter Poems. London: Faber & Faber, 1950, pp. 141–43.
Aylward, John. “Metric Synchronization and Long-Range Polyrhythms in Elliott Carter’s Fifth String Quartet.” Perspectives of New Music 47/2 (2009): 88–99.
Babbitt, Irving. The New Laokoon: An Essay on the Confusion of the Arts. Boston: Houghton Mifflin Co., 1910.
Barnes, J. (ed.). The Complete Works of Aristotle: The Revised Oxford Translation. Corrected 6th edn. Princeton University Press, 1995.
Bauer-Mengelberg, Stefan, and Melvin Ferentz. “On Eleven-Interval Twelve-Tone Rows.” Perspectives of New Music 3/2 (1965): 93–103.
Beck, Jeremy. “Elliott Carter’s Tonal Practice in ‘The Rose Family’.” In James R. Heintze (ed.), Perspectives on American Music since 1950. New York: Garland, 1999, pp. 41–65.
Benadon, Fernando. “Towards a Theory of Tempo Modulation.” In S. D. Lipscomb, R. Ashley, R. O. Gjerdingen, and P. Websters (eds.), Proceedings of the 8th International Conference of Music Perception & Cognition, Evanston, 2004. Adelaide: Causal Productions, 2004, pp. 563–66.
Bernard, Jonathan W. “Chord, Collection, and Set in Twentieth-Century Theory.” In J. M. Baker, D. W. Beach, and J. W. Bernard (eds.), Music Theory in Concept and Practice. University of Rochester Press, 1997, pp. 11–51.
Bernard, Jonathan W. “Elliott Carter and the Modern Meaning of Time.” Musical Quarterly 79 (1995): 644–82.
Bernard, Jonathan W. “The Evolution of Elliott Carter’s Rhythmic Practice.” Perspectives of New Music 26/2 (1988): 164–203.
Bernard, Jonathan W. “An Interview with Elliott Carter.” Perspectives of New Music 28/2 (Summer 1990): 180–214.
Bernard, Jonathan W. “The Legacy of the Second Viennese School.” In Bryan R. Simms (ed.), Schoenberg, Berg, and Webern: A Companion to the Second Viennese School. Westport, CT: Greenwood Press, 1999, pp. 315–83.
Bernard, Jonathan W. “Poem as Non-Verbal Text: Elliott Carter’s Concerto for Orchestra and Saint-John Perse’s Winds.” In C. Ayrey and M. Everist (eds.), Analytical Strategies and Musical Interpretation. Cambridge University Press, 1996, pp. 169–204.
Bernard, Jonathan W. “Problems of Pitch Structure in Elliott Carter’s First and Second String Quartets.” Journal of Music Theory 37/2 (1993): 231–66.
Bernard, Jonathan W. “Spatial Sets in Recent Music of Elliott Carter.” Music Analysis 2/1 (March 1983): 5–34.
Bernard, Jonathan W. “The String Quartets of Elliott Carter.” In Evan Jones (ed.), Intimate Voices: The Twentieth-Century String Quartet. University of Rochester Press, 2009, vol. 2, pp. 238–75.
Bernard, Jonathan W. “Varèse’s Space, Varèse’s Time.” In Felix Meyer and Heidy Zimmermann (eds.), Edgard Varèse: Composer, Sound Sculptor, Visionary. Woodbridge: The Boydell Press, 2006, pp. 149–55.
Bernstein, David W. “Nineteenth-century Harmonic Theory: The Austro-German Legacy.” In Thomas Christensen (ed.), The Cambridge History of Western Music Theory. Cambridge University Press, 2002, pp. 778–811.
Boland, Marguerite. “The All-Trichord Hexachord: Compositional Strategies in Elliott Carter’s Con Leggerezza Pensosa and Gra.” MA dissertation, La Trobe University Melbourne, 1999.
Boland, Marguerite. “‘Linking’ and ‘Morphing’: Harmonic Flow in Elliott Carter’s Con Leggerezza Pensosa.” Tempo 60/237 (2006): 33–43.
Bons, Joël. Interview with Elliott Carter. In Elliott Carter: Homages & Dedications [CD recording]. Disques Montaigne compact disc MO 782089, 2003, pp. 16–20.
Boretz, Benjamin. “Conversation with Elliott Carter.” Perspectives of New Music 8/2 (1970): 1–22.
Borio, Gianmario, and Hermann Danuser (eds.). Im Zenit der Moderne. Die internationalen Ferienkurse für Neue Musik Darmstadt 1946–1966. 4 vols. Freiburg im Breisgau: Rombach Verlag, 1997.
Botstein, Leon. “Gespräch mit Raphael Hillyer” [in English]. In Markus Grassl and Reinhard Kapp (eds.), Die Lehre von der musikalischen Aufführung in der Wiener Schule. Vienna: Böhlau Verlag, 2002, pp. 153–59.
Boucourechliev, André. Essai sur Beethoven. Arles: Actes Sud, 1991.
Boulez, Pierre. “Conférence sur Anthèmes 2” (Paris, 21 October 1997). Trans. in Jonathan Goldman, “Understanding Pierre Boulez’s Anthèmes (1991): ‘Creating a Labyrinth Out of Another Labyrinth’.” MA thesis, University of Montreal, 2001.
Boulez, Pierre. Leçons de musique: deux décennies d’enseignement au Collège de France (1976–1995). Vol. 3 of Points de repère. Paris: C. Bourgois, 2005.
Boulez, Pierre. Orientations. London: Faber & Faber, 1986.
Buchler, Michael. “Dramatic Oppositions and their Musical Voices in Guys & Dolls.” Paper presented at the University of North Carolina – Greensboro, February 6, 2008.
Capuzzo, Guy. “The Complement Union Property in the Music of Elliott Carter.” Journal of Music Theory 48/1 (2004): 1–24.
Capuzzo, Guy. Interview with Elliott Carter. May 22, 1996. New York, NY.
Capuzzo, Guy. “Registral Constraints on All-Interval Rows in Elliott Carter’s Changes,” Intégral 21 (2007): 79–108.
Capuzzo, Guy. “Variety Within Unity: Expressive Ends and their Technical Means in the Music of Elliott Carter, 1983–1994.” Ph.D. dissertation, Eastman School of Music, University of Rochester, 2000.
Carter, Elliott. “American Music in the New York Scene” (1940). In CEL, pp. 48–53.
Carter, Elliott. Collected Essays and Lectures, 1937–1995. Ed. Jonathan W. Bernard. Rochester: University of Rochester Press, 1997.
Carter, Elliott. “Composer’s Note.” In String Quartets No. 1 and 5 [CD recording]. Pacifica Quartet. Naxos 8.559362, 2008: n.p.
Carter, Elliott. “Composer’s Notes.” In String Quartet No. 5 [score]. New York: Boosey and Hawkes, 1995.
Carter, Elliott, “The Composer’s Viewpoint” (1946). In CEL, pp. 3–5.
Carter, Elliott. “Coolidge Crusade; WPA; New York Season” (1939). In WEC, pp. 39–47.
Carter, Elliott. “‘Elle est la musique en personne’: A Reminiscence of Nadia Boulanger” (1995). In CEL, pp. 281–92.
Carter, Elliott. “A Further Step” (1958). In CEL, pp. 5–11.
Carter, Elliott. Harmony Book. Ed. Nicholas Hopkins and John F. Link. New York: Carl Fisher, 2002.
Carter, Elliott. Liner notes for What Next? In Elliott Carter: What Next? Asko Concerto. ECM New Series 1817, 2003.
Carter, Elliott. “Mozart’s Human Touch.” The Musical Times 132 (1991): 549.
Carter, Elliott. “Music and the Time Screen” (1976). In CEL, pp. 262–80.
Carter, Elliott. “Music as a Liberal Art” (1944). In CEL, pp. 309–13.
Carter, Elliott. “Music of the 20th Century.” In Encyclopedia Britannica. Chicago, 1953, vol. 16.
Carter, Elliott. “The Orchestral Composer’s Point of View” (1970). In CEL, pp. 235–50.
Carter, Elliott. “Orchestras and Audiences: Winter 1938.” In WEC, pp. 28–31.
Carter, Elliott. “Performance Notes.” In String Quartet No. 3 [score]. New York: Associated Music Publishers, 1973.
Carter, Elliott. “Preface.” In Night Fantasies [score]. New York: Associated Music Publishers, 1982.
Carter, Elliott. “Program Note.” In In Sleep, In Thunder [score]. New York: Boosey and Hawkes, 1981.
Carter, Elliott. “Program Note.” In Of Challenge and of Love [score]. New York: Boosey and Hawkes, 1995.
Carter, Elliott. “Program Note.” In String Quartet No. 4 [score]. New York: Boosey and Hawkes, 1986.
Carter, Elliott. “Season of Hindemith and the Americans” (1939). In WEC, pp. 60–63.
Carter, Elliott. “Shop Talk by an American Composer” (1960). In CEL, pp. 214–24.
Carter, Elliott. “Sound and Silence in Time: A Contemporary Approach to the Elements of Music” (1957). In Meyer and Shreffler, ECCP, pp. 130–37.
Carter, Elliott. “Soviet Music” (1967/94). In CEL, pp. 331–35.
Carter, Elliott. “String Quartets Nos. 1, 1951, and 2, 1959” (1970). In CEL, pp. 231–35.
Carter, Elliott. “3rd String Quartet BBC Talk. Sept. 15, 1975.” Unpublished manuscript, Elliott Carter Collection, Paul Sacher Foundation Basel.
Carter, Elliott. “The Three Late Sonatas of Debussy” (1959/94). In CEL, pp. 122–33.
Carter, Elliott. “The Time Dimension in Music” (1965). In CEL, pp. 224–28.
Carter, Elliott. “Time Lecture” (1965/94). In CEL, pp. 313–18.
Carter, Elliott. “To Be a Composer in America” (1953/94). In CEL, pp. 201–10.
Carter, Elliott. “Two Sonatas, 1948 and 1952” (1969). In CEL, pp. 228–31.
Carter, Elliott. Untitled program note. In Double Concerto Duo for Violin and Piano [CD recording]. Nonesuch H-71314, 1975.
Carter, Elliott. Untitled program note. In Night Fantasies Piano Sonata [CD recording]. Nonesuch H-79047, 1983.
Carter, Elliott. Untitled program note. In A Symphony of Three Orchestras A Mirror on Which to Dwell [CD recording]. Columbia Masterworks M35171, 1980.
Carter, Elliott. “Walter Piston” (1946). In CEL, pp. 158–75.
Carter, Elliott. The Writings of Elliott Carter. Ed. Else Stone and Kurt Stone. Bloomington and London: Indiana University Press, 1977.
Childs, Adrian. “Structural and Transformational Properties of All-Interval Tetrachords.” Music Theory Online 12/4 (2006).
Cogan, Robert, and Pozzi Escot. Sonic Design: The Nature of Sound and Music. Englewood Cliffs, NJ: Prentice-Hall, 1976.
Cone, Edward T.Musical Form and Musical Performance. New York: W.W. Norton, 1968.
Cone, Edward T. “Stravinsky: The Progress of a Method.” Perspectives of New Music 1/1 (1962): 18–26. Reprinted in BenjaminBoretz and Edward T. Cone (eds.), Perspectives on Schoenberg and Stravinsky. New York: W. W. Norton, 1968, pp. 155–64.
Copland, Aaron. “Composer from Brooklyn: An Autobiographical Sketch.” In Our New Music. New York and London: Whittlesey House / McGraw Hill Book Company, Inc., 1941, p. 229.
Cowell, Henry. New Musical Resources. New York: Alfred A. Knopf, 1930. Reprint, New York: Something Else Press, 1969.
Dahlhaus, Carl. “Schoenberg and Schenker.” Trans. Derrick Puffett and Alfred Clayton. In Schoenberg and the New Music. Cambridge University Press, 1987, pp. 134–40.
Danuser, Hermann. “Spätwerk als Lyrik: Über Elliott Carters Gesänge nach Dichtungen von Elizabeth Bishop, John Ashbery und Robert Lowell.” In Klaus Wolfgang Niemöller (ed.), Bericht über das internationale Symposion “Charles Ives un die amerikanische Musiktradition bis zur Gegenwart,” Köln, 1988. Regensburg: Gustav Bosse Verlag, 1990, pp. 195–222. Reprinted as “Elliott Carter, Late Work as Lyric Poetry,” trans. Matthias Truniger, Sonus 19/1 (Fall 1998): 53–66.
Downes, Olin. “Ives Music Played at Columbia Fete.” The New York Times, May 12, 1946.
Drabkin, William. “Theme.” In S. Sadie and J. Tyrrell (eds.), The New Grove Dictionary of Music and Musicians. 2nd edn. London: Macmillan, 2001, vol. 25, p. 352.
Dubiel, Joseph. “Observations of Carter’s Clarinet Concerto.” Unpublished paper presented at the Cardiff University Music Analysis Conference, September 4, 2008.
Duke, Vernon. Passport to Paris. Boston and Toronto: Little, Brown and Co., 1955.
Van Dyck-Hemming, Annette. “Diskurse zur ‘Musik Elliott Carters.’ Versuch einer Dekonstruktiven Hermeneutik ‘Moderner Musik’.” Ph.D. dissertation, Rheinischen Friedrich-Wilhelms-Universität, Bonn, 2002.
Edwards, Allen. Flawed Words and Stubborn Sounds: A Conversation with Elliott Carter. New York: W. W. Norton, 1971.
Eisenlohr, Henning. “Hören und Gesellschaft. Zur Ästhetik Elliott Carters,” MusikTexte 76/77 (1998): 30–40.
Eisenlohr, Henning. Komponieren als Entscheidungsprozess: Studien zur Problematik von Form und Gestalt, dargestellt am Beispiel von Elliott Carters Trilogy for Oboe and Harp (1992). Kassel: Gustav Bosse, 1999.
Epstein, David. Shaping Time – Music, the Brain and Performance. New York: Schirmer Books, 1995.
Esclapez, Christine. “Pour une herméneutique de l’analyse.” In J. Viret (ed.), Approches herméneutiques de la musique. Presses Universitaires de Strasbourg, 2001, pp. 73–83.
Fink, Robert. Repeating Ourselves: American Minimal Music as Cultural Practice. Berkeley and Los Angeles: University of California Press, 2005.
Finscher, Ludwig (ed.). “Streichquartett.” In Die Musik in Geschichte und Gegenwart. 2nd edn. Kassel: Bärenreiter, 1998, Sachteil, vol. 8 (1998), cols. 1924–77.
Folio, Cynthia. “An Analysis of Polyrhythm in Selected Improvised Jazz Solos.” In Elizabeth West Marvin and Richard Hermann (eds.), Concert Music, Rock and Jazz Since 1945. University of Rochester Press, 1995, pp. 103–34.
Forte, Allen. The Structure of Atonal Music. New Haven and London: Yale University Press, 1973.
Foucault, Michel. The Archaeology of Knowledge (1969). Abingdon: Routledge Classics, 2002.
Garcia, Luis-Manuel. “On and On: Repetition as Process and Pleasure in Electronic Dance Music.” Music Theory Online, 11/4 (Oct. 2005).
Goethe, Johann Wolfgang von. Briefwechsel zwischen Goethe und Zelter. 3 vols. Ed. Max Hecker. Frankfurt am Main: Insel-Verlag, 1987.
Goldman, Richard F. “Current Chronicle.” The Musical Quarterly 37/1 (Jan. 1951): 83–84. Reprinted in Richard Franko Goldman, Selected Essays and Reviews 1948–1968. Ed. Dorothy Klotzman. Brooklyn: Institute for Studies in American Music, 1980, pp. 69–74.
Gollin, Edward. “Multi-Aggregate Cycles and Multi-Aggregate Serial Techniques in the Music of Béla Bartók.” Music Theory Spectrum 29/2 (2007): 143–76.
Greenbaum, Matthew. “Debussy, Wolpe, and Dialectical Form.” Contemporary Music Review 27/2–3 (2008): 343–59.
Griffiths, Paul. “Before What Next?.” Paper presented to the Elliott Carter Symposium, University of Minnesota, March 9, 2006.
Griffiths, Paul. “‘Its Full Choir of Echoes’: The Composer in his Library.” In Marc Ponthus and Susan Tang (eds.), Elliott Carter: A Centennial Celebration. Hillsdale, NY: Pendragon Press, 2008, pp. 23–40.
Griffiths, Paul. Libretto for What Next?. In Elliott Carter: What Next?/Asko Concerto. ECM New Series 1817, 2003.
Griffiths, Paul. Modern Music and After: Directions Since 1945. New York: Oxford University Press, 1995.
Griffiths, Paul. “String Quartet.” In S. Sadie and J. Tyrrell (eds.), The New Grove Dictionary of Music and Musicians. 2nd edn. London: Macmillan, 2001, vol. 24, pp. 282–95.
Haimo, Ethan. “Developing Variation and Schoenberg’s Serial Music.” Music Analysis, 16/3 (1997): 349–65.
Hanson, Howard. Harmonic Materials of Modern Music. New York: Appleton-Century-Crofts, 1960.
Harvey, David I. H.The Later Music of Elliott Carter. New York: Garland Publishing, Inc., 1989.
Hasty, Christopher. “Broken Sequences: Fragmentation, Abundance, Beauty.” Perspectives of New Music, 40/2 (Summer 2002): 155–73.
Heinemann, Stephen. “The American Premiere of Elliott Carter’s Clarinet Concerto.” The Clarinet 26/1 (Dec. 1998): 34–40.
Heinemann, Stephen. “Melodic Practice in Elliott Carter’s Clarinet Concerto.” Mitteilungen der Paul Sacher Stiftung 14 (April 2001): 19–22.
Hepokoski, James, and Warren Darcy. Elements of Sonata Theory: Norms, Types, and Deformations in the Late Eighteenth-Century Sonata. Oxford University Press, 2006.
Herzfeld, Gregor. “Carter, String Quartet, and the Idea of Musical Character.” In Max Noubel (ed.), Actes du Colloque “Hommage à Elliott Carter.” Le Vallier: Editions Delatour-France (forthcoming).
Holliger, Heinz. “Abseits des Mainstreams: Ein Gespräch mit dem amerikanischen Komponisten Elliott Carter.” Trans. Siegfried Schibli. Neue Zeitschrift für Musik 152/3 (March 1991): 4–9.
Hook, Julian. “Why are there 29 Tetrachords?” Music Theory Online 13/4 (Dec. 2007).
Hynes, Samuel (ed.). Reporting World War II. American Journalism 1938–1946. New York: Literary Classics of the United States, 2001.
Jenkins, J. Daniel. “After the Harvest: Carter’s Fifth String Quartet and the Late Late Style.” Paper presented at the Society for Music Theory conference, Nashville, TN, 2008. Revised version, Music Theory Online 16/3 (August 2010).
Johnson, Stephen. “Elliott Carter at 100.” Interview with Elliott Carter for the radio program “Discovering Music,” broadcast December 14, 2008, BBC Radio 3.
Johnston, Robert. “Elliott Carter’s Imagery Drawn from Modern Life.” Music Magazine 8/5 (1985): 12–14, 33.
Johnston, Robertet al. “Elliott Carter in Conversation with Robert Johnston, Michael Century, Robert Rosen, and Don Stein (1984).” In Meyer and Shreffler, ECCP, pp. 252–58.
Kapp, Reinhard. “Shades of the Double’s Original: René Leibowitz’s Dispute with Boulez.” Tempo 165 (1988): 2–16.
Keltner, D., P. Ekman, G. C. Gonzaga, and J. Beer. “Facial Expression of Emotion.” In R. J. Davidson, K. R. Scherer, and H. H. Goldsmith (eds.), Handbook of Affective Sciences. Oxford University Press, 2003, pp. 415–31.
Kerner, Leighton. “Creators on Creating: Elliott Carter.” Saturday Review (Dec. 1980): 38–42.
Kim, Yeon-Su. “Stylistic Analysis of Elliott Carter’s String Quartet No. 5: Aspects of Character and Rhythm.” DMA dissertation, Boston University, 2006.
Klumpenhouwer, Henry. “Dualist Tonal Space and Transformation in Nineteenth-century Musical Thought.” In Thomas Christensen (ed.), The Cambridge History of Western Music Theory. Cambridge University Press, 2002, pp. 456–74.
Koivisto, Tiina. “Aspects of Motion in Elliott Carter’s Second String Quartet.” Intégral 10 (1996): 19–52.
Koivisto, Tiina. “Syntactical Space and Registral Spacing in Elliott Carter’s Remembrance.” Perspectives of New Music 42/2 (Summer 2004): 158–89.
Kolisch, Rudolf. “Democratic Principles of Ensemble Playing. Notes for a Seminar at Black Mountain College, Summer 1944.” Kolisch Collection, Houghton Library, Harvard University, Cambridge, MA, 5 pages.
Kolisch, Rudolph. “Tempo und Charakter in Beethovens Musik.” The Musical Quarterly 29/2 (1943): 169–87, and 29/3 (1943): 291–312. Reprinted in The Musical Quarterly 77/1 (1993): 90–131, and 77/2 (1993): 268–342. Critical edition of the German text, Regina Busch and David Satz (eds.), in Musik-Konzepte 76/77 (Munich: Edition Text & Kritik, 1992).
Kramer, Lawrence. “Song as Insight – John Ashbery, Elliott Carter, and Orpheus.” In Music and Poetry: The Nineteenth Century and After. Berkeley and Los Angeles: University of California Press, 1984, pp. 203–21.
Kummacher, Friedhelm. Das Streichquartett. 2 vols. Laaber-Verlag, 2003.
Kurth, Richard. “Suspended Tonalities in Schoenberg’s Twelve-tone Compositions.” Journal of the Arnold Schoenberg Center 3 (2001): 241.
Leibowitz, René. Schoenberg and his School: The Contemporary Stage of the Language of Music. Trans. Dika Newlin. New York: The Philosophical Library, 1949.
Leichtentritt, Hugo. Serge Koussevitzky: The Boston Symphony Orchestra and the New American Music. Cambridge, MA: Harvard University Press, 1947.
Lensing, George N. “Stevens’ Seasonal Cycles.” In J. N. Serio (ed.), The Cambridge Companion to Wallace Stevens. Cambridge University Press, 2007, pp. 118–32.
Lensing, George N.Wallace Stevens and the Seasons. Baton Rouge: Louisiana State University Press, 2001.
Lerdahl, Fred. “On Carter’s Influence.” In Marc Pontius and Susan Tang (eds.), Elliott Carter: A Centennial Celebration. Hillsdale, NY: Pendragon Press, 2008, pp. 15–22.
Lessing, G. E.Laokoon: oder über die Grenzen der Mahlerey und Poesie. Berlin, 1766. New edn: Werke und Briefe in zwölf Bänden, vol. 2. Frankfurt am Main: Dt. Klassiker-Verlag, 1990.
Lewin, David. Generalized Musical Intervals and Transformations. New Haven: Yale University Press, 1987.
Lewin, David. 1993. Musical Form and Transformation: Four Analytic Essays. New Haven: Yale University Press, 1993.
Link, John. “Carter’s Harmonic Context.” Paper presented at the Cardiff University Music Analysis Conference, September 4, 2008.
Link, John. “The Combinatorial Art of Elliott Carter’s Harmony Book.” In HB, pp. 7–22.
Link, John. “The Composition of Carter’s Night Fantasies.” Sonus 14/2 (Spring 1994): 67–86.
Link, John. Elliott Carter: A Guide to Research. New York and London: Garland, 2000.
Link, John. Elliott Carter’s Late Music. Cambridge University Press, forthcoming.
Link, John. “Elliott Carter Talks about his Harmony Book.” In HB, pp. 27–35.
Link, John. “Elliott Carter’s ‘Late Music’?.” Tempo 62/246 (2008): 2–10.
Lister, Rodney. “Boston, Symphony Hall: Harbison’s Requiem and Carter’s Boston Concerto.” Tempo 57/225 (2003): 38.
Lochhead, Judy. “On the ‘Framing’ Music of Elliott Carter’s First String Quartet.” In Raphael Atlas and Michael Cherlin (eds.), Musical Transformation and Musical Intuition: Essays in Honor of David Lewin. Dedham, MA: Ovenbird Press, 1994, pp. 179–98.
Mailman, Joshua B. “An Imagined Drama of Competitive Opposition in Carter’s Scrivo in Vento, with Notes on Narrative, Symmetry, Quantitative Flux, and Heraclitus.” Music Analysis 28/2–3 (2009): 373–422.
Marx, Adolf Bernhard. Die Lehre von der musikalischen Komposition, praktisch-theoretisch (1837–47; 4th edn, 1868), excerpts. In Scott Burnham (trans. and ed.), Musical Form in the Age of Beethoven: Selected Writings on Theory and Method. Cambridge University Press, 1997.
Mayer, Patricius. Interview with Paul Griffiths. In program notes for What Next?, Miller Theater, Columbia University, December 7–11, 2007.
Mead, Andrew. “Fuzzy Edges: Notes on Musical Interaction in the Music of Elliott Carter.” In Max Noubel (ed.), Actes du Colloque “Hommage à Elliott Carter.”Le Vallier: Editions Delatour-France, forthcoming.
Mead, Andrew. “On Tempo Relations.” Perspectives of New Music 45/1 (2007): 64–109.
Mead, Andrew. “Pitch Structure in Elliott Carter’s String Quartet #3.” Perspectives of New Music 22 (1983–84): 31–60.
Mehrabian, Albert. Nonverbal Communication. Chicago: Aldine-Atherton, 1972.
Messiaen, Olivier. Technique de mon langage musical. 2 vols. Paris: Leduc, 1944.
Meyer, Felix. “Elliott Carter in Conversation with Felix Meyer, New York, April 20, 2001.” In Lauds and Lamentations: Music of Elliott Carter and Isang Yun [CD recording]. ECM New Series, 1848/49, 2003, pp. 26–31.
Meyer, Felix and Anne C. Shreffler. Elliott Carter: A Centennial Portrait in Letters and Documents. Woodbridge: The Boydell Press, 2008.
Meyer, Leonard B.Emotion and Meaning in Music. University of Chicago Press, 1956.
Montaigne, Michel de. Complete Essays. Ed. Donald M. Frame. Stanford University Press, 1958.
Morris, Robert D. “Compositional Spaces and Other Territories.” Perspectives of New Music 33 (1995): 328–58.
Morris, Robert. “Pitch Class Complementation and its Generalizations.” Journal of Music Theory 34/2 (1990): 175–245.
Morris, Robert, and Daniel Starr. “The Structure of All-Interval Series.” Journal of Music Theory 18/2 (Fall 1975): 364–89.
Newlin, Dika. Bruckner, Mahler, Schoenberg. New York: King’s Crown Press, 1947.
Nichols, Jeff. “Mistaken Identities in Carter’s Variations for Orchestra.” Unpublished paper, presented at the AMS/SMT Joint Annual Meeting, Seattle, Washington, November 11, 2004.
Nolan, Catherine. “Combinatorial Space in Nineteenth- and Early Twentieth-Century Music Theory.” Music Theory Spectrum 25/2 (Autumn, 2003): 205–41.
Northcott, Bayan. “Affirmations of a Modern Master.” Program note in Symphonia [CD recording]. BBC Symphony Orchestra, Oliver Knussen, cond. Deutsche Grammophon, 459 660–2, 1999.
Northcott, Bayan. The Way We Listen Now and Other Writings on Music. Ed. Christopher Wintle. London: Plumbago Books, 2009.
Noubel, Max. Elliott Carter ou le temps fertile. Geneva: Éditions Contrechamps, 2000.
Olmstead, Andrea. Juilliard: A History. Chicago: University of Illinois Press, 1999.
Paddison, Max. Adorno’s Aesthetics of Music. Cambridge University Press, 1993.
Palisca, Claude. Baroque Music. Englewood Cliffs, NJ: Prentice-Hall, 1968.
Palmer, Larry. “Sylvia Marlowe.” In Harpsichord in America: A Twentieth-Century Revival. Bloomington and Indianapolis: Indiana University Press, 1989, pp. 110–17.
Parks, Richard S.The Music of Claude Debussy. New Haven: Yale University Press, 1990.
Porter, Andrew. “Fancy’s Rainbows, Wit’s Momentary Fires.” The New Yorker, December 23, 1991: 96–98.
Porter, Andrew. Interview with Elliott Carter. Broadcast on WNYC radio, New York, New York, December 1986.
Poudrier, Ève. “Toward a General Theory of Polymeter: Polymetric Potential and Realization in Elliott Carter’s Solo and Chamber Instrumental Works After 1980.” Ph.D. dissertation, City University of New York, 2008.
Poudier, Ève. “Local Polymetric Structures in Elliott Carter’s 90+ for Piano (1994).” In Björn Heile (ed.), The Modernist Legacy: Essays on New Music. Aldershot: Ashgate, 2009, pp. 205–33.
Rabelais, François. Le tiers livre des faicts et dicts héroïques du bon Pantagruel. Paris: Michel Fezandat, 1552.
Rao, Nancy Yunhwa. “Ruth Crawford’s Imprint on Contemporary Composition.” In Ray Allen and Ellie M. Hisama (eds.), Ruth Crawford-Seeger’s Worlds: Innovation and Tradition in Twentieth-Century American Music. University of Rochester Press, 2007, pp. 110–47.
Ravenscroft, Brenda. “The Anatomy of a Song.” Ex Tempore 9/1 (1998): 84–102.
Ravenscroft, Brenda. “Finding the Time for Words: Elliott Carter’s Solutions to the Challenges of Text-Setting.” Indiana Theory Review 22/1 (2001): 83–102.
Ravenscroft, Brenda. “Setting the Pace: The Role of Speeds in Elliott Carter’s A Mirror on Which to Dwell.” Music Analysis 22 (2003): 253–82.
Ravenscroft, Brenda: “Texture in Elliott Carter’s A Mirror on Which to Dwell.” Ph.D. dissertation, University of British Columbia, 1992.
Reis, Claire C. “Elliott C. Carter.” In Composers in America: Biographical Sketches of Living Composers with a Record of their Works, 1912–1937. New York: Macmillan, 1938. Rev. and enlarged edn, New York: Macmillan, 1947.
Restagno, Enzo. Elliott Carter in Conversation with Enzo Restagno for Settembre Musica 1989. Brooklyn: Institute for Studies in American Music, 1991.
Roeder, John. “Autonomy and Dialogue in Elliott Carter’s Enchanted Preludes.” In Michael Tenzer (ed.), Analytical Studies in World Music. Oxford University Press, 2006, pp. 377–414.
Roeder, John. “A Transformational Space for Elliott Carter’s Recent Complement-Union Music.” In Timour Klouche and Thomas Noll (eds.), Mathematics and Computation in Music: First International Conference, MCM 2007. Heidelberg: Springer Verlag, 2009, pp. 303–10.
Roeder, John. “Voice Leading as Transformation.” In Raphael Atlas and Michael Cherlin (eds.), Musical Transformation and Musical Intuition: Essays in Honor of David Lewin. Dedham: Ovenbird Press, 1994, pp. 41–58.
Rosen, Charles. The Classical Style. London: Faber & Faber, 1971.
Rosen, Charles. “Elliott Carter: The Sustained Line.” In Marc Ponthius and Susan Tang (eds.), Elliott Carter: A Centennial Celebration. Hillsdale, NY: Pendragon Press, 2008, pp. 59–64.
Rosen, Charles. “Happy Birthday Elliott Carter!” The New York Review of Books 56/4 (March 12, 2009): 29–31.
Rosen, Charles. “An Interview with Elliott Carter.” In The Musical Languages of Elliott Carter. Washington, DC: Library of Congress, 1984, pp. 33–43.
Rosen, Charles. “The Musical Languages of Elliott Carter.” In The Musical Languages of Elliott Carter. Washington, DC: Library of Congress, 1984, pp. 1–19.
Rosenfeld, Paul. “The Newest American Composers.” Modern Music 3/4 (1938): 153–59.
Rotella, Guy. Castings: Monuments and Monumentality in Poems by Elizabeth Bishop, Robert Lowell, James Merrill, Derek Walcott and Seamus Heaney. Nashville: Vanderbilt University Press, 2004.
Rothstein, Edward. “The Twilight Fantasies of Elliott Carter.” The New Republic (Dec. 26, 1988): 23–28.
Rupprecht, Philip. Britten’s Musical Language. Cambridge University Press, 2001.
Sallmen, Mark. “Listening to the Music Itself: Breaking Through the Shell of Elliott Carter’s ‘In Genesis’.” Music Theory Online 13/3 (2007).
Schachter, Carl. “Motive and Text in Four Schubert Songs.” In Unfoldings: Essays in Schenkerian Theory and Analysis. Oxford University Press, 1999, pp. 209–20.
Scheffer, Frank (dir.). Elliott Carter: A Labyrinth of Time. Alegri Film BV DVD, 2004.
Schiff, David. “Carter as Symphonist: Redefining Boundaries.” The Musical Times 139/1865 (Winter, 1998): 8–13.
Schiff, David. “Carter in the Seventies,” Tempo 130 (Sept. 1979): 2–10.
Schiff, David. “The Carter-Messiaen Project: Is the Music American? Or European?” In the program book for
The Carter Messiaen Project, Chamber Music Northwest,
1998,
www.cmnw.org/pdfs/schiff_carterEssay.pdf.
Schiff, David. “Carter’s New Classicism.” College Music Symposium 29 (1989): 115–22.
Schiff, David. “Elliott Carter’s Harvest Home.” Tempo 167 (Dec 1988): 2–13.
Schiff, David. “Keeping up with Carter.” Tempo 214 (Oct 2000): 2–6.
Schiff, David. The Music of Elliott Carter. London: Eulenburg Books; New York: Da Capo Press, 1983. (MEC, 1st edn.) Revised second edn., London: Faber; Ithaca, NY: Cornell University Press, 1998. (MEC)
Schmidt, Dörte. “Emanzipation des musikalischen Diskurses. Die Skizzen zu Elliott Carters zweitem Streichquartett und seine theoretischen Arbeiten in den späten 50er Jahren.” In Günther Wagner (ed.), Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz 1995. Stuttgart: Verlag J. B. Metzler, 1996, pp. 209–48.
Schmidt, Dörte. “Formbildende Tendenzen der Musikalischen Zeit. Elliott Carters Konzept der Tempo-Modulation im zweiten Quartett als Folgerung aus dem Denken Schönbergs.” In Günther Wagner (ed.), Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz 1999, Stuttgart: Verlag J. B. Metzler, 2000, pp. 118–36.
Schmidt, Dörte. “Kammermusik mit Bläsern und der Umbau des Gattungssystems.” In Sven Hiemke (ed.), Beethoven Handbuch. Kassel: Bärenreiter, 2009, pp. 495–545.
Schmidt, Dörte. “What Next? oder: Ein Portrait des Künstlers als grand old man.” In Arnold Schönberg: Von heute auf morgen, Elliott Carter: What Next?: Zwei Einakter. Frankfurt: Insel Verlag, 1999, pp. 150–74.
Schoenberg, Arnold. The Musical Idea and the Logic, Technique and Art of its Presentation. Ed. and trans. Patricia Carpenter and Severine Neff. New York: Columbia University Press, 1995.
Schoenberg, Arnold. Style and Idea: Selected Writings of Arnold Schoenberg. Ed. Leonard Stein. Trans. Leo Black. London: Faber & Faber, 1984.
Schoenberg, Arnold. Theory of Harmony. Trans. Roy. E. Carter. London: Faber & Faber 1978.
Schütz, Alfred. “Don Quixote and the Problem of Reality.” In Collected Papers II: Studies in Social Theory. The Hague: Martinus Nijhoff, 1964, p. 136.
Schwartz, Lloyd. “Elliott Carter and American Poetry.” Sonus 19/1 (1998): 12–25.
Scruton, Roger. The Aesthetics of Music. Oxford University Press, 1997.
Sessions, Roger. “Report on Black Mountain.” The New York Times, September 24, 1944.
Shreffler, Anne C. “Elliott Carter and his America.” Sonus 14/2 (1994): 38–66.
Shreffler, Anne C. “‘Give the Music Room’: Elliott Carters ‘View of the Capitol from the Library of Congress’ aus A Mirror on Which to Dwell” (in German). In Felix Meyer (ed.), Quellenstudien II. Winterthur: Amadeus Verlag, 1993, pp. 255–83.
Shreffler, Anne C. “Instrumental Dramaturgy as Humane Comedy: What Next? by Elliott Carter and Paul Griffiths.” In Hermann Danuser with Matthias Kassel (eds.), Musiktheater heute. Mainz: Schott, 2003, pp. 147–71.
Simms, Bryan. The Atonal Music of Arnold Schoenberg, 1908–1923. Oxford University Press, 2000.
Skulsky, Abraham. “Elliott Carter.” American Composers Alliance Bulletin (Summer 1953): 2–16.
Slonimsky, Nicolas. Thesaurus of Scales and Melodic Patterns. New York: Schirmer Books/Macmillan, 1987; originally published by Charles Scribner’s Sons, 1947.
Spalding, Walter Raymond. Music at Harvard: A Historical Review of Men and Events. New York: Coward-McCann, 1935; New York: Da Capo, 1977.
Steegmuller, Francis. Blue Harpsichord. New York: Dodd, Mead and Co., 1949. Paperback edn, New York: Carroll and Graf, 1984.
Stein, Leonard. “Playing in Time for Schoenberg.” In Markus Grassl and Reinhard Kapp (eds.), Die Lehre von der musikalischen Aufführung in der Wiener Schule. Vienna: Böhlau Verlag, 2002, pp. 61–69.
Stockhausen, Karlheinz: “. . . how time passes . . .” Die Reihe 3 (1957): 10–40.
Straus, Joseph N. “A Revisionist History of Twelve-Tone Serialism in American Music.” Journal of the Society for American Music 2/3 (August 2008): 355–95.
Straus, Joseph N.Twelve-Tone Music in America. Cambridge University Press, 2009.
Stravinsky, Igor. Chronicle of My Life. London: Gollancz, 1936. Reprinted as An Autobiography (1903–1934), London: Marion Boyars, 1990. Reprinted, New York: W. W. Norton & Co., 1998.
Stravinsky, Igor. Poetics of Music. Cambridge, MA: Harvard University Press, 1942.
Stravinsky, Igor. Stravinsky in Conversation with Robert Craft. Harmondsworth: Penguin Books, 1962.
Street, Alan. “The Obbligato Recitative: Narrative and Schoenberg’s Five Orchestral Pieces, Op. 16.” In Anthony Pople (ed.), Theory, Analysis & Meaning in Music. Cambridge University Press, 1994, pp. 164–83.
Syme, Ronald. Emperors and Biography: Studies in the Historia Augusta. Oxford: Clarendon Press, 1971.
Szersnovicz, Patrick. “Le Temps restitué.” Le monde de la musique 117 (Dec. 1988): 90–94.
Talbot, Michael. “The Italian Concerto in the Late Seventeenth and Early Eighteenth Century.” In Simon P. Keefe (ed.), Cambridge Companion to the Concerto. Cambridge University Press, 2005.
Taruskin, Richard. “Standoff (II): Music in History: Carter.” In The Oxford History of Western Music. Oxford University Press, 2004, vol. 6, pp. 261–306.
Thomas, Gavin. “Crashing Through the Picturesque.” The Musical Times 136/1828 (1995), 285–88.
Tilmouth, Michael. “String Quartet.” In S. Sadie and J. Tyrrell (eds.), The New Grove Dictionary of Music and Musicians. 2nd edn. London: Macmillan, 2001, vol. 18, pp. 276–87.
Tomlinson, Gary. Metaphysical Song: An Essay on Opera. Princeton University Press, 1999.
Truniger, Matthias. “Elliott Carter: Esprit rude/esprit doux.” Sonus 19/1 (1998): 26–52.
Updike, John. “Late Works: Writers and Artists Confronting the End.” The New Yorker 82/24 (Aug. 7, 2006): 64–71.
Urquart, Thomas, and P. A. Motteux (eds.). The Works of Rabelais. London: Richard Baldwin, 1693.
Vermaelen, Denis. “Elliott Carter’s Sketches: Spiritual Exercises and Craftsmanship.” In Patricia Hall and Friedemann Sallis (eds.), A Handbook to Twentieth-Century Musical Sketches. Cambridge University Press, 2004, pp. 161–75.
Wagner, Richard. On the Application of Music to the Drama. Trans. William Ashton Ellis. In Richard Wagner’s Prose Works. New York: Broude Bros., 1966. Original edn, 1895–1912: vol. 6, pp. 173–91.
Wallace, Helen. Boosey & Hawkes: The Publishing Story. London: Boosey & Hawkes, 2007.
Weston, Craig A. “Inversion, Subversion, and Metaphor: Music and Text in Elliott Carter’s A Mirror on Which to Dwell.” DMA dissertation, University of Washington, 1992.
Wheeldon, Marianne. “Interpreting Discontinuity in the Late Works of Debussy.” Current Musicology 77 (2004): 97–115.
Whittall, Arnold. “Boulez et le classicisme moderne (Schoenberg, Berg).” In J. Goldman, J-J Nattiez, and F. Nicholas (eds.), La pensée de Pierre Boulez à travers ses écrits. Sampzón: Editions Delatour France, 2009, pp. 275–98.
Whittall, Arnold. “‘A Play of Pure Forces’? Elliott Carter’s Opera in Context.” The Musical Times 149 (2008): 3–13.
Whittall, Arnold. Serialism. Cambridge University Press, 2008.
Whittall, Arnold. “Summer’s Long Shadows.” Musical Times 138/1850 (1997): 14–22.
Wicksteed, P. H. (ed.). Aristotle. 23 vols. Cambridge, MA: Harvard University Press, 1970–. New edn, 1995.
Williams, Alastair. “New Music, Late Style: Adorno’s ‘Form in the New Music’.” Music Analysis 27/2–3 (2008): 193–97.
Williams, William Carlos. Asphodel, That Greeny Flower and Other Love Poems. New York: New Directions Publishing, 1994.
Winkler, Allan M.The Politics of Propaganda: The Office of War Information 1942–1945. New Haven: Yale University Press, 1978.
Loading metrics...
