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Elliott Carter Studies
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Over the course of an astonishingly long career, Elliott Carter has engaged with many musical developments of the twentieth and now twenty-first centuries - from his early neo-classic music of the interwar period, to his modernist works of conflict and opposition in the 1960s and 1970s, to the reshaping of a modernist aesthetic in his latest compositions. Elliott Carter Studies throws new light on these many facets of Carter's extensive musical oeuvre. This collection of essays presents historic, philosophic, philological and theoretical points of departure for in-depth investigations of individual compositions, stylistic periods in Carter's output and his contributions to a variety of genres, including vocal music, the string quartet and the concerto. The first multi-authored book to appear on Carter's music, it brings together research from a distinguished team of leading international Carter scholars, providing the reader with a wide range of perspectives on an extraordinary musical life.


'… this is a most valuable addition to the growing body of Elliott Carter literature. The fourteen chapters present a broad range of topics and approaches to this music, and address pieces throughout his career … a few of the essays, particularly those by Heinemann, Ravenscroft, and Schmidt should become essential reading for musicians undertaking their initial forays into Carter’s unique approach to composition. Finally, the book is well edited, and the musical examples are beautifully engraved.'

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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.
Barenboim, Daniel. “Elliott Carter.” In Journal,
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.
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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.
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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.
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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.
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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. “Programme Note.” In Three Illusions for Orchestra. Boosey and Hawkes,
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. Sketches for String Quartet No. 1 (1950–51). Library of Congress,
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.
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Dubiel, Joseph. “Observations of Carter’s Clarinet Concerto.” Unpublished paper presented at the Cardiff University Music Analysis Conference, September 4, 2008.
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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.
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