¹ “Autobiography” in Zimmerman, Walter (ed.) Morton Feldman Essays (Kerpen: Beginner Press, 1985), 36–7.Google Scholar

² 1950–1 is suggested by Feldman (see next quotation). Revill, David, in The Roaring Silence – John Cage: A Life (London: Bloomsbury, 1992) gives 1950 (see pages 138–140)Google Scholar but in a source note on page 321 concedes that “there is a chance it was 1951.” Tomkins, Calvin, The Bride and the Bachelors (New York: Penguin, 1976), however, implies 1952 (see pages 115–6)Google Scholar; and this last date is given assertively by both Ewen's, DavidAmerican Composers: a biographical dictionary (London: Robert Hale, 1983, 96)Google Scholar and the article on Brown, in The New Grove Dictionary of American Music (London: Macmillan, 1986)Google Scholar. The important point in all this is that Brown's work was unaffected by the innovations of Feldman and Cage until the autumn of 1952.

³ “Predeterminate/Indeterminate” in Morton Feldman Essays, 48.Google Scholar

⁴ “History of Experimental Music in the United States” in Cage, John, Silence (London: Calder & Boyars, 1968), 71.Google Scholar

⁵ “Interview with Michael Kirby and Richard Schechner” quoted in Kostelanetz, Richard (ed.), Conversing with Cage (New York: Limelight Editions, 1988), 64.Google Scholar

⁶ See Cage, John, For the Birds (London: Marion Boyars, 1981), 43.Google Scholar

⁷ Quoted in The Bride and the Bachelors, 108.Google Scholar

⁸ “Predeterminate/Indeterminate,” 48.Google Scholar

⁹ “Autobiography,” 38.Google Scholar

¹⁰ The Bride and the Bachelors, 108.Google Scholar

¹¹ Quoted in Bland, William/Potter, Keith “Morton Feldman,” The New Grove Dictionary of American Music, vol 2, 107.Google Scholar

¹² “Predeterminate/Indeterminate,” 49.Google Scholar

¹³ “Autobiography,” 38.Google Scholar

¹⁴ Ibid., 39.

¹⁵ Quoted in American Composers, 98.Google Scholar

¹⁶ The score is reproduced in Hitchcock, H. Wiley, Music in the United States (New Jersey: Prentice Hall, 1988, 3rd edn.), 270.Google Scholar

¹⁷ From the note accompanying the published score (New York: Associated Music Publishers, Inc., 1961).Google Scholar

¹⁸ Quoted in American Composers, 96.Google Scholar

¹⁹ Quoted in accompanying note to recording CRI SD 330.

²⁰ From the note accompanying the published score (New York: Associated Music Publishers, Inc., 1962).Google Scholar

²¹ Ibid.

²² Ibid.

²³ “Captain Cook's First Voyage: an Interview with Morton Feldman,” Cum Notis Variorum, 131 (04 1989), 11.Google Scholar

²⁴ For a discussion of Wolff's notational practices of the early 1960s, see Behrman, David “What Indeterminate Notation Determines,” Perspectives of New Music, 3/2 (1965), 65–73CrossRefGoogle Scholar

²⁵ From the sleeve note for the recording of the 25-year Retrospective Concert held at New York's Town Hall in 1958; reproduced in Kostelanetz, Richard (ed.), John Cage (London: Allen Lane The Penguin Press, 1971), 130.Google Scholar

²⁶ For extracts from the Boulez-Cage correspondence, see Campana, Deborah “A Chance Encounter” in Fleming, Richard and Duckworth, William (eds.), John Cage at Seventy-Five (London and Toronto: Associated University Presses, 1989), 209–248.Google Scholar

²⁷ Quoted in The Bride and the Bachelors, 120.Google Scholar

²⁸ See Kurtz, Michael (trans. Troop, Richard), Stockhausen (London: Faber and Faber, 1992), 87.Google Scholar

²⁹ Ibid.

³⁰ “Captain Cook's First Voyage,” 11.Google Scholar

³¹ Cowell, Henry, New Musical Resources (New York: Something Else Press, Inc., 1969).Google Scholar

³² “Autobiography,” 37.Google Scholar

³³ “Predeterminate/Indeterminate,” 48.Google Scholar