1 For book-length collections, see Garland, Peter, ed., The Early Music of James Tenney (Santa Fe, NM: Soundings Press, 1984)Google Scholar; Polansky, Larry and Rosenboom, David, eds., ‘A Tribute to James Tenney’, Perspectives of New Music (special issue) 25/1–2 (1987)Google Scholar; and Hasegawa, Robert, ed., ‘The Music of James Tenney’, Contemporary Music Review (special issue) 27/1 (2008)Google Scholar.

2 See Wannamaker, Robert, ‘The Spectral Music of James Tenney’, Contemporary Music Review 27/1 (2008)CrossRefGoogle Scholar; Wannamaker, Robert, ‘Rhythmicon Relationships, Farey Sequences, and James Tenney's Spectral CANON for CONLON Nancarrow’, Music Theory Spectrum 34/2 (2012)CrossRefGoogle Scholar; and Tenney, James, From Scratch: Writings in Music Theory, ed. Polansky, Larry, Pratt, Lauren, Wannamaker, Robert, and Winter, Michael (Urbana,, IL: University of Illinois Press, 2015)CrossRefGoogle Scholar. Analyses from Wannamaker's published articles appear in revised and expanded form in vol. 1, ch. 8, and vol. 2, chs 6, 7, and 9 of this text.

3 The definition of Harmonic Space and the Harmonic Distance function are discussed in Tenney, James, ‘John Cage and the Theory of Harmony’, in Soundings 13: The Early Music of James Tenney, ed. Garland, Peter (Santa Fe, NM: Soundings Press, 1984), 55–83Google Scholar; the Consonance-Dissonance Complexes appear in Tenney, James, A History of ‘Consonance’ and ‘Dissonance’ (New York: Excelsior, 1988)Google Scholar. An excerpt from the latter and the entirety of the former are included in Tenney, From Scratch.

4 For a history of the development of Dissonant Counterpoint, see Spilker, John, ‘The Origins of “Dissonant Counterpoint”: Henry Cowell's Unpublished Notebook’, Journal of the Society of American Music 5/4 (2011)CrossRefGoogle Scholar.