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Beyond Notation: The Music of Earle Brown

Published by The University of Michigan Press, 2017

 

Contents

Foreword by Kyle Gann, "A Less 'Cloistered' Music"

Preface by Rebecca Kim

1. Jason Cady, "An Overview of Earle Brown's Techniques and Media"

2. Carolyn Brown, "The Early Years"

3. Louis Pine, "Earle Brown's Study and Use of the Schillinger System of Musical Composition"

4. David Ryan, "Energy Fields: Earle Brown, Open Form, and the Visual Arts"

5. Rebecca Kim, "Four Musicians at Work and Earle Brown's Indices"

6. Richard Toop, "Their Man in Europe, Our Man in America: Earle Brown and the European Avant-Garde"

7. Elizabeth Hoover, "Collage and the Feedback Condition of Earle Brown's Calder Piece"

8. Fredrick Gifford, "Imagining an Ever-Changing Entity: Compositional Process in Earle Brown's Cross Sections and Color Fields"

9. Stephen Drury, "Then and Now: Changing Perspectives on Performing Earle Brown's Open Form Scores"

10. George Brunner, "'Let's Hear Some Sounds': Earle Brown at CalArts"

11. Hans Zender, "Farewell to the Closed Form: Earle Brown and the New York School" (Translated by Felix Koch)

Selection of Texts by Earle Brown

  • "Why I Am a 12-Tone Composer" (ca. 1951)

  • Letter to Ray Grismer (April 4, 1957)

  • "Varèse" (1961)

  • Letter to Leonard Bernstein (July 9, 1963)

  • Remarks Delivered to the National Music Council, New York City (1966)

  • "An 'Open Letter' to Some Critics and Friends" (October 15, 1973)

  • "Earle Brown, Composer" (ca. 1976)

Work List

Color plates, including Earle Brown's early paintings

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