E. Comparisons and Relationships with Other Composers, Artists, and Writers

Baggiani, Guido, “Ives and Our Music Today.” In An Ives Celebration: Papers and Panels of the Charles Ives Centennial Festival-Conference, edited by H. Wiley Hitchock and Vivan Perlis, 228-230. Urbana, IL: University of Illinois Press, 1977.

Noble, David W. “Freedom from Form: Progressivism in Architecture, Art. and Music.” In The Progressive Mind 1890-1917, 131-135. Chicago, IL: Rand McNally & Co., 1970.

Drew, James. “Modern Music and the Debt to Charles Ives. Parts I and II.” Yale Reports. December 27, 1970 and January 3, 1971.

Austin, William W. “Contemporaries in America, Australia, Japan.” In Music in the 20th Century, 57-61. New York, NY: W.W. Norton, 1966.

Rao, Nancy Yunhwa. “Allegro Scorrevole in Carter’s First String Quartet: Crawford and the Ultramodern Inheritance.” Music Theory Spectrum 36/2 (2014): 181-202.

Cash, Alice H. “Feminist Theory and Music: Toward a Common Language School of Music University of Minnesota Minneapolis — 26-30 June 1991.” The Journal of Musicology 9/4 (1991): 521-532.

Young, Douglas. “Copland’s Dickinson Songs.” Tempo 103 (1972): 33-37.

Christopher Shultis. “Robert Morris and the Missing Middle.” Perspectives of New Music 52/2 (2014): 316-324.

Babcock, David. “Carl Ruggles: Two Early Works and ‘Sun-Treader’.” Tempo, no. 135 (1980): 3-12.

Méfano, Paul. “Méfano, Paul (1937).” In Three Questions for Sixty-Five Composers, edited by Bálint András Varga, 174-176. Woodbridge, United Kingdom: Boydell and Brewer, 2011.