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

Angermann, Klaus and Barbara Barthelmes. “Die Idee des klingenden Raumes seit Satie.” In Musik zwischen E und U: ein Prolog und sieben Kon- gressbeitrage, edited by Ekkehard Jost, 107-126. Veroffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt Vol. 25. Mainz, Germany: Schott, 1984.

Thomson, Virgil. Selected Letters of Virgil Thomson, edited by Tim Page and Vanessa Weeks Page 259, 329. New York, NY: Summit, 1988.

Paul van Emmerik. “Review of Silencing the Sounded Self: John Cage and the Ameri-can Experimental Tradition.” Notes (March 2000) 56/3: 729.

Shultis, Christopher. Silencing the Sounded Self: John Cage and the Ameri-can Experimental Tradition, 3-4. 14-28, and passim.. Boston, MA: Northeastern University Press, 1998.

Schwarz, K. Robert. “Composers’ Closets Open for All to See.” The New York Times, June 19, 1993, sec. 2, 1.

Root, Deane L. “The Pan American Association of Composers (1928-1934)." Anuario interamericano de investigation musical/Yearbook for Inter-American Musical Research/Anuario interamerican de pesquisa musical 8 (1972): 49-70.

Putz, Werner, Peter Virnich, and Peter Winz-Luckei. “Neue Musik handelnd erfahren: Eine Unterrichtsreihe zu Charles Ives und John Cage.” Musik und Bildung 19/5 (1987): 350-358.

“Musical Whitman.” Newsweek 43, May 31, 1954, 78.

Mellers, Wilfrid. “American Music (An English Perspective).” Kenyon Review 5/3 (Summer 1943): 357-375.

Mead, Rita H. Henry. “Cowell’s “New Music,” 1925-36: The Society, the Music Editions and the Recordings.” Studies in Musicology No. 40. Ann Arbor, MI: UMI Research Press, 1981.