Last Updated: 15th March 2014 [Morton Feldman Page]

Morton Feldman: Bibliography

A. BOOKS:
  1. Morton Feldman Essays, Walter Zimmermann, editor (Kerpen: Beginner Press, 1985)
  2. Morton Feldman, Musik-Konzepte, Vol 48/49 (Munich: Edition Text + Kritik, 1986)
  3. Feldman memorial volume, MusikTexte (No 22, December 1987). Includes tributes by John Cage, Heinz-Klaus Metzger, Walter Zimmermann, Tom Johnson, Herbert Henck, Peter Garland, Ernstalbrecht Stiebler, Alvin Curran, Peter Michael Hamel, Barbara Monk Feldman, Howard Skempton, Bunita Marcus, Alvin Lucier, Ad van't Veer, Dieter Schnebel, Wolfgang Rihm, John McGuire, Christian Wolff, Dirk de Klerk, George Mowat-Brown, Chris Newman, Kevin Volans and Kyle Gann. Included also are the scores of pieces written in memory of Feldman, by Christian Wolff, Chris Newman, Walter Zimmermann, Peter Garland and Peter Michael Hamel, and a text composition by John Cage.
  4. Staub, Volker, Morton Feldmans "Untitled Composition" für Cello und Klavier [Feedback Papers 38] (Köln: Feedback Studio Verlag, 1992)
  5. John Cage, Morton Feldman, Radio Happenings I-V. Conversations 1966-67 (Cologne: MusikTexte, 1993)
  6. Thomas Hummel, Morton Feldmans "Untitled Composition" (1981) für Cello und Klavier. Eine computerunterstützte Analyse [fragmen 3] (Saarbrücken: Pfau Verlag, 1994)
  7. The Music of Morton Feldman, Thomas DeLio, editor (Greenwood Press, 1996). Also in a paperback edition (New York: Excelsior Music Publishing Company, 1996)
  8. Oliver Wiener, Morton Feldman: "The Viola in My Life (3)" [fragmen 11] (Saarbrücken: Pfau Verlag, 1996)
  9. Suzann Josek, The New York School. Earle Brown, John Cage, Morton Feldman, Christian Wolff (Saarbrücken: Pfau Verlag, 1998)
  10. Marion Saxer, Between Categories. Studien zum Komponieren Morton Feldmans von 1951 bis 1977 (Saarbrücken: Pfau Verlag, 1998)
  11. Morton feldman, Ecrits et Paroles, précédés d'une Monographie par Jean-Yves Bosseur (Paris: L'Harmattan, 1998). Includes Feldman's essays and interviews in French translations plus a 100 page essay on Feldman in French by Jean-Yves Bosseur.
  12. Sebastian Claren, Neither. Die Musik Morton Feldmans (Hofheim: Wolke Verlag, 2000). This is the most comprehensive book on Feldman published to date. In addition to extensive analyses of Feldman's works, there is a complete list of published and unpublished works, a discography and a biography containing much previously unpublished information.
  13. Morton Feldman, Solo Piano Works 1950-64 (Edition Peters No. 67976, 2000). Not strictly speaking a book but an album containing all the solo piano pieces by Feldman published by Edition Peters. The scores are newly edited by Volker Straebel, who also contributes a detailed Preface and comprehensive Notes on each piece. Four previously unpublished pieces ("Nature Pieces", "Variations", "Intermission 3" and "Intermission 4") are published for the first time in this album.
  14. Give My Regards to Eighth Street: Collected Writings of Morton Feldman, edited and with an introduction by B.H. Friedman, afterword by Frank O'Hara (Boston: Exact Change, 2000)
  15. The New York Schools of Music and Visual Arts: John Cage, Morton Feldman, Edgard Varèse, Willem de Kooning, Jasper Johns, Robert Rauschenberg, edited by Steven Johnson [Studies in Contemporary Music and Culture, no. 5] (New York: Routledge, 2002). Includes major essays on Feldman by Jonathan W. Bernard, John Holzaepfel and Steven Johnson, plus six other essays of related interest.
  16. Morton Feldman Says: Selected Interviews and Lectures 1964-1987, edited and with an introduction by Chris Villars (London: Hyphen Press, 2006)
  17. Philip Gareau, La musique de Morton Feldman ou le temps en liberté (Paris: L'Harmattan, 2006)
  18. Words on Music. Morton Feldman in Middelburg 1985-1987. Lectures and Conversations, edited by Raoul Mörchen. English-German Edition. (Cologne: Edition MusikTexte, 2008)
  19. Eberhard Blum, Choice & Chance: Bilder und Berichte aus meinem Leben als Musiker (Berlin: Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur, 2008). Includes many recollections of the author's years as a close friend of Feldman and member of the performing group, "Morton Feldman and Soloists".
  20. Morton Feldman, Ecrits et Paroles, edited by Jean-Yves Bosseur and Danielle Cohen-Levinas (Brussels: Les presses du réel, 2008). Revised, extended and completely redesigned new edition of Item 11 above.
  21. Guillaume Belhomme, Morton Feldman / For Bunita Marcus (Marseille: Le mot et le reste, SOLO collection, 2008).
  22. Marco Lenzi, L'estetica musicale di Morton Feldman (Milan: Ricordi-Lim, 2009)
  23. Vertical Thoughts: Morton Feldman and the Visual Arts, published to accompany an exhibition at the Irish Museum of Modern Art, Dublin, March 31 - June 27 2010. Contributions by Dore Ashton, Juan Manuel Bonet, Enrique Juncosa, Bunita Marcus, Barbara Monk Feldman, Brian O'Doherty, Kevin Volans, Francesco Pellizzi, Sebastian Claren (Dublin: Irish Museum of Modern Art, 2010)
  24. Morton Feldman, Pensamientos Verticales (Buenos Aires: Caja Negra Editora, 2012). This is a Spanish translation of Give My Regards to Eighth Street (Item 14 above). It omits B.H. Friedman's "Introduction", and includes a new "Prologue" (in Spanish) by Pablo Gianera.
  25. Morton Feldman, Pensieri Verticali (Milan: Adelphi Edizioni, 2013). This is an Italian translation of Give My Regards to Eighth Street (Item 14 above). It contains a translation of B.H. Friedman's "Introduction" and a new essay (in Italian) by Mario Bortolotto.
  26. Alistair Noble, Composing Ambiguity: The Early Music of Morton Feldman (Ashgate Publishing, 2013)
  27. Special Issue: For Morton Feldman, Contemporary Music Review (Volume 32, Issue 6, 2013). Includes major articles by Brett Boutwell, Benjamin R. Levy, Thomas DeLio and Steven Johnson.

B. ESSAYS & ARTICLES:

  1. Ames, Paula Kopstick, "Piano (1977)," The Music of Morton Feldman, Thomas DeLio, editor (New York: Excelsior Music Publishing Co, 1996) pp 99-143.
  2. Ashton, Dore, "New York: Feldman's Music," Canadian Art (Vol XXI, January 1964) p48.
  3. Ashton, Dore, "No Way to be Mortified," Vertical Thoughts: Morton Feldman and the Visual Arts (Dublin: Irish Museum of Modern Art, 2010) pp 80-85.
  4. Baldridge, Wilson, "Morton Feldman: One Whose Reality is Acoustic," Perspectives of New Music, (Vol 21, 1982/83) pp 112-113.
  5. Barras, Vincent, "Une interprétation de la musique de Morton Feldman," Dissonanz - Dissonance (No 25, 1990) pp 11-15.
  6. Beal, Amy C., "'Time Canvasses': Morton Feldman and the Painters of the New York School," Music and Modern Art, James Leggio, editor (New York: Routledge, 2002) pp 227-245.
  7. Behrman, David, "What Indeterminate Notation Determines," Perspectives on Notation and Performance, Benjamin Boretz and Edward T. Cone, editors (New York: W.W. Norton and Co, 1976) pp 74-89.
  8. Bernard, Jonathan W., "Feldman's Painters," The New York Schools of Music and Visual Arts, Steven Johnson, editor (New York: Routledge, 2002) pp 173-215.
  9. Biró, Dániel Péter, "Morton Feldman's Rothko Chapel," Journal of the Third International Conference on Jewish Music (London, 2001).
  10. Bland, William, "Morton Feldman," The New Grove Dictionary of Music and Musicians, Stanley Sadie, editor (London: Macmillan Publishing Co, 1980) pp 455-456.
  11. Blasius, Leslie, "Late Feldman and the Remnants of Virtuosity," Perspectives of New Music (Vol 42 No 1, 2004) pp 32-83.
  12. Blum, Eberhard, "... über Morton Feldman sprechen!" Positionen (Vol 11, November 1992) pp 29-33.
  13. Bonet, Juan Manuel, "I Learned More From Painters Than I Learned From Composers," Vertical Thoughts: Morton Feldman and the Visual Arts (Dublin: Irish Museum of Modern Art, 2010) pp 6-23.
  14. Borio, Gianmario, "Morton Feldman e l'Espressionismo astratto," Itinerari della musica americana, a cura di Gianmario Borio e Gabrio Taglietti (Lucca: Una Cosa Rara, 1996) pp119-134.
  15. Böttinger, Peter, "Das exakte Ungefähre: Ein analytischer Versuch über Instruments I (1974) von Morton Feldman," Morton Feldman, Musik-Konzepte Vol 48/49 (Munich: Edition Text + Kritik, 1986) pp 105-114.
  16. Boutwell, Brett, "Coordinating Morton Feldman's False Relationships," Mitteilungen der Paul Sacher Stiftung, (No 23, April 2010) pp 39-42.
  17. Boutwell, Brett, "Morton Feldman's Graphic Notation: Projections and Trajectories," Journal of the Society for American Music, (Vol 6, Issue 04, November 2012) pp 457-482.
  18. Boutwell, Brett, "'The Breathing of Sound Itself': Notation and Temporality in Feldman's Music to 1970," Contemporary Music Review (Volume 32, Issue 6, 2013) pp 531-570.
  19. Cage, John, Silence: Lectures and Writings (Middletown, Connecticut: Wesleyan University Press, 1961) pp 15-16, 36-37, 71-72, 128-145, 265.
  20. Childs, Barney, "Morton Feldman," Dictionary of Contemporary Music, John Vinton, editor (New York: E.P. Dutton, 1971) pp 233-234.
  21. Claren, Sebastian, "A Feldman Chronology," Morton Feldman Says: Selected Interviews and Lectures 1964-1987 (London: Hyphen Press, 2006) pp 255-275. Reprinted in Vertical Thoughts: Morton Feldman and the Visual Arts (Dublin: Irish Museum of Modern Art, 2010) pp 296-309.
  22. Clark, Philip, "Morton Feldman," The Wire Primers: A Guide to Modern Music, Rob Young, editor (London: Verso, 2009) pp 165-172.
  23. Cline, David, "Straightening the Record: Morton Feldman's Return to Graph Music," twentieth-century music (Volume 10, Issue 01, March 2013) pp 59-90.
  24. Coolidge, Clark, "Regarding Morton Feldman's music and wherever it all now goes," Sulfur (No 22, Spring 1988) pp123-129.
  25. Cott, Jonathan, "Feldman and Bernstein," Stockhausen: Conversations with the Composer (New York: Simon and Schuster, 1973) pp135-136.
  26. Cowell, Henry, "Current Chronicle," Musical Quarterly (January 1952) pp 131-136.
  27. Davidovic´, Dalibor, "Das aufgeschobene Ende. Versuch über die Musik Morton Feldmans," Musik & Ästhetik (Vol 38, April 2006) pp58-66.
  28. Davis, Peter, "Feldman and Brown," Musical America (November 1963) pp 33-34.
  29. Debrock, Guy, "The Word Man and the Note Man: Morton Feldman and Beckett's Virtual Music," Samuel Beckett and the Arts: Music, Visual Arts, and Non-Print Media, Lois Oppenheim, editor (New York: Garland Publishing, 1999).
  30. DeLio, Thomas, "Toward an Art of Imminence: Morton Feldman's Durations III, No. 3," Interface (Vol 12 No 3, 1983) pp 465-480. Reprinted in, DeLio, Thomas, Circumscribing the Open Universe (Lanham, Maryland: University Press of America, 1983) pp 29-47.
  31. DeLio, Thomas, "Last Pieces #3 (1959)," The Music of Morton Feldman, Thomas DeLio, editor (New York: Excelsior Music Publishing Co, 1996) pp 39-68.
  32. DeLio, Thomas, "The Marvelous Illusion: Morton Feldman's The Viola in My Life (1)," Contemporary Music Review (Volume 32, Issue 6, 2013) pp 589-638.
  33. De Klerk, Dirk, "Morton Feldman in Johannesburg, July 1983 : Ideas and Opinions," Muziki: Journal of Music Research in Africa (Vol 3 No 2, 2006) pp 14-46.
  34. De Visscher, Éric, "Surfaces de temps. À propos de Morton Feldman," Les écritures du temps (musique, rythme, etc.), Fabien Lévy, editor (Paris: L'Harmattan [Les cahiers de l'Ircam], 2001) pp 141-153.
  35. Dickinson, Peter, "Feldman Explains Himself," Music and Musicians (July 1966) pp 22-23. Reprinted in Morton Feldman Says (Reference A16. above) pp19-23.
  36. Dohoney, Ryan, "Mourning Coterie: Morton Feldman's Posthumous Collaborations with Frank O'Hara," New York School Collaborations: The Color of Vowels, Mark Silverberg, editor (New York: Palgrave Macmillan, 2013) pp 183-197.
  37. Erdmann, Martin, "Zusammenhang und Losigkeit: Zu Morton Feldmans Kompositionen zwischen 1950 und 1956," Morton Feldman, Musik-Konzepte Vol 48/49 (Munich: Edition Text + Kritik, 1986) pp 67-94.
  38. Erdmann, Martin, "Traumbruchstücke, unvermittelt. Neue Kammermusik und Essays von Morton Feldman" Neue Zeitschrift für Musik (147/1, 1987) pp 18-21.
  39. Fox, Christopher, "Reflections from a Slow Country," Contact (No. 31) pp 31-34.
  40. Franke, Daniël, "Analytische Contemplation des Feldmanschen Klavierstückes 'For Bunita Marcus'," Morton Feldman, Musik-Konzepte Vol 48/49 (Munich: Edition Text + Kritik, 1986) pp 135-147.
  41. Friedman, B.H., "Morton Feldman: Painting Sounds," in Give My Regards to Eighth Street: Collected Writings of Morton Feldman (Boston: Exact Change, 2000) pp xi-xxx.
  42. Frounberg, Ivar, "In Memoriam Morton Feldman," Danish Music Review (DMT) (1987/88, No. 2).
  43. Frounberg, Ivar, "Erindringer om Morton Feldman (Recollections of Morton Feldman)," Danish Music Review (DMT) (1988/89, No. 2).
  44. Fulkerson, James, "Morty Feldman is dead," Companion to Contemporary Musical Thought (London: Routledge, 1992) Volume 1.
  45. Garcia, Orlando Jacinto, "Boola Boola revisited," 21st Century Music (June 2001).
  46. Gavard-Perret, Jean-Paul, "Morton Feldman: For Samuel Beckett, ou la musique et le silence," Ostinato Rigore 15: Frédéric Chopin (Paris: Éditions Jean-Michel Place, December 2000) pp 297-302.
  47. Goldstein, Louis, "Morton Feldman and the Shape of Time," Perspectives on American Music Since 1950 (Essays in American Music, Vol 4), James R. Heintze and Michael Saffle, editors (New York: Garland Publishing, 1999) Chpt. 3.
  48. Griffiths, Paul, "Morton Feldman," in his book Modern Music and After: Directions since 1945 (Oxford University Press, 1995) pp 303-306.
  49. Griffiths, Paul, "Morton Feldman: Shimmering Orchestral Tapestries," New York Times (January 31, 1999).
  50. Gronemeyer, Gisela, "Momente von grosser Schönheit. Zu Morton Feldmans neuem Stück Crippled Symmetry," MusikTexte (No 4, April 1984) pp 5-9.
  51. Gruhn, Wilfried, "Klang und Stille. Gedanken zur kompositorischen Arbeit Morton Feldmans" Musik und Bildung (No 14, 1982) pp 147-152.
  52. Guston, Philip, "On Morton Feldman (1967)," Philip Guston: Collected Writings, Lectures, and Conversations, edited by Clark Coolidge, with an inroduction by Dore Ashton (University of California Press, 2010) pp 76-79.
  53. Hall, Tom, "Notational Image, Transformation and the Grid in the Late Music of Morton Feldman," Current Issues in Music (Southern Voices, Canberra, Australia: Vol 1, 2007) pp 7-24.
  54. Hamman, Michael, "Three Clarinets, Cello and Piano (1971)," The Music of Morton Feldman, Thomas DeLio, editor (New York: Excelsior Music Publishing Co, 1996) pp 71-95.
  55. Hanner, David and Wall, John, "The Material Experience of Abstraction: Morton Feldman and the Experience of Silence," Music, Metamorphosis and Capitalism: Self, Poetics and Politics, John Wall, editor (Newcastle: Cambridge Scholars Publishing, 2007) pp 89-106.
  56. Hanninen, Dora A., "Feldman, Analysis, Experience," twentieth-century music (Vol 1 No 2, September 2004) pp 225-251.
  57. Harrison, Bryn, "Listening through Morton Feldman's Triadic Memories," in Richard Glover and Bryn Harrison overcoming form: reflections on immersive listening (Huddersfield, UK: University of Huddersfield Press, 2013) pp 61-73.
  58. Henck, Herbert, "Stille und Stillstand. Nachruf auf Morton Feldman," Herbert Henck: Experimentelle Pianistik. Improvisation - Interpretation - Komposition (Mainz: Schott Music, 2004) Chapter 35.
  59. Herzfeld, Gregor, "'Von undurchdringlichem Selbst zu undurchdringlichem Unselbst durch Weder'. Gattung und Tradition in Morton Feldmans 'Oper' Neither nach einem Text von Samuel Beckett," in Musiktheater der Gegenwart. Text und Komposition, Rezeption und Kanonbildung, Vorträge des Salzburger Symposions 2006 edited by Jürgen Kühnel, Ulrich Müller and Oswald Panagl (Anif/Salzburg, 2008) pp 520-535.
  60. Herzfeld, Gregor, "Historisches Bewusstsein in Morton Feldmans Unterrichtsskizzen", Archiv für Musikwissenschaft (Vol 66 No 3, 2009) pp 218-233.
  61. Hirata, Catherine Costello, "The sounds of the sounds themselves: analysing the early music of Morton Feldman," Perspectives of New Music (Vol 34 No 1, 1996) pp 6-22.
  62. Hirata, Catherine, "Morton Feldman (1926-1987)," Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook, Larry Sitsky, editor (Westport, Connecticut: Greenwood Press, 2002) pp131-137.
  63. Hirata, Catherine Costello, "G Maybe-To G#," Perspectives of New Music (Vol 43/44 No 2/1, 2005/6) pp 378-402.
  64. Holzaepfel, John, "Painting by Numbers: The Intersections of Morton Feldman and David Tudor," The New York Schools of Music and Visual Arts, Steven Johnson, editor (New York: Routledge, 2002) pp 159-172.
  65. Huber, Sonja, "Morton Feldman: Piano and Orchestra," in Sonja Huber Das zeitgenössische Klavierkonzert: Analysen zu M. Feldman, M. Jarrell, G. Kühr, H. Lachenmann, G. Ligeti und W. Lutoslawski (Vienna: Böhlau Verlag, 2014, 2014) Chapter 4.
  66. Hummel, Thomas, "Qualitativer Sprung. Morton Feldmans Untitled Composition," MusikTexte (No 52, January 1994) pp 51-56.
  67. Hutton-Williams, Francis, "Samuel Beckett and Morton Feldman's 'Text-Music Tandem' in Words and Music," Modernist Cultures (Vol 8 No 1, 2013) pp 100-119.
  68. Johnson, Steven, "Rothko Chapel and Rothko's Chapel," Perspectives of New Music (Vol 32 No 2, 1994) pp 6-53.
  69. Johnson, Steven, "Jasper Johns and Morton Feldman: What Patterns?," The New York Schools of Music and Visual Arts, Steven Johnson, editor (New York: Routledge, 2002) pp 217-247.
  70. Johnson, Steven, "Pitch, Timbre, and Space in Morton Feldman's 'For Frank O'Hara'," Essays on the Music and Theoretical Writings of Thomas DeLio, Contemporary American Composer, Thomas Licata, editor (New York: Edwin Mellen Press, 2008) pp 245-272.
  71. Johnson, Steven, "It Must Mean Something: Narrative in Beckett's Molloy and Feldman's Triadic Memories," Contemporary Music Review (Volume 32, Issue 6, 2013) pp 639-688.
  72. Josel, Seth, "Reconstructing Morton Feldman's The Possibility of a New Work for Electric Guitar," Soundboard: The Journal of the Guitar Foundation of America (Vol 38, No 2, 2012) pp 47-49 & 54. Also published in German in MusikTexte (No 133, May 2012) pp 45-49.
  73. Jurkowski, Edward, "Harmonic and Formal Coherence in Morton Feldman's Late Music," Beyond the Centres: Musical Avant-Gardes Since 1950. In memoriam Yannis Andreou Papaioannou (1910-1989), Kostas Chardas and Danae Stefanou editors (Thessaloniki: Aristotle University, 2010).
  74. Jurkowski, Edward, "Aspects of Time in the Later Music of Morton Feldman," Musicological Explorations (Vol 7, Spring 2006) p 91.
  75. Karallus, Manfred, "Résistance gegen die feist funktionierende Welt. Morton Feldman: Coptic Light," MusikTexte (No 52, January 1994) pp 47-50.
  76. Kemper, Christian, "Schubert und Morton Feldman. Tangenten," Musik & Ästhetik (Vol 4, October 1997) pp22-35.
  77. Klein, Scott W., "For Frank O'Hara: Morton Feldman's Three Voices as Interpretation and Elegy," Modernist Cultures (Vol 8 No 1, 2013) pp 120-137.
  78. Knobeloch, Heinz, "Jenseits des Identitätsprinzips. Morton Feldmans Neither," Musik & Ästhetik (Vol 8, October 1998) pp5-11.
  79. Laws, Catherine, "Morton Feldman's Neither: A Musical Translation of Beckett's Text," Samuel Beckett and Music, Mary Bryden, editor (Oxford: Oxford University Press, 1998) pp 57-85.
  80. Laws, Catherine, "Music in Words and Music: Feldman's Response to Beckett's Play," Samuel Beckett Today/Aujourd'hui, Vol 11: Samuel Beckett: Endlessness in the Year 2000/Fin sans fin en l'an 2000, edited by Angela Moorjani and Carola Veit (Rodopi, 2002) pp 279-290.
  81. Laws, Catherine, "Feldman - Beckett - Johns: Patterning, Memory and Subjectivity," The Modernist Legacy: Essays on New Music, Björn Heile, editor (Ashgate Publishing, 2009) pp 135-158.
  82. Laws, Catherine, "Morton Feldman's Late Piano Music: Experimentalism in Practice," The Practice of Practising (Collected Writings of the Orpheus Research Centre in Music), Catherine Laws, editor (Leuven: Leuven University Press, 2011) pp 49-68.
  83. Lenzi, Marco, "Wege abstrakter Kunst. Einige Betrachtungen über Feldman, Clementi und die Malerei," MusikTexte (No 66, November 1996) pp 37-43.
  84. Levy, Benjamin R., "Vertical Thoughts: Feldman, Judaism, and the Open Aesthetic," Contemporary Music Review (Volume 32, Issue 6, 2013) pp 571-588.
  85. Marcus, Bunita, "Hoffnung für unsere Zukunft," [German translation of eulogy read at the Feldman memorial service, St Mark's Church, New York City, 9 September 1987] MusikTexte (No 22, December 1987) pp 37-38.
  86. Marcus, Bunita, "Morton Feldman: Spring of Chosroes," liner notes for the LP/CD recording of this piece by Paul Zukofsky and Ursula Oppens on the Musical Observations label (LP: CP2/8 [1979], CD: CP2 102 [1991]).
  87. Marcus, Bunita, "The Square Knot: A Memoir," Vertical Thoughts: Morton Feldman and the Visual Arts (Dublin: Irish Museum of Modern Art, 2010) pp 196-206.
  88. Mattis, Olivia, "Morton Feldman: Music for the film Jackson Pollock (1951)," Settling New Scores: Music Manuscripts from the Paul Sacher Foundation, Felix Meyer, editor (Mainz: Schott, 1998) pp 165-167.
  89. McGuire, John, "Wiederholung und Veränderung. Morton Feldmans Three Voices," MusikTexte (No 20, August 1987) pp 26-29.
  90. Mellers, Wilfrid, Music in a New Found Land (New York: Alfred A. Knopf, 1965) pp 189-193.
  91. Mellers, Wilfrid, Caliban Reborn: Renewal in Twentieth Century Music (New York: Harper and Row, 1967) pp 138,140-141,149.
  92. Mellers, Wilfrid, "Panic or Paradise: Abstract Expressionism and the music of Morton Feldman," Modern Painters (Vol 12 No 2, Summer 1999) pp 68-73.
  93. Metzger, Heinz-Klaus, "Zu Feldmans Erstem Streichquartett," Morton Feldman, Musik-Konzepte Vol 48/49 (Munich: Edition Text + Kritik, 1986) pp 115-121.
  94. Meyer-Thoss, Gottfried, "Facetten des Transluziden: Zu einer Inszenierung von Morton Feldmans Oper Neither, Text von Samuel Beckett," Morton Feldman, Musik-Konzepte Vol 48/49 (Munich: Edition Text + Kritik, 1986) pp 122-134.
  95. Moelants, Dirk, "What is slow? - Timing strategies in the performance of Feldman's Last Pieces," Proceedings of the VII International Symposium on Systematic and Comparative Musicology - III International Conference on Cognitive Musicology (Jyväskylä: University of Jyväskylä, 2001) pp 121-128.
  96. Monk Feldman, Barbara, "Music and the picture plane: Poussin's Pyramus and Thisbe and Morton Feldman's For Philip Guston," Res (Vol 32, Autumn 1997). Reprinted in Vertical Thoughts: Morton Feldman and the Visual Arts (Dublin: Irish Museum of Modern Art, 2010) pp 250-267.
  97. Monk Feldman, Barbara, "Liner notes for Hat Hut CD Morton Feldman, Marianne Schroeder: Piano," Hat ART CD 6035 (1990).
  98. Montgomery, Will, "'In Fatal Winds': Frank O'Hara and Morton Feldman," Frank O'Hara Now: New Essays on the New York Poet, edited by Robert Hampson and Will Montgomery (Liverpool University Press, 2010).
  99. Mörchen, Raoul, "Welt ohne Namen. Die abstrakte Musik Morton Feldmans," MusikTexte (No 66, November 1996) pp 31-33.
  100. Mörchen, Raoul, "Music as a Musical Process. Morton Feldmans Palais de Mari," MusikTexte (No 66, November 1996) pp 53-62.
  101. Müller, Hermann-Christoph, "Worte und Musik, Ein Hörspiel von Samuel Beckett und Morton Feldman," Positionen (Mai 1993) pp 24-27.
  102. Müller, Hermann-Christoph, "graph notation. Notation und Klang in graphischen Partituren Morton Feldmans," KlangArten Nr. 5 (Vienna: 1993) p 27 f.
  103. Müller-Goldkuhle, Corinna, "dynamik der stille. Abstrakte Trauer in der Musik Morton Feldmans," Neue Zeitschrift für Musik (No 6, 2006) pp 16-19.
  104. Nicholls, David, "Getting Rid of the Glue: The Music of the New York School," The New York Schools of Music and Visual Arts, Steven Johnson, editor (New York: Routledge, 2002) pp 17-56.
  105. Nyman, Michael, Experimental Music: Cage and Beyond (New York: Schirmer, 1974).
  106. O'Doherty, Brian, "Feldman Throws a Switch Between Sight and Sound," New York Times (2 February 1964) p11.
  107. O'Doherty, Brian, "Morton Feldman: The Burgacue Years," Vertical Thoughts: Morton Feldman and the Visual Arts (Dublin: Irish Museum of Modern Art, 2010) pp 62-75.
  108. O'Hara, Frank, "About the Early Work," sleeve notes for vinyl recording Columbia ML 5403 (1960). Reprinted in Give My Regards to Eighth Street: Collected Writings of Morton Feldman (Boston: Exact Change, 2000) pp 211-217, and in Vertical Thoughts: Morton Feldman and the Visual Arts (Dublin: Irish Museum of Modern Art, 2010) pp 86-89.
  109. Ozment, Kurt, "Musical, Rhetorical, and Visual Material in the Work of Feldman," CLCWeb: Comparative Literature and Culture (Vol 13 Issue 3, September 2011) Article 17.
  110. Paccione, Molly and Paul, "Did Modernism Fail Morton Feldman?" ex tempore, A Journal of Compositional and Theoretical Research in Music (Vol VI/I, Spring 1990) pp 73-84; revised and reprinted in Contemporary Music Forum, Bowling Green State University (Vol 2, 1990) pp 1-11.
  111. Pellizzi, Francesco, "Morton Feldman and the Arts - A Recollection," Vertical Thoughts: Morton Feldman and the Visual Arts (Dublin: Irish Museum of Modern Art, 2010) pp 114-123.
  112. Perloff, Marjorie, "The Beckett/Feldman Radio Collaboration: Words and Music as Hörspiel," The Beckett Circle (Vol 26 No 2, Fall 2003) pp 207-211.
  113. Philippi, Daniela, "Klänge - Farben - Flächen. Bewegung jenseits von Prozeßhaftigkeit in Orgelkompositionen von John Cage und Morton Feldman," Orgel International (Vol 3 No 2, 1999) pp 140-143.
  114. Reich, Steve, "Morton Feldman," Steve Reich: Writings on Music, 1965-2000, edited by Paul Hillier (Oxford University Press Inc, USA, 2002) p 202.
  115. Rennicke, Rafael, "Der Klangteppichknüpfer. Dreizehn Texte," MusikTexte (No 133, May 2012) pp 39-41.
  116. Ross, Alex, "American Sublime: Morton Feldman's mysterious musical landscapes," The New Yorker (June 19, 2006).
  117. Sabat, Marc, "Färbungen im chromatischen Feld. Intonation nach Feldman," MusikTexte (No 133, May 2012) pp 52-63.
  118. Sabbe, Herman, "The Feldman Paradoxes: A Deconstructionist View of Musical Aesthetics," The Music of Morton Feldman, Thomas DeLio, editor (New York: Excelsior Music Publishing Co, 1996) pp 9-15.
  119. Saxer, Marion, "Konvergenzen im Schaffen von Samuel Beckett und Morton Feldman," KlangArten Nr. 5 (Vienna: 1993).
  120. Saxer, Marion, "Losigkeit? Bemerkungen zu Morton Feldmans Werken der frühen siebziger Jahre," Die Neue Musik in Amerika - Über Traditionslosigheit und Traditionslastigheit, Otto Kolleritsch, editor (Vienna: Graz, 1994) [Studien zur Wertungsforschung, Vol 27] pp 146-156.
  121. Saxer, Marion, " '...daß es keine Sprache mehr gibt'. Zu den späten Streichquartetten Morton Feldmans," Positionen (Vol 34, February 1998) pp 27-30.
  122. Saxer, Marion, "Zum Verhältnis der minimal music zum Schaffen Morton Feldmans," Minimalisms: Rezeptionsformen der 90er Jahre, Christoph Metzger, Nina Möntmann and Sabine Sanio, editors (Stuttgart: Cantz, 1998) pp 96-116.
  123. Saxer, Marion, "Irdische Längen. Zur Rezeption des Spätwerks Morton Feldmans," Musik und Ritual: Fünf Kongreßbeiträge und ein Seminarbericht, Barbara Barthelmes and Helga de la Motte-Haber, editors (Mainz: Schott Music, 1999) pp 31-40.
  124. Saxer, Marion, "Komposition mit Mustern: Morton Feldman 'String Quartet' (1979)," Neue Musik vermitteln. Analysen - Interpretationen - Unterricht, Hans Bäßler, Ortwin Nimczik and Peter W. Schatt, editors (Mainz: Schott Music, 2004) pp 177-192.
  125. Saxer, Marion, "Musik als Philosophie (Zur Vertonung von George Berkeleys "Esse est percipi" in Morton Feldmans "Elemental Procedures" (1976))," Hören und Denken. Neue Musik und Philosophie, Marion Demuth and Jörn Peter Hiekel, editors (Mainz: Schott Music, 2011) pp 123-135.
  126. Skempton, Howard, "Beckett as Librettist," Music and Musicians (May 1977) pp 5-6. Reprinted in Morton Feldman Says (Reference A16. above) pp75-76.
  127. Skempton, Howard, "Feldman's B Flat," KunstMusik (Vol 1, Autumn 2003).
  128. Slater, Howard, "The Most Important Flaw: an evocation of Morton Feldman," Resonance (Volume 7 Number 1, 1999) pp 4-5.
  129. Soames, C., "Feldman - The King of Denmark," Percussionist (Vol 15 No 2, 1978) pp 86-87.
  130. Spiteri, Vivienne, "Déploration - In Memoriam Morton Feldman by Brian Cherney, and in conversation," Contemporary Music Review (Vol 19 Issue 4, 2000) pp 73-103.
  131. Stiebler, Ernstalbrecht, "Das Eigene und das fremde Eigene. Bemerkungen zur Zusammenarbeit von Samuel Beckett und Morton Feldman," MusikTexte (No 66, November 1996) pp 51-52.
  132. Straebel, Volker, "Morton Feldman und die Zeit. Zu Palais de Mari und einigen anderen Klavierkompositionen Feldmans," KlangArten Nr. 5 (Vienna: 1993).
  133. Swol, Els van, "Morton Feldman, de abstracte Schilderkunst en de eenheid van de muziek," Mens en Melodie (XLI, 1986) pp 106-116.
  134. Titus, Barbara, "Metamorfosen van een verborgen image. Een analyse van Morton Feldmans Three Voices [Metamorphoses of a hidden image. An analysis of Morton Feldman's Three Voices]," [in Dutch] Tijdschrift Voor Muziektheorie [Dutch Journal of Music Theory] (Vol 4 No 1, February 1999).
  135. Ulman, Erik, "Considering Feldman," Open Space (No 5, Fall 2003) pp 182-5.
  136. Vigil, Ryan, "Compositional Parameters: Projection 4 and an Analytical Methodology for Morton Feldman's Graphic Works," Perspectives of New Music (Vol 47 No 1, 2009) pp 233-267.
  137. Villars, Chris, "The Story of Morton Feldman's The Possibility of a New Work for Electric Guitar," Soundboard: The Journal of the Guitar Foundation of America (Vol 38, No 2, 2012) pp 43-46. Also in a German translation in MusikTexte (No 133, May 2012) pp 42-45.
  138. Volans, Kevin, "Morton Feldman: From Memory," Vertical Thoughts: Morton Feldman and the Visual Arts (Dublin: Irish Museum of Modern Art, 2010) pp 232-235.
  139. Warnaby, John, "Morton Feldman on CD," Tempo: A Quarterly Review of Modern Music (No 207, December 1998) pp 39-43.
  140. Welsh, John, "Projection I (1950)," The Music of Morton Feldman, Thomas DeLio, editor (New York: Excelsior Music Publishing Co, 1996) pp 21-35.
  141. Welsh, J. P., "The Secret Structure in Morton Feldman's The King of Denmark (1964) Part One," Percussive Notes (Vol 46 No 2, 2008) pp 34-43.
  142. Welsh, J. P., "The Secret Structure in Morton Feldman's The King of Denmark (1964) Part Two," Percussive Notes (Vol 46 No 3, 2008) pp 32-41.
  143. Wolff, Christian, "Taking Chances," Music and Musicians (May 1969) pp 38-40.
  144. Wolff, Christian, "... then some music was really happening," Cues: Writings & Conversations by Christian Wolff (Cologne: MusikTexte, 1998) pp 360-363. [Bilingual text in English and German.] Originally published as the introduction to Ref. A5 above.
  145. Wolff, Christian, "Tender and Tough as Nails. Three Statements on Morton Feldman," Cues: Writings & Conversations by Christian Wolff (Cologne: MusikTexte, 1998) pp 364-369. [Bilingual text in English and German.]
  146. Wolff, Christian, "The Sound Doesn't Look Back. On Morton Feldman's Piano Piece 1952," Cues: Writings & Conversations by Christian Wolff (Cologne: MusikTexte, 1998) pp 370-377. [Bilingual text in English and German.]
  147. Wolpe, Stefan, "On New (and Not-So-New) Music in America," translated by Austin Clarkson, The Journal of Music Theory (Vol 28 No 1, 1984) pp 1-45.
  148. York, Wes, "For John Cage (1982)," The Music of Morton Feldman, Thomas DeLio, editor (New York: Excelsior Music Publishing Co, 1996) pp 147-195.
  149. Zimmermann, Walter, "Morton Feldman - der Ikonoklast," Melos (Vol 46 No 4, 1984) pp 33-75. Reprinted in, Morton Feldman Essays, Walter Zimmermann, editor (Kerpen: Beginner Press, 1985) pp 10-23.
  150. Zimmermann, Walter, "Morton Feldman - '... to be lonely'," Morton Feldman, Musik-Konzepte Vol 48/49 (Munich: Edition Text + Kritik, 1986) pp 95-104.
  151. Zimmermann, Walter, "Personism als das Abstrakte in der Musik von Morton Feldman," Töne, Farben, Formen: über Musik und die bildenden Künste, Elisabeth Schmierer, Susanne Fontaine, Werner Grünzweig and Matthias Brzoska, editors (Laaber: Laaber-Verlag, 1995).

C. DEGREE DISSERTATIONS:

  1. Barban, Eugene Malcolm, Piano Music of Morton Feldman University of Cincinnati, 1969.
  2. Binkowski, Damian, Utwory Mortona Feldmana do tekstów Samuela Becketta [Works by Morton Feldman on Texts by Samuel Beckett], Adam Mickiewicz University, Poznan, Poland, 2010.
  3. Biró, Dániel Péter, An analysis of Morton Feldman's "Rothko Chapel", Musikhochschule Frankfurt am Main, 1998. Published as B9. above.
  4. Bohn, David Mark, A Comparative Analysis of Works by Morton Feldman, University of Illinois at Urbana-Champaign, 1994.
  5. Boutwell, Brett N., A static sublime: Morton Feldman and the visual, 1950-1970, University of Illinois at Urbana-Champaign, 2006.
  6. Bunk, Lou, An Evolving State of Déjà Vu: Orbital Form in Morton Feldman's The Viola in My Life (2), Brandeis University, 2008.
  7. Claren, Sebastian, Neither. Die Musik Morton Feldmans, Freien Universität Berlin, 1996. Published as A12. above.
  8. Cline, David, Morton Feldman: Dimensions of Graph Music, Goldsmiths College, University of London, 2011.
  9. Cooper, G. Britt, Morton Feldman's Rothko Chapel: A Conductor's Analysis, University of South Carolina, 2003.
  10. Dohoney, Ryan W., Anxieties of Art: Abstract Representations and the Music of Morton Feldman, Columbia University, 2009.
  11. Donahue, Dustin, Interpretation in the late works of Morton Feldman, University of California, San Diego, 2011.
  12. Gelleny, Sharon Ann, Variation Techniques and Other Theoretical Issues in Morton Feldman's "Carpet" Compositions, State University of New York at Buffalo, 2000.
  13. Gresser, Clemens, (Re-)Defining the Relationships Between Composer, Performer and Listener: Earle Brown, John Cage, Morton Feldman and Christian Wolff, University of Southampton, 2004.
  14. Harrison, Bryn, The Late Works of Morton Feldman, De Montfort University, Leicester, 1996.
  15. Hirata, Catherine Costello, Analyzing the Music of Morton Feldman, Columbia University, 2003.
  16. Janello, Mark K., The Edge of Intelligibility: Late Works of Morton Feldman, University of Michigan, 2001.
  17. Johnson, Edith A., Some Aspects of the Compositional Style of Morton Feldman, Northwestern University, June 1985.
  18. Kopstick, Eileen Paula, Analysis and discussion of Morton Feldman's Piano (1977), University of Western Ontario, 1983. Published as B1. above.
  19. Kupfer, Diana, « Nec tecum nec sine te »: Language-Music Interplays in Musical Responses to Samuel Beckett, University of Heidelberg, 2012.
  20. Livengood, Kerrith Joy Quigley, What a "thump" means: Morton Feldman's treatments of Samuel Beckett's texts, University of Pittsburgh, 2012.
  21. Matthews, David Gerard, Morton Feldman's For Samuel Beckett: The Semiotics of Musical Time, University of Pittsburgh, 2011.
  22. Meyer, Rudiger, Change and Continuity in the Works of Morton Feldman, University of the Witwatersrand, 1996.
  23. Michel, Nathan John, Creative control: Morton Feldman, Lars von Trier, and Frank Zappa, Princeton university, 2007.
  24. Nelson, Phillip Matthew, Morton Feldman's Clarinet works: A Study Through the Words of the Note Man, Rice University, Houston, Texas, January 2010.
  25. Ozmunt, Michael Kurt, Rhetorics of singularity: The question of commentary in the writings of Theodor W. Adorno, Paul Celan, Morton Feldman, and Roger Laporte, University of California, Irvine, 2008.
  26. Pace, Matthew, "Time has turned into space and there will be no more time": The scenic late works of Morton Feldman, Washington University in St. Louis, 2011.
  27. Panzner, Joseph Edward, Writing for the Ear: Four Key Concepts in the Writings of Morton Feldman, Ohio State university, 2006.
  28. Paynter, Terrence Jack, Form and Process in Morton Feldman's "Spring of Chosroes" (1977), University of British Columbia, 1996.
  29. Potter, Keith, An Introduction to the Music of Morton Feldman, University of Wales, Cardiff, 1973.
  30. Saxer, Marion, Between Categories. Studien zum Komponieren Morton Feldmans von 1951-1977, Freien Universität Berlin, 1998. Published as A10. above.
  31. Seel, Daniel N., Morton Feldman's "Piano and String Quartet", Karlsruhe University of Music, 1995.
  32. Undreiner, Paul Steven, Pitch Structure in Morton Feldman's Compositions of 1952, Rutgers University, New Jersey, 2009.
  33. Wiggins, Tracy Richard, "27'10.544''" by John Cage and "The King of Denmark" by Morton Feldman and Their Influence Upon Thomas Delio's "As Though" , Hartt School, University of Hartford, November 2009.
  34. Wilhoite, Meghann, Coptic Symmetry and Conceptual Continuation in Morton Feldman's "For John Cage", The Florida State University, 2004.

D. INTERVIEWS & DISCUSSIONS:

Entries marked # are included in Morton Feldman Says (Reference A16 above).

  1. # Ashley, Robert, "Morton Feldman: An Interview with Robert Ashley, August 1964," Contemporary Composers on Contemporary Music, Barney Childs and Elliott Schwartz, editors (New York: Holt, Rinehart and Winston, 1967) pp 362-366.
  2. # Beckett, Alan, "Morton Feldman," International Times 3 (14-27 November 1966). A new transcript of this interview, expanded and corrected by Michael Parsons, is published as: "Morton Feldman in Interview 1966," Tempo (Vol 60 Issue 235, 2006) pp15-20.
  3. # Bernas, Richard and Jack, Adrian, "The Brink of Silence," Music and Musicians (June 1972) pp 7-8.
  4. Borradori, Giovanni, "Una liaison tra Webern e Cage: conversazione con Morton Feldman," Musica/Realtà (Vol 7 No 19, April 1986) pp 53-66.
  5. Bortolotto, Mario, "Intervista con Morton Feldman," Lo Spettatore Musicale (January 24 1969) pp 10-13.
  6. Bosseur, Jean-Yves, "A l'écart des grandes villes. Entretien de Morton Feldman avec Jean-Yves Bosseur," Revue d'Esthétique (XXI/2-4, 1968) pp 3-8.
  7. # Bryars, Gavin and Orton, Fred, "Morton Feldman," Studio International (November 1976) pp 244-248.
  8. # Cadieu, Martine, "Morton Feldman: L'attente," A l'écoute des compositeurs (Paris: Minerve, 1992) pp 202-205.
  9. # Caras, Tracy and Gagne, Cole, "Morton Feldman," Soundpieces: Interviews with American Composers (Metuchen, New Jersey: The Scarecrow Press Inc, 1982) pp 163-177.
  10. Carter, Elliott, "From the Film 'Elliott Carter at Buffalo (1980)'": A transcription of the short fragment of conversation between Feldman, Elliott Carter and Ursula Oppens in the film "Elliott Carter at Buffalo" (Pennebaker Hegedus Films, 1980). [Online] http://www.cnvill.net/mfcarter_at_buffalo.pdf
  11. # Clarkson, Austin, "Conversation about Stefan Wolpe, 13 November 1980," Morton Feldman Says (Reference A16. above) pp 97-113.
  12. Dwyer, John, "I Met Heine on the Rue Fürstenberg: Morton Feldman in Conversation with John Dwyer," Buffalo Evening News (April 21, 1973).
  13. Esselier, Françoise, "Entretien avec Morton Feldman," VH 101 (No 4, Winter 1970/71) pp 34-44.
  14. Feldman, Morton, Kaehr, Agathe, Mumma, Gordon and Rzewski, Frederic, "Cultural Olympics at Leopoldstrasse. Gespräch in München, 1972," MusikTexte (No 133, May 2012) pp 63-74.
  15. Feldman, Morton, "Remarks on Varèse," from a programme on Edgard Varèse broadcast on BBC Radio 3 in 1985/86. [Online] http://www.cnvill.net/mfvarese.pdf
  16. # Frost, Everett C., "The Note Man on the Word Man: Morton Feldman on Composing the Music for Samuel Beckett's Words and Music in The Beckett Festival of Radio Plays," Samuel Beckett and Music, Mary Bryden, editor (Oxford: Oxford University Press, 1998) pp 47-55.
  17. # Gena, Peter, "H.C.E. (Here Comes Everybody): Morton Feldman in Conversation with Peter Gena," Tri-Quarterly (Spring 1982). Reprinted in, A John Cage Reader in Celebration of his 70th Birthday (New York: C.F. Peters Corp, 1982) pp 51-73.
  18. Gough, Christopher and Woodward, Roger, "Morton Feldman in conversation with Christopher Gough and Roger Woodward": A short conversation broadcast on 28th August 1980 on the occasion of the first UK performances of Feldman's String Quartet and Orchestra and Piano and Orchestra. [Online] http://www.cnvill.net/mfgoughwoodward.pdf
  19. # Griffiths, Paul, "Morton Feldman talks to Paul Griffiths," Musical Times (August 1972) pp 758-759.
  20. Gronemeyer, Gisela and Oehlschlägel, Reinhard, "'I don't compose, I assemble.' Morton Feldman im Gespräch über Crippled Symmetry", MusikTexte (No 66, November 1996) pp 33-36.
  21. Guston, Philip, "Conversation with Morton Feldman (1968)," Philip Guston: Collected Writings, Lectures, and Conversations, edited by Clark Coolidge, with an inroduction by Dore Ashton (University of California Press, 2010) pp 80-108.
  22. # Laycock, Jolyon and Charlton, David, "An Interview with Morton Feldman," Opus 2 (Vol 1 No 6, Spring 1967) pp 18-20.
  23. Marcus, Bunita and Pellizzi, Francesco, "Conversation with Morton Feldman, John Cage," Res (Vol 6, Autumn 1983) pp 112-135. Reprinted in a German translation as, "Conversation with Morton Feldman, John Cage: November 1983. Ein Gespräch zwischen John Cage, Morton Feldman, Francesco Pellizzi und Bunita Marcus," MusikTexte (No 5, July 1984) pp 21-27.
  24. Marcus, Bunita, Pellizzi, Francesco and Zazeela, Marian, "A Conversation on Composition and Improvisation," [with La Monte Young and Morton Feldman] Res (Vol 13, Spring 1987) pp 152-173. An edited version of this interview also appears in the magazine of the London Musicians' Collective, Resonance (Volume 7 Number 1, 1999) pp 6-11.
  25. # Massi, R. Wood, "Captain Cook's First Voyage: an interview with Morton Feldman (on 3.3.1987)," Cum Notis Variorum (No. 131, April 1989) pp 7-12.
  26. Metzger, Heinz-Klaus, Feldman, Morton and Brown, Earle, "Aus einer Diskussion," Morton Feldman, Musik-Konzepte Vol 48/49 (Munich: Edition Text + Kritik, 1986) pp 148-154. Excerpt, entitled "About Jiddishkeit," also included in Morton Feldman Essays (Reference A1 above).
  27. # Moore, Thomas, "We Must Pursue Anxiety," Sonus (Spring 1984) pp 14-19.
  28. # Morgan, Stuart, "Pie-Slicing and Small Moves. Morton Feldman in Conversation with Stuart Morgan," Artscribe (April 1978) pp 34-37.
  29. Oliver, Michael, "Morton Feldman in conversation with Michael Oliver": A short conversation broadcast on BBC Radio 3 on 4th November 1984. [Online] http://www.cnvill.net/mfoliver.pdf
  30. Pellizzi, Francesco, "Morton Feldman: A Conversation with Francesco Pellizzi, 15-17 January 1985," Vertical Thoughts: Morton Feldman and the Visual Arts (Dublin: Irish Museum of Modern Art, 2010) pp 268-295.
  31. Rizzardi, Veniero, "Segue dibattito con l'autore: in un colloquio con una decina di spettatori Morton Feldman parla di diverse cose: musica e arti visive, distanze e vicinanze nelle esperienze americane di oggi," Scena (Vol 4 No 5/6, Dec. 1979) pp 52-53.
  32. Unidentified interviewer and Feldman, Morton, "Conversations without Stravinsky," London Magazine (Vol 6 No 12, March 1967) pp 86-94.
  33. Varga, Bálint András, "Interview with Morton Feldman, 1983," in Bálint András Varga Three Questions for Sixty-Five Composers (University of Rochester Press, 2011) pp 76-89.
  34. Varga, Bálint András, "These, Antithese, Synthese. Ein Doppelgespräch mit John Cage und Morton Feldman," Neue Zeitschrift für Musik (CXLVII/1, January 1986) pp 25-27.
  35. # Volans, Kevin, "Conversation with Morton Feldman," in Summer Gardeners: Conversations with Composers, Summer 1984 (Durban: Newer Music Edition, 1985) pp122-128.
  36. # Whiticker, Michael, "Morton Feldman: Conversation without Cage," Ossia: a journal of contemporary music (Vol 1, Winter 1989) pp 6-9.
  37. # Williams, Jan, "An Interview with Morton Feldman," Percussive Notes (September 1983) pp 4-14.
  38. Xenakis, Iannis and Feldman, Morton, "A Conversation on Music," Res (Vol 15, Spring 1988) pp 177-181. Reprinted in a German translation as, "...wie eine Ausdünnung der Musik durch Terpentin. Morton Feldman und Iannis Xenakis im Gespräch," MusikTexte (No 52, January 1994) pp 43-46.
  39. # Zimmermann, Walter, "Morton Feldman," Desert Plants - Conversations with 23 American Musicians (Vancouver: Aesthetic Research Center Publications, 1976) pp 1-20.

E. PUBLISHED LECTURES & ARTICLES BY FELDMAN HIMSELF:

Entries marked * are included in Morton Feldman Essays (Reference A1 above).
Entries marked + are included in Give My Regards to Eighth Street (Reference A14 above).

  1. + "Sound - Noise - Varèse - Boulez," It is (No 2, Autumn 1958) p 46.
  2. + "Structures for Orchestra," note in the score (Edition Peters: EP6934, 1962).
  3. * + "Autobiography," sleeve notes for LP recording Time Records 58007 (1963).
  4. * + "Mr. Schuller's History Lesson," Kulchur (Vol 3 No 9, Spring 1963) pp 88-89.
  5. + "Marginal Intersection (1951), Intersection 2 (1951), Intermission 6," Kulchur (Vol 3 No 11, Autumn 1963) pp33-36.
  6. * + "Vertical Thoughts," Kulchur (Vol 3 No 11, Autumn 1963) pp37-38.
  7. * + "A Life without Bach and Beethoven," Listen (Vol 1, May/June 1964) p 14.
  8. * + "... Out of 'Last Pieces'," sleeve notes for LP recording Columbia Records ML 6133 (1965).
  9. + "Four Instruments," programme notes, Evenings for New Music, Carnegie Recital Hall (December 21, 1965)
  10. * + "Predeterminate/Indeterminate," Composer (Vol 19, Spring 1966) pp 3-4.
  11. * + "In Memoriam: Edgard Varèse," Perspectives of New Music (Vol 4 No 2, Spring/Summer 1966) p 12.
  12. * + "Philip Guston: The Last Painter," Artnews Annual (Vol 31, 1966) pp97-99.
  13. + "Earle Brown," Universal Edition brochure (1966).
  14. * + "Boola Boola," Composer (Vol 22, Winter 1966/67) pp 13-16.
  15. * + "A Compositional Problem," ICA Bulletin (No 165, January 1967) p 16. [Part of a lecture at the ICA, London, on 1st November 1966.]
  16. * "The Avantgarde: Progress or Stasis," The New York Times (5th March 1967) Section D, p 27.
  17. * + "Some Elementary Questions," Artnews (Vol 66 No 2, April 1967) pp 54-57. Also included in The Music of Morton Feldman (Reference A7 above) pp 213-215.
  18. * + "Give My Regards to Eighth Street," Artnews Annual (1968). Also included in The Music of Morton Feldman (Reference A7 above) pp 199-204.
  19. * + "Neither/Nor," Source (Vol 3 No 2, July 1969) pp 7-8.
  20. * + "Between Categories," The Composer (Vol 1 No 2, September 1969) pp 73-77. Reprinted in Contemporary Music Review (Vol 2, 1988) pp 1-5.
  21. * + "False Relationships and the Extended Ending (1968)," sleeve notes for LP recording CRI SD 276 (1971).
  22. * + "The Viola in My Life (1970/71)," sleeve notes for LP recording CRI SD 276 (1971).
  23. * + "Who Was Sonia Sekula?" Art in America (Vol 59 No 5, September/October 1971) p 79.
  24. * + "After Modernism," Art in America (Vol 59 No 6, November/December 1971) pp 68-77.
  25. * + "Frank O'Hara: Lost Times and Future Hopes," Art in America (Vol 60 No 2, March/April 1972) pp 52-55.
  26. "Five Pianos," a short note by Feldman for a concert given at Buffalo on 28th October 1972. [Online] http://www.cnvill.net/mfpianos.htm
  27. * + "The Anxiety of Art," Art in America (Vol 61 No 5, September/October 1973) pp 88-93. Also included in The Music of Morton Feldman (Reference A7 above) pp 205-212.
  28. + "John de Menil (1904-1973)," Art in America (Vol 61 No 6, November/December 1973) p 41.
  29. * + "Statement," Edition Peters Contemporary Music Catalogue (New York 1975) p 32.
  30. * + "Rothko Chapel," sleeve notes for LP recording Columbia Odyssey Y34138 (1976).
  31. * + "For Frank O'Hara," sleeve notes for LP recording Columbia Odyssey Y34138 (1976).
  32. * + "Essay," in Philip Guston 1980, The Last Works (The Phillips Collection, Washington D.C., 1981) pp 5-8.
  33. + "String Quartet," programme notes, Contemporary Music Festival, California Institute of the Arts (February 26 - March 1, 1981).
  34. * + "Crippled Symmetry," Res (Vol 2, Autumn 1981) pp 91-103.
  35. * + "More Light," in Tribute to John Cage: Programme booklet from the 32nd Berlin Festival (1982) pp10-11.
  36. "Dedication to Cornelius Cardew (March 18, 1982)," in Cornelius Cardew 1936-1981: Programme booklet from the Cornelius Cardew Memorial Concert, Queen Elizabeth Hall, London, 16th May 1982 (p 26). [Online] http://www.cnvill.net/mfcardew.htm
  37. "Toronto Lecture," transcription by Linda Catlin Smith of the lecture Feldman gave at the Mercer Union Gallery in Toronto, Canada, on April 17th 1982. Published in Morton Feldman Says (Reference A16. above) pp135-149.
  38. "Johannesburg Lecture 1: Current Trends in America," transcription by Rudiger Meyer of a lecture Feldman gave at the South African Broadcasting Corporation in August 1983. Published in Morton Feldman Says (Reference A16. above) pp161-172.
  39. "Johannesburg Lecture 2: Feldman on Feldman," transcription by Rudiger Meyer of a lecture Feldman gave at the South African Broadcasting Corporation in August 1983. Published in Morton Feldman Says (Reference A16. above) pp175-179.
  40. "The Johannesburg Masterclasses," transcriptions by Dirk de Klerk of masterclasses given by Feldman at the First South African Broadcasting Corporation Contemporary Music Festival, July 1983: [Online] http://www.cnvill.net/mfmasterclasses.htm
  41. "To Have Known Stefan Wolpe," remarks prepared by Feldman for a concert of Wolpe's music given at Buffalo in 1983. Transcribed by Austin Clarkson from the original document in the Morton Feldman Collection, Paul Sacher Foundation, Basel. [Online] http://www.cnvill.net/mfwolpe.htm
  42. + "String Quartet II," programme notes, Institute of Contemporary Arts, London (August 1, 1984).
  43. * "Strawinsky," in Morton Feldman Essays (Reference A1. above) p55 (In German).
  44. * + "XXX Anecdotes & Drawings," from the seminars "The Future of Local Music" given in Frankfurt in 1984, in Morton Feldman Essays (Reference A1. above) pp 144-180.
  45. * "Darmstadt Lecture (26th July 1984)" in Morton Feldman Essays (Reference A1. above) pp 181-213. Also published in, Kevin Volans, Summer Gardeners: Conversations with Composers, Summer 1984 (Durban: Newer Music Edition, 1985) pp107-121, and in Morton Feldman Says (Reference A16 above) pp191-209.
  46. + "I Want to Thank," programme notes, Contemporary Music Festival, California Institute of the Arts (February 21-22, 1986).
  47. + "Coptic Light," programme notes, New York Philharmonic, Lincoln Center for the Performing Arts (May 30, 1986).
  48. "Middelburg Lecture (July 2, 1985)," in Morton Feldman, Musik-Konzepte Vol 48/49 (Munich: Edition Text + Kritik, 1986) pp 3-63 (In German).
  49. "Einführung zu For Philip Guston," in Morton Feldman, Musik-Konzepte Vol 48/49 (Munich: Edition Text + Kritik, 1986) pp 64-66 (In German).
  50. "Everything is recycled: Middelburg-Lecture vom 2. Juli 1987," in MusikTexte (No 22, December 1987) pp 8-28 (In German).
  51. + "For Philip Guston," programme notes, New Music Concerts, Toronto, Canada (November 6, 1988). Remarks before a performance at the California Institute of the Arts, February 21, 1986.
  52. + "Triadic Memories," liner notes for CD recording ALM Records ALCD-33 (1989). Remarks before the American premiere at the State University of New York at Buffalo, March 12, 1982.
  53. + "Unpublished Papers," Morton Feldman Papers, Music Library, State University of New York at Buffalo.

Acknowledgements: This bibliography was originally based on that given by Thomas DeLio in his book, The Music of Morton Feldman (1996). The following have contributed additional information: Vincent Barras, John Bewley, Herbert Braun, Jogrim Erland, Tom Hall, Tarrl Morley, Harald Muenz, Alan Nicholson, Tim Parkinson, Randy Pelles, John Prokop, Peter Söderberg, Joachim Steinheuer.

Last Updated: 15th March 2014 [Morton Feldman Page]