"Maximum Clarity" and Other Writings on Music

Notes on Sources

notes on sources “Aesthetic Theory; Philosophical Background for Mathematical Theory; Musical Background for Application of Mathematical Theory”: Previously unpublished. “Scalar Order as a Compositional Resource”: First published in Perspectives of New Music 2 no. 2 (Spring–Summer 1964), 56–76. “Proportionality and Expanded Musical Pitch Relations”: First presented as a lecture at Illinois Wesleyan University, 1964. First published in Perspectives of New Music 5 no. 1 (Fall–Winter 1966), 112–20. “Microtonal Resources”: First published in John Vinton, ed., Dictionary of Contemporary Music (New York: E. P. Dutton, 1971), 483–84. “Tonality Regained”: First published in the American Society of University Composers Proceedings 6 (New York: Department of Music, Columbia University, 1971), 113–19. “Music Theory”: First published in Encyclopaedia Britannica, fifteenth ed. (1974), vol. 12, 746–49. “Rational Structure in Music”: First published in the American Society of University Composers Proceedings 11/12 (1976–77), 102–18; reprinted in 1/1: The Journal of the Just Intonation Network 2 nos. 3 (12–15) and 4 (12–18). “A Notation System for Extended Just Intonation”: Written especially for this volume . “Musical Intelligibility: Where Are We?”: Previously unpublished. “A Talk on Contemporary Music”: Previously unpublished. First presented as a lecture at the Festival of Contemporary Arts, University of Illinois at UrbanaChampaign , 1963. “Festivals and New Music”: Written for the program booklet, Festival of Contemporary Arts, University of Illinois at Urbana-Champaign, 1965. “Three Attacks on a Problem”: First published in the American Society of University Composers Proceedings 2 (NewYork: Department of Music,Columbia University, 1967), 89–98. 260 notes on sources “On Context”: First presented as a lecture in 1968. First published in Source 4 (1968); reprinted in the American Society of University Composers Proceedings 3 (NewYork: Department of Music, Columbia University, 1968), 32–36. “Contribution to IMC Panel”: First presented as a lecture in 1968. First published in The Composer (June 1970), 6–8. “How to Cook an Albatross”: First published in Arts in Society 7 (1970), 34–38; reprinted in Source 6 (1970), 63–65. “Art and Survival”: First published in The Composer (Fall–Winter 1971), 9–16. “On Bridge-Building”: Previously unpublished. “Seventeen Items”: Previously unpublished. “Art and Religion”: Previously unpublished. “Extended Just Intonation: A Position Paper”: First published in Perspectives of New Music 25, nos. 1–2 (1987), 517–19. “A.S.U.C. Keynote Address”: First published in Perspectives of New Music 26, no. 1 (1988), 236–42. “Just Intonation and Mere Intonation”: First published in 1/1: The Journal of the Just Intonation Network 8, no. 4 (November 1994), 18–19. “Without Improvement”: Written especially for this volume. “Maximum Clarity”: First published in Contemporary Composers on Contemporary Music, ed. Elliott Schwartz and Barney Childs with Jim Fox, expanded edition (New York: Da Capo Press, 1998), 430–39. “Some Compositions”: The texts in this category, with two exceptions, are all short program notes written for the first performance and/or recording of the works they describe. Therefore no formal citation has been given. The two exceptions are: “The Genesis of Knocking Piece,” first published in Percussive Notes Research Edition (March 1983), 25–31; and “Quintet for Groups: A Reminiscence,” written especially for this volume. “Letter from Urbana”:Review of the 1963 Festival of ContemporaryArts at the University of Illinois. First published in Perspectives of New Music 2, no. 1 (1963), 137–41. “To Perspectives of New Music re. John Cage”: Originally written as a letter, May 27, 1969. First published in Perspectives of New Music (Spring–Summer 1972), 175–77. “The Corporealism of Harry Partch”: First presented as a lecture at the University of notes on sources 261 California, San Diego, January 1975. First published in Perspectives of New Music 13 no. 2 (1975), 85–97. “Harry Partch/John Cage”: First published as liner notes for Harry Partch / John Cage, NewWorld Records NW 214,1978.The text as printed in this volume is a shortened version of the original liner notes. The LP featured recordings of Partch’s “The Rose,” “TheWind,” and “TheWaterfall” (from Eleven Intrusions),“The Intruder,” “I am a Peach Tree,” “A Midnight Farewell,” and “Before the Cask of Wine” (from Seventeen Lyrics by Li Po),“The Street” (from Eleven Intrusions),and The Dreamer That Remains; and parts III and IV of Cage’s Music of Changes (performed by David Tudor). Johnston appeared as performer on the LP, playing Diamond Marimba and Bass Marimba, in the extracts from Partch’s Eleven Intrusions...