Interviews with Elliott Carter are listed under the name of the interviewer
Albright, Daniel. “Elliott Carter and Poetry: Listening To, Listening Through.” In Music Speaks: On the Language of Opera, Dance, and Song. University of Chicago Press, 2009, pp. 105–21.
Alsen, Eberhard (ed.). The New Romanticism: A Collection of Critical Essays. New York: Garland, 2000.
Arthur, Claire. “Cooperation and Other Unifying Processes in Elliott Carter’s Esprit rude/Esprit doux Trilogy.” MA thesis, University of British Columbia, 2008.
Auden, W. H. “In Memory of W. B. Yeats.” In Collected Shorter Poems. London: Faber & Faber, 1950, pp. 141–43.
Aylward, John. “Metric Synchronization and Long-Range Polyrhythms in Elliott Carter’s Fifth String Quartet.” Perspectives of New Music 47/2 (2009): 88–99.
Babbitt, Irving. The New Laokoon: An Essay on the Confusion of the Arts. Boston: Houghton Mifflin Co., 1910.
Barnes, J. (ed.). The Complete Works of Aristotle: The Revised Oxford Translation. Corrected 6th edn. Princeton University Press, 1995.
Bauer-Mengelberg, Stefan, and Melvin Ferentz. “On Eleven-Interval Twelve-Tone Rows.” Perspectives of New Music 3/2 (1965): 93–103.
Beck, Jeremy. “Elliott Carter’s Tonal Practice in ‘The Rose Family’.” In James R. Heintze (ed.), Perspectives on American Music since 1950. New York: Garland, 1999, pp. 41–65.
Benadon, Fernando. “Towards a Theory of Tempo Modulation.” In S. D. Lipscomb, R. Ashley, R. O. Gjerdingen, and P. Websters (eds.), Proceedings of the 8th International Conference of Music Perception & Cognition, Evanston, 2004. Adelaide: Causal Productions, 2004, pp. 563–66.
Bernard, Jonathan W. “Chord, Collection, and Set in Twentieth-Century Theory.” In J. M. Baker, D. W. Beach, and J. W. Bernard (eds.), Music Theory in Concept and Practice. University of Rochester Press, 1997, pp. 11–51.
Bernard, Jonathan W. “Elliott Carter and the Modern Meaning of Time.” Musical Quarterly 79 (1995): 644–82.
Bernard, Jonathan W. “The Evolution of Elliott Carter’s Rhythmic Practice.” Perspectives of New Music 26/2 (1988): 164–203.
Bernard, Jonathan W. “An Interview with Elliott Carter.” Perspectives of New Music 28/2 (Summer 1990): 180–214.
Bernard, Jonathan W. “The Legacy of the Second Viennese School.” In Bryan R. Simms (ed.), Schoenberg, Berg, and Webern: A Companion to the Second Viennese School. Westport, CT: Greenwood Press, 1999, pp. 315–83.
Bernard, Jonathan W. “Poem as Non-Verbal Text: Elliott Carter’s Concerto for Orchestra and Saint-John Perse’s Winds.” In C. Ayrey and M. Everist (eds.), Analytical Strategies and Musical Interpretation. Cambridge University Press, 1996, pp. 169–204.
Bernard, Jonathan W. “Problems of Pitch Structure in Elliott Carter’s First and Second String Quartets.” Journal of Music Theory 37/2 (1993): 231–66.
Bernard, Jonathan W. “Spatial Sets in Recent Music of Elliott Carter.” Music Analysis 2/1 (March 1983): 5–34.
Bernard, Jonathan W. “The String Quartets of Elliott Carter.” In Evan Jones (ed.), Intimate Voices: The Twentieth-Century String Quartet. University of Rochester Press, 2009, vol. 2, pp. 238–75.
Bernard, Jonathan W. “Varèse’s Space, Varèse’s Time.” In Felix Meyer and Heidy Zimmermann (eds.), Edgard Varèse: Composer, Sound Sculptor, Visionary. Woodbridge: The Boydell Press, 2006, pp. 149–55.
Bernstein, David W. “Nineteenth-century Harmonic Theory: The Austro-German Legacy.” In Thomas Christensen (ed.), The Cambridge History of Western Music Theory. Cambridge University Press, 2002, pp. 778–811.
Boland, Marguerite. “The All-Trichord Hexachord: Compositional Strategies in Elliott Carter’s Con Leggerezza Pensosa and Gra.” MA dissertation, La Trobe University Melbourne, 1999.
Boland, Marguerite. “‘Linking’ and ‘Morphing’: Harmonic Flow in Elliott Carter’s Con Leggerezza Pensosa.” Tempo 60/237 (2006): 33–43.
Bons, Joël. Interview with Elliott Carter. In Elliott Carter: Homages & Dedications [CD recording]. Disques Montaigne compact disc MO 782089, 2003, pp. 16–20.
Boretz, Benjamin. “Conversation with Elliott Carter.” Perspectives of New Music 8/2 (1970): 1–22.
Borio, Gianmario, and Hermann Danuser (eds.). Im Zenit der Moderne. Die internationalen Ferienkurse für Neue Musik Darmstadt 1946–1966. 4 vols. Freiburg im Breisgau: Rombach Verlag, 1997.
Botstein, Leon. “Gespräch mit Raphael Hillyer” [in English]. In Markus Grassl and Reinhard Kapp (eds.), Die Lehre von der musikalischen Aufführung in der Wiener Schule. Vienna: Böhlau Verlag, 2002, pp. 153–59.
Boucourechliev, André. Essai sur Beethoven. Arles: Actes Sud, 1991.
Boulez, Pierre. “Conférence sur Anthèmes 2” (Paris, 21 October 1997). Trans. in Jonathan Goldman, “Understanding Pierre Boulez’s Anthèmes (1991): ‘Creating a Labyrinth Out of Another Labyrinth’.” MA thesis, University of Montreal, 2001.
Boulez, Pierre. Leçons de musique: deux décennies d’enseignement au Collège de France (1976–1995). Vol. 3 of Points de repère. Paris: C. Bourgois, 2005.
Boulez, Pierre. Orientations. London: Faber & Faber, 1986.
Buchler, Michael. “Dramatic Oppositions and their Musical Voices in Guys & Dolls.” Paper presented at the University of North Carolina – Greensboro, February 6, 2008.
Capuzzo, Guy. “The Complement Union Property in the Music of Elliott Carter.” Journal of Music Theory 48/1 (2004): 1–24.
Capuzzo, Guy. Interview with Elliott Carter. May 22, 1996. New York, NY.
Capuzzo, Guy. “Registral Constraints on All-Interval Rows in Elliott Carter’s Changes,” Intégral 21 (2007): 79–108.
Capuzzo, Guy. “Variety Within Unity: Expressive Ends and their Technical Means in the Music of Elliott Carter, 1983–1994.” Ph.D. dissertation, Eastman School of Music, University of Rochester, 2000.
Carter, Elliott. “American Music in the New York Scene” (1940). In CEL, pp. 48–53.
Carter, Elliott. Collected Essays and Lectures, 1937–1995. Ed. Jonathan W. Bernard. Rochester: University of Rochester Press, 1997.
Carter, Elliott. “Composer’s Note.” In String Quartets No. 1 and 5 [CD recording]. Pacifica Quartet. Naxos 8.559362, 2008: n.p.
Carter, Elliott. “Composer’s Notes.” In String Quartet No. 5 [score]. New York: Boosey and Hawkes, 1995.
Carter, Elliott, “The Composer’s Viewpoint” (1946). In CEL, pp. 3–5.
Carter, Elliott. “Coolidge Crusade; WPA; New York Season” (1939). In WEC, pp. 39–47.
Carter, Elliott. “‘Elle est la musique en personne’: A Reminiscence of Nadia Boulanger” (1995). In CEL, pp. 281–92.
Carter, Elliott. “A Further Step” (1958). In CEL, pp. 5–11.
Carter, Elliott. Harmony Book. Ed. Nicholas Hopkins and John F. Link. New York: Carl Fisher, 2002.
Carter, Elliott. Liner notes for What Next? In Elliott Carter: What Next? Asko Concerto. ECM New Series 1817, 2003.
Carter, Elliott. “Mozart’s Human Touch.” The Musical Times 132 (1991): 549.
Carter, Elliott. “Music and the Time Screen” (1976). In CEL, pp. 262–80.
Carter, Elliott. “Music as a Liberal Art” (1944). In CEL, pp. 309–13.
Carter, Elliott. “Music of the 20th Century.” In Encyclopedia Britannica. Chicago, 1953, vol. 16.
Carter, Elliott. “The Orchestral Composer’s Point of View” (1970). In CEL, pp. 235–50.
Carter, Elliott. “Orchestras and Audiences: Winter 1938.” In WEC, pp. 28–31.
Carter, Elliott. “Performance Notes.” In String Quartet No. 3 [score]. New York: Associated Music Publishers, 1973.
Carter, Elliott. “Preface.” In Night Fantasies [score]. New York: Associated Music Publishers, 1982.
Carter, Elliott. “Program Note.” In In Sleep, In Thunder [score]. New York: Boosey and Hawkes, 1981.
Carter, Elliott. “Program Note.” In Of Challenge and of Love [score]. New York: Boosey and Hawkes, 1995.
Carter, Elliott. “Program Note.” In String Quartet No. 4 [score]. New York: Boosey and Hawkes, 1986.
Carter, Elliott. “Season of Hindemith and the Americans” (1939). In WEC, pp. 60–63.
Carter, Elliott. “Shop Talk by an American Composer” (1960). In CEL, pp. 214–24.
Carter, Elliott. “Sound and Silence in Time: A Contemporary Approach to the Elements of Music” (1957). In Meyer and Shreffler, ECCP, pp. 130–37.
Carter, Elliott. “Soviet Music” (1967/94). In CEL, pp. 331–35.
Carter, Elliott. “String Quartets Nos. 1, 1951, and 2, 1959” (1970). In CEL, pp. 231–35.
Carter, Elliott. “3rd String Quartet BBC Talk. Sept. 15, 1975.” Unpublished manuscript, Elliott Carter Collection, Paul Sacher Foundation Basel.
Carter, Elliott. “The Three Late Sonatas of Debussy” (1959/94). In CEL, pp. 122–33.
Carter, Elliott. “The Time Dimension in Music” (1965). In CEL, pp. 224–28.
Carter, Elliott. “Time Lecture” (1965/94). In CEL, pp. 313–18.
Carter, Elliott. “To Be a Composer in America” (1953/94). In CEL, pp. 201–10.
Carter, Elliott. “Two Sonatas, 1948 and 1952” (1969). In CEL, pp. 228–31.
Carter, Elliott. Untitled program note. In Double Concerto Duo for Violin and Piano [CD recording]. Nonesuch H-71314, 1975.
Carter, Elliott. Untitled program note. In Night Fantasies Piano Sonata [CD recording]. Nonesuch H-79047, 1983.
Carter, Elliott. Untitled program note. In A Symphony of Three Orchestras A Mirror on Which to Dwell [CD recording]. Columbia Masterworks M35171, 1980.
Carter, Elliott. “Walter Piston” (1946). In CEL, pp. 158–75.
Carter, Elliott. The Writings of Elliott Carter. Ed. Else Stone and Kurt Stone. Bloomington and London: Indiana University Press, 1977.
Childs, Adrian. “Structural and Transformational Properties of All-Interval Tetrachords.” Music Theory Online 12/4 (2006).
Cogan, Robert, and Pozzi Escot. Sonic Design: The Nature of Sound and Music. Englewood Cliffs, NJ: Prentice-Hall, 1976.
Cone, Edward T.Musical Form and Musical Performance. New York: W.W. Norton, 1968.
Cone, Edward T. “Stravinsky: The Progress of a Method.” Perspectives of New Music 1/1 (1962): 18–26. Reprinted in BenjaminBoretz and Edward T. Cone (eds.), Perspectives on Schoenberg and Stravinsky. New York: W. W. Norton, 1968, pp. 155–64.
Copland, Aaron. “Composer from Brooklyn: An Autobiographical Sketch.” In Our New Music. New York and London: Whittlesey House / McGraw Hill Book Company, Inc., 1941, p. 229.
Cowell, Henry. New Musical Resources. New York: Alfred A. Knopf, 1930. Reprint, New York: Something Else Press, 1969.
Dahlhaus, Carl. “Schoenberg and Schenker.” Trans. Derrick Puffett and Alfred Clayton. In Schoenberg and the New Music. Cambridge University Press, 1987, pp. 134–40.
Danuser, Hermann. “Spätwerk als Lyrik: Über Elliott Carters Gesänge nach Dichtungen von Elizabeth Bishop, John Ashbery und Robert Lowell.” In Klaus Wolfgang Niemöller (ed.), Bericht über das internationale Symposion “Charles Ives un die amerikanische Musiktradition bis zur Gegenwart,” Köln, 1988. Regensburg: Gustav Bosse Verlag, 1990, pp. 195–222. Reprinted as “Elliott Carter, Late Work as Lyric Poetry,” trans. Matthias Truniger, Sonus 19/1 (Fall 1998): 53–66.
Downes, Olin. “Ives Music Played at Columbia Fete.” The New York Times, May 12, 1946.
Drabkin, William. “Theme.” In S. Sadie and J. Tyrrell (eds.), The New Grove Dictionary of Music and Musicians. 2nd edn. London: Macmillan, 2001, vol. 25, p. 352.
Dubiel, Joseph. “Observations of Carter’s Clarinet Concerto.” Unpublished paper presented at the Cardiff University Music Analysis Conference, September 4, 2008.
Duke, Vernon. Passport to Paris. Boston and Toronto: Little, Brown and Co., 1955.
Van Dyck-Hemming, Annette. “Diskurse zur ‘Musik Elliott Carters.’ Versuch einer Dekonstruktiven Hermeneutik ‘Moderner Musik’.” Ph.D. dissertation, Rheinischen Friedrich-Wilhelms-Universität, Bonn, 2002.
Edwards, Allen. Flawed Words and Stubborn Sounds: A Conversation with Elliott Carter. New York: W. W. Norton, 1971.
Eisenlohr, Henning. “Hören und Gesellschaft. Zur Ästhetik Elliott Carters,” MusikTexte 76/77 (1998): 30–40.
Eisenlohr, Henning. Komponieren als Entscheidungsprozess: Studien zur Problematik von Form und Gestalt, dargestellt am Beispiel von Elliott Carters Trilogy for Oboe and Harp (1992). Kassel: Gustav Bosse, 1999.
Epstein, David. Shaping Time – Music, the Brain and Performance. New York: Schirmer Books, 1995.
Esclapez, Christine. “Pour une herméneutique de l’analyse.” In J. Viret (ed.), Approches herméneutiques de la musique. Presses Universitaires de Strasbourg, 2001, pp. 73–83.
Fink, Robert. Repeating Ourselves: American Minimal Music as Cultural Practice. Berkeley and Los Angeles: University of California Press, 2005.
Finscher, Ludwig (ed.). “Streichquartett.” In Die Musik in Geschichte und Gegenwart. 2nd edn. Kassel: Bärenreiter, 1998, Sachteil, vol. 8 (1998), cols. 1924–77.
Folio, Cynthia. “An Analysis of Polyrhythm in Selected Improvised Jazz Solos.” In Elizabeth West Marvin and Richard Hermann (eds.), Concert Music, Rock and Jazz Since 1945. University of Rochester Press, 1995, pp. 103–34.
Forte, Allen. The Structure of Atonal Music. New Haven and London: Yale University Press, 1973.
Foucault, Michel. The Archaeology of Knowledge (1969). Abingdon: Routledge Classics, 2002.
Garcia, Luis-Manuel. “On and On: Repetition as Process and Pleasure in Electronic Dance Music.” Music Theory Online, 11/4 (Oct. 2005).
Goethe, Johann Wolfgang von. Briefwechsel zwischen Goethe und Zelter. 3 vols. Ed. Max Hecker. Frankfurt am Main: Insel-Verlag, 1987.
Goldman, Richard F. “Current Chronicle.” The Musical Quarterly 37/1 (Jan. 1951): 83–84. Reprinted in Richard Franko Goldman, Selected Essays and Reviews 1948–1968. Ed. Dorothy Klotzman. Brooklyn: Institute for Studies in American Music, 1980, pp. 69–74.
Gollin, Edward. “Multi-Aggregate Cycles and Multi-Aggregate Serial Techniques in the Music of Béla Bartók.” Music Theory Spectrum 29/2 (2007): 143–76.
Greenbaum, Matthew. “Debussy, Wolpe, and Dialectical Form.” Contemporary Music Review 27/2–3 (2008): 343–59.
Griffiths, Paul. “Before What Next?.” Paper presented to the Elliott Carter Symposium, University of Minnesota, March 9, 2006.
Griffiths, Paul. “‘Its Full Choir of Echoes’: The Composer in his Library.” In Marc Ponthus and Susan Tang (eds.), Elliott Carter: A Centennial Celebration. Hillsdale, NY: Pendragon Press, 2008, pp. 23–40.
Griffiths, Paul. Libretto for What Next?. In Elliott Carter: What Next?/Asko Concerto. ECM New Series 1817, 2003.
Griffiths, Paul. Modern Music and After: Directions Since 1945. New York: Oxford University Press, 1995.
Griffiths, Paul. “String Quartet.” In S. Sadie and J. Tyrrell (eds.), The New Grove Dictionary of Music and Musicians. 2nd edn. London: Macmillan, 2001, vol. 24, pp. 282–95.
Haimo, Ethan. “Developing Variation and Schoenberg’s Serial Music.” Music Analysis, 16/3 (1997): 349–65.
Hanson, Howard. Harmonic Materials of Modern Music. New York: Appleton-Century-Crofts, 1960.
Harvey, David I. H.The Later Music of Elliott Carter. New York: Garland Publishing, Inc., 1989.
Hasty, Christopher. “Broken Sequences: Fragmentation, Abundance, Beauty.” Perspectives of New Music, 40/2 (Summer 2002): 155–73.
Heinemann, Stephen. “The American Premiere of Elliott Carter’s Clarinet Concerto.” The Clarinet 26/1 (Dec. 1998): 34–40.
Heinemann, Stephen. “Melodic Practice in Elliott Carter’s Clarinet Concerto.” Mitteilungen der Paul Sacher Stiftung 14 (April 2001): 19–22.
Hepokoski, James, and Warren Darcy. Elements of Sonata Theory: Norms, Types, and Deformations in the Late Eighteenth-Century Sonata. Oxford University Press, 2006.
Herzfeld, Gregor. “Carter, String Quartet, and the Idea of Musical Character.” In Max Noubel (ed.), Actes du Colloque “Hommage à Elliott Carter.” Le Vallier: Editions Delatour-France (forthcoming).
Holliger, Heinz. “Abseits des Mainstreams: Ein Gespräch mit dem amerikanischen Komponisten Elliott Carter.” Trans. Siegfried Schibli. Neue Zeitschrift für Musik 152/3 (March 1991): 4–9.
Hook, Julian. “Why are there 29 Tetrachords?” Music Theory Online 13/4 (Dec. 2007).
Hynes, Samuel (ed.). Reporting World War II. American Journalism 1938–1946. New York: Literary Classics of the United States, 2001.
Jenkins, J. Daniel. “After the Harvest: Carter’s Fifth String Quartet and the Late Late Style.” Paper presented at the Society for Music Theory conference, Nashville, TN, 2008. Revised version, Music Theory Online 16/3 (August 2010).
Johnson, Stephen. “Elliott Carter at 100.” Interview with Elliott Carter for the radio program “Discovering Music,” broadcast December 14, 2008, BBC Radio 3.
Johnston, Robert. “Elliott Carter’s Imagery Drawn from Modern Life.” Music Magazine 8/5 (1985): 12–14, 33.
Johnston, Robertet al. “Elliott Carter in Conversation with Robert Johnston, Michael Century, Robert Rosen, and Don Stein (1984).” In Meyer and Shreffler, ECCP, pp. 252–58.
Kapp, Reinhard. “Shades of the Double’s Original: René Leibowitz’s Dispute with Boulez.” Tempo 165 (1988): 2–16.
Keltner, D., P. Ekman, G. C. Gonzaga, and J. Beer. “Facial Expression of Emotion.” In R. J. Davidson, K. R. Scherer, and H. H. Goldsmith (eds.), Handbook of Affective Sciences. Oxford University Press, 2003, pp. 415–31.
Kerner, Leighton. “Creators on Creating: Elliott Carter.” Saturday Review (Dec. 1980): 38–42.
Kim, Yeon-Su. “Stylistic Analysis of Elliott Carter’s String Quartet No. 5: Aspects of Character and Rhythm.” DMA dissertation, Boston University, 2006.
Klumpenhouwer, Henry. “Dualist Tonal Space and Transformation in Nineteenth-century Musical Thought.” In Thomas Christensen (ed.), The Cambridge History of Western Music Theory. Cambridge University Press, 2002, pp. 456–74.
Koivisto, Tiina. “Aspects of Motion in Elliott Carter’s Second String Quartet.” Intégral 10 (1996): 19–52.
Koivisto, Tiina. “Syntactical Space and Registral Spacing in Elliott Carter’s Remembrance.” Perspectives of New Music 42/2 (Summer 2004): 158–89.
Kolisch, Rudolf. “Democratic Principles of Ensemble Playing. Notes for a Seminar at Black Mountain College, Summer 1944.” Kolisch Collection, Houghton Library, Harvard University, Cambridge, MA, 5 pages.
Kolisch, Rudolph. “Tempo und Charakter in Beethovens Musik.” The Musical Quarterly 29/2 (1943): 169–87, and 29/3 (1943): 291–312. Reprinted in The Musical Quarterly 77/1 (1993): 90–131, and 77/2 (1993): 268–342. Critical edition of the German text, Regina Busch and David Satz (eds.), in Musik-Konzepte 76/77 (Munich: Edition Text & Kritik, 1992).
Kramer, Lawrence. “Song as Insight – John Ashbery, Elliott Carter, and Orpheus.” In Music and Poetry: The Nineteenth Century and After. Berkeley and Los Angeles: University of California Press, 1984, pp. 203–21.
Kummacher, Friedhelm. Das Streichquartett. 2 vols. Laaber-Verlag, 2003.
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Leichtentritt, Hugo. Serge Koussevitzky: The Boston Symphony Orchestra and the New American Music. Cambridge, MA: Harvard University Press, 1947.
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Lensing, George N.Wallace Stevens and the Seasons. Baton Rouge: Louisiana State University Press, 2001.
Lerdahl, Fred. “On Carter’s Influence.” In Marc Pontius and Susan Tang (eds.), Elliott Carter: A Centennial Celebration. Hillsdale, NY: Pendragon Press, 2008, pp. 15–22.
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Link, John. “The Combinatorial Art of Elliott Carter’s Harmony Book.” In HB, pp. 7–22.
Link, John. “The Composition of Carter’s Night Fantasies.” Sonus 14/2 (Spring 1994): 67–86.
Link, John. Elliott Carter: A Guide to Research. New York and London: Garland, 2000.
Link, John. Elliott Carter’s Late Music. Cambridge University Press, forthcoming.
Link, John. “Elliott Carter Talks about his Harmony Book.” In HB, pp. 27–35.
Link, John. “Elliott Carter’s ‘Late Music’?.” Tempo 62/246 (2008): 2–10.
Lister, Rodney. “Boston, Symphony Hall: Harbison’s Requiem and Carter’s Boston Concerto.” Tempo 57/225 (2003): 38.
Lochhead, Judy. “On the ‘Framing’ Music of Elliott Carter’s First String Quartet.” In Raphael Atlas and Michael Cherlin (eds.), Musical Transformation and Musical Intuition: Essays in Honor of David Lewin. Dedham, MA: Ovenbird Press, 1994, pp. 179–98.
Mailman, Joshua B. “An Imagined Drama of Competitive Opposition in Carter’s Scrivo in Vento, with Notes on Narrative, Symmetry, Quantitative Flux, and Heraclitus.” Music Analysis 28/2–3 (2009): 373–422.
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Mayer, Patricius. Interview with Paul Griffiths. In program notes for What Next?, Miller Theater, Columbia University, December 7–11, 2007.
Mead, Andrew. “Fuzzy Edges: Notes on Musical Interaction in the Music of Elliott Carter.” In Max Noubel (ed.), Actes du Colloque “Hommage à Elliott Carter.”Le Vallier: Editions Delatour-France, forthcoming.
Mead, Andrew. “On Tempo Relations.” Perspectives of New Music 45/1 (2007): 64–109.
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Nichols, Jeff. “Mistaken Identities in Carter’s Variations for Orchestra.” Unpublished paper, presented at the AMS/SMT Joint Annual Meeting, Seattle, Washington, November 11, 2004.
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Ravenscroft, Brenda. “Setting the Pace: The Role of Speeds in Elliott Carter’s A Mirror on Which to Dwell.” Music Analysis 22 (2003): 253–82.
Ravenscroft, Brenda: “Texture in Elliott Carter’s A Mirror on Which to Dwell.” Ph.D. dissertation, University of British Columbia, 1992.
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