Morton Feldman Page

Morton Feldman Bibliography
Last Updated: 18 September 2023



A. BOOKS (newest first):
  1. John Snijders, Ixion: Morton Feldman, Notation, Performance Practice & Jackson Pollock (Marmalade Publishers of Visual Theory, 2023).
  2. Guillaume Belhomme, Morton Feldman: For Bunita Marcus suivi de Une Minute, Une Seule (Les éditions chemin de ronde, 2023). A new edition of Item 21 below plus Une Minute, Une Seule, an imaginary letter/poem from Feldman to Philip Guston.
  3. Ray Fields, Morton Feldman's Piano and String Quartet: Analysis, Aesthetics, and Experience of a 20th-Century Masterpiece (Rowman & Littlefield, 2022).
  4. Ryan Dohoney, Morton Feldman: Friendship and Mourning in the New York Avant-Garde (Bloomsbury Academic, Bloomsbury Publishing, 2022).
  5. Morton Feldman, Au-delà du style [Beyond style] (Paris: Éditions de la Philharmonie de Paris, 2021). A French translation by Jérôme Orsoni of Words on Music (MusikTexte, 2008) item 18 below.
  6. Seokhee Lee, Morton Feldman's Coptic Light. Eine musikalische Analyse (Munich: GRIN Verlag, 2021). A bachelor's degree dissertation.
  7. Morton Feldman, Привет Восьмой улице [Hello Eighth Street] (Petersburg: Jaromír Hladík Press, 2020). This is a Russian translation by Alexander Ryabin of Give My Regards to Eighth Street (Item 14 below).
  8. Ryan Dohoney, Saving Abstraction: Morton Feldman, the de Menils, and the Rothko Chapel (Oxford University Press, 2019).
  9. Petr Zvěřina, Hudba prorůstající časem: Pozdní skladby Mortona Feldmana [Music Growing Through Time: Late Works of Morton Feldman] [in Czech] (Prague: NAMU - Nakladatelství Akademie múzických umění v Praze [NAMU - Publishing House of the Academy of Performing Arts in Prague], 2018).
  10. Chris Villars & Zahra Partovi, ECHOES: Time Present & Time Past (New York City: Vincent FitzGerald & Company). Published on 3 September 2017 to commemorate the 30th anniversary of Feldman's death. Words by Chris Villars on photographs by Zahra Partovi, with a foreword by John Bewley and an essay by Jan Williams. More details at: www.cnvill.net/mfechoes.htm
  11. Morton Feldman, Sekizinci Cadde'ye Selamlar: Morton Feldman'in Yazilari (Istanbul: Lemis Yayin, 2017). This is a Turkish translation by Duygu Dölek of Give My Regards to Eighth Street (Item 14 below).
  12. Dina Vojvodic, Morton Feldman: kreiranje stvaralackog identiteta [Morton Feldman: Creating a Creative Identity] [in Serbian] (Belgrade: Zaduzbina Andrejevic, 2016).
  13. David Cline, The Graph Music of Morton Feldman (Cambridge University Press, 2016).
  14. Guillaume Belhomme, Morton Feldman: For Bunita Marcus / Une Minute, Une Seule (Nantes: Editions Lenka Lente, 2016). Limited edition re-issue of Item 21 below in the form of 60 cards in a clear plastic box. Also includes some photos of Feldman, and Une Minute, Une Seule, an imaginary letter/poem from Feldman to Philip Guston.
  15. John Cage, Morton Feldman, Radio Happenings. Conversations/Gespräche 1966-67 (Cologne: MusikTexte, 2016). New hardback edition of Item 5 below, with revised German translations, and an audio DVD containing the original recordings digitally remastered by Mode Records (Mode 289).
  16. Morton Feldman, O futuro da música local: XXX peripécias e desenhos edited by Adriana Maciel, translated by Bárbara Costa Lima and Tomás Cunha Ferreira (Brazil: Numa Editora, 2015 (2nd edition 2021)). This is a Brazilian Portuguese translation of pp 157-195 of Give My Regards to Eighth Street (Item 14 below).
  17. John Cage, Morton Feldman, Radio Happenings. Enregistrés à Wbai, New York, juillet 1966 - janvier 1967 (Paris: Editions Allia, 2015). A French translation by Jérôme Orsoni of Item 5 below.
  18. Ivan Ilić and Benoît Maire, Detours Which Have To Be Investigated (HEAD - Genève, 2014). This is a 54 page art book published by Geneva University of Art and Design. Described as a "meditation on how artists break with their past and change directions, and about friendship that catalyzes change," it consists of photos of Feldman, Guston and Cage juxtaposed with quotations from lectures and conversations by Feldman and Guston. The book includes a DVD (with three short videos) and a CD (with a performance by Ivan Ilić of Feldman's Palais de Mari).
  19. 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.
  20. Alistair Noble, Composing Ambiguity: The Early Music of Morton Feldman (Ashgate Publishing, 2013).
  21. Morton Feldman, Pensieri Verticali (Milan: Adelphi Edizioni, 2013). This is an Italian translation by Adriana Bottini of Give My Regards to Eighth Street (Item 14 below). It contains a translation of B.H. Friedman's "Introduction" and a new essay (in Italian) by Mario Bortolotto.
  22. Morton Feldman, Pensamientos Verticales (Buenos Aires: Caja Negra Editora, 2012). This is a Spanish translation by Ezequiel Fanego of Give My Regards to Eighth Street (Item 14 below). It omits B.H. Friedman's "Introduction", and includes a new "Prologue" (in Spanish) by Pablo Gianera.
  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. Marco Lenzi, L'estetica musicale di Morton Feldman (Milan: Ricordi-Lim, 2009)
  25. Guillaume Belhomme, Morton Feldman / For Bunita Marcus (Marseille: Le mot et le reste, SOLO collection, 2008).
  26. 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 below.
  27. 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".
  28. Words on Music. Morton Feldman in Middelburg 1985-1987. Lectures and Conversations, edited by Raoul Mörchen. Bilingual texts in English and German. (Cologne: Edition MusikTexte, 2008)
  29. Morton Feldman Says: Selected Interviews and Lectures 1964-1987, edited and with an introduction by Chris Villars (London: Hyphen Press, 2006)
  30. Philip Gareau, La musique de Morton Feldman ou le temps en liberté (Paris: L'Harmattan, 2006)
  31. 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.
  32. 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). An index to this book, compiled by Alan Nicholson, is available [Online] www.cnvill.net/mfregard.pdf
  33. 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.
  34. 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.
  35. 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.
  36. Marion Saxer, Between Categories. Studien zum Komponieren Morton Feldmans von 1951 bis 1977 (Saarbrücken: Pfau Verlag, 1998)
  37. Suzanne Josek, The New York School. Earle Brown, John Cage, Morton Feldman, Christian Wolff (Saarbrücken: Pfau Verlag, 1998)
  38. Oliver Wiener, Morton Feldman: "The Viola in My Life (3)" [fragmen 11] (Saarbrücken: Pfau Verlag, 1996)
  39. The Music of Morton Feldman, Thomas DeLio, editor (Greenwood Press, 1996). Also in a paperback edition (New York: Excelsior Music Publishing Company, 1996)
  40. Thomas Hummel, Morton Feldmans "Untitled Composition" (1981) für Cello und Klavier. Eine computerunterstützte Analyse [fragmen 3] (Saarbrücken: Pfau Verlag, 1994)
  41. John Cage, Morton Feldman, Radio Happenings. Conversations/Gespräche 1966-67 (Cologne: MusikTexte, 1993)
  42. Staub, Volker, Morton Feldmans "Untitled Composition" für Cello und Klavier [Feedback Papers 38] (Köln: Feedback Studio Verlag, 1992)
  43. 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.
  44. Morton Feldman, Musik-Konzepte, Vol 48/49 (Munich: Edition Text + Kritik, 1986)
  45. Morton Feldman Essays, Walter Zimmermann, editor (Kerpen: Beginner Press, 1985)

B. ESSAYS & ARTICLES (by author):

  1. Allman, Spencer, "Intermission 4 - Feldman's Cinderella piece?," [Online] http://www.cnvill.net/mf-Intermission 4 - Feldman's Cinderella piece.pdf
  2. Ames, Paula Kopstick, "Piano (1977)," The Music of Morton Feldman, Thomas DeLio, editor (New York: Excelsior Music Publishing Co, 1996) pp 99-143.
  3. Ashton, Dore, "New York: Feldman's Music," Canadian Art (Vol XXI, January 1964) p48.
  4. 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.
  5. Baldridge, Wilson, "Morton Feldman: One Whose Reality is Acoustic," Perspectives of New Music, (Vol 21, 1982/83) pp 112-113.
  6. Baratz, Adam, "'Between Categories': Hearing Palais de Mari," [Online] www.cnvill.net/mfbaratz.pdf
  7. Barlow, John D., "Witkiewicz's Theory of Pure Form and the Music of Morton Feldman," The Polish Journal of Aesthetics (Vol 31, Issue 4, 2013) pp 109-120.
  8. Barras, Vincent, "Une interprétation de la musique de Morton Feldman," Dissonanz - Dissonance (No 25, 1990) pp 15-17. Also [Online] www.cnvill.net/mfbarras.htm
  9. 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.
  10. Beal, Amy C., "Morton Feldman: 'My biggest fans are Germans!'," in Amy C. Beal New Music, New Allies: American Experimental Music in West Germany from the Zero Hour to Reunification (University of California Press, 2006) pp 233-246 (and elsewhere throughout the book).
  11. 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.
  12. Benson, Stephen, "Beckett, Feldman, Joe and Bob: Speaking of Music in 'Words and Music'," Essays on Music and the Spoken Word and on Surveying the Field edited by Suzanne M. Lodato and David Francis Urrows (Amsterdam: Rodolpi, 2005) pp 165-180.
  13. 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.
  14. Bertrand, Simon, "Entre liturgie et rituel. Feldman et Messiaen: dialogue imaginaire sur la spiritualité dans la musique," Circuit: Musiques contemporaines (Vol 21 Issue 1, 2011) pp 75-79.
  15. Bewley, John, "Morton Feldman: A Celebration of His 80th Birthday," summary of exhibition, curated by John Bewley, held at the Music Library, State University of New York at Buffalo, June 1 - September 15, 2006, [Online] https://library.buffalo.edu/music/collections/pdf/ubmu-pdf-feldman2006summary.pdf
  16. Bewley, John, "Foreword [on Morton Feldman]'," in item A36 above. Also [Online] www.cnvill.net/mfECHOES.pdf
  17. Binkowski, Damian, "Transakcyjny model dzieła muzycznego w pźnej twórczości Mortona Feldmana [Transactional model of music in the late work of Morton Feldman]," AVANT Vol. VII, No 1/2016) pp 136-151.
  18. Biró, Dániel Péter, "Morton Feldman's Rothko Chapel," Journal of the Third International Conference on Jewish Music (London, 2001).
  19. Biscardi, Chester, "Encounters with Feldman," [Online] www.cnvill.net/mfbiscr2.htm
  20. Bjorkman, Richard, "Coming Face to Face with Feldman," [Online] www.cnvill.net/mfbjrkmn.htm
  21. Bland, William, "Morton Feldman," The New Grove Dictionary of Music and Musicians, Stanley Sadie, editor (London: Macmillan Publishing Co, 1980) pp 455-456.
  22. Blasius, Leslie, "Late Feldman and the Remnants of Virtuosity," Perspectives of New Music (Vol 42 No 1, 2004) pp 32-83.
  23. Blum, Eberhard, "... über Morton Feldman sprechen!" Positionen (Vol 11, November 1992) pp 29-33. Also [Online] www.cnvill.net/mfblum.htm
  24. Blum, Eberhard, "Notes on Morton Feldman's 'The King of Denmark'," [Online] [in German] www.cnvill.net/mfblumking.pdf and [in English] www.cnvill.net/mfblumking_eng.pdf
  25. Blum, Eberhard, "Morton Feldman and Soloists," [in German] in Eberhard Blum, Choice & Chance: Bilder und Berichte aus meinem Leben als Musiker (Berlin: Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur, 2008) Chapter 8. Also [in English] [Online] www.cnvill.net/mfblum.pdf
  26. 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.
  27. 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) pp 119-134. Also [Online] [in Italian] www.cnvill.net/mfborio.htm and [in English] www.cnvill.net/mfborio.pdf
  28. Bosseur, Jean-Yves, "La conjonction Feldman/Beckett," Musique et dramaturgie : Esthétique de la représentation au XXème siècle, edited by Laurent Feneyrou (Publications de la Sorbonne, 2003) pp 783-792.
  29. Bosseur, Jean-Yves, "Morton Feldman: Monographie," Ecrits et Paroles, edited by Jean-Yves Bosseur and Danielle Cohen-Levinas (Brussels: Les presses du réel, 2008) pp 11-163.
  30. 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.
  31. Boutwell, Brett, "Coordinating Morton Feldman's False Relationships," Mitteilungen der Paul Sacher Stiftung, (No 23, April 2010) pp 39-42.
  32. 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.
  33. 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.
  34. Briers, David, "Sounds of Silence: David Briers on John Cage and Morton Feldman," Art Monthly (Issue 341, November 2010) pp 5-8.
  35. Brooks, Mark Steven, "Memories of Morty," [Online] www.cnvill.net/mfbrooks.htm
  36. Brown, Richard H., "Breaking the Sound Barrier: Transparency and Cinematic Space in 'Works of Calder' (1950) and 'Jackson Pollock 51´'," Contemporary Music Review (Volume 33, Issue 5-6, October-December 2014) pp 512-534.
  37. Brüstle, Christa, "Timekeepers - Sound Artists - Drum Machines: Studies of Notation and Performance in Contemporary Music for Solo Percussionist," twentieth-century music (Vol 6 No 1, March 2009) pp 63-81.
  38. Bryars, Gavin, and Michael Tilson Thomas, "Feldman at the Piano," [Online] www.cnvill.net/mfatpiano.htm
  39. Cage, John, Silence: Lectures and Writings (Middletown, Connecticut: Wesleyan University Press, 1961) pp 15-16, 36-37, 71-72, 128-145, 265. Extracts [Online] www.cnvill.net/mfcage.htm
  40. Cardassi, Luciane, "'For Philip Guston' de Morton Feldman: Ensaios e performance -ou como sobreviver a quatro horas de música['For Philip Guston' by Morton Feldman: Rehearsals and performance, or, How to survive four hours of music]," [in Portuguese] Música Hodie (Volume 8, Issue 1, 2008) pp 99-113.
  41. Carrasco, Nicolás, "Sobre la indeterminación en la música de John Cage y Morton Feldman," [in Spanish] Resonancias (No 30, May 2012) pp 23-28.
  42. Childs, Barney, "Morton Feldman," Dictionary of Contemporary Music, John Vinton, editor (New York: E.P. Dutton, 1971) pp 233-234.
  43. Claren, Sebastian, "Musik auf dem Weg zur Kunstform. Morton Feldmans Musik in der Mitte der achtziger Jahre," Von Kranichstein zur Gegenwart: 50 Jahre Darmstädter Ferienkurse (1946-1996), edited by Rudolf Stephan, et al (Stuttgart: Daco Verlag, 1996) pp 495-499.
  44. Claren, Sebastian, "Woran man sich erinnert : Morton Feldmans Konzeption des instrumentalen Bildes," Bilder - Verbot und Verlangen in Kunst und Musik, edited by Sabine Sanio, Christian Scheib (Pfau Verlag, 2000) pp 123-141.
  45. 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. Also [Online] www.cnvill.net/mfchronology.pdf
  46. Claren, Sebastian, "Simple Exposure as the Only Attainable Truth. The Role of the Soprano Voice in Morton Feldman's Opera Neither," Monitoring Scenography 2: Space and Truth / Raum und Wahrheit, Thea Brejzek, Wolfgang Greisenegger, Lawrence Wallen, editors (Zurich: Zurich University of Art and Design, 2009) pp 70-81.
  47. Clark, Philip, "Morton Feldman," The Wire Primers: A Guide to Modern Music, Rob Young, editor (London: Verso, 2009) pp 165-172.
  48. Cline, David, "Straightening the Record: Morton Feldman's Return to Graph Music," twentieth-century music (Volume 10, Issue 01, March 2013) pp 59-90.
  49. Cline, David, "Allover Method and Holism in Morton Feldman's Graphs," Perspectives of New Music (Vol 51 No 1, Winter 2013) pp 56-98.
  50. Cline, David, "Reverberating kaleidoscope of sound: Morton Feldman's previously undocumented Instrumental Music," Mitteilungen der Paul Sacher Stiftung (No. 32, April 2019) pp 38-44. Also [Online] www.paul-sacher-stiftung.ch/dam/jcr:524c1390-f6d6-4e53-8830-e3e8d996e842/5-mitteilungen-pss-32-david-cline.pdf
  51. Coolidge, Clark, "Regarding Morton Feldman's music and wherever it all now goes," Sulfur (No 22, Spring 1988) pp 123-129. Also [Online] www.cnvill.net/mfcooldg.htm
  52. Corrado, Omar, "'Piano Three Hands' by Morton Feldman: An analysis and its forms," [in Spanish] Pauta: Cuadernos de teoría y crítica musical (Vol 12 No 45, 1993) pp 64-73.
  53. Cott, Jonathan, "Feldman and Bernstein," Stockhausen: Conversations with the Composer (New York: Simon and Schuster, 1973) pp 135-136.
  54. Cowell, Henry, "Current Chronicle," Musical Quarterly (January 1952) pp 131-136.
  55. Davidović, Dalibor, "Das aufgeschobene Ende. Versuch über die Musik Morton Feldmans," Musik & Ästhetik (Vol 38, April 2006) pp 58-66.
  56. Davis, Peter, "Feldman and Brown," Musical America (November 1963) pp 33-34.
  57. 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) pp 67-82.
  58. 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. Also [Online] www.cnvill.net/mfdelio1.pdf
  59. DeLio, Thomas, "Last Pieces #3 (1959)," The Music of Morton Feldman, Thomas DeLio, editor (New York: Excelsior Music Publishing Co, 1996) pp 39-68. Also [Online] www.cnvill.net/mfdelio2.pdf
  60. 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.
  61. 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.
  62. 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.
  63. Dickinson, Peter, "Feldman Explains Himself," Music and Musicians (July 1966) pp 22-23. Reprinted in Morton Feldman Says (Reference A16. above) pp 19-23. Also [Online] www.cnvill.net/mfpeterd.htm
  64. Dohoney, Ryan W., "Performing Feldman's String Quartet #2: An interview with Tom Chiu and Max Mandel of the Flux Quartet," Dissonance (No 116, December 2011) pp 10-17. Also [Online] www.cnvill.net/mfdohoney.pdf
  65. 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.
  66. Dohoney, Ryan, "Charlotte Moorman's Experimental Performance Practice," A Feast of Astonishments: Charlotte Moorman and the Avant-Garde 1960s-1980s, Lisa Graziose Corrin and Corinne Granof, editors (Northwestern University Press, 2016) pp 19-27 [includes discussion of Feldman's Projection 1].
  67. Dohoney, Ryan, "Spontaneity, Intimacy, and Friendship in Morton Feldman's Music of the 1950s," Modernism/modernity (Volume 2, Cycle 3, Sep 28 2017) [Online] https://modernismmodernity.org/articles/morton-feldman
  68. Dohoney, Ryan, "'Élan Vital ... and How to Fake it': Morton Feldman and Merle Marsicano's Vernacular Metaphysics," Contemporary Music Review (Volume 38, Issue 3-4, 2019) pp 229-246.
  69. Dwyer, John, "In the Shadows with Feldman and Beckett," Buffalo Evening News (Saturday, November 27, 1976) "Lively Arts" section, C-12. Also [Online] www.cnvill.net/mfdwyer.pdf
  70. Egli, Urs, "Die Leiden eines ernst(zu)nehmenden Interpreten. Morton Feldmans 'Triadic Memories' (1981) [The sufferings of a (serious) interpreter: Morton Feldman's 'Triadic Memories' (1981)]," Dissonanz - Dissonance (No 80, April 2002) pp 12-21.
  71. Ender, Daniel, "Impressionen zwischen den Zeilen. Einige abschweifende Überlegungen zu den «Nature Pieces» von Morton Feldman [Impressions Between the Lines: Some Digressive Reflections on Morton Feldman's Nature Pieces]," Neue Zeitschrift für Musik (Vol 173 No 1, 2012) pp 38-43. Also [in English] [Online] www.cnvill.net/mfender-nature-pieces.pdf
  72. 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.
  73. Erdmann, Martin, "Traumbruchstücke, unvermittelt. Neue Kammermusik und Essays von Morton Feldman," Neue Zeitschrift für Musik (Vol 147 No 1, 1987) pp 18-21.
  74. Etkin, Mariano, "On Morton Feldman," [Online] www.cnvill.net/mfetkin3.htm
  75. Etkin, Mariano, "Sobre el contar y la notación en Ives y Feldman [On counting and notation in Ives and Feldman]," [in Spanish] Revista del Instituto Superior de Música de la Universidad Nacional del Litoral (No. 9, 2002) pp 99-105. Also [Online] [in Spanish] www.cnvill.net/mfetkin4.htm and [in English] www.cnvill.net/mfetkin.pdf
  76. Feld, Ross, "Friend," in Ross Feld Guston in Time: Remembering Philip Guston (Counterpoint Press, 2003) Chapter 6, pp 65-77. Excerpts [Online] www.cnvill.net/mfrossfeld.pdf
  77. Feneyrou, Laurent, "More Light. Sur Morton Feldman," Vertigo (No 36, 2009) pp 59-62. Also [in English] [Online] www.cnvill.net/mfmore-light-feneyrou.pdf
  78. Feneyrou, Laurent, "...in the Beckett mood... : Sur Neither de Morton Feldman," Beckett et la musique edited by Geneviève Mathon et David Lauffer (Strasbourg: Presses universitaires de Strasbourg, 2014) pp 223-259.
  79. Fernández, Andrea, "Mantler-Feldman: traducciones musicales de textos de Beckett [Mantler-Feldman: musical translations of texts by Beckett]," [in Spanish] Beckettiana: Cuadernos del Seminario de Beckett (No 7/8, 1999) pp 111-120.
  80. Fervers, Andreas, "'In der Zeit fortschreitendes Werden' : 'For Stefan Wolpe' von Morton Feldman im Licht von Platons 'Timaios'," MusikTexte (No 100, February 2004) pp 43-47.
  81. Figal, Günter, "Intangible Matters: On Color and Sound in Art (James Turrell, Morton Feldman)," Research in Phenomenology (Vol 48, Issue 3, 2018) pp 307-317.
  82. Fox, Christopher, "Reflections from a Slow Country (on Morton Feldman)," Contact (No. 31, Autumn 1987) pp 31-34.
  83. Fox, Christopher, "Our Great Dead Contemporary (a look at the legacy of composer Morton Feldman on the twentieth anniversary of his death)," JMI: The Journal of Music in Ireland (Vol 7 No 6, Nov/Dec 2007) pp 24-25.
  84. 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.
  85. 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.
  86. Frost, Everett, "'My comforts! Be friends!': Looking back on directing the Samuel Beckett/Morton Feldman collaboration on Words and Music, 'a Piece for Radio'," Francosphères (Vol. 9 Issue 1, June 2020) pp 101-113.
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  88. Frounberg, Ivar, "Erindringer om Morton Feldman [Recollections of Morton Feldman]," Danish Music Review (DMT) (1988/89, No. 2) pp 59-60. Also in English [Online] www.cnvill.net/mffrounberg.pdf
  89. Fulkerson, James, "Morty Feldman is dead," Companion to Contemporary Musical Thought (London: Routledge, 1992) Volume 1.
  90. Gann, Kyle, "Legacy of the Quiet Touch: [Obituary for] Morton Feldman 1926-1987," The Village Voice (Vol XXXII No 40, 6 October 1987) p 93.
  91. Garcia, Orlando Jacinto, "Boola Boola revisited," 21st Century Music (Vol 8 No 6, June 2001) pp 17-19.
  92. 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.
  93. Gerwin, Carsten, "Klang - Raum - Erfahrung. Ein Workshop zu Morton Feldmans Klavierstück Nr. 3 aus 'Last Pieces' (1959) ," Musik & Bildung: Zeitschrift für Musik in den Klassen 5-13 (Vol 44 No 4, October-December 2013) pp 76-80.
  94. 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. Also [Online] www.cnvill.net/mfgldstn.htm
  95. Goulish, Matthew, "The Next Ten Minutes: Morton Feldman and Samuel Beckett," Beckett and Musicality, edited by Sara Jane Bailes and Nicholas Till (Ashgate Publishing, 2014) pp 171-186.
  96. Gratzer, Wolfgang,, "John Cage und Morton Feldman," Archiv für Musikwissenschaft (Vol 53 No 4, 1996) pp 336-348.
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  98. Griffiths, Paul, "Morton Feldman: Shimmering Orchestral Tapestries," New York Times (January 31, 1999).
  99. Gronemeyer, Gisela, "Momente von grosser Schönheit. Zu Morton Feldmans neuem Stück Crippled Symmetry," MusikTexte (No 4, April 1984) pp 5-9.
  100. Gruhn, Wilfried, "Klang und Stille. Gedanken zur kompositorischen Arbeit Morton Feldmans," Musik und Bildung (No 14, 1982) pp 147-152.
  101. Guillot, Matthieu, "Poétique sonore de Morton Feldman : lenteur, douceur et fragilité (sur Piano and Orchestra)," L'Analyse musicale (No 37, November 2000) pp 81-90.
  102. Guston, Philip, "On Morton Feldman (1967)," in Philip Guston: Collected Writings, Lectures, and Conversations, edited by Clark Coolidge, with an introduction by Dore Ashton (University of California Press, 2010) pp 76-79. Also [Online] www.cnvill.net/mfguston-on-feldman.pdf
  103. Gutknecht, Dieter, "'Einsamkeit und Freiheit': zur Musikästhetik Morton Feldmans (1926-1987)," in Multikulturelle und internationale Konzepte in der Neuen Musik, edited by Hartmut Krones (Boehlau Verlag, 2008) pp 211-224.
  104. Gutknecht, Dieter, "Morton Feldmans Intermedialität und Synästhetik," in Multikulturelle und internationale Konzepte in der Neuen Musik, edited by Hartmut Krones (Boehlau Verlag, 2008) pp 225-235.
  105. 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. Also [Online] www.cnvill.net/mfhall.pdf
  106. 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.
  107. 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.
  108. Hanninen, Dora A., "Feldman, Analysis, Experience," twentieth-century music (Vol 1 No 2, September 2004) pp 225-251.
  109. Hanninen, Dora A., "Feldman, Palais de Mari: Pattern and Design in a Changing Landscape," in Dora A. Hanninen A Theory of Music Analysis: On Segmentation and Associative Organization (University of Rochester Press, 2012) Chapter 8, pp 331-359.
  110. Harrison, Bryn, "The Auditive Memory and its function in the late works of Morton Feldman," [Online] www.cnvill.net/mfbrynh.htm
  111. 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.
  112. Harrison, Bryn, "Foreshadowing and Recollection: Listening Through Morton Feldman's Piano, Violin, Viola, Cello," in Richard Glover, Jennie Gottschalk and Bryn Harrison Being Time: Case Studies in Musical Temporality (Bloomsbury Academic, 2018) Chapter 1.
  113. Heilgendorff, Simone, "Erfahrung minimalistischer Musik : zu Morton Feldmans 'Untitled composition'," in Das Subjekt in Literatur und Kunst: Festschrift für Peter V. Zima, edited by Simona Bartoli-Kucher, Dorothea Böhme, Tatiana Floreancig (Tübingen: Francke Verlag, 2011) pp 297-314.
  114. Henck, Herbert, "Stille und Stillstand. Nachruf auf Morton Feldman," in Herbert Henck: Experimentelle Pianistik. Improvisation - Interpretation - Komposition (Mainz: Schott Music, 2004) Chapter 35.
  115. Hermann, Richard, "The cooked and the raw of mathematics, and Morton Feldman's 'The King of Denmark'," L'analyse musicale aujourd'hui / Music Analysis Today [book in French and English] edited by Xavier Hascher, Mondher Ayari, and Jean-Michel Bardez (Éditions Delatour France, 2015).
  116. Herten, Joachim, "'Wehmut des Unbestandigen'. Morton Feldman: The King of Denmark for solo percussionist (1964) ['Melancholy of the impermanent'. Morton Feldman: The King of Denmark for solo percussionist (1964)]," Das Universum im Ohr. Variationen zu einer theologischen Musikästhetik edited by Dietrich Korsch, Klaus Röhring and Joachim Herten (Leipzig: Evangelische Verlagsanstalt, 2011) pp 215-225.
  117. 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.
  118. Herzfeld, Gregor, "Historisches Bewusstsein in Morton Feldmans Unterrichtsskizzen [Historical consciousness in Morton Feldman's teaching notes]", Archiv für Musikwissenschaft (Vol 66 No 3, 2009) pp 218-233.
  119. Herzfeld, Gregor, "Infolge der Befreiung des Prometheus...: Morton Feldman, Luigi Nono und die Metapher des ziellosen Wanderns," Positionen (Vol 100, August 2014) pp 11-14.
  120. Hicks, Michael, "'Our Webern': Cage and Feldman's Devotion to Christian Wolff," in Stephen Chase and Philip Thomas (editors) Changing the System: The Music of Christian Wolff (Ashgate Publishing, 2010) pp 3-22.
  121. Hiekel, Jörn Pete, "Franz, Morton und andere. Kompositorische Reflexionen auf Schuberts Musik", Neue Zeitschrift für Musik (Vol 158 No 1, 1997) pp 36-41.
  122. Hilewicz, Orit, "Tracing Space in Time: Morton Feldman's 'Rothko Chapel'," Time and Trace: Multidisciplinary Investigations of Temporality, edited by Sabine Gross and Steve Ostovich (Brill, 2016) pp 83-108.
  123. 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. Also [Online] www.cnvill.net/mfhirata.htm
  124. Hirata, Catherine, "Morton Feldman (1926-1987)," Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook, Larry Sitsky, editor (Westport, Connecticut: Greenwood Press, 2002) pp 131-137.
  125. Hirata, Catherine Costello, "G Maybe-To G#," Perspectives of New Music (Vol 43/44 No 2/1, 2005/6) pp 378-402.
  126. 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.
  127. 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.
  128. Hughes, Edward Dudley, "Softly, Softly: Edward Dudley Hughes Reflects on the Fragile Music of Morton Feldman," Musical Times (Vol 137, No 1845, November 1996) pp 21-23.
  129. Hummel, Thomas, "Qualitativer Sprung. Morton Feldmans Untitled Composition," MusikTexte (No 52, January 1994) pp 51-56.
  130. 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.
  131. Johnson, Steven, "Rothko Chapel and Rothko's Chapel," Perspectives of New Music (Vol 32 No 2, 1994) pp 6-53.
  132. 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.
  133. 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.
  134. 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.
  135. 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.
  136. 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).
  137. Jurkowski, Edward, "Aspects of Time in the Later Music of Morton Feldman," Musicological Explorations (Vol 7, Spring 2006) pp 91-114.
  138. Kane, Brian, "On Repetition, Habit and Involuntary Memory: An Analysis and Speculation upon Morton Feldman's Final Composition," [Online] www.cnvill.net/mfkane.pdf
  139. Karallus, Manfred, "Résistance gegen die feist funktionierende Welt. Morton Feldman: Coptic Light," MusikTexte (No 52, January 1994) pp 47-50.
  140. Kemper, Christian, "Schubert und Morton Feldman. Tangenten," Musik & Ästhetik (Vol 4, October 1997) pp 22-35.
  141. 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.
  142. Knobeloch, Heinz, "Jenseits des Identitätsprinzips. Morton Feldmans Neither," Musik & Ästhetik (Vol 8, October 1998) pp 5-11.
  143. Knockaert, Yves, "Systemlessness in music : composing without a system: a comparative study of systemlessness in the works of John Cage, Morton Feldman and Wolfgang Rihm ," in Order and Disorder: Music-Theoretical Strategies in 20th Century Music (Leuven University Press, 2004) pp 53-104.
  144. Kopp, Jan, "Ein klingender Fries. Morton Feldmans 'Rothko Chapel' und Mark Rothkos 'Houston Chapel'," MusikTexte (No 117, May 2008) pp 29-38.
  145. Krämer, Oliver, "'Hold each sound until barely audible': Morton Feldmans Klavierstück 'Intermission 6'," Diskussion Musikpädagogik (No 2, 2nd Quarter 1999) pp 99-104.
  146. Lanza, Mauro, "Per una segmentazione di 'Rothko Chapel' di Morton Feldman [Towards a segmentation of Rothko Chapel by Morton Feldman]," [in Italian] Musica e storia (Vol 8 No 1, June 2000) pp 127-143.
  147. 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.
  148. 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.
  149. 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.
  150. 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.
  151. Laws, Catherine, "'Doing it one way and doing it another way': Morton Feldman's Neither," in Catherine Laws Headaches Among the Overtones: Music in Beckett / Beckett in Music (Editions Rodopi, 2013) pp 255-319.
  152. Laws, Catherine, "'Together, dogs!': Feldman's Music for Words and Music," in Catherine Laws Headaches Among the Overtones: Music in Beckett / Beckett in Music (Editions Rodopi, 2013) pp 321-357.
  153. Leach, Brenda Lynne, "Mark Rothko and Morton Feldman," in Brenda Lynne Leach Looking and Listening: Conversations between Modern Art and Music (Rowman & Littlefield, 2014) Chapter 8.
  154. Lenzi, Marco, "Wege abstrakter Kunst. Einige Betrachtungen über Feldman, Clementi und die Malerei," MusikTexte (No 66, November 1996) pp 37-43.
  155. Levy, Benjamin R., "Vertical Thoughts: Feldman, Judaism, and the Open Aesthetic," Contemporary Music Review (Volume 32, Issue 6, 2013) pp 571-588.
  156. Linson, Adam, "Through the Membrane," [Intersections between visual art and music across work by Jackson Pollock, Morton Feldman, and Ornette Coleman] ECHO, a journal of music, thought and technology (# 4, 2023). [Online] echo.orpheusinstituut.be/article/through-the-membrane
  157. Lunberry, Clark, "Departing Landscapes: Morton Feldman's String Quartet II and Triadic Memories," SubStance #110 (Volume 35 Number 2, Summer 2006) pp 17-50. Also [Online] www.cnvill.net/mflunberry2.pdf
  158. Lunberry, Clark, "In Living Memory: Morton Feldman's Departing Landscapes," in Clark Lunberry Sites of Performance: Of Time and Memory (Anthem Press, 2014) pp 133-166.
  159. Magnus, David, "You have to know how to notate very difficult images: Zur Plastizität des Klanges in Morton Feldmans 'Projecton 1'," All you need is image?! Beate Flath, Andreas Michael Pirchner, Elisabeth Pölzl-Hofer, Susanne Sackl, editors (Graz: Grazer Universitätsverlag / Leykam, 2010).
  160. 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.
  161. 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]).
  162. 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.
  163. Marion, Dominic, "Morton Feldman et le tombeau de Descartes," Liberté (No 317, September 2017) pp 66-68.
  164. 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. Also [Online] www.cnvill.net/mfmattis.htm
  165. Mauser, Siegfried, "Zur Konzeption der musikalischen Zeit in der Musik Morton Feldmans," Die neue Musik in Amerika : Über Traditionslosigkeit und Traditionslastigkeit, edited by Otto Kolleritsch (Vienna: Universal Edition, 1994) pp 80-108.
  166. McGrath, John, "Beckett and Feldman: Time, Repetition and the Liminal Space," in John McGrath, Samuel Beckett, Repetition and Modern Music (Routledge, 2017) chapter 5.
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  168. Melillo, John, "Uncertain Revelation: Noise from the Old Regular Baptists to Susan Howe, Clark Coolidge and Morton Feldman," ACT - Zeitschrift für Musik & Performance (No 6, December 2015) pp1-21.
  169. Mellers, Wilfrid, Music in a New Found Land (New York: Alfred A. Knopf, 1965) pp 189-193.
  170. Mellers, Wilfrid, Caliban Reborn: Renewal in Twentieth Century Music (New York: Harper and Row, 1967) pp 138,140-141,149.
  171. Mellers, Wilfrid, "Panic or Paradise: Abstract Expressionism and the music of Morton Feldman," Modern Painters (Vol 12 No 2, Summer 1999) pp 68-73. Also [Online] www.cnvill.net/mfmellrs.htm
  172. Mello, Chico, "Precision and Anarchy in Feldman's Work," [Online] www.cnvill.net/mfmello.htm
  173. Metzger, Heinz-Klaus, "Zu Feldmans Erstem Streichquartett," Morton Feldman, Musik-Konzepte Vol 48/49 (Munich: Edition Text + Kritik, 1986) pp 115-121.
  174. Meyer, Felix, "Ambivalente Beziehungen: Feldman und Wolpe [Ambivalent Relations: Feldman and Wolpe]," MusikTexte (No 152, February 2017) pp 77-82.
  175. Meyer-Denkmann, Gertrud, "Die athematische Musik des Morton Feldman," Babylon: Beiträge zur jüdischen Gegenwart (No 12, October 1992) pp 90-96.
  176. 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.
  177. Mikhashoff, Yvar, "UB's Feldman: One of a Musical Kind," Buffalo Evening News (October 4, 1987).
  178. 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.
  179. Moelants, Dirk, "Ruimte, duur en geheugen: Feldman's 'Rothko Chapel' [Space, duration, and memory: Feldman's 'Rothko Chapel']," [in Dutch] Contra (Vol 3 Issue 1, 2003) pp 6-7.
  180. Moelants, Dirk, "Feldman, memory and the perception of slowness," Tijdschrift voor Muziektheorie [Dutch Journal of Music Theory] (Vol 8 Issue 3, 2003) pp 215-226.
  181. 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.
  182. Monk Feldman, Barbara, "Liner notes for Hat Hut CD Morton Feldman, Marianne Schroeder: Piano," Hat ART CD 6035 (1990).
  183. 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).
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  190. Müller-Arp, Eberhard, "'Wenn du keinen Maler zum Freund hast, bist du verloren!' Über Morton Feldman, ein Bild von Piet Mondrian, Pierre Bourdieu und die New Yorker Kunst der 1950er Jahre ['If you don't have a painter for a friend, you're lost!' On Morton Feldman, a picture of Piet Mondrian, Pierre Bourdieu, and New York art of the 1950s]," Aus der Neuen Welt: Streifzüge durch die amerikanische Musik des 20. Jahrhunderts, edited by Annette Kreutziger-Herr and Manfred Strack (Hamburg: Lit Verlag, 1997) pp 165-181.
  191. Müller-Goldkuhle, Corinna, "dynamik der stille. Abstrakte Trauer in der Musik Morton Feldmans," Neue Zeitschrift für Musik (No 6, 2006) pp 16-19.
  192. Müller-Goldkuhle, Corinna, "Neither von Morton Feldman," in Facetten Der Einsamkeit in Musikalischen Monodramen Des 20. Jahrhunderts: Musikdidaktische Zugaenge (Frankfurt am Main: Peter Lang, 2017) pp 365-454 & 547-554.
  193. Nadrigny, Pauline, "Music/painting, the temptation of analogy: The case of Morton Feldman," Archives de Philosophie (Volume 80, Issue 2, 2017) pp 269-293.
  194. Nauck, Gisela, "'Try again, fail again, fail better'. Morton Feldman spielen - die Pianisten John Tilbury und Steffen Schleiermacher," Positionen (Vol 53, November 2002) pp 34-39.
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  196. 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.
  197. Nimczik, Ortwin, "'Each sound with a minimum of attack'. Morton Feldman: 'De Kooning' und 'Intermission 6'," Musik & Bildung: Praxis Musikunterricht (Vol 32 No 4, August-September 2000) pp 44-47.
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  199. Obert, Simon, "New York, 1960: Jerry Leiber, Mike Stoller und Morton Feldman demontieren einen Popsong [New York, 1960: Jerry Leiber, Mike Stoller and Morton Feldman dismantle a pop song]," RE-SET. Rückgriffe und Fortschreibungen in der Musik seit 1900 [Re-set. Recourse and extrapolation in music since 1900] edited by Heidy Zimmermann and Simon Obert (Mainz: Schott Music, 2018) pp 289-294. Also [in English] [Online] www.cnvill.net/mfobert.pdf
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  201. 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.
  202. 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.
  203. Olsen Majmon, Magnus, "Analysis of Morton Feldman's 'String Quartet No. 2'," [Online] [in Danish] www.cnvill.net/mfolsen_danish.pdf and [in English] www.cnvill.net/mfolsen_english.pdf
  204. 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.
  205. 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. Also [Online] www.cnvill.net/mfpaccio.htm
  206. Packer, Renée Levine, "Morton Feldman in Buffalo: Fall 1972," in Renée Levine Packer This Life of Sounds: Evenings for New Music in Buffalo (Oxford University Press, 2010) Chapter 3 pp 115-163 (and elsewhere throughout the book).
  207. Paynter, Terrence, "Form and Process in Morton Feldman's 'Spring of Chosroes'," Music Analysis (Vol 34 Issue 1, March 2015) pp 47-90.
  208. 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.
  209. Perloff, Marjorie, "The Beckett/Feldman Radio Collaboration: Words and Music as Hörspiel," The Beckett Circle (Vol 26 No 2, Fall 2003) pp 207-211.
  210. Philippi, Daniela, "Klänge - Farben - Flächen. Bewegung jenseits von Prozeßhaftigkeit in Orgelkompositionen von John Cage und Morton Feldman [Sounds, colors, surfaces: Moving beyond process in the organ compositions of John Cage and Morton Feldman]," Orgel International (Vol 3 No 2, 1999) pp 148-151.
  211. Pratt, Daryl, "Performance Analysis: Morton Feldman, The King of Denmark," Percussive Notes (Vol 25 No 3, March 1987) pp 76-79.
  212. Pritchett, James, "Wohnzimmer-Plaudereien. Zur Geschichte der 'Radio Happenings' mit John Cage und Morton Feldman," MusikTexte (No 148, February 2016).
  213. Ramallo, Hernán D., "Morton Feldman - Piano and Orchestra," [Online] [in Spanish] www.cnvill.net/mframallo.pdf
  214. Reich, Steve, "Morton Feldman," Steve Reich: Writings on Music, 1965-2000, edited by Paul Hillier (Oxford University Press Inc, USA, 2002) p 202.
  215. Rennicke, Rafael, "Der Klangteppichknüpfer. Dreizehn Texte," MusikTexte (No 133, May 2012) pp 39-41.
  216. Ross, Alex, "American Sublime: Morton Feldman's mysterious musical landscapes," The New Yorker (June 19, 2006). Also [Online] www.cnvill.net/mfalexross.pdf
  217. Russomanno, Stefano, "Morton Feldman: la música del olvido [Morton Feldman: The music of forgetfulness]," [in Spanish and French] Doce notas preliminares: Revista de música y arte (Issue 17, Summer-Fall 2006) pp 105-111.
  218. Sabat, Marc, "Färbungen im chromatischen Feld. Intonation nach Feldman [Shadings in the Chromatic Field: Intonations after Morton Feldman]," MusikTexte (No 133, May 2012) pp 52-63. Also, (in English) in Search: Journal for New Music and Culture (Issue 9, Winter 2012).
  219. 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.
  220. Safatle, Vladimir, "Morton Feldman comme critique de l'idéologie: expression et politique dans Rothko Chapel," Expression et geste musical, Susanne Kogler and Jean-Paul Olive, editors (Paris: L'Harmattan, 2013).
  221. Sani, Francesco, "Feldman's 'Durations I' - a discussion," [Online] www.cnvill.net/mfsani1.htm
  222. Sani, Francesco, "Why patterns? An analysis of Morton Feldman's 'Piano and string quartet'," [Online] www.cnvill.net/mfsani2.htm
  223. Sani, Francesco, "Morton Feldman's 'Palais de Mari' - a pitch analysis," [Online] www.cnvill.net/mfsani3/mfsani3.htm
  224. Santarelli, Cristina, "From Vision to Sound: Morton Feldman and Abstract Expressionism," Music in Art: International Journal for Music Iconography (Vol 38 Issue 1/2, 2013) pp 223-242.
  225. Satō, Kyōko, "Understanding the aesthetic provenance of an idealized sound world: Paths toward a performance practice for Morton Feldman's 'Palais de Mari'," [in Japanese] Elisabeth University of Music Research Bulletin (Issue 30, 2010).
  226. Saxer, Marion, "Konvergenzen im Schaffen von Samuel Beckett und Morton Feldman," KlangArten Nr. 5 (Vienna: 1993).
  227. 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.
  228. Saxer, Marion, " '...daß es keine Sprache mehr gibt'. Zu den späten Streichquartetten Morton Feldmans," Positionen (Vol 34, February 1998) pp 27-30.
  229. 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.
  230. 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.
  231. 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.
  232. 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.
  233. Saxer, Marion, "Vom Nicht-Enden-Können. Die Paradoxie der Selbstreflexion bei Samuel Beckett und Morton Feldman," Neue Zeitschrift für Musik (No 6, 2016) pp 24-29.
  234. Schulze, Holger, "The Generativity of Boredom. Morton Feldman, Aphex Twin and Einstürzende Neubauten," Habitus in Habitat II: Other Sides of Cognition Sabine Flach, Jan Söffner, editors (Peter Lang, 2010) pp 89-100.
  235. Schulz, Reinhard, "Frei vom Oktroi des Gemessenen : Strukturelle Prinzipen im kompositorischen Denken Morton Feldmans," Musik/Revolution : Festschrift für Georg Knepler zum 90. Geburtstag Georg Knepler, Hanns-Werner Heister, editors (Hamburg: Von Bockel, 1997) pp 129-137.
  236. Sharp, Elliott, "Encounters with Morton Feldman," [Online] www.cnvill.net/mfesharp.htm
  237. Shim, Hyojung, "The Rhythmic and Metrical Structures in Morton Feldman's 'Triadic Memories': An Analytical Study," [in Japanese] Journal of the Musicological Society of Ochanomizu University (No 10, 2008), pp 14-25.
  238. Shim, Hyojung, "The Shadow of Webern in Morton Feldman's 'Violin and Orchestra'," [in Japanese] Journal of the Graduate School of Humanities and Sciences, Ochanomizu University (No 13, 2011) pp 87-95.
  239. Skempton, Howard, "Beckett as Librettist," Music and Musicians (May 1977) pp 5-6. Reprinted in Morton Feldman Says (Reference A16. above) pp 75-76. Also [Online] www.cnvill.net/mfskmptn.htm
  240. Skempton, Howard, "Feldman's B Flat," KunstMusik (Vol 1, Autumn 2003) pp 48-49. Also [Online] www.cnvill.net/mfskempton.pdf
  241. Slater, Howard, "The Most Important Flaw: an evocation of Morton Feldman," Resonance (Volume 7 Number 1, 1999) pp 4-5.
  242. Soames, Cynthia, "Feldman - The King of Denmark," Percussionist (Vol 15 No 2, 1978) pp 86-87.
  243. Söderberg, Peter, "Ett musikverk uppstår och upphör - Morton Feldmans The Possibility of a New Work for Electric Guitar," Nutida Musik (No. 259-260, 2016) pp 6-15. Also [Online] [in English] www.cnvill.net/mfpossibility-soderberg.pdf
  244. Solare, Juan María, "Forma móvil: Intermission 6 de Morton Feldman [Mobile form: Morton Feldman's Intermission 6]," [in Spanish] Huellas: búsquedas en artes y diseño (No 5, 2006) pp 67-74.
  245. Spiteri, Vivienne, "Déploration - In Memoriam Morton Feldman by Brian Cherney, and in conversation," Contemporary Music Review (Vol 19 Issue 4, 2000) pp 73-103.
  246. Stankovski, Alexander, "Von Schubert verlassen. Morton Feldman und die Irritation des Gedächtnisses," wespennest 107 (16.06.1997).
  247. Stern, Daniel, "Morton Feldman's 'Glass Sequence'," Such Desperate Joy: Imagining Jackson Pollock edited by Helen A. Harrison (New York: Thunder's Mouth Press, 2000) pp 305-308. Also [Online] www.cnvill.net/mfstern-glass-sequence.pdf
  248. Stiebler, Ernstalbrecht, "Das Eigene und das fremde Eigene. Bemerkungen zur Zusammenarbeit von Samuel Beckett und Morton Feldman [One's own and then another's: Observations on the collaboration of Samuel Beckett and Morton Feldman]," MusikTexte (No 66, November 1996) pp 51-52.
  249. Stollberg, Arne, "Klangfarben auf der Zeitleinwand : Morton Feldmans Konzeption des musikalischen 'all over'," in Musik - Wahrnehmung - Sprache, Claudia Emmenegger, Elisabeth Schwind, Olivier Senn, editors (Zurich: Chronos Verlag, 2008) pp 39-49.
  250. Straebel, Volker, "Morton Feldman und die Zeit. Zu Palais de Mari und einigen anderen Klavierkompositionen Feldmans," KlangArten Nr. 5 (Vienna: 1993).
  251. Straebel, Volker, "A note on the newly published piano pieces," preface to item A13 above.
  252. Swol, Els van, "Morton Feldman, de abstracte Schilderkunst en de eenheid van de muziek," Mens en Melodie (XLI, 1986) pp 106-116.
  253. Takemitsu, Toru, "The Passing of Feldman, Nono, and Messiaen," in Toru Takemitsu Confronting Silence: Selected Writings, translated and edited by Yoshiko Kakudo and Glenn Glasow (Fallen Leaf Press, 1995) pp 139-141.
  254. Thomas, Margaret, "The 'departing landscape': Temporal and timbral elasticity in Morton Feldman's I met Heine on the Rue Fürstenberg," Ex tempore: A journal of compositional and theoretical research in music (Vol 11 Issue 1, 2002) pp 73-86.
  255. Timonova, A. A., "Morton Feldman's stars, sounds, and poetic extremism," [in Russian] Muzyka i Vremya [Music and Time] (Issue 12, 2010).
  256. Timonova, Arina Aleksandrovna, "Morton Feldman against the musical background of his time," [in Russian] Scientific notes of the Russian Academy of Music (Issue 7 No 4, 2013) pp 74-80.
  257. Timonova, Arina Aleksandrovna, "The idea and its implementation in Morton Feldman's composition Why Patterns?," [in Russian] Muzykovedenie [Musicology] (Issue 7, 2013).
  258. 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).
  259. Tröger, Susanne, "Klangkatastrophen. John Cage und Morton Feldman im Vergleich [Sound catastrophes: John Cage and Morton Feldman compared]," Testcard: Beiträge zur Popgeschichte (No 3, November 1996) pp 160-167.
  260. Tsaregradskaya , Tatiana Vladimirovna, "Sound attack and its structural consequences in Morton Feldman's music," [in Russian] Muzyka i Vremya [Music and Time] (April 2012) pp 8-11.
  261. Tubridy, Derval, "Beckett, Feldman, Salcedo ... Neither," Beckett and Nothing: Trying to Understand Beckett, edited by Daniela Caselli (Manchester University Press, 2010) pp 143-159.
  262. Tzotzkova, Victoria, "Real-time Adjustments in the Performance of Notated Piano Music: Morton Feldman, Space Acoustics, and the Multifarious Timbres of Piano Sound," Proceedings of the International Symposium on Performance Science 2011, Aaron Williamon, Darryl Edwards, and Lee Bartel editors (Utrecht: European Association of Conservatoires, 2011).
  263. Ulman, Erik, "On Patterns in a Chromatic Field," [Online] www.cnvill.net/mfulman-patterns.pdf
  264. Ulman, Erik, "Considering Feldman," Open Space (No 5, Fall 2003) pp 182-5.
  265. Utz, Christian, "Erinnerte Gestalt und gebannter Augenblick. Zur Analyse und Interpretation post-tonaler Musik als Wahrnehmungspraxis - Klangorganisation und Zeiterfahrung bei Morton Feldman, Helmut Lachenmann und Brian Ferneyhough [On the analysis and performance of post-tonal music as perceptual praxis - Sound organization and the experience of time in Morton Feldman, Helmut Lachenmann, and Brian Ferneyhough]," Ans Licht gebracht: Zur Interpretation Neuer Musik, edited by Jörn Peter Hiekel (Mainz: Schott, 2013) pp 40-66.
  266. Vigeland, Nils, "Looking for the space between the notes: An interview with Nils Vigeland about Feldman, March 2018," [Online] www.cnvill.net/mf-interview-with-Nils-Vigeland.pdf
  267. 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.
  268. Villanueva, María Cecilia, and Mariano Etkin, "'Only' de Morton Feldman: cifra y cualidad ['Only' by Morton Feldman: Sign and quality]," [in Spanish] Música e investigación: Revista del Instituto Nacional de Musicología 'Carlos Vega' (Vol 7 Issue 14/15, 2004) pp 27-44.
  269. Villanueva, María Cecilia, and Mariano Etkin, "Un 'error' en Bass Clarinet and Percussion de Morton Feldman [A 'mistake' in Bass Clarinet and Percussion by Morton Feldman]," [in Spanish] Revista Nr. 10, Instituto Superior de Música, Universidad Nacional del Litoral, Santa Fe, Argentina.
  270. 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. Also [Online] www.cnvill.net/mfpossibility.pdf
  271. Villars, Chris, "Note on the Text of 'Only'," [Online] www.cnvill.net/mfonly.htm
  272. Villars, Chris, "Note on the Early Performance History of Morton Feldman's Second String Quartet," [Online] www.cnvill.net/mfsq2perfs.htm
  273. Villars, Chris, "Morton Feldman Family Tree" & "Early Family History," [Online] www.cnvill.net/mftree.pdf & www.cnvill.net/mfhistory.pdf Also in a German translation by Gisela Gronemeyer in MusikTexte (No 152, February 2017) pp 83-86.
  274. Villars, Chris, "Feldman's Five Pianos and Sibelius's Fourth Symphony - a Speculation," [Online] www.cnvill.net/mf-sibelius.pdf
  275. Villars, Chris, "Morton Feldman's Madame Press," [Online] www.cnvill.net/mf-madame-press.pdf
  276. Villars, Chris, "Karen Ann Phillips: Composer, Violist, Pianist and Music Educator - A Chronology," [Online] www.cnvill.net/mf-karen-phillips.pdf
  277. Volans, Kevin, "Morton Feldman: From Memory," Vertical Thoughts: Morton Feldman and the Visual Arts (Dublin: Irish Museum of Modern Art, 2010) pp 232-235.
  278. Volans, Kevin, "What is Feldman," Tempo (Volume 68, Issue 270, October 2014) pp 7-14. Also in a German translation by Raoul Mörchen in MusikTexte (No 152, February 2017) pp 60-65.
  279. Walker Smith, Nicola, "Mutually Speaking: Feldman on Wolff and Wolff on Feldman," Musical Times (Vol 142, No 1876 , Autumn 2001) pp 24-27. Also [Online] www.cnvill.net/mf-mutually-speaking.pdf
  280. Weissgerber, Lydia, "Der schwierige Weg zur Tabula rasa : Am Beispiel von Morton Feldmans Durations II für Violoncello und Klavier," Fortschritt, was ist das...? edited by Ernst Helmuth Flammer (Hofheim: Wolke Verlag, 2014) pp 121-136.
  281. Welsh, John, "Projection I (1950)," The Music of Morton Feldman, Thomas DeLio, editor (New York: Excelsior Music Publishing Co, 1996) pp 21-35.
  282. 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.
  283. 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.
  284. Whittington, Stephen, "Morton Feldman: Triadic Memories - An Introduction," [Online] www.cnvill.net/mfwhittington.pdf
  285. Wilhoite, Meg, "Feldman the Rug-maker, Weaving For John Cage," [Online] www.cnvill.net/mfwilhoite-feldman-fjc.pdf
  286. Williams, Jan, "Essay [on Morton Feldman]'," in item A36 above. Also [Online] www.cnvill.net/mfECHOES.pdf
  287. Wolff, Christian, "Taking Chances," Music and Musicians (May 1969) pp 38-40. Also [Online] www.cnvill.net/mfwolff2.htm
  288. 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. Also [Online] www.cnvill.net/mfwolff2.htm
  289. 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.] Also [Online] www.cnvill.net/mfwolff2.htm
  290. 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.] Also [Online] www.cnvill.net/mfwolff2.htm
  291. Wolff, Christian, "Feldman's String Quartet No.2," liner notes for the CD/DVD recording of this piece by the FLUX Quartet on the Mode Records label (Mode 112 [2002]). [Text in English, German and French.]
  292. 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.
  293. Woodward, Roger, "Morty Feldman," in Roger Woodward Beyond Black and White: my life in music (Sydney NSW: ABC Books, 2014) Chapter 16.
  294. York, Wes, "For John Cage (1982)," The Music of Morton Feldman, Thomas DeLio, editor (New York: Excelsior Music Publishing Co, 1996) pp 147-195.
  295. 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.
  296. Zimmermann, Walter, "Morton Feldman - '... to be lonely'," Morton Feldman, Musik-Konzepte Vol 48/49 (Munich: Edition Text + Kritik, 1986) pp 95-104.
  297. 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).
  298. Zvěřina, Petr, "'Crippled Time'. Issues with Understanding Musical Time in the Works of Morton Feldman," [in Czech] in: Teritoria Umění: Studentská vědecká konference AMU 2014, Petr Zvěřina, editor (Prague: NAMU, 2015) pp 10-29.
  299. Zvěřina, Petr, "Between Catgories," [in Czech] Živá hudba (No 7, 2016) pp 8-21.
  300. Zvěřina, Petr, "Doing it one way and doing it another way," [in Czech] in: Scelovací prostředky, Vladimir Tichý, Tomáš Krejča, Petr Zvěřina (Prague: NAMU, 2017) pp 83-105.
  301. Zvěřina, Petr, "'I wanna do total serialisation freehand'," [in Czech] Živá hudba (No 9, 2018) pp 6-21.

C. DEGREE DISSERTATIONS (by author):

  1. Adams, Scott Christopher, Oj Pattern and Design in Morton Feldman's "Why Patterns?", University of Rochester, 1998.
  2. Allman, Spencer Richard, The soft option: the legacy of Morton Feldman's music in the context of the experimental music tradition in the UK and North America since the 1960s, University of Birmingham, 2020.
  3. Anvari, Siamak, Composing Music Based on Carpet, Institute of Sonology, Royal Conservatoire in The Hague, 2014.
  4. Barban, Eugene Malcolm, Piano Music of Morton Feldman, University of Cincinnati, 1969.
  5. Beal, Amy C., Patronage and Reception History of American Experimental Music in West Germany, 1945-1986, University of Michigan, 1999.
  6. Binkowski, Damian, Utwory Mortona Feldmana do tekstów Samuela Becketta [Works by Morton Feldman on Texts by Samuel Beckett], Adam Mickiewicz University, Poznan, Poland, 2010.
  7. Biró, Dániel Péter, An analysis of Morton Feldman's "Rothko Chapel", Musikhochschule Frankfurt am Main, 1998. Published as B17. above.
  8. Bohn, David Mark, A Comparative Analysis of Works by Morton Feldman, University of Illinois at Urbana-Champaign, 1994.
  9. Boutwell, Brett N., A static sublime: Morton Feldman and the visual, 1950-1970, University of Illinois at Urbana-Champaign, 2006.
  10. Bunk, Lou, An Evolving State of Déjà Vu: Orbital Form in Morton Feldman's The Viola in My Life (2), Brandeis University, 2008.
  11. Cerveró, Beta Joan Josep, Hibridaciones entre música y pintura: la relación de Morton Feldman y Mark Rothko en Rothko Chapel, Universitat Politècnica de València, 2017.
  12. Chen, Ju Ju, [Silence] - The Analysis and Interpretation of Morton Feldman's Multiple Percussion Work "The King of Denmark", Fu Jen Catholic University, Taiwan, 2010.
  13. Choi, Wooyoung Ellie, Three Twentieth-Century Piano Duets: A Study of Works by Morton Feldman, Richard Felciano, and George Crumb, University of Georgia, 2011.
  14. Claren, Sebastian, Neither. Die Musik Morton Feldmans, Freien Universität Berlin, 1996. Published as A12. above.
  15. Cline, David, Morton Feldman: Dimensions of Graph Music, Goldsmiths College, University of London, 2011.
  16. Cobb, Nathan, Analyzing Perceived Time: A Husserlian Study of Temporal-Consciousness in Gérard Grisey's "Vortex Temporum" and Morton Feldman's "Triadic Memories", University of Washington, 2019.
  17. Cooper, G. Britt, Morton Feldman's Rothko Chapel: A Conductor's Analysis, University of South Carolina, 2003.
  18. Crescimanno, Marco, Struttura e memoria nell'opera di Morton Feldman, Università "La Sapienza", Roma, 2014. [Online] https://www.academia.edu/29326199/Struttura_e_memoria_nellopera_di_Morton_Feldman
  19. Davis, Clinton Ross, [An]aesthetics and [De]composition: The Music of the New York School, University of Kentucky, 2009.
  20. De Henau, Joris André Odiel, Towards an Aesthetics of the (in)formel: Time, Space and the Dialectical Image in the Music of Varèse, Feldman and Xenakis, Durham University, 2015.
  21. Delgado, João Pedro Martins, O ciclo "The Viola in My Life" no contexto da obra e estética de Morton Feldman, Instituto Politécnico de Castelo Branco, 2014
  22. DiBello, Lawrence, Quantization, Behaviors, and Archetypes: A Practical Guide to Morton Feldman's Patterns in a Chromatic Field, Indiana University, 2021.
  23. Dickson, Ian Michael, Purely Sonorous: The Rhetoric of Sound in Twentieth-Century Music, Girton College, University of Cambridge, 2019.
  24. Dohoney, Ryan W., The Anxiety of Art: Morton Feldman's Modernism 1948-1972, Columbia University, 2009.
  25. Donahue, Dustin, Interpretation in the late works of Morton Feldman, University of California, San Diego, 2011.
  26. Douglass, Mark, Orchestra Bells as a Chamber and Solo Instrument: A Survey of Works by Steve Reich, Morton Feldman, Franco Donatoni, Robert Morris, Marta Ptaszyńska, Will Ogdon, Stuart Saunders Smith, Lafayette Gilchrist and Roscoe Mitchell, University of North Texas, 2016.
  27. Ergün, Cenk, Flux and Stasis in the Music of Morton Feldman, Radigue, & Young, Princeton University, 2020.
  28. Esfahani, Mahkan, David Tudor and the performance of Morton Feldman's piano music of the 1950s, California State University, Fullerton, 2013.
  29. Fontanier, Xavier, Texture et tissage musical en musique contemporaine: exemple dans l'oeuvre de Morton Feldman 'Coptic Light', Université de Bourgogne, 2012.
  30. Fulkerson, Noel, The lives and works of three aleatoric composers - John Cage, Morton Feldman and Earle Brown, Central Missouri State College, 1965.
  31. Gelleny, Sharon Ann, Variation Techniques and Other Theoretical Issues in Morton Feldman's "Carpet" Compositions, State University of New York at Buffalo, 2000.
  32. Green, Julian Jay, Frames of Reference: Three Late-Modernist Case Studies in Music Composed after Painting [Morton Feldman, Henri Dutilleux, Tan Dun], Cardiff University, 2008.
  33. Gresser, Clemens, (Re-)Defining the Relationships Between Composer, Performer and Listener: Earle Brown, John Cage, Morton Feldman and Christian Wolff, University of Southampton, 2004.
  34. Grimley, Alex Christopher, Morton Feldman in three senses, University of Texas at Austin, 2013.
  35. Haii, Kazusa, Morton Feldman und die Maler der New York School, University of Vienna, 2011.
  36. Harrison, Bryn, The Late Works of Morton Feldman, De Montfort University, Leicester, 1996.
  37. Hazebrouck, Guillaume, Esquisse à l'étude du geste compositionnel dans l'oeuvre de Morton Feldman, Université François Rabelais, Tours, 1992.
  38. Hills, Cory Scott, Graphic notation as means of musical gesture: examining percussion works by John Cage, Morton Feldman, and Vinko Globokar, University of Kansas, 2011.
  39. Hirata, Catherine Costello, Analyzing the Music of Morton Feldman, Columbia University, 2003.
  40. Holzaepfel, John, David Tudor and the Performance of American Experimental Music, 1950-1959, City University of New York, 1994.
  41. Howard, Ryan Michael, Musical Rhetoric, Narrative, Drama, and Their Negation in Morton Feldman's Piano and String Quartet, City University of New York, 2014.
  42. Janello, Mark K., The Edge of Intelligibility: Late Works of Morton Feldman, University of Michigan, 2001.
  43. Johnson, Edith A., Some Aspects of the Compositional Style of Morton Feldman, Northwestern University, June 1985.
  44. Jung, Sung Won, Strategies for Performing Selected Aleatoric Works for Violin by Morton Feldman, Christian Wolff, and Sylvano Bussotti, University of Illinois Urbana, 2015.
  45. Kopstick, Eileen Paula, Analysis and discussion of Morton Feldman's Piano (1977), University of Western Ontario, 1983. Published as B2. above.
  46. Kupfer, Diana, « Nec tecum nec sine te »: Language-Music Interplays in Musical Responses to Samuel Beckett, University of Heidelberg, 2012. Includes a detailed discussion of Feldman's "Neither". [Online] http://www.ub.uni-heidelberg.de/archiv/13505
  47. Lee, Seokhee, Morton Feldman's Coptic Light. Eine musikalische Analyse, Folkwang University of the Arts, Essen, 2021. Published as A40. above.
  48. Livengood, Kerrith Joy Quigley, What a "thump" means: Morton Feldman's treatments of Samuel Beckett's texts, University of Pittsburgh, 2012.
  49. Lyakhov, Arina Aleksandrovna, Morton Feldman's late works: Between the idea and its implementation, [in Russian] Gnessin Russian Academy of Music, Moscow, 2014.
  50. Manchur, Jeffrey M., But why is it so Long?: Eschatology and Time Perception as an Interpretation of Morton Feldman's 'For Philip Guston', Bowling Green State University, 2015.
  51. Matthews, David Gerard, Morton Feldman's For Samuel Beckett: The Semiotics of Musical Time, University of Pittsburgh, 2011.
  52. Meyer, Rudiger, Change and Continuity in the Works of Morton Feldman, University of the Witwatersrand, 1996.
  53. Michel, Nathan John, Creative control: Morton Feldman, Lars von Trier, and Frank Zappa, Princeton University, 2007.
  54. Miskey, Nicholas W., Elusive Quartet, Imaginary Songs: Understanding and Experiencing the Music of Morton Feldman and Helge Sten, University of Victoria, 2016.
  55. Mittermayr, Viktoria, Morton Feldmans musikalische Zeitgestaltung in seinen späten Klavierwerken, University of Vienna, 2013.
  56. Moser, Samuele, Come la musica cambia il tempo: Morton Feldman, Ca' Foscari University of Venice, 2012.
  57. Nelson, Phillip Matthew, Morton Feldman's Clarinet works: A Study Through the Words of the Note Man, Rice University, Houston, Texas, January 2010.
  58. Nowrousian, Schirin, Vers une idée de la scénophonie: un parcours à travers Gilles Deleuze et Félix Guattari ainsi que, notamment, Samuel Beckett et Morton Feldman, Université Paris-Sorbonne, 2012.
  59. Orning, Tanja, The Polyphonic Performer: A Study of Performance Practice in Music for Solo Cello by Morton Feldman, Helmut Lachenmann, Klaus K. Hübler and Simon Steen-Andersen, Norwegian Academy of Music, 2014.
  60. 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.
  61. 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.
  62. Panzner, Joseph Edward, Writing for the Ear: Four Key Concepts in the Writings of Morton Feldman, Ohio State University, 2006.
  63. Paynter, Terrence Jack, Form and Process in Morton Feldman's "Spring of Chosroes" (1977), University of British Columbia, 1996.
  64. Pluhar-Schaeffer, Garrett'14, Forgetting Music: Duration, Space, and Remembrance in the Late Music of Morton Feldman, Lake Forest College, Illinois, 2014.
  65. Potter, Keith, An Introduction to the Music of Morton Feldman, University of Wales, Cardiff, 1973.
  66. Rampin, Dantas Neves, A musica de Morton Feldman sob a otica de sua compreensão da pintura do expressionismo abstrato, Universidade Estadual de Campinas [State University of Campinas, Brazil] 2008.
  67. Saxer, Marion, Between Categories. Studien zum Komponieren Morton Feldmans von 1951-1977, Freien Universität Berlin, 1998. Published as A10. above.
  68. Seel, Daniel N., Morton Feldman's "Piano and String Quartet", Karlsruhe University of Music, 1995.
  69. Shively, David, Indeterminacy and Interpretation: Three Realisations, University of California, San Diego, 2001.
  70. Undreiner, Paul Steven, Pitch Structure in Morton Feldman's Compositions of 1952, Rutgers University, New Jersey, 2009.
  71. Walker Smith, Nicola, Composer Among Painters: The Influence of the Abstract Expressionists on the Work of Morton Feldman with Particular Reference to Rothko and Guston, Dartington College of Arts, 2003.
  72. 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.
  73. Wilhoite, Meghann, Coptic Symmetry and Conceptual Continuation in Morton Feldman's "For John Cage", The Florida State University, 2004.

D. PUBLISHED INTERVIEWS & CONVERSATIONS (by interviewer):

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

  1. Amirkhanian, Charles, "Morton Feldman: Speaking of Music with Charles Amirkhanian at the Exploratorium, San Francisco, January 30, 1986," [Online] www.cnvill.net/mfspeakingofmusic1986.pdf
  2. Andriessen, Louis, "A Haunted House with No Ghosts. Morton Feldman in Conversation with Louis Andriessen, 3 July 1986," Words on Music (Reference A18. above) pp 240-271.
  3. # 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.
  4. Auping, Michael, "Touch: An interview with Morton Feldman, 20 May 1985," in Michael Auping 30 Years: Interviews and Outtakes (Modern Art Museum of Fort Worth, 2007) pp 141-144. Also [Online] www.cnvill.net/mfauping.pdf
  5. # Beckett, Alan, "Morton Feldman," International Times 3 (14-27 November 1966). Also [Online] www.cnvill.net/mfbeckett.htm. 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) pp 15-20.
  6. # Bernas, Richard and Adrian Jack, "The Brink of Silence," Music and Musicians (June 1972) pp 7-8. Also [Online] www.cnvill.net/mfbrink.htm
  7. Boehmer, Konrad, "Neither European Nor American. Morton Feldman in Conversation with Konrad Boehmer, 2 July 1987," Words on Music (Reference A18. above) pp 634-705.
  8. Borradori, Giovanna, "Una liaison tra Webern e Cage: conversazione con Morton Feldman," Musica/Realtà (Vol 7 No 19, April 1986) pp 53-66.
  9. Bortolotto, Mario, "Intervista con Morton Feldman," Lo Spettatore Musicale (January 24 1969) pp 10-13.
  10. 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. Also [Online] www.cnvill.net/mfbosseur.pdf. English translation by Ivan Ilić [Online] www.cnvill.net/mfbosseur-english.pdf
  11. # Bryars, Gavin and Fred Orton, "Morton Feldman," Studio International (November 1976) pp 244-248. Also [Online] www.cnvill.net/mforton.htm
  12. # Cadieu, Martine, "Morton Feldman: L'attente," A l'écoute des compositeurs (Paris: Minerve, 1992) pp 202-205. Also [Online] www.cnvill.net/mfcadieu.htm. An English translation is also available [Online] www.cnvill.net/mfcadeng.htm
  13. Cage, John, "Conversation with Morton Feldman, 9 July 1966 (Radio Happening I)," Radio Happenings I-V. Conversations 1966-67 (Cologne: MusikTexte, 1993) [Reference A5. above] pp 10-37.
  14. Cage, John, "Conversation with Morton Feldman, 1? July 1966 (Radio Happening II)," Radio Happenings I-V. Conversations 1966-67 (Cologne: MusikTexte, 1993) [Reference A5. above] pp 40-77.
  15. Cage, John, "Conversation with Morton Feldman, 28 December 1966 (Radio Happening III)," Radio Happenings I-V. Conversations 1966-67 (Cologne: MusikTexte, 1993) [Reference A5. above] pp 80-127.
  16. Cage, John, "Conversation with Morton Feldman, 16 January 1967 (Radio Happening IV)," Radio Happenings I-V. Conversations 1966-67 (Cologne: MusikTexte, 1993) [Reference A5. above] pp 130-161
  17. Cage, John, "Conversation with Morton Feldman, 16 January 1967 (Radio Happening V)," Radio Happenings I-V. Conversations 1966-67 (Cologne: MusikTexte, 1993) [Reference A5. above] pp 164-195.
  18. Cage, John, "Conversation with Morton Feldman (with Bunita Marcus, Francesco Pellizzi)," 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.
  19. # Caras, Tracy and Cole Gagne, "Morton Feldman," Soundpieces: Interviews with American Composers (Metuchen, New Jersey: The Scarecrow Press Inc, 1982) pp 163-177. Also [Online] www.cnvill.net/mfgagne.htm
  20. 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] www.cnvill.net/mfcarter_at_buffalo.pdf
  21. # Clarkson, Austin, "Conversation about Stefan Wolpe, 13 November 1980," Morton Feldman Says (Reference A16. above) pp 97-113. Also [Online] www.cnvill.net/mfclarkson.pdf
  22. Cunningham, Carl, "Creating the sound of Rothko," The Houston Post (March 7, 1971) p15. Also [Online] www.cnvill.net/mfcunningham.pdf
  23. Dwyer, John, "I Met Heine on the Rue Fürstenberg: Morton Feldman in Conversation with John Dwyer," Buffalo Evening News (April 21, 1973).
  24. Esselier, Françoise, "Entretien avec Morton Feldman," VH 101 (No 4, Winter 1970/71) pp 34-44. English translation by Ivan Ilić, "Morton Feldman: Interview with Françoise Esselier (1970)," Tempo (Volume 69, Issue 271, January 2015) pp 48-56. The translation is also available [Online] www.cnvill.net/mfesselier.pdf
  25. Feldman, Morton, Agathe Kaehr, Gordon Mumma, Frederic Rzewski, "Cultural Olympics at Leopoldstrasse. Gespräch in München, 1972," MusikTexte (No 133, May 2012) pp 63-74.
  26. Feldman, Morton and unidentified interviewer, "Conversations without Stravinsky," London Magazine (Vol 6 No 12, March 1967) pp 86-94. Reprinted in Source (Vol 1 No 2, July 1967) pp 42-45.
  27. # 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. Also [Online] www.cnvill.net/mfefrost.htm
  28. # 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. Also [Online] www.cnvill.net/mfgena.htm
  29. Gough, Christopher and Roger Woodward, "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] www.cnvill.net/mfgoughwoodward.pdf
  30. # Griffiths, Paul, "Morton Feldman talks to Paul Griffiths," Musical Times (August 1972) pp 758-759. Also [Online] www.cnvill.net/mfgriff2.htm
  31. Gronemeyer, Gisela and Reinhard Oehlschlägel, "'I don't compose, I assemble.' Morton Feldman im Gespräch über Crippled Symmetry", MusikTexte (No 66, November 1996) pp 33-36.
  32. Guston, Philip, "Conversation with Morton Feldman (1968)," Philip Guston: Collected Writings, Lectures, and Conversations, edited by Clark Coolidge, with an introduction by Dore Ashton (University of California Press, 2010) pp 80-108.
  33. Lagerwerff, Frits, "'I am interested in the commitment'. Morton Feldman in Conversation with Frits Lagerwerff, 4 July 1987," Words on Music (Reference A18. above) pp 786-833.
  34. # Laycock, Jolyon and David Charlton, "An Interview with Morton Feldman," Opus 2 (Vol 1 No 6, Spring 1967) pp 18-20. Also [Online] www.cnvill.net/mfopus2.htm
  35. Madge, Geoffrey Douglas, "On Stefan Wolpe. Morton Feldman in Conversation with Geoffrey Douglas Madge, 1 July 1987," Words on Music (Reference A18. above) pp 546-591.
  36. # 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. Also [Online] www.cnvill.net/mfmassi.htm
  37. von Meier, Kurt, "Interview with Morton Feldman, 1968": Transcript, by Kurt von Meier, of an interview held in New York City on 7 August 1968, [Online] www.cnvill.net/mf-kurt-von-meier.pdf
  38. Mengelberg, Misha, "Half-Closed and Half-Open. Morton Feldman in Conversation with Misha Mengelberg, 29 June 1985," Words on Music (Reference A18. above) pp 26-45.
  39. 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. Also [Online] www.cnvill.net/mfmetzgr.htm. Excerpt, entitled "About Jiddishkeit," also included in Morton Feldman Essays (Reference A1 above).
  40. # Moore, Thomas, "We Must Pursue Anxiety," Sonus (Spring 1984) pp 14-19. Also [Online] thomasmoore.info/interview-morton-feldman/
  41. # Morgan, Stuart, "Pie-Slicing and Small Moves. Morton Feldman in Conversation with Stuart Morgan," Artscribe (April 1978) pp 34-37. Also [Online] www.cnvill.net/mfmorgan.htm
  42. Oliver, Michael, "Morton Feldman in conversation with Michael Oliver": A short conversation broadcast on BBC Radio 3 on 4th November 1984, [Online] www.cnvill.net/mfoliver.pdf
  43. 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.
  44. Reiziger, Han, "Morton Feldman: Interview by Han Reiziger, 1985": Transcript by John Snijders of an interview held in November 1985 during the New Music America festival in Los Angeles, [Online] www.cnvill.net/mf-reiziger-interview.pdf
  45. 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.
  46. Saariaho, Kaija, "Do We Really Need Electronics? Morton Feldman in Conversation with Kaija Saariaho, 3 July 1987," Words on Music (Reference A18. above) pp 752-785.
  47. Shere, Charles, "Morton Feldman: Interview with Charles Shere (1967)": Transcript of a conversation held in July 1967 at the KPFA radio station in Berkeley, California, [Online] www.cnvill.net/mfshere.pdf
  48. Skempton, Howard, "Morton Feldman: Interview with Howard Skempton (1977)": Transcript of an interview held in London on 13 January 1977, [Online] www.cnvill.net/mfskempton-interview.pdf
  49. 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.
  50. 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.
  51. # Volans, Kevin, "Conversation with Morton Feldman," in Summer Gardeners: Conversations with Composers, Summer 1984 (Durban: Newer Music Edition, 1985) pp 122-128. Also [Online] www.cnvill.net/mfvolans.htm
  52. # Whiticker, Michael, "Morton Feldman: Conversation without Cage," Ossia: a journal of contemporary music (Vol 1, Winter 1989) pp 6-9. Also [Online] www.cnvill.net/mfwhtckr.htm
  53. # Williams, Jan, "An Interview with Morton Feldman," Percussive Notes (September 1983) pp 4-14. Also [Online] www.cnvill.net/mfjw1.htm
  54. Xenakis, Iannis and Morton Feldman, "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.
  55. Xenakis, Iannis, "The Barrier of Style. Morton Feldman in Conversation with Iannis Xenakis, 4 July 1986," Words on Music (Reference A18. above) pp 308-335.
  56. Young, La Monte and Morton Feldman, "A Conversation on Composition and Improvisation (with Bunita Marcus, Francesco Pellizzi, Marian Zazeela)," 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.
  57. # Zimmermann, Walter, "Morton Feldman," Desert Plants - Conversations with 23 American Musicians (Vancouver: Aesthetic Research Center Publications, 1976) pp 1-20. Also [Online] www.cnvill.net/mfzimmr.htm

E. PUBLISHED LECTURES & ARTICLES BY FELDMAN HIMSELF (by date):

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. "Statement (1952)," part of "4 musicians at work" [Statements by Feldman, Boulez, Cage, Wolff], transformation: arts, communication, environment (Vol 1 No 3, 1952) pp 168-172. Reprinted in The Boulez-Cage Correspondence edited by Jean-Jacques Nattiez (Cambridge University Press, 1993) p104. Also [Online] www.cnvill.net/mfstatement1952.pdf
  2. + "Sound - Noise - Varèse - Boulez," It is (No 2, Autumn 1958) p 46. Reprinted in Audio Culture: Readings in Modern Music edited by Christoph Cox and Daniel Warner (Continuum Press, 2004).
  3. + "Structures for Orchestra," note in the score (Edition Peters: EP6934, 1962).
  4. * + "Liner Notes," Kulchur (Vol 2 No 6, Summer 1962) pp 57-60. Sleeve notes for LP recording Feldman/Brown Time Records 58007 (1962). Aka "Autobiography" in Refrence A1. above.
  5. * + "Mr. Schuller's History Lesson," Kulchur (Vol 3 No 9, Spring 1963) pp 88-89.
  6. + "Marginal Intersection (1951), Intersection 2 (1951), Intermission 6," Kulchur (Vol 3 No 11, Autumn 1963) pp 33-36.
  7. * + "Vertical Thoughts," Kulchur (Vol 3 No 11, Autumn 1963) pp 37-38.
  8. * + "A Life without Bach and Beethoven," Listen (Vol 1, May/June 1964) p 14.
  9. * + "... Out of 'Last Pieces'," sleeve notes for LP recording Columbia Records ML 6133 (1965).
  10. + "Four Instruments," programme notes, Evenings for New Music, Carnegie Recital Hall (December 21, 1965)
  11. * + "Predeterminate/Indeterminate," Composer (Vol 19, Spring 1966) pp 3-4.
  12. * + "In Memoriam: Edgard Varèse," Perspectives of New Music (Vol 4 No 2, Spring/Summer 1966) p 12.
  13. * + "Philip Guston: The Last Painter," Artnews Annual (Vol 31, 1966) pp 97-99.
  14. + "Earle Brown," Universal Edition brochure (1966).
  15. * + "Boola Boola," Composer (Vol 22, Winter 1966/67) pp 13-16. Reprinted in Source (Vol 4 No 2, July 1970) p 38.
  16. * "Strawinsky," (undated, c.1966/7?) in Morton Feldman Essays (Reference A1. above) p 55 (in German).
  17. * + "A Compositional Problem," ICA Bulletin (No 165, January 1967) p 16. [Part of a lecture at the ICA, London, on 1st November 1966.]
  18. * + "After Modernism," in Six Painters: Mondrian, De Kooning, Guston, Kline, Pollock, Rothko (Exhibition catalogue, University of St. Thomas Art Department, Houston, Texas, February 1967) pp 14-22. Reprinted in Art in America (Vol 59 No 6, November/December 1971) pp 68-77.
  19. * "The Avant Garde: Progress or Stalemate?," The New York Times (5th March 1967) Section D, p 27.
  20. * + "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.
  21. * + "Give My Regards to Eighth Street," Artnews Annual (1968). Also included in The Music of Morton Feldman (Reference A7 above) pp 199-204.
  22. * + "Neither/Nor," Source (Vol 3 No 2, July 1969) pp 7-8.
  23. * + "Between Categories," The Composer (Vol 1 No 2, September 1969) pp 73-77. Reprinted in Contemporary Music Review (Vol 2, 1988) pp 1-5.
  24. * + "False Relationships and the Extended Ending (1968)," sleeve notes for LP recording CRI SD 276 (1971).
  25. * + "The Viola in My Life (1970/71)," sleeve notes for LP recording CRI SD 276 (1971).
  26. "Programme Note for The Viola in My Life IV" (September 1971) [Online] www.cnvill.net/mf-viola-in-my-life-iv.pdf
  27. * + "Who Was Sonia Sekula?" Art in America (Vol 59 No 5, September/October 1971) p 79.
  28. * + "Frank O'Hara: Lost Times and Future Hopes," Art in America (Vol 60 No 2, March/April 1972) pp 52-55.
  29. "Five Pianos," a short note by Feldman for a concert given at Buffalo on 28th October 1972, [Online] www.cnvill.net/mfpianos.htm
  30. * + "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.
  31. + "John de Menil (1904-1973)," Art in America (Vol 61 No 6, November/December 1973) p 41.
  32. * + "Statement," Edition Peters Contemporary Music Catalogue (New York 1975) p 32.
  33. "DAAD Statement (1975)," a short statement by Feldman about his year (1971/72) in Berlin as Artist-in-Residence under the German Academic Exchange Programme (DAAD), [Online] www.cnvill.net/mfdaad.pdf
  34. * + "Rothko Chapel," sleeve notes for LP recording Columbia Odyssey Y34138 (1976).
  35. * + "For Frank O'Hara," sleeve notes for LP recording Columbia Odyssey Y34138 (1976).
  36. * + "Essay," in Philip Guston 1980, The Last Works (The Phillips Collection, Washington D.C., 1981) pp 5-8.
  37. "Twelve Tone Technique in Varèse's Déserts," transcription by Sebastian Claren and Chris Villars of the lecture given by Feldman at the CalArts Contemporary Music Festival on February 26th 1981, [Online] www.cnvill.net/mfdeserts.pdf Also in a German translation by Sebastian Claren in MusikTexte (No 152, February 2017) pp 65-76.
  38. + "String Quartet," programme notes, CalArts Contemporary Music Festival, California Institute of the Arts (February 26 - March 1, 1981).
  39. "Remarks after a performance of String Quartet No. 1," transcription by Sebastian Claren and Chris Villars of Feldman's remarks to the audience after a performance of his first String Quartet at the CalArts Contemporary Music Festival on February 26th 1981, [Online] www.cnvill.net/mfremarksaftersq1.pdf Also in a German translation by Sebastian Claren in MusikTexte (No 152, February 2017) p 76.
  40. * + "Crippled Symmetry," Res (Vol 2, Autumn 1981) pp 91-103.
  41. * + "More Light," in Tribute to John Cage: Programme booklet from the 32nd Berlin Festival (1982) pp 10-11.
  42. + "Triadic Memories," remarks before the American premiere at the State University of New York at Buffalo, March 12, 1982. Published as liner notes for CD recording by Aki Takahashi ALM Records ALCD-33 (1989).
  43. "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). Also [Online] www.cnvill.net/mfcardew.htm
  44. "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) pp 135-149. Also [Online] www.cnvill.net/mfmercer.htm
  45. "Johannesburg Lecture 1: Current Trends in America," transcription by Rudiger Meyer of a lecture Feldman gave at the South African Broadcasting Corporation in July 1983. Published in Morton Feldman Says (Reference A16. above) pp 161-172. Also [Online] www.cnvill.net/mfjobur1.htm
  46. "Johannesburg Lecture 2: Feldman on Feldman," transcription by Rudiger Meyer of a lecture Feldman gave at the South African Broadcasting Corporation in July 1983. Published in Morton Feldman Says (Reference A16. above) pp 175-179. Also [Online] www.cnvill.net/mfjobur2.htm
  47. "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] www.cnvill.net/mfmasterclasses.htm
  48. "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] www.cnvill.net/mfwolpe.htm
  49. * + "XXX Anecdotes & Drawings," from the seminars "The Future of Local Music" given in Frankfurt in February 1984, in Morton Feldman Essays (Reference A1. above) pp 144-180.
  50. * "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) pp 107-121, and in Morton Feldman Says (Reference A16. above) pp 191-209. Also [Online] www.cnvill.net/mfdarmstadt1984.pdf
  51. + "String Quartet II," programme notes, Institute of Contemporary Arts, London (August 1, 1984).
  52. "'I'm reassembling all the time'. Middelburg Lecture, 2 July 1985," Words on Music (Reference A18. above) pp 46-155. Also (in German only) in Morton Feldman, Musik-Konzepte Vol 48/49 (Munich: Edition Text + Kritik, 1986) pp 3-63.
  53. "'I stopped asking questions'. Introduction to For Philip Guston, 3 July 1985," Words on Music (Reference A18. above) pp 156-159. Also (in German only) in Morton Feldman, Musik-Konzepte Vol 48/49 (Munich: Edition Text + Kritik, 1986) pp 64-66.
  54. "Remarks on Piano," remarks at a performance in Los Angeles, February 12, 1986. Transcribed by Robert Krupnick and Chris Villars. [Online] www.cnvill.net/mf-piano-krupnick.pdf
  55. + "For Philip Guston," remarks before a performance at the California Institute of the Arts, February 21, 1986. Published in programme notes, New Music Concerts, Toronto, Canada (November 6, 1988).
  56. + "I Want to Thank," programme notes, Contemporary Music Festival, California Institute of the Arts (February 21-22, 1986).
  57. + "Coptic Light," programme notes, New York Philharmonic, Lincoln Center for the Performing Arts (May 30, 1986).
  58. "Lecture on Violin and Orchestra," June in Buffalo Lecture, 17 June 1986, [Online] www.cnvill.net/mfjune-in-buffalo1986.pdf
  59. "'Sublimation is the word'. Middelburg Lecture, 2 July 1986," Words on Music (Reference A18. above) pp 162-203.
  60. "'Appearance is not reality'. Middelburg Lecture, 3 July 1986," Words on Music (Reference A18. above) pp 204-239.
  61. "'I had nothing to lose'. Middelburg Masterclass, 4 July 1986," Words on Music (Reference A18. above) pp 272-307.
  62. "'How do we write our own music?' Middelburg Masterclass, 5 July 1986," Words on Music (Reference A18. above) pp 336-387.
  63. "'Doing it one way and doing it another way'. Middelburg Lecture, 5 July 1986," Words on Music (Reference A18. above) pp 450-493.
  64. "Lecture on For Christian Wolff," Darmstadt Lecture, 24 July 1986, [Online] www.cnvill.net/mfdarmstadt86complete.pdf
  65. "Remarks on Varèse," from a programme on Edgard Varèse broadcast on BBC Radio 3 in October 1986, [Online] www.cnvill.net/mfvarese.pdf
  66. "'How do we know what we don't know?' Middelburg Lecture, 1 July 1987," Words on Music (Reference A18. above) pp 504-545.
  67. "Between Disney and Mondrian. Middelburg Lecture, 2 July 1987," Words on Music (Reference A18. above) pp 592-633. Also (in German only), under the title "Everything is recycled", in MusikTexte (No 22, December 1987) pp 8-28.
  68. "Why All the Mystery About Composition? Middelburg Lecture, 3 July 1987," Words on Music (Reference A18. above) pp 706-751.
  69. "'I'm not negative, I'm critical'. Middelburg Lecture, 4 July 1987," Words on Music (Reference A18. above) pp 834-871.
  70. + "Unpublished Writings," six undated short texts from the Morton Feldman Papers, Music Library, State University of New York at Buffalo: I. Jackson Pollock, II. Mid-Way, III. "Pianos and Voices II was written in Berlin...", IV. "I can't say that in terms of fame...", V. "What is so characteristic of the twentieth century...", VI. Aphorisms.