articles by the same author. Less specific but equally important influences
include the works of Josef Hauer, Howard Hanson, Milton Babbitt, George
Perle, David Lewin, John Rahn, Andrew Mead, and Daniel Starr.

I would like to thank the following people who have contributed in
practical and supportive ways to the completion of this project. First, I
want to express my gratitude to the person who introduced me to many of
the concepts and practices related to this material, and connected me with
its traditions while I attended Eastman School of Music: Robert
Morris--one who makes possibilities appear. I am also grateful to Alicia S.
Merritt, Acquisitions Editor at Greenwood Press, whose interest in this
project is deeply appreciated. Joel Scheveloff, Marjorie Merryman, and
Richard Cornell of Boston University read portions of the manuscript in
various stages of completion and allowed me the benefit of their knowledge
and wisdom. Louise Gordon gave me many useful ideas while proof-
reading the manuscript. Steven Halloran read several versions of the book
and heard about it endlessly while walking around Boston's North End, and
Sun Kyung Lee provided invaluable encouragement and helped proofread
numbers without growing to hate me. I also wish to offer thanks to the
Walkerman family--Betsy, Steve, Karen and Sally--for their patience and
support during this project, which took place largely on their third floor.
Finally, I wish to thank my family: my mother and father, Maureen and J.
Robert Johnson; my sister Kristin and her family Steven, Alexander and
Nicholas; and to my grandparents and great-aunts, all of whom have
provided me with confidence, encouragement, and love.

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