appear to outweigh their differences. The exotic continues to be tapped for
the achievement of political and spiritual goals in the theater.

Many people provided crucial support at various stages in this project. For
their encouragement, suggestions, and assistance in my research, I thank
the following: Daniel Albright, Joe Auner, M. Jennifer Bloxam, Michael Bott
at the Reading University Library, Charles Dibble, Patricia B. Fisken at the
Dartmouth College Music Library, Don Gillespie, Alexander Goehr, Inter-
library Services at Princeton University, Ione, Peter Jeffery, Phil Karg in the
Dance Collection at the New York Public Library for the Performing Arts,
Jean McAneny, Susan McClary, Thomas McGeary, Danlee Mitchell, Paula
Morgan at the Princeton University Music Collection, Carol Oja, the
Pauline Oliveros Foundation, Jann Pasler, Marlys Scarbrough at the Uni-
versity of Illinois Music Library, Gregg Schaufeld at Nonesuch Records,
Wayne Shirley at the Music Division of the Library of Congress, Judith Tick,
Glenn Watkins, Pam Wheeler at the Britten-Pears Library, Lynne Withey,
and Deborah Wong. Financial assistance from the Princeton University De-
partment of Music made possible my research at the Harry Partch Archive,
University of Illinois. I am indebted to Suzie Clark, Simon Morrison, and
Lara Shore-Sheppard for offering detailed editorial comments and advice
on the original draft of this book in 1996. Finally, I am exceedingly grate-
ful to Carolyn Abbate, Philip Brett, Harold Powers, and Richard Taruskin
for their important criticisms, which helped to improve this manuscript in
myriad ways. Any remaining mistakes or passages lacking in grace or clar-
ity are certainly due to my stubbornness.

Williamstown, Massachusetts
September 1998

-xv-