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, Interlibrary 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 University 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 Department 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 grateful 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 clarity are certainly due to my stubbornness.

Williamstown, Massachusetts September 1998

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