Twentieth Century Music: How it Developed, How to Listen to It

By Marion Bauer | Go to book overview

ACKNOWLEDGMENTS

I am indebted to the following music publishers for the use of music illustrations quoted from copyrighted works: G. Schirmer, Inc., New York; Arthur P. Schmidt Co., Boston; A. Durand & Fils, Paris; Max Eschig, Paris; J. Curwen & Sons, Ltd., London; Universal-Edition, Vienna; C. F. Peters, Leipzig; J. & W. Chester, Ltd., London; Edition Russe de Musique, Paris; F. E. C. Leuckart, Leipzig; Adolph Fürstner, Berlin; Cos Cob Press, New York; New Music Quarterly, San Francisco. I wish also to express my thanks to the Associated Music Publishers, Inc., and to the Galaxy Music Corporation, New York, for permission to quote from copyrighted publications in their domain.

The following publishers have generously granted me permission to quote a few phrases from books in their catalogues: A. A. Knopf, New York; E. P. Dutton & Co., New York; Lincoln MacVeagh, The Dial Press, New York; Henry Holt & Co., New York; Oxford University Press, London; Macmillan Co., New York; Houghton Mifflin Co., New York. (See Bibliography.)

My thanks also to Joseph Yasser for permission to quote from A Theory of Evolving Tonality( American Library of Musicology); to Henry Cowell, André Coeuroy, of Paris, Robert Haven Schauffler, and Katherine Heyman for quotations from their writings; to Henry Prunières, editor of La Revue Musicale; to Minna Lederman, editor of Modern Music; to Carl Engel, editor of The Musical Quarterly; to Nina Naguid, who not only put my pencil manuscript into typewritten form but read proof with indefatigable zeal; and to Harrison Potter, also an eagle-eyed proofreader.

Another debt of gratitude must be discharged to Mrs. Edward MacDowell for a fortnight spent at the MacDowell Colony in June, and to Mrs. Elizabeth Ames for three invaluable weeks at Yaddo, Saratoga Spring's, in August, without whichTwentieth Century Musicwould not now be completed.

MARION BAUER

-vii-

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