Notes

Chapter II

4. Accounts of Cowell's early life can be found in The New Grove Dictionary of Music and Musicians, sixth ed., s.v. "Cowell, Henry (Dixon)," by Bruce Saylor, Dictionary of Contemporary Music, s.v. "Cowell, Henry," by Richard Jackson and Oliver Daniel. "Henry Cowell," Stereo Review, 33 (December 1974): 71-82. 5. Redfern Mason, "Henry Cowell Gives Recital in Home Town," San Francisco Examiner, November 8, 1920. 7. Rose A. Glavinovich, "Rough Places Confront Genius in Pursuit of Beckoning Star." The Oakland Tribune, Magazine, August 31, 1924. p.390 11. Edith hart Dunne, "Henry Cowell Concert Delights/modernist, Brilliant, Unique." Santa Fe Mexican, December 17, 1928. Mary Austin assisted Cowell in the performance of The Banshee at that concert by holding down the damper pedal as Cowell played the piano strings. 12. " Henry Cowell and His Art," Carmel Pine Cone, July 12, 1924. 13. "Fairplay," "Descriptive Music Has Received an Added Impetus," Carmel Pine Cone, July 19, 1924. 19. Redfern Mason, "Work of Merit at concert of Local Society," San Francisco Examiner, March 6, 1914. 20. "Opera Star Will Sing in Concert/Fremstad Booked to Appear__Henry Cowell to Play in Recital," San Francisco Chronicle, July 16, 1914. A photo of Cowell accompanies the article, blond and handsome with a serious look and a determined air. 25. "Cowell Plays Own Music for Club," San Francisco Call and Post, June 19,1919. 26. Redfern Mason,"Henry Cowell Gives Recital in Home Town, " San Francisco Examiner, November 8, 1920. p.391 51. See reviews in the Post (Chicago), February 22, 1924; Illustrated Daily Herald San Francisco), April 24 and June 24, 1924; and Carmel Pine Cone, July 19, 1924. p.393

Chapter III

23. Henry Cowell, American Composers on American Music: A Symposium (Palo Alto, CA: Stanford University Press, 1933; reprint ed., New York: Frederick Unger, 1962) pp. 4-6. Hereafter cited as ACAM. p.395 60. James Shere, Dane Rudhyar 1895__:A Brief factual Biography with a Listing of Works (Berkeley, CA, P.O. Box 251: International Committee for a Humanistic Astrology. p.396

chapter I

5. "New Music Concert Is Great Success," The Carmel Cymbal, December 1, 1926, p. 2. 11. Harry C. Donoho, "Cowell Back, World Famed Composer," San Francisco Call , July 29, 1927. 12. History of Music Project, 4 (San Francisco: Works Projects Administration, 1940; reprint ed., New York: AMS Press, 1972), p. 200. p.398 48. Mrs. Casserly and Mrs. Armsby were on a list of sponsors for a Cowell recital on October 24, 1926 at the Fairmont Hotel ("Henry Cowell To Be Heard in Recital," San Francisco Chronicle, October 9, 1926). Sidney Cowell remembers these patrons as being friends of her mother. "Most of them were on the San Francisco Symphony Board, entertained Paderewski and Kreisler and Gabrilowitch but were not just lion hunters. They were committed to all sorts of good works." (Letter to author, April 25, 1975.) Olive Cowell, to,, remembers Mrs. Casserly as a "very high society person" from San Mateo, an area where there were many wealthy people. "they had nothing to do," she says, "but try to patronize somebody who would give them prestige. But Mrs. Casserly was rather genuine, as I remember her__a bit more genuine than some of them." (Interview with Olive Thompson Cowell.) p.400 67. Arthur B. Garbett, "Ultra-Modern Astounds S.F. audience," San Francisco News, October 26, 1927. p.401 69. Alexander Fried, "Latest in Tone Art . . ." San Francisco Chronicle, October 26, 1927; Charles Woodman, "Ultra-Modern Works, . . . " San Francisco Call, October 26, 1927; Redfern Mason, "S. F. applauds,. . . " San Francisco Examiner, October 26, 1927; "Music of the Atonalists,. . . " Christian Science Monitor, November 19, 1927; ". . . Ultra Modern Music," Portland Oregonian, November 20, 1927. 70. Interview with Ray Green, New York, September 8, 1976. Green was a student at the San Francisco Conservatory of Music in 1927. 71. Fried, "Latest in Tonal Art"; Woodman, "Ultra-Modern Works." Cowell apparently did not consider himself a skilled conductor. As Sidney Cowell points out, her husband had had no training at all as a conductor. "He was kind of a whirlwind on the stage and I never could see how anybody could follow." (Interview with Sidney Robertson Cowell, May 21, 1975) Furthermore, Olive Cowell recalls that Cowell only conducted when he couldn't get anyone else to do it. (Interview with Olive Thompson Cowell.) p.402

Chapter V

37. Henry Cowell, "New Terms for New Music," Modern Music , 5 (May-June 1928): 21-27. p.404

Chapter VI

2. It was probably this flyer Olive Cowell had in mind when she reported to Cowell that 160 copies had been sent to local subscribers and critics, with 200 given to performers or composers involved in the concerts to distribute before the concert season. Other centers for distribution were Rudolph Schaeffer's studios in San Francisco and Ansel Adams's gallery in Carmel. Letter, [Olive Thompson Cowell] to Henry Cowell, n.d. New Music Collection p.405 26. Carl Sandburg, The American Songbag (New York: Harcourt, Brace, 1927), pp. xi, xv. Frankenstein tells of his experience traveling with Sandburg as he collected tunes for his Songbag. Since Sandburg knew notation only slightly, Frankenstein notated the songs as Sandburg sang. Unfortunately, he sang them differently each time. When Sandburg did notate them, he would always start on the second space of the staff, so that all the tunes were in A major or minor until Frankenstein transposed some of them.(Interview with Alfred Frankenstein.) p.406

Chapter VII

8. Alexander Fried, 'Hardcastle," San Francisco Chronicle, November 27, 1929. 10. Carolyn Eistob, "Silhouette: Denny-Watrous," The Carmel Spectator, June 23, 1929; Irene Alexander, "Dene Denny, Bach Festival Founder, Dies in Carmel," Monterey Peninsula Herald, July 24, 1957. 11. "Notes and Comment," Carmel Cymbal , November 7, 1926; "Dene Denny Plays at Berkeley League of Fine Arts," Carmel Cymbal, December 15, 1926. 12. "Dene Denny to Give All-modern concert," Carmel Cymbal, May 11, 1927. 13. "Dene Denny Scores distinct Triumph in All Modern Music Program Here," Carmel Cymbal, June 8, 1927. 15. Redfern Mason, "Ruth [Dene]Denny in Musical Recital," San Francisco Examiner , November 13, 1928. p.411

39. Charles Seeger, "On Dissonant Counterpoint," Modern Music 7 (June-July 1930): 25-31. p.413

Chapter VIII

54. "12 Westerners Given Guggenheim Awards," San Francisco Examiner , March 30, 1931. p.416 62. Redfern Mason, "Modernistic Muse Outpouring Heard at Unique Concert," San Francisco Examiner, June 2, 1931. p.417

Chapter IX

12. Preceding excerpts from the following reviews: Alexander Fried, "Music Group heard in Program", San Francisco Chronicle, September 4, 1931; Marie Hicks Davidson, "Many Lured by New Music," San Francisco News, September 4, 1931; Redfern Mason, "Music Society Wins Praise in Unusual Bill," San Francisco Examiner, September 4, 1931. p.418 60. Redfern Mason, "Cowell Heard in Music Talk," San Francisco Examiner, May 10, 1932. 66. Demonstrate New Theremin Instruments," Musical America, 25 (January 1932). 67. Marc Blitzstein, "Premieres and Experiments__1932: Old Music__New Instruments (New School Concerts)," Modern Music , 9 (march-April 1932): 125-27. 69. Alfred Metzger, "Rhythmicon, Newest Invention in Music, Makes Debut in S.F.," San Francisco Chronicle, May 16, 1932. 70. "A world Survey of Contemporary Music, Six lectures begin Monday, May 31" [advertisement in unidentified newspaper]. 71. Marjory M. Fisher, "Henry Cowell Gives Lecture and Musicale," San Francisco news, June 1, 1932. 72. Marjory M. Fisher, "Composers Have Hard Row to Hoe in American Music," San Francisco news , June 4, 1932. 73. Marjory M. Fisher, "Berlin Critic Challenges U.S. Artists, " San Francisco news , June 11, 1932. 74. Marjory M. Fisher, "Cowell Asks More Playing of U.S. Music," San Francisco News , June 18, 1932. 76. "Henry Cowell," San Francisco Examiner ,March 20, 1932. p.422

Chapter X

56. Ives had given Cowell $500 to buy copies of American Composers on American Music if Stanford University required such a purchase. After he found out that this was not necessary, Cowell had asked Ives in his letter of November 26, 1932 if he could use some of the money for New Music and the Orchestra Series. p426 87. Cage was not aware that this was a workshop. 88. Strang believes that this workshop might have been held at a Mrs. Stern's apartment. p.427 110. Ada Hanafin, "Henry Cowell, Composer, Talks on Primitive Music and Modern Composers," San Francisco Examiner , June 11, 1933. p.428

Chapter XI 1. San Francisco Public Library, Cowell folder. p.429 139. Alexander Fried, "Taste for Modernism Satisfied in New Music Society Recital," San Francisco Chronicle, April 10, 1934. 140. Marjory M. fisher, "Modern Songs heard by new Music Society," San Francisco News , April 10, 1934. 142. Sidney R. Vise, Ray Green: His Life and Stylistic Elements of His Music from 1935 to 1962 (New York: American Music Edition, 1975), pp. 80-82. p.436 160. Interview with Ray Green. Green further recalls that Betty Horst had a studio in San Francisco. It was there that his future wife, May O'Donnell, gave a master class in Martha Graham technique. Betty Horst was the wife of Louis Horst, Martha Graham's long-time musical director. (Interview with Alfred Frankenstein.) 167. Marjory M. Fisher, "Dances Thrill As new Music Shocks Nerves," San Francisco News , May 29, 1934. 168. Alexander Fried, " 'Ionization's" Percussions Pester Night Air__And Ear," San Francisco Chronicle, May 29, 1934. 169. E.E. "Modern Rhythms," The Argonaut , June 1, 1934. p.437 170. Fisher, "Dances Thrill." 171. Redfern Mason, "Ultra-Modern Composition Heard by Music Society," San Francisco Examiner, May 29, 1934. p.438

Chapter XII

90. Fried replaced Redfern Mason, who had been dismissed from the Examiner for trying to establish a union at the newspaper. Interview with Alfred Frankenstein. 98. Alexander Fried, "S.F. Pleased by Schoenberg in Own Works,' San Francisco Examiner , March 8, 1935. 100. Marie Hicks Davidson, "cheers Greet Schoenberg Concert," San Francisco Call, March 8, 1935. 105. Alfred Frankenstein, "Taking Cognizance of Tenth anniversary of new Music Society," San Francisco Chronicle, March 31, 1935. p.443