Between Mobility and Stability: Earle Brown's Compositional ProcessFootnote1

[1] I would like to express my sincere gratitude and to acknowledge my deep indebtedness to the Schillinger scholar Lou Pine, who has been guiding my work for many years and to whom I owe access to many materials and documents. His interview with Earle Brown from 24 March 1996 has become the foundation for my research for this article. The last section of the article is re-written from the paper Earle Brown and the Schillinger System of musical composition, which was originally co-created with Mr Pine and presented at the Society for American Music's thirty-first national conference in Eugene, Oregon in 2005.

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