Source: Music of the Avant Garde. Issue Number 4.

Davis, Calif.: Composer/Performer Edition, 1968. Very Good. 50, [51-52] pp. 28 × 35 cm. Includes vinyl recordings. Source Record One and Source Record Two, as issued in paper sleeves as pp. 3-4 and 23-24. PO Sig to cover, general wear to edges of covers and comb cutouts and surfaces of wraps. The slipcase for Record One has been neatly repaired with black library book tape, there welded to the paper. Disk One is in it's white paper sleeve and appears fine. Disk Two lacks the original white paper sleeve, but also appears unplayed. Record One, Side A has Robert Ashley—"The Wolfman." Side B is David Behrman's "Wave Train." Record Two, Side A is Larry Austin's Accidents, Side B, Allan Bryant's Pitch Off. Issue 4 is particularly prized among collector because it contains two recordings. Printed contents: 1. Robert Ashley's "Wolfman," instructions for performance. 2. Mario Bertoncini's a mio padre: Cifre, per pianoforti, uno piu esecutori, with a one page fold-out graphic score for one or more pianos. 3. John Cage and Lejaren Hiller interviewed by series editor Larry Austin regarding HPSCHD, a piece realized on Illiac II, a mainframe computer. pictures of Cage and Hiller and a flowchart representing parts of the compositional process. 4. Larry Austin, Accidents, for electronically prepared piano, electroncs and projections. 5. Lowell Cross's "Stirrer," an electronic device for moving sound spatially. 6. Lukas Foss's Etudes for Organ. Scores for Parts I-IV. 7. Jocy de Oliviera's Probabalistic Theater I. Instructions for performance, including a score map slide (affixed in a sleeve on p. 36). 8. Udo Kasemets's Eight Edicts [on] Education with Eighteen Elaborations, instructions for reading and performing. 9. Editor's Comments and an essay by Ben Johnston "On Context." "If we are not utterly to lose all civilizational continuity it will take careful selection, up-rooting, and transplanting of traditions to maintain anything of the past in our new situation. In the center of this violent process of change, the United States is struggling to mature culturally. Our role in the larger context of the world is transitional (out of regional identification into global identification.) This transition must not be made nationalistically nor exploitatively. It must not be made egoistically. . . . Whatever the eventuality, one thing seems clear to me. We have to stop exploiting and plundering nature and each other and start trying to learn how to cooperate. . . . We have to learn how to be good neighbors. Recently a colleague was lamenting former days when it seemed clear what was music and what wasn't. To which Sal Martirano replied, 'The fence is down.'"