Roger Sessions: Selected Bibliography


Aldag, Richard J. Roger Sessions's Duo for Violin and Violoncello: 
an Edition and an Examination of the Compositional Process. Diss., 
City University of New York, 1991. 

Alexander L. Ringer: 'Kirchner, Leon', The New Grove Dictionary of 
Music Online ed. L. Macy (Accessed 6 April 2003), 
http://www.grovemusic.com.

Andrea Olmstead: 'Sessions, Roger', The New Grove Dictionary of Music 
Online ed. L. Macy (Accessed 6 April 2003), http://www.grovemusic.com.

Ann P. Basart and Martin Brody: 'Imbrie, Andrew', The New Grove 
Dictionary of Music Online ed. L. Macy (Accessed 6 April 2003), 
http://www.grovemusic.com.

Bernard, Jonathan W. "Roger Sessions: Violin concerto (1959)" Elliott 
Carter: Collected essays and lectures, 1997. Rochester: University of 
Rochester, 175-180.

Black, Peter. "Inroads for analysis: When Lilacs Last in the Dooryard 
Bloom'd by Roger Sessions." Sonus: A Journal of Investigations Into 
Global Musical Possibilities, vol. 18, no.2 (spring 1998): 1-17.

Boretz, Benjamin. "Current Chronicle." The Musical Quarterly, xlvii 
(1961): 386-93. 

Brunswick, Mark. "American Composers, X: Roger Huntington Sessions." 
Modern Music, x (1932-3): 182-7. 

Burge, David. "Contemporary Piano: Piano Music of Roger Sessions." 
Contemporary Keyboard, vi/10 (1980): 61. 

Campbell, Allen Douglas. Roger Sessions's Adoption of the Twelve-tone 
Method. Diss., City University of New York, 1990.

Campbell, Michael Ian. The Piano Sonatas of Roger Sessions: Sequel to 
a Tradition. Diss., Peabody Institute, 1982.

Carter, Elliot. "Current Chronicle." The Musical Quarterly, 45 (1959)
: 375-81.

_____.  "In Memoriam Roger Sessions (1896-1985)." Perspectives of New 
Music, xxiii/2 (1985): 110-65.
 
_____.  "Roger Sessions: a Commemorative Tribute." Tempo, no.156 (1986): 
4-6.

_____.  "Roger Sessions: Violin concerto (1959)" Elliott Carter: 
Collected essays and lectures, 1937-1995. Rochester: University of 
Rochester, 175-180.

Chapin, Schuyler. The Tin Box Collection: Letters of Roger Sessions 
and His Family and Friends [to 1925]. [printed privately, 1992.] 

Cogan, Robert. "Toward a Theory of Timbre: Verbal Timbre and Musical 
Line in Purcell, Sessions, and Stravinsky." Perspectives of New Music, 
viii/1 (1969-70): 75-81. 

Cone, Edward T. "Conversation with Roger Sessions." Perspectives of New 
Music, 4:2 (1965-6): 29-46. [Reprinted in Perspectives on American 
Composers (New York, 1971): 90-107.]

_____.  "In Honor of Roger Sessions." Perspectives of New Music, x/2 
(1971-2): 130-41.

_____.  "In Defense of Song: the Contribution of Roger Sessions." 
Critical Inquiry, ii (1975-6): 93-112. 

_____.  "Sessions's Concertino." Tempo, no.115 (1975-6): 2-10.

_____.  "Sessions: Second String Quartet." The Musical Quarterly, 43 
(1957), 140-41.

_____.  "A tribute to Roger Sessions." Kent Quarterly V/2 (winter 
1986): 29-31.

Cone, Edward T. ed. Roger Sessions on Music. Princeton: Princeton 
Univesity Press, 1979.

Cone, Edward T. and F. Rounds. "The Reminiscences of Roger Sessions." 
US-NYcu, Oral History Collection, 1962 [2 vols. of transcripts of 
interviews] 

Copland, Aaron. "The American Composer Gets a Break." American 
Mercury 34 (April 1935): 190-91. 

_____.  "America's Young Men of Promise." Modern Music 3 (March 1926)
: 13-20.

_____.  "Contemporaries at Oxford, 1931." Modern Music, 9 (1931-2): 
22-3.

_____.  Our New Music. New York, 1941. [enlarged 2/1968 as The New 
Music 1900-1960.]

Danchenka, G.R. Quantitative Measurement of Information Content via 
Recurring Associations in Three Movements of Symphony No.2 by Roger 
Sessions. Diss., University of Miami, 1981.   

Davidson, Mary Wallace: 'David Diamond', The New Grove Dictionary of 
Music Online ed. L. Macy (Accessed April 6, 2003), 
http://www.grovemusic.com.

Davies, Peter Maxwell.  "Montezuma." New York Times (21 April 1964). 

Diamond, David. "Roger Sessions: Symphony No.2." Notes, 7 (1949-50): 
438-9. 

Duffin, Diana Ruth. The Interpretation of Accent Signs in Roger 
Sessions' Third Piano Sonata. Diss., Ohio State U., 1979. 

Elaine Barkin and Martin Brody: 'Babbitt, Milton', The New Grove 
Dictionary of Music Online ed. L. Macy (Accessed 6 April 2003), 
http://www.grovemusic.com.

Fuentes, David Raoul. Dramatic Strategy in Sessions' Concerto for 
Orchestra. PhD diss., Musicology: Brandeis University, 1988.

Gagne, Cole and Tracy Caras. "Roger Sessions." Soundpieces: 
Interviews with American Composers. Metuchen, NJ, (1982): 355-65.

Gleason, H. and W. Becker. "Roger Sessions." 20th-Century American 
Composers, Music Literature Outlines, ser. iv (Bloomington, IN, 
2/1981): 185. 

Gorelick, B.L. Movement and Shape in the Choral Music of Roger 
Sessions. Diss., University of Illinois, Urbana, 1985. 

Harbison, John. "Roger Sessions and Montezuma." New Boston Review, 
ii/1 (1976): 5; [reprinted in Tempo, no.121 (1977): 2-5.]

Henahan, D. Obituary, New York Times (18 March 1985): 1.  

Henderson, Ronald D. Tonality in the Pre-Serial Instrumental Music 
of Roger Sessions. Diss., Eastman School, 1974.

Hoberman, Jerome. Idea and style in two late works of Roger Sessions. 
DMA doc., Johns Hopkins University, Peabody Institute, 1999.

Imbrie, Andrew. "Current Chronicle." The Musical Quarterly, 44 (1958)
: 370-71.

_____.  "The Symphonies of Roger Sessions." Tempo, no.103 (1972): 
24-32. 

_____.  "Remembering Roger and his second symphony." Kent Quarterly 
Vol. V/2 (winter 1986): 11-16.

_____.  "Roger Sessions: in Honor of his Sixty-Fifth Birthday." 
Perspectives of New Music, i/1 (1962-3): 117-47. [reprinted in 
Perspectives on American Composers, eds. B. Boretz and E.T. Cone, New 
York, 1971.]  

_____.  "The Symphonies of Roger Sessions." Tempo, no.103 (1972)
: 24-32. 

Kozinn, A. "Seeking a Broader Audience for Roger Sessions." New York 
Times (13 Nov 1988), 25. 

Kress, Steven M. Roger Sessions, Composer and Teacher: A Comparative 
Analysis of Roger Sessions's Philosophy of Educating Composers and his 
Approach to Composition in Symphonies No.2 and 8. Diss., University of 
Florida, 1982.

Laufer, E.C. "Roger Sessions: Montezuma." Perspectives of New Music, 
iv/1 (1965-6): 95-108.  

Lochhead, Judy. "Temporal Processes of Form: Sessions's Third Piano 
Sonata." Contemporary Music Review, vii/2 (1993): 163-83. 

_____.  "A Question of Technique: The Second and Third Piano Sonatas of
 Roger Sessions." The journal of musicology, vol. 14, no.4 (fall 1996): 
 544-578.

Martin Brody: 'Kim, Earl', The New Grove Dictionary of Music Online ed. 

L. Macy (Accessed 6 April 2003), http://www.grovemusic.com.

Opera Montezuma. Diss., University of Illinois, Urbana, 1982. 

McDonnell, Donald R. Roger Sessions's Symphony No.3, first movement: Form, 
Hexachordal Polarity, and Harmonic Language. Diss., Brandeis University, 
1994. 

Meckna, Robert Michael. The Rise of the American Composer-Critic: Aaron 
Copland, Roger Sessions, Virgil Thomson, and Elliott Carter in the 
Periodical 'Modern Music', 1924-1946. Diss., University of California, 
Santa Barbara, 1984.

Merryman, Marjorie Jane Aspects of Phrasing and Pitch Usage in Roger 
Sessions's Piano Sonata No.3. Diss., Brandeis University, 1981. 

Nott, Michael "Roger Sessions's Fugal Studies with Ernest Bloch: a 
Glimpse into the Workshop." American Music, 7:3 (1989): 245-59.

Oja, Carol J. "The Copland-Sessions Concerts and their Reception in the 
Contemporary Press." The Musical Quarterly, 65 (1979): 212-29.

Olmstead, Andrea. Conversations with Roger Sessions. Boston: 
Northeastern University Press, 1987.

_____.  "The Copland-Sessions Letters." Tempo, no.175 (1990): 2-5.

_____.  "The Correspondence between Arnold Schoenberg and Roger Sessions" 
Journal of the Arnold Schoenberg Institute, 13:1 (1990): 47-62.  

_____.  "Interviews with Roger Sessions." American Music Oral History 
Project, Yale U. Library, 1974-80. [includes transcripts] ["Sessions, 
Roger Huntington." CBY 1075.] 

_____.  The Correspondence of Roger Sessions. Boston: Northeastern 
University Press, 1992.      

_____.  "Roger Sessions and His Influence." Essays on Modern Music, 
2 (1985): 23-6. 

_____.  Roger Sessions and His Music. Ann Arbor: Umi Research Press, 
1985.

_____.  "Roger Sessions on Music: Collected Essays." Perspectives of 
New Music, xix/2 (1981): 491-500. 

_____.  "Roger Sessions's Ninth Symphony." Tempo, no.133 (1980): 79-81. 

_____.  "Roger Sessions: a Personal Portrait." Tempo, no.127 (1978): 
10-16.

Olmstead, Andrea. "Roger Sessions and Twentieth Century Music." Kent 
Quarterly Vol. V/2 (winter 1986): 6-10.

_____.  "The Plum'd Serpent: Antonio Borgese's and Roger Sessions's 
Montezuma." Tempo, no.152 (1985): 12-22.  

Olmstead, Andrea and others. "An Appreciation: Roger Sessions, 1896-
1985." Kent Quarterly, v/2 (1986). 

Paula Morgan: 'Cone, Edward T.', The New Grove Dictionary of Music 
Online ed. L. Macy (Accessed 6 April 2003), http://www.grovemusic.com.

Pfaff, William Peter. An Analysis of Cadence Formulation in the 
"Introduction" of Roger Sessions's Cantata When Lilacs Last in the 
Dooryard Bloom'd Diss., Brandeis University, 1994. 

Pintchman, Tracy. "Sessions' Vocal Music." Kent Quarterly Vol. V/2 
(winter 1986): 17-20. 

Porter, Andrew. "Sessions' Passionate and Profound Lilacs." High 
Fidelity, xxviii/2 (1978): 70-71. 
 
Prausnitz, Frederik. Roger Sessions: How a Difficult Composer Got 
That Way. New York: Oxford University Press, 2002.

Rapoport, Paul. "Roger Sessions: a Discography." Tempo, no.127 (1978)
: 17-20.

Rockwell, John. "Roger Sessions, Nearing 85, Is Still a Maverick 
Composer." New York Times (22 March 1981): 17-18

Rosenfeld, Paul. "Roger Sessions." Port of New York (1924): 145-52. 

Schubart, Mark A. "Roger Sessions: Portrait of an American Composer." 
The Musical Quarterly, 32 (1946): 196-214.  

Schwartz, Elliott and Barney Childs, eds. Contemporary composers on 
contemporary music. New York: Holt, Rinehart a Winston, 1967.

Schweitzer, E. Generation in String Quartets of Carter, Sessions, 
Kirchner, and Schuller. Diss., Eastman School, 1965. 

Scotto, Anne M. Exploring the Macrocosm in the Microcosm: an 
Examination of Two Piano Works by Roger Sessions. Diss., University 
of Washington, 1995. 

Sessions Festschrift "An appreciation, Roger Sessions, 1896-1985." 
Kent Quarterly Vol. V/2 (winter 1986).

Sessions, Roger, "Art, Freedom and the Individual." Sewanee Review 
66 (1958): 382-396).

_____.  "The Composer and His Message." In The Intent of the Artist, 
Augusto Centeno, ed., 101-134. Princeton, N.J.: Princeton University 
Press, 1941.

_____.  Harmonic Practice. New York: Harcourt, Brace and Co., 1951.

_____.  The Musical Experience of Composer, Performer, Listener. 
Princeton, N.J.: Princeton University Press, 1950.

_____.  Questions About Music. Cambridge, Mass: Harvard Univeristy 
Press, 1970.

_____.  Reflections on the Music Life in the United States. New York, 
1956.

Sirota, Victoria. "The Keyboard Works of Roger Sessions." Kent 
Quarterly Vol. V/2 (winter 1986): 21-28.

Slonimsky, Nocholas. "Composers of New England." Modern Music 7 
(February 1930): 24-27.

_____.  "The Six of American Music." Christian Science Monitor Weekly 
Magazine (17 March 1937): 8-9.

Tsontakis, George. "Primary Sources." The Musical Quarterly, lxxvii 
(1993): 769-80. 

Wheeler, William Scott. Harmonic Motion in the Music of Roger 
Sessions: an Examination of the Quintet, First Movement. Diss., 
Brandeis University, 1984. 

Welch, R.D. "A Symphony Introduces Roger Sessions." Modern Music, 
iv/4 (1926-7): 27-30.

Woo, Betty King-lam. The Challenge of Roger Sessions' First Piano 
Sonata: Understanding How its Evolution, its Language, and its 
Notation Can Suggest a Performing Style. DMA doc., Stanford 
University, 1995.

Woods, Benjamin. The North American Piano Sonata in Transition from 
Tonal to Atonal Styles. DMA doc., University of South Carolina, 1991.

Wright, Lesley A., Anne Bagnall, ed. "Roger Huntington Sessions: a 
Selective Bibliography and a Listing of His Compositions." Current 
Musicology, USA Vol. 15 (1973): 107-25.

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