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| CONTENTS |
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| ix |
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FOREWORD |
| xi |
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PREFACE |
| xv |
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SOLEMN PLAY: A LIFE OF CROSS-CULTURAL
SYNTHESIS |
| xv |
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Introduction |
| xviii |
|
Early West Coast Years
(1917–1943) |
| xxi |
|
San Francisco Period
Works |
| xxi |
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France
1917–Spain 1937 |
| xxv |
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Tributes
to Charon |
| xxix |
|
New York, Black Mountain College, and Early
Years in Aptos |
| xxxiv |
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Middle Period Works |
| xxxiv |
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Praises
for Michael the Archangel |
| xxxvii |
|
Vestiunt
Silve |
| xl |
|
Incidental
Music for Corneille's 'Cinna' (Suite for Tack
Piano) |
| xlv |
|
Mature Style
(1961–1998) |
| xlvii |
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Two Works from the 1980s |
| xlviii |
|
Varied
Trio |
| liv |
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Grand
Duo |
| liv |
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Conclusion |
| lvi |
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PLATES |
| 1 |
|
FRANCE 1917–SPAIN
1937
for two
percussionists and string quartet |
| 11 |
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TRIBUTES TO
CHARON
for percussion
trio |
| 13 |
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I. Passage through
Darkness |
| 15 |
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II. Counterdance in the
Spring |
| 19 |
|
PRAISES FOR MICHAEL THE
ARCHANGEL
for organ
solo |
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