1. Samuel Rogers.1799.The Pleasures of Memory; with Other Poems.20–21.London:Printed for T. Cadell, Jr. and W. Davies, In the Strand.
2. For a brief discussion ofdynamic formin these works, wherein the Z-related pairs present themselves as a form of staggered imitative entries within the chain itself, and thus render a type ofdynamismover proximate segments of time, see Mailman 2010, 76–77. Mailman identifiesAbout the Same(1999),Changing the Subject(1999),Nine Piano Pieces(1999) andStill(2000) as pieces that use the 35-note all-Z-hexachord chain. Dora Hanninen also presents an extended analysis of theNine Piano Piecesthat accounts for how the inherent structural aspects of the array are translated into variable associative relationships in the compositional realization of the work.Dora Hanninen.2012.A Theory of Music Analysis, On Segmentation and Associative Organization.Rochester:University of Rochester Press:360–400.
3. In his recent book,Twelve-Tone Music in America, Joseph Straus debunks numerous myths about twelve-tone and serial music, finding that the “systematic treatment of the twelve-pc aggregate and serial ordering” is a requisite concern for most composers of this music. (Joseph N. StrausTwelve-Tone Music in America,New York:Cambridge University Press,2009,xix–xx.) This, certainly, is not a myth then. It appears to be a minimum basis for the communality that even Morris himself speaks of, and yet inventive new constructs like the AHC (and AHCA derived from it) reveal that even this can be flexed to a surprising extent, if not entirely transcended. It is noteworthy that the analytical vignette which Straus presents of Morris as a twelve-tone composer is of a work (Fourteen Little PianoPieces) that not only uses a twelve-note row (as opposed to a chain), but in which the array deploys aggregates and row-forms at several levels, thus asserting ordering and aggregate formation as essential characteristics of Morris's twelve-tone music.
4. This idea was explored early on by Morris in his 1982–83 article“Combinatoriality without the Aggregate,”Perspectives of New Music21/1–2.