“…But he has nothing to worry about, that chap in Tempo. He’s going to have it all. Pitch relationships, plus sound and chance thrown in. Total consolidation. Those two words define the new academy. You can tie it all up in the well-known formula, “You made a small circle and excluded me; I made a bigger circle and included you.” A kind of Jonah-and-the-whale syndrome is taking place. Everything is being chewed up en masse and for the mass. Until recently, unless you worked in the avant-garde mainstream (Which is to say, in the Schoenberg/Webern orientation), nobody knew what you were doing. Then, as serial music began to utilize and incorporate chance techniques, they became acceptable, too.
It may seem strange to call Boulez and Stockhausen popularizers, but that’s what they are. They glamorized Schoenberg and Webern, now they’re glamorizing something else. But chance to them is just another procedure, another vehicle for new aspects of structure or of sonority independent of pitch organization. They could have gotten these things from Ives or Varèse, but the went to these men with too deep a prejudice, the prejudice of the equal, the colleague.”
Pg. 56 Feldman, Morton, and B. H. Friedman. Give My Regards to Eighth Street: Collected Writings of Morton Feldman. Cambridge, MA: Exact Change, 2000.