[5] For studies of all-interval chords see Stefan Bauer-Mengelberg and Melvin Ferentz, "On Eleven-Interval Twelve-Tone Rows," Perspectives of New Music 3, no. 2 (Spring-Summer 1965): 93-103; David Cohen, "A Re-examination of All-interval Rows," Proceedings of the American Society of University Composers 7, no. 8 (1972-73): 73-74; and Robert Morris and Daniel Starr, "The Structure of All-Interval Series," Journal of Music Theory 18, no. 2 (Fall 1974): 364-389. Carter's use of all-interval chords is explored by David Schiff in The Music of Elliott Carter, 1st ed. (London: Eulenburg, and New York: Da Capo, 1983), 261-263, 299-300, and 316-318, throughout the 2nd ed. (Ithaca, NY: Cornell University Press, 1998), and in "Elliott Carter's Harvest Home," Tempo 167 (December 1988): 7-13. The issue of all-interval chords in Carter's Night Fantasies is taken up by Andrew Mead, "Twelve-Tone Composition and the Music of Elliott Carter," in Concert Music, Rock, and Jazz Since 1945: Essays and Analytic Studies, ed. Elizabeth West Marvin and Richard Hermann (Rochester, NY: University of Rochester Press, 1995), 67-102.