NOTATIONShy John CageLibrary of Congress Catalog Card Number: 69-1472 Copyright © 196? by John Cage, and published by Something Else Press, Inc, 298 West 22nd irc, New York, N.Y. 10011, All works reproduced within the body of the book ate the property of the composers end publishers and others indicated therein, and no work x0 reproduced may be performed or futher reproduced without permission from the indvidvel composer, owner of rights, or publisher so designated for each particular work, No portion of the text moy be reproduced in any form whatever without permission from either John Cage or from Something Else Pres, Inc, except fr inclusion in @ review written for @ newspaper or a magazine or « radio or television broodiast All igh eserved ‘Manufactured in the United States of America.PREFACE This book illustrates a collection of music manuscripts which was made in recent years to benefit the Founda- tion for Contemporary Performance Arts. The collection was determined by circumstances rather than any process of selection, Thus it shows the many directions in which music notation is now going. The manuscripts are not ar- ranged according to kinds of music, but alphabetically according to the composer's name. No explanatory informa- tion is given. The text for the book is the result of a process employing I-Ching chance operations. These determined how many words regarding his work were to be written by or about which of two hundred and sixty-nine composers. ‘Where these passages (never more than sixty-four words, sometimes only one) have been especially written for this book, they are preceded by a paragraph sign and followed by the author's name, Other remarks were chosen or written by the editors—John Cage and Alison Knowles. Not only the number of words and the author, but the typography too—letter size, intensity, and typeface—were all determined by chance operations. This process was followed in order to lessen the difference between text and illustrations. The composition of the pages is the work of Alison Knowles. ‘A precedent for the text is the questionnaire. (The composers were asked to write about notation or some- thing relevant to it.) A precedent for the absence of information which characterizes this book is the contemporary aquarium (no longer a dark hallway with each species in its own illuminated tank separated from the others and named in Latin): a large glass house with all the fish in it swimming as in an ocean. The collection of manuscripts constitutes an archive, the contents of which are listed at the end of this book. ‘The editors are grateful to the many composers and music publishers who have made this presentation of mid- twentieth century music notation possible. —John Cage, May 1968RONDINO FOR NINE INSTRUMENTS (1961) a ‘Asked how many it ates to mele 0 groups ———— ‘eqso con omcro (ena Tia) Charles Jones he said, “Two, at least.” Group == composition. { Mohammed bought a hig lemon and... tm perainin ot the compet. femur aan cease) Murray Apaskin, Rondino for Nine Instruments (1961)razorblades... half the blades into one side . . . rest of the blades into... other side. Paul Bowles.eorocuced by permision of Onord University Pre SAMUEL ADLER, Southwestern Sketches (1962) =‘modes 9950 woe £9 tard, Ra __sc_al ej valand, = fa dow. on pore pu MESES 3 1 va jerr? 2a Z = a = Pe = — Save _rmere dol tejada. bee blanca ies ie = z =e == Med do Sak talk, tate guile y dag ax _drapaua— points. Every sketch and manuscript identified, studied, HucH Arrxen, sketches for Cantata IVGivpert Amy, Antiphonies (1963-64) ‘Copyieh © 1967 Hegel & Cle, Pai, France. Used by peemison... catalogued. Map. No mute (picture of mute’s crossed out). { A sensible adjuvant in piano music, the 8va symbol tends to disappear from contemporary notation, thus putting unnecessary demands on the reader. Instant identification of a note perched atop, or lurking beneath a rake of ledger lines is a chatience ro tho most exercised pianist. Theory ‘ond practice ore not every day good neighbors. Soulima Stravinsky. Romance.Words that produce a performance without words. The music paper wos pre-printed with bar lines: four bars to the page, staves numbered, top to bottom, ‘one through eighteen, each page numbered at the upper righthand corner in a blank preceded by ‘page’ in capitals. Inch and a half pieces of scotch-tape hold two-page sections together. ‘The manuscript’s written in graphite. Additions of green and red pencil. Just received your letter.rated by permllon ofthe composer, AABECQDEELIGHHIJKLLM NOPQRRS STTU VWEYZD aberef shi jlmmoparsrunmeryzth ps5! P'S tp 1254567890 Enric ANDERSEN, I Have Confidence in You (1965)I send you a manuscript . Davip ANpREW, from String Music No. 1 from STRINGMUSIC N24 daxte duedrevo PT Pi Ou Oe Be 6 VIOLINS 3 CELL 3 DBL. BASSESHenrik ANDRIESSEN, Quatuor d Cordes + «Very cordially, ‘soanog Jo vonsmaed £q pong ‘poARsu WAL HY “PERTOH “uEpIMIY “mamoOd 49 $964 OLouts ANDRIESSEN, A Flower Song Isect fone Jstnin Anesth Mfr hontrenl New York maker of nothing picwres and performances. Make something of nothing in small ways that add up: Your old letter plus the hat of a poet, Mother’s hands and Johnay Weismuller advertising underwear. IstVAN ANHALT, sketch from Symphony of Modules sosedues 29) Jo eopeied A pregMites 2-56 RAMMED 8G Spain evel Printed by nermision of the composer Tueopor ANTONIOU, Kinesis kos & Cafe as" ooFilliou. 3. ar astalidll als RR SS ol = RoberPrinted by permison of the composer dale 3. Sy 1 ea yin oll (ose Loapt Miner Gee RiteTL ob Mie Ye MeTacmgen bata Mts anger erha (AF & eT eescoe my Shae StL, Ne troyeoneh afro ed (athe eeeeh che.) 5 Hmtpe trab aK cath fae ye) lente Meng Atel Meg bt (ako thaiht dep) _ x tb 5 esa, magtome jay ce porbms hageeretty eget Lis 28 toga pals be Met a Teck Hope ened nije” nmin | rap beng BL Ain fred Wad w. * ciate g en D € Tani bawisisedy EAL Mg mnt oanerod™ gk ak J eee SP a etic pe TTT viseanatalgr gr Tease gs OE OS Bamesshie: ¢ Henendl? Gh gd ( sa al nee tay essen etaest] oy, fermen: @ Ten asa tl shinies shisergt1 raf i kata St REE ba70 19.89 209) eee [Rie ender genet me Be Be Be Bs (ol pane kB flaed te ee oe A Heed Pras Roperr AsHLey, Trios (1963)aL #2 3 #4 SAND MINK WATER PAPER 4e a 8 #9 TRON = NAIL CLOTH STONE wan ma #130 #14 CONCRETE RICE GLASS corTON #160 #17 #18 #49 LEATHER WIRE SPONGE HAIR a2. #220 #23 #24 PLASTFR ANIMAL WOOD GRASS we #270 #28 #29 INSECT NOODLE BL 2 #3300 #34 SAWDUST DUST «RUBBER ROPE 6 #7 #38 #39 COIN BEARING PING PONG CLAY BALL BALL Ay-0, Tactile List (1966) 4s oat #42 #43 POLE PIN. HOT WATER ICE OR DRY ICE #1040 "7 #48 FORM ORANGE YELIOW = GREEN. RUBBRR wis #51 #52 #53 SILK WHITE BLACK YE #20 FAR AY-0'S #30 PAINT STOCKING EXCELSIOR 135 FEATHER 440 BRUCH Printed by sermisslon ofthe composer a9 #50 BLUE VIOLET 54 #55 NOSE MOUTH Tactile List24 Kh w hua tal’? Mitton Bawarrr, Correspondences (1966-67)CConrit € 1962 by Bote & Bock, esi, Printed by permlslon. CLAUDE BaLtir, Bloc-Notes1 To a direction I once asked, “What do you mean?” The sargeant replied, “What do you mean ‘what do you mean” i i 7 i t e : i —=Relevant notation #8 the Only answer. Kenneth Gaburo- FRrangots BaYLe, Points Critiques (1960){ t t 5 i i «+ this takes time, . . . Please be assured that as soon as we are in such a position Me A) Sey de rend aad Hall be ad Asta ; ; Sage yee me Cer oe eset ERR, Le heise | shall be in touch with you. Escnphene 4 9 hea ak staf i # da the geet andtichad heekes thal have tect Tne Beaties, The Word Ue ere eelsJoan BeckwitH, The Line Up and Down ods om PEN ORIN “UREA HE Jo NORSTUID Ka PRON1 Process of unnecessaries of mathematic thinking is beginning, And in the moment of total automatic Will be useless ‘rated by permison ote compone. 1'10":60" Davip BepForD, Scientific American Piece for John Tilburycompletely. Cool logic and machine speed of oneself improving automats will be without z i i 2 f i j es I ‘competition. The man will be constrained to find other tervitory to judge parameters. Milan Knizak. Davip BEHRMAN, Fixed AttacksBeltiuets dwar Berg \<\ Gunwar Bere, Eclatements V (1958)pie Fttgma ts Wakin pqs TT , : Be yes) ‘ t “They'll tell you Dm not a musician. They're quite right. Tm a phonometricist.” After wei ghing an average-sized tenor’s F sharp, he said that music is a dirty business. Practice makes perfect: repeated gestures. ARTHUR BERGER, fragment from 2 work in progress (1965)“weer Teen 7 wowed oan IK POEL Luciano BERIO, Finale from Quaderni per Orchestra I (1959)fiw Seeteh fon Feat Mkt (Chickret, (elus") beak, Boy tefeane to) feet Leonarp BERNSTEIN, Psalm XXII (Chichester Psalms) the course of the river, Philip Corner. Jotedues ou 9 wound pm{ One crosses floors, one crosses words, oM@ crosses streets, one crosses looks, one crosses ‘Weapons (irons, metals), why shouldn't one also cross colors? Henri Poussev {1 “Musical ideos” ond “notation” are separated as a matter of convenience. They are actually interdependent — inseparable. Since my musical ideas are always changing, so does my novation, “Musical ideas” and “notation” are separated as a matter of convenience. They are actually interdependent — inseparable. Since my musical ideas are always changing. Joji Yuasa. {1 Composition does not terminate with the construction of the graph but continues orally through the dramaturgic transmutation of the visvol into sound, Sydney Wallace Stegall. T Two sentences on notation, Notation is simply the drafting of a contract to be entered into by composer and performer for the benefit of listener. Notation fails in proportion to the singlemindedness with which it fails to enhance the social act of music, Alon Thomas, {] To give these sounds to people in a form that has the constant availability and listening privocy of @ recording, and yet is not a past event preserved but something whichis coninuing. Max Neuhaus.‘All sohs reseed, Printed by permision af Novello & Co, Led, London, Fagan Sim ARTHUR BLIss, Swallows (1963)Erwsr Buoci, Fugue StudiesPainting . Music. Copy. Two dark flying chariots attack. My beginnings A. Prelude fn the Lute Sprone Bik SUoneRan PA are NO eA ERAN A ane SUZANNE BLOCH, A Prelude for the Lute your inverted ending, ici em ppPrinted by perminion of the compote Vice-versa, Improvisation. The ‘opposites’ are thought of not as diferent things but as opposites. So, notations t Deane “Jobin (fo. oye! AK Bs = Fl (EES t = Kari B, BLompant, S& Borjar Liver permitting various realizations are inside square, rectangular, or circuit areas. Where there is no choice, everything follows conventions. {|8 3 8 a o z g (nsinaamgo sug “906 » Ayyu@ ejqniodosu! oinwisuoo og ** + se ABUL NOK ‘saX,, “BED NOA UBYAAy “Y!Od youuos | ag SEMIKOLONSORG KNUTSON Ini HEMORIAN oy cane en sin | Lars-Gunnar Booty, Semikolon; Dag Knutson In Memoriam ‘soe 90 J0 wpe £4 pomPrinted by permision of the compose rp ah, [eale-ls ff, # BENJAMIN BorET?, Group Variations No. 1 Fst at'e. celal! hisses piel ae‘asodes oy 70 woe poeta Awprét Boucourecuity, Grodekdesvoying all notations, tapes, before you die, and ‘story only one line—— ‘there lived a man called John Cage’——?” Paik, “How leave to mu Cage. “It's too dramatic——” (1960, ibid) Nam June Paik. { dashes — hooks — curves — dots — strokes punctus — virgo—clws short sound —long sound —d Netty Simons.Pierre Boutez, 2 Sonate pour Piano sopra por Soucy si 19 9 IHL LOGE GHDated by perminlon ofthe composer Paut BowLes, ut inidentified sketch(eietren SrmeHowy) FINALE any 208 a FINALE — -2100 5 Cart Bowman, Triptych Symphony (Finale) Lk freemen seroduas 2m 50 wopntiad pomRiens Reserve . <4am tired from this europeon perfume. . . . | worked very hard all the time. May was a creation-month: .. . It is quite impossible for me to describe you the pieces (for the critics it is easy, they have a professional vocabulary for that}. Virtuoso. Calligraphy. Additions to conventional notation: four symbols for quortertones (higher, ower). Dec. 20°66 What is the title? In English) It’s Greek to me, but some letters are written ifferentiy thon | write (Greek!). © Conmiht 1968 by MCA MUSIC 1 division of MCA Inc. Usd by Petia Henry BRANT, excerpt from Consort for True Violins (1965)omdao> 9870 wom £9 Po, DANCE Dressed Oy black. olen ge wlike euuned PANE eat eat one pareon, DANCE to At least ona stone. ° Liem & pa lout. eae leest 9ne one pea prcabnerone woe { Dec. 2206 Eksi Stikhia 6 sticheia Six Elements (cl. Euclid, N. Bourboki: in succession) for Four Violins composed 1965 in Berlin Greek to everybody modern handwritten letters used Yuji Takahashi. Approximations. Georce BRECHT, 3 Seed Eventser yy oes JN x the plumber (the mechanic, the postman, the doctor, the pilot, the gravedigger, the sailor, the bricklayer, the electrician, the pimp, the garbage collector, the scientist, the cook, the bank clerk, ete. « . «) brings poetry 5 (music, color, volume, movement, form) eR ee 7 tothe poet's (the musician’s, the painter's, THIS WAY BROUWN 8 the sculptors, the orchitoer’s, the cineost’s, the dancer's) 1 wife. Robert Filliou. StaNLEY Brouwn, This Way BrouwnEARLE Brown, sketches from Available Forms II ‘Sar "naan 28H wDORY 96t HEHKCODJ.15% TRIO for TRUMPET a"), TROMBONE, PERCUSSION t > > 1366 Herbert Bron Pop og §=P . #5 ror ff fon 4 PF F>P GP g g 5 ‘emt ty pemision of the composer. Herpert BRbw, Trio For Trumpet (B°), Trombone, Percussion (1966)Visas. C0) RICHARD Gavin Bryans, Visions. “omdeo 9030 wove ka peAUQue U anus hue = Ga h Bussorri- v. perlio d'0bbaus,4 - ROMA SvLvANo Bussornt, New Year's greetingJosepH ByRD, The Defense of the American Continent From the Viet-Cong InvasionOpera. { All pedagogy is problematical, The more one is doing it, especially for me now, because I have to write a book about my teaching new music. I like always to do it and to think about how. . . The best is, to work with children. They are wonderful, open, and creative. Students are already fue, the toxchers hopeless and the music- schools are Old-fashioned, dead museum-machines. Gertrud Meyer-Denckman. Gentle adjustments. Georce Cactorro, CassiopeiaCopyrisht © 1961 by Henmar Pres I, 16 rigs reserve. Printed by permission of Hesmar Press In. amis etd Joun Cace, Music of Changesnid by permiion of the compote Jacques CaLonne, TomeCorNELIUs CarDEW, Treatise (sketches)Exuiorr Carrer, Piano Concerto : i i i :‘Used by permission of. Sent"s Soehne and Asocated Masie Publishes ne. NiccoLo CASTIGLIONE, FigureCantos CuAvez, Soli HI He erased his own music but it remains visible, paler than whot he lator superimposed. ‘Suggestion: the concert of his various decisions. In this axe, greater carelessness would automatically produce a music of greater complexity. “oor omne oH J0 Nope e pong AST STL LV NL HHH I KG. 6{ Despite its undeniable shortcomings, I am not for scrapping notation in fovour of Boemire questo disegno sorivere sotto qu rraisres onneeliare 11 aisemo precedente © ie AL Dp CLLEEE “ie jorre le seguenti figure , costruends e distfuggende suc~ Swamentms raed by nermiton of the commoner. {| | Giuseppe Cutart, Don't Trade Here (1965)diagrams, doodlings or musikalische Graphik: substitutes obviously designed to overcome remarkable contemporary malaise which we might call ‘pitch fatigue’. since it never aftected me, Tnaturally give pitch pride of place among materia musica’s prime constituents Roberio Gerhard, jen Gita used to remark that she had improvised for 45', with the oir of one who has “achieved”, used to be mystified, but Henry's idea and your observation . . . explain +++ T realize now that Fee never taken improvisation seriowly ond so, mowing that E, Indians do, uldn't imagine what length had to do with Gita’s evident artistic satisfaction. Now | do. [= uibes, 6 cords, byh bres cam timbueriee Ze Celeste, 6 bole Ines, mud bres sam, mreerr 3- Moco, G bobedrns, lswboss lm, 0, An Ayle phere, SIS tinsy mb, beth gory, gow |’ 5 Same Ti eae smi, Rate tells, thy OO Te tad draws, Snme Lense emt, chovey hadi 8-3 trays, FT Key he Boeks, ew gs aes F- © tral Nello, 3 Amps, weed blocks 5 plete equa bas 2 cas spc et ngs { The notation is provocation-memory of sonorous cccurences, commenoraine stone, graveston@ of the musical thoughts themselves. Franco Evangelisti. A work (I worked nearly four years.) Barney Cups, Welcome to Whipperginny (1961) C-Atmbens, mid fom, Chimes © “Yubelsz a opm 3059889 70 RUE Aq PSA POMHEL SHKE MY -MI0K ABN “DOK “OOERING 05 AMAL £4 1961 O WHEEJeuw( Peed Geog , } v Wy ea? dey oe ¢ Cou WeN-cHUNG, Willows Are New ‘Copyright © 1990 by C. F. Pees Corporation, 373 Park Ave, Souths New York, N.Y. 1016. All ight rtrd. Pest by permiaon of C.F. Peters Corporation.49 pong mncomparrem. ty version At for an excellent audience actions ete. 2 elk sae mutonge fo genary olther the reading by’ or: the noise, actions ete, by som ates 2. Tell the audience that if it becomes Lapossible for one of thon fo contre cn only thet thing he has chosen, he muse get on his feetand aay i" start from the Sesinning, pleage. 3+ TAY road something for the audienco an ‘Start from the Verianing, plesae gain Pots. interfere in the reading with noine, actions 4+ Tae composition is fintehed, whon "A" haa finished the readings ach tine a person stys ‘Fenda fron" the becinning The audience has to be placed sitting. HENNING CHRISTIANSEN, Incompatibility (1964) te tenuhevey ‘~ ante te ae ! * q g e ail i 13 Vs a v4 =i ey We Apo CLeMeNTi, from Informel 2 (1961-62)intel ty poinion the compas, ‘The rules are remembered but they've lost their hold. Vision unseen but heord. Witson Coxer, Recitative and Canzona (1965)Whole notes and one whole note rest signifying not one but many lengths of time, not measurable time but the time of sound itself. Micuart Couorass, Rhapsodic Fantasy “eodsoo 9030 ope Ag PeEpwakp T. Cone, Silent Noon (1960) og SN. SUE AA YO WOME 44 pou “os 1 NOK AON “woRRIOEDD oO,sa Aria. A CONRAD Axtuony Conrab, Three Loops jor Performers and Tape Recorders (1961) sodas 9 Jo woyspund 6g oni(© 1948 by Aaron Copland, Revvsted by persion of Aaron Copland and Rooky & Hawker Inc, Sole Publsters and Licenses AARON CoPLAND, Overture for School Performance (1938){ Con. ea pettitvra puede! “\ ustea. etree KK. I Fova esto baska myle me! fe { tue: [esi ella, lial | de su vecino it de su amiga EN de su novia, den. suc esposa Su” espose a Su novice + paviankes: deg “Should be played softly” il it fades.” Short vertical marks produce separation, Symbols don't work. Expression takes the form of words. What's thought is there’s a treble clef where time wasn’t taken to write one. Stems without notes are repetitions. Termes premiers: O arrét-origine, n un arrét, n’ Varrét issu du déplacement élémentaire de n, D Vensemble des valeurs| de la caractéri: ique sonore envisogée {Following the untimely Death of God, ThE Board of Directors of Universe/Incorporated elected Dr. Jesus H. Christ as Acting lord, pending the Millenial Stockholders’ Meeting. The “H” in Dr. Chris's name «ands for “Hallmark.” God thought to send His Very Best. José E. Cortés, KK‘ssodaes 936 owed ke pou Blip. Ken Friedman. avai (faa bicien a MANuEL Cortés, Sonata—ManifiestoPrinted by nermison of the composer, ~~ Aomit Meneist Cuminion : Qt Foal, 165 ~ Ramiro Cortés, Concerto for Violin and String Orchestra (1964)Henry Cowet, The Train Finale ‘Peat tr perminion of Mr. Sncy Comet aisate (nn be toes) Sly rains Pamele (oaPate by perminton ofthe composer { The color of words, the color of sounds, the color of chords and that of instruments, the color of brasses, of woods or of strings, the color of metals, and the color of skins? Henri Pousseur, Notation can be nice. Lou Harrison. Lowe Cross, 0.8 Century (1962)fa Sui Farge five pieces for piano side ny ipa ch ag” Georce Crump, Five Pieces for Piano (1962) fe Jo worming 6 pia PAU BNE IY “SHE SMC IE A C96 O aterPrinted by permiion ofthe compotr, INGOLF DaKt, Aria SinfonicaElim Baw = = af = eR, ep ag HET Good" ne et) Be, Pl Lutot Dattariccota, Ulysses: Act I, Scene 3 Saldtaia: Ui iiadea it, Gomemieiia ea commmmmam umemumas immerses gueeeecies tt mccani¥is fie codua:atseanseas!e Bir se bain em so slits , ae fom ain yin ; . a a © 1966 by Daneman, Ammer, Holland, All his rtered, Printed by perminon of Donets Ton De Leruw, The Dreamsa gu 6 liye wee lagee mtgleque? \unenY ag i i z & i H F i s 1 E i i é i : NoRMAN DELLO Jo10, ColloquiesReproduced by pecmision of Editon Tonos, Daria, German. Luis De Pasio, Modulos 1 (1964-65)The natural materials of our age: in counterpoint — the seconds; in syntax — the chromatic scale; in rhythm — crossmetre and grupetto; in melody — the wide, nov-seowise intervals. Stop tape number three. The marches . . . of Spontini’s operas are forgotten; . . . those composed by Mendelssohn for the wedding in A Midsummer Night's Dream, by Meyerbeer for the coronation in The Prophet, by Gounod for the soldiers in Faust, by Verdi for the ... Egyptian army in Aida, by Wagner for the guests in Tannhauser, the bridal procession in Lohengrin, . . the parade of the Meistersinger are universally known.Franco Doatont, Babi (1963)SousTa fer TRUMPET Arp _Tiase ALLétee ~ | Marr Doran, Sonata for Trumpet and Piano = MATT pORAN f “oroduos 9479 soe Pog{ Our system of notation is incapable of representing any except the most primary divisions “4 . Gout j @ i [-% ~ = | i —- mo } r sla 5 i i e ‘s 2 od 2 : =—— poe Oa sh sle “ NEN =f ew SS =F a = P ls ls —— sit Select peta James Drew, The Lute in the Attic (1963)of the whole-note, Henry Cowell. = tate 27 AAA AT t $e it a et XK KM MON XK RN RRR RES Tite Sw ——______s Pepro Ecuarre, Ritual _onchacs m0 wiped ka petaThank you so much and my apologies for being tardy in answering. We have just returned from several weeks in the west which accounts for the delay. Conventional scores are an insufficient . . . way of describing sound sequence to computers. ... Procedure . .. described for drawing scores as graphical functions of time, using . . . light pen on . . . cathode ray tube Information is transmitted digitally to... lorger computer, which synthesizes ++ sound .... reproduces... immediately with . . . loudspeaker. . . . the relation of signs to designata, and, through these, to denotata. attached 10 . . . small computer. The pragmatic dimension deals with the relation of signs to interpreters . . . the formal relations of signs to one another: . . . ‘unitary character of semiosis.’ 1 My commentary (an aphorism by T. W. Adorno) tothe piece on the record-cover reads: Wnen one hears 2. MUSicol tone nowadays, it's hard to suppress a faint smile. The notation demonstrates two methods: fist, phonetic symbolsto be realized on the organ; second, action-notation with no regard to the timbre. The time-frequency coordinates are conventional. Jan W. Morthenson. {1 | carry a portable tape recorder wherever | go, so that if a friend of mine says something funny, or something touching happens, I'll have it in my collection. Somelimes you run out of tape, ond that’s disappointing. I like to capture my fondest memories, so that I can play them again and again. Michael Fleisher. 1 .. the difficulty is to see the situation clearly. Cornelius Cardew. Printed by seiton ofthe competes Schwa Nd a Tt f——3 ‘Tom Exuicu, Orchestral SketchesPaste apa, Ora « 3 ? be x as 7 peed eh a Geien MERRILL ELLIS, Ostinato Rhythm ‘asodaes 99) 9 opm pegRupote Escuer, Summer Rites at Noon (1962-65) (© 1965 by Donen, Ameram, Holland, All seis seterved, Printed by permison of DonemasConyisht by Universal Edition A.G., Viens, Al seh rented, Printed by pemision of Univerat Eton A.C. Franco EvaNcetist1, Incontri di Fasce Sonore (1956-57)THE Kote OF QEHONRK fame pe tinh oe hip att Fok, Kile. og sid “a9 49 $961 OAC Morton FELDMAN, The King of Denmark he I soe F aewa fe: 7 93740 La? ? ? 376 SGML IG FFT PU, i G7 14453547995 (4119 3937 (4.979.679 / 148444 /7¢9 3/43 445555 4/2 4aag 39 444 19 U45 474586612 669/07 67511 79 So 2 2YAIL UT LIF 534254 17 HY 5 YSY AIF 7S BOF 45 449 SIF 6867 Boe ested, 179/91 BIUG 4746 9979/1 9567685 TH45Y 39/ 2 956 pee Z goer eet BE 278 oor 49 8 F 6867 67277 09/729 77, 8787878782 290 GGG WE LFI4 SF 79374 Pk OPF6/1) 45 4645 4374 G6 6667 4GYYOIT 2 GI R4R 29 7G78 S/YV9EP 1 4988/9597 1766 F759 1 91Y6 “F7F8/78 1897 oer YF TF Cn 4 9/484 167 4948) 4 /9A031 36 LY 3/7/6568 9 74 62 4 ays 98985/H/ 373% 6... /97? Fr S00 984 585O¢4 7/9 433637 004 1% 5 8 cof 4948 uPS mH 60968 4 3 1 ache weet D7. oN uuuu 2 8 vere 5 5 io 9 85758885 “llee er 393857363 939495857 -e¢ ee. 029384756 13 <4; ° 101 CARL FERNBACH-FLARSHEIM, untitled piece i frated by permison of he compose { I welcome the introduction of any astounding, unprecedented new sounds into general musical use, Luc Ferrart, Symphonie Inachevée (1965)but the sounds themselves must be extraordinary — I find meaningless the representation 1s tere of sounds oan lend to interesting cespoastiona, ‘The sounds can be ttnines ty runsing « sicrophoie directly over the area, roam (FiQsr endfor valle ormnce can be weighed and the or inet ed at nia sige. Thig.gction can be deliberate Cuitling participation)» fer athe first vislonist (atar dancer, etc.) uatil exhausted, fcanteliberate (unwilling partictpetion). Ta thio cide tack performer stops Riles Filiva Ropert FILLiou, Measured-Up Music on paper of effects which cannot reach the ear in an actual performance. Henry Brant. Bridge- playing. Ink. Bright colored letters with exponents . .. the calligraphic stamp on a Japanese print... distinguish the page. Score: dotted vertical lines clarify the relation Of two orchestras, “too orchestras facing each other."” Sound takes place in space. Where will the flute piayer si? Behind Percussion V. Signature like a rubber-stamp. Four icti, six, nine, twelve (gradual acceleration). Dutch East India, He wrote to say ii i ea a iSong for George Brecht he didn’t know what it was. Several looked at it carefully. RM. Fine (164 One of them thought it was @ transcription Kh uw =z from organ (replacement at the octave of passages crossed out). | i Later someone else said: ke Cw 1 > yea STProbably Bach (The Art of the Fugue). “una sola cosa” q i 4 : : Ross Lee Finney, Concerto jor Percussion and Orchestra (sketch)NEW WHATS(.)REQUIRE(.)HOWS(.) POSSIBILITIES(.)(?) ENDLESSLY(.) DEMAND(.)(:) EXPLANATION(.) 3 PROCESS(. JREPLACES!. LISTENING (.) ISNT(.) & ENOUGH(.)(!)(.. 3 Roger Reynolds, 5 : i 3 Chimel Chit Fra "Sharon A Reteat Fag? —_—_ 2 Chesaetic Tee” Tee bk wt [Tee Dk we “PR ek wee A alll Shan re the or wat iy Sh Gal) Sie “on ane halen fleas: 7 ma, 2a “ii faite | alt thal, she {| Die Notation ist keine rein grophische; die Abweichung von der normalen Nototon haben hier den Zweck, die kleinen Verinderungen dieser oder anderer Details zu erméglichen. Es ist also eine Notation, die Mehr- oder Viel-Deutigkeit des musikalischen Geschehens nicht nur zuiést sondern geradezu schaftt. Roman Haubenstock-Ramati. Micuaet FLeisner, Sharon—A Portrait for Magnetic TapeDug FR vidliv Avo Pltwo ape bsotse bur ee FuRously; lara SSS = ‘-— =I — De at aire as mut ron] GEORGE W. FLYNN, Duo for Violin and Piano (1964)Fageun ckbcks pagel foam game oem we ea on Wit (ee froma Fa] _sesengandnant & I sna Bc Lukas Foss, Fragments of Archilochos “AINE “Ser SOUL HOD 0 woman 4 png POMBE NABH MTV AERA MON “SUT INNO ED 5a oB6T © wEHHICOD‘Harry FREEDMAN, The Tokaido aL vere sotto my 70 oe a Pe,Prine by pemison ofthe compet, {When I think of my coration and the music it creates, I think of Francine. pavid Bedford, Almost everything’s clear. We know what to do if this were what we were going to do. Even the lines between notes {alssondi, surly, or their simulation }. Some leeway’s given in tempi. Otherwise there's no problem. Symmetrical plan. Any time for headaches? 1 a8 3h “0 te} geo 5 Ken Friepaan, prench Horn = @ Toma, 18) 3 Piece for 6 Instruments in 5 Minutesue Ht ttt KENNETH GaBURO, Never H ti) Uf iy iGeRaRDO GANDINI, Mutantes IIthit Mustafa in the neck, under his ear. He put up his hand to pull the lemon away, ++ it slashed his fingers. When heron off wos... hong hs hand to his neck, over the lemon. Mohammed had to buy another lemon and... razorblades to use on Ali, Paul Bowles. RoBERTO GERHARD, Concerto for Orchestra (1965) opens £9 pomrstog “ope07 “eng ANNIE BIERO AH Aa HEF HRHLICD @Gry grated way D. Sym See \ MIRIAM GIDEON, The Condemned Playground (Hiroshima) ated by pormison of the composePia S. GILBERT, Orders (1966) Lovoduos 99 79 soja 9 padCConyieht © by Boosey & Hawes Ins. Repsated by permison, Rens ALBERTO GINASTERA, BomarzoTransPoses Score [ron constanr rEarAd] a Jimmy GIUFFRE, Syncopate 8D "eh HOH HEH 7 sorSNENOK <4 RoE ‘MAID MOBY IV LOA ABN OD “and -BORE UNG KG EAHKdCDGR 0) ELIMIR Lam not sure if you The gift is already closed... cean be delighted with ‘Antihase’. The piece has no ‘anti and no ‘thése’, which characterizes the porns fe ola ie i vie aE fue pe ed fi ee ey megteal a lie AR fae _ ie . Ea i ie a a jorinen Charles Wui cheaply can one trevet from Wiesbaden to India (don't tell me of SOME Composing is notatng ‘and to hear things which do not happen, which I (you, he, the) can imagine. strange army plane)? why didn’t you answer my letters? with alll the stuff for Fluxus? tor months you write thea music Writt€n to wideawake antithesis. But I love anticlimax. are you siill thinking of publishing my book? 5 when I send loads YOU don’t answer — ... then on to India... how foe: ail bide Ui bu. He i ee Sats nm Fae Ma ‘amedaon 9m Jo wo Pog AYLMER GLappys, Elixir 8 (1952-61)votes omy jo wowed pa Since the proble ms arise from constriction, not freedom, why not begin with the notion that anything will do visually as long as you get the sound? George W. Flynn. PeGay GLANVILLE-Hicks, Obeisance to a Lucite Spectrum.41 lust as, ordinarily, there is no thought without words, there is no composition whout notation, ond just os the words that frame the thought affect and sometimes destroy it, so with the notation Of ‘Musical ideos. People who do not understond this cannot expect to make their compositions clear to others. Charles Wuorinen. Lost pages. At AD AOD M2266 4 tt 5 tw ate fo thepgmg gone Yaus 44 2 fury * pyecceanasqiT ts gs A Tia lao FON. A Printed by permion of the componer eeaes ipiratlnse: e e Jack Guick, Mandolinear for Stanley J. SilvermanVinko GLonoKar, Voie1 % U *\ to yo wy MH Ns, ON, Ma lve Le, TRS mt OR R| We TSE, 1 Seer” 00. s A_| FL i if & 7 kl Ee Ole ae 3K ace = i p—wabit, oti 7 Phe al LS An abandoned sketch. Though pencil was used, the writing resembles that done with o music-pen when the nibis held ot right-angle to the lines of the st@ES: verticals thin, horizontols thicker. (The way notes should look is the way they look when Matcor Gotpstety, Illuminations from Fantastic Gardensthey're printed.) | The notation is not a parameter. Its relative to the principal matter: sounds are first of all written in the air with an exquisitely acoustical ink. Aldo Clementi. J “Hiroshino,” in “The Condemned Playground,” means impingement of the sinister on Life itself. Miriam Gideon. Clearly one is in the street here, a good place for art. The air, the sound, the whole situation is in o state of perpetual traffic. { Das graphische Fixicren con musikalischen Strukturen ist fir mich im Amfangsstadium einer Komposition con grisster Wichtigkeit, denn es ermdglicht ein klares, schnelles und vielseitiges Aufzeichnen von musikalischen Gedankenaktionen. Milko Kelemen. Weather changes. The familiar landscape (music, POEITY) iS seen through painting's atmosphere . What shall | do now? Whatever's suggested. (Do you give attention? or Do things of themselves engoge YOUF interest?) Seems, however, there's ctendencyo go rom left toright. Europe. Corresponding {i Toshkent has absorbed all the achievements Of past architectural endeavor . . . hut building the new, architects continuously face historically-shaped planning. In this respect it is far easier building up new towns on empty lots. Alison Knowles. {| L'unico segno esteriore dell interiorita e la mancanza d’espressione — usando grafie il cui numero @ illimitate — non solo nellinsolito, ma anche in cio che si cela nel consueto, Cinespresso trova la sua dimora abituale. Franco Donatoni.Pent by permiton of the comport { Notation of sound in time and space must give its information as clearly, as precisely and PeLLE GUDMUNDSEN-HOLMGREEN, Skitse Til No. 3as beautifully as possible. While it is primarily a chart for ears, it must play provocatively Ges Haba and irresistibly on the eye. entation Reginning of the First movements of String guartel tw vs ZapOiOny fe Gm Marga arate Ondante ae A painting appeals to inner senses "ee qa through the eye. score of sound AEP ES 1=+— must reach these senses fe aH Sees + vei Favs Yr = through the ear through the eye. gd 5 Ler Papa ae Jats let, ie Nodl Llinos. et! A Jy lgP jihl ate itl O bagtep nee tttdtinysibaormitbronghnottlOt, ? pitt, ine Td Fo! 4; Jie it's because we worshipped images, ee A Sh Scag aT SS ARIE Ly. Ea & ra apt [ESET mages ore not decd: they ie end speck ne ipa eh fie Rat ipl ala, aly He Imoge-worship permeates our lives. ee 8 fidad: ne bi i tia z ! ere foo we te [Nefaion become sori ie AMT tre ® : cor eben SE Tap = Be , wy sql sal = iS wipes, $F AY _ — having to be told. pe ia when images are put away. Py Only then will people know whoo co without Frederic Rjewski. Atots Hina, String Quartet No. 16g t i i a 5 I 2 i g 1 ‘ i i ' u It was very good to hear from you. ... Should we consider co-spons0ring en evening of the music of 2 — ‘Tlom the one... who from the beginning has worked anarchically. Al Hansen, ¢ {If the primary stuff of music is sound, it which I believe, then notation, 7 no matter how ordinary or idiosyncratic, iso more. than symbolic representation of the real thi. ' cw Furthermore, a description of notation such as this is a symbolic representation a of a symbolic representation — twice removed trom reolity. if = lejaren A. Hiller, Jr. — Fie ave Letter. The pencil moves across the page representing something else than What is Written. (The music, 100, though it was. CristoaL HaLFrrer, Diferencias Sobre Lineas y PuntosRANSIT th 7 [ee 5 Cenno Trombone. Chitarre elelireg, NK PEON. AY 7 HOPED Ag PIMA PALE NIE TY “HOBHOAS "PHAOHNNY UIHBION AY Aa S961 HAKEOD) being olayed — prematurely pro-Hollywood —, produced things to see: she danced like Cleopatra on a barge, Benet Hamoratus, Transit #2surrounded by her court, flowing down the Nile.) { OZMA over Glinda. Good! With musical eares, her psycho-sexulogr opr: were STAKED! As Mombi; previously her PLOT was discovered! Hysterically finding the tampering HER THEATRE-PIECE into magical things at Witch haa lamented: “OPERA had!” Robert Moran. Printed by permission ofthe composer, Cuantes Hama, RoundCAR_BIGBE cae Tees, (uiawre ore) 1. ENTER CAR 2, Couur Te TWELVE 5S, Toor Horn SK 4, CowT Te TEN © Toor Hon 2X 6, Gut To SEVEN 7, SLAM Doo 2X B- OPEN PND Crest” CLOUE CoMPAETHENT 4. Toor Hor 1X 10 Cot To TEN 1 |, SLAM Deok 1X 2, Toor toRw 3X 15, Covet To WE [4 TooT HORM IX Is OPEN pup chose Cuove ComPARTMEDT [b. Coot Te TEN (7, Stan 200 IX J8, BLINK Hott 3X 19, RAISE AMD HOW ER Lppews (oe ReveRS) 96. CowT Te TEN 21, BUNK LISTS 2X 22, TooT HORN IX 23, BLN HIGhTS 1% ay, bod thor Toor 2g, BLINK L6MTS 3X Bb, START MoTOR 27, noTee ofr CAR BIGBE CAR Foor, Guenrs ere) )ERTER AR 2, ToT Hew IX 3, SLAM Dok IX 4, Toot worn 2% +, RAISE AUD Laver 5 ooo (oe eIERS™ 6. CoosT To TuenT¥ 7, SUAT Boon 2X G, OPEN AND Case Clove GonPARTaevT 4, COUNT 7 Twenty 1, Toot Bot bax, th Gham Door 1% [2, CoweT Tory Jy, BLINK wre A oRHED TS tu Aud OE Seve at THES, smodos 29 Jo asad 5a pa ry Toot Hor [X Oo, FLUTTER LICH TS 14, Teer ere AL HANSEN, Ci [7 Oren ANID SE i, Car Bibbe CLOVE COMPARTHERT. [ 8, BLINK HSH TS 3X 14. CovuT 3 THEE Do, RAISE AND Lawes wi ren (oF REVERSE 21. BLINK Lights 2x QQ. COUNT To MINE, 23, SLAM Dose 1X Dy. HlGnTS an Laue AX 36 SLAM Door 2XLou Harrison, Praises for the Beauty of Hummingbirds (1952) Pate by permimlon ofthe compar,{ The writing down of « musical thought isin every way as personal and revealing as the writing, “o'V wont Teen Jo aowsmaisd 4g poezg “pas EAE MY “RNY ‘9 ARUN“ SOEAL “OY EoRpo tse down of any thought. Examining a music manuscript, inevitably | sense the man behind the notes. The fascination of a composer's notation is the fascination of human personality. Aaron Copland. RoMAN HAUBENSTOCK-Ramatt, Mobile for Shakespeare/Sonnets 53 & 54sa. y8h est { dear moran-no grant for such score send traditional musie to be considered-sincerely Robert Moran, {| La liberté Joser Mattias HavER, untitled composition (1952)PLAYING CARD eveNT Find A Punting ona> ow SipewnnK (oe sw Gurren). le wer, oar. WFo\T 1s & Jack, sanmenpee iT. Mount, — [iw seace erovived, cerosire ] (ween Past Ingen Rerure OCTOBER THe TweLFTH Is BETTER THAN JULY THE FouRTH. Dees exmiesm fake comer at thi ee ax Nach a mate capatht e ey Ger ede Nrecrmes \ilucted? seg game PUL JO MOPS pwg POUBNL AEE TY HOR ADK “AE OMIRRE Can You imagwwe maar ? implique douze sons. Ceux-ci encouragent des préoccupations formelles newes, rejetont Vomorphisme comme le CANeVAS. Claude Ballif. Bict Henpricks, The Friday Book of White NoiseDome A Buster oF Lemans In a NERTHER Eoees WW wiwrer, Dume A CARLOMD OF HENFICAL Foweer INR Woors wows. (on Lave frorvian ) og 7 Ely i kite fr) a labeder elds ade £ iin fiona | fen, wine gk eed | Georr Henpricks, The Friday Book of White Noise ‘seus qunan sor 0 woo pone “PeaseThis notation appears as seen from an airplane, sewdecs om 20 vowed fa penta EL RECORRIDO JAPONES AI HiaLeo aig se wane earoanes Usond isesiup. Inv the: : ROMA 263 scale of the images, one would be listening, HACER HACER a hundred feet above — the staves become ° HACER roadways, with pianos and strings marking blocks cat CURLQUIER OBJETO and intersections. My activity. { cosa” UN RECORRIDO CUALQDIERA DE DURACION INDETERMIMADA ° D ADETERMMNAR PARA CADA EJECICION ‘The easiest way to notate an action: describe it simply. No symbols are necessary since Delawre DE ww PulpLico Si AS SE _DESER Happenings generally have different actions. OCULTA ‘Those for Self-Service were culled from lists 0 \ of situations observed, imagined or derived by chance matods from the “Yellow Pages” dw Yon * wl sito oie yn on P rf ey directory. The final program was orronged partly by preference, chance, and practical limitations, Allan Kaprow. Je crois aux borheurs doxpesion Jee ls provoave iomeis artificiellement. Mais je sais que JAN Hipatao, El Recorrido Japonés“prodaos 2m) Jo OEE PE LiJareN A. HILLER, A Triptych for Hieronymus (1965-66) Je crois que la musique,fresh he = et Hu anes rsogiog siea “4 “9 59 961 O weBISHO nial EPEAT Aud REPEAT, WoT TobET HER COnRIGHT, Nk, By C.F PETER? Come Moduge i é : a i ‘comme tout Art, est essentiellement signification d'un etat expressif. Mais surtout je suis oiseau, je ne suis pas ornithologue. { ALAN Hovuaness, Orbit No. 3Ud by perminion of B. Sets Sone an Kare Husa, Mosaiques pour OrchestreScort Huston, Penta-Tholos Oh a rad “pandas a Jo wopeEZRS 6a ToaTost Icnyanact, The Field (1966)Copyieht © 1965 Oy C. F. Petes Corporation, 373 Pate Ave. Sout, New York, N-Y. 1016, All ht ested, Prat by permiion of. F. Peters Corporation, = Leto ANDREW IMBRIE, Psalm 42QE Dreo Ons Come ‘CHARLES Ives, blank song paper‘ncn Fag loves ncn Jamie? vig PO TERRY JENNINGS, Plano (1960) ‘oroduns ou 0 wos pom‘Printed by permason of the compos Bop: et Kossow is a friend of mine, Who resembles Eisenstein: ‘Has a Beard, Looks real fine, ‘That is why I wrote this rhyme. Boop, bip bip Boop, bip bip. Yeah! Ken Friedman. { Ray Jounson, Upim Labo (1964)= ao ia a SSS Ben Jounston, Knocking Piece swontpt somsepog/mednay 4a L96t © RNA, ona pma/stn8s0 30 VEEN 1a on “PRE HEBersy Joas, Moter IT (1965) =F By hes On 68 SE Jaques——Las, jay perdu ‘mon espincel_— Vide disappeored from the records leaving the contratenor parts blank. Vide (F.), Vide (L.), ide. connote differently. Conjecture freely, but Notation is symbolism no matter what. Kenneth Gaburo. Twas very glad to hear that New York is getting to be more and more busy ploce. | hope you have recovered from exhaustingAworé Jouiver, Aria II from Suite Rhapsodique schedules of trip after trip. Chance operation is getting more popular here after you left.soneduos OW Jo wom Pom Ailegbe ma nor troppo 1298 Fl Ona Bu = che en Four || pone joe P (eon suena) Solo Poe VYrelins fea | ! nate Dr Vt WES yola Celle Bus = { I'm not in position to give you any example of my work at all, ‘Cuartes Jones, Concerto for Four Violins and Orchestra (1963) for, to be exact, the Spirit in which | work | / / ' |implies systematic rejection of all notation of all crirythmes (improvisation of phonetic poetry). | wont to point OUt, Moreover, that notation could not come about except a posteriori and, because of this fact, loses in my eyes odes 99 Jo oH PAL all significance. Froncois Dufréne. { I'm interested in gradations beeen speech and song and the things folk ond jazz singers do. Willid Meters, Jor JONES, Five Pieces for Piano From grapes to grass?‘ated by peralaon of te compose. Question of taste. 4 accellerando van UF Mauricio KaGEL, Alle Rechte Vorbehalten (1965) Aer indo non rallentare poco meno (attacea) <= none prSELFSERVICE eqn by dah “my <= smd 2m wojmased Sa pm q Aloe wadecat. hers! The Ie popond ot 9 kway 12 atl rie sy ha! he Suasid ont it ALLAN Kaprow, Self-Service (1966)Uno KaseMers, Timepiece jor a Solo Performer (1964)revered, Printed by permision of C.F, Peterm, Frankfurt MILKo KELEMEN, Composé, Part 1 (1966Trae Devnnanhinge 1969 VR bene ed Bes Orel Arhe Ketone MGPrinted by permision of Me. Jack Kibatck. JACK FREDERICK KILPATRICK, Overture to The Bell and the Plow (1953)FT hagas atti It kent orl oe mete aay Leon KincHNeR, sketch for Piano Concerto #2 (1961-62) oy sngmnang sonny PSH LE HAELAOD{Conyieh ©) 1966 by Jantied Mic. Al sighs reese, Printed ty perme of Janied Muse onal playmg of prendamh Toe IS Oe crrament sake 17 Played here, Emerge GroRGE KLEINSINGER, Lament and Jig for Brendan BehanBengt af Klintberg Orangerimusik 1963 Teeter AN Ban ‘ _ ~ wa PWBYSLS AIG SV WH IWVYEY ee A A ata Pe ALA A A | wenee (NE CH A TEAC UME RE UCU pe lee ee Be Gl ee Merl mise) BENGT AF KLINTBERG, Orangerimusik (1963)rated by permission ofthe composer, ceuk ubecta,Ostaszi,0bvr8iFs opRazy / obraz ~ aint, obros v Cuse © prostoru, obres v akel. Neodeyslitelnou souddst{ Je Elovik © Jeho proettedt /. ower novododjch techiieuych prostyedkd (1etudel, evtloceti, radard, vybutnin, burewjeh plyud, uxtlé futy sorgény o snoha delfteh, ke konerétniz At j*z ce vatchusfefeh, viet) bude zak= ivizovin prostor ¥, pod, ned celjai atety u vdtuatal. Tyto obrovaké 01: ACY nebudou pheobit jen Jecnoznacnt, vidow somoztese: obohaceny 0 specifiku cfoty veuetntiu s to Je tod ho wyurivat k 26utrn? Zotvofenésu lok Infsu “obrozu”, t vlevint ste v nfknout tlotee obr:2d - dojo, nesenjeh ojolee= nou ideou, vle osinucenjeh 0 loxdint presttedd # ta 4 biinzs stostniksa. MILAN KNiZax, Aktudlni UméniReproduced by permision of Edition Tonos, Darmstadt, Germany. GorTrRiED Micnart KOENIG, Wind Quinter sketchRupor Komorous, Chanson saree 9a) 39 HopeEntiendo a creacién musical como un acto Itidico. la exageracién de nuestro valor, el concepto equivocado que nos formamos de la trascendencia Frat by perminlon of the comocter de nuestra obra, nos leva a considerarla como algo adornado de una seriedad que, en Altima instancio, conidero obsolviomene fcticia. ARTHER KAPPA + BUY Zo cig Virgilio F. H. Tosco. ~~ a el thts, — rill oe aqartes — dectrry then ARTHUR K@PCKE, Cigarette Piece — First Version (1962)Tender Music Tip over some objec Tip back Some object Slowit «some object slant back some ebjech Tip aver The slowted object” Slat the tipped object7 x ne Ree The performer performs These Six wondpalatiog «He con mabe use of any” number of objects , moving thes in any direction, Wat always Reep his ‘dittance” oom Thema Aug (168 Fathose { Eighty years ago ‘medion 99) Jo WSN ke PoE Janaéek notated not only cal’s of birds but deren intononons in the speech of Moravien people and he twas laughed at. Taxenisa Kosuai, Tender Music Karel Husa.[er i oe a WOM A Paes oF eosin S84 FoR HEBeA™ DY PETR kari, we COMER w THE HARE AA GE THIS NRT ISTINE ETE wi Perer Kori, 5*—1 for Merce oO ey aise ee eu tke Paty batikS10K WON “woneantng opORE AUBRE"E PHEADAL 6a Staoy Senne NMHC “70 Oj fa oN “OUI Ernst KRENEK, The Flea (1960)The writing is obviously beautiful, but one isn’t sure off-hand what notes were written. Pant by permision ofthe composer Puitip Krumo, Sax/Piano/Tape‘Added information? Probability? The art of reading becomes science of reducing the number of possibilities. | hove just been appointed professer of composition tthe School, FREDRIC LIEBERMAN, Ternary Sysiems (1965) “andoo 90 30 wd 6g pomiets reterved, Printed by permisoa of Heary i z ‘and sO there is greot excitement around here EE bot ft. efi ter TER SIA ST py aay fein > dl pea, Gybrey Licent, Volumina (1961)Proms Ween 8 cera heen ee Srution, hassintiee Sol pet nS shade w vedo Ente ene Snwet Soest enna fe Sus dpe inns, Sein opie onan Sn 9 pies Beate etc dae! z enue ot Si oo sen eer epee gen a Baers anid d Bal hppa ee oe pee dS eee fe or ON 79 worming £4 psu ae So hc wd an Eo oo se § Senin 2 a, ea Sea eel abd oe Eads ad kv Fee gran /s kp dead ow nn oy op x s arian for nt ee Roh Chee as dp anit Noo le No wih pocking and finishing up my teaching load etc. 1919 polvionol music (1 St. Qt) performed Berlin — 1919 during Dada Ziirich, Café Odéon discussions Nott. Luinos, PiramisVisual Music to see, not hear; came across Rorschach Zirch, also James Joyce, Chicago 1922 studied Yoga, wrote aleatoric movement for Trio Voice Flute Violin. {| dasein-bezug, zeit-zitat, aber radikal transzendiert und jedes element der notation ist kommutativ — jedoch: eine zg apposition verdiinnt das anstreben einer tautologie, ist: kontradiktion in sich, degeneration. Arthur Kgapcke. Avestis Looornents, Ichnologia“Primordial importance.” No moment without pain. The music paper CUD SN ATEN EUAWET ERGATA Y BY IED TE AAY TU AOE EAE LAE LUIS PAT IDEA TSE APSA UT EES aH EG TAT Et ESR AAS Ses nt ecertee Suna aha thar a Pane Berk Zhe ALvin Lucter, Action Music for Piano, Book 1 (1962) suffers too. A neat copy. Rewriting an entire Bach fugue from memory after having studied the fugue, trying to understand it by finding the logic of Bach. He then timed himself .. . ‘as a sport: Jan. 548 (After study of complete £ min I) 31 min! 3 petits erreurs! at x. mdo> 9a 39 wot 5a DoiOrto LUENING, Rorschach Symphonic Sonata Prat by perminon of the connotessD “HHA w0N JO Wop 45 paNUE “PoUBEL AE HV “OWRD EBA HOHE Ja TIED Wrroip Lurostawskt, Jewx Vénitienswi ve al OVI KY MOT | Mat Ad IZL mt incl lq wi YG ATV) LES = SO Ses SE e he Lin ev ny CIV Lit Al WA JACKSON Mac Low, Hare Krsna Gatha 3 (In Memoriam: A, J. Muste) (1961)J... « another piece, Septet (any players), with a conductor who has a part, like the player's, with cues and coordinations from the players for his conducting. Christian Wolff. { A perfect notation is not one which documents exactly. If it were, today’s technology would finally have provided the ideal notation — a tape recording or film of a correct performance. Notaton is lively whan i calls for @ temporal resut that can only be hinted at by its spatial symbols, requiring more than an automaton to bring it to ite. Dovid Behrmon, Edun gy | ih Gena ND yer Witiam R. Macinnas Jr., Extention No. 1 somadaos 930 pend ky portPrinted by permission of RARE sqpTOGLe nape Ap mee ape HO! EaceqnqunGe ye eugene F yerone, NEaMGunng,seK, prone, ree rerre, coneapsiexe, eq98q Given aeranclaehs WALTER Maxcuerni, Madrigale d’Autunnoiu Printed by seemiion ofthe compos, Mil Tomas Manco, Si‘Notation is telling time. Signs move forward like numbers, repeating themselves, but information is olways new. Ndi tlinos. {| Whatever music con be made with notation cannot be made without it, and vice verso Richard Winslow.‘Pot by permison of the compote. The souvenirs surely can not be disappeared whole in my life. { I work with all I possess of consciousness and unconsciousness, but | cannot control the outcome. What have ‘I made? ‘One brief moment, perhaps, but ist incontrovertibly real? Iso, struggleis repaid. Miriam Gideon. M. LourDES Martins, untitled compositioncr ee Te a i 7 : ee : Te el ee fT Sou (© Copmig 1967 by MCA MUSIC a division of MCA Inc. Used ty Permission, All Rabi Reserve. SALVATORE Martirano, Underworld1 do your contribution to this certain theme: choose your text and try to find it again fi, in optical matters as: pictures, landscapes, photographs, views, still lives — as you take f.i. the first letter of: com ditions, situations, colors, objects, of the chosen above put letters together to the text of your contribution Arthur Kapcke. ‘Printed by permision of the composer eke shoes 2383 Max MatHEWs, Pergolesi DevelopmentDob-S19h7 Dream "Tou HILL." (Weth exoeptionally beentifu}, musteal tints (2 seo, pause) "I am going to mind the rainbow." (In voice like Pegay Lee.) (2 seo. pause) "me I. (Prequeney linited like mall, = Tinokoer, as 4f ext off before fintardng,) ul./ ey PSt An unique copy. The omission of all that one’s familiar with (compare conversation among old friends). Varying the symbols, the meaning changes. { 11 is tragic to see young talents who have not yet found their own voices seduced by newspaper print and applause. let them be patient, Finding oneself in arts a lifetime possession Miriam Gideon RICHARD MaxFiELD, Dream seaues oo wopesed bg poiFrised by permission ofthe compose. ost 1207 Sketch fon Sound Block One oom: “Mosic of Mountains” wer walter MayS Actions to stir reactions in the audience ... take instrument apart, ull tube out of slide... vocuum smack" *vokwum schnalziout.” Even pulses... peaceful and on to maximum intensity. {| An end of opposition between electronic and concrete music! WALTER Mays, sketch for sound block one from Music of Mountains (1967)Electronic music, performed, has a concrete aspec. Furthermore, « purely electronic piece, if it lacks imperfections, is an instance of concrete unreality. Rainer Riehn. {| “The Condemned Playground” refers to Cyril Connelly’s concept of Artas Man's attempt to salvage from destruction Imagination — the “unbreakable toys of the mind”. The poems in my song cycle of this title extend this concept of ultimate destruction to Wisdom, Love, lite Miron Gideon. Mises for right reasons. 1 Music és perhaps only that fragile moment when the brain is singing. George Crumb. One could perhaps speak of a kind of “variation on a tone‘ {Now structure is essential and imaginary. It will not be brought into existence other than through the public act. Nor must the ambiguity of his actions deter the actor. Aylmer Gladdys. Toso Mayuzunt, example of Chinese chessEity ue “ seetly Meeks Badacctice Nmap ea Georce McKay, Marriage on the Eiffel Tower Prat by persion ofthe composerTeokn' co delarls, Cel 1" Pine i i i : F a J a = = : = = g £ Couin McPuee, worksheet { Contemporary music demands a more graphic system of notation. It is somewhat ludicrous that a quarter note, to be played pianissimo, is exactly the same size and shape as one to be played fortissimo. Harry Freedman. Thank you. These two isles ar@ TO be GNnounced by the cello or the piono in stretching Out a hand to the other partner. { The ultimate in imprecision: to drow a pretty picture and ask for its realization in musical terms — ranslation from one art to another — . . . on exercise, a skill that has not been invented — . .. ike osking someone to ump out of the window and fly, a skill that has not been invented either. Lukas Foss. Dead spot. {... Parameters specifying each sound .... are punched ona computer card. At least fice numbers — ihe instrument tobe played, the starting time, duration, frequency, and amplitude — are necessary to specify @ single note. Max Mathews.erm ay ft {.... role of notation... WILFrip MELLERS, Love Story sketchto change the noun “music” into the verb “music”. Tohru Takemitsu. ARNE MELLNAs, untitled sketches ‘rednos 9 Jo won 69 POIPent by permison of the composer, Violi | QUARTET DE CATROC Saya any in) No key signature. Instead, each repeated note is given an accidental. What's written’s a record of a place where he himself was. No special sounds. Nor even @ signature, A rubber stomp, { Composers would do well to remember that notation 's not the end but rather the significont means 10 the end. Gordner Read, Jose MARIA MESTRES-QuaDRENY, Quartet de Catroe (1962){KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK José E, Cortes. Gertaup MEYER-DENCKMAN, Aktionen-Reaktionen (1966)Z 3 = 4 Vocalise (1928) food) ‘61 Wao “oqmIGNA DoE HOGNO “AT sIRE—pHOGOHAIES 05 SLID ® INGHT ASNOHATY 7° voy Aseedacs 90 70 wayne’ ke pea ILHAN MIMAROGLU, Toccata IPrinted wit the petmison of Universal elton, Viena, Violence. Half-noted decisions, ak thm ve FRaNcis MIROGLIO, Phases pour un flutistethumb-print, seribblings, erasures, form a painterly page that pleases the eye. No time for deciding which side’s up. Interpretation. Sketch for a skeleton. Crosshatching is discarded bones. 4 {i : al i {I pee e —=S5 GrorGe Montana, 4PTPCey ete te of fe Ct, JV Taha She forwiend 9 Fahad bar fran Bayan Brag . a4 { People think that musical notation isthe ‘musical sound. People think that "Shed by Duran of Chobe Cine l : i Chappel RUS ns. Ny Von Ras Geaer SPB a ta i I 4 i i : ie 4 Doucias Moore, sketch for the Bryan scene in Act If of The Ballad of Baby Doemusical notation has nothing to do with the musical sound. All right. Tomés Marco. SKETCH RR A Trad one-act orera Printed by perms of the compose. ROBERT MonAN Su Rowert Moran, Sketch jor a Tragic One-Act Opera (1965)41... communicate « . . not only statistics but... shades of meaning ... @xpressive intentions from one person to another .. . although, as in love letters, cannot be completely successtul ... Ingolf Dahl. {1 The colors were very important in my Mosaiques, but much more exciting wos assembling the small stones of notes into the live pictures. Karel Husa. tty permiton of AB Nordiska Mustela. 5 JAN W, MORTHENSON, Some of These (1963)RICHARD MorYL, sketches from Variables No. 3| | { Whereas Gagaku completely ignores its ancient written partbooks. Gorvox Mumma, MesaaS SN J Uossuind 4 pnuudDy SUT 50H SN $961 @ WEEKS FREDERICK Myrow, Music ILPrinted by permiaon of tv compover Past actions. A geometry of influences: three other composers; a page in a book; a question answered by laughter:conventional notations of loudness, Changes in loudness: lines and points within a triangular area; “Pluck string”. No procedure indicated. (Proceed with care if using chart.) Electronic music. Sound-source, described verbally has builtin pitch and timbre, leaves vertical dimension of page free for something else: loudness. “Spatial notation” (one centimetre equals one second) “Performances by pwierence not prepared but improvised” A clear kind of longhand like that around the CoNLON NaNcARRow, unidentified player-piano-roll composition“2 snag spose 79 oem £9 peg ‘PADEN REBHE HY “9D smMNG SOpOMEL KE 96H @ ree ceilings of mosques in Istanbul. Five different ways of playing an oboe. Isaac Nemirorr, Violin Sonata #2MAX-FEED“| mix chance and choice somewhat scandalously.”” Pas 0 Biche Patt ena "|GET cima cas tccane sakes Ragents Pome nore paocaver sa Mire Taek Pe Fe io lease fa] 1 > sae Raa rae a me maT a Re am = : er Se j= PAULINE OLIVEROS, Pieces of EightPrinted by rermison ofthe composer Beat fee Listen th a heat beat, by Yoke 6 a the Tapt2e Teste, ew Yo ey On a Lantern htime. It is not light yet: you still have time. ‘You can light the lantern if you want, Illuminate the way before you. Place your hand in front of the light. Toke yourhond away ond put it in your pocket. Wait. Wait. Extinguish. —— Erik Satie George Brecht. {| Notation is « primitive guice to music. The unimaginative are slaves to it, others see behind it. Norman Dello Joio. ¥ Yoo ONO, from 9 Concert Pieces for John Cagei ee ee i eo] ¢ My i atl fe Y eae = if , —f al Ir - | oh LA | 2 One hundred fifty years ago, Western musical writing ocquired such fexibility, such precision that Music was permitted to become the only true international language. Moreover, it hos such plasticity tor on eye. Hans Orre, Alpha Omega sn 19 0/9 men oT Amen Aa RED, SuOR aon “ones “say med Amour sme 70 copied 4 prog “penne SHE HY “91001 KNonly slightly practiced it's not only the perfectly expressive graphic image of Music: it's its luminous symbol. André Jolivet. Many men (an orchestra divided acess oo bord a in three groups) conducted by one or two (according Z to which version’s used), the notes they play written in pencil. What the director(s) do, producing differences of tempi and loudness, driving from reason to madness, is written in colors: purple, etc. Notes on a three-dimensional armature. {| Pro.logos. egomena around facts, Naskmuch as contributes sosseyes played an active part in the musical scorES/not-action. First part:A travel beattween a conception ‘semiologique’ du monde et 'imaginaire que ‘neant’ d(r)a(r)win.ed in flesh-colda language, to unmask its nature and its devel.op.ment. Gianni-Emilio Simonetti. Haney Parton, And on the Seventh Day Petals Fell on Petaluma15 shecTs popes per patinmes appar imali sine of ouble page rewspabes ; guelily earicd — newepager , Tissee paper, lighl cand bound | caloved , printed ov pl cin 3 Pabe bags per pester fal a Betveen eG minutes and 10 minutes Printed by petition ofthe composer | | a genera) signal Seem a ahainwan will begin Be prese ; eiDhisy Te Fillowing 20 deomds each pervosmes enfiys aFruill, Te prece ends when he paps suf i exhousTed | 2 shedls of popes will be pestismed. “shake” “Break”. apposite edges of Te thee ave grashed finn hy and hap Josked «fast "Ten? — each ly be veluced Te patticles les¢ Tuan Yn Te eree. of Ye whole sheet. Fbprex. J minute pes sheet S shee ot paper will be pestosmed Camp” "Rample” “Bumple’ ~ te shechat paper is bumped Toseley belvten Ye hands feat & Le pos shoal BENJAMIN PATTERSON, 3 sheet ot paper will be pestinmned Paper Piece “De paper & Towited Tighlf aati! « squecding sound 15 produced Tippee» 30 seconde per sheet 9 Bags will be pestormed Pooh” = inflate. wilh mould ppl . Dynamics should be inprovised wiMin Ne matin] bordes s of The php of Xe “Twiel” and De FEE" oF he Ppl“nnea tots so wos ca peat ee: - = { When you blip look for a blip, good or bloop Blat of Notations, keep your eyes open and blip boop On whatever bloop blips them. That|is how one becomes AVery Blip Bleep Bloop Boppa Zoooopa, and: To you:: Verily, The Truth! Ken Friedman HawsyOno Pautt and RoLF LIEBERMANN, Symphonie Les Echangesleventh Cano Sanat yk a yd x it] All sights rere. Ponte by permlaion of ka-Vasel Co Ie . Phiadteia, We Fdewnisiiisno HEN. WIth tg X, CCoprigh © 1966 by kan-Voesl Co, Tn. VINCENT PERSICHETTI, Eleventh Piano Sonata (1965)Jone Ylrr, bye mefeformer. Le oforunbive'elitionie muerte (ane, uration) aitn ong Od parlible cor poe — athe tw. Ontoroad ‘éyedt Digits toda , : me ieee et — RAT regi . Ineatrical pS i laa Rome Z. 6 Jobim buply, ten Phetepace, JON PHETTEPLACE, Gina GiraPunt by permison of the compote, ere i Vere as Set eP ea A performer. . . . Evolution of notation indicates a tendency to moke creation or... production constantly more complex and important . . . to make . . . its performance or reproduction constantly more mechanical. { Things to do— Develop ways of notating sound with the least word explanation. Henri Poussevr, Trios/Pivots from Réponsrr A inet _* Im Hansen, Socktolm AR, All sights ceserved. Printed by permission of Editon Wielm Hanke, Gb Rub Cont © $964 by Baition Foxe Rae and Jan Bark; sketch for Bolos for 4 Trombones (1963) Make shapes that speak for themselves. Use numbers, letters, lines, signs, directions, colors, to tell the eye what the ear will hear. Understand space. Use its extents and qualities for communication. Design scores that the audience can see too. Néel Liinos. [emii ® thea fo Yo Qaela-de | Bil,licde Ball - Gene and FRANCESCA RASKIN, 47 Linda Bell lube Bo Yor (lie ny tHe | ye de... T tml 7 7 ¢ canta ad att tatabea'D |G ey traloete [fig Be -.. i‘ameauos omy 30 won a peg { Basic to any musical interpretation which sent : 7 - a is worthwhile there is respect for the text; : thus: scrupulous faith fulness to the rules of = 1h , ear training which were presiding when the tox wos writt@N. André Jolivet. Generosity. { This is what I mean by “the medium”: that incompre= hensible physical fact. i === = Technique Morton Feldman. Wednesday 9 April ‘84 My dear Henriette, Perhaps _ it’s my good luck — if not Sappho’s — that K. was sick and isn’t singing tonight; otherwise I’d have had sagen 40 treat my sore throat at the Opera. ha = = x ae Tve no doubt that that was caused .. + | live in a much too small country. EE (isc EGA Seabee Saas Pa, Ganpner Reap, Jeux des Timbres, Opus IILTam changed considerably since we met. When did this occur? 1946, °47,"48, or later? . . . (Did YoU relly like that music? never understood.) ..,Thope.... Fixed on paper or retained in the memory, music exists already prior to its actual performance. . «the idea of original and retrogression. { BIRD-FOOT IN SNOW CHIP-SOUND IN BLACK INTRAVOLATURA PHANTOM IN MARBLE Jack Glick.1 Don’t make images: Create meaningful rituals. Don't construct time: Interpret the moment. Don't occupy space: Identify with it. Don't play possibilities: Do the necessary. Don’t command obedience: Welcome the intruder. Don’t wear masks: Rejoice in nakedness. Don’ forge ecstasy: Return to zero. Don't practice magic: Be automatic; Be nothing. Make music with whatever means are available. Frederic Riewski.(Cony © 1965 by C.F Peters Corporation, 373 Park Ave, South, New York, N.Y; 1006, Atl Habis reserved. Pited by perminsion of C. F. Pete Corporation Wap hy qe wk Makes 25 Mae Fle reiot) Davin Rec, Number 2, Male/Female| Everywhere these days the mind of the poet and the public mind confront each other.The sun comes cracking down, and the mind of the poet finds meaning in the public mind, The wind blows, and the public mind finds structure in the mind of the poet. Snow is all over the place. Both are wrong. The mud is greener than the grass. Aylmer Glodéys. A plon for the distribution of time-values. Nine against eight against seven. Continuous activity up and over, down under,PIANO PHASE Pao Paws sins ade np in wa shee th sue eee i to aly and geo ale ce ae aan te i ata te a 9 aT iad ie aS sradual uocmeat af the secand plant aad she camseuent slit of pase teltinn betes GinslF aud the Flot plaaist This ee se Lae lait tly a esl ted fle gc) and of et De ce a ad a ak a cE las get wy Eth it owe A palm ey fd have the stable or paving tole and these be. resused i¢ the proces is payed tt ete tle £8 en ely fede top aad rab te ale last Fram ce Sane EL icgel Take tse he Rae pe adn cae didi oa ote eb ana BOSE. Tce CE LE abe sabe) ate heey sind be reste and puns shod afeug 1 He seal od cation sein, ae time th dati (ner “igttinal” relatives Tis is cua preqeas Powe fi (et Sreve Reict, Piano Phasefot by permisioa of C.F, Petes Cornoration 5 é 2 i e Roser ReyNoLps, from Quick Are the Months of Earth 33 WORDS YOU 33 me words 33 be words 33 WORDS forever 33 words now 33 love words 33 love, love, love 33 33 33 33 a7 Robert Watts.gw 3 aharsa ie 4 2 4 4545 5 4 WZ eek ca 1 SeEesSLbak es ead aud bale e a as asasa 3 Saas 4 3333 Joser ANTON Riepi, Komposition Nr.2 (1963-65) illecible handwriting means se { September ’67. Just as fies ‘manners, so slovenly musical ealligraphy si + Heamed more in 6 months 0 @ professional copyist than during 4 years at the conservatory. Ned Rorem. { . . . was happy to see the barlines go. a disordered composer. «“our ‘suagsnana ss poeoesy S961 @ IRKSOD WALLINGFORD RIEGGER, from Concerto for Piano and Woodwind Quintet, Opus 53a alice. Hh ep ie oh . Pe Hee a Sle rt sat lbs ale —Then I missed them. . . . But when 1 put them back, .. . they looked almost self-conscious. Pia $. Gilbert. RAINER RIEHN, sketches from Chants de Maldoror (1966){| Intense continuous attention, Audible organization. Steve Reich. Oct. 12 I’ve no idea who has Revueltas’ manuscripts. Best regards, Feb. 24 Thanks for the sheet of reviews. Best regords, June 14 Sorry you didn’t get to Mexico. Regards, Print by permison of the soto, { Untitled (1965) is o collection of six graphics tht ought to be performed simultaneously. They estoblsh the plon plane (in six dimensions) of a work of theatrical music, and assist the creation of the result/outcome. — They ambiguously propose /present actions with noise and theatrical actions (displacements) within a certain combinational order. Music jis movement here; dynamic order between the voice and the visual. Horacio Vaggione. ‘TeRRy RILEY, “Untitled Organ” from Keyboard Studies—— cept eel EP ay a ate Frepenic RJEWSkI, Piece With Projectors and Photocell-Mixer (1966) {I recognize of the notation as the same sort of phenomenon as the growth of a constellation or a plant. There, important is changes that is not perceived directly visually. Tohru Takemitsu.CConriht © 1967 by Toodore Preset Coy BM Mawr, PA All rights rterved, Printed by permiton of Theodore Presser Co, Dotted and undotted slurs: notes grouped together differently, Sounds Grorce Rocuserc, Nach Bach (1966)- fey Popes tse 40 a pie Ned Rowe 7 eS Cie aude 8] me = Nep RoreM, My Papa's Waltz ‘sors seauoyt yo wousnuoé 4a pau “POUDE SE UY “BIOOF “ACN "WOK SON “NOG BAY BEG KLE “SHE AE AOA 4a 961 OWRD Used: 8 U — Square Wave Head Reverb — time 5 seconds. 8 L — Square Wove Head Reverb — | octave lower than 8 Ushony (No. 1) From the Old World (1966)Orchestral loops: people imitating machines. . . - then in these regions nobody cares for my work, which is not spectacular ond nevertheless —— I think not so “traditional” as some mighty people belonging to mighty pressure groups like to suppose ... The (work)... you heard was abandoned long ago to the flames. T hope to write you more fully as soon as I am less hurried.GARBAGE EVENT 2+ Page and chickens feed on the gn 2 in an 4r- hebited ares un 1 At 1s bare of grass, becoming hard eley in the sun and helf a quagmire if it rains 2 “arwage 18 sdded to the area, Where the on vironment is tropical, fronds from palms are "planted" indiseriminetely throughout it, Putrid coconut shells, rotting tanboo cast aside by housebuilders, @12 kinds of rubbish too hard for the pigs to cat, 119 scattered profusely everywhere, 3+ Tas participants defend the '. andoned beauty" and "toun-quality" of 1¢ #11 ageinet all oritios, Sample defens! Gritie, This place ts dirty, Answer. It is filthy. Critic: Why don't you clean it up? Answer, We like it the way it 1s” Critic. Garbage is unhecithy. Answer, The pigs feed better in 4t, Gritic? It heads mosquitoes, Answer. There are nore mosquitoes in a junglé popes Jenome ROTHENBERG, Garbage Event Josedues 24) Jo somsnUIN! a PEEvocarron Nea | ; CARL RUEGLES Cover P = | Cart Ruaates, Layout for Evocation No. 4 {| Music graphic (less than,,,more than notation) opened “purely cerebral” art, which doesn’t appeal to any sensory, emotional organs lears, eyes, heart, docryome) .... feichsm of idea (Duchamp, Cage, Brecht) - ultra-sonic symphony . . philorophical puzsle.. Xoorow's “self-service” happened i agerkars rohm: bercuyvug, bir text Clouband) , Jos GeRuarD RUHM, Beriihrung, Hértext (1965) mainly in immaterial imagination,,,like smell-amplifier (Higgins:1960),,,mooniess science-fiction . . plotless Christie. .. . Stanley Brouwn’s braineri ket. Aimez-vous FORTRAN- programming ?? Nam June Paik.Terry RusLine, Composition No. 5 rods 2830 yen £a poMictaet Sant, Repeats (1963) { sketches are ambiguous and not yet inhibited by contextual clarity .+++tich and endless . . . like the first rehearsal, before we all understand what it is we think we are doing, the real part is right at the beginningSBarepe CoM Tems Gat doth) Exic Ghana mie €e Re Eric SaLzman, Verses and Cantos Tey Cel «and end... it became necessary to un-notate «« (less is more(?)... trying to keep the life in...Canmenace \PHON/ Que. Onoinaine. (2 mernat) Ret ; Pr gare inion of nen LaFoe Sai Fin Enix Sante, Carrelage Phonique At a jon Boon lane mw 3a eovtat 3 aig to work at, and be in... good notation is what works. Earle brown. 1 Nototion’s ombiguities are its saving grace.Fundamentally, notation is a serviceable device for coping with imponderables. Precision is never of the essence in Creative work. Subliminal man ithe real creative boss) gots olong famously with material of such low definition, that any self-respecting computer would have to reject i a2 unprogrammable Roberto Gerhard. { Creative work defines itself. Therefore confront the work.‘tsodo> 2m 7 woNSRUIDE Aq pum "paUsEe see IY DEE a DIONE PE 6a BHAI Henri Savaver, Le CaméléopardRicHaRD Savior, from Musie for Chamber Orchestra (1966) “esincs om Yo wood 89 peoPierre Scuarrrer, L’Ewde aux sons animés (1958) There will always be critics eager to fashion opinions for the lazy and incapable . . . Printed by permisen of the composer andthe Groupe de Recherches Maiales, Part, France but what has that 10 do with enchantment? Bici Hendricks. . . . by yesterday's horrible rain which forbade my risking the Concordia soirée and made me regaliy spiteful... {1A sketch is a shorthand that helps the composer to keep in his sights the entirety of his imagination as he struggles to place details in a proper order. It isn’t music unt i's mode music. Ross Lee Finney. {fsomndacs 99 38 wo A Po 4 want to say you here depends on how the post treate ihe) Totter "thio tn Louse sohatt's fiat, pos tausio in homage to E'S PALE, the Snventor of the postauat®, in ite ovcone ealisa, Ben tomes Tomas Scumir, Postmusic in Homage to N. J. Paik (1963)visible music ll Solo Printed by persion ofthe composer Dierer Scunenet, Visible Music II‘Printed by permiaion of te composer CAROLE SCHNEEMANN, Snows, Sequence 4-7 (1967)Used by permision of Aascited Musle Publishers, Te, GUNTHER SCHULLER, Contrasts ww Wetrow pat Eve f Tee tek EBeg am Faves, Chere Elaeden Pao Kor Scuwerrstx, Strenger Engel soveducs om Jo won fa PaFOSILES (Musica para cL rium ve M. HANDLER) \"ge— uw [Bozo Pvls9 urdrono 5 —— age /\ Vl Fe 7 ai oy Rapa Suarey, Rituals “eames om Jo wos &q prsgGammmnyinon 2 aT a —— Consrruccion uN HomBRE PASO SU VIDA CONSTRUYENDO UNA MANSION PERFECTA QUE DEBER/A SOLUCIONAR TODOS LOS PROBLEMAS an DE LA HUMantap sw vivienoa \A CASA ELEVE SU TORRE POR ENCIMA DE TODOS LOS TEADOS DE LA CIUDAD, PERO NADIE LA HABITO JAMas. CUANDO EL HOMBRE MURIO, SU HIJO DERRIBO EL PRETENCIOSO EDIFICIO Y CONSTRUYG EN EL SOLAR UNAS INSTALACIONES DE “JUKE-BOX”. PENSARON QUE HABIA ENLOQUECIDO. Manuel Cortes. —... never dreamed — \'d stay captive at least two or three days Conrabo Siva, Fosiles (1965)Glan awe i JEM ip [SIMONE TTi.toer aeREx > : at risk of imprudence, Hope to make amends by embracing you soon. Fondly, C. Gounod. Giannt-Ewnio Simonerri, ANnalyse du vir.age (1967)Time Gangs #2 sects 9 29 wenn’ fa pePrinted by permison of the composer RoceR J. SMALLEY, The Leaden Echo and the Golden EchoTokye 66 F KE Gare (heats Guevtedi holes $ Pig Jerre eh res py unk ow Rtkep Pro flaete ae abe) (PMs Say fp dette Cece ) ty te Keheg pang Le 08h, far Ruska, + \tu wn A- + akke (vt) nsae sadly fp met Riga iter Gove Be md Ye hopin Emre 206 PA fac kek 6 (us Els Thon) | Moe pe Rypoutt et pore. oO] 0 © In the process all sorts of surprises have turned up (picture-poems, sound-poems, happenings, African chance- poems, drum-poems, etc): marvelous techniques and structures 10 catch-the- reat (r to be caught by it — I'm not sure that the distinction matters, KARLHEINZ STOCKHAUSEN, notes from Tokyo working-book (1967)FANEARE Jor o new Fhealre to ee ———— ed ao Moca Dedhe, v igea ia tie re Sean pe moe ino, 1 i : IGor STRAVINSKY, Fanfare (1964)(© Corrie for a counties, 1949, & W, Coser Lid, London B.C SOULIMA STRAVINSKY, from Sonata for Pianoforte (1946)Tve already lived uptown for ten years now. | hear from L. sometimes, answer of Course, ond then heor nothing. My mother now lives in Southern California and I keep planning to go out there, without much enthu- siasm, but now that I have a grant to ive on for awhile, will probably do so, and then hope tose 1 Anew sense of the ordering of elements: Not to pretend to catch in a work the whole of the sonorous event, but tO Accept the unavoidable percentage of indetermination and to propose an order, suitable to be applied to the suggested clements. Graciola Casillo. Here, the form stands out as twelve parts, Each part implicitly reveals the calculated tonal event, circumscribed in the move- ment by the context. This context, conceived quite apart from serial operations, is made physical by means of my ‘melctonot’ gomut. I've written in detail about this in my “Introduction to Metatonality” (1956). Separate parts RICHARD SWIFT, Summer Notes (1965) ‘odes 20 30 vores 6 praby pormiton of the composer. YUGI TAKAHASHI, Six Elements(piano and strings) come together. Their separateness has chonged to ambiguity. A single point will produce two sounds. Different sizes of notes. wh oben tp MF ame $F As for making ‘an exception to this rule just to be among those you've chosen, you'll understand by definition I cannot Short cuts. Toru Taxemitsu, from Sonant (1965) Two colors of ink. penton mn eee eraPrinted by permission ofthe comoosce SCHEMAPARTITUGR ook Helen: fy .KoeKyH™ {1 IF it isn’t there to see they can't play it, Performers as composers. Performers as performers. Performers as audiences. You can't tell the Process without an Analysis (you can’t tell the composer from the performer from the audience without Perspectives of New Music. Or without theatrics. Wow, look, mow, we've playing Chance Musicl) Performers as people with degrees in electronics. Barney Childs. SIMEON TEN Hor, from Kockyn, Een KermiskroniekJames TENNEY, String Complement (1964) oendaon 999 30 opened ka PoE{ [sometimes think: My scores should be written again, with a different notation nearer to my intentions, NEW HORIZONS DEMAND NEW DESCRIPTIONS. | feel fine, delivered, every time I discover new vital symbols. POSTERITY WILL JUDGE THE MUSIC, NOTATION AND ACHIEVEMENTs. I revolt at unjustifiable and obscure or complicated new notation. FASCINATION AT VISION? SELFPURPOSE? NECESSITY? Theodor Antoniou. f WW de-coll/age occurrences for millions 1959 happening for a TV station unrealised orders to participate for people at home verform or not perform actions in context with the set put earth between you and television set. Wolf Vostell.{ Dans Ia notation musicale tout est permis, méme s’en passer complétement d’elles On la trouve dans la vie méme. José E. Cortes. {1 My pieces seldom look unusual. I like notation to be transparent. It is how | tell a performer What | want him to do. In converting pitch and rhythm into infinite sets of proportional pitch and duration intervals, |extend the conventions of traditional notation only as far as I have to. Ben Johnston. Typescript. Signature. Correct spelling in Schoenberg's sense: each note is preceded by a sion, shop, fot, or nowwol. “I need all my manuseript materials for cor:ecting errors.” The usefulness of convention: What's Written’s Understondoble. I's absolutely cleor, Two in the time of one and one-third. Variations are cliches. “Deliberate collage- music effects.” “Everything from a siren to a set of tuned sheep-bells.” Take the music where the people are — television, playgrounds, supermarkets, street corners. Use their songs. Body of my beloved. Changing metre, Where it’s ‘a measure of five, dotted lines used to distinguish 3 + 2 from 2 + 3.Printed by peemision of te compose To simultaneously perceive several discontinuous structures os being one total syntactical manifestation is unique to our twentieth century. Thus, the development of the visual coordinate which is explicit in twentieth century music notation assumes its role in the evolutionary process, It is again the beginnin James Drew. NOTATION: To put down certain thoughts. Thoughtful performers put down certain notations certain historians thoughtfully notate put downs Put down composers notate thoushts with certainty noted critics certainly put down thought but, Lam not my brother's BY NOTATION: To put down certain thoughts. ALAN THOMAS, from Duo Concertante Kenneth Gaburo.= aa = a= — : \ \ ai oe) —t ra i On grok Shafh Chas (Spb bow") i Te Powe TT Bok Te Pre..s pls by Few Aa, erie “eempael by Vogt Thane ty 46 “peu a peu le chef 2 se décale le tempo du chef 1. Ga gagnent ‘un tempo personnel et indépendent.” “le chef 1 dirige les Boucles | et 2." “de plus en plus vite" “enchainer” “de plus en plus fort” “Boucle 3 dirigée par assistant chef et ...” Dynamic structure in green. ‘VirGiL THoMson, sketch for Blues in The Plow That Broke the Plains (1936) ox soy, oeENROG ‘sam MADD eyo WEEN a HOM “OL “HOHE UNON Ja 9G6t OCHO,Printed by permision ofthe compote Rhythmic structure in red. Any instruments: no cletsigns. Micuakt Tuorpe, from 9. Television SetsCOMPLESO NE 5 van erae ee Vincttio F. H. Tosco, Complejo No. 5 Silence more than sound‘Copyright © 1901 ty Hesmar Press Inc. 373 Pak Ave. Sout, New York, N.Y: 10016, All sight reterved, Pined by permsion of Heamar Pres In, and David Tudo, expresses sound's parameters (including parameters we've no! noticed). Davin Tupor, from Solo for Piano (Cage) for Indeterminacy (1958) Thoreau soid sounds aro bubbles on Silence's surface.They burst. It’s a question of how many bubbles silence has on it. Momentum is important in music. Familia: notation facilitates this, Odd notation can inhibit it. Jimmy Giuffre.1 56 words: the limitation defining the field of activity: gesture, articulation, relationships unfolding in time. but Ives, my violin playing, out-of-doors on Sheffield Field Day : horses neighing; cars passing; childern dencing in the streets; old fiddler stomping: performance. Notation as beginnings . rememberings gaspings intendings but the music, experienced, much more beyond the written word: soundings. Malcolm Goldstein.Dated measures. Situations that pose serious problems: paintings which are too large to go through the door or out the window of the studio; societies in which citizens are controlled from within — habits — and from without — power and profit structures; Horacio VAGGIONE, untitled composition (1964)the discussion of things that one has no way of experiencing (“...a fairly recent work «+» for everything but the kitchen sink . ..”). We speck abou music as little as possible. Verbal @splanation (Swedish, English) of pictograms. Treating horn, trombone, guitar, piano, 1 Re Yo SORA 4a pong ‘metal bucket, and Hammond organ os though they were percussion instruments (wood, marbles, heavy cylinder, bottle, wallpaper brush, weights, glass tubes). EDGARD Varese, untitled manuscript{I beliove in on intonation as just as I am capable of making it, in musical instruments on stage, . . . visually exciting .... dramatic lighting, ...;... musicians . . . total constituents of the moment, pethops half nated, ... in some Visual form that will remove them from. . . the pedestrian. Harry Parich. Music is unpublished. Notation is verbal: spreads by word-otmouth. {1 A unification of the graphic notation:to be used is, under these circumstances, unlikely, because the research to which composers are devoted points to a vast world of unknown possibilities. Graciela Costilo. 1 can siucture it — but can not make it comprehensible. And the deeper you go into it the clearer it becomes that our technical tools . . . Morton Feldman. {| Notated music is music only to the degree a blueprint is a building or a screenplay a motion picture. Ilhan Mimaroglu. { .. .can not any longer even structure it. They seem to me like devices belonging to the Stone Age. Morton Feldman, Wotr VosreLt, TV-Décollage — Ereignisse fiir Millionen (1959) smveucs om) J wo PeePrinted by permision of the compose ee ogid Willy Aate Uinee : Veajond Coast wb) qyid rudes Cod bo asbeh. pains for dvawing in Yon ; : o \ ab Tod FI Veet? Tabeniag SLommpiong oe \o Side oy Llobet. Evek fonck. 0g pace Ropent Warts, Banner for Outside (Yam Day)vomndeos 2 9 wopeRmin £9 pam t If it stays in your head nobody'll ever hear it. This may be the greatest benefit of our time. Bad charts, man, bad charts Teall sounds the same; it al sound, Sounds is sounds (Pigs is Pigs). If the score makes a pretty picture, ! it’s surely... i | Why, hell, it isn’t anything, t Bn Ha | it’s just one damn thing after another! Barney Childs. Nineteen Sixtyfour. Never lifting BEN WEBER, Dolmen4 i a 5 i i i 4 i 5 i i his eyes from the pavement, he collects ten pesetas a day. Performance: most of the time he Needs only a chair and a table. A satchel with ten safety-pins, a knife, an apple, a flashlight — his audience held for more thanan hour. Not free £0 U8€ everyting, he puts everything into whaiever he tses. ANTON WEBERN, untitled fragmentEconomy. {| When I see how sophisticatedly we compose today, by means of calculus, physics, and computer programming, | think how deprived wos Mozart. Imagine what he might've accomplished if he’d known all these trics! AoieH Welss, from Trio for Clarinet, Viola, CelloJoun H. Wxrtyey, Jurnal (sic) Begun July Ist ’47 Instead ho just wrote music. Poor soul. Michael Colgrass.Printed by permision of the compose. “Fike Ungerer Frank WIGGLEsworTH, To the Memory of Henry CowellPrinted by petmision ofthe compose. WHITE FoR GOVERNOR WALLACE 3 PeRFoRmERS 3 Rooks 3 Canvres PERFORMERS SIT DOWN AND READ SILENTLY , IN CANDLELIGHT . WHEN A PERFORMER DIscovERS THE WorD WHITE HE Glows ouT BIS CANDEE AND EXITS. PERFORMANCE EDS. WHEN THE STAGE IS IN DARKNESS, Enea sii W Rew FARIS 1963 EmMerr WILLIAMS, White for Governor WallaceRelationships: groups of notes imitating other notes. Relationships chosen are no longer wanted. Written quickly in ink (the pen went dry: black passed into greys pen was refilled: grey followed abruptly by black), pencil was used to cross out passages, shift their position in time, “one tone higher?” ete.Cason Melia ( Loehed. Redeant Jerslas ype tines, 6 tans reserved ited by permison of BhkanVoett Co. tne Ricarp Winstow, Creation Locked 5 2ee ee 4 RY ote) ae Curisttan WoLFF, from Trio IT (1961)Pinted by perminion of te compose, STEFAN Wore, Battlepiece (1947)0 Need Pag td Tellh Man fetid: Tar Obes. Crantes WuORINEN, Bicinium: Two Oboes (1966) aves 9 J0 NORRIS £9 PMPrat by permiaon 6 te compone. « PROGRAMME AEnACIS STOCHASTIC MUSIC 4 FAD CONSTANTS AND TARLES. INSTON 119) 3019155124129 sPRE1950} #SPNC12 0509 oNTC12 9 YSAMINU T7980) euQWARL 74501 o4AMTAL 7050) sMGHARLLD 950) ML 12 450) 68117 PesctnteTAcanerevtcut eMOOT eT} eZ] C0) #23181 +ALEALATEAMAKEI DY toy peter Thare-t rie ne CONTINUE FAD INPUT TADE SeitueCIETACL)oT216256) Bean INPUT tape SeLyealzyeryecaertetet ay BEART ENPGT Habe ev09 cts oat7 oka ok TROATEAINGTIAGGTISS CATE aeAI0eA704A1 74a a5eaF OPH EPS tet Teterestaizovoeavur e9cv0 deve BRIA 118 apceapunsoa tse oesset ENBUY TAPE 01129 (AM INGE 9d) ohAMANLT 4 SHBMINE TJ] eHBMARLT 2a) SPNUT aI os CONT TRUE, TeLaRSE von yse@5 1192 0 84 reteRre READ INDUT TAPE Set1 ot Ct eJ)eue1o¢TeD oe FonrAAe No d9 terecre vevee tu) ee continue een 8Re Soe Tero Daninittivetteny Bene rect isia1sue1s1 Yo1 wRLTe QUIPOT TASS etnoeaK Mr AMAR Teak Yannis XENAKIS, Stochastic Music xen xen xen xen KEN xem 6 Sua" Manigees onan? shined by ba Recue Magica Mae Sab Sulpice Panis 6. Abbe, SG nevssnney BUI" MERG oh bd fy Hermann Schanchen., Graveine Tein , Swi tranbamd (yal) aoe 111 like old notation. It makes pretty lamp shades and with little trouble I can whistle their tunes; the new makes pretty lamp shades too, but, well, somehow, whistle? Well I cannot, Frank Wigslesworh. 4 Nototion effects perlormers. itis good for some, bed for others. Frank Wigglesworth, { Musical notation is one of the most amazing pictureanguage inventions of the human animal. It didn’t come into being of a moment but is the result of centuries ot experimentation It has never been quite satisfactory for the composer's purposes and thereiore the experiment continues. Why is this process frowned upon today? Must we olone ignore the future? Ross Lee Finney. {| Those who can hear music only in the intentional compositions of man forget that aesthetic value lies not in the external object but in the responses of the beholder. Richard Maxfieia. | om melancholy.1 | feel it’s important that I keep the pen on the paper throughout each word — the pen sometimes. seems to be writing by being pulled by a magnet from underneath the paper. Jackson Mac Low. 4 When Francine heard my ‘Trona’ for the first time she said “it seems a bit too long” (she was wearing odd socks at the time). But how long a piece seems depends more on external circumstances than on its clock-length. we wanted to continue with the day out and not waste time listening to music. David Bedford. 1] (Seven Years Later ) “PAPER PIECE” has had a fortunate existence; Counties: performances, and so few conforming to the original definition. What has been traversed in exceeding definition? Only immaturity. the beovy of the original conception, breadth and adaptability, have survived the definition. BRAVOI Seek experience, not Patterson. Benjamin Patterson. {| Chance methods fixed distribution of actions in “SeltService”, by city and month.Preference and convenience governed Participants’ involvement thereafter. Allan Kaprow. that t et wither ths cowl Chal irepener ad hams eder yen is on ape teres aasocta conetonshon Preqa is Poqecc cla, Gennatling Rreqpendies are bepial e Yee, grime! Se tcicips ordi ete wile cml pa { te ke Yee um “Gt dhe xii § ooh pencies = yn Soarideed ae fein ET Cas an will apply % the secand amd succeeding qennatins As itis wit the dinion ofp Hoe Kel Ae Aedt Yhe characleridies x wawegerms as thay wight enish leper Woe akotect LA Monte Young, Vertical Hearing or Hearing in the Present Tense (1967) snes sms S6N0R 2HORE ET 96D HRC : : i i i iCOSMOS HAPTIC ‘Print by permision ofthe compar, Jost Yuasa, Cosmos Haptic4 Standardized notation affords the player a measure of time which can be directed toward more complete ‘expression and flow. ht would be regrettable to have these qualities sacrificed for criginality or intellectuality. Jimmy Giufire. Genp Zacuer, Methode zur Notierung ‘amonce om 7 vORMRILEG 4a PUREWorks in the ArchiveMurray Anas *Rondino jor Nine Insiruments (1961) One page, 26em x 36.3em Ink on vellum, ‘Samvet ADLER “Southwestern Sketches (1962) Fifty pages, 28em x 38.2em Ink on transparent master sheets Huou Arran Sketches for Cantata IV Two pages 27em x 33.8em, pencil on ‘music paper ‘Two pages 24em x 31.dem, pencil on ‘music paper One page 27.9em x 21.Sem, pencil on paper Guseer Amy "Aniphonies (1963-64) Four pages 32cm x adem ‘Three pages 37cm x 55.5em Ink and colored crayon on music paper Enc ANDERSEN 1 Have Confidence in You (1965) One page, 30.Sem x 9.5em Black letters and type on acetate Davi ANorEw: From String Music No. 1 ‘Two pages, 28em x 38.Sem (overall) Ink on transparent master sheets Henorik ANORIESSEN *Quatuor & Cordes ‘One page, 28.8em x 21.2 em Pencil on musie paper Louis ANDRIESSEN °44 Flower Song Il for Oboe Solo One page, 24.Scm x 32cm Ink on music paper All works listed below are original manuscripts. They are part of an archive which also includes a large collection of letters from composers. An asterisk preceding a title indicates the work which ts illustrated in this book. Istvan ANHALT “Sketch from Symphony of Modules One page, 33em x 50.Sem Collage, ink on paper Turovor ANTONIOU °Kinesis ‘One page, 23em x 31.26m, Ink on music paper Roveer Asmey STrios (1963) ‘Two pages, 21.5em x 28m Pencil on paps. ‘Three pages of instructions The Wolfman Four pages, 21.Sem x 28m Pencil on paper ‘Two pages of instructions Unmarked Interchange (1965) (By ONCE Group, in Robert Ashley's Nine pages, 21.5em x 27.9em, Pencil and ink on paper Kittyhawk (By ONC Group in Robert Asley’s One page, 12.Sem x 20.4em Pencil and red erayon on paper Laray Austin Square ‘One page, 28.3em x 42cm (overall) Tok and “oping on transparent’ master sheet Avo “Tactile List (1966) One page, 21.6em x 6tem ‘Typing on graph paper One page of instructionsMicron Basorrr ‘Correspondences (1965-67) Six pages, 21-Sem x 286m Ink on paper Relata 1 (1965) ‘One page, 35.Sem x 48.5em Pencil on music paper CLavpe Bi “Bloe-Notes ‘Fwo pages, 82.3em x 30.5em Ink and pencil on music paper One page of instructions Faangois BAYLE Points Critiques (1960) "Two pages, 67.Sem x 26.3 em Black and purple ink on paper “Tue BeaTLes "The Word One page, 25.2em x 35.5em Watercolor and ink on paper Eleanor Rigby (One page, 12.7em x 20cm Ink on ruled notebook paper Good Day Sunshine “Two pages, 25.2em x 3Sem Ink on paper 1m Only Sleeping ‘ne page, 17-5em x 25.3em Ink on manila envelope Why Did te Die ‘One page, 25.3em x 33em Pencil and ink on manila envelope Yellow Submarine (One page 1Sem x 14cm ‘One page 25.2cm x 35.2em Ink on paper You Don't Get Me ‘One page, 12.7em x 20em Ink on ruled notebook paper Jun Becwirit "The Line Up and Down Forty pages, 27.5em x 37m Peneil and ink on music paper Davo Broror> *Scientife American Piece for John Tit- bury ‘Three pages, 42.7em x 31.4em Collage, ink on paper Untitled composition leven pages, 36cm x 27.5em ‘Ink on paper Davo Beumsan Fixed Attacks ‘One page, 25.2em x 20.2em Ink on transparent master sheet Wave Train (Circuit diagram) One page, 21.4em x 27.3em ‘Two pages of instructions Gywwan BERo SEclatements V Three pages, 27em x 35em {nk on musie paper ARTHUR BERGER “Pragment from a work in progress (1965) ‘Two pages, 23em x 31.5em Pencil and red crayon on music paper Luciano Berio Finale from Quaderni per Orchesira 1 (1959) Twenty-four pages, 32em x 45.Sem Pencil and crayon on musie paper Leonanp BERNSTEIN “Psalm XXII (“Chichester Psalms”) “Two pages, em x 30cm Pencil and ink on music paper ‘Sm ATHUR BLiss “Swallows, piano reduction from A Knot ‘of Riddles (1963) Four pages, 26.Sem x 35.8em Blue pencil and ink on music paperERNsr BLoct *Fugue Sudies ‘Three pages, 24em x 31.Sem Ink and red crayon on music paper With note from Suzanne Bloch Untitled manuscript One page, 25.Sem x 20.3cm Pencil on music paper SUZANNE BLoctt *A Prelude for the Lute One page, 28em x 21.Sem Ink on music paper Kant B, Bostoant, Sd Borjar Liver ‘Thirteen pages, 24.3em x 36.5em. Pencil and colored erayon on musie paper Lans-Gusnan Boon *Semikolon; Dag Knutson In Memoriam Four pages, 27.5em x 35cm Ink on musie paper BeNsanin Bonerz "Group Variations No. 1 Two pages, Mem x 26.Sem Peneil on music paper ‘Anpré BoucouRECHLIEV *Grodek One page 24.5em x 33.4em One page 16.8¢m x 12em Pencil and red ink on music paper Prenne, Boutez °20me Sonate pour Piano (Movements 2 and 3) ‘Thirty-two pages 26.3em x 35em Ink and pencil on music paper Eight pages 26em x 18em (overall) Tk and pencil on paper and music paper fragments Paut Bowses Unidentified sketeh (One page, 2em x 32cm Pencil on'music paper Cant. Bowstan Tiptych Symphony (Finale) Three pages, 26.5em x 34.2em Ink on music paper Heney Bray *Excerpt from Consort for True Violins (1965) One page, 58.6em x 26.Sem Ink on music paper Groacr Breer $3 Seed Events One page, 6.5em x 12Sem Ink on paper Chapter XI of The Book of the Tumbler On Fire Includes letter to John Cage on piano roll) One page, 26.6-m x 65.Sem (overall) ‘Typing on paper Symphony #3 ‘Two pages, 21.2em x 27.5em Pencil on paper Plano Piece One page, 8em x 18.5em (overall) Pencil and colored crayon on paper ‘Three composit ns on postcards Sraxtry Brouws °This Way Browwn Four pases, 31.7em x 24.5em Ink on paper arte Brown *Skeiches for Available Forms I Three pages, 27em x 35em Pencil and ink on music paper Henpenr Brin “Trio for Trumpet (B?), Trombone, Percussion (1966) One page, 35.Sem x 21.5em Pencil on music paperRRicitano Gavin BRYARS *Visions ‘Two pages, 26em x 35.5em Pencil and ink on music paper Hoya Spoke No Words ‘One page, 76em x 40cm Collage, pencil and inks on graph paper Syivano Bussornt New Year's greeting (One page, 7.5em x 10.5 em Black and red ink on music paper Two fragments ‘One page 14.Scm x 4.3em (One page 10.em x Fem Ink on music paper Josten Byao *The Defense of the American Continent From the Viet-Cong Invasion One page, 61-Sem x 91.3em Ink on paper One page of instructions Groce CxciorPo, “Cassiopeia ‘One page, 40.7em x 28em nk on vellum Jon Cac “Music of Changes Eighty-six pages, 24em x 35.5em Coverall) Ink on music paper TacQUES CALONNE, “Tome, sketches of pages 17, 18 and 19 ‘Two pages 26.Sem x 16.Tem Pencil on music paper ‘Two pages 14.Tem x 216m Pencil and colored ink on paper Conwetius CaRpew "Treatise, sketches ‘Nine pages, 33m x 20.3em Pencil on reverse side of xeroxed scores Solo With Accompaniment (1964) ight pages, 20.5cm x 33em “Typing, pencil and ink on paper February Pieces and Octet "61 for Jasper Johns “Two pages, 26.3em x 33em (overall) Cover collage, printing paste-ups Euorr Canter Piano Concerto, fragment ‘One page, 33cm x Stem Peneil and purple crayon on music paper NiccoLo CasTistioNe Figure, excerpts Four pages, 26.7em x 35.8em Pencil and colored inks on music paper Gaacreta Castit10) SEI Pozo ‘One page 94.5em x 64.8em ‘One page 28em x 31.5em Yellovs, red and biack ink on paper Cantos Cukvez Soli IT “Two pages, 26em x 33.Sem Pencil on paper Grosurre Cimant "Don't Trade Here (1965) One page, 22em x 28m ‘Typing and ink on paper Teatrino (1963) ‘One page Idem x 22.3em One page 22.8em x 28cm One page 33em x 47cm ‘Typing, ink, colored crayon on paper Maracas (1961) ‘Two pages, 48.2em x 33cm Ink on paper Gesti (1961) One page, 48.3em x 64em Ink on paperSwudio Su December 52 di Brown One page, 37.2em x 49.6em Colored crayon on paper Le Corde (1962) One page, 48em x 32.5em Colored inks on paper Barney Cmts "Welcome to Whipperginny (1961) One sheet, 130cm x 5.7em Pencil and colored inks on adding ‘machine paper Chiou Wen-cruxe Willows Are New Six pages, 26.5em x 34.3em Pencil on musie paper Henvine Cinisriansess Shucompatibilty (1964) One page, 21em x 3dem Typing and black ink on paper Aubo CLEMENTI “From Informel 2 (1961-62) One page, 42.7em x 32.66m Ink on paper Witsow Coxer "Recitative and Canzona (1965) One page 31.7em x 45:7em Ink on transparent master sheet One page 21cm x 17.5em Pencil skeich on music paper Micitaet. Cocarass *Rhapsodie Fantasy Four pages, 26.9cm x 34cm (overall) Pencil on music paper Epwanb T. Cone *Silent Noon (1960) ‘Nine pages, 21.Sem x 28em Peneil on music paper Antony Conran. “Three Loops for Periormers and Tape Recorders (Aria) (1961) ‘Nine pages 21.Sem x 35.Sem Blue ink on paper Two pages 21.5em x 38m Black ink on musie paper AsRoN CorLano “Overwure for School Performance (1938); subsequent title: An Out door Overture ‘Three pages, 26,5em x 33.5em Ink on music paper Pantie Conner Mississippi River South of Memphis ‘Them x 18.5em Map with ink-on-tisue overlay, with three acetate overlays and sheet of directions José E. Corts KK. One page, Hem x 69m Ink on paper Manvet Cortés "Sonata —Manifiesio ‘Three pages, 23.Sem x 33.Sem Ink on folded paper Ranatno Conrés “Concerto for Violin and String Orchestra (964) ‘Nine pages, 28m x 35.5em Ink’ on music paper Heay Cowets The Train Finale (percussion score) Two pages, 27-4em x 34.3em Ink on music paper Hilarious Curtain Opener (sketch) One page, 27-4em x 34em Ink on music paper Ritournelle Two pages 27.4em x 34em Two pages 21:Sem x 28m Ink on music paper, sketches on paperAngels (“by Carl Ruggles” in Cowell's hnand) Five pages 22.7em x 31cm One page 26.8em x 34.3em Ink on music paper Lilacs (“by Carl Rugeles” hhand) ‘Three pages, 27.4em x 34.4em Ink on music paper, in Cowell's Untitled piano piece ‘One page, 22-8m x 30em Ink on music paper Blank sheet with marginal notations ‘One page, 27.4em x 34em Pencil on music paper Lowett Cross £08 Century (1962) One page, 43.Sm x 12.Sem Ink on photostat of oscillograph Geoace Crum Five Pieces for Piano (1962) ‘One page, 34em x 26.5em Ink on music paper Sketches for Night Music 1 (1963) Two pages, 34cm x 26.5em Pencil and crayon on music paper Eleven Echoes of Autumn (1962), Echoes 5, 6.and 7 ‘Two pages, 27.8em x 36.6em Pencil and ink on green paper Ixcour Dai *From Aria Sinjonica (One page, 3Sem x 28cm Colored pencil and ink sketches on music paper ‘One page, 30.4em x 41.Tem Ink on transparent masier sheet Luror Dautariccota ‘From Ulysses, Act I, Scene 3 (One page, S8em x 2Sem Black and colored inks on music paper To De Leeuw “The Dream ‘Two pages, 42em x 29.8em Pencil and ink on graph paper The Four Seasons (One page, 25.2em x 36em (One page, 37em x 27cm Ink and pencil on music paper Norman Ditto Jo1o From Colloguies ‘One page, 24em x 31.7em Ink on music paper Luts De Pasto =Modulos 1 (1964-65) Four pages, 27.3 em x 42cm ‘Twenty-eight pages, 24.7em x 34.7em Colored inks on music paper Iniciativas “Two pages, 49em x 87m Colored inks on music paper Nine pages, 16.3em x 10.5em Colored inks on cards Fraxco DoNATont “Baba (1963) Bight pages, 28em x 22.2¢m Pencil on paper Marr Dora "Sonata for Trumpet and Piano ‘Two pages, 24em x 31.5em Pencil on music paper Jantes Drew "The Lute in the Attic (1963) (One page, 30.Sem x 45em Ink on paper 10°33" for Several Players (1963) One page, 7.5em x 12.5cm ‘Typing on card Prono Ecwanre *Ritual ‘One page, 32.Sem x 21.Sem Ink on paper Tom Enntict “Orchestral Sketches ‘Ten pages, 29.Sem x 2fem Pencil and ink on music paperSextett No. I Eight pages, 26.Sem x 34.2em Ink on music paper Menaint. Ets “Ostinato Rhythm ‘Three pages, 23¢m x 32em Peneil on music paper, with foldout Rupour EscHER *Fragmenis from Summer Rites at Noon (1962-65) One page, S3em x 42em One page, 30cm x 42cm Ink on music paper Wind Quintet fragment (1966) Two pages, 29m x 37em Ink on musie paper From Symphony #2 (1958—revision 1964) One page, 29.8em x 42em Ink on music paper Franco EVANGELIST! "Incontri di Fasce Sonore (1986-57) ‘Twenty-eight pages, 29.5em x 21em Pencil and ink on red graph paper in booklet Moxton FeLpMan °The King of Denmark One page, 25.5em x 38.5em Ink on graph paper Last Pieces Two pages, 27.8em x 35.Sem Ink on transparent master sheets Sketch pages ‘Ten pages, 24em x 31.Sem Pencil and ink on music paper Piano piece fragment (1964) ‘Two pages, 24em x 20,5em Pencil on music paper The Straits of Magetlan ‘Two pages, 31.Sem x 24em Ink on transparent master sheets Untitled “tune” for Merce Cunningham One page, 19.5em x 17.7em Red ink on music paper CCaRL Feanoach-FLaRsHEDE Portfolio with mixed contents 35.Sem x 29em x 7.Sem, Typing, pencil, ink on varied papers Objects from Clouds Wooden construction, 87em x Sem x 20cm (overall) Lue Pennant Symphonie Inachevée (1965) One page, 48.7em x 68em Pencil and colored inks on paper Ronerr Fitiiow °Measured-Up Music One page, 22-Sem x 28em ‘Typing and ink on paper 2 x Yam = 3,000,000,000 One pave, 27em x 19m (overall) Ink on paper Atseer M, Fine Song for George Brecht One page, 15em x 23cm Ink on paper Supermarket Song for George Brecht ‘One page, 15cm x 22.8em Collage, nk on paper Seale Piece for John Cage fem x Idem x 2.5em Box with scale and weight Drawing for Erie Andersen One page, 19em x 28cm Ink on cardboard Experiment for John Cage ‘One page, 14em x Sem Ink on white card ‘Two untitled compositions Each Tem x Bem Ink on white cardsRoss Lee FINNEY "Concerto for Percussion and Orchestra (sketch) Four pages, 24cm x 31cm Pencil and ink on musie paper Micuart Fuetsien "Channel chart for Sharon—a Portrait for Magnetic Tape ‘Three pages, 35.Sem x 21.Sem. Ink on paper Gronce W. Fyn "Duo for Violin and Piano (1964) ‘One page, 27.4em x 34.3em Tnk on music paper Luxas Foss *Fragments of Archilochos, Page U1 One page, 28m x 43em Ink on music paper Hagry FREEDMAN *The Tokaido Eighty pages, 24cm x 31.8em Pencil, colored ink and crayon on music paper Ken Faiepsan Piece for 6 Instruments in 5 Minutes Seven pages, 21.5em x 28em Ink on paper One-and-Twenty (1966) One page, 21.Sem x 28em Ink on paper Untitled series of compositions (1966) Seven pages, 21.Sem x 28em, Ink on paper ‘Three sealed envelopes containing im- provisations and eleven scores ‘Two scores collaged on plastic (One untitled score, ink on vellum KeNerit Gasuro, Never ‘One page, 45.7em x 62em Black and blue ink on transparent master sheets GeRanoo Ganomnt “Mutantes 1 (1966) ine pages, 36cm x 26.Tem Peneil and colored inks on music paper RoneRro Genin Concerto for Orchestra (1965) (One page, 32.7em x 47em Black and colored inks on music paper Claustrophitia ‘One page, 32.7em x 47em Black and colored inks on music paper (On reverse side of Concerto for Or- ‘chestra) Minrant GivEoN "The Condemned Playground (Hliro- shima) Four pages, 24cm x 32em Pencil on music paper Ws 8. GicneRr Orders (“OF the Sea" section) (1966) ‘Twenty-five pages, 2em x 35cm Pencil on transparent master sheets Ataerro GINASTERA From Bomerzo (One page, 27.9em x 3$.5em Colored inks on transparent master sheet Jinenty GIUFFRE °Syncopate “Two pages, 2éem x 31.8em Ink on music paper AvLMER Gappys “Elixir 8 (1952-61) ne page, 28em x 43em Colored inks on paper, mounted ‘One page, 28em x 43cm Map-ag collage, mounted Peooy GLaNviLte-Hices *Obeisance fo a Lucite Spectrum Three pages, 17em x 27.2em Red ink on music paperJack Guick *Mandolinear for Stanley J. Silverman ‘Two pages, 28em x 21.Sem Pencil on graph paper (One sheet of instructions \Visko GLonoKAR *Voie (One page, 32¢m x 44.3em Pencil, black and red ink on paper Plan (One page, 72m x 90.5em Black and red ink on paper, double page with cut-out Mavcoum Goupsrers "Page 9 from Illuminations from Fan- tastic Gardens (One page, 28m x 20.5em Ink on paper (One sheet of instructions Pete: Gupstunosen-HoLManeen *Skitse Til No. 3 One page, 25.3em x 344em Pencil on paper cos Hips ‘Concentration”—Reginning of first movement of String Quartet No. 16 (Gn L/Sstone system) 2 pages, 22em x 31-3em Ink on music paper Catstonat, HALERTER Diferencias Sobre Lineas y Puntos One page, 34.4em x 49em Black and coiored inks on music paper Benar HAMBRAEUS 8Transit #2 ‘Ten pages, 27.2em x 35cm Ink on transparent master sheet Curaates Hanae Round 25dem x 4.5em Green and black ink on paper scroll AL Hansen °Car Bibbe ‘Three pages, 21 Sem x 35.Sem Ink on paper Two (by Al Hansen and Bill Meyer) (1964) ‘ne page, 21.5em x 27em Ink on paper A Dance for Carolyn Brown (One page, 21.5em x 28em Ink on paper Lou Harrison “Praises Jor the Beauty of Humming- birds (1952) “Three pages, 29m x 34em Pencil on music paper Rowan Haunenstock-RaMaTt “Mobile for Shakespeare/Sonnets 53. & 36 ‘One page, 47.6em x 34Sem Ink on paper Joser Marruns Haver “Untitled composition (1952) “Two pages, 28em x dem Ink on music paper Printed statement on 12-tone music, wit signature ict Hexpricks “The Friday Book of White Noise (Vol- umes 2, 4) 18.Sem x24.7em Two composition books Grove Henpaicxs The Friday Book of White Noise (Vol- umes 2, 4) 1s.sem x'24.7em Two composition books JUAN Hipateo “EI Recorrido Japonés ‘One page, 14.5em x 22cm Ink on paper.Dick Hicaws "Graphis #21 (from Act 3 of St. Joan ‘at Beaurevoir) One page, 35em x 35em Colored inks on graph paper Graphis #20 (from Act 2 of St. Joan ‘at Beaurevoir) ‘One page, 35em x 35cm Colored inks on graph paper Graphis #140 (1967) One page (original sketch) $3.Sem x ‘lcm nk on graph paper Five acetates and final photograph Journal From Turkey -TT-Sem x 22.5em Ruled ledger book LEJAREN A, HILLER From A Triptych for Hieronymus (1965-66) (One page, 28m x 38m Pencil and colored ink on music paper Inliae Suite for String Quartet (with TL, Isaacson) ‘One page, 22.5em x 3Sem Computer printout ‘Study No. 1 ‘Study No. 2 Single pages, each 43.20m x 28em nk on vellum ALAN Hovianess “Orbit No. 3 ‘Two pages, 28m x 43m Ink on transparent master sheets, Jenny E, Hoyt Sur John Dee ‘One page 35.2em x 28m Ink and typing on transparent master sheet ‘One page 15.8em x 30cm Ink on transparent master sheet Preparallel (1965) One page, 35.3em x 28em Ink on transparent master sheet Infrasolo 2 (1965) ‘One page, 35.3cm x 28em Ink on transparent master sheet Axis One page, 35.3em x 28em Ink on transparent master sheet Untitled score ‘One page, 35.3em x 28em Ink on transparent master sheet Karen, Husa. *Sketches to Sth Mosaic from Mosaiques Pour Orchestre Four pages, 28em x 34.2em Pencil and ink on music paper Scorr Huston From Penia-Tholos ‘Two pages, 23cm x 30.5em Pencil and ink on musie paper With explanatory note ‘Tosi Tenvanact “The Field (1966) ‘Two pages, 44.3cm x 31.Sem Embossed paper With instruction card ‘Axonew Themis “Psalm 42 teen pages, 27.7em x 34.3em Ink on transparent master sheets ‘Sketches for organ registration of Psalm 2 Eleven pages, 26.4em x 33.7em Pencil and ink on musie paper ‘Cuan Ives Blank song paper signed by Ives One page, 26.Iem x 34em ‘Three unsigned sheets, 27m by 35em (overall), with presence of the com- poser’s hand on them Explanatory letter by John Kirkpatrick Terry JENNINGS Piano (1960) ‘Two pages, 24.2em x 31.5em Ink on music paperRay JOHNSON *Upim Labo (1964) One page, Sem x 13em Typing on colored card BEN JouNstoN Knocking Piece ‘Two pages, 8.5em x Ilem Pencil on music paper Sea Dirge Six pages, 22.7em x 30.3em Pencil on music paper Sonata for Mierotoral Piano ‘Ten pages, 10cm x 15.2em ‘Two pages, Idem x 21-Sem ‘Thirty-eight pages, 22.8em x 30.3em Pencil on musie paper Bersy JoLas *Motet Ht (1965) ‘One page, 30.7em x 43.Sem Colored inks on musie paper ‘Axoné Jouver ‘Aria Il from Suite Rhapsodique (1965) ‘One page, 27em x 34.Sem Ink on music paper CCuances Jones “Concerto for Four Violins and Orches- ‘ra (1963) (One page, 28m x 34.2em Pencil on transparent master sheet ‘One page, 32cm x 44em Pencil and ink on music paper Jor Jones “Five Pieces for Piano 169m x 15em Ink on vellum acco mn-folded scroll Mauricio Kacet, “Alle Rechte Vorbehalten (1965) One page, 6Sem x 70.3em Collage on paper With explanatory letter ALLAN Kaprow ‘Self-Service (1966) Four pages, 44cm x 45cm (overall) Colored inks on yellow ruled paper col- Taged onto cardboard With printed directions Uso Kasemers "Timepiece for a Solo Performer (1964) One page, 21.5em x 28cm Pencil on graph paper ‘Two pages of instructions ‘Two sketches of piece Mitxo Ketemen “Composé, Part I (1966) One page, 29.7em x 21em Ink on paper Jack FREDERICK KILPATRICK Overture to The Bell and the Plow (1953) ‘Twenty pages, 27.3cm x 34.22m Ink on music paper Léon Kinciiver Sketch for Piano Concerto #2 (1961~ 62) One page, 23.Sem x 31.6em Pencil and colored inks on transparent ‘master sheet Groce KLEmsincer “Lament and Jig for Brendan Behan Fifty-two pages, 28em x 35.7em Ink on transparent master sheets BeNor AF KuNTRERG “Orangerimusik (1963) Three pages, 42.3em x 30.5em Collage, ink on paper Mian Kwifix SAktudlni Unient 22,5em x 30.5em, Portfolio of .writings, photographs, per- formance pieces (in Czech, with Eng- lish translations)‘Auison KNOWLES “Blue Ram pages, 48cm x 72m ix silkscreen prints on cardboard Salad: Proposition No. 1 Eight pages, 13em x 20.Sem Ink on paper GortraigD Mictaet. KoENiG Wind Quintet (Sketch page) One page, 27em x 34.5em, Ink on music paper Ruvotr Komorous Chanson (One page, 22.5em x 22.5em Ink on paper (Instructions on reverse side) AgTHUR Kgrcxe. “Cigarette Piece—First Version (1962) One page, 7.3cm x 10.7em Pencil on back of ci wrapper ette-package Taxenisa Kosvot “Tender Music One page, 21-Sem x 28em Ink on paper Untitled 23.Sem x 3.7em Collage, magnetic tape on card, with i structions Perer Korix #5! — I for Merce One page, 40.8em x 4Sem Ink on paper Sketch for 5? — 1 for Merce One page, 42cm x 30em Pencil and colored inks on graph paper Fans KRENEK *The Flea (1960) ‘One page 24em x 31.7em Pencil on music paper ‘Three pages 15.3em x 22.7em Pencil on paper Nach Wie Vor Der Reihe Nach Nine pages 24.1em x 31.7em Pencil on music paper ‘Two pages 21cm x 29.Sem Pencil on paper ‘Two pages 14.7em x 21em (overall) Peneil on paper Priuir Keune °Sar/Piano/Tape ‘Two pages, 7Sem x S3em Colored ini on paper FREDERIC LIERERMAN *Ternary Systems (1965) Four pages, 13.6em x 8.9m ‘Typing, ink on cards GyBroy Lien, From Volumina (1961) ‘pages 29.7em x 29.5em Pencil, red and black ink on paper ‘Two pages 41.3em x 29.5em Pencil on paper Not. Lunos, SPiramis Five pages 2Rem x 21.Sem Black and colored crayon on paper ‘Twelve pages $7-Sem x 39cm Ink and colored pencil on paper ‘Axesris Locoriens Sielnologia One page, 45.5em x 3$.5em Pencil and ink on graph paper Orbitals ‘One page, 45.Sem x 30.6em, Pencil om paper Auvin Lucier “Action Music for Piano, Book I (1962) One page, 32.7em x 23.7em Pencil and ini on paperSong for Soprano (1962) ‘Two pages, 32.7em x 23.7em Pencil on paper, one page with cut-outs Onto Luexine "Rorschach Symphonie Sonata Four pages, 32.5em x 46.5em Pencil, ink and red crayon on paper WiroLD Lurostawsxt yeux Venitiens Fifty-five pages, 35em x 45.8em Pencil and colored crayons on music ‘paper, in portfolio Jackson Mac Low “Hare Krsna Gatha 3 (In Memoriam: ‘A.J. Muste) (1967) One page, 31.6em x 24em Ink on paper An Asymmetry jor John Cage (1961) 2nd Asymmetry for John Cage (1961) Grd Asymmetry for John Cage (1961) Each one page, I4em x 21.Sem ‘Typing on paper 71h Light Poem for John Cage (1962) ‘Six pages, 20.2cm x 31.2em Ink on ledger paper WILLinM R. MAGINNIS JR. “Extention No. I One page, 43em x 27.5em Ink on paper WALTER Mancuernt *Madrigale d’Aurunno (One page, 22cm x 13cm Ink on card ‘Tomas Maxco *si ‘One page, 18.Sem x 23.em Ink on paper M. Lounpes Maxrivs Untitled composition ‘Two pages, 20.5em x 29.6em Pencil and ink on music paper SMLVATORE MaRTIRANO, "Underworld ‘One page 41.5em x 27.7em Pencil and colored crayon on graph paper ‘One page 28m x 21.5em Pencil on graph paper Max MarHews *Pergolest Development Computer notation with pencil sketches Ricitanp Maxeui “Dreams One page, 21em x 28em ‘Typing on onionskin paper Watrer Mays *Sketch for sound block one from “Music of Mountains (1967) One page, 30.Sem x 23em, Ink on paper Tosumo Mayuzusa *Example of Chinese Chess One page, 21.Sem x 28em Ink on paper Gronor McKay Marriage on the Eiffel Tower (excerpts) ‘Ten pages, 27.3cm x 34.4em Pencil and ink on musie paper Coun MePure Worksheet ‘Two pages, 26.6em x 12.2cm Pencil and ink on music paper “Miscellaneous sketches from the collection of Sidney Cowell Seven pages, 27em x 35cm (overall) Pencil on music paper Witreip MELLERs “Love Story sketches ‘Twelve pages, 26.5em x 36em Pencil on music paper‘Anne Mettvis Untitled sketches One page 21cm x 29.7em ‘Two pages 22.5em x 36em ‘Two pages 23.Sem x 36cm Pencil and colored crayon on paper Josep MARIA MESTRES-QUADRENY *Quarter de Catroc (1962) Four pages, 50em x 32.Sem Ink on paper Geereup MeveR-DENCKMAN *Aktionen-Reaktionen (1966) ‘Two pages 39.5cm x 29.5em Black and colored inks on paper Four pages 21cm x 29.7em ‘Typowritten instructions Situationen (1966) One page, 29.5cm x 39.5em Ink on paper With typewritten, ilustrated instructions in German and English Wiederholungsinsel Four pages, 21cm x 29.Sem ‘Typing on paper (With English translation) Darws Miiaup *Vocalise (Air) (1928) Two pages, 27em x 35.3em Pencil and ink on music paper [HAN Mistanooto “Toccata 1 Four pages, 24.3em x 31.Jem Pencil on music paper Toceata IL Four pages, 24.3em x 31.7em Pencil on music paper Francis MiRoGLI0 "Phases pour un futisie ‘Thirteen pages, 27cm x 34.7em Ink on music paper Gronae, MONTANA S4PTPC Five pages, 16.6em x 12.7em (overall) Ink on vellum One page of instructions (Un folder. with thumbprint watermark and broken thumbprint seal in gold) Douetas Moore. “From The Ballad of Baby Doe, origi ginal sketch for the Bryan scene in Act IL Four pages, 24.5em x 31.7em Pencil on music paper Ronen Moray "Sketch for a Tragic One-Act Opera (1965) ‘One page, 45.6em x 43.3em Collage, ink on cardboard Sketch for a Musical Structure (1965) One page, 43.Sm x 28.8em Ink on white cardboard Jay W, MontHewson "Some of These (1963) Seven pages, ink on paper Ricuaro Monvt Sketches from Variables No. 3 Six pages 21.Sem x 28em Eighteen pages 27.4em x 34.3em, Pencil on music paper Gordo Musisin Mesa ‘Two pages, 27.5em x 21.Sem Ink on graph paper FREDERICK MyRow Music IT Three pages, 33.Sem x 48.5cm Pencil and ink on music paper CCONLON Nacannow Untitled player-piano roll 366,sem x 28.5cm Punched roll with erayon markingsIsanc NeMIROFF Violin Sonata #2 (3 movements) Forty pages, 27.2em x 34.2em Pencil, red'and blue crayon on music paper Max Neunaus *Max-Feed One page, 45.5em x 30.2em ‘Transfer symbols on acetate PauLive OLiveros Pieces of Bight ight pages, 28em x 21.4em paper (With three pages of instruction) Yoxo Oxo 29 Concert Pieces for John Cage en pages, 20.Sem x25.Sem Ink on paper. (There are actually fifteen concert pieces John Cage was asked to choose the dine he liked best.) Hays Orte “Air: Alpha Omega ‘One page, 10Sem x S0cm Ink on paper Naw JuNE Pang "Danger Musik for Dick Higgins Eleven pages, 21cm x 29cm (overall) Ink on mended tissue (en of these eleven pages are a letter to Dick Higgins) Danger Musik No. 2 for Dick Higgins Four pages, 14.7em x 21em Ink on paper (Three of these four pages are a letter to Dick Higgins) Gala Music for John Cage's 50th Birth- ‘day One page, 20cm x 18.Sem (overall) Collage and typing on paper Half-Time ‘One page, 20.8¢m x 29.5em Ink on paper Haney Paxrcit "Verse 12—Spoils of Wat strumental part of And on the Seventh Day Petals Fell on Petaluma ‘One page, 27.5em x 32em Ink and red crayon on music paper “Verse 16—Castor and Pollux”, discarded instrumental part of And on the Sev- ‘enth Day Petals Fell on Petaluma One page, 42em x 31cm Ink and red erayon on paper BENJAMIN PATTERSON *Paper Piece ‘Two pages, 33.Sem x 22.4em Ink on paper Hansséno PAULI 4ND ROLF LIEBERMANN *Symphonie Les Echanges Two pages, $9.4em x 33cm Pencil and ink on graph paper VINCENT PERSICHETTI Eleventh Piano Sonata (1965) Six pages, 27cm x 35cm Pencil and colored crayons on accordion- folded music paper Jon PHETTERLACE °Gina-Gira One page, 21em x 29.5em Pencil on paper No. 4 (1967) (One page, 302m x 24em Pencil and ink on vellum Hoe Pousstur “Trios/Pivots from Répons (One page, 34em x28em Pencil and colored inks on music paper From Caractores One page, 26.5em x 33.4em Pencil on music paper Sketches for a scene from Votre Faust Eleven pages 27.2em x 21.Sem. ‘One page 21.5em x 27.2 «m Pencil and colored inks on paperFOLKE RABE AND JAN BARK Sketch for Bolos for 4 Trombones (1963) ‘One page, 29.Sem x 21em Pencil on paper Four Dynamic Blocks, sketch from 1962 ‘One page 29.5em x 21em Peneil on paper Gene. AND FRANCESCA RASKIN *Linda Bell Two pages, 23cm x 32cm Black and colored ink on music paper Ganower Reap ‘Jeux des Timbres, Opas 11 Four pages, 26.5em x 34.2em Peneil on paper Davo Rec. Number 2, Male/Female One accordion-pleated sheet, 21.08 meters x 33cm, Pencil and ink on paper Steve Retex "Piano Phase ‘One page, 27.7em x 34em. Ink on vellum Rooer REYNOLDS From Quick Are the Months of Earth ‘One page, 35.6em x 28cm Ink and blue pencil on vellum Joser Anton RieDt *Komposition Nr. 2 (1963-65) ‘One page, 2tem x 57.Sem Ink on red graph paper Watuinoroap RisoceR "Concerto for Piano and Woodwind Quintes, Opus $3 “Two pages, 28em x 35.5em Ink on transparent master sheet Ramver Rie Sketches from Chants de Maldoror (1966) Four pages, 29.6cm x 20.9em Colored pencil and ink on graph paper Plus note on composition ‘Terry RILEY Untitled Organ from Keyboard Suidies ‘One page 21.5em x 28em Ink on music paper. One page 21.5em x 28cm JInk on paper Frepenic RJEWsKt *Piece with Projectors and Photocell- Mixer (1966) (One page, 43.5em x 27.9em Ink on graph paper plus two pages with ‘additions (copies of original) Selfporiraits 1-8 (One page, 21.8em x 11.tem nk on graph paper Selfportraits 8, 22, 38, 69 Four pages, 29.5em x 21em Ink on vellum Impersonation (First version, Spring 1966) Fourteen pages, 420m x29.8em Pencil and ink on graph paper Gronae RocHoERc Nach Bach (1966) ‘Twenty-two pages, 34em x 36.7em Pencil and ted crayon on music paper Nep Rone My Papa's Waltz Four pages, 27em x 33.6cm Pencil on music paper Diver Ror Symphony (No. 1) from the Old World (1966) Bound book, three hundred and seventy- ‘one pages, [dem x 20.5em x 10.Sem JEROME ROTHENBER "Garbage Event ‘One page, 21.7em x 27.9em ‘Typing on paperCart. Rugaes “Layout for Evocation No. 4 Four pages, 13.3 x 18.3em Pencil on personal stationery (See Cowell listing for Ruggles’ work in Cowell's hand) Gennaro RinM *Berihirung, Hortext (1965) One page, 30m x 21cm Ink on graph paper Terry RUsLino “Composition No. $ Five pages, 27.Sem x 21.2em Blue and red ink on graph paper Miciines San Repeats (1963) Seventeen pages in spiral notebook, 15.Sem x 21,5em Pencil on music paper Ete SaLzMan "Verses and Cantos (former title: Eu: rope: The Tennis Court Oath) Five pages, 24cm x 33em Ink on peneil on music paper Baik Sante ‘arrelage Phonique One page, 49em x 32.Sem Ink on paper Tapisserie en Fer Forgé One page, 49.5em x 32.Sem Ink on paper Eight pages, 27cm x 35em Pencil on music paper Richanp Savion “Opening of 2nd Movement of Music for Chamber Orchestra (1966) “Two pages, 26.8em x 34cm, Ink on music paper PIERRE SCHAEFFER “L'Bde aux Sons Animés (1958) One page, S3em x 34em Graph coitage, ink on music paper Towas Scusarr *Postmusic in Homage to N.J. Paik (1963) ‘Two pages, 15.80m x 22.3em Typing and postmarks on paper Dierer Scunenet, “Visible Music IT ‘Two pages, 62em x 44cm Ink on vellum Réactions ‘One page, 62em x 49m Ink on vellum, Instructions for Réactions ‘Two pages, 20.5em x 30.3em Ink on vellum Zeitbilder ‘One page, 62em x 44em Ink on vellum CaRoLee ScuNEEMANS Snows (Sequence 4-7) (1967) ‘One page, 48em x 31.Sem Ink and pencil collage on paper Guyer ScHutten °Contrasis Five pages 27em x 34em Forty-three pages 27em x 3Sem Pencil and colored crayon on music paper Kurr Scuwexrsix *Strenger Engel ‘One page 29.7em x 20.Sem ‘One page 30em x 26cm Black and colored ink on music paper Rate Rituals Forty-nine pages, 23.5em x 32em Blue and red "pencil on” transparent ‘master sheetConnapo Sitva *Fasiles (1965) One page, 67em x 12cm Green, blick and blue ink on paper Guxxr-EMiLi0 Simoxern SANalyse du virage (1967) One page, 70cm x 49.8em Collage on cardboard Nery Simons “Time Groups #2 (Part 1V, pages 26- 36) Eleven pages, 28¢m x 35.7em Ink on transparent master sheets RooeR J. SMALLEY “The Leaden Echo and the Golden Echo (Part It) Seventeen pages, 26.2em x 35.5em Pencil on music paper Svonry Wattact SrEOALt. “Dappled Fields ‘One page, 50.7em x S0em Ink on paper Kartieryz Srocenauses Notes from Tokyo working-book (1967) Seven pages, 1Sem x 21em Pencil, black and colored inks on paper Icon Srravinsey Fanfare (1964) ‘Two pages, 24.2cm x 30m Pencil on transparent master sheets SOULIMA SreavINsKy *Sonata for Pianoforte (1946) ‘Twenty-one pages, 26em x 33.7em (over- all) Pencil on music paper in portfolio Ricsaxo Swirr *Summer Notes (1965) One page, 24.2cm x 31.7em Ink on music paper ‘Yuor Taxaasnt °Six Elements Seven pages, 24cm x 33em Ink on vellum (Greek ttle page) ‘Toru Taxenrrsu From Sonant (1965) ight pages, 30.Sem x 42cm Ink on music paper, plus note Simeon Tes Hout *Kockyn, Een Kermiskronick ‘Six pages, 39.5em x 28m Colored inks on paper Intermezzo Fourteen pages (fold-out), 24em x 30m Ink on paper Janes TENNEY “String Complement ‘One page, 36em x 36cm Ink on graph paper ‘With instructions ALAN Thomas *Duo Concertante ‘Three pages, 27-3em x 34cm Pencil on music paper Vinott. Tuostson “Original Sketch for Blues (“Specula- tion") in The Plow That Broke the Plains (1936) ‘One page, 24cm x 21em, Pencil and ink on music paper MIcuAEL THonPE °9, Television Sets Five pages 20.2em x 26.5em Ink and colored crayon on graph paper Four pages 21.3em x 28em Ink and colored crayon on paper Composit Sound (1967) Four pages 8.2cm x 13.2em Ink on paper and cardboard ‘Two pages 20.2em x 26.Sem Colored inks on graph paper Two pages 21.5em x 28em Ink on paperWotr Vosrei. °TV-Décollage—Ereignisse fr Millionen (1959) One page, 64.2em x Soem Collage, fluorescent, black and colored ink on paper Ronert Warts “Banner for Outside (Yam Day) One page. 21.Sem x 28em Ink on ruied iedger paper Notes and sketches ‘Nine pages, 21.5em x 28em Colored inks and crayon on ruled ledger paper ‘Three photographs 22cm x 27em (overall) ‘Two envelopes with balloons Twenty-two photographs ‘em x Sem (overall) Five index cards with performance pieces Ben WenER “Dolmen Three pages, 30cm x 40cm Pencil on music paper AxTon Weer Untitled fragment One page, 21em x 22cm Pencil on music paper (Probably 1906 Bach transeription) Abouri Weiss "Second Movement af A Trio for Clarinet, Viola, Cello ‘Three pages, 22.5em x 30cm Tk on music paper Joun H. Wurrvey Jurnal (sic) Begun July 1st 47 Seventeen pages 21,Sem x 28em, Pencil on ledger paper Five film sketches each {Sem x 10m Spray paint on black paper (With Témm film strips) Faank WiosLeswormit £To the Memory of Henry Cowell ‘Seven pages, 24em x 31.7em. EmMerr WILLIAMS “White for Governor Wallace One page, 21.5em x 34em Ink on ruled paper Riciano Wivstow Creation Locked... One page, 28.4em x 3lem Ink on music paper Custan Wourr “Trio II (Piano 4 Hands and Percussion) (1961) ‘Three pages 21cm x 15cm Four pages 20.4em x 13.Sem Pencil and ink on paper SrerAN WoLre *Battlepiece (1947) One hundred and thirty pages, 26m x 32.5em (overall) Pencil on music paper Cuantes Wuomven “Bicinium: Two Oboes (1966) Four pages, 28m x 38.3em Pencil on music paper YaNnis XENAKIS *Stochastle Music Eight pages, 39m x 28m ‘Typewriter, computer type on accordion- folded paper (Program of instructions for IBM 7094) La Monte Youxe “From Vertical Hearing or Hearing in the Present Tense (1967) Six pages, 27.8em x 3Sem Ink on paper (With undated letter used as cover, and errata sheet)Joan Yuasa “Cosmos Haptic One page, 30.5em x 42.1em Ink on music paper Geno Zacten *Methode zur Notierung (1952) (One page, 34em x 27cm Ink on music paper