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The yeals passed atnNt ideniicatty, and with lhe same r,ndonl
quatity ol these opening sitences. I comp0sed tiltle Scriabi,i$s{tt
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pkces, Ede up praclising tie iittle that I did, eventua y abrndoned my
laacher and found myseli ai iilteen studying sith Wai ingford Riegg{,
who sas equally lax with me.
I mNt have had a secret desire to h e lhis drcam |ke artitude
to nosic, and tobecome a "rnusician," because ar etshlem ltound myse
with Stehn yr'o'pe. But all w€ did wd argue about music, and I tel I ras
leaning nothing- 0ne day I stopped paying him. Nothing was said abol,r
it. I continued 1o go, se coniini,ed to argue, and we are sliarguing
L, My meeling with john Cage was at Cdnesie Ha[ when Mit.
ind
.opou os conductod lhe Webern Symphony. I belleve thal sA the winter
ol 194950, a d I was about iwstyJour yea.s old. Ihe audknce rcaclion
to the piece G
so antagonistic and disturbng that I te{l immediatety
afteRards. I Ms more or less catching my breath in the emply lobby
when lohn cane oui. I (cor':cd hin, thoush we had never net, watred
over and as ihao8h I had known him aLl my lile said, "W6n't ihar bea{i
ful?' A moment laler we were talkins snimaledly .bout how beautilut
the pkce sounded ln so lars. a hall. We immediately nade afiangements

John at that time lived on the top lloor ol a tenenent overtookins

the East River on Grand Sireet. ll was a masnilicent view,lour iooms sere
made into two A hrge dpaise ol the Easi niier, iusl a few potl€d phnts,
a long low natble table and a constelklion ol Lippotd scutptures atong
the wall. lLippold lived nelt d0or.)
Ihe reason I Linger at the nemory of how John lived is because
il wd in this room lhat I lound an appreciaUon and an encouragement
more extravaset ihan I had evs belore enmunlered. lt was here also
ihat I mel Phi'ip Guslon, my closest iiiend who hd cmlributed s0 nuch

Ai this frst meetins I brcueht lohn a Sirins 0uarlet. He

IlORTON lookad al il a lons lime and then eid, "How did you male this?"
I lhousht of my conslant quatrels with Wolpe, and also that just

F€LSMffiq
a we"Ak befme, aller sh0wing a c0mposition of mine lo Millon
Babbiil and answsing liis q!estions as intelllgmlly as I muld he
said lo me, "Morton, l donl understand a word you're eying."
And so, in a very weak voic€ / answ ed iohn, "l don't kn0w how
I made it." The r€sponse to this was starilins. lohn iumped up and
down, and wiiha kiid oi hieh nonkey squeal screeched, "lsn't that

My earliesi recoLkctionof music I couldi't have been more than

iw-is my nolher holdiig one oi my llngers and picking out "lli Ell'
with it on lhe piano- Like a most weryone eLse, ny edly leachss wec
very bad. At the age 0l iwelve, howrys, I w6 io unale enough lo come
uider the tutehge oi Madam Mauina-Press, a flussian arisiocrat $ho
earned her living ailer the revolution by leaching piano and by playing
in a lrlo sith her husband and brolher-inlaw. ln kct, they w*e quite
wel/ known in thNe days. lt was because of her only, I lhink, be%use
sha wN noi a discipllMrian-that l was instilled ilh a sort 0f vibr l
Iillsicalily niher than m6icianship.
I realize now ihal that imase of Madrn Press-a non.prolessional
lfilh al ihe abllily
and brilLiaice of the 'prc" that "d lLatantism'-has
always remained with me. She was a cLose lriend ol the Scrkbins and
:o l playeo Sc iaoinp. She srudied with BJsor., aio so I pl&e; BNm
tr $riptions of Bach, and spent more lime le3ding his footiotes than
playing.
I norc inmediat€, morc physical than anythjng lhal had existed herctolore.
l Vare* had e,hents of this. 8ut he was t00 "Vdese." Webem iad
I lor ne is what Dr€cise nolalion has come i0 imply.
marvelous. lsn i
lhat woude{u . ll3 so beautiful, and he doesn'i
know how he made it.
Auile irankly, I smelimA llond{ hou
my music would have turned out ii lohn had not siven me lhose
early permissi6s to have contidence jn my instlncls.
ln a few nonths I ld troved into lhat magic house, except
thai lwas on $e second rlod, and wilh just a gllmpse of the
East F ver. I wa very aware al ihe iime ol how symbolically I lelt
lhat iacl
I had already becon€ fiiends with David Tudo while I was
wiih Wolpe. Now I introduced him io lohn. Som altefrard Christian
Wollf appeared, and than Earla Ercwn, Bho mei lohn while he uas
on tor in lhe middle-west and decided io make a ne lite in New
Yod in order to be with the iew music.
There Ms very litil€ talk about musk $th John. Thinss
seremovingtooiaslioevenialkabont.Buitherewasanincredibleamount
0f talk about pninting. lohn and I sould drop h at ihe Ceda. Bal !l sir
in the aflemooi and lalk unlil il closed and alier il dosed. I can say
wthoul exagseGiion that we did ihis every day tor live yea6 of our lies^
Ihe new painting mad€ me desirous ol a sound wond more direcl,
Elimpses ol ii, but his work was too involved with ihe disciplines 0l lhe
tltelve.lone system- The n€{ structure required a concentration more
demanding lhan if the lc;iio'e was lhat of sull pholoSaphy, whkh
"Prcjection *2" forfluie, irumpet, violin and cello-one ol the fisl
graph pieces-was my iirst exporience wilh ihis new thought. My desne
here $as nol lo 'tompose, bct to projeci sounds into iime, free irom a
composilional &eloric ihat had no place hse. ln order not to involve
the perlomer q.€. myself) in memory (relali0nship$, and because lhe
sounds no hneer had an inherent symbolk shape, I alowed for indeler-
minacks in reglrd to pitch. ln lhe "Proiections" only register, $i8h,
mlddle m law)tine values and dvnanics (solt throughoul)sere desigMted.
Later in lhe same yee {1951) Illrcte "lnteAection +1" and "Marginal
htelsection " bolh lor orchesira. Eoth lhese sraoh pleces designaled
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NEW DIRECTIONS IN MUSIC 2I
Erterlsione 1 tor Violin and. Piarlo (1951) Intersectign 3 for Pinno (1953) (graph)
Structm.es lor Stritlg Quartet (1951) fbo Pieces for Tbi) Pianos (1951)
Projection /' lor VioUrL anil Pii,no (1951) (graph) Three Pieces lor Strihg Suartet (1954-1956)
Eotensi,ons 4lor Three Pianos (1952-1953) Piece lor Four Pianos (ig57)
- I

Ihe last ten years have seen Amercan com cl'ches of the lnternat'onal School .t pr""""t i
oose.s, pd,,,!e.s and poets assumrns leaorns da, .ra1t.8arde. He was nol lo become s1 :
iotes in tne world ol international .rt to a decree AmerrLaF composer in the hrstorical{emrnrsrence :
h;therto unexpected. Led t'y the pairters,-olr line, but to tind himself lree of the conceptlal. : I
wnore cultural mrleu has chan8ed and strll iTed and sellconscrous modern,ty of the rnterna :
char8rrg. The chmate lor receptiv,ty 's to the lional movement. Paradoricaliv. it rs precisely : l
r.* in irt rras rnproved cofiespondinety. and this Leedom whrch ptaces Fetdmdn in rhe troir .
ore of tne most rmportant aspe.ti of tnra;hange rank of the advanced inusrcal art ot our time, I :
r-ds been Lhe inler involvemenl ot the ind'vidual A hev work in the devetoomenr awav lrom
J.1s wrth one another. Pubhc ,nlerest in the serial t;chnique the lnter+ction 3 td Piano
emercence of a major compos€r, painter or poet (1953). A gAph 'spiece, it is rotatty abstra.t in
I

has, in recent years, almost invariably been pre its every dimensaon. Fetdnan her.i successfuitv
ceded by his recognjtim amons other painters, avoids [he symbotic aspect of sound which hai
I
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poets and musicians. The influence ot esthetic so plagued the abstract works of his contempor
ideas has also been mutual: the very extremity aries by emptoying unpredictabitity reinforced by
af the difterences between the arts has thrown spontaieity-tie acorr; indicates iindet€rmrnaci
their technical analogies into sharp reliei As an of pitch" as a direction for the pedormer. Wier;
example of what I hean by thi5, we find that others have atrempted to reverse or nu it this
makine the a na logy between certain all.overpaint- aural symbol'sm (toud passron, soft.tendeiness,
ings of Jackson Pollock and the serial technique .nd so on) to free themsetves, Fetdma. has
oi Webern clarifies the one by means ofthe other created a work which exists without referenc€;
-a seemirgly "automatic painti.g is seen to outsrde rtsetf, "as rf you re not tistening, but
be as astutely controlled by the sensibil,ty of tootrnB at somethrns in nature, ' Thrs rs iome
Pollockinitsassemblageofdetailtowardaunified thing seriatism coutd not accomptish. This tree-
experience as are certain of W€bern s serial dom is shared by the performei to the extent
pieces. And it is i.teresting to note that initial that what he Dlays rs not drctated bevond the
public response to works by both artists was Craph co,,hot range ot a eiuen_passaBe
involved in bewilderment at the seeming "lrag' and rts temporat-the area and division are inij'catea,
mentation of experience- Althoueh these an6lo. but the actuat .otes heard mrjt come from th€
gies cease io be helpful it carried too far, it is performer's .esponse to rhe mlsicat situation.
in the framework of these mutual influences in To pertorm FetJman s sraph pieces at alt, the
the arts that Morton Feldnan could cite, along musrcran must reach rhe metaphysrcat ptace
with the pl.yin€ of Fournjer, Rachmaninoff and where each can occlr, allying neaessiv with
Tudor and the fnendship of John Cage, the paint- unpredrcbbnrty. Where a vrrtuoso work bta.es
ings of Philip Guston as important influences on technrcat demands upon the performer, i Fetd,
hls work, He adds, "Guston made me aware ol man prece seeks to engage hrs rmprovisatory
the 'metaphysical place which we all have but collaboratron, with ns catt on musrcal c.eativiti
which so many ol us are not sensitive to by pre. as well as interpretative understanding, The per
vious .onviction. formance on this record is proof of how be;uti-
I interpret this "metaphysical place," this land lullv-this can all wo.k out; vet, the performer
where F;rdman a piecei tii.!, m tii irei irtrere iould doubtless find other beauties in lntersec'
spiritual groMh in the work;;n oocur, where the tion 3 on another occasion,
form oi r work may develop its inherent origi-
iallty and the perso;al m;a;ins;r th; ;;p;s; o F:-
mdy oe(ome ero'crt. In a morF literal way it is
I " lpdce wn..h musr be (rea,ed ir rhe sen;ibitrty ir' T- rll ;
rs to op te" to e,press its ind,vidudl preference-lo n i ,
; Li iIL
'o. sorrd dd ro e(oore the.meanrng ot this -, E
pra'er"i.e. Tlar Lhe Ptocess ol frndrng thrs meta.
plysnol prace
physrcar pla.e ot
of unD edrctabrl'ty and possibility
unpredictability Dossrb'litv
can be a drastic one is witnessed bythe necessity
nar rcrL a ie; y;"'; ;e; ro to.o ih; ta;l
FF d itr r ;
d"ni. rdnrlcatrons oi ser,al re(hnique, Like the
dn.ts 'nvolved the new American painting, he
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ol :
s': pu'sL.ng a'npersonar search lor erpress'on
which could not be limited by any system,
This is_in sharp contrast to the development of Projection 4 for Vlolin .nd Piano (1951) ex.
hany of Feldman s Eoropean contempor,rles, for plores an entirety different area oi musicat
example B- r :2 and Stockhausen, whose process ex 'ience. A graph piece also (see i ustraiion),
hcs te1d"d lowa-d elaborr(.or dnd systemanza its mrrvetious ausLe',ty rs acnieved marni/
trol ol rptlod. Lnlire Feldman s tnerr works arc throrsn touch, :nd I wiJt quote the note to thl
eminently soited to analysis and what they have performer as an erample 6t how the indrviduat
lacked in sensuousness they invariably may re a.ea ot expeaence rn these eraoh oreces rs indi.
p6in nralle.rudl Drolundrty drd rn tae mel'. cared to the periormers:
'1 imp ications oi their methods- But it we
physicai
ipiar< oi ! metipnylrcJr prJ"J i" t; NorE:
Fetddan, it is the which the
aondition under 'eEitoi the violin part is graphed above that for the
work was created and which is left behind the piano. Dynamics are throushout ealal and
moment a siven work has been completed. low.
Feldman's declsion to avoid the serial tech For the violinist:
niqne was an instinctive attempt to avoid the Tjmbre is indicated: O= harmonic; p :
Tnk CoUtubid Hish Fid?lttu re.ordino b sciatifi.al\) desisn.il to pLd! uith the hish.et
a netu sLercoptoni. sust.m, thb ta.ord. eitt pLdtt uith .aan ma,.r. bnvdnt ttue to-Iit'e

MORTON FELDMAN
DaDid.Tlldor, Rltssell Shenkstu, Edufu Hllmoritz, PiM
Mattheu) RcLilltol,a: and Joseph Rttbuskka, Violinhts'
Wedter Trampler, Viotist; Seumou'r Bamb, CcLIist
Relalive pitch (hi8h'
.izrcato; A:arco.
mi.idle low) rs indrcated: r: hrgh; E:
middle: E = low. AnY tone within the
ranees indrcated mzv be sounded The limits
oi ihese ranses mav be freelv chosen bv
the plav€r' Multiple stops are rndicated bv
n"mbers wrthin the squares Duration rs 'n'
di.ated bv the amount of space taken up
(: :)
bv the sq;are or re.tanele, each bor
b;rnc polenirallv 4 icti The sincle ictus or
oulse is at ihe tempo of 72 or the'eabouts
The O indLcates plavrne wrthout sounding
rr.r the release of harnonrcsl Pitches rherr
;umber and dlratron are tndicated as ror
A comoanson ot thesetwo graph preces whose
.mbEnc;s are sb tordllv drssimilar' grvesposJore
an
ot the sreat compos t onal tle^rbrlrtv
'-dea
tr.nr.di.iabilrtv is used rn a difiereD! wav still
. iriiiece tor Fou, P'anos (1957) This work
<.ored rn notation rather than Craph besrns sr
mLltaneouslv for a I iour pianos atter whr'n rne
l.llowrnp noies mav be p aved to the end bv eacn
of their mutuar or
ol the oianrsts at trme
'ntervals
rndNrdual choice. Fe dman has
Deated notes are not musical porntrllrsm as rn
W.hern butlhev are where the mind rests on an
rmaee-the besrnnrnC ol the piece is lrhe a recog
nitron. nota motf, and bvvirtue ol the reperrrons
t conditions one to lrsten responses
As we pioceed ro-ex'
ol therour
npnpn.F rhe rndivrdualtime
iunists we are movinc 'nerorablv toward the
iroal rmase where the mrnd can rest wnrcn rs
rh. Fnd of the oiece. ln this partrcular pedorn
,n.€ ri is as il one were trave.sinC an enormous
olain at the opposile ends of which were two
iruce monolrths, Cuardrng its winds and erasses'
ln all of Feldman s recent work the paramount
im;Ee rs that of touch-"the use of the instru
menl must be as sensn've as the applicanon oi
(Wh'ch brings us baci ro
ha.hmanrnolt, Fournier and Tudor') ln some
nie... rhe entrance into the rhlihmic siructure
is lett enttretv to tne pe4ormer' and it is rn tnrs
area that uripredictaoilitv enters and l:'e €r
torme. must credte the €xperier ' wilr"i ine
limits ol the notation.
On the other nand, one of the most rema4able
Dieces recorded here ts structllrB for stnng
6i;;;;t r1951)- lt is a cldssrcal stnnc quartet
;n.duls;nata development, wlthout seridl devel'
ooment, in ceneral wrtnout benetrt of cler8v Lrke
t;'lv Drcrinson s best ooems, it does not seem
i;;;;h;t is unrir all questrons of seemrne'
't
have disaDpea.ed rn irs own projection lts rorm
reveals itself after its meanine rs revealeo ar
Dichinson s Dassion renores het dal7linC tech'
;i.;;. A; ;iih sev"rai ott'er I erdman Die.es, ii
v.i' ..nnot hear St.uctures. I doubt that studv
ine th€ score would be a heip. though it is a
th;rouqhlv notated lield of dvnamic rncrdent
elements are I'nhcd by a sort ct
shy contrapuntal stimulation ol great d€ rcacy
"n*i"veitic"t
coL,{t}lntsr^A.
MASTENu/ORKS
In an @uv.e whrch so insistentlv Provides
unoredrctabilnv w'th opportuniries for eipansron
:n; breath. the questron of notJnon at alr a ses
tor the sraph would seem to provide an adequale.
.nnlr.l for the e\Derience and
drfferentranon. But dilferentiation is fot held'
m:n s Dornt. even in the craph musrc: tne slruc'
ture oi the piece is never the imaee' nor rn
eschewins precrse noration of tou.h rs reldman
lea!ine tle frerd open tor drdmairc rncroenr
wh.r.6v the struclure could bc.ome an rmage
aas rn BouleTJ. Noratron is tl-en not so mucr
; risrd exclusron of chance hut the means o
n..;ntrne the sttucture lrom becomrng an rm'
;pe in these works, and an indication or tre
;;mooser's pe,sondl preierence lot whete Lnptp.
snould opetate As John cacp remarked
'l''t;brltrv
in thrs ionnection, "Feldman s conventonallv
notaied music is hrmself pldvrng hrs Crapn mu'
sic. And ol couBe the deeree ol precrsron rn Lne
ndtatron dtre.trv related to the nature or tne
's
mLrsicdl expetience Feldmdn is etposrne lnrs
p'ecrse as in E'tensions I
iJ,i'"..ai oe "e'v (I951),
lor Violin and Piano whrch indicatesn
increasinc rempo ol inetorJbl€ development trod
6i-ei-nn'ndto ty."t,o"om L marhrres aswFrr
"'io and erpressrve devebpmenr'
as the dynamrca
althoueh the traditionallv notdted works
"re
rhF m,ioirtvon thrs reco.d (Ertensions I' Shuc_
'n Extensions 4. Two Pieces
tures for Shi;e Quartet
lor Two PianG, Ihree Pieces for strine quanerr.
lhave sone intorhe useof unpreorcLabrIiv rntl''s
musrc at such leneth in order to reaLh a orsrrn''
tion about rts use rn huch conlcmoora.v musr'
ln Feldman s worh unpred'ctdbilitv ir volves thc
;. o.mer and tne audrence muchanarrctease
lhe sdme
ijv it ooes ttre composer.But
'nvrtrnc
of
rn mrcr orJhd e^
se;sinvrty and rnlensrtv
treme vdnEuard music in Amerrcr ano I u'ope
oarri!ularlv that utillzrng tape and electron. oa
;r.es aioni wrth elements ol unpredi.tabritv the
stat;stical unpredrctabiltv has occu(ed rn tnF
r.,dnional manner duanc tl'e hdking ol tn'
oiece; iI has been emploved preconceptuallv as
; roercdl outsrowth ol serial lerhnrq!e. and r:
is d;; bv th;time vou hear lt thoush the music
is alive r; lhe ttaditional sense of heannS. What
Feldman is assumins, and it is a courageous
arsumDtion, is tnat the perlormer rs a sensrtrve
i-na insoireo musrcran wtro hJs (ne besr rntetests
oi the viork at heart. This attrtude leaves hrm rrec
!o concentrate on lhe main inspir.ri-r' dtea whe'p
the individual Piece is centered.
What he finds in these centers-whether is
of tone and the 't
ena'
like delicdcv of breathrns rn Three 'antr
Piaes l'r
srri.! Oua,iet {1954.56), or Lhe inalitv o{ the
''dia6ci"s in Extensions 4 lor Three Pianos
rici2'5:r-is on each occasion a personal dnd
i,i.iona re;etaron ot rire rnner qudlirv ot sound'
ihe works recorded here alreadv ate an inpor'
t,nt conkibuLion to the musrc of the 20th cen'
iuru- whether nolatcd or erapheo hrs music sets
in inohon a sp iturl lrle which rs rare rn anv
period and especiallY so in ours.
FRANK O'HARA
I LibErv of Concress catalog card number
R59.r325 applies to this record.
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t'oR l, 2 oR 3 PEOPLE

.l-l
i) ,,,l"*1.""a
Pt'\'o{ "
o{3""n
(continuod frorn page 2)-
m6t = a saund uslng metal ((eneralty of loe reaonaDcei
metz = a hi[her teSonance] ,
xd = a soun.l using wood (cenerally of low resonsnce; wd- =
a hiEher reEonance )

t = a sound ned€ by tapptng or touching o' tracin8 or the liko

b . a sound srade by breathing or blowlng o' the like (but
not Binging )
fr = a sound involving f.ictlon
pl = a sound involving Plucking or ptrlling
sn = a sound involvinS snapFing
stt.et ! a 6ound involving stretched matetial
In parts V-1( notations 6uch as the tollo!#ing not standin8 by
a note arc to be applled to any eound on thAt pager whethei pio-
duced by oneself or another playea.
.., = a Elislrt alteration of a sound
| = cut off a sound
-+=ext€ndaEotlnd
-, = ralso a sound ln sone,2respect
\ = lo$er it in eome -/

Chrlstian $olff

cop)Eisht @ rsea r,y c.f . Peters Corporatlon

3?3 Park Avenue So., Net Yotk 16r Ne$ lorh

-3-a-O'
 Thore at'e ten paatsr one to a pago. A performanc€ can be nadc
of any nuFbea of thelar repeating noner or of aoy oner rep€ated no
nof€ than ten timea.
Each pa.t' or page' 16 a score' and each Player should have hla
copy of it.
Play ali that is notated on a Paqer in any convenient sequenc€'
ndt tepeating anythingi except in IX' $her€ any of the ev€nta can
be pla:ted or onitted any nuDber of tim€a'
Black D.'tee are varloudly shortr rrF to about one second' ltlth
stems as lrixteenth note€ (e'c. in IIIt etc.) they aie very sho'l'
Ithite notes are of any lengthr Bonetines d€termlned by the require-
n€nt6 of coordination (see fut'ther on).
A dynamic indication mav stand by itEelf (as at left top of I)l
aaBum; a r\ote !o go $ith it or aPply it to aoy note given on the ri'.
page. Ho$ever.> o. <r standing by themselves! ehould 'tl*ays be I
afplted to a note (any one) already given.
A dia8onal Llne tolards a note = Flsy that tlo(€ directly alter a
precedi;q one., A diaqonal line atay frotn a note = that noto must
bs follored directlY bY another.
A vertical llne do$n fron a note = play simultaneously with the
nert sound (both attack and release). t
A soall nurnber at the end of a line (e.g. at left top of I) = ,aN
sith th6 second (if the number ie 2i third, if 3i etc') \"1'
sound.Drecedinc (if diirgonal line to$aidE note)! folIoBin8 nfter
"";";i;;4.
or plalr
o"" fro" U"g"" one'e ,tote (if dlagonsl Iine (ifa*ay from it)r ve'tical)'
simultane.,'rsly pil.h the second next sound the tine i5 l
If a line to 6 nole is brol(en by a number followed, aft€r a colon'
by a zero (-2:O-) (e.s. top niddle oI III), that n\rnbei o{
seconde of silence intervene before the required coo'dination'
An 6( at the end of a line (e.t. tniddle left in I) = coordination
nust be *ith a €ound naale by another player' If only one Fcr6on is
playing, he nu6t coor.linate oither rith a sound he hears in the
i""i.".-""t or with a sound h€ has hinself made unint€nt loDal ly '

previous sound has bogunr hold till it atoPa'

' play aft6r a
._T

""7 ; start Anytime' hold ttll another sound startet firiab

rith it.

o
I Btart at th€ same ti e (or aa 6oolr as you are alrare of
it) as the next sound, but stop before it doea'
L
.1"" start anytlmer hold till, anothei sould startsr contlnue
holding anytine after that souod has stopped.

-l-
.-) Horlzonial lines joining lwo notes = a Iegato from the one to
.":";t;;; "
the same nerson)' ..
i;" ;;"pi "v "c r'vnote
""ir"".-ii"" leaoe to a or drops vcrtically from it'a nhite
one can
note'
-ti_ tto iine reoos 6$ay fron
start to play at snyor"t"'6s short . as vou like'
ii-."" l.l" as rong
alone'.he nu6t
one, t$o or three neople can play' ff sith Plays
one
noles at ontv one end)
realize all "oren" coordrrr{rl;;t;-iii"t
iiiiiii,-i"". i": l"'l:. l::.,ii::: l:H: :::":J:.i,:::";.T,1",::''
ro Drovide -ulethinA to c')or' at the
t""t ther:e is an !l
sourrde fron the envirounent iit_'it ca6es "rt""
hav€ to rearrange the
and of a I nel)' (ljo 'nuy ttt-tolnt3 disposilion of tt $hich uill
materlal on a fnqe snd "on"'ati can be nala8ed') AII
ensure that flll the relurred-""tt-ai""ilt""
ireery 6uf,erj.mposed, 5o lons aa the
ilil"i".".i., "" a papie can r,,ea-re net'
reouirenente ol coordinntion on a page should be gttIlu::tu
lf tso or three plav, !h" ';;ti;l
.;;n'atcrrar
ilr. !l"",lil.: :ii.;::":il""i:;":-:,:ill";: ;i."""
".i;.:;",;:..;';;
lndicated)i but no too)' Coordination.' thenr lor
bv anoth€r (note: thls froloe ior IX
::.i";i;;:"' ;;;-.. ::1'lrere
:::".rE:' ll'|.' :-::""Tll'li::.lii li"li, li"i""il5.
lnr aione )--unI€sE
r""tntr plFyer (or both)'
""]t'-it"' allorving for the IoIIo$irIS
Players can use any $ays of 0raking sounds'
specification6:
lndicated nitch (reading either
Sooe notes aie on Elaves: play tlte if pitch no! available in raug€t
bas6 or lrebte clefi sounal "i pia"rt; ttrltt off a pitch at an anqle =
tranBrmse at Ieast t*o o""t"tt;_""oituP $here line anqles uF'
Iraction ot a r,one leAs tnu"-iiri 'losn f,here
o'"ll;""^ or ''ot)'
r".in"" "*1""n, thev are rrei (recosnizable
";'l it black = thnt ntmber of tonea
Llrrger nunlbers direclly over a notGi t' red nulnbor '
(not n€cessarilv nr"v'o t'n'ii'"i urlr'"e uract"r'e'l' :il
rro numr'er = one (c'c' 6 = t\ro tonea'
one
ii.;;;;;;;;-;i.imbres.
-^ tinbreE)'
;;;;';; v = one tone, t*o
fi"""iti""t"-"otes: if black = that numbe' of
targer nunbe.6 on t
befor€ re{ichlnq ihe next rrotei
charr(es of some aspectt6' "i iit ""ii"a tinbre of the fir.r note before
in red = that number of "h';*;;-t;-';'
reachillg the ncxt one ' note tlae a dilferent tinbre Irom the one
A red number I over a =
iN4ediateIY Preceding'
change the directibn
x = anythin8 * = a noi6e in spsce of o sound
hiSh in l,=arowrn a sound in a middle Placer
t = aa5D6el some
aSPect in some respectr of the
eorlnda aroun(l it.
A.a = a Eourrd in 6ome re-. O = a h'L^tnonic asp, = las Possible I
' enect dissonant sr tn
tirat ir'f,ediate I Y Prccedes
aelect! from rhat
+=a Eouird as far aray aa pos€ibl€r in 6ome
lmmediatelY Precedes lt e\+remg
( continued on title Page)

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 Play
Play, make sounds, in short bursts,
clear in outline for the most pan;
quret; two or three tirr,?s move towards
as loud as possible, but as soon as vou
cannot hear yoursett or anoter ilaii /
stop directly. Allow various spaces
between playing (2. 5 secondt indefinirei;
sometrmes overlap events One two
three, four or live times play a lonq sound or
complex or sequence of sounds.. Sometimes
play independently, sometimes by co-ordinating:
with.olher players {when they stirt or stop
or while thev play or when they move) or'a player
should play (stan or, with lonq sounds.
start and stop or just stopl at a siqnal {or
within 2 or five seconds of a siontl)
ovei which he has not control idoes not
know when it will come). At some
point or throughout use electricity.
Color version:
red; blue; white; green; yellow; black;
silver; sharp, short sound; flat: silence:
simpler relationships (1 t2. 2:3. 3:41
mixed with less simple (5:G.7;g;' *t,n
breath or air; soft; long; thin or
flourished.
Variable shades-
Colcrs need not be symbols for sounds, hor
sounds ior colors-
Consider making, sometime, a labric with
some design in it, but not in two
dimensions.
Or, allow tor rhe possibit;ty of periodicities
appearing, and disappearinq (for instance
strortty on bein6 iaint;tieOlor tmrneJiareiy
on being imitared, or within 3 or 7 second; of a signall.
At some point drop two oI the colors and wlo
ofthe descriptions listed above; and shortly
before finishinq introduce {ive new ones-
Are musical sounds to othet sounds as
black and whie is to cotor?
Are the, colors necesary? Lights, painting
conbftt, the colcts alreadv thprp
What.about texurc? Smooth, lumpy, gritty;
streaks, powdered. smeared. even idgid. '
tailing
Colo6 are not to obiects one sees as a
sound quality to sounds one rrc-a.r
Ot arc they?
stones J"n. Cn
"'' "'
!ill+ei:i!l*?rfli**';;."#g;!:i'r*-r
51##[.ffi:ie"+iitri,ifnl"
Sticks
Make sounds with sticks of vaious kinds, one
stick alone, s€veral together, on other
instruments, sustained as well as shorl. Don't
mutilate trees or shrubbery; don't break
anything other than the sticks; avoid outright
tires unless they serve a practical purpose.
You can begin when you have not heard
a sound from a stick lor a while; two orthree
can begin togelher. You rhay end when your sticks
or one of them are baoken srnall enough that a
handiul of the pieces in your handscupped over each
other are not, if shaken and unamplilied,
audible b€yond your immediate vicinity. Or hum
continuously on a low note; having started proceed with
other sounds simultaneously (but not nec€ssarily
continously); when you can hum no longer,
continue with other soundt then stop. With several
players either only one should do this or two or
two pairs together (on different notesl and any
number individually.
You can also do without sticks but play the
sounds and feelings you imagine a performance .
with sticks would have.
 \

/o wo
Fot ,r*J-o=ne{hreo Pr-,ons , &";\ r".[r,
-prXurJ",g,*,
(n"r1'e \$te ),1wo va,I t,."rrs Si,il"11",v"""9. <-

',/
 '

'.!

i
':
Enrrrut oEtlEBgEl
'r EElSdrEn m uEn
.,]
lEFac[ct
la Bv€lto8 of, Vlit€o A8t ed llcctrontc t&lsle rtth SlLglglg!' ard
q|adt A.tlsta lt€o &re Pstk d SE!89!9-sgb!]!g.
i f"..a.y' [ovtobcs 21. 1972 8:dt P.]1.
Dq'!e:t doule lallroo

I gttrcsleoru pcafoaaqcer of
Vtdeo Blsthddy Psrtv of JotE Case. No. ! Sbtg€ko Kubotq

Bu8opq oa lle hch g !![

IrlDssse of llftdeltte

"./^,, lllscel gfgleE !g! Joh csae

Vtdeo Art tr 6 Juoe latk

lte ctreaa of the South (1972) AIYID l,ucler

fo" plsyera, re6l,onslvo lgsfacesr ltreltl! Datgrllll

eld closed-ctcuit teletalgloD @nLtot gystet!. Ar
the itretl! osterlal leapoaalr to the stslcal aortod!
l'! the v!.brat&g oedttD, Gktla Pett rds' thG perfote.ra
Gl'tber Elke pre-detetlC,lrd flgrEca o! dl€coeer tbelr
collcctlve Loagery.

certrldee !tusic (1960) Job! Cago

(@lt:tcstto! of o.ll !ou!al8)

J-
 2-

vLdeo coisultaEt: 8ob gbtte

Iecbotcel Coosultant: Rod eol.ban

Perforeers:
AlerRander, Steqea c!{111' ste?hea J'
BohD, Davlil X. Sactett, R€yronil A.
Eoholso!, KeEeth !t. Iralge, t@ s.
Button, TetrJr F. Iagaoza, Rlchard L.
Ce1este, Ml.chael J. leihrhoff, Itichael B-
Coff, Rlcharil S. l€rds' 8albara A.
coker, Edrt .n L, tlttB&., So('ald L
col1lDs, Nlcolaa B. l,ta3rdle, Peter D-
Ctttckshalks, Ilonald A. ll@fort' Jose A-
Drlacoll, Ell€D lldtalvo, Dadel J-
Ihecan, ADn 5. PlettDer. Davtd E.
Dlecalt Biuce c. lichardson, lobert K.
8ager, George B. Esrsseaur $r@a6 t.
Folster, Jaaes R. Saichez. E(hd.o R-
Fusct Raysoud A. &d,th, stev€o A.
' sdrel
CltDre' L. S-uleske, Robert f-
@rq, Steve llbitttg, Ir4vld S.
Gteesberg, lautlace P. Yo@g, D6rlat B-

JOSN CA@ o! *ld luoe palk'a 'Zetr for fth"(1962-64)

O! the Eatute of 5l.leBce: Hel1 dott, you &rorq thst IrYe ltrltteD a Plecc
calleil 4'33" r*rtch has qo 6ot[al!t of dy oltB nakhg lD lt, 5ad tha! Robert
-have
F€ugcheabelg ll3s Eaile pal'rrtl.nge thtch oo lEeges oD theD-_thE/rre
ElEp1y caL;oes, !.rhlte canva8es, rrith no tneges oD thes-_add NaD J!3e Palkt
ina rira."" aotpotat, has saile a! hout-long fllo uhlch hds Do images on It'.
1r"", .im""a, iou night say that all thre! actloos ale the strrne' But theyrle
qulte dl,ffetelt.
lte Rauscheabelg pslutfuga, t! dy oplnLoD, aa I've et(Pre,ssed lt, becoEe
atrporte for gatdcfee oi dqst aud shadolra ttlat are lE the elvlrotEelt'
try plece' 4'33r', becmea lu perfotdaqce the souoilg of the envLtomeat '
N€'!l, aa the rdaic, the sotrods of, the eardro@ent rdslo' so to !Pe'k' rdhete
;; ;;". riheteaa ln the case of the Rsu6ei€dbelg Pailtlsgttrere the du6t arrd the
;;;;,'ah. .t"ig." ro ltght alal 60 forlh' do!'t reroain they are tut
i-. ii'tft" pairttg: ta the case of the Ne JiDe Patk ftln, rrhidr haa no
t*"." oo tt, tte "i"o Is darLeded, the fllo Is Projected, aid rJhat you aee
r" ;h; ;;; iuat has cottected oo itte ttL- I thtDl( that'6 sc6et&at slollat
to the case of the RauscheEbelg Paidfig' though the focus ls lrd the duEt
oote ilteDse'
ltle !3trrle of the eDviro@eot ia- r"ra o tie f 4' illffereat alrd thus less
and ghaddrs that are the esvlrd@€lt fal1t!8 od tte Patltltrgt
free. ffotverstty of Chcinqatl' L968
'ttaeoe nou"
(eiflted by B. Currte aud U. porte)
lI.E. Dear Job!:
iil-;;. oi etrtrouent Is qtch dtch lbte oo w thau od fit! or Paitrttng'
b tsct, W (lta ratrdcn rcveneot of tlqr electrcnt) tll the euvlro@eat of
todajr. .J.P. (f971)
i',Htts: t"'6'p.,1, l"- p'ra b"i \.\ S."\ '"r.d)
fl^ss , n g*, '*
iho 5'1 ,'ttitocl.n\l vll,]l\, bJ,
,*1.r{-{; dlK'558\\\{t --vr'"\\l -b'"l
htud, \hr{e'r,r.,s.
\hi-lP u)o'5e {?Y\€rr\Io{
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{*[r,re ,' ",11. /errhq trtLour , c se{res *\l,lt^*,
Yl+s"^^a *]ft t,llr,rs --.^{ .t^ot :'{t$- Piti grecrolge\i"r
telTeh
ru,'il:l\rfi ::fr '}ii'$ti;::t';"t'*:;
{S!{r-l -9\o"[.tn**. qug[ scert, <nu.\,1... *Ar.,<tL
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