Crippled Symmetry

The President and Fellows of Harvard College
Peabody Museum of Archaeology and Ethnology
Crippled Symmetry
Author(s): Morton Feldman
Reviewed work(s):
Source: RES: Anthropology and Aesthetics, No. 2 (Autumn, 1981), pp. 91-103
Published by: The President and Fellows of Harvard College acting through the Peabody Museum of
Archaeology and Ethnology
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Crippled symmetry
MORTON FELDMAN
Ienjoyed painting flowers, not bouquets, but a single reiteration to achieve this additive form and, as a result,
flower at a time, in order that Imight better express its are anchored in a fixed pitch-world, whether dissonant
plastic structure. or consonant. In one of the movements of Stravinsky's
Mondrian Requiem Canticles there is a continuous play between
A and B, where the smaller "border" of A remains
unchanged in every detail, while B varies slightly in
A growing interest in Near and Middle Eastern rugs length when repeated. V?rese, in the striking and
has made me question notions Ipreviously held on uncommonly extended "opening" of Int?grales, also
what is symmetrical and what is not. In the Anatolian utilizes an additive scheme, but dispenses with
village and nomadic rugs there appears to be Stravinsky's characteristic juxtaposition of A and B. Like
considerably less concern with the exact accuracy of the formation of crystals which so fascinated V?rese,
statement ? ?
the mirror image than in most other rug-producing this opening created out of three notes
areas. The detail of an Anatolian symmetrical ?mage undergoes a continual transformation of rhythmic
was never mechanical, as I had expected, but shapes and time proportions. In Reich's Four Organs,
idiomatically drawn. Even the Classical Turkish carpet the rhythmic patterns are more acoustically oriented
was not as particular with perfect border solutions as and are based on the pitch-components of a chord that
was its Persian counterpart. never changes position. The music begins with a 3-1-8
A disproportionate symmetry, whether rhythmic or in pattern inwhich certain pitches from the basic chord
phrase lengths, characterizes twentieth-century musical are then varied rhythmically. Reich's first structural
development. Webern's Spiegelbild (mirror ?mage) in rhythmic move is to continue to use the same eleven
his last works was integral to his twelve-tone procedure beat measure, but now divide it into patterns of
and any imbalance had to do with a slight variation of 4 + 4 + 3; then 4 + 3+4. What follows is the gradual
rhythmic or chordal distribution in its mirror. The post addition of more beats to the structural frame of now
Webern tendency with rhythm was to effect a longer measures: 4 + 3 + 2+4 = 13; 4 + 3 + 2 + 2+4 = 15;
compromise between symmetrical and asymmetrical then to 18; 20; 23; 24 beats; until Reich does away
beats. A typical example would be five notes played in with the barlines. As the measures grow progressively
the time of four equal beats (5:4), or other similar longer, the oscillation of the recurring pitches can no
patterns. Unlike Stravinsky, whose "raw" syncopation longer be said to have any marked rhythmic profile.
articulated tight harmonic rhythm patterns, post-Webern The moment a composer not?tes musical thought to
rhythmic usage stemmed from a twelve-tone an ongoing ictus, a grid of sorts is already in operation,
polyphonic concept of continuous variation inwhich a as with a ruler. Music and the designs or a repeated
? ? in common.
rhythm not dependent on harmony varied the pattern in a rug have much Even if it be
motivic shape of the music. asymmetrical in its placement, the proportion of one
Rugs have prompted me in my recent music to think component to another is hardly ever substantially out of
of a disproportionate symmetry, inwhich a scale in the context of the whole. Most traditional rug
symmetrically staggered rhythmic series is used: 4:3, patterns retain the same size when taken from a larger
6:5, 8:7, etc., as the point of departure. For my rug and then adapted to a smaller one. Likewise, the
purpose, it "contains" my material more within the character of Stravinsky's patterns does not seem to differ
metric frame of the measure; while in post-Webern if a work of his is either long or short. Ifwe examine
results from ? whether in Stravinsky's "hard
arhythmic language, lopsided acceleration asymmetric phrasing
the directional pull of one figure to another. What I'm edged" Sacre, Satie's "soft-edged" Socrate, or in
after is somewhat like Mondrian not wanting to paint Schoenberg's duplication of the irregular prose of
but a single flower at a time." ? we find that the partitioning is
"bouquets, Erwartung
There are musical examples where the juxtaposition concentrated enough in time to hear the mosaiclike
of asymmetric proportions (all additive) becomes the process of the grid at work. We also recognize a
form of the composition. It is interesting that all three of historically reminiscent "conversation" between the
the composers Iwill briefly discuss use repetition or phrases. In this regard, these three early twentieth
92 RES 2 AUTUMN 81
AS
Western last quarter of the nineteenth 31V2" x 48V2".

Anatolia, century.
Photograph (S. Sloman)
century asymmetric masterpieces were an outgrowth of discernible at the moment of hearing ? like images in a
the symmetrical antecedent/consequence building film. It is not involved with the grammar of design, and
blocks of the Classical era. is perhaps the only music known to us in which
A music inwhich all properties functioned concepts of symmetry/asymmetry cannot be applied.
independently and autonomously from each other was Iwas once in Rothko's studio when his assistant
achieved by John Cage in the early 1950s. What Cage restretched the top of a large painting at least four
? some just
did was to compile a table of sound-events times. Rothko, standing some distance away, was
a note or two, others arabesquelike figures of different deciding whether to bring the canvas down an inch or
proportions. Included in other charts was information so, or maybe even a little bit higher. This question of
pertaining to the gamut of musical parameters. Through scale, for me, precludes any concept of symmetry or
the tossing of coins and consulting the / Ching as asymmetry from affecting the eventual length of my
oracle, the ordering and subsequent combination of all music. As a composer I am involved with the
this material was arrived at. The music was then contradiction in not having the sum of the parts equal
"fixed" through the same method of tossing coins into the whole. The scale of what is actually being
a nonprogressive, rhythmic "spatial" notation, not represented, whether it be of the whole or of the part, is
unlike a distance scale on a map. Because this music is a phenomenon unto itself. The reciprocity inherent in
subject to the multiplicity of disciplines inherent in its scale, in fact, has made me realize that musical forms
detailed assemblage, its musical shape is only and related processes are essentially only methods of
Feldman: Crippled symmetry 93
Piet Mondrian; avec de couleur pure sur fond blanc, 191 7; gouache on paper;
Composition plans
18V2" x 23%". Private collection, Zurich. (E. Pollitzer)
arranging material and serve no other function than to and directional, but we soon realize that this is an
aid one's memory. illusion; a bit like walking the streets of Berlin ? where
What Western musical forms have become is a all the buildings look alike, even if they're not.
paraphrase of memory. But memory could operate I'm being distracted by a small Turkish village rug of
otherwise as well. In Triadic Memories, a new piano white tile patterns in a diagonal repeat of large stars in
work of mine, there is a section of different types of lighter tones of red, green, and beige. Though David
chords where each chord is slowly repeated. One Sylvester1 is right in commenting that our appreciation
chord might be repeated three times, another, seven or of rugs such as this was enhanced by our exposure to
? modernistic Western was
eight depending on how long I felt it should go on. art, still, this "primitive" rug
Quite soon into a new chord Iwould forget the conceived at almost the same time that Matisse finished
reiterated chord before it. I then reconstructed the entire his art training. Everything about the rug's coloration,
section: rearranging its earlier progression and changing and how the stars are drawn in detail, when the
the number of times a particular chord was repeated. rectangle of a tile is even, how the star is just sketched
This way of working was a conscious attempt at (as if drawn more quickly), when a tile is uneven and a
a disorientation of memory. Chords are little bit smaller ? this, as well as the staggered
"formalizing"
heard repeated without any discernible pattern. In this
regularity (though there are slight gradations of tempo) 1. Islamic Carpets from the ?oseph V. McMullan Collection. Art
there is a suggestion that what we hear is functional Council of Great Britain. 1972.
94 RES 2 AUTUMN 81
placement of the pattern, brings to mind Matisse's flexible pacing of three very distinct colors. Material
mastery of his seesaw balance between movement and given to each instrument is idiomatically not
stasis. Why is it that even asymmetry has to look and interchangeable with that of the other instruments.
?
sound right? There is another Anatolian woven object Some of the patterns repeat exactly others, with
on my floor, which I refer to as the "Jasper Johns" rug. slight variations either in their shape or rhythmic
It is an arcane format, with no apparent
checkerboard placement. At times, a series of different patterns are
systematic color design except for a free use of the rug's linked together on a chain and then juxtaposed by
colors reiterating its simple pattern. Implied in the simple
means.
glossy pile (though unevenly worn) of the mountainous The most interesting aspect for me, composing
? was with patterns, is that there is not one
Konya region, the older pinks, and lighter blues exclusively
my first hint that there was something there that I could organizational procedure more advantageous than
learn, if not apply to my music. another, perhaps because no one pattern ever takes
The color-scale of most nonurban rugs appears more precedence over the others. The compositional
extensive than it actually is, due to the great variation concentration is solely on which pattern should be
of shades of the same color (abrash) ? a result of the reiterated and for how long, and on the character of its
yarn having been dyed in small quantities. As a inevitable change into something else.
composer, I respond to this most singular aspect Ienjoy working with patterns that we feel are
affecting a rug's coloration and its creation of a symmetrical (patterns of 2, 4, 8, etc.) but present them
microchromatic hue. My music has been
overall in a particular context:
influenced mainly by the methods inwhich color is
used on simple devices. It has made me
question
essentially
the nature of musical material. What could i) ij?? i. 712) i4f jrn* $ fcJiinniJBii
T
,-?-1 ?J-1 1
best be used to accommodate, by equally simple

means, musical
color? Patterns. Example 1 is characteristic of a vertical pattern
Rug patterns were either abstracted from symbols, framed by silent beats; in this instance the rests on
?
nature, or geometric shapes leaving clues from the either end are slightly unequal. Linear patterns are
real world. Jasper Johns's more recent paintings cannot naturally more ongoing, and could have the "short
be placed into any of these categories. Johns's canvas is breath" regularity of Example 2 or anticipate a slight
more a lens, where we are guided by his eye as it staggered rhythmic alteration such as in Example 3.
travels, where the tide ? somewhat different, somewhat Another device I use is to have a longish silent time
the same ? to mind frame that is asymmetrical; in this instance, with a
brings Cage's dictum of "imitating
nature in the manner of its operation." These paintings quixotic four-note figure in the middle:
create, on one hand, the concreteness we associate
with a patterned art and, on the other, an abstract
poetry from not knowing its origins. We might even

question in Johns whether they are patterns at all.
When does a pattern become a pattern?
or a symmetrical silent frame around a short
* *
asymmetric measure:
This persistence of pattern which runs throughout the

art of the East is due to the inclination of the craftsman to
let well alone.
A. F. Kendrick and C. E. C. Tattersall
Hand-woven Carpets (London, 1922)
Repetitive chordal patterns might not progress from
one to another, but might occur at irregular time
Why Patterns? is a composition
for flute,
intervals in order to diminish the close-knit aspect of
glockenspiel, and piano consisting of a large variety of
patterns. The work is notated separately for each
instrument and does not coordinate until the last few Dancers on a Plane, oil on
(Opposite). Jasper Johns; 1980;
minutes of the composition. This very close, but never canvas with painted bronze frame; 783/4" x 63%". T?te
precisely synchronized, notation allows for a more Gallery. (E. Pollitzer)
96 RES 2 AUTUMN 81
patterning; while the more evident rhythmic patterns

might be mottled at certain junctures to obscure their
periodicity. For me patterns are really self-contained
sound-groupings that enable me to break off without
preparation into something else.
In String Quartet there is an almost obsessive
reiteration of the same chord ?dispersed in an overlay
of four different speeds:
4ft# * * * ff? it t
fff m
f- r i
^m ^ m
w*
m
f j Witt wjiiim?E?
fM
m
im ma f f \ w: f fi.
m ? Universal Editions, 1979.
The rhythmic structure of the block consists of four

uneven bar lengths with four permutations that
incorporate the instrumentation of the quartet. Imust
caution the reader not to take the barlines here at face
value. This passage becomes rhythmically obscured by
the complicated nonpatterned syncopation that results.
Only after rehearsals, and by following the score, could
I catch an individual pattern as it crisscrossed from one
instrument to another.
In Spring of Chosroes for violin and piano, the

"pattern" of one section consists of heightening the
effect of the plucked violin figure (encompassing three
pitches) by not establishing any clear-cut rhythmic
shape except for its constant displacement within the
This allows for five permutations, which are
quintuplet.
then juxtaposed in a helter-skelter fashion as the series
continues. The use of three pitches against five uneven
beats created, in my ears, a crippled symmetric
constellation of "eight" as Iwas writing it. Against the
violin's pattern, the piano has an independent rhythmic
series of the same three pitches, played in a symmetric
unit of four equal beats to a measure. This functions as
still another deterrent to the natural propulsion of the
quintuplet.
pizz.
\ppp\
*
'l itl? ftW* ? y iV*M ? E ij |ft?J* 1 tff?t=^3.
? Universal Editions, 1977.
A modular construction such as the above could be since there is no rhythmic "style," a quality often
a basic device for organic development. However, I use crucial to the performer's understanding of how ?nd
it to see that patterns are "complete" in themselves, what to do. I found this just as true in my music of the
and in no need of development ? only of extension. fifties? where rhythm was not notated, but left to the
My concern is: what is its scale when prolonged, and performer.
what is the best method to arrive at it?My past The attempt to find a suitable notation for musical
experience was not to "meddle" with the material, but ideas has been a major preoccupation of Boulez
use my concentration as a guide to what might throughout his career. There is a revision of
significant
transpire. Imentioned this to Stockhausen once when Le Soleil des Eaux that comes to mind. The original
he had asked me what my secret was. "I don't push the version is in the "Klangfarben" manner: brief segments
sounds around." Stockhausen mulled this over, and of the musical line distributed from one instrument to
asked, "Not even a little bit?" another. The revised version has the individual
Ifmy approach seems more didactic now ? instruments follow through with a more continuous
spending many hours working out strategies that only line. The notation of the earlier version looks "good" in
apply to a few moments of music ? it is because the the manner of the times; but the revised score sounds
patterns that interest me are both concrete and better ? rather, it sounds like Boulez. In contrast, my
ephemeral, making notation difficult. If notated exactly, notational concerns have begun to move away from
they are too stiff; if given the slightest notational any preoccupation with how the music functions in
leeway, they are too loose.
performance.
Though these patterns exist in rhythmic shapes It is difficult to describe what characterizes
articulated by instrumental sounds, they are also in part notational imagery. Ifwe could suspend for just a
notational images that do not make a direct impact on moment all the reasons we think distinguish one era
the ear as we listen. A tumbling of sorts happens in from another ? and briefly glance at the pages of the
midair between their translation from the page and their last movement of the Hammerklavier, or a.florid bar or
execution. To a great degree, this tumbling occurs in all two from Chopin, or any work of Webern's ? we will
music ? but becomes more compounded in mine, observe that these pages do not visually resemble the
98 RES 2 AUTUMN 81
music of their contemporaries. The degree to which a

music's notation is responsible for much of the
composition itself, is one of History's best kept secrets.
The following example from Trio for violin, cello,
and piano might best illustrate this, as well as my
increasing move away from the practicality of how the
music will come off in performance.
? Universal Editions, 1980.
Starting with the metronome indication (J.=

J^ ), called Notations), might appear dubious. But notation
there is a difficult coordination problem between the can have an aspect of "role playing," and I feel it as a
three instruments. The performers must pace seven very strong voice, if not on stage, then off.
beats into six equal ones, and subdivide another Another important offstage element, used exclusively
rhythmic idea inwhich each pitch of the four-note by John Cage until not too long ago, was the adoption
piano chord, and the separate notes of the double-stops of rhythmic structures, like markers, that told Cage
in the violin and cello are all of different, where he was during the course of the work. Itwas for
finicky
durations. This "machine" goes on for thirty-six him what harmony may have been for Beethoven, and I
measures, with other problems developing along the hope he is not annoyed at me for saying that it also
way. Technically, the music is both idiomatic and corresponded with Beethoven's sense of scale. The
but to a taxing degree, on the rhythmic structures were
playable; depends, initially used in Cage's less
performer's concentration. "extreme" (but equally important) music, where their
Many composers and theorists will disagree with the ragalike character complemented his exquisite motivic
almost hierarchical prominence I attribute to the lines. And again like Beethoven, one could hear it.
notation's effect on composition. They would argue that After about 1950, with a different music inventing
new musical concepts, resulting in innovative systems, different notations ? or was it different notations
necessitated in notation. This is then referred to ?
changes creating a new music? whatever; the rhythmic
as, say, a new "piano style," as Leibowitz did in structures were still in operation, no longer heard, but
discussing an important early piano piece (Op. 11, still important to the composer. Even now, no
obviously
1909) by Schoenberg. This interpretation cannot be longer in need of these structural signposts, I feel Cage's
refuted, but some room should be left open to question sense of overall scale is quite similar to Brian
it.My speculation over how a "notational look" may observation Jackson Pollock's
O'Doherty's concerning
have contributed to the music of Webern, or for that painting, "that an imaginary grid seemed always in
matter Boulez (who, incidently, has composed a work operation."
* * *
??Wi'
''$^V''-T/*
V*
- '
> ^
A''^;l?pk^^!:-';fe^fv 1>
-k? / v? Ju S * *.
v*f> ?^y5?L* T-:>?W?7- '.7./
/At+fltftt?
Jackson Pollock; Untitled, 1951; inkon Japan paper; 44.4 x 56.5 cm. Private collection, Buffalo. (Petersen)
100 RES 2 AUTUMN 81
Robert Rauschenberg; Black Painting, 1951; oil and collage on canvas; 53" x 78" (approx.).
Private collection, Buffalo. (S. Sloman)
Icannot determine with anything approaching to Ford and off we went. I'm looking at it now (thirty years
what it is that the taboo ... it is as Iwrite this. After living with this painting and
certainty, power imposes later)
studying it intensely now and then, Ipicked up on an
imposed upon something today, and withdrawn tomorrow;
while its operations in other cases are perpetual.
attitude about making something that was absolutely
Melville
unique to me. To say that the Black Painting could be
Typee
relegated to "collage" simply did not ring true. Itwas
more: itwas like Rauschenberg's discovery that he
Inmy early training as a composer with Stefan wanted "neither life nor art, but something in
Wolpe, the one theme persistent in all our lessons was between." I then began to compose a music dealing
why Idid not develop my ideas but went from one precisely with "inbetween-ness": creating a confusion
thing to another. "Negation" was how Wolpe of material and construction, and a fusion of method
characterized this. Unlike so many composers, and application, by concentrating on how they could
especially of his era, he didn't question my ideas or be directed toward "that which is difficult to
extoll any systems for me to use. I'm thankful for this, categorize."
since at that time I remember Iwas dangling between Soon after meeting Rauschenberg Imet Jackson
various procedures that I knew didn't apply to my Pollock, who asked me to write music for a film about
music. And as yet, I had not met the painters whose him that had just been completed. Iwas very pleased
tactical solutions were to contribute so much to this about this since itwas just the very beginning of my
problem that confronted me. In no way do Iwant to career. Pollock lived way out on Long Island and only
imply that youthful arrogance ignored all that I could came to the city sporadically, making it difficult to
learn from the study of composition. But my approach, establish a real continuity to our relationship. In
which was not conscious at the time and only revealed thinking back to that time, I realize now how much the
itself many years later, was: work first, study later. musical ideas I had in 1951 paralleled his mode of
Recently Iwas in a bookstore
in Berlin where the clerk, working. Pollock placed his canvas on the ground and
not understanding English, found it impossible to help painted as he walked around it. Iput sheets of graph
me find certain German books on rugs. A distinguished paper on the wall; each sheet framed the same time
man intervened, and from our conversation it turned duration and was, in effect, a visual-rhythmic structure.
out that he too was an avid rug enthusiast. He then What resembled Pollock was my "all over" approach
took out of his pocket sheets of paper with single to the time-canvas. Rather than the usual left-to-right
spaced columns of his countless rug books in many passage across the page, the horizontal squares of the
? with each box
languages. "Could it be possible for me to see your rug graph paper represented the tempo
collection while I'm in Berlin?" Iasked with some equal to a preestablished ictus; and the vertical squares
hesitation. "I haven't collected any rugs as yet, only were the instrumentation of the composition.
?
books about them. You see, I first want to learn all As Icame to know Pollock better especially from
there is to know about them," he replied. I remember those conversations where he would relate
Boulez saying something similar: "I must know Michelangelo's drawings or American Indian sand
? Ibegan to see similar
everything before I step off the carpet." painting to his own work
was to that Imight explore in music. Imust point
My first lucky encounter with a painter who associations
become crucial to my music occurred soon after out here that the intellectual life of a young New York
meeting John Cage in the latter part of 1950. Cage composer of my generation was one inwhich you kept
knocked on my door and announced that he had just your nose glued to the music paper. Wolpe was
met an extraordinary young artist and that "we're going intimate with many painters and constantly spoke of
down to his studio." The artist was Robert other things besides music. V?rese, too, was a
looking at a large black painting with vast interests in other areas. Unless
Rauschenberg. While composer you
inwhich newspapers (also painted black) were glued to came to know creative people in other fields, your own
the canvas, Rauschenberg jokingly suggested Ibuy it. intellectual and artistic development was not the same.
"How much do you want for it?" "Whatever you have How a painter ? who walked around a canvas, dipped
in your pocket." I had about seventeen dollars and a stick into a can of paint, and then thrust it in a certain
?
change ?which I happily gave him, and which he way across the canvas could still talk about
happily accepted. We put it

on the roof of Cage's old Michelangelo was, and still is, baffling to me.
102 RES 2 AUTUMN 81
My edification in offstage references continued Rothko's that removes any argument over the
scale
during my friendship with Mark Rothko. On numerous proportions of one area to another, or over its degree of
occasions we went together to the Metropolitan, where symmetry or asymmetry. The sum of the parts does not
his favorite haunts were, surprisingly, not the painting equal the whole; rather, scale is discovered and
galleries, but the Near Eastern collection and especially contained as an image. It is not form that floats the
a small room of Greco-Roman sculpture. Rothko painting, but Rothko's finding that particular scale
always followed through his reaction to something that which suspends all proportions in equilibrium.
would catch his attention with a brief, reflective Stasis, as it is utilized in painting, is not traditionally
commentary. I remember his absorption one afternoon part of the apparatus of music. Music can achieve
with the Greco-Roman sculpture: "How simple it aspects of immobility, or the illusion of it: the Magritte
would be ifwe all used the same dimension ?the way like world Satie evokes, or the "floating sculpture" of
these sculptures here resemble each other in height, V?rese. The degrees of stasis, found in a Rothko or a
stance, and the distance between one foot and the Guston, were perhaps the most significant elements that
other." Rothko was leaning toward a possible answer in Ibrought to my music from painting. For me, stasis,
the more subliminal mathematics of his own work. And scale, and pattern have put the whole question of
I agree artistically. It seems that scale (this subliminal symmetry and asymmetry in abeyance. And Iwonder if
mathematics) is not given to us inWestern culture, but either of these concepts, or an amalgamation of both,
must be arrived at individually in our own work and in can still operate for the many who are now less prone
our own way. Like that small Turkish "tile" rug, it is to synthesis as an artistic formula.
(Opposite). Mark Rothko; Violet and Yellow on Rose, 1954;

oil on canvas; 212 x 172 cm. Private collection, V?rese.
(G. Sinigaglia)

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The President and Fellows of Harvard College

Peabody Museum of Archaeology and Ethnology

Western last quarter of the nineteenth 31V2" x 48V2".

Photograph (S. Sloman)

best be used to accommodate, by equally simple

with a patterned art and, on the other, an abstract

poetry from not knowing its origins. We might even

This persistence of pattern which runs throughout the

patterning; while the more evident rhythmic patterns

The rhythmic structure of the block consists of four

In Spring of Chosroes for violin and piano, the

'l itl? ftW* ? y iVM ? E ij |ft?J 1 tff?t=^3.

? Universal Editions, 1977.

music of their contemporaries. The degree to which a

? Universal Editions, 1980.

Starting with the metronome indication (J.=

happily accepted. We put it

(Opposite). Mark Rothko; Violet and Yellow on Rose, 1954;

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