John Cage (1912-92)

[petrarch]

From the score (and you will need the score if you have it to follow me here) bar 1 is four crotchets and bar 2 is organised, according to conventional analysis as 1 and then 3 crotchets (crotchet rest and 3 crotchets). Why is the rhythmic structure grouped in this fashion? Why not group the whole of section A as 4 4; 4 4; 4 2; 4 2 for example. There seems to be no underlying feature that would warrant grouping of the first two bars as 4 1 3 rather than 4 4. The score has even been annotated by someone who had it before me, in pencil, as 4 1 3.

Looking at the score it seems that the 4 1 3 structure is what allows emphasis on the first crotched of the 3, creating an asymmetry with the 4 before it. As mentioned elsewhere, most (all?) sections of the sonatas are in binary form AB, and further subdivided into AABB, with A and B slightly different in order to generate some asymmetry. A and B themselves appear to be made up of asymmetric elements, which I think is done for variety and to avoid repetition. If A is 4 4 and B is 4 2, the resulting 4 4 4 4 4 2 4 2 probably wouldn't lend itself to clearly establishing a "regularly irregular" pattern.

[canninator]

Looking at the score it seems that the 4 1 3 structure is what allows emphasis on the first crotched of the 3, creating an asymmetry with the 4 before it. As mentioned elsewhere, most (all?) sections of the sonatas are in binary form AB, and further subdivided into AABB, with A and B slightly different in order to generate some asymmetry. A and B themselves appear to be made up of asymmetric elements, which I think is done for variety and to avoid repetition. If A is 4 4 and B is 4 2, the resulting 4 4 4 4 4 2 4 2 probably wouldn't lend itself to clearly establishing a "regularly irregular" pattern.

Hhhmm, fair point although I might argue that the asymmetry is made explicit by the crotchet rest at the start of bar 2 whether one analyses A as  4 4 or 4 1 3.

[petrarch]

Hhhmm, fair point although I might argue that the asymmetry is made explicit by the crotchet rest at the start of bar 2 whether one analyses A as  4 4 or 4 1 3.

The point I was making is that the structure is also a guideline for the composer--where in time to put the stresses.

[canninator]

The point I was making is that the structure is also a guideline for the composer--where in time to put the stresses.

Yes, I think there is something to that. Working through Sonatas II (based on the principle of 31) and III (principle of 8 1/2) I can see where this delineation of the microscopic structure is coming from. Sonata II makes it especially obvious with dynamic markings that would correspond exactly to the stresses of a 4,2;4,2;9 1/2;9 1/2 (=31) rhythmic structure. I should have looked at this one first and I think it might have been a little more clear for me.

I feel a little more comfortable interpreting Music for Marcel Duchamp now. Many thanks for your input petrarch.

[canninator]

The point I was making is that the structure is also a guideline for the composer--where in time to put the stresses.

So looking over Marcel Duchamp, there is a rhythmic structure of proportion 2,1,1,3,1,2,1 where the numbers appear to correspond to distinct phrases within each unit of 11 bars. It is interesting that this is not followed through with the same rigour as the Sonatas as there are sections (e.g. the fourth unit of 11 bars which consists of 110 alternating quavers Eb Cb [with some rudimentary counterpoint]) where the microscopic structure is lost but reappears by the 6th unit (section marked legatissimo). I think this relaxing of the microscopic structure is a double edged sword, it allows for a perceived rhythmic variety but has the disadvantage of underscoring some aspect of the piece's coherence.

One thing I haven't taken into account is the film for which the piece was written and how the loss of coherence in the microscopic rhythmic structure relates to what is happening on screen (just as Cage integrated silence and sound with movement and stillness with Merce Cunningham).

[bhodges]

My article on Cage recordings, some of which I'd never heard. Dipping into a lot of his work over a few months was entertaining, enlightening - enjoyed it immensely.

--Bruce

[some guy]

Lovely article, Bruce.

One of my recent purchases was the recently released Percussion Group Cincinnati disc of mostly 40s Cage pieces, Credo in Us and the five Imaginary Landscapes. Some of those in two versions, too.

It's a beautiful production, well recorded and perfectly performed. Plus it uses original instruments.

[bhodges]

Thanks - both for the kind words and for the additional recommendation. As a percussion fan, I'd be very interested to hear this.

--Bruce

[some guy]

I forgot to mention, too, an interesting comment on Cage that Ricardo Mandolini made in an interview for Asymmetry Music Magazine. Since it's Ricardo's interview, the stuff about Cage might not pop up in a standard search about Cage.

http://asymmetrymusicmagazine.com/interviews/ricardo-mandolini/

Some startling remarks about serialism, too. They startled me, anyway.

You have to scroll down a bit to get to the remarks about Cage. Or, even better, just relax and read the whole interview. It's fun!

[petrarch]

My article on Cage recordings, some of which I'd never heard. Dipping into a lot of his work over a few months was entertaining, enlightening - enjoyed it immensely.

Thanks for the link. Very good--albeit short--reading.

[petrarch]

http://asymmetrymusicmagazine.com/interviews/ricardo-mandolini/

Some startling remarks about serialism, too. They startled me, anyway.

You have to scroll down a bit to get to the remarks about Cage. Or, even better, just relax and read the whole interview. It's fun!

Yes, excellent article. It's not always that composers can articulate so clearly the challenges of aesthetics and art. There are a couple of phrases that I think summarize Cage very succinctly and appropriately. And good to see Dhomont mentioned; he's one of my favorite composers of electroacoustic music, with a keen ear for the plasticity of sounds.

[petrarch]

One of my recent purchases was the recently released Percussion Group Cincinnati disc of mostly 40s Cage pieces, Credo in Us and the five Imaginary Landscapes. Some of those in two versions, too.

It's a beautiful production, well recorded and perfectly performed. Plus it uses original instruments.

Eagerly waiting to return to the U.S. (in a couple of months) to finally order it!

[some guy]

There's an interview with Dhomont in Asymmetry, too. With Robert Normandeau, who was doing the translating.

[bhodges]

I forgot to mention, too, an interesting comment on Cage that Ricardo Mandolini made in an interview for Asymmetry Music Magazine. Since it's Ricardo's interview, the stuff about Cage might not pop up in a standard search about Cage.

http://asymmetrymusicmagazine.com/interviews/ricardo-mandolini/

Some startling remarks about serialism, too. They startled me, anyway.

You have to scroll down a bit to get to the remarks about Cage. Or, even better, just relax and read the whole interview. It's fun!

And thanks for that!

Thanks for the link. Very good--albeit short--reading.

Thanks, Petrarch. (PS, these articles are usually about 600 words, so at over 900, this one is actually a bit longer than usual for this format!)

--Bruce

[bhodges]

I doubt anyone at Carnegie Hall last night will forget Joan La Barbara, Meredith Monk and - of all people - Jessye Norman in John Cage's Song Books (1970), with Michael Tilson Thomas and members of the San Francisco Symphony. While La Barbara and Monk are Cage veterans (and both were fantastic), Norman is definitely not, and it's safe to say that the highlight of the memorable half-hour or so was Norman sitting at a Royal manual typewriter (typing French, it appeared), while Tilson Thomas made a smoothie in a blender. The audience buzz at intermission (45 minutes long, to break down the elaborate stage set) was hugely entertaining.

FYI, the rest of the program:

Cowell: Synchrony (1930)
John Adams: Absolute Jest (2011)
Varèse: Amériques (1918-21; rev. 1927)

--Bruce

[bhodges]

And more: the New York Public Library has created a fantastic-looking new site, John Cage Unbound: A Living Archive, here:

http://exhibitions.nypl.org/johncage/

--Bruce

[Karl Henning]

. . . The audience buzz at intermission (45 minutes long, to break down the elaborate stage set) was hugely entertaining.

Entertaining? My dear chap, it was part of the music : )

[bhodges]

Entertaining? My dear chap, it was part of the music : )

I'll buy it. 

--Bruce

[some guy]

All audience buzz at all concerts is part of music.

Music is continuous; only our listening is intermittent. (I don't know about the exact words, but that sentiment can be found in Indian music philosophy and in Henry David Thoreau.)

That site Brewski mentioned is a lot of fun to click around in, and there's different ways to navigate, too, appropriately enough!

[bhodges]

They have released this year's Proms concerts, and check out this fun-looking Cage line-up:

http://www.bbc.co.uk/proms/whats-on/2012/august-17/14218

--Bruce