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-The yeals passed atnNt ideniicatty, and with lhe squatity ol these opening sitences. I comp0sed tiltle Scpkces, Ede up praclising tie iittle that I did, eventua y ablaacher and found myseli ai iilteen studying sith Wai ingf

who sas equally lax with me.I mNt have had a secret desire to h e lhis drcamto nosic, and tobecome a "rnusician," because ar etshlem ltowith Stehn yr'o'pe. But all w did wd argue about music, andleaning nothing- 0ne day I stopped paying him. Nothing wait. I continued 1o go, se coniini,ed to argue, and we are

My ind meeling with john Cage was at Cdnesie Ha.opou os conductod lhe Webern Symphony. I belleve thal sAol 194950, a d I was about iwstyJour yea.s old. Ihe audkto the piece G so antagonistic and disturbng that I te{lafteRards. I Ms more or less catching my breath in thewhen lohn cane oui. I (cor':cd hin, thoush we had neverover and as ihao8h I had known him aLl my lile said, "W6n'tful?' A moment laler we were talkins snimaledly .bout hthe pkce sounded ln so lars. a hall. We immediately nade a

John at that time lived on the top lloor ol a tenenenthe East River on Grand Sireet. ll was a masnilicent view,lourmade into two A hrge dpaise ol the Easi niier, iusl a few pa long low natble table and a constelklion ol Lippotd scutthe wall. lLippold lived nelt d0or.)Ihe reason I Linger at the nemory of how John livedil wd in this room lhat I lound an appreciaUon and an enmore extravaset ihan I had evs belore enmunlered. lt wihat I mel Phi'ip Guslon, my closest iiiend who hd cmlribu

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IlORTON Ai this frst meetins I brcueht lohn a Sirins 0uarlelookad al il a lons lime and then eid, "How did you male thI lhousht of my conslant quatrels with Wolpe, and also thata we"Ak befme, aller sh0wing a c0mposition of mine lo MBabbiil and answsing liis q!estions as intelllgmlly as I musaid lo me, "Morton, l donl understand a word you're eyAnd so, in a very weak voic / answ ed iohn, "l don't kn0wI made it." The rsponse to this was starilins. lohn iumped updown, and wiiha kiid oi hieh nonkey squeal screeched, "lsn'tmarvelous. lsn i lhat woude{u . ll3 so beautiful, and he doknow how he made it. Auile irankly, I smelimA llond{my music would have turned out ii lohn had not siven meearly permissi6s to have contidence jn my instlncls.

ln a few nonths I ld troved into lhat magic house, ethai lwas on $e second rlod, and wilh just a gllmpse oEast F ver. I wa very aware al ihe iime ol how symbolicallylhat iaclI had already becon fiiends with David Tudo while wiih Wolpe. Now I introduced him io lohn. Som altefrard ChrWollf appeared, and than Earla Ercwn, Bho mei lohn while heon tor in lhe middle-west and decided io make a ne lite inYod in order to be with the iew music.

FLSMffiqMy earliesi recoLkction of music I couldi't have been more thaniw-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 comeuider the tutehge oi Madam Mauina-Press, a flussian arisiocrat $hoearned her living ailer the revolution by leaching piano and by playingin a lrlo sith her husband and brolher-inlaw. ln kct, they w*e quitewel/ known in thNe days. lt was because of her only, I lhink, be%usesha wN noi a discipllMrian-that l was instilled ilh a sort 0f vibr lIillsicalily niher than m6icianship.I realize now ihal that imase of Madrn Press-a non.prolessionallfilh al ihe abllily and brilLiaice of the 'prc" that "d lLatantism'-hasalways 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; BNmtr $riptions of Bach, and spent more lime le3ding his footiotes thanplaying.

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There Ms very litil talk about musk $th John. Tseremovingtooiaslioevenialkabont.Buitherewasanincredib0f talk about pninting. lohn and I sould drop h at ihe Cedin the aflemooi and lalk unlil il closed and alier il dosewthoul exagseGiion that we did ihis every day tor live yea6Ihe new painting mad me desirous ol a sound wondnorc inmediat, morc physical than anythjng lhal had existedVare* had e,hents of this. 8ut he was t00 "Vdese."Elimpses ol ii, but his work was too involved with ihe disciptltelve.lone system- The n{ structure required a concendemanding lhan if the lc;iio'e was lhat of sull pholoSlor ne is what Drcise nolalion has come i0 imply."Prcjection *2" forfluie, irumpet, violin and cello-onegraph pieces-was my iirst exporience wilh ihis new though

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NEW DIRECTIONS IN MUSIC 2Erterlsione 1 tor Violin and. Piarlo (1951) Intersectign 3 for Pinno (1953) (gStructm.es lor Stritlg Quartet (1951) fbo Pieces for Tbi) Pianos (1951)Projection /' lor VioUrL anil Pii,no (1951) (graph) Three Pieces lor Strihg Suartet (1Eotensi,ons 4lor Three Pianos (1952-1953) Piece lor Four Pianos (ig57) -

Ihe last ten years have seen Amercan com cl'ches of the lnternat'onal School .t pr""""t ioose.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. :wnore cultural mrleu has chan8ed and 's strll iTed and sellconscrous modern,ty of the rnterna :char8rrg. The chmate lor receptiv,ty to the lional movement. Paradoricaliv. it rs precisely : lr.* 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, Ir-ds been Lhe inler involvemenl ot the ind'vidual A hev work in the devetoomenr awav lromJ.1s wrth one another. Pubhc ,nlerest in the serial t;chnique 's the lnter+ction 3 td Pianoemercence of a major composr, painter or poet (1953). A gAph piece, it is rotatty abstra.t inhas, in recent years, almost invariably been pre its every dimensaon. Fetdnan her.i successfuitv Iceded by his recognjtim amons other painters, avoids [he symbotic aspect of sound which haipoets and musicians. The influence ot esthetic so plagued the abstract works of his contemporideas has also been mutual: the very extremity aries by emptoying unpredictabitity reinforced byaf the difterences between the arts has thrown spontaieity-tie acorr; indicates iindetrmrnacitheir 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 thismakine 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. hasoi 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, butbe as astutely controlled by the sensibil,ty of tootrnB at somethrns in nature, ' Thrs rs iomePollockinitsassemblageofdetailtowardaunified thing seriatism coutd not accomptish. This tree-experience as are certain of Wbern s serial dom is shared by the performei to the extentpieces. And it is i.teresting to note that initial that what he Dlays rs not drctated bevond thepublic response to works by both artists was Craph co,,hot -the range ot a eiuen_passaBeinvolved in bewilderment at the seeming "lrag' and rts temporat area and division are inij'catea,mentation of experience- Althoueh these an6lo. but the actuat .otes heard mrjt come from thgies 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, thethe arts that Morton Feldnan could cite, along musrcran must reach rhe metaphysrcat ptacewith the pl.yin of Fournjer, Rachmaninoff and where each can occlr, allying neaessiv withTudor and the fnendship of John Cage, the paint- unpredrcbbnrty. Where a vrrtuoso work bta.esings 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 rmprovisatorythe 'metaphysical place which we all have but collaboratron, with ns catt on musrcal c.eativitiwhich so many ol us are not sensitive to by pre. as well as interpretative understanding, The pervious .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 performerwhere 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 isI " lpdce wn..h musr be (rea,ed ir rhe sen;ibitrty -l ir' T- rll ; ,rs to op te" to e,press its ind,vidudl preference o n i ; Li iIL'o. sorrd dd ro e(oore the.meanrng ot this -, Era'er"i.e. Tlar Lhe Ptocess ol frndrng thrs meta.plysnol pla.e of unD edrctabrl'ty and Dossrb'litvhysrcar prace ot unpredictability and possibilitycan be a drastic one is witnessed bythe necessityFF d nar rcrL a ie; y;"'; ;e; ro to.o ih; ta;l itr r - ;d"ni. rdnrlcatrons oi ser,al re(hnique, Like the EL ' ---:idn.ts 'nvolved 'n the new American painting, he o l : ': pu'sL.ng a personar search lor erpress'onwhich could not be limited by any system,This is_in sharp contrast to the development of Projection 4 for Vlolin .nd Piano (1951) ex.

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coL,{t}lntsr^A.MASTENu/ORKSMORTON FELDMAN

DaDid. Tlldor, Rltssell Shenkstu, Edufu Hllmoritz, PiMMattheu) RcLilltol,a: and Joseph Rttbuskka, Violinhts'Wedter Trampler, Viotist; Seumou'r Bamb, CcLIist

.izrcato; A:arco. Relalive pitch (hi8h'mi.idle low) rs indrcated: r: hrgh; E:middle: E = low. AnY tone within theranees indrcated mzv be sounded The limitsoi ihese ranses mav be freelv chosen bvthe plavr' Multiple stops are rndicated bvn"mbers wrthin the squares Duration rs 'n'di.ated bv the amount of space taken upbv the sq;are or re.tanele, each bor (: :)b;rnc polenirallv 4 icti The sincle ictus oroulse is at ihe tempo of 72 or the'eaboutsThe O indLcates plavrne wrthout soundingrr.r the release of harnonrcsl Pitches rherr;umber and dlratron are tndicated as ror

A comoanson ot thesetwo graph preces whoseare sb tordllv drssimilar' grves an '-deathe sreat compos t onal tle^rbrlrtv posJoretr.nr.di.iabilrtv is used rn a difiereD! wav stilliriiiece tor Fou, P'anos (1957) This workrather than Craph besrns srfor a I iour pianos atter whr'n rnenoies mav be p aved to the end bv eacnoianrsts at trme 'ntervals of their mutuar orchoice. Fe dman hasnotes are not musical porntrllrsm as rnare where the mind rests on an

besrnnrnC ol the piece is lrhe a recognota motf, and bvvirtue ol the reperrronsconditions one to lrsten As we pioceed ro-ex'rndivrdualtime responses ol therourwe are movinc 'nerorablv toward thermase where the mrnd can rest wnrcn rsFnd of the oiece. ln this partrcular pedornri is as il one were trave.sinC an enormousat the opposile ends of which were twomonolrths, Cuardrng its winds and erasses'ln all of Feldman s recent work the paramountrs that of touch-"the use of the instru

In an @uv.e whrch so insistentlv Provideunoredrctabilnv w'th opportuniries for eipansro:n; breath. the questron of notJnon at alr a setor the sraph would seem to provide an adequale.nnlr.l for the e\Derience anddrfferentranon. But dilferentiation is fot helm:n s Dornt. even in the craph musrc: tne slruture oi the piece is never the imaee' noreschewins precrse noration of tou.h rs reldmalea!ine tle frerd open tor drdmairc rncroewh.r.6v the struclure could bc.ome an rmagaas rn BouleTJ. Noratron is tl-en not so muc; risrd exclusron of chance hut the meansn..;ntrne the sttucture lrom becomrng an r;pe in these works, and an indication or t;;mooser's pe,sondl preierence lot whete Lnpt'l''t;brltrv snould opetate As John cacp remarkein thrs ionnection, "Feldman s conventonanotaied music is hrmself pldvrng hrs Crapn msic. And ol couBe the deeree ol precrsron rn Lndtatron 's dtre.trv related to the nature or tnmLrsicdl expetience Feldmdn is etposrne lniJ,i'"..ai oe "e'v p'ecrse as in E'tensionslor Violin and Piano (I951), whrch indicatesincreasinc rempo ol inetorJbl development tro6i-ei-nn'ndto "'io ty."t,o"om L marhrres aswFas the dynamrca and erpressrve devebpmenr'

althoueh the traditionallv notdted works "'n rhF m,ioirtvon thrs reco.d (Ertensions I' Shutures for Shi;e Quartet Extensions 4. Two Pieclor Two PianG, Ihree Pieces for strine quanelhave sone intorhe useof unpreorcLabrIiv rntmusrc at such leneth in order to reaLh a orsrrtion about rts use rn huch conlcmoora.v musln Feldman s worh unpred'ctdbilitv ir volves;. o.mer and tne audrence much a lhe sdmijv it ooes ttre composer. 'nvrtrnc an rrcteasese;sinvrty and rnlensrtv But rn mrcr orJhdtreme vdnEuard music in Amerrcr ano I u'ooarri!ularlv that utillzrng tape and electron.;r.es aioni wrth elements ol unpredi.tabritvstat;stical unpredrctabiltv has occu(ed rnr.,dnional manner duanc tl'e hdking oloiece; iI has been emploved preconceptuallv; roercdl outsrowth ol serial lerhnrq!e. andis d;; bv th;time vou hear lt thoush the mu

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-+ trct"o,s *.1 !,^Ar,*,"\. T , -lru\u*rJ!,*s ,t%1..8

?l$*d*.t-las{ L*\ g"'"oe:--: s \-:Ls_!r_!c,_sj{ r.,,_-----=Ft-

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, *,gnJh, P,+v1o\b*,r N*-i \,ro v.l'rc "."."1s r 1wd P'o'\'5 tu(lirt'f hora5 /").s" " {to .",^{rc '$tr,-, pieco'o':"" i,"*7 l"'; "^^5 1.o Pt4/ & 'v'

jdilj{ ffi *- -rr **5fd}ji?t":

SoL*^n , 'nrq

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t Dgc_gr$r{-S 3 , Eo1\ gqo,"ocXffi;; &'n'",';i;-* r*"[ trr,3 til!*a)N,*,qr - Lr\ Surnr (J*\.['t tf n\,*l"\, . 5'{i1e

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q. i/"$': '\iF"""tti.j "'ii"l

' 5 i4trp

,.'".( \ '^f - ' 'os./'':l.d':, z' )t"'t. ,:'q11,.:.'// ./ it.r,, /'i,,, i .'I

z\(

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T.^*'";\ah ;;;"1't j.A; $"* *,;,--*f , 9,,1.t Lo *",1?",:"T.'T, r:,J",.- -"1.",.ln.l^':i'.'"*l'li)ir*YJ n"r,;'y1\40 4s q b(6io,L or16q.\.'.,\ [\ve{i vg{ r 5\lrna,oltL , rrn0oc'l*"r t , tntlvorr'\ta I , rl rtrtvcp(l\.,,:.J L..*\ * t-d *$"+*J fl\'in '** e*pb"ol \,ffilj;t^"1 t- ol.t^lUI:{tr. '\r** "1'.t,$,rn*1 ph{.,*a '{ *;,\ [*s.W, otnn[r".*{*} - - r , ,ilr"il;r;'{'i;i"""0c. "l 'll l"n") ti^* (lI.\',{,*{ J *;,\ [*s.\ir, *n- p,t".+: or"".n, r,J ti""t 0*\d,th e*'t7 uis'ol uy^to'\,' V"i.el ff ts" \."h .\ ,n"1+

, ff,1.11. *",,1

$t\"* k"qt.' .-:h1g^n,.fl!

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l(]tl. ..{ .t-,,\";r;;; : *'rp.s"*1,..-*t-" tt^".- *r+,,1s\,{, t n{uu1*J.i\r,- 'r\ro Th,lf,- c Jla,,riv\* s (o{qryr*'61 tcH-co,,l'rLl h,{q9J-.[.) - nl qr.,p c"vr{r"\ ,1d*o,,^t "] coroorer, Als": zer"1,"*eI^"{,*."-n{*,1*'$+n), h.l i":"t *}:.ti C"-.[ *J "$"J ; e,"*1reL e"qLi"r'" ptc, r["r{ urrr n&-f-"ryou kvt ,. sLo,r \.*,'01" 77oc tk ,Joq4* t"\.: ln q,.". J\ 1, te*\lg-ri$-."r1r"t...Lor.l 1., tJ.",{"',, r., ,rr."il pur,*! p".ns: E !h{ gr\. .^p"tJ *.1

W*'+ryi;tL;+ry_F_-ru-t t r,]:l@ ctro\'* i"'"tfr . $"r n1g d"rer- - S"r"rp

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tt o ;,1r.{;-n, Jr-"-.i,*{ rs ,""'n,1, Th [' r *1L.,rtsi rr'f '"'t"n'{J s

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rl{

i)( 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'oR l, 2 oR 3 PEOPLE

Chrlstian $olffcop)Eisht @ rsea r,y c.f .3?3 Park Avenue So., Net Peters CorporatlonYotk 16r Ne$ lorh

.l-l,,,l"*1."Pt'\'oo{3"

t = a sound ned by tapptng or touching o' tracin8 or the likob . a sound srade by breathing or blowlng o' the like (butnot Binging )

| = cut off a sound-+=extndaEotlnd-, = ralso a sound ln sone respect,2\ = lo$er it in eome -/

fr = a sound involving f.ictlonpl = a sound involving Plucking or ptrllingsn = a sound involvinS snapFingstt.et ! a 6ound involving stretched matetialIn parts V-1( notations 6uch as the tollo!#ing not standin8 bya 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

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Thore at'e ten paatsr one to a pago. A performanc can be nadcof any nuFbea of thelar repeating noner or of aoy oner repated nonof than ten timea.Each pa.t' or page' 16 a score' and each Player should have hlacopy of it.Play ali that is notated on a Paqer in any convenient sequenc'ndt tepeating anythingi except in IX' $her any of the evnta canbe pla:ted or onitted any nuDber of tima'Black D.'tee are varloudly shortr rrF to about one second' ltlthstems as lrixteenth note (e'c. in IIIt etc.) they aie very sho'l'Ithite notes are of any lengthr Bonetines dtermlned by the require-nnt6 of coordination (see fut'ther on).A dynamic indication mav stand by itEelf (as at left top of I)laaBum; a r\ote !o go $ith it or aPply it to aoy note given on thepage. Ho$ever.> o.

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.-) Horlzonial lines joining lwo notes = a Iegato from the one to.":";t;;; " i;" ;;"pi "v "c r'v the same nerson)' ..""ir"".-ii"" leaoe to a note or drops vcrtically from it' one canstart to play at sny "t"' . -ti_ tto iine reoos 6$ay fron a nhite note'ii-."" l.l" as rong or 6s short as vou like'one, t$o or three neople can play' ff one Plays alone'.he nu6trealize all "oren" coordrrr{rl;;t;-iii"t sith noles at ontv one end)iiiiiii,-i"". i": l"'l:. l::.,ii::: l:H: :::":J:.i,:::";.T,1",::''ro Drovide -ulethinA to c')or'sourrde fron the envirounent iit_'it t""t "rt"" ther:e is an !l at theand of a I nel)' (ljo 'nuy ttt-tolnt ca6es hav to rearrange thematerlal on a fnqe snd "on"'ati 3 disposilion of tt $hich uillensure that flll the relurred-""tt-ai""ilt"" can be nala8ed') AIIilil"i".".i., "" a papie can r,,e ireery 6uf,erj.mposed, 5o lons aa thereouirenente ol coordinntion a-re net'lf tso or three plav, !h" ';;ti;l on a page should be gttIlu::tu".i;.:;",;:..;';; .;; ilr. !l"",lil.: :ii.;::":il""i:;":-:,:ill";: ;i.""lndicated)i but no n'atcrrarbv anothr (note: thls froloe ior IX too)' Coordination.' thenr lor::.i";i;;:"' ;;;-.. :: :::". :' ll'|.' :-::""Tll'li::.lii li"li, li"i""il5.lnr aione )--unIsE 1'lrere rE""]t'-it"' r""tntr plFyer (or both)'Players can use any $ays of 0raking sounds' allorving for the IoIIo$irspecification6:

Sooe notes aie on Elaves: play tlte lndicated nitch (reading eitherbas6 or lrebte clefi sounal "i pia"rt; if pitch no! available in raugttranBrmse at Ieast t*o o""t"tt;_""oit ttrltt off a pitch at an anqleIraction ot a r,one leAs tnu"-iiri uP $here line anqles uF' 'losn f,hereo'"ll;""^ ";'l r".in"" "*1""n, thev are rrei (recosnizable or ''ot)'Llrrger nunlbers direclly over a notGi it black = thnt ntmber of tone(not ncessarilv nr"v'o t'n'ii'"i urlr'"e uract"r'e'l' :il t' red nulnboii.;;;;;;;;-;i.imbres. rro numr'er = one (c'c' 6 = t\ro tonea' one;;;;';;

-^= one tone, t*o tinbreE)'targer v nunbe.6 on t fi"""iti""t"-"otes: if black = that numbe'charr(es of some aspectt6' "i iit ""ii"a befor re{ichlnq ihe next rrotein red = that number of "h';*;;-t;-';' tinbre of the fir.r note beforeachillg the ncxt one 'A red number I over a note = tlaeiN4ediateIY Preceding' a dilferent tinbre

Irom the onex = anythin8t = a hiSh in somea5D6el

+=

* = a noi6el,=arowrnaSPect

change the directibin spsce of o souna sound in a middin some respectr oeorlnda aroun(l it.A.a = a Eourrd in 6ome re-. O = a h'L^tnonic' enect dissonant sr tntirat ir'f,ediate I Y Prccedes

asp, = las Possible Iposiblr in 6ome aelect! from rhata Eouird as far aray aalmmediatelY Precedes lt

( continued on title Page)-2-

e\+remg

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"/J__-.J\,/ 'o.6J" \

\qo.l.r

flrIlll.61+

-\o a\, of_

Hl--llogII*--J

I

Tlr#+-

Iri{ ^-)

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r'rb.tnn\n. - $&,.L,"-{ol. '\i+dt k,n d ^\\t'\* \e,$n tr^ \*r n * \,\t, *\L\, /nt *.,'.^ s.\J e:

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PlayPlay, make sounds, in short bursts,clear in outline for the most pan;quret; two or three tirr,?s move towardsas loud as possible, but as soon as voucannot hear yoursett or anoter ilaii /stop directly. Allow various spacesbetween playing (2. 5 secondt indefinirei;sometrmes overlap events One twothree, four or live times play a lonq sound orcomplex or sequence of sounds.. Sometimesplay independently, sometimes by co-ordinating:with.olher players {when they stirt or stopor while thev play or when they move) or'a playershould play (stan or, with lonq sounds.start and stop or just stopl at a siqnal {orwithin 2 or five seconds of a siontl)ovei which he has not control idoes notknow when it will come). At somepoint or throughout use electricity.

Color version:red; blue; white; green; yellow; black;silver; sharp, short sound; flat: silence:simpler relationships (1 t2. 2:3. 3:41mixed with less simple (5:G.7;g;' *t,nbreath or air; soft; long; thin orflourished.Variable shades-Colcrs need not be symbols for sounds, horsounds ior colors-Consider making, sometime, a labric withsome design in it, but not in twodimensions.Or, allow tor rhe possibit;ty of periodicitiesappearing, and disappearinq (for instancestrortty on bein6 iaint;tieOlor tmrneJiareiy

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stones J"n. Cn!ill+ei:i!l*?rfli**';;."#g;!:i'r*-r

"''51##[.ffi:ie"+iitri,ifnl"

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SticksMake sounds with sticks of vaious kinds, onestick alone, sveral together, on otherinstruments, sustained as well as shorl. Don'tmutilate trees or shrubbery; don't breakanything other than the sticks; avoid outrighttires unless they serve a practical purpose.You can begin when you have not hearda sound from a stick lor a while; two orthreecan begin togelher. You rhay end when your sticksor one of them are baoken srnall enough that ahandiul of the pieces in your handscupped over eachother are not, if shaken and unamplilied,audible byond your immediate vicinity. Or humcontinuously on a low note; having started proceed withother sounds simultaneously (but not necssarilycontinously); when you can hum no longer,continue with other soundt then stop. With severalplayers either only one should do this or two ortwo pairs together (on different notesl and anynumber individually.

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/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.

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'

'.!i Enrrrut oEtlEBgEl':'r EElSdrEn m uEn

.,] lEFac[ctla Bvlto8 of, Vlito A8t ed llcctrontc t&lsle rtth SlLglglg!' ardq|adt A.tlsta lto &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 ofVtdeo Blsthddy Psrtv of JotE Case. No. ! Sbtgko KubotqBu8opq oa lle hch g !![IrlDssse of llftdelttelllscel gfgleE !g! Joh csaeVtdeo Artlte ctreaa of the South (1972)

certrldee !tusic (1960)(@lt:tcstto! of o.ll !ou!al8)

fo" plsyera, re6l,onslvo lgsfacesr ltreltl! Datgrlllleld closed-ctcuit teletalgloD @nLtot gystet!. Arthe itretl! osterlal leapoaalr to the stslcal aortod!l'! the v!.brat&g oedttD, Gktla Pett rds' thG perfote.raGl'tber Elke pre-detetlC,lrd flgrEca o! dlcoeer tbelrcollcctlve Loagery.

tr 6 Juoe latkAIYID l,ucler

Job! Cago

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2-vLdeo coisultaEt: 8ob gbtteIecbotcel Coosultant: Rod eol.banPerforeers:

AlerRander, SteqeaBohD, Davlil X.Eoholso!, KeEeth !t.Button, TetrJr F.Ce1este, Ml.chael J.Coff, Rlcharil S.coker, Edrt .n L,col1lDs, Nlcolaa B.Ctttckshalks, Ilonald A.Drlacoll, EllDIhecan, ADn 5.Dlecalt Biuce c.8ager, George B.Folster, Jaaes R.Fusct ' Raysoud A.CltDre' sdrel L.@rq, SteveGteesberg, lautlace P.

JOSN CA@

c!{111' ste?hea J'Sactett, Ryronil A.Iralge, t@ s.Iagaoza, Rlchard L.leihrhoff, Itichael B-lrds' 8albara A.tlttB&., So('ald Ll,ta3rdle, Peter D-ll@fort' Jose A-lldtalvo, Dadel J-PlettDer. Davtd E.lichardson, lobert K.Esrsseaur $r@a6 t.Saichez. E(hd.o R-&d,th, stevo A.S-uleske, Robert f-llbitttg, Ir4vld S.Yo@g, D6rlat B-

o! *ld luoe palk'a 'Zetr for fth"(1962O! the Eatute of 5l.leBce: Hel1 dott, you &rorq thst IrYe ltrltteD a Plecccalleil 4'33" r*rtch has qo 6ot[al!t of dy oltB nakhg lD lt, 5ad tha! RoberFugcheabelg ll3s Eaile pal'rrtl.nge thtch -have oo lEeges oD theD-_thE/rreElEp1y caL;oes, !.rhlte canva8es, rrith no tneges oD thes-_add NaD J!3e Paina rira."" aotpotat, has saile a! hout-long fllo uhlch hds Do images on It1r"", .im""a, iou night say that all thre! actloos ale the strrne' But thqulte dl,ffetelt.lte Rauscheabelg pslutfuga, t! dy oplnLoD, aa I've et(Pre,ssed lt, becoEeatrporte 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' rdh;; ;;". riheteaa ln the case of the Rsu6eidbelg Pailtlsg the du6t arrd;;;;,'ah. .t"ig." ro ltght alal 60 forlh' do!'t reroain ttrere they arei-. ii'tft" pairttg: ta the case of the Ne JiDe Patk ftln, rrhidr haat*"." oo tt, tte "i"o Is darLeded, the fllo Is Projected, aid rJhat your" ;h; ;;; iuat has cottected oo itte ttL- I thtDl( that'6 sc6et&at sloto the case of the RauscheEbelg Paidfig' though the focus ls oote ilteDltle !3trrle of the eDviro@eot ia- r"ra o tie f 4' illffereat lrd the duand ghaddrs that are the esvlrd@lt fal1t!8 od tte Patltltrgt alrd thus lfree. 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 Paitrtb tsct, W (lta ratrdcn rcveneot of tlqr electrcnt) tll the euvlro@eat o

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wV"lt VU_.E!Lo--v44r39{ ({ P \4I(v )- -* P':I?t rtu/o '\{r?' r'oMiL\r.JPho"1{f 5, t-" hoJes p.i*"r\"*,\rttn:. tll {'sl '-p1'"',5eJ,p*s."re) w'th {,ll"t,"r ,Jori : \td!ry.r 1a"\*g'.5[11,,1 e

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