ßY GEORGE BRECHT, CLAUS BREMER, EARLE BROWN, JO SEPH BYRD, JOHN CAGE, DA VID DEGENER, WALTER DE MARIA, HENRY FLYNT, YOKO ONO , DICK HIGGINS,TOSHI ICH IYAN AG I, TERRY JENNINGS DENNIS,DING DONG, RAY JOHN SON, JACKSON MAC LOW, R! CHARD MAXFIELD, ROBERT MORRIS,SIMONE MORRIS, NAM JUNE PAIK, TERRY RILEY DITER ROT, JAMES WARING EMMETT WILLIAMS, CHRIST IAN WOLFF, LA MONTE YOUNG LA MONTE YOUNG - EDITOR RFflRfiF MAP. I II M A Q_n F QlßlUFD tief Library of Congress Catalog Card Number 63-17544 Published by La Monte Young & Jackson Mac Low International copyright © 1963 By La Monte Young & Jackson Mac Low Printed in U.S.A. Layout by George Maciunas Copies available from: Jackson Mac Low 965 Hoe Avenue, Bronx 59, New York $ 2.98 before publication $ 3.98 after publication MOTOR VEHICLE SUNDOWN (EVENT) Any number of motor vehicles are arranged outdoors. There are at least as many sets of instruction cards as vehicles. All instruction card sets are shuffled collectively, and 22 cards are distributed to the single performer per vehicle. At sundown (relatively dark/open area incident light 2 foot-candles or less) the performers leave a central location, simultaneously counting out (at an agreed-upon rate) a pre-arranged duration 1 Vi times the maximum required for any performer to reach, and seat himself in, his vehicle. At the end of this count each performer starts the engine of his vehicle and subsequently acts according to the directions on his instruction cards, read consecutively as dealt. (An equivalent pause is to be substituted for an instruction referring to non-available equipment.) Having acted on all instructions, each performer turns off the engine of his vehicle and remains seated until all vehicles have ceased running. INSTRUCTION CARDS (44 per set): 1. Head lights (high beam, low beam) on (1-5), off. 2. Parking lights on (141), off. 3. Foot-brake lights on (1-3), off. 4. (Right, left) directional signals on (1 -7), off. 5. Inside light on (1-5), off. 6. Glove-compartment light on. Open (or close) glove com- partment (quickly, with moderate speed, slowly). Glove-compartment light off. 7. Spot-lamp on (1-11), move (vertically, horizontally, ran- domly), (quickly, with moderate speed, slowly), off. 8. Special lights on (1-9), off. 9. Sound horn (1-11). 10. Sound siren (1-15). 11. Sound bell(s) (1-7). 12. Accelerate motor (1 -3). 13. Wind-shield wipers on (1 -5), off. 14. Radio on, maximum volume, (1-7), off. Change tuning. 15. Strike hand on dashboard. 16. Strike a window with kn uckles. 17. Fold a seat or seat-back (quickly, with moderate speed, slowly). Replace. 18. Open (or close) a window (quickly, with moderate speed, slowly). 19. Open (or close) a door (quickly, with moderate speed, slowly). 20. Open (or close) engine-hood, opening and closing vehicle door, if necessary. 21. Trunk light on. Open (or close) trunk lid (if a car), rear-panel (If a truck or station-wagon), or equivalent. Trunk light off. 22. Operate special equipment (1-15), off. 23-44. Pause (1-13). A single value from each parenthetical series of values is to be chosen, by chance, for each card. Parenthetic numerals indicate duration in counts (at an agreed-upon rate). Special lights (8) means truck-body, safety, signal, warning lights, signs, displays, etc. Special equipment (22) means carousels, ladders, fire-hoses with truck-contained pumps and water supply, etc. 50c from Contingent Publications, Box 150, R.D. 1, Eosl Brunswick, N. J.r U.S.A. r s N I 3 n LA K U f ItUt t V K IJoTtUTo From one to twenty-four performers are arranged within view of each other. Each has before him a stopwatch and a set of objects of four types, corresponding to the suits of Spanish cards: swords, clubs, cups, coins. One performer, as dealer, shuffles a deck of Spanish cards (which are numbered 1-12 in each suit), and deals them in pairs to all performers, each performer arranging his pairs, face up, in front of him. At asign from the dealer,each performer starts his stopwatch, ■ and, interpreting the rank of the first card in each pair as the number of sounds to be made, and the rank of the second card in each pair as the number of consecutive five-second intervals within which that number of sounds is to be freely arranged, acts with an object corresponding to the suit of the first card in each pair upon an object corresponding to the suit of the second card in that pair. When every performer has used all his pairs of cards, the piece ends. Winter, 1959/60 PARAGRAPHS, QUOTATIONS, AND LISTS Spring, 1961 kicking a can, walking, eating a banana, kissing, urinating, tight shoes, pipe-smoke, splinter-ache, branch - shadows, water running, newsprint, itch Donald O'Connor. Walter O'Keefe. Laurence Olivier. Nancy Olson. Vivienne Osborne. Maureen O'Sullivan. suitcase events, bathtub events, gallery events, outdoor e-vents, refrigerator events, bumping-into-something "Art is not the most precious manifestation of life.Art has not the celestial and universal value that people like to attribute to it. Life is far more interesting" (Tristan Tzara) cowbird. blackcap, bluebird, reedbird. stork. All emotions allowable, even boredom. "Nature creates all beings without erring.... It is calm and still....!t tolerates all creatures equally....Therefore it attains what is right for all without artifice or special intentions.Man achievesthe height of wisdom when all thathe does is as self-evident as what nature does." (The l-Ching,orBook of Changes) ebony, deodar, lime, savin, elm. pine, larch. CARD - PIECE FOR VOICE 1. There are from 1 to 54 performers. Performers are seated side by side, except for the "chairman", a performer who sits facing the others.They rehearse before the performance to develop common vocables of the four types described below. 2. The chairman holds a deck of ordinary playing cards (four complete suits plus Joker and Extra Joker).'He tosses each card into the air so that it is free to fall face up or down,then re-form the deck and shuffles it, keeping ieach card in its face-up or face-down direction. 3. He then deals one card at a time to each performer in turn, including himself, until all cards have been dealt. 4. There is a second stack of "phoneme cards", blank cards on each of which a single phoneme from one or more languages familiar to all performers has been written. These are shuffled and dealt, face up, one at a time, to each performer in turn, who keeps them in a stack separate from the playing cards. 5. At a nod from the chairman, each performer takes a playing card from the top of his sub-deck, performs a sound or not, according to the system of cues given below, and discards the card. Unless there is a signal from the chairman to repeat, or stop, the performance, each performer stops at the end of his sub-deck. 6. The Cue System: SUITS: indicate the "vocal"organ primarily responsible for the sound production. Hearts: Lips Diamonds: Vocal cords and throat Clubs: Cheeks Spades: Tongue Sounds may be produced in any way, that is, with the breath, by slapping (of the cheek), etc. NUMBER CARDS: indicate duration of sound, approximately in seconds. FACE CARDS (disregarding suit): indicate the speaking of a phoneme, with free duration, pronunciation, and dynamics, roughly as it might be heard in ordinary conversation. Specification and order of the phonemes is as indicated by the phoneme cards, read consecutively. CARD BACKS: indicate approximately five seconds of silence. JOKER AND EXTRA JOKER: are cues only for the chairman, other performers ignoring them. JOKER: Chairman crosses his arms at the end of his deck, signaling one repeat, and each performer, having reached the end of his own deck, runs through his cards once more, in the order in which they now occur (last card first). Then each performer stops, including the chairman (who ignores the joker during the repeat). EXTRA Chairman raises his arms,signaling an imme-JOKER: diate stop to the performance. Summer, 1959 claus brerner 1 finden beliebiger "-die eigene beliebiger finden die eigene, finden die eigene beliebiger linie aus viel fair aus Vielfalt linie aus linie Vielfalt Vielfalt finden die eigene aus beliebiger linie aus beliebiger linie die eigene Vielfalt finden aus beliebiger Vielfalt die eigene linie finden claus bremer 2 der nackte wiehert erreckt die sonne das pferd tanzt der nackte wiehert erreckt tanzt das pferd die sonne der nackte die sonne erreckt wiehert das pferd tanzt der nackte die sonne erreckt tanzt das pferd wiehert der nackte tanzt erreckt wiehert das pferd die sonne der nackte tanzt erreckt die sonne das pferd wiehert die brüste die stiere die kleider spielen ball die haare winken die kleider die stiere die brüste spielen ball die haare winken die brüste die stiere die:haare spielen ball die kleider winken die haare die stiere die brüste spielen ball die kleider winken die kleider die stiere die haarespielen ball die brüste winken die haare die stiere die kleider spielen ball die brüste winken lärmt Sprünge die Zikade und nackte pinien dachen braun lärmt Sprünge die Zikade braun pinien dachen und nackte lärmt und nackte die zikade Sprünge pinien dachen braun lärmt und nackte die zikade braun pinien dachen Sprünge lärmt braun die zikade Sprünge pinien dachen und nackte lärmt braun diezikadeund nackte pinien dachen Sprünge millionen sonnen von sand nackt flammt in so viel kl ei dem wein nackt von sand millionen sonnen flammt in so viel kleidern wein> millionen sonnen von sand in so vielkleidern flammt nackt wein in so viel kleidern von sand millionen sonnen flammt nackt wein nackt von sand in so viel klejdem flammt millionen sonnen wein in so viel kleidern von sand nackt flammt millionen sonnen wein EARLE BROWN, MuSK The 25 Pages maybe played in any sequence; each page may be performed either side up; events within each 2 line system may be read as either treble or bass clef; the total time duration of the piece is between 8 mins. 20 sec. and 25riins., based on 5 sec. and 15 sec. per 2 line system as probable but not compulsory time extremities. A time structure in terms of seconds per 2 line system may be pre-set by the performer, obtained from the composer or be arrived at spontaneously during the performance. The indicated note durations are precise relative to each other and to the eventual time value assigned to each line system. "lmpossible"hand spreads may be broken, arpeggio fashion,as rapid as possible, from top to bottom, bottom to top, from the center outward or from the outward extremes to the center. Indicated tones which are below the keyboard range may be considered, as in fact, unplayable and omitted if that particular event is played as being in the bass clef. Another arrangement of the pages may find these notes again within the range of the keyboard. It will be seen that the basic "mobile" elements of the piece; page sequence and inversion, clef disposition and time; admit of a considerable number of different presentations of this material. All of these possibilities are valid within the total concept of the work provided that once a selection from the range of possibilities has been made, it be executed with devotion and accuracy in regard to the time durations, attacks and intensities. The variable factors are to be dealt with to any degree of simplicity or complexity interesting to the performer. The piece may be played by any number of pianos up to 25. NOTES, THOUGHTS AND ASSORTED MATERIAL FROM NOTEBOOK; 1952 TO 1953; RELEVANT TO "FOLIO" PIECES SUCH AS 'SYNERGY'. AND 'DECEMBER, :195 2'. the defined space can bethought of as real or illusory.... as a whole or in parts. intensity & duration = space, forward or back either space (vertical or horizontal) may expand, contract or remain as it seems to be here. Vertical space will vary according to the performers view of the floating clefs. to be performed in any direction from any point in the defined space, tempo - as fast as possible to as slow as possible .. inconclusive, attacks may be interpreted as completely separated by infinite space; collectively in blocks of any shape and defined exactly within that space; lines and spaces may be thought of as tracks moving in either direction.....this indicates the theoretical possibility of all the attacks occurring at the same instant or any other expression of simultaneity.* clef signs to be considered floating. itis possible to solidify these elements intoasingle beginning -to-end illusion by incorporating one more item in the process of composition (note-frequency and octave) the composition could still be by spatial technique but result on 5 line (music) paper would tend to suggest LINE which is beside the point. possibilities of conglomerate events more or less simultaneously:** this might all occurwithin the time-space of the longest duration or from infinity to infinity before or after any one of the attacks, the longest duration will vary in length according to the performers feeling of tempo. to have elements exist in space......space as an infinitude of directions from an infinitude of points in space, to work to right to left, back, forward, up, down and all points between, the score is a picture of this space at one instant which must always be considered as unreal or transitory...... performer must set this all in motion, which is to say, realize that it is in motion and step into it. Either sit and let it move or move through it at all speeds. J5E 5fc 5= ^ *~i ^ U 4L,,U ^ Jv.J«, I-- 4l—ří.f .J JJA*i^ *i-4t* fJi. -7f.» v^.c^ -IU oLm.^í^ ^ do -{L UUl* __^ jř3 Mf fe ^J. I í1 !i E I J .i 11 a $m f axk public Jxbvzty As tor, U'fiiox aufi tEitficn Tfour^atiuns Finn Avenue and 42nd Street New York 18, N. V. HOMAGE TO JACKSON MAC LOW A poem for readers by Joseph Byrd This poem is to be read by any number of readers who wish to do homage to Jackson Mac Low. The reader is to choose beforehand any five words (the number may be increased if time permits) from those appearing in this explanation. These words may be read in any order, but in the following manner: Each word is to be read as though it were not an entity but a sequence of separate vowels and consonants. Vowels - or vowel combinations - are to be drawn out to the maximum length possible on one breath. This should also be done with the consonants s, z and sh. Consonants which may be voiced with vowels, i.e., I,m,n,v,w, a and y,may be combined with them in reading. All other consonants should be ennunciated as brieflyand percussively as possible,and where they appear together should be combined also in reading. When a word is read, the various parts are to be intersperced with from two to ten seconds of silence; whole words should be separated by 10 to 30 seconds of silence. Dynamics and pitch are free, although the voice of the reader should not be distorted purposefully,but should sound natural. Dramatic actions which do not contribute directly to the production of sound sould be avoided. No attempt should be made to establish continuity between parts of words or to make combinations of vowels and consonants sound like intelligible speech. January 1961 New York City JOHN CAGE, i Excerpt from 45' FOR A SPEAKER JOHN CAGE (1954) Eventually everything will be happening at once: nothing behind a screen unless a screen happens to be in front. It will increasingly be a thump instead of a bang. The thing to do is to gather up one's ability to respond and go on at varying speeds. Following, of course, the general outlines of the Christian life. 1 myself tend to think of catching trains more than Christianity. Insisting on stimulating activity, though Without a multiple loudspeaker system, all becomes music and submissiveness. But, fortunately the piano is there and one can always prepare it in a different way. Otherwise it would become an instrument. It is like, as Artaud said, a disease. No avoiding. And not having an idea about it. The thing to do is to keep the head alert but empty. Things come to pass, arising and disappearing. There can then be no consideration of error. Things are always going wrong. LEAN ON ELBOW WHISTLE THREE TIMES Copyright by John Cage, 1961, WALTER DE-MARIA , co go meafllfljlesswotk natuialdi$a>steis ART YARD I have been thinking about an art yard I would like to build.lt would be sort of a big hole in the ground. Actually it wouldn't be a hole to begin with.That would have to be dug.The digging of the hole would be part of the art. Luxurious stands would be made for the art lovers and spectators to sit in. They would come to the making of the yard dressed in Tuxedoes and clothes which would make them aware of the significance of the event they would see.Then in front of the stand of people a wonderful parade of steamshovels and bulldozers will pass. Pretty soon the steam shovels would start to dig. And small explosions would go off. What wonderful art will be-produced. Inexperienced people like La Monte Young will run the steam-shovels. From here on out what goes on can't easily be said. (It is hard to explain art). As the yard gets deeper and its significance grows,people will run into the yard,grab shovels, do their part, dodge explosions. This might be considered the first meaningful dance. People will yell "Get that bulldozer away from my child". Bulldozers will be making wonderful pushes of dirt all around the yard. Sounds, words, music, poetry. (Am I too specific? optimistic?) The whole action might last any amount of time. Maybe the machines will run out of gas. Or the people take over the machines. Or the holes might cave in. In any case I am sure there will be enough range of possibilities in the art to permit individual variation, and in time, style and acceptance. "(The town of Pittsburg's recent Art Yard was interesting but followed a usual romantic machine crashing interpretation.Yet even with this interpretation not enough was done with the explosions and collisions to merit special notice,and obvious references to NEW YORK'S recent two acre festival did not go unnoticed.)" Alas. I have just been thinking about this wonderful art already it is being killed in my mind. Is nothing safe? Perhaps you haven't thought me serious? Actually I am. And if this paper should fall into the hands of someone who owns a construction company and who is interested in promoting art and my ideas, please get in touch with me immediately. Also if some one owns an acre or so of land (preferably in some large city ... for art... thrives there) do not hesitate. Walter De Maria Moved to 436 Santa Fe Ave. 49 Bond Street Point Richmond, Calif. New York, N.Y. MEANINGLESS WORK Meaningless work is obviously the most important and significant art form today. The aesthetic feeling given by meaningless work can not be described exactly because it varies with each individual doing the work. Meaningless work is honest. Meaningless work will be enjoyed and hated by intellectuals - though they should understand it. Meaningless work can not be sold in art galleries or win prizes in museums - though old fashion records of meaningless work (most all paintings) do partake in these indignities. Like ordinary work, meaningless work can make you sweat if you doit long enough. By meaningless work I simply mean work which does not make you money or accomplish a conventional purpose. For instance putting wooden blocks from one box to another, then putting the blocks back to the original box, back and forth, back and forth etc., is a fine example of meaningless work. Or digging a hole,then covering it is another example.Filing letters in a filing cabinet could be considered meaningless work, only if one were not a secretary, and if one scattered the file on the floor periodically so that one didn't get any feeling of accomplishment. Digging in the garden in not meaningless work. Weight lifting, though monotonous, is not meaningless work in it's aesthetic sence because it will give you muscles and you know it. Caution should be taken that the work chosen should not be too pleas-ureable, lest pleasure becomes the purpose of the work. Hense sex, though rhythmic,can not strictly be called meaningless - though I'm sure many people consider it so. Meaningless work is potentially the most abstract, concrete, individual, foolish, indeterminate, exactly determined, varied, important art-action-experience one can undertake today.This concept is not a joke. Try some meaningless work in the privacy of your own room. In fact, to be fully understood, meaningless work should be done alone or else it becomes entertainment for others and the reaction or lack of reaction of the art lover to the meaningless work can not honestly be felt. Meaningless work can contain all of the best qualities of old art forms such as painting, writing etc. It can make you feel and think about yourself, the outside world, morality, reality, unconsciousness, nature, history, time, philosophy, nothing at all,politics,etc.without the limitations of the old art forms. Meaningless work is individual in nature and it can be.done in any form and over any span of time - from one second up to the limits of exhaustion.lt can be done fast or slow or both.Rhythmically or not. It can be done anywhere in any weather conditions. Clothing if any, is left to the individual. Whether the meaningless work, as an art form, is meaningless, in the ordinary sence of that'terrrvis of course up to the individual.Meaningless work is the new way to tell who is square. Grunt Get to work March, 1960 BEACH CRAWL PROJECT FOR BOXES Go to sea shore (Beach) Take three stones, large or small Place yourself on your hands and knees Put one stone down. Crawl forward a few feet, and place second stone down. Crawl forward a few feet more, place third stone down. Then crawl back to the first stone, pick it up. Then turn around and crawl back past second and third stones, and place first stone a few feet in front of the third stone. Then turn around and crawl back to the second stone, (which has now become the last stone) pick it up, turn around go back up the line of stones, and place that stone a bit in front of the lead stone. In this manner you can travel down the beach. . . a a) until you get tired b) until you have gone through the cycle 100 times c) until you run into the Ocean At that time you gather the three stones and place them into a little triangle pattern. Then shout as loud as you can "Well that's new isn't it?" Then throw the three stones into the Ocean, end As is plain from the description of the event, it must be done with solemnity. no stopping to bark at dogs no altering of straight ahead course for horses or fishermen. BOXES forMEANINGLESS WORK I will have built two small boxes. I put small things in the boxes, A sign explains the boxes to anyone who should approach them. ltsays"Meaningless work boxes." Throw all, of the things into one box, then throw all of the things into the other. Back and forth, back and forth.Do this for as long as you like. What do you feel? Yourself? The Box? TheThings? Remember this doesn't mean any- thing- March, 1960 DIAGRAM ------.. START—-*s v4 S---^-^'-hoY W9i/1 (d.OM l/10IT3fl0l/]00) oiauM anoriqslsT b ,gvoia io 9iBlq iori 6 x9noriq9l9i W9n b ,9ftoriq9bi bio nA io\ b9iiup9i sib ismic+oq glpnia b bns ,9ib e ,nfiq90UEa 9bieI aA .gnh oi snoriq gHi 10I an9iail igmiohgq 9riT .gonBtnioVigq b ai nwoidi i9dmun 9di II _.6ib erli awoirii gri ,agob ii aE nooa 9rii aigwane 9H iuo} b ai ii "ti .9noriq erfj aio9nnooaib 9ri ,owi ->l69qa ,9noriq 6rii isvo anoiia9t>eua 9ieionoo a9>lEm bm gnoriq 9rii aigwans ari ,xia b ai ii II .9ldiaaoq"sb vJlBoimriiYrii aB eni viisq igriio 9fii liinu ,biow's gniyca ion ,ari9iail bn£ 9noriq 9dii9wanB ion 390b srfto x99irii ,9no b ai ii II .qu agnsri iorl erii no ii aiuq,i9JBW riiiw nBqgou&a srli allrt 9rl iud ,9noriq erii-9noriq -isriiis agofilq 9H woU .pniliod oi ii aiB9ri bns,9iBlq e-orii ii a9V69| bnstgiEW grii oini -9no bio grii io eno W9n,9vil -lolieq 9fiifli%b9il9m ai ii ri9flW.9liriw 9fli 11b Qninsdail ,ilom oi |i9vo ai 9onBm YiiO >hoY waM 0691,8S .090 ICH IYANAGI, TOSH I MUDAItl FOR LA MONTE YOUNG, DEC. 1960 MUSIC -FOR -ELECTRIC METRONOME With two or more curves, ■.../"*•■ make two or more kinds of physical sounds with two or more, kinds of actions. Large figures are signs to set the electric metronome except for figure zero which means to turn off. Except at the end of the piece, determine the length of time to halt at zero accordingly with the length of line and resume metronome action in order to go on. Small figures mean to count the beats of the metronome while moving gradually from one large figure to another. In the case of zero, move as quick as possible from one large figure to the next. Straight line - indicates the operation of metronome only. Curved lines mean action (walking, jumping, etc.). Curved line with one curve, r S this means to make one action. Curved line with two or more curves this means to make two or more actions. Dotted straight line-----.......indicates any number of any type of sound to be made without objects (such as clapping, whistling, voice sounds, etc.). Dotted curved lines, with one curve, t""'\ make one kind of physical sounds before or after an action. Straight zigzag line -—-—-make any number of sounds from any number of sources, using objects such as chairs, instruments, etc. One curved zigzag line make any number of sounds from one source (using object) before or after an action. Line with two or more curves, \v^"\ make any number of sounds from two or more sources (using objects) while making two or more kinds of actions. Actions (and/or) sounds are made after operating metronome using approximately the same amount of time spent for operating the metronome. When metronome operation is not required (in the case of where the same large figures come one ;after the other) action(s) or sound(s) are made within the given beats written in small figures. The piece may start at any large figure which has a line only on one side. Figure closer to the edge of the paper may be started sooner than the ones closer to the center of the paper. The performer should get to the large figure zero at the end and turn off the metronome to finish the piece. The duration of the piece may be, up to 3 minutes, between 3 and 6 minutes, between 6 and 9 minutes, between 9 and 12 minutes, etc...... The performer must reach figure zero within the given 3 minutes to end the piece. The piece should be performed with minimum of 3 performers. April 1960 TERRY JENNINGS MuSIC b -9- m m t>5 m ^5" -r- "\íit aÄ^cWS íw^fei or,t ar Vín se«r.i* o^ojVot sVj>j> Ox Jenf, b-e- ii-.u (wM*t>*»t) ffffOilimi pfft> a* lent. ISsif U'M US' a-,e? 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ÍV..6 o.fe. .. R") KU f ? , 36 b i v tf z5m o d. jtg zy uru w C p c& : ISS( .M BOSEK V ( iC L* H U TÜiZ Aw 2'k "c'3x "'— " ' ? Z. 3 T DX^" Q i* ÍTä "Z^P I|BG » Q "# Xb'&MÍ&A d j t a p,O k S^e;,^©^ a9yn, 5*6' ; ,„b 8;4 ea, c : uo /9e2nJB. U t QZVXRSOPJAZYO GM SYÜ EYE H* U (& V ^ t_ . )X , V WM Ef ESs 3 el e 1 JL J r r 93 Qju f9 e 4i ti' . k, /v ,lt has no freedom, it is as old as the theory of tragedy of Aristotle, of Faust, etc. Then Stockhausen explained the possibility of a free and calm love. In his yet unfinished piece "Paare" (pairs) there is neither a fixed beginning nor ending. The audience may come into the concert hall and leave freely. And come back. All the while the music continues, for 5-6 hours or more until the last listener has left. This idea impressed me but did not convince me because at that time I had been seeking for"the last consummate second1.1 In vain I had been working for half a year in order to "fix" on tape this last consummation of 30 seconds. Next spring, on my way to take a cure at Titisee, while looking out of the window of the moving train, I realised for the first time the old Zen-Cage thesis: "It is beautiful, not because it changes beautifully, but - simply - because it changes." If nature is more beautiful than art is, it is not so because of its intensity or complexity but because of its variability,abun-dant abundancy, endless quantity. The word "quality" has two different meanings although in everyday usage the meanings are rather mixed-up. 1- "good, better, best'1- it permits the possibility of comparison. 2- Character, individuality, 'Eigenschaft',- it excludes the possibility of comparison. We can put an end to (ajpfheben) quality (in its first meaning) by means of the formidable.quantify„endless variability,abundance of the mediocres.Then only the second meaning of quality (character,individuality,etc) remains.One can arrive at a consciousness of quality (second meaning) through some religious experience or by another extreme situation. Then each single moment becomes independent. One forgets as quickly as children do. Stockhausen's new term "Moment" seems to me to be of strong importance in this connection. But how can one arrive at variability without losing interfsit> Unifyingvariability and intensity has been one of the most important problems. Is intensity (tension,high voltage) essential to !ife?Perhaps one has to substitute this physical dimension rather by a spiritual or ideological dimension, f.i. ambiguity, depth, etc.,. if there is such a dimension. Everyone can experience this consciousness through love for a while. The Zen priest also aims at a kind of calmness or calm ecstasy, but an eternal extended one,without crescendo, Climax, catharsis, - the causes for delusion, illusion, error and deception and self-deception.Therefore they say that love is as bad as hatred. They train themselves to diminish,level and balance the amplitudes and frequencies of the waves of their love, hatred and life. - Zen requires hard training. Many neglect or try to neglect this under the disguise of "natural nature"or "good taste". Who is trained, can endure better the tediousness. I admire the "Music of Changes" most of all because it is Cage's most tedious composition. In my last compositions - "Homage a John Cage", "Etude for Piano",'"Simple", "Variation onThemes of George Brecht and La Monte Young", "Etude platonique no.l", - I have tried to demonstrate that there js_the absolute,and that(=the absolute) JS_ the absolute. In the next series of my compositions - "Symphony for 20 Rooms","Etude platonique no.2 for 10 Rooms and a Beautiful Girl (as tedious as possible)", "Read Music - Do It Yourself (Answers to La Monte Young)", "Bagatelle americaine", "Half-time"-1 will try to demonstrate that the relative jS the absolute. Do I need to also demonstrate that the absolute IS the relative? This latter thesis you will encounter on each single dayofyour life and love - fromJoseph Stalin till Anton Webern,....... As I mentioned before: it was Stockhausen's idea to let the listeners leave and come into the concert hall freely. John Cage wanted to compose his "Music Walk" for two rooms of the "Galerie 22" in Düsseldorf where the listeners were supposed to move freely from one room to the other. When the piece was first performed there, this was not realizable. With respect and appreciation I note Cage's and Stockhausen's priority in this respect;although art is often a bastard the parents of which we do not know. MuSK TERRY RILEY, EAR PIECE THE PERFORMER TAKES ANY OBJECT(S) SUCH AS A PIECE OF PAPER CARDBOARD PLASTIC ETC AND PLACES IT ON HIS EAR(S) HE THEN PRODUCES THE SOUND BY RUBBING SCRATCHING TAPPING OR TEARING IT OR SIMPLY DRAGGING IT ACROSS HIS EAR HE ALSO MAY JUST HOLD IT THERE IT MAY BE PLAYED IN COUNTERPOINT WITH ANY OTHER PIECE OR SOUND SOURCE IF THE PERFORMER WEARS A HEARING AID IT WOULD BE BEST TO MAKE THE SOUNDS CLOSE TO THE MICROPHONE (OF THE HEARING AID) THE DURATION OF THE PERFORMANCE IS UP TO THE PERFORMER CHILDREN PERFORMING EARPIECE SHOULD BE WARNED NOT TO STICK THEIR FINGERS TOO FAR INTO THEIR EARS AS THEY MAY SERIOUSLY DAMAGE THE INNER EAR o E re "o a> c ns m § T3 > to >l O = o ft* o £ is o -a ^ ^3 -a -a ■a . o o • ns ■— •5 0 o = *■ -a '55 .5. ai ±i ai E ai S s «-5 ii ai o IE -g *• « "5 z; c o ai P- — -c E *j _ O m u 4-j E =5 (u o E *» 1 o O nj !5 E CONCERT FOR TWO PIANISTS AND TAPE RECORDERS I CONCERT FOR TWO PIANISTS AND TAPE RECORDERS DITER ROT, black page with holes EMMETT WILLIAMS, ( -CELLAR SONG FOR FIVE VOICES first voice: somewhere second voice: bluebirds are flying third voice: high in the sky. fourth voice: in the cellar fifth voice: even blackbirds are extinct. somewhere bluebirds are flying high in the sky. in the cellar even blackbirds are extinct, somewhere bluebirds are flying high in the sky. even blackbirds are extinct, in the cellar somewhere bluebirds are flying in the cellar high in the sky. even blackbirds are extinct, somewhere bluebirds are flying in the cellar even blackbirds are extinct, high in the sky. somewhere bluebirds are flying even blackbirds are extinct, high in the sky. in the cellar somewhere bluebirds are flying even blackbirds are extinct, in the cellar high in the sky. somewhere high in the sky. bluebirds are flying in the cellar even blackbirds are extinct, somewhere high in the sky. bluebirds are flying even blackbirds are extinct, in the cellar somewhere high in the sky. in the cellar bluebirds are flying even blackbirds are extinct, somewhere high in the sky. in the cellar even blackbirds are extinct, bluebirds are flying somewhere high in the sky. even blackbirds are extinct, bluebirds are flying in the cellar somewhere high in the sky. even blackbirds are extinct, in the cellar bluebirds are flying somewhere in the cellar bluebirds are flying high in the sky. even blackbirds are extinct, somewhere in the cellar bluebirds are flying even blackbirds are extinct, high in the sky. somewhere in the cellar high in the sky. bluebirdsiare flying even blackbirds are extinct, somewhere in the cellar high in the sky. even blackbirds are extinct, bluebirds are flying somewhere in the cellar even blackbirds are extinct, bluebirds are flying high in the sky. somewhere in the cellar even blackbirds are extinct, high in the sky. bluebirds are flying somewhere even blackbirds are extinct, bluebirds are flying high in the sky. in the cellar somewhere even blackbirds are extinct, bluebirds are flying in the cellar high in the sky, somewhere even blackbirds are extinct, high in the sky. bluebirds are flying in the cellar somewhere even blackbirds are extinct, high in the sky. in the cellar bluebirds are flying somewhere even blackbirds are extinct, in the cellar bluebirds are flying high in the sky. somewhere even blackbirds are extinct, in the cellar high in the sky. bluebirds are flying bluebirds are flying somewhere high in the sky. in the cellar even blackbirds are extinct, bluebirds are flying somewhere high in the sky. even blackbirds are extinct, in the cellar bluebirds are flying somewhere in the cellar high in the sky. even blackbirds are extinct, bluebirds are flying somewhere in the cellar even blackbirds are extinct, high in the sky. bluebirds are flying somewhere even blackbirds are extinct, high in the sky. in the cellar bluebirds are flying somewhere even blackbirds are extinct, in the cellar high in the sky. bluebirds are flying high in the sky. somewhere in the cellar even blackbirds are extinct, bluebirds are flying high in the sky. somewhere even blackbirds are extinct, in the cellar bluebirds are flying high in the sky. in the cellar somewhere even blackbirds are extinct, bluebirds are flying high in the sky. in the cellar even blackbirds are extinct, somewhere bluebirds are flying high in the sky. even blackbirds are extinct, somewhere in the cellar bluebirds are flying high in the sky. even blackbirds are extinct, in the cellar somewhere bluebirds are flying in the cellar somewhere high in the sky. even blackbirds are extinct, bluebirds are flying in the cellar somewhere even blackbirds are extinct, high in the sky. bluebirds are flying in the cellar high in the sky. somewhere even blackbirds are extinct, bluebirds are flying in the cellar high in the sky. even blackbirds are extinct, somewhere bluebirds are flying in the cellar even blackbirds are extinct, somewhere high in the sky. bluebirds are flying in the cellar even blackbirds are extinct, high in the sky, somewhere bluebirds are flying even blackbirds are extinct, somewhere high in the sky. in the cellar bluebirds are flying even blackbirds are extinct, somewhere in the cellar high in the sky. bluebirds are flying even blackbirds are extinct, high in the sky. somewhere in the cellar bluebirds are flying even blackbirds are extinct, high in the sky. in the cellar somewhere bluebirds are flying even blackbirds are extinct, in the cellar somewhere high in the sky. bluebirds are flying even blackbirds are extinct, in the cellar high in the sky. somewhere high in the sky. somewhere bluebirds are flying in the cellar even blackbirds are extinct, high in the sky. somewhere bluebirds are flying even blackbirds are extinct, in the cellar high in the sky. somewhere in the cellar bluebirds are flying even blackbirds are extinct, high in the sky. somewhere in the cellar even blackbirds are extinct, bluebirds are flying high in the sky. somewhere even blackbirds are extinct, bluebirds are flying in the cellar high in the sky. somewhere even blackbirds are extinct, in the cellar bluebirds are flying high in the sky. bluebirds are flying somewhere in the cellar even blackbirds are extinct, high in the sky. bluebirds are flying somewhere even blackbirds are extinct, in the cellar high in the sky. bluebirds are flying in the cellar somewhere even blackbirds are extinct, high in the sky. bluebirds are flying in the cellar even blackbirds are extinct, somewhere high in the sky. bluebirds are flying even blackbirds are extinct, somewhere in the cellar high in the sky. bluebirds are flying even blackbirds are extinct, in the cellar somewhere high in the sky. in the cellar somewhere bluebirds are flying even blackbirds are extinct, high in the sky. in the cellar somewhere even blackbirds are extinct, bluebirds are flying high in the sky. in the cellar bluebirds are flying somewhere even blackbirds are extinct, high in the sky. in the cellar bluebirds are flying even blackbirds are extinct, somewhere high in the sky. in the cellar even blackbirds are extinct, somewhere bluebirds are flying high in the sky. in the cellar even blackbirds are extinct, bluebirds are flying somewhere high in the sky. even blackbirds are extinct, somewhere bluebirds are flying in the cellar high in the sky, even blackbirds are extinct, somewhere in the cellar bluebirds are flying high in the sky. even blackbirds are extinct, bluebirds are flying somewhere in the cellar high in the sky. even blackbirds are extinct, bluebirds are flying in the cellar somewhere L:.L i. il— ----- ^^taH^MgBMMg in tne cellar somewhere bluebirds are flying high in the sky. even blackbirds are extinct, in the cellar somewhere bluebirds are flying even blackbirds are extinct, high in the sky. in the cellar somewhere high in the sky. bluebirds are flying even blackbirds are extinct, in the cellar somewhere high in the sky. even blackbirds are extinct, bluebirds are flying in the cellar somewhere even blackbirds are extinct, bluebirds are flying high in the sky. in the cellar somewhere even blackbirds are extinct, high in the sky bluebirds are flying, in the cellar bluebirds are flying somewhere high in the sky. even blackbirds are extinct, in the cellar bluebirds are flying somewhere even blackbirds are extinct, high in the sky. in the cellar bluebirds are flying high in the sky. somewhere even blackbirds are extinct, in the cellar bluebirds are flying high in the sky. even blackbirds are extinct, somewhere in the cellar bluebirds are flying even blackbirds are extinct, somewhere high in the sky. in the cellar bluebirds are flying even blackbirds are extinct, high in the sky, somewhere in the cellar high in the sky. somewhere bluebirds are flying even blackbirds are extinct, in the cellar high in the sky. somewherejsven blackbirds are extinct, bluebirds are flying in the cellar high in the sky. bluebirds are flying somewhere even blackbirds are extinct, in trie cellar high in the sky. bluebirds are flying even blackbirds are extinct, somewhere in the cellar high in the sky. even blackbirds are extinct, somewhere bluebirds are flying in the cellar high in the sky. even blackbirds are extinct, bluebirds are flying somewhere in the cellar even blackbirds are extinct, somewhere bluebirds are flying high in the sky, in the cellar even blackbirds are extinct, somewhere high in the sky. bluebirds are Flying in the cellar even blackbirds are extinct, bluebirds are flying somewhere high in the sky. in the cellar even blackbirds are extinct, bluebirds are flying high in the sky. somewhere in the cellar even blackbirds are extinct, high in the sky. somewhere bluebirds are flying in the cellar even blackbirds are extinct, high in the sky. bluebirds are flying somewhere even blackbirds are extinct, somewhere bluebirds are flying high in the sky. in the cellar even blackbirds are extinct, somewhere bluebirds are flying in the cellar high in the sky. even blackbirds are extinct, somewhere high in the sky. bluebirds are flying in the cellar even blackbirds are extinct, somewhere high in the sky. In the cellar bluebirds are flying even blackbirds are extinct, somewhere in the cellar bluebirds are flying high in the sky. even blackbirds are extinct, somewhere in the cellar high in the sky. bluebirds are flying even blackbirds are extinct, bluebirds are flying somewhere high in the sky. in the cellar even blackbirds are extinct, bluebirds are flying somewhere in the cellar high in the sky. even blackbirds are extinct, bluebirds are flying high in the sky. somewhere in the cellar even blackbirds are extinct, bluebirds are flying high in the sky. in the cellar somewhere even blackbirds are extinct, bluebirds are flying in the cellar somewhere high in the sky. even blackbirds are extinct, bluebirds are flying in the cellar high in the sky. somewhere even blackbirds are extinct, high in the sky. somewhere bluebirds are flying in the cellar even blackbirds are extinct, high in the sky. somewhere in the cellar bluebirds are flying even blackbirds are extinct, high in the sky. bluebirds are flying somewhere in the cellar even blackbirds are extinct, high in the sky. bluebirds ar,e flying in the cellar somewhere even blackbirds are extinct, high in the sky, in the cellar somewhere bluebirds are flying even blackbirds'are extinct, high in the sky. in the cellar bluebirds are flying somewhere even blackbirds are extinct, in the cellar somewhere bluebirds are flying high in the sky. even blackbirds are extinct, in the cellar somewhere high in the sky, bluebirds are flying even blackbirds are extinct, in the cellar bluebirds are flying somewhere high in the sky. even blackbirds are extinct, in the cellar bluebirds are flying high in the sky. somewhere even blackbirds are extinct, in the cellar high in the sky. somewhere bluebirds are flying even blackbirds are extinct, in the cellar high in the sky. bluebirds are flying somewhere "A^vUJU-áp" — falbst. i^^iv.AÍt í (u—k í—ťvUiM^v CHRIST IAN WOLFF, Tnwnrpa7je-Ts~sin3aT^^^ some agreed on communication) on the other. What section on a page (13 sections on page 1,5 on 2) is played depends on a cue (the initial sound of the section), given by whoever starts by a section which can be started by him; the other player must then immediately decide what section is being played and join in where his part requires it.At the end of that section another is begun in the same way, and so forth. A section may be solo for player lor II,in which case the non-initiator tacet till that section's end. Each player should of course be as aware of all the other's possible openings as possible. However, ambiguity may well arisetthatplayerl imagines II to have begun a section when in fact he has begun not that but another. In which case either muddle through or, which will probably in the end be necessary anyway, stop and make an entirely new beginning. Once a section is begun, it must be finished,even if mistakes are made within it, except where the mistake is initial as just mentioned. Coordination is indicated by straight lines other than horizontal.Horizontal lines mean legato.Where there are no lines freedom is more orless unlimited (though it will be found useful to use relative location in space as an indication of when to play something), except as further indicated below. C 3 I o ii A Coordinate as closely as possible both attack and release without however any intentional signals. I.e. somebody has to make the first move and somebody the last and the other react as quickly as possible. Needless to say, the one who attacked first need not be the iinitia-tor of the release. II starts anytime, holds till I sounds and simultaneous release as above; I sounds any time after II starts. Attack as simultaneous as possible.I releases anytime (unless other duration is indicated).II holds beyond I anytime (unless other duration is indicated). I starts anytime, holds as long as he likes (unless other duration is indicated). II starts as soon after I's release as possible(hocket), holds as long as he likes (unless other duration is indicated). A number above or below a note (o) gives number of sounds involved (in an event, complex or just one after the other),unless brackets 0) indicate simultaneous attack or release. A line through a number (or note)(^!) means a) that the tones are unequal (aperiodic) in some respect (e.g.duration or loudness) and b) that the event as a whole must be varied at each repe- II O I