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1. DIFFERENCE BETWEEN SOUND SIPHON AND SOUND CONTROL SERIES
2. DIFFERENCE BETWEEN SOUND SIPHON AND SOUND CONTROL FREE

DIFFERENCE BETWEEN SOUND SIPHON AND SOUND CONTROL SERIES

Additionally, Cage proposes that the sounds of static during the tuning process are equally valid as musical material as the melodic sound of a series of notes played on a traditional instrument.įirst performed by the renowned pianist David Tudor, at the New School for Social Research in New York during the spring of that year, Tudor shuffled cards to determine the order of the performance actions, and used a stopwatch to keep within the very quick but precise timing regulations. This element of chance is in each of the activities scored even the radio is tuned to a random frequency. As this was the reverse of Cage’s purpose, it was fitting that a new scoring system must be found. However, Western music relies on the symbols invented centuries ago for the purpose of producing identical recitals of the music. Arguably, drawing is a more natural and instinctive mode of expression, than the learnt language of classical music. Interestingly, the graphic score presents more of a challenge for the performer than it logically should. In this piece, Cage embraces the arbitrary by writing the score in an unknown language. Through this, he encouraged the individual to interact with the composition process, as this created a connection between piece and performer, and advocated his experiments in the generation of chance, as the piece changed with every rendition. For many of the actions, the performer is left to choose his own instrument.

DIFFERENCE BETWEEN SOUND SIPHON AND SOUND CONTROL FREE

The performer is free to interpret the scattered instructions for playing actions, with only timing indications for the length of their duration as guidance. Consequently, Cage broke away from the traditional Western scoring system and created graphic notations for interpretation designed to inspire creativity in the performer, with abstract pictures and sketches representing the movement of note pitches and dynamics.Ī prominent example of this is Cage’s Water Music of 1952 (fig. All conceivable actions and events became sounds waiting to be organised into a part of this music. We want to capture and control these sounds, to use them, not as sound effects, but as musical instruments’. When we listen to it, we find it fascinating. He states: 'wherever we are, what we hear is mostly noise.

Zen Buddhism influenced Cage’s ideas about what constitutes music and led him to subvert its traditional conventions by transforming everyday tasks and events, however trivial, into art. Extract from my BA Dissertation ‘The Active Listener Fluxus Experience in Contemporary Sonic Practice’: