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GARDE PERFORMANCES of the 1960S “I HAVE NOTHING TO SAY AND I AM SAYING IT”: COLLABORATION, COLLAGE, AND THE MEETING OF INDETERMINACIES IN AMERICAN AVANT- GARDE PERFORMANCES OF THE 1960s by Elizabeth A. Hoover B.A. in Music, Miami University, 2006 M.A. in Musicology, University of Pittsburgh, 2008 Submitted to the Graduate Faculty of Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2012 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Elizabeth A. Hoover It was defended on March 2, 2012 and approved by Deane L. Root, Professor, Department of Music Marcia Landy, Distinguished Professor, Department of English/Film Studies Andrew Weintraub, Professor, Department of Music Mathew Rosenblum, Professor and Chair, Department of Music Dissertation Advisor: Anna Nisnevich, Assistant Professor, Department of Music ii Copyright © by Elizabeth A. Hoover 2012 iii “I HAVE NOTHING TO SAY AND I AM SAYING IT”: COLLABORATION, COLLAGE AND THE MEETING OF INDETERMINACIES IN AMERICAN AVANT- GARDE PERFORMANCES OF THE 1960s Elizabeth A. Hoover, PhD University of Pittsburgh, 2012 When approaching the 1960s, histories of the United States commonly emphasize the dynamic movements of the decade such as fighting for equality, traveling through space and moving upwards in “the Great Society.” These movements captivated both the eyes and ears of Americans through a collage of television, radio, records, newspapers, magazines and journals— a multi-mediated culture that fashioned new political platforms for change. Whereas the roles of popular musicians during the 1960s have been well researched, investigations of American avant-garde music have been limited to studies of individual composers and their compositional methods, largely ignoring these musicians’ role in the germination of a collective consciousness that questioned established aesthetic paradigms and cultivated unique exchanges between multiple forms of artistic media. This study focuses on the so-called “New York School”—a diverse group comprised of, among others, John Cage, Earle Brown, Morton Feldman, Christian Wolff, and David Tudor. I reassess the cultural, social and aesthetic importance of these figures by examining their work in multimedia collaborations. I offer three case studies each organized around an avant-garde event whose premiere performance and/or subsequent renditions marked the 1960s. Chapter 2 elucidates the interplay iv of indeterminate and determined relations between collaborators in John Cage’s and Merce Cunningham’s Variations V by conceptualizing a “collage of authorities” that thematizes a Derridean play of différance. In Chapters 3 and 4, I detail the textual and perceptual collage that reinforces a Bergsonian notion of order in the “feedback conditions” of Earle Brown’s Calder Piece. In Chapter 5, I unravel and analyze the surfaces of Merce Cunningham’s choreography, Robert Rauschenberg’s décor and Morton Feldman’s music, which together creates a performative collage in the ballet Summerspace. I argue that, as multitudinous collages, these collaborations continued the modernist legacy of questioning conventional musical (and visual) languages while simultaneously projecting traits we now associate with postmodernism, such as theatricality and potentiality through variously constituted indeterminacies. Questioning the very grounds of mainstream communication, these dynamic events offered their own terms for linking politics and aesthetics during the 1960s. v TABLE OF CONTENTS PREFACE .............................................................................................................................. XVIII 1.0 INTRODUCTION ........................................................................................................ 1 1.1 AVANT-GARDE PERFORMANCE IN AMERICA: KOSTELANETZ’S TAXONOMY ........................................................................................................................ 3 1.2 PERFORMANCE AND PROBLEMS OF HISTORICAL PERIODIZATION ............................................................................................................... 5 1.3 POSTMODERNISM AND MUSIC ................................................................. 10 1.4 THE AVANT-GARDE AND “THE POLITICS OF AESTHETICS”.......... 13 1.5 PERFORMANCES AND METHODOLOGIES ............................................ 19 1.5.1 Questioning Cagean Control ...................................................................... 19 1.5.2 Variations V.................................................................................................. 20 1.5.3 Cage and his New York School .................................................................. 22 1.5.4 Calder Piece.................................................................................................. 24 1.5.5 Summerspace ............................................................................................... 27 1.6 RESEARCH ....................................................................................................... 29 1.7 SIGNIFICANCE ................................................................................................ 29 2.0 VARIATIONS V: “ESCAPING STAGNATION” THROUGH MOVEMENT OF SIGNIFICATION ....................................................................................................................... 31 vi 2.1 STAGNATION OF SIGNIFICATION............................................................ 38 2.1.1 Environmental and Ecological Topics ...................................................... 38 2.1.2 Technology ................................................................................................... 44 2.2 DIFFÉRANCE AND THE PLAY OF PRESENCE AND ABSENCE .......... 50 2.2.1 Away from the Text: Antonin Artaud and Presence ............................... 51 2.2.2 The Artaud-Derrida Connection: From Presence to Play ...................... 59 2.2.3 Différance and the Movement of Signification ......................................... 62 2.3 CUNNINGHAM’S VOICE AND THE SHEAF OF DIFFÉRANCE ............ 67 2.3.1 Events Unfolding in Time and Moving Across Space ............................. 69 2.3.2 “Aerial Sweeps” .......................................................................................... 74 2.4 CONCLUSIONS ................................................................................................ 81 3.0 AN ORDER WE ARE NOT LOOKING FOR: COLLAGING CALDER PIECE………………................................................................................................................... 84 3.1 CALDER’S INFLUENCE ................................................................................ 93 3.1.1 Open Form ................................................................................................... 95 3.1.2 “Mobile Interior Structures” ..................................................................... 97 3.2 BERGSON’S INFLUENCE .............................................................................. 99 3.2.1 “Disorder is Simply the Order We Are Not Looking For” ..................... 99 3.2.2 Disorder and Nothingness in Creative Mind ........................................... 102 3.2.3 Disorder and Mechanism in Creative Evolution ..................................... 104 3.2.4 Disorder and the Self in Time and Free Will........................................... 107 3.3 BROWN’S “COLLAGE-PASTE-UP PROCESS” ....................................... 111 3.3.1 Collaging Like Bob ................................................................................... 111 vii 3.3.2 Collaging Like the Surrealists.................................................................. 115 3.3.3 Cutting and Pasting Page 3 of Calder Piece ............................................ 118 3.4 CONCLUSION: THE “FEEDBACK CONDITION” OF THE SCORE ... 146 4.0 CALDER PIECE AND THE COMPOSITION OF PERFORMANCE: THE FEEDBACK CONDITION OF MEMORY ........................................................................... 149 4.1 OPEN FORM AS COLLAGE IN THE FINAL PAGE OF CALDER PIECE…. ........................................................................................................................... 156 4.2 COLLABORATING WITH THE PERFORMER ....................................... 158 4.2.1 Reading the Mobile ................................................................................... 158 4.3 THE PERFORMER’S PERSPECTIVE........................................................ 160 4.3.1 Page 2 of Calder Piece ............................................................................... 160 4.3.2 Page 5 of Calder Piece ............................................................................... 163 4.3.3 Page 8 of Calder Piece ............................................................................... 166 4.4 BERGSON’S RETURN: THE MATTER OF MEMORY IN CALDER PIECE…… ........................................................................................................................ 168 4.4.1 Matter and Memory ................................................................................... 169 4.4.1.1 Image/Object ..................................................................................... 169 4.4.1.2 Memory .............................................................................................. 170 4.4.1.3 Perception .........................................................................................
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