The Time of Roland Kayn’s Cybernetic Music Thomas W. Patteson inspire morefoundational workonKaynandhismilieu. work, this is by necessity a provisional study; may it help to relatively few accessible sources of information on Kayn’s sense of temporality manifested in his works. Because of the reception of his music, with an emphasis on the peculiar the aesthetic categories that might inform the sympathetic of Kayn’s work, the nature of his compositional method, and intended to outline the historical and intellectual conditions for contemporary artistic production. This brief essay is the history of and has enduring relevance ‘cybernetic music’ is a phenomenon of acute interest for and the limits of musical perception. What Kayn called radical reconception of the creative role of technology of composition in the electronic medium represents a Kayn’s unique and idiosyncratic approach to the problem called the ‘cybernetic moment’ in twentieth-century culture. most powerful and enigmatic products of what could be communications networks. and relational field of computers, electronics, and the popular imagination, to the more abstract, conceptual, order, gave way, both in the organisation of society and inmachine, as the quintessential symbol of the technological the techno-aesthetic order of the twentieth century. The them, these two cultural phenomena signalled a shift in disciplines ofinformationtheoryandcybernetics. a new aesthetic field informed by the then-cutting edge which featured an array of experimental ventures into multimedia extravaganzacalled Institute for Contemporary Art in London presented a as a theme in the visual arts. Around the same time, the this was a pointedly retrospective view of the machine the EndofMechanicalAge presented anexhibitionentitled November 1968, the Museum of Modern Art in New York the aesthetic development of Western modernity as well. In events of that year suggest that 1968 was a nodal point in of the twentieth century. Two symbolically significant The year 1968 looms large in the social and political history 2. 1. The music of Roland Kayn (1933–2011) is among the (London: StudioInternational, 1968). ed., SeeJasiaReichardt, Mechanical Age SeeKarlGunnarPontus Hulten,ed., (NewYork: MuseumofModernArt,1968). Cybernetic Serendipity: TheComputerandtheArts Cybernetic The Machine as Seen at the End of the . Cybernetic Serendipity Cybernetic 1 The Machine as Seen at As the name suggests, 2 Between 3

, Why not? 131; Why not? Colonize time. by NoamChomsky. to the ‘generative grammar’ developed contemporaneously ‘generative aesthetics’, in deliberate (if imprecise) analogy (mathematical) terms’. Bense called the second phase which ‘aesthetic information [is] described in abstract work: the first is what he called ‘analytical aesthetics’, in beauty’. He distinguished between two aspects of aesthetic of aesthetic products, what he called ‘the programming of and entropy could be normatively applied to the production with thematerialinanobjectiveway’. gained the ability to approach the creative engagement analysis, whether one was an architect or a composer, one important point of departure, because with his method of later recounted, ‘At that time Bense’s approach was an project of fusing cybernetic and aesthetic concepts. He Bense circle and was deeply influenced by his teacher’s artificial production of probabilities of innovation or or technique of artistic creation, Bense defines as ‘the and computertechnology. artistic expression made possible by ‘systems thinking’ media who shared a vision of a new, rationalised form of School’, an informal group of artists working in various concrete poetry, and he became the guru of the ‘Stuttgart active as a curator of exhibitions of computer art and a seriesofbooksentitled concepts to art and aesthetics. In addition to publishing was also among the first thinkers to extend cybernetic intellectual bloodstream of the European continent. Bense disciplines of cybernetics and information theory into the among the first to channel the primarily Anglophone by the seminal writings of Norbert Wiener, Bense became professor at the Technical University in Stuttgart. Inspired came into contact with the philosopher Max Bense, a 1953, when Kayn, a young musician and university student, The cybernetic music project received its initial impulse in 6. 5. 4. 3. Bense believed that cybernetic notions of information Aesthetik MaxBense,‘Projekte generativerÄsthetik’,in Roland Kayn, liner notes, bensekybernetik.htm (accessed19April2010). ElisabethWalther, ‘MaxBenseunddieKybernetik’, http://www.stuttgarter-schule.de/ in following article by Kayn: ‘Komponieren zwischen Computer und Kybernetik’, In addition to the sources cited throughout this essay, the reader is referred to the Melos /NeueZeitschriftfürMusik 3 , 2ndedition(Baden-Baden: AgisVerlag, 1982),p.333. 6 This,strictlyspeakinga Tektra Aesthetica 4 Kayn spent three years in the , ColosseumLPCOL 1479. (1977),pp.22–27. Aesthetica: Einführung in die neue (1954–60), he was 5 poetics

4900000000000 TRAVELLING TIME The Time of Roland Kayn’s Cybernetic Music found itself. Kayn’s membership in the group signalled his an escape from the dead end in which the classical tradition Evangelisti, who envisioned collaborative improvisation as Consonanza was founded by the Italian composer Franco music, and extended instrumental technique. Nuova improvisatory performance inspired by free jazz, aleatoric Rome-based collective of composer–musicians dedicated to of the Gruppo di Improvvisazone Nuova Consonanza, a shifting elsewhere. for conventional instrumental ensembles, Kayn’s focus was in the coming years. Although he would continue to write , and would be premiered in Darmstadt composition’. Several of Kayn’s works for piano, chamber approach Kayn credited with pushing him toward ‘statistical 1950s he studied with Boris Blacher, whose mathematical primarily on instrumental composition. In Berlin in the late completed works. For the next ten years, Kayn focused limitations he encountered, and was unable to realise any years, but was consistently frustrated by the technological too restrictive. He visited other studios in the following but he found the studio’s dominant serialist aesthetic by the sonic potential afforded by the new technologies, (Northwest German Radio) in Cologne. Kayn was fascinated Eimert at the Studio for Electronic Music of the NWDR meeting with Bense, Kayn came into contact with Herbert the anarchic play of free improvisation. Soon after his first musical production, from the rigorous order of to with Max Bense, Kayn traversed the extremes of avant-garde cybernetic music. In the decade following the time spent the first crucial influence on Kayn’s developing vision of precisely combinedwiththeirplannedconstruction’. objects have to satisfy – namely, to be unpredictable – is planning and chance. In this way the demand that aesthetic produced mechanically through a methodical combination of believed that ‘the improbability of aesthetic states can be deviation from the norm’. Through these methods, Bense 7. In 1964, Kayn became one of the initial members In this idea of planned unpredictability we find information theory and serialism, but makes no mention of Roland Kayn. information theory andserialism,butmakesnomention ofRoland University Press, 2001), pp. 146–49. Grant highlights the connection betweenAesthetics: Compositional TheoryinPost-War Europe applications ofBense’s aestheticsisfoundinM.J.Grant, Bense, p. 337. The best English-language introduction to the potential musical (Cambridge: Cambridge Serial Music, Serial 7 time 132; to the flow of at right angles with hisowncontributioncirca1970: beginning in the early twentieth century and culminating presented the history of the medium in five distinct phases, a new stage in the development of electroacoustic art. He shape. For Kayn, cybernetic music was nothing less than long-germinating notions of cybernetic music finally took phase of his career into the mature period in which his Consonanza was the passage from an earlier, exploratory improvisatory framework. inability to introduce cybernetic methods into the group’s group in 1968 and later attributed his departure to his to its members falling back on musical clichés. He left the the group’s lack of a ‘theoretical foundation’, which led in live performance. But Kayn became frustrated with dynamics of listening and reaction between the members Evangelisti even used the term ‘cybernetic’ to describe the music. The concept was certainly in the air at the time: the question of how to implement cybernetic methods in music’ scene. It also allowed for a deeper engagement with growing dissatisfaction with the avant-garde ‘composed – – – – – Kayn’s disillusioned departure from Nuova 9. Roland Kayn,linernotes, 9. Roland Kayn,linernotes, 8. Roland

Logical andmathematicaloperations. Computermusic (‘living’) systems. opposition of automatic (‘dead’) and anthropoetic loops, control processes. Suspension of the Cyberneticmusic time, structure,space. Discovery of new connections between material, obtained from electronic oscillation elements. Electronicmusic origin. sounds and noises, also of instrumental and vocal Concretemusic articulation. of new instrumental techniques of playing and means of electro-acoustic aggregates. Incorporation multiplication of the natural instrumental sounds by Electro-instrumentalmusic Simultan Infra 9 Studio processing of existing 8 Automation, chance, program. , ColosseumLPSM 1478. Process planning, feedback Electro-acoustic sound synthesis, , ColosseumLPSM 1473. Extension and

5100000000000 TRAVELLING TIME The Time of Roland Kayn’s Cybernetic Music manner analogous to the performance of the traditional in a programming language, which is then executed in a music required the composer to formulate his thoughts new paradigm in the history of music. While computer programme, which he envisioned as a fundamentally served to highlight his own compositional applications of the computer. But Kayn’s critique of who were pursuing non-deterministic compositional such as , Herbert Brün and Pietro Grossi, of an over-generalisation, ignoring the work of composers Kayn’s characterisation of computer music was something embodied intheclassicalelectronicstudio: an extension of the essentially deterministic approach Kayn, computer music represented nothing more than performer more or less replaced by the computer. For straightforward execution of directives, with the human events, this way of working was still based on the processes allowed for a more precise control of sound to computer music. Although computer-programmed Kayn defined cybernetic music primarily in opposition association between cybernetics and the computer, phases were already historical. Ironically, given the strong By the late 1960s, of course, the first three of these 10. Roland Kayn,linernotes, 10. Roland of aestheticcategories. can only be solved by a systematic evaluation relationship between technology and creativity, which between these two processes creates problems of the operator to think in mechanical terms. The tension effect, i.e., a subliminal tendency on the part of the objectives, this situation is influenced by a feedback operate the computer in keeping with his own Although it is the general aim of the composer to implicit in the underlying ‘aesthetic program’. […] synthesize the large numbers of individual operations are still too limited in their capacity to simultaneously demanded of it, as existing programming languages the high degree of artistic quality ultimately There is still no computer music capable of achieving Elektroakustische Projekte 10 , ColosseumLPSM 1474.

Projekte I, 1966 LP the of cover Kayn, Roland LP the of cover Kayn, Roland R oland Kayn , 1970s. – 75. Elektroakustische Infra , 1978 – 79. Images © courtesy of Ilse Kayn. LP the of cover Kayn, Roland LP the of cover Kayn, Roland LP cover Kayn, Roland Tektra , 1984. Makro I Simultan - III , 1970 , 1977. – 72.

5300000000000 TRAVELLING TIME The Time of Roland Kayn’s Cybernetic Music of theLPissue of R oland Kayn , score for Tektra Allotropie . Image © courtesy ofIlse Kayn. . Image©courtesy , for multiple instrumental formations, 1962 – 64, reproduced on the insert Image © courtesy ofIlse Kayn. Image ©courtesy R oland Kayn , page from, page thescore of Allotropie , for multiple instrumental formations, 1962 – 64.

5500000000000 TRAVELLING TIME The Time of Roland Kayn’s Cybernetic Music of R oland Kayn Tektra . Image © courtesy ofIlse Kayn. . Image©courtesy , ‘Adaption’, from page thescore of Engramme , 1972 – 74, reproduced on the insert of the LP issue Elektroakustische Projekte I R oland Kayn , score for Cybernetics . Image © courtesy ofIlse Kayn. . Image©courtesy , sign memory and control system, reproduced on the insert of the LP

5700000000000 TRAVELLING TIME The Time of Roland Kayn’s Cybernetic Music Image courtesy ofIlse Kayn. Image courtesy (or 3),2 Studio M usic computer I nstitute ofSonology,nstitute , early1970s. oftheLPissue of Photoontheinsert Utrecht, late 1960s, early 1970s. Unknown photographer. Simultan . Courtesy ofIlse Kayn. . Courtesy circular 132; becoming linear time ‘the electric current has no memory, is governed only by the present, and is thus in great measure authorised to unleash improbable phenomena’

5900000000000 TRAVELLING TIME The Time of Roland Kayn’s Cybernetic Music possible Kayn’s long-awaited realisation of cybernetic others, it was the studio’s analogue equipment that made sound synthesis developed by Koenig, Barry Truax, and computer programs for algorithmic composition and digital become well-known in the mid-1970s because of the Tektra Eon cybernetic music: compositions in which he elaborated his concept of of Sonology, Kayn created a series of electroacoustic Over the course of a decade of work at the Institute composers, Gottfried Michael Koenig and . Utrecht, where he joined two other German expatriate the electronic music studio of the in creative life. In the same year, he was invited to work at the Netherlands, where he would spend the rest of his at the Goethe Institute in Amsterdam, relocating to In 1970, he took a position as a programme director realisation. This requires a brief return to Kayn’s biography. to make sense only in the context of their technological cybernetic means’. neither be imagined nor attained through other than immense expansion of the acoustic domain…which can unforeseeable transformations: this brings about ‘the the system and redouble upon themselves, causing and outputs creates positive feedback, as signals crisscross from thatwhichcamebefore’. fed back upon themselves in order to create deviations generative process in which existing sound materials are musical score, cybernetic music is based instead on ‘a from onestatetoanother. regulated cyclical patterns and perform ‘sudden jumps’ of cybernetic systems allows the music to break out of unpredictable its behaviour becomes. The non-linearity information is introduced into the system, the more quotidian technology of the thermostat. But as more which aims for equilibrium and stability, typified by the process begets only cyclical variation – ’negative feedback’, (1975), 13. Kayn, 12. Kayn, 11. Kayn, These rather abstract aesthetic postulates begin (1980–82). Ironically, though the Institute would Tektra Elektroakustische Projekte Infra Makro I-III . . Monades 13 (1977), 12 The interweaving of inputs (1971), . 11 In its simplest form, this Infra Simultan (1979–80), and (1970–72), time 132; immunity to music. Frans van Rossum describedKayn’smethod: Frans vanRossum in a general way how the piece would unfold. Musicologist to the interconnections and feedback loops, which governed material, which determined the sonic character of the music, conditions, including everything from the fundamental sound development was unforeseeable on the basis of their initial of the unprogrammable’: configurations whose temporal technological basis of what Kayn called the ‘programming in the etymological spirit of cybernetics. This was the nor fully predetermined, but rather ‘guided’ or ‘steered’ scenarios whose results would be neither fully random time’. could implement an algorithm that produced sound in real studio. In Karlheinz Essl’s words, with this equipment ‘one were then used to control the various components in the could be programmed to store a series of voltages that function generator’, essentially a primitive sequencer that circuits. At the centre of this configuration was a ‘variable such as oscillators, filters, envelope generators, and logic with a sophisticated voltage-control system of modular units, the end. […] The composer presents his music as an is recorded to tape only once from the beginning to when the system is activated, the resulting composition work may take years of construction and tests, and which can realise the composition. This demanding a system of controllers, adjustments, and operations, obey and execute. These have to be incorporated in develops a system of signals or commands that it can collates the basic information about this network and determining the audible result. Next, the composer and its inherent potential, play a large role in of electronic equipment. The nature of the network, [Kayn’s] electronic pieces start by defining a network 15. 14. 15 14 In the Utrecht studio, Kayn could map out sonic University Press, 2007), p.123. Electronic Music KarlheinzEssl,‘Algorithmic composition’,in together to form completed compositions. control signals to various inputs and recording the results, which were laterthe splicedfunction generator to automate the production of sound material by applyinglikely its have the closest genetic relations to Kayn’s cybernetic music. Koenig1964, composedasetofworks,namely hiseight used From 1967 to 1969 Koenig, who had become artistic director of the Institute in In the late 1960s, the studio had been outfitted , eds. Nick Collins and Julio d’Escriván (Cambridge: Cambridge The Cambridge Companion to Funktionen (Functions), that

6100000000000 TRAVELLING TIME The Time of Roland Kayn’s Cybernetic Music quarter ofthetwentiethcentury. characteristic tendencies in electronic music of the last that would become one of the most unexpected and Kayn’s music inaugurates the valorisation of the analogue moment of the ascendancy of digital sound technologies, teleological arc of electronic music. At the very historical thus constitutes a remarkable rejection of the implicit unique generative properties of analogue components, Kayn’s compositional technique, predicated on the to digitalcomponents. of reciprocal interconnectivity’, were aesthetically superior determined fluctuations’ and ‘relative instability in states For Kayn, analogue electronics, with their ‘integrally its dialectical negation through Cageian indeterminacy. neither to the control fetish of Western art music nor to were the keys to a new kind of musical poetics, beholden source. Furthermore, the imperfections of analogue devices studio is both the medium of the composition and its sonic music. The instrumental apparatus of the electronic music to the particular configuration of units that generated the and patch cables. The ‘score’ of the piece was identical technological configuration of electroacoustic components a symbolicsetofdirections,butrathermaterial– The product of Kayn’s compositional work was not accept whatemergesasanauto-generativeprocedure’. intervene, guide, and direct, or whether he is prepared to his original function. He can merely decide whether to according to Kayn, ‘The composer is entirely divested of up toandincludingmalfunctions’. systems is calculated as a generative principle, as it were, Makro 19. Kayn,‘Soziologische-, technologische-undaesthetische Aspekte…’ Kayn,albumcover,18. Roland 17. linernotes, 16. FransvanRossum, follows itsowninternallawsandconditions. a ‘free’ music, which, like the fabric of the cosmos, once he has done this, it is left to move through space, artifice which he constructs and sets in motion, but , Kayn wrote that ‘the instability of electro-acoustical (accessed 20December, 2011). Innovation am Beispiel eigener Werke’, http://www.kayn.nl/publications.html Roland Kayn, ‘Soziologische-, technologische- und aesthetische Aspekte akustischer 17 Speaking of his composition Makro Roland Kayn: Tektra , ColosseumLPSM 1477. 18 In this new paradigm, , BarooniCDBAR016. 16 19

time 143; of regarding our linear way signal chains. ( processes, which Kayn characterises as a ‘winding up’ and an inverted temporality unique to cybernetic feedback contained in the score is converted into acoustic waves, down’ ( models of musical temporality: a conventional ‘running difference is made clear in Kayn’s distinction between two the ‘sudden leaps’ typical of nonlinear interactions. This encompasses not only growth-like accumulations but also an initial temporal disjunction, Kayn’s notion of process minimalist music generally unfolds in a linear fashion from to be apparent on the perceptual surface. But while Kayn intends the generative process behind the music Like American minimalist composers such as Steve Reich, mirrored bythelistener’sactofperception: generative self-formation of cybernetic music should be for the audition of his music. According to Kayn, the Kayn’s compositional poetics have direct implications automatic (‘dead’)and anthropoetic(‘living’)systems’. nothing less than the ‘suspension of the opposition of for negentropic rejuvenation, which for Kayn signals Aufzug acoustic sphereis,sotospeak,‘socialised’. a total auditory experience for the listener – the construct is hence made more lucid and more of the compositional process as it develops; the acoustic generating process. The listener is thus able to follow thereby forming an integral component of the control structure lies within the range of audibility, acoustic supersignal,andremainstransparent. that the process of creation is integrated into the structures and program structures – that is, the fact one of simultaneity or dependence between control by sound events which arise in this way seems to be The characteristic impression made on the listener 22. Kayn, 21. 20. Kayn, and Kayn,‘Soziologische-, technologische-undaesthetische Aspekte…’, Ablauf ), the before-your-ears unfolding of electroacoustic Elektroakustische Projekte Simultan Elektroakustische Projekte 21 ) as the reservoir of potential energy The cybernetic system manifests a capacity . . . 20

The 22

6300000000000 TRAVELLING TIME The Time of Roland Kayn’s Cybernetic Music consciousness’. Being, as it were, takes the place of a logically functioning can be described as artificial intelligence […] Existential of capacity to think for itself, a capacity which in a sense Kayn asserts that ‘the electronic system develops a sort something like the act of epistemological ‘unveiling’ that subjective expression, but rather as a mode of knowledge, Martin Heideggeridentifiedastheessenceoftechnology. has no memory, is governed only by the present, and is stridulations. According to Kayn, ‘the electric current is suddenly riven by catastrophic blasts and tectonic of geological time, in which the epochal drift of millennia of sentience. Inotherpieces,suchas itself through the blind groping of a quasi-evolutionary chaos and order, seeming to break down and reconstitute song of circuits fluctuates between states of relative biological processes,asin in Kayn’s music sometimes suggests macro-historical characteristic sonic gestures. The temporality projected it occupies, but also with its pace of information and its has to do not merely with the sheer chronological spans over five-hourdurationofhis1982magnumopus the typically 20- or 30-minute length of a single work to the musical time, unfolding over vast temporal expanses, from Kayn’s work’. slow oscillationthatseemstobethe Massimo Ricci refers to ‘the tonal instability, that familiar as a ‘continually changing resonating structure’, while vortices. (Van Rossum describes Kayn’s trademark sonority flowing stream intermittently disturbed by eddies and drone-like character of Kayn’s music, resembling an eerily metaphorical image corresponds to the typically slow and means of channelling naturally occurring sonic forces. This the Aeolian harps of the information age, instrumental Kayn’s cybernetic configurations could thus be heard as Infra 25. 24. 23. Kayn, The peculiar sense of time articulated in this music http://www.kayn.nl/literature.html (accessed28December2011). Contemporary Music and its Effect on Conventional Rules of Sound Perception’, Massimo Ricci, ‘The Significance of Roland Kayn’s “Tektra” in the History ofpp. 283–317. Heidegger: BasicWritings SeeMartinHeidegger, ‘TheQuestionConcerningTechnology’, in (1979–80), we are confronted with a sonic image Elektroakustische Projekte 25 ) Thismusiclivesinthe 23 Music appears not as a means of , ed. David Farrell Krell (San Francisco: Harper, 1977), Eon . (1975), where the distorted Apeiron anima mundi longue durée , the final part Martin Tektra in of . 24

instant 143; timeless a single, phenomena’. thus in great measure authorised to unleash improbable deciphering itsmessage’. only those who possess the appropriate antennae for no longer knows of any recipients and perhaps reaches a bottle’( the quintessentially Adornian notion of the ‘message in took the form of a rather extreme fatalism: he invoked Kayn’s vision of the reception of his own music ultimately selected circles of acoustic initiates. Not surprisingly, then, nuova reservata to environmentalpollution,Kaynenvisioned a‘ of mass media, whose deleterious effects he compared in the 1970s. In response to the stultifying productions ambient music that were percolating alongside his work affinity with the emergent discourses of soundscapes and i.e., domestic music-making) demonstrate a striking of ‘environmentalmusic’and‘house( such as and concert halls, and his invocations music lay outside of traditional ‘high culture’ institutions musical life. He presciently believed that the future of accommodate himself to the demands of contemporary could be seen as self-imposed: Kayn made little effort to even in most university libraries. To some extent, this fate of electronic music, and his recordings are unavailable, musical thought. He is nowhere to be found in histories of his work for some of the basic categories of Western aesthetic currents of his time, and the radical implications of his engagement with many of the major musical and that Kayn remains a musicological nonentity, in spite influence and dissemination, we must confront the fact of musical perception to the long time span of reception, ‘progress’. Turning, in conclusion, from the short time span neat, linear models of artistic development, let alone in the Internet age promise to scramble all attempts at entropic arrow of time, the flows of aesthetic influence unforeseeable andunrepeatableevent. of timealmostbeyondhumanconception: Kayn’s music aims to confront us with an experience 27. Kayn,‘Soziologische-, technologische-undaesthetische Aspekte…’ 26. Kayn,‘Soziologische-, technologische-undaesthetische Aspekte…’ Just as Kayn’s music purported to reverse the Flaschenpost 26 Through the apotheosis of human artifice, ’ createdforthedelectationofself- ) to describe his work, ‘which 27 And indeed, the metaphor of kairos Hausmusik musica , the ,

6500000000000 TRAVELLING TIME The Time of Roland Kayn’s Cybernetic Music implicit intechnology’. project of exploring what Nick Collins has called ‘the music 1960s around David Tudor, which shared with Kayn the American ‘live electronics’ school that formed in the late affinity with Kayn’s work, however, is found in the its later offshoot, The Hub. Perhaps the most intriguing League of Automatic Music Composers (1977–1983), and in the American ‘computer network band’ known as the resurfaces, albeit in a very different aesthetic context, with Kayn’s work in the 1970s. His technical vocabulary French composer Eliane Radigue, created in parallel be compared to the slowly morphing drone textures of sonic surface of Kayn’s most understated pieces could of drone-based, ambient, and generative music. The music based on algorithmic principles to the emergence both contemporary and later trends, from live computer considering the undeniable links connecting his work with of experimentalmusic. LPs made available on blogs devoted to forgotten artefacts (the author included) via digitised versions of out-of-print oblivion into the ears of early twenty-first-century listeners the reception of Kayn’s music, which has emerged from the message in the bottle has proved strikingly apt for be foreseen’. an evolution whose future course can at present hardly predict. His own contribution was only ‘the beginning of foundation for later developments as yet impossible to the information age and modestly framed his work as the of music in responding to the technological situation of the twentieth century, Kayn lamented the backwardness Mahler, ‘his time will come’. Writing in the final years of the composer’s belief that, in the famous words of Gustav Kayn’s work notwithstanding, one might reasonably share 29. Kayn,‘Soziologische-, technologische-undaesthetische Aspekte…’ 28. Kayn’s enduring obscurity is all the more perplexing contemporaneous worksfromthe1970s. striking sonic affinity to the chirping menagerie of electronic sound in Tudor’sElectronic Music NicolasCollins,‘LiveElectronicMusic’, in 29 , p. 46. Certain of Kayn’s works, such as Monades, betray a 28 These demonstrable parallels with The Cambridge Companion to

disrupted 148; disrupted Time itself was

6700000000000 TRAVELLING TIME The Time of Roland Kayn’s Cybernetic Music