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Indeterminacy and The ‘Open Work’ Defining ‘classical’ music Composer Text (Musical Notation) (Reading) Performer (Passive) Audience Philip Guston, Painting (1954) Mark Rothko, Orange and Yellow (1956) Morton Feldman (1926-1987) Intersection #1 (1951) “My desire here was not to “compose,” but to project sounds into time, free from a compositional rhetoric that had no place here. In order not to involve the performer (i.e. myself) in memory… and because sounds no longer had an inherent symbolic shape, I allowed for indeterminacies in regard to pitch.” Indeterminacy: Deliberately leaving one or more elements of the composition to the discretion of the performer. Indeterminacy of pitch: “high, middle, and low” chosen by each instrumentalist in performance. Alexander Calder, Untitled (1976) Alexander Calder, Untitled (1976) Alexander Calder, Untitled (1976) Earle Brown (1926-2002) Four Systems (1952) “a conceptually ‘mobile’ approach to basically fixed graphic elements, subject to an infinite number of performance realizations through the involvement of the performer’s . response to the intentionally ambiguous graphic stimuli . .” • No indication for length, form, instrumentation, pitch content, dynamics, etc. • Graphics only: consists of patterns of lines of various thicknesses. John Cage Variations II (1961) • “for any number of players and any sound producing means.” • No fixed document; only moveable transparent sheets. • A means of generating a score, considered infinitely variable • Pianist David Tudor Early Electronic Music Early Sound Technology c. 1880: Wax Cylinder Early Sound Technology c. 1890 Gramophone Early Sound Technology 1935, Germany: Magnetic Tape 1951: Portable Field Recorder Musique Concrète Pierre Schaffer (1910-1995) Études aux chemins de fer (1948) • Composed entirely of recorded sound Elektronische Musik Karlheinz Stockhausen (1928-2007) Studie II (1954) • Composed entirely of sound produced by electronic devices. • Sine Tones (“Pure Tones”) Music… Without performers. Infinitely repeatable. Karlheinz Stockhausen Gesang der Jünglinge (1956) • Blends recorded and synthetic sound • Text from book of Daniel; “the Fiery Furnace” Karlheinz Stockhausen Mikrophonie (1961) • Live electronic music • Filters / Filtering .

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Expanding Horizons: the International Avant-Garde, 1962-75
452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary.
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