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John Cage's Notion of "A Piece" 1940-1952 Sara Kathryn Nodine

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John Cage's Notion of Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 John Cage's Notion of "A Piece" 1940-1952 Sara Kathryn Nodine Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC JOHN CAGE’S NOTION OF “A PIECE” 1940-1952 By SARA KATHRYN NODINE A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2007 Copyright © 2007 Sara Kathryn Nodine All Rights Reserved The members of the committee approve the thesis of Sara Kathryn Nodine defended on October 27, 2006. _______________________________ Denise Von Glahn Professor Directing Thesis ______________________________ Jane Piper Cledinning Committee Member ______________________________ Charles E. Brewer Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii For my mother, Sue Nodine, who has supported my work and encouraged me in all of my endeavors. Without her support this project would never have been possible. iii ACKNOWLEDGEMENTS I offer my deepest gratitude to my thesis advisor, Dr. Denise Von Glahn, for her support, encouraging words, and enduring patience throughout all stages of this project. She has been an inspiring model of the curiosity, persistence, and perseverance it takes to be a scholar. I would like to thank Dr. Charles E. Brewer for whom my first paper on John Cage was written two years ago. His breadth of knowledge and appreciation for American music has encouraged me to read beyond my focused area and search for music that expands and exercises my mind. I am grateful to Dr. Jane Piper Clendinning for introducing me to new theoretical methods and stretching my thoughts to incorporate both theory and history. To my fellow colleagues in the music department, thank you for your undying support during this entire process. Were it not for your smiles, hugs, and emails, the stressful times would have seemed unbearable. My love and affection to my mother, and siblings, Suzi and Sonny, for their unwavering kindness and willingness to open their ears to new music and listen to me ramble about my latest late-night discoveries. I am also indebted to Matt for his constant friendship, devotion, and love over the last few years as I have begun a new journey. I have been blessed by the Lord with an overwhelming passion for music and the desire to share my love with others. iv TABLE OF CONTENTS LIST OF FIGURES vi ABSTRACT vii INTRODUCTION 1 1. LIVING ROOM MUSIC 6 2. A VALENTINE OUT OF SEASON 27 3. WATER MUSIC 35 CONCLUSION 48 BIBLIOGRAPHY 50 DISCOGRAPHY 54 MUSICAL SCORES 55 VIDEOGRAPHY 55 BIOGRAPHICAL SKETCH 56 v LIST OF FIGURES 1.1 Instructions for Living Room Music 10 1.2 Living Room Music movement 1 “To Begin,” measures 1-4 11 1.3 Living Room Music movement 2 “Story,” measures 12-13 12 1.4 Living Room Music movement 3 “Melody,” measure 28 13 1.5 Living Room Music movement 3 “Melody,” measures 35-36 14 1.6 Living Room Music movement 3 “Melody,” measures 30-31 14 1.7 Living Room Music, movement 1: “To Begin” 17 1.8 Living Room Music, movement 1: “To Begin” 18 1.9 Living Room Music, movement 1: “To Begin” 18 1.10 Living Room Music, movement 2: “Story” 19 1.11 Living Room Music, movement 2: “Story” 19 1.12 Living Room Music, movement 2: “Story” 20 1.13 Living Room Music, movement 2: “Story” 20 1.14 Living Room Music, movement 2: “Story” 21 1.15 Living Room Music, movement 3: “Melody” 21 1.16 Living Room Music, movement 3: “Melody” 22 1.17 Living Room Music, movement 3: “Melody” 22 1.18 Living Room Music, movement 3: “Melody” 23 1.19 Living Room Music, movement 3: “Melody” 23 1.20 Living Room Music, movement 3: “Melody” 24 1.21 Living Room Music, movement 4: “End” 24 1.22 Living Room Music, movement 4: “End” 25 vi 1.23 Living Room Music, movement 4: “End” 25 1.24 Living Room Music, movement 4: “End” 26 2.1 Table of preparations, A Valentine Out of Season 28 2.2 A Valentine Out of Season movement 1, measures 1-7 30 2.3 A Valentine Out of Season movement 2, measures 1-6 30 2.4 A Valentine Out of Season movement 3, measures 10-15 31 3.1 Diagram of posted score, Water Music 35 3.2 Robert Rauschenberg, “White Painting” 1951 36 3.3 Robert Rauschenberg, “Black Painting” c. 1953 36 3.4 New School for Social Research, John L. Tishman Auditorium (stage view) 38 3.5 New School for Social Research, John L. Tishman Auditorium (rear view) 38 3.6 40 second analysis, Water Music 39 3.7 David Tutor performing Water Music, Darmstadt, 1958 40 3.8 Radios dating around 1952-53 41 3.9 Water Music, 160-240 seconds, “prepare piano” 41 3.10 Water Music, 240-320 seconds, “water poured in receptacles 42 3.11 Water Music, 320-400 seconds, “duck whistle gradually in water” 43 3.12 Water Music (graph) 45 3.13 Water Music (graph) 46 3.14 Water Music (graph) 46 3.15 Water Music (graph) 47 vii ABSTRACT John Cage’s music includes a wide variety of styles, genres, performing forces, and approaches to musical creation that together challenge the notion and existence of “a piece.” In large part, due to the wide range of possibilities in performing Cage’s work, critics of his music often fault its apparent randomness and lack of organization. Such criticisms raise two initial questions: 1. How do Cage’s pieces manifest compositional control; and 2. is understanding the organization important if its effects are, at first, inaudible? In this thesis I will focus on Cage’s Living Room Music (1940), A Valentine Out of Season (1944), and Water Music (1952), and how each demonstrate Cage’s notion of “a piece.” When applying these two questions to any musical composition, it is helpful to define a piece and analyze all elements of the work as they relate to this established definition. Patricia Carpenter classifies a piece as an object manipulated by the composer and experienced by the listener without the requirement of a tangible product. Expanding upon this idea, Robert Cogan and Pozzi Escot approach musical analysis in a way that allows for flexibility unique to each work. These definitions of a piece will be applied and expanded with regards to the selected works. Many discussions of Cage’s work focuses on the unorganized nature of his creative process, thus misunderstanding the aspects of control maintained by the composer and performer. Cage controls the largest dimensions while allowing freedom within. Cage’s balance of control and freedom can be traced not only musically, but also in his larger philosophical and aesthetic ideas. Studying the notion of “a piece” in Cage’s works provides insight into its relationship with earlier musical periods traditionally characterized by structure and form. viii INTRODUCTION This thesis explores the notion of a musical piece in select early works by John Cage. In this study there are three basic questions: 1. What is a musical piece, 2. what are its essential attributes, and 3. does the concept of “a piece” change over time? This thesis focuses on three essential attributes of a musical piece: organized action, a predetermined goal where all parts facilitate the goal, and autonomy.1 Though these criteria may be easier to discern in pieces from earlier periods because of a clearer adherence to forms and genres, the variety of compositions especially in the twentieth century allows new possibilities for understanding the musical product.2 John Cage’s music includes a wide variety of styles, genres, performing forces, and approaches to musical creation that together challenge the notion and existence of “a piece.” Cage’s compositions may also appear to challenge what is traditionally considered to be music, although applying the suggested criteria of what defines “a piece” illustrates how even those compositions can be music. In additional to flexible frameworks, his works utilize not only traditional musical instruments in conventional and unconventional ways, but also non-traditional instruments, such as the radio, prepared piano, and household items. The size of the performing forces also varies, from one player in his solo works, such as Metamorphosis (1937-38) and Cheap Imitation (1969), to five orchestras in Thirty Pieces for Five Orchestras (1981). In large part, due to the wide range of possibilities in performing Cage’s work, critics of his music often fault its apparent randomness and lack of organization. Such criticisms, while not acknowledging Cage’s careful compositional processes, raise a number of questions: 1. How do Cage’s pieces manifest compositional control; and 2. is understanding the organization important if its effects are, at first, inaudible? When applying these two questions to any musical composition, it is helpful to define a “piece” and analyze all elements of the work as they relate to this established definition. In her article “The Musical Object,” Patricia Carpenter classifies a piece as an 1 These essential attributes were determined based upon the traditional elements in pieces from previous musical periods. 2 The phrase “musical product” is used to describe the result of the creative process. 1 object manipulated by the composer and experienced by the listener without the requirement of a tangible product. She proposes three ways in which to approach the construction of a piece. First, a musical work is constructed based on a delineated amount of time and is considered a distanced object which we can analyze as “a single, serious action, shaped as one intensely directed motion, clearly defined as to beginning, middle, and end, and unified as to content.”3 Second, music is a heard object that “articulates not only a piece, a stretch, of time, but also shapes and fills a kind of tonal space of its own.”4 In this instance Carpenter is referring to tonal space as it relates to the actual tones produced, not the analytical method used for music with specified key centers.
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