國立中山大學音樂研究所解說音樂會報告etd.lib.nsysu.edu.tw/ETD-db/ETD-search/getfile?URN=etd-0701109... · John Cage （1912-1992）, ... gave tremendous influence

I

1912-1992

II

Abstract

John Cage 1912-1992, American composer who received most attention on

the development of 20th century music. His new concepts of music transformation

gave tremendous influence to the 20th century music development. In 1940, Cage was

invited to compose for dance, in the process, he applied the experience of studing with

Henry Cowell; completed the first prepared piano work, Bacchanale. The apex of

composing prepared piano works was from 1942 to 1952. Cage all together composed

twenty pieces for prepared piano. Prepared piano is a concept that changes the timbre

and pitches of traditional piano by insert some preparations, like bolts, screws,

rubbers or woods into the strings. According to the material quality, these preparations

that Cage used including five types, hardware, woods, rubbers, plastics and clothes.

We can make piano to produce timbre like percussions through these preparations.

Besides introduction and conclusion, this research consists of three parts. Part

one discusses the development of avant-garde and non-traditional piano techniques in

America in 20th century. Part two discusses Cages life to realize the multiformity of

his composition ideas. Part three discusses the origination of prepared piano, and

takes Mysterious Adventure as example to explore the type materials of preparation

and the similarities with gamelan music.

III

..I Abstract... II .. III

...1

3

8

11

.....17

.23

.....28

.36

.38

1

Henry Cowell, 1897-1965

John Cage, 1912-1992

prepared piano

David Nicholls

John Cage

Mysterious

Adventure, 1945

The University of NottinghamMervyn Cooke

2

1

1 Mervyn Cooke, The East in the West: Evocations of the Gamelan in Western Music, from Jonathan Bellman, The Exotic in Western Music.

3

2

Ferruccio Busoni, 1866-1924

Arnold Schoenberg, 1874-1951tone color melodies

Alban Berg, 1885-1935Bla Bartk, 1881-1945

3

Nadia Boulanger, 1887-1979

Aaron Copland, 1900-1990

Roy Harris, 1898-1979Virgil Thomson, 1896-1989Marc

Blitzstein, 1905-19644

5

2 Eric Salzman, Twentieth-century Music: An IntroductionEnglewood Cliffs, N.J.: Prentice-Hall, 1988, 1-2.

3 Bryan R. Simms, Composers on modern musical culture : an anthology of readings on twentieth-century musicNew York : Schirmer Books, 1999, 1.

4 Robert P. Morgan, Twentieth-Century Music: A History of Musical Style in Modern Europe and AmericaNew York : Norton, 1991, 283.

5 Our concern was not with the quotable hymn or spiritual: we wanted to find a music that would speak universal things in a vernacular of American speech rhythms. We wanted to write music

4

regionalist

populist

Milton

Babbitt, 1916-

6

Modernism

experimentationavant gardism7

utopian

G. D. LaverdantProudhon, 1809-1865

8

9Futurism

10

11

on a level that left popular music far behindmusic with a largeness of utterance wholly representative of country that Whiteman had envisaged. from Robert P. Morgan, Twentieth-Century Music , 285.

6 Bryan R. Simms, 207-208.

7 Robert P. Morgan, Modern times : from World War I to the presentHoundmills, Basingstoke, Hampshire : Macmillan, 1993, 206.

8 Mikls Szabolcsi, Avant-Garde, Neo-Avant-Garde, Modernism: Questions and Suggestions, New Literary History, Vol. 3, No. 1,Modernism and Postmodernism: Inquiries, Reflection, and Speculations(Autumn, 1971), 49-50.

9 Marinetti F.

10 Catherine M. Cameron, Avant-Gardism as a Mode of Culture Change, Cultural Anthropology, Vol. 5, No. 2(May 1990), 220.

11 Joaquim M. Benitez, Avant-Garde or Experimental? Classifying Contemporary Music,

5

Edgard Varse, 1883-1965Dane

Rudhyar, 1895-1985

12

Luigi Russolo, 1885-1947Larte dei rumori

13

Machine Age14

Modern MusicMusic and Machine

Joseph Schillinger, 1895-1943

15

George Antheil, 1900-1959Ballet mcanique

16

Charles Amirkhanian, 1945-

International Review of the Aesthetics and Sociology of Music, Vol. 9, No. 1(Jun., 1978), 65.

12 Catherine M. Cameron, 223. 13 viewed the evolution of modern music as parallel to that of industrial machinery. It is

necessary to break the narrow circle of pure sounds and to conquer the infinite variety of noise-sounds. These were identified with technology and the urban-industrial environment, but not to the exclusion of human and animal sounds such as cries, groans, howls, laughter, and sobs. The aim was increasingly to enlarge and enrich the domain of sounds in all categories from Gilbert Chase, America's music : From the Pilgrims to the PresentUrbana : University of Illinois Press, 1987, 453.

14 Robert P. Morgan, Modern times, 207. 15 It is impossible to predict what will occur within the next ten years, but it is obvious that

the development of music will go hand in hand with that of science. from Robert P. Morgan, Modern times, 207.

16 Robert P. Morgan, Modern times, 207.

6

17

George Gershwin, 1898-1937An

American in Paris

18

Imaginary Landscape no. 1

turntable19

Works Progress Administration20

International Composers GuildLeague of Composers

Copland-Sessions ConcertsHenry

Cowells New Music SocietyHoward Hansons

American Composers ConcertsPan American Association of

Composers

Igor Stravinsky, 1882-1971

New Music21

22

Hitler

Ernst

17 Gilbert Chase, 453.

18 anyone will be able to press a button to release the music exactly as the composer wrote itexactly like opening a book from Robert P. Morgan, Modern times, 207-208.

19 The New Grove Dictionary of Music and Musician, s. v. Cage, John by James Pritchett and Laura Kuhn, 796.

20 Robert P. Morgan, Modern times, 206. 21 Robert P. Morgan, Modern times, 218-219.

22 Elliott Schwartz, Directions in American Composition since the Second World War Part I: 1945-1960, Music Educators Journal, Vol. 61, No. 6(Feb., 1975), 28.

7

Krenek, 1900-1991

23

24

25

Diana Crane

abstract expressionism

Cornish School

Charles Ives, 1874-1954Harry Partch, 1901-1974

26

23 Elliott Schwartz, 31.

24 Robert P. Morgan, Modern times, 311-313.

25

26 Catherine M. Cameron, 223-226.

8

Louis

Moreau Gottshalk

27

28

29

Rued Langgaard, 1893-1952

Music of Spheres

27 (2000)16-18

28 20052

29 19

9

Concord Sonata

Erik Satie, 1866-1925Le Pide

MdusaMaurice Ravel, 1875-1937Lenfant et les

sortilegesTzigane

30

31

32 Adventures of Harmony

The Tides of

Manaunaun

Tiger

33

Aeolian Harp

34

The Banshee

30 Laurie Marie Hudicek, Off key: A Comprehensive Guide to Unconventional Piano Techniques (Henry Cowell, John Cage, Alan Hovhaness, George Crumb, Alexandra Pierce) (University of Maryland College Park,2002), 13-14.

31 Gilbert Chase, 456-457.

32 Laurie Marie Hudicek, 14-15.

33 Gilbert Chase, 457-458.

34 20

10

Lou Harrison, 1917-2003

tack piano

(Lucia Dlugoszewski, 1931-2000)

(Timbre piano)

35

36


36 Laurie Marie Hudicek, 13.

11

David Nicholls

John Cage

Pomona College

37

Richard Buhling

38

39

chromatic counterpointAdolph Weiss,

1891-1971

The

Two Pieces for PianoThree Pieces for Flute Duet

Metamorphosis for PianoFive Songs

Music for Wind Instruments

Quest40

41

37 David Nicholls, John CageUrbana : University of Illinois Press, 2007, 11.

38 James Pritchett, The Music of John CageNew York : Cambridge University Press, 1993, 6.

39 When I first met John Cage about 1932, he was writing strange little piano pieces with an unusual sense of the sound-interest created by odd tonal combinations. by Mark Swed, John Cage: September 5, 1912-August 12, 1992, The Musical Quarterly Vol. 77, No. 1(Spring 1993), 132.

40 David Nicholls, 18-19.

41 1900-1967

12

Oskar Fischinger

42

Merce Cunningham, 1919-

43 Museum of Modern Art

44

The Perilous Night

45

Gita Sarabhai

46

The Season

Sonatas and Interludes

eroticheroicodiousanger

mirthfearsorrowwondrous

42 David Nicholls, 19.


44 200814



13

Ross Parmenter

47

giving up control

48 433433

49

433

50

Stony

Point51 Silence

47 Mr. Cage is one of this countrys finest composers and. . . his invention has now been vindicated musically. from David Nicholls, 40-42.


49 Stephen Montague, John Cage at Seventy: An Interview, American Music, Vol. 3 No. 2Summer, 1985, 213.

50 knew that it would be taken as a joke and a renunciation of work, wanted my work to be free of my own likes and dislikes, because I think music should be free of the feelings and ideas of the composer. I have felt and hoped to have led other people to feel that the sounds of their environment constitute a music which is more interesting than the music which they would hear if they went into a concert hall., from David Nicholls, 59.

51 Stony Point,

14

David TutorPierre Boulez,

1925-Donaueschinger Musiktage

3446.77631 57.9864

Heinrich Strobel, 1898-1970

poor Dada52

Calvin

Tomkins

Six Short Inventions

First Construction

The Wonderful Widow

She Is AsleepThe Music

for Carillon No. 1Williams MixElaine de

KooningConcert for Piano and Orchestra53

Water MusicHaiku

Stable Gallery54

433433

000433 No. 1

55 A

Year from Monday

Cheap Imitation

56



54 David Nicholls, 70. 55 David Nicholls, 84.


15

57

58

59

60 103

Bb

61

103

44


58 Mark Swed, 135.

59 Im always more interested in what I havent yet written than in what Ive written in the past from Richard Kostelanetz, His Own Music, Perspectives of New Music, Vol. 25 No.1/2, 25th Anniversary Issue(Winter-Summer, 1987), 92.


61 Mark Swed, 137.

16

62

Two, Two2, Two3

101

63

64

65




65 200821

17

Syvilla Fort

66

67

68

weatherstripping

69

Bacchanale

Second Construction

screwcardboard

66 James Pritchett, 22-23.


68 Richard Kostelanetz, 90-91. 69 James Pritchett, 23.

18

70

una corda

Amores

71


71 James Pritchett, 23-25.

19

Bacchanale 1940

Totem Ancestor 1942

And the Earth Shall Bear Again

Primitive

In the Name of the Holocaust

Our Spring will come 1943

A Room

Tossed as it is Untroubled

The Perilous Night 1943-1944

Root of Unfocus 1944

The Unavailable Memory Of

Spontaneous Earth

Triple Paced

A Valentine Out of Season

Prelude for Meditation

Mysterious Adventure 1945

Daughters of the Lonesome Isle

Music for Marcel Duchamp 1947

Two Pastorales 1952

Sonatas and Interludes 1946-1948

screw 11 Sonatas and Interludes Primitive Mysterious Adventure

20

And the Earth shall Bear Again Tossed as It is Untroubled Our Spring will Come In the Name of the Holocaust Daughters of the Lonesome Isle Root of an Unfocus Totem Ancestor Spontaneous Earth

rubber 7 Sonatas and Interludes Mysterious Adventure The Perilous Night Music for Marcel Duchamp Daughters of the Lonesome Isle A Room A Valentine Out of Season

plastic 2 Sonatas and Interludes And the Earth shall Bear Again

bolt 15 Sonatas and Interludes Primitive Mysterious Adventure And the Earth shall Bear Again The Perilous Night Music for Marcel Duchamp Our Spring will Come In the Name of the Holocaust Daughters of the Lonesome Isle A Room Root of an Unfocus Bacchanale A Valentine Out of Season Totem Ancestor Spontaneous Earth

nut 8 Sonatas and Interludes Primitive Mysterious Adventure The Perilous Night Our Spring will Come

21

Daughters of the Lonesome Isle Bacchanale Totem Ancestor

eraser 1 Sonatas and Interludes bamboo 5 And the Earth shall Bear Again

The Perilous Night Our Spring will Come A Valentine Out of Season Spontaneous Earth

weatherstripping 9 Tossed as It is Untroubled

The Perilous Night Music for Marcel Duchamp A Room Root of an Unfocus Bacchanale A Valentine Out of Season Totem Ancestor Spontaneous Earth

wood 3 Mysterious Adventure The Perilous Night A Valentine Out of Season

woolen material 1 And the Earth shall Bear Again cloth 2 The Perilous Night

Triple-Paced rubber ring 2 The Perilous Night

Spontaneous Earth hook screw 1 Our Spring will Come penny 2 A Room

A Valentine Out of Season wood screw 1 Prelude for Meditation stove bolt 1 Prelude for Meditation typewriter bolt 1 Daughters of the Lonesome Isle

gongcymbal

washer

22

72

72 Carol Rhodes, The Dance of Time: The Evolution of the Structural Aesthetics of the Prepared Piano Works of John CageThe University of Arizona, 1995, 120-124.

23

trill

Carol Rhodes

Richard Bunger73 hybrid preparation

73 The Well-prepared PianoLitoral Arts

Pr., 1982.

24

74

303~316

1.

74 Carol Rhodes, 125-126.

25

75

(nut)

paper clip

76

75 35-36

76 Laurie Marie Hudicek,142-146.

26

77

2.

78

3.

79

VWpeakweave

80



79 36-37


27

Vw

81

82

83

84

81 38




28

85

86Colin

McPhee, 1900-1964Balinesegamelan

Java

87

gamel

88

the god Sang Hyang Guru

89gong

bonang

Sunda90

Claude Debussy,

1860-1918

91

85 It seems to me certain that future progress in creative music for composers of the Western world must inevitably go toward the exploration and integration of elements drawn from more than one of the worlds culture from Jonathan Bellman, The Exotic in Western MusicBoston: Northeastern University Press, 1998, 258.

86

87 Jonathan Bellman, 258.

88 Jennifer Lindsay, Javanese Gamelan: Traditional Orchestra of IndonesiaNew York : Oxford University Press, 1979, 9-11.

89

90 Jennifer Lindsay, 4-8.

91 Neil Sorrell, A Guide to the Gamelan(Portland, Or. : Amadeus Press, 1990), 2.

29

92

93 Pagodes

94

E. Robert Schmitz

95

MiroirsLa Valle des cloches

96

Percy Grainger, 1882-1961

97Leopold Godowsky

98ethnomusicologist

Tabuh-tabuhan99

92 slendo

93 Neil Sorrell, 5.

94 Jonathan Bellman, 259-260.

95 Debussy regarded the piano as the Balinese musicians regard their gamelan orchestras. He was interested not so much in the single tone that was obviously heard when a note was struck, as in the patterns of resonance which that tone sets up around itself. Many of his pieces are built entirely on this acoustical sense of the piano. from Jonathan Bellman, 262.

96 Jonathan Bellman, 263. 97 1870-1938Liszt

98 Neil Sorrell, 8. 99 Jonathan Bellman, 268-269.

30

100

101

Current Chronicle

102

Rob Barnett

103

104

105

106

100 Neil Sorrell, 10.


102 Cages pieces for prepared piano offer an array of tightly organized little sounds of many colors. . . The mutes of varying materials on the strings of an ordinary grand piano including bits of wood, rubber, metal, or glass produce a variety of timbres and suggest the sound of gamelan or jalatarang, with some delicate buzzes, clacks, hums, and sometime an unaltered tone as well. from Carol Rhodes, 16.

103 1http://homepage.ntu.edu.tw/~gim/2005forum/13.pdf


105 1896-1989New York Herald Tribune

106 The effect in general is slightly reminiscent, on first hearing, of the Balinese gamelang orchestras, though the interior structure of Mr. Cages music is not oriental at all. from William Fetterman, John Cages Theatre Pieces: Notations and PerformancesHarwood Academic Publishers, 2008, 8.

31

1.

A F

A F

1~6

2.

32

Ab

G# Ab

154~162

3.

1. moto perpetuo

107

108

107 Marcia B. Siegel,Liminality in Balinese Dance, TDR(1988-), Vol. 35, No.4(Winter, 1991), 87.

108 6

33

1~16

2.

109

110

a. 1~8 b. 105~118 c. 119~126 d. 371

a.

109 cyclic structure

R. Anderson Sutton,Individual Variation in Javanese Gamelan Performance, The Journal of Musicology, Vol. 6, No. 2(Spring, 1998), 170.

110 7

34

b.

c.

d.

G# C# D

A Eb G#

35

127~134

111

111 Richard Kostelanetz, 96,

36

112

113

114

Richard Kostelanetz

115 The Well

Prepared Piano

112 Kenneth Neal Saxon, A new kaleidoscope: Extended piano techniques, 1910-1975The University of Alabama, 2000, 11.

113 132

114 John CageConversing with Cage

115 a temporary conversion of a normal grand piano into an analog acoustic percussion synthesizer. from Carol Rhodes, 126.

37

116

116 I believe that John Cages invention of prepared piano is one of the significant musical events of our century. I believe that his frequently maligned, yet seldom-heard music for the instrument will yet become part of the pianists standard repertoire, and that the prepared piano as an instrumental resource, will rightfully become the domain of still more composers. from Carol Rhodes, 127.

38

Anderson Sutton. Individual Variation in Javanese Gamelan Performance, The

Journal of Musicology, Vol. 6, No. 2(Spring, 1988): 169-197. Bellman, Jonathan. The Exotic in Western Music. Boston: Northeastern University

Press, 1998.

Benitez, Joaquim M. Avant-Garde or Experimental? Classifying Contemporary Music, International Review of the Aesthetics and Sociology of Music, Vol. 9, No. 1(Jun., 1978): 53-77.

Buettner, Stewart. Cage, International Review of the Aesthetics and Sociology of Music, Vol. 12, No. 2(Dec., 1981): 141-151.

Cameron, Catherine M. Avant-Gardism as a Mode of Culture Change, Cultural Anthropology, Vol. 5, No. 2(May 1990): 217-230.

Chase, Gilbert. America's Music : From the Pilgrims to the Present. Urbana : University of Illinois Press, 1987.

Fetterman, William. John Cages Theatre Pieces: Notations and Performances. Harwood Academic Publishers, 2008.

Hudicek, Laurie Marie. Off Key: A Comprehensive Guide to Unconventional Piano Techniques (Henry Cowell, John Cage, Alan Hovhaness, George Crumb, Alexandra Pierce). D.M.A. Dissertation, University of Maryland College Park,2002.

Kostelanetz, Richard. His Own Music, Perspectives of New Music, Vol. 25, No. 1/2, 25th Anniversary Issue(Winter-Summer, 1987): 88-106.

. John Cage (ex)plain(ed). New York : Schirmer Books, 1996.

Lindsay, Jennifer. Javanese Gamelan: Traditional Orchestra of Indonesia. New York : Oxford University Press, 1979.

Mauceri, Frank X. From Experimental Music to Musical Experiment, Perspectives of New Music, Vol. 35, No. 1(Winter, 1997): 187-204.

Montague, Stephen. John Cage at Seventy: An Interview, American Music, Vol. 3, No. 2(Summer, 1985): 205-216.

Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modern Europe and America. New York : Norton, 1991.

. Modern Times : from World War I to the Present. Houndmills, Basingstoke, Hampshire : Macmillan, 1993.

Nicholls, David. John Cage. Urbana : University of Illinois Press, 2007.

39

Patterson, David Wayne. John Cage: Music, Philosophy, and Intention, 1933-1950. New York : Garland Pub., 2002.

Pritchett, James. The Music of John Cage. New York : Garland Pub., 2002.

Rhodes, Carol. The Dance of Time: The Evolution of Structural Aesthetics of the Prepared Piano Works of John Cage. D.M.A. Dissertation, The University of Arizona, 1995.

Salzman, Eric. Twentieth-Century Music: An Introduction. Englewood Cliffs, N.J. : Prentice-Hall, 1988.

Saxon, Kenneth Neal. A New Kaleidoscope: Extended Piano Techniques, 1910-1975. D.M.A. Dissertation, The University of Alabama, 2000.

Schwartz, Elliott. Directions in American Composition since the Second World War Part I: 1945-1960, Music Educators Journal, Vol. 61, No. 6(Feb., 1975): 28-39.

Siegel, Marcia. Liminality in Balinese Dance, TDR(1988-), Vol. 35, No. 4(Winter, 1991): 84-91.

Simms, Bryan R. Composers on Modern Musical Culture : an Anthology of Readings on Twentieth-century Music. New York : Schirmer Books, 1999.

Sorrell, Neil. A Guide to the Gamelan. Portland, Or. : Amadeus Press, 1990.

Swed, Mark. John Cage: September 5, 1912-August 12, 1992, The Musical Quarterly, Vol. 77, No. 1(Spring, 1993): 132-144.

Szabolcsi, Mikls. Avant-Garde, Neo-Avant-Garde, Modernism: Questions and Suggestions, New Literary History, Vol. 3, No. 1,Modernism and Postmodernism: Inquiries, Reflection, and Speculations(Autumn, 1971): 49-70.

The New Grove Dictionary of Music and Musician, s. v.Cage, John by James Pritchett and Laura Kuhn.

2000

2005

2008

http://homepage.ntu.edu.tw/~gim/2005forum/13.pdf

國立中山大學 音樂研究所 解說音樂會報告etd.lib.nsysu.edu.tw/ETD-db/ETD-search/getfile?URN=etd-0701109... · John Cage （1912-1992）, ... gave tremendous influence

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國立中山大學音樂研究所解說音樂會報告etd.lib.nsysu.edu.tw/ETD-db/ETD-search/getfile?URN=etd-0701109... · John Cage （1912-1992）, ... gave tremendous influence