John Cage, músico; Merce Cunningham, coreógrafor; e Robert Rauschenberg, artist, New York, Maio 2, 1960



Robert Rauschenberg

«In the early fifties with David Tudor and Louis and Bebe Barron I made several works on magnetic tape, works by Christian Wolff, Morton Feldman, Earle Brown, and myself. Just as my notion of rhythmic structure followed Schoenberg’s structural harmony, and my silent piece followed Robert Rauschenberg’s white paintings, so my Music of Changes, composed by means of I Ching chance operations, followed Morton Feldman’s graph music, music written with numbers for any pitches, the pitches notated only as high, middle, or low. Not immediately, but a few years later, I was to move from structure to process, from music as an object having parts, to music without beginning, middle, or end, music as weather. In our collaborations Merce Cunningham’s choreographies are not supported by my musical accompaniments. Music and dance are independent but coexistant.»

To Whom It May Concern: The white paintings came first; my silent piece came later.”
– John Cage

***

«Chance operations are a discipline, and improvisation is rarely a discipline. Though at the present time it’s one of my concerns, how to make improvisation a discipline. But I mean doing something beyond the control of the ego

John Cage, S. Kauffmann/J. Cage/W. Alfred, “The Changing Audience for the Changing Arts (Panel),” The Arts: Planning for Change, New York 1987, 46.
Indeterminacy



John Cage, An Autobiographical Statement

Ver: Sabine Feisst, Losing Control: Indeterminacy and Improvisation in Music Since 1950- Indeterminacy and Chance – John Cage
Robert Rauschenberg , ver também no ubuweb

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