Understanding Indeterminate Music through Performance: Cage's Solo for Piano

Research output: Contribution to journalArticle

1 Citation (Scopus)

Abstract

This article demonstrates how performance may further understanding of – and offer new perspectives on – indeterminate music, and in particular the ways in which performers realize the indeterminate aspects of the scores. Cage's Solo for Piano (1957–8), one of the most celebrated indeterminate scores, is used as the model for such an approach. The close involvement that performers have with the score and the music over what is often a prolonged period of time leads to a particular kind of understanding, different from that of non-performers, which, when articulated, can offer valuable insights. After a brief outline of the score, the article begins by discussing the performances of other pianists, notably David Tudor. It then examines in detail the author's own approach to making a realization, discussing the implications of such an approach from both practical and aesthetic perspectives.
LanguageEnglish
Pages91-113
Number of pages23
JournalTwentieth-Century Music
Volume10
Issue number1
DOIs
Publication statusPublished - 1 Mar 2013

Fingerprint

Solo
Cage
Music Performance
Indeterminate
Music
Performer
David Tudor
Pianists
Aesthetics

Cite this

@article{3c3d0ad3413a47c9b3f8a16644a1f257,
title = "Understanding Indeterminate Music through Performance: Cage's Solo for Piano",
abstract = "This article demonstrates how performance may further understanding of – and offer new perspectives on – indeterminate music, and in particular the ways in which performers realize the indeterminate aspects of the scores. Cage's Solo for Piano (1957–8), one of the most celebrated indeterminate scores, is used as the model for such an approach. The close involvement that performers have with the score and the music over what is often a prolonged period of time leads to a particular kind of understanding, different from that of non-performers, which, when articulated, can offer valuable insights. After a brief outline of the score, the article begins by discussing the performances of other pianists, notably David Tudor. It then examines in detail the author's own approach to making a realization, discussing the implications of such an approach from both practical and aesthetic perspectives.",
author = "Philip Thomas",
year = "2013",
month = "3",
day = "1",
doi = "10.1017/S1478572212000424",
language = "English",
volume = "10",
pages = "91--113",
journal = "Twentieth-Century Music",
issn = "1478-5722",
publisher = "Cambridge University Press",
number = "1",

}

Understanding Indeterminate Music through Performance : Cage's Solo for Piano. / Thomas, Philip.

In: Twentieth-Century Music, Vol. 10, No. 1, 01.03.2013, p. 91-113.

Research output: Contribution to journalArticle

TY - JOUR

T1 - Understanding Indeterminate Music through Performance

T2 - Twentieth-Century Music

AU - Thomas, Philip

PY - 2013/3/1

Y1 - 2013/3/1

N2 - This article demonstrates how performance may further understanding of – and offer new perspectives on – indeterminate music, and in particular the ways in which performers realize the indeterminate aspects of the scores. Cage's Solo for Piano (1957–8), one of the most celebrated indeterminate scores, is used as the model for such an approach. The close involvement that performers have with the score and the music over what is often a prolonged period of time leads to a particular kind of understanding, different from that of non-performers, which, when articulated, can offer valuable insights. After a brief outline of the score, the article begins by discussing the performances of other pianists, notably David Tudor. It then examines in detail the author's own approach to making a realization, discussing the implications of such an approach from both practical and aesthetic perspectives.

AB - This article demonstrates how performance may further understanding of – and offer new perspectives on – indeterminate music, and in particular the ways in which performers realize the indeterminate aspects of the scores. Cage's Solo for Piano (1957–8), one of the most celebrated indeterminate scores, is used as the model for such an approach. The close involvement that performers have with the score and the music over what is often a prolonged period of time leads to a particular kind of understanding, different from that of non-performers, which, when articulated, can offer valuable insights. After a brief outline of the score, the article begins by discussing the performances of other pianists, notably David Tudor. It then examines in detail the author's own approach to making a realization, discussing the implications of such an approach from both practical and aesthetic perspectives.

U2 - 10.1017/S1478572212000424

DO - 10.1017/S1478572212000424

M3 - Article

VL - 10

SP - 91

EP - 113

JO - Twentieth-Century Music

JF - Twentieth-Century Music

SN - 1478-5722

IS - 1

ER -