INTERPRETATION AND COMPUTER ASSISTANCE IN JOHN CAGE’S CONCERT FOR PIANO AND ORCHESTRA (1957-58)

Publication Type:

Conference Paper

Source:

SMC Conference 2010 (2010)

URL:

files/proceedings/2010/58.pdf

Abstract:

Conceptual musical works that lead to a multitude of realizations hold a particular interest. One can’t talk about a performance without taking into account the rules that lead to the existence of that particular presentation. After dealing with similar works of open forms by Iannis Xenakis and Karlheinz Stockhausen, the interest in John Cage’s music is evident. His works are “so free” that one can play any part of the material; even a void set is welcomed. The freedom is maximal and still there are decisions to consider in order to perform the piece. The present article focuses on the Concert for Piano and Orchestra of 1957–58 [1], and it is part of the Cagener project, intended to develop a set of conceptual and software tools, which generates a representation of the pieces, intended to assist the performers in their task. The computer serves as a partner in making choices of multiple possibilities, mix together sounds of different sources and of various kinds and following compositional ideas clearly stated.