Losing Control: Indeterminacy and Improvisation in Music Since 1950

(1) S. S. Turner, “John Cage’s Practical Utopias,” Musical Times, 130, 1990, 472.

(2) D. Campana, “Interview with Cage (1985),” Form and Structure in the Music of John Cage, Ph.D. Northwestern University Evanston 1985, 109.

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

(4) “John Cage and Roger Reynolds. A Conversation,” Musical Quarterly, 65, 1979, 581.

(5) B. A. Varga, “Komponieren heute. These, Antithese, Synthese. Ein Doppelgespräch

mit John Cage und Morton Feldman,” Neue Zeitschrift für Musik, 147/1, 1986, 26.

(6) W. Meyer-Eppler, “Statistische und psychologische Klangprobleme,” Elektronische Musik, Die Reihe I, ed. H. Eimert, Vienna 1955, 22.

(7) P. Boulez, Par Volonté et par hasard. Entretien avec Célestin Deliège, Paris 1975, 68.

(8) Chr. Wolff, “Open to Whom and What?” Interface, XVI, 1987, 134 and Th. W. Adorno, Ästhetische Theorie, ed. G. Adorno and R. Tiedemann, Frankfurt/M. 1970, 212.

(9) E. Brown, “Notes on some Works,” Contemporary Music Newsletter 6/1, 1972, 1.

(10) Ibid.

(11) R. Duffalo, Trackings, New York 1989, 114.

(12) R. Teitelbaum, “In Tune: Some Early Experiments in Biofeedback Music,” Biofeedback and the Arts: Results of Early Experiments, ed. D. Rosenboom, Vancouver 1976, 66.

(13) M. Dery, “Richard Teitelbaum. Interview,” Keyboard, 15/7, 1989, 88.

(14) Gounod’s first version of his Ave Maria setting was titled Méditation sur le premier Prélude de Piano de J. S. Bach (1853) for violin and piano. The words were added later.

(15) L. Austin/S. Lunetta u.a., “Groups: New Music Ensemble, ONCE Group, Sonic Arts Group, Musica Elettronica Viva,” Source 3, 1968, 16.

(16) Ibid, 17.

From Losing Control: Indeterminacy and Improvisation in Music Since 1950
By Sabine Feisst
© 2002 NewMusicBox