Scholarly discussion of the music of John Cage.

[Dionisis Boukouvalas <>]

Somehow, I hadn't thought that similar methods were in use before Cage. But of course, indeed, Cage revolutionized the method's use. I'm not sure if his intention was creating works on demand. Similarly, indeed, what is the reason that he and others used the method (other than just an immediate influence, a homage, etc). My reason is that I love the opening of the possibility of interaction between the musicians (or between a musician and one's environment). I'm not sure that Cage had this in mind too. In some case I'm sure that he didn't (as in the "Thirty pieces for string quartet"). But to me, this is the reason for using this method.

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From:
Date: Tue, 28 Sep 2010 15:00:23 -0500
To:
Subject: [silence] Re: Time Bracket pieces

Been away, so just getting to this now...

I'm sure there are other composers who've used something like 

these "time brackets" (myself included, but in the early 70's 

I referred to each as a "chronoflex"), but Cage ingeniously used 

this method as a truly expeditious way of creating works on demand.

In addition to other composer's different uses, it'd be nice to hear, 

as well, their reasons for choosing this method.

R~~

On Sep 2, 2010, at 3:52 PM, Dionisis Boukouvalas wrote:

I was chatting with fellow silencer and composer Rob Haskins, on the event of the completion of our collaboration composition "Winter Concords", about non-Cage pieces utilizing Time Brackets (ours is an example). We came up with the names of Christian Wolff, Marc Chan, James Tenney and Burkhard Schlothauer.
Could anyone add more names to the list (their compositions or not)?
Eventually, it would most interesting to compare the different uses of this technique by the different composers.