Scholarly discussion of the music of John Cage.

[Christian Kesten <>]

Dear Miguel,

since the categories are called "song/ theatre with electronics", I always understood these indications to alter the sound of the voice resp. action. If Cage meant the electronics to be an independent, simultaneous sound source on its own, he rather would have notated an own solo, I assume.

For doing that, I'd suggest to use one of these "numbers" solos, like 6, 10, 19, 31 etc.

Maybe you want to get in touch with Martin Supper about what "electronics" could mean. He was taking care of the electronics in our Song Books versions during the 90s and the Complete version at Theater Bielefeld in 2001. Today he is professor and head of the Sound Studies department at UdK Berlin. Just get back to me, and I will send you his e-mail address.

All best,

Christian Kesten (Maulwerker, Berlin)

christian kesten

http://www.christiankesten.de

http://www.maulwerker.de

Am 13.02.2011 um 23:37 schrieb Miguel Frasconi:

Hello Silence list,

Joan La Barbara and I are organizing an ensemble performance of Cage's Song Books with our group Ne(x)tworks. I am arranging the electronics that go with the various "solos with electronics" and am wondering if anyone out there has had any experience with this. 

I'm specifically wondering about the solos that include the 64 dials (22, 40, 50, 72, 79, 84, 90, 91). As you all probably know, Cage makes no mention of what these dials are supposed to control. At first I thought they should in some way alter the sound of the song being played. But I just realized that, although not specifically mentioned, these dials could just as easily control some electronic sound source on it's own.

This raises the issue of what Cage actually meant by "electronics." It's pretty straight ahead when one is dealing with amplification (contact mic on a typewriter, chess board, etc; area mics for activities) or playing back recordings. But these pieces with the dials could really be anything. I imagine the electronics used in the first Cage-directed performances were similar to what Tudor and others were using at the time. But probably also, as with my personal experience working with Cage in the mid '70s, he simply allowed whatever was available.

Does anyone have any personal or anecdotal experience with the electronics in Song Books? Fortunately, I recently picked up a midi controller box with 64 dials, so with that and a laptop, anything is possible!

Any insight would be appreciated.

BTW, the Ne(x)tworks performance will be at Greenwich House Music School, 46 Barrow St (NYC), on Friday, Feb 25, from 8-9pm.

best,

Miguel Frasconi

http://frasconimusic.com

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http://www.nextworksmusic.net

Miguel Frasconi

646-425-7922