Scholarly discussion of the music of John Cage.

[David P Miller <>]

Dear Claire,

It's quite an interesting question. I've been studying and performing the 
Variations off an on for several years, and haven't yet run into evidence 
that Cage used chance operations per se in composing these scores, with a 
couple of exceptions.

The Variations V and (unpublished) Variations VII scores each consist of a 
set number of "remarks". I believe Cage used chance operations to 
determine the number of remarks and also the number of words in each 
remark - the latter, at least, for Variations V. However, these two 
scores, plus the score for Variations VIII, are to a great extent 
documentation, after the fact, of events that had already happened. Cage 
did not compose the scores first and then develop the performances. So the 
use of chance operations for the Variations V and VII scores were a device 
he used to help him get the writing done - they don't relate to the 
material or content of a performance.

The scores for Variations I and II, as you probably know, consist of 
transparencies with points or lines on them. I don't believe he used 
chance operations to determine these - although for the "points" sheets 
for Variations I, he may have used a technique similar to that for the 
Music for Piano series - of highlighting "imperfections" on a drawing 
surface. That's speculation, however.

The other scores - Variations III, IV, and VI - consist (aside from 
written directions, as in Variations I and II) of geometric elements, 
circles and the like, also on transparencies. These are to be cut apart 
and used according to the written directions.

My main point here is that all of the Variations scores point to processes 
for making performances - either creating one's own scores, or determining 
choices on the spot. Any use of chance operations in his general I 
Ching-based sense would have been peripheral, in that none of these scores 
are to be performed -directly-. You don't sit down with the Variations I 
score in front of you and "interpret" the points and lines as you might do 
with other graphical scores. Chance, randomness, accident, serendipity 
arise as you develop the processes these scores point to.

It might also help to know what the author of the article said, whom you 
quoted. (I've published a couple of articles on the Variations, so I'll be 
amused if it was me.)

I hope this helps, and if I have anything factually wrong, I'm sure others 
will correct me. Also, if I can be of further assistance, please feel free 
to write me directly.

Warm regards,

David M.
Boston, Massachusetts

On Fri, 16 Mar 2012 

 wrote:

> Hi, I am currently writing my undergraduate dissertation on Cage, and have 
> come
> accross an issue which I can't seem to find much information on.
>
> I am currently investigating the indeterminate aspects in Variations IV. I 
> have
> found in an article that chance procedures were used in the composing of the
> Variations scores, but I can't find anymore on this. Most of the information 
> is
> on the indeterminate aspects of the realisation and performance, and does not
> mention Cage's compositional process.
>
> I wondered if anyone could shed any light on this?
>
> Many thanks,
> Claire Harris
> Edinburgh Napier University