A música aleatória procura maior liberdade, jogando com imprevisibilidade e sorte, tanto no processo da composição, quanto durante a execução da obra.Que notas usar e como usá-las, essa é uma decisão que o compositor pode tomar jogando dados. O executante pode escolher que notas ou que parte da música irá tocar e que duração dará as notas, bem como pode improvisar algumas notas. Em algumas peças podem aparecer símbolos, diagrama, desenho, ou nada mais que uma idéia, tudo para ser livremente interpretado.
Na composição de John Cage(1912 - 1992): Imaginary Landscape nº4 (Paisagem Imaginária nº4), é para 12 aparelhos de rádio ligados em diferentes estações. Cada aparelho tem dois executantes - um para tratar da sintonia e outro para controlar o volume.
(Fonte: Roy Bennett/ Jorge Zahar Editor)
Imaginary Landscape 4 /John Cage
07/11/2010
Imaginary Landscape 4 by John Cage. In the composition for 12 radios, 24 performers, and director, two performers each operate radios whose kilocycle, amplitude, and timbre changes are notated. The score was conceived using the same methods as those used for the composition «The Music of Changes,» namely the factors of chance adapted from the Chinese «Book of Changes.» According to Cage, this complex and time-consuming compositional process has the following goal:
»It is thus possible to make a musical composition the continuity of which is free of individual taste and memory (psychology) and also of the literature and ›traditions‹ of the art. The sounds enter the time-space centered within themselves, unimpeded by the service to any abstraction, their 360 degrees of cricumference free for an infinite play of interpenetration. Value judgments are not in the nature of this work as regards either composition, performance, or listening. The idea of relation being absent, anything may happen. A ›mistake‹ is beside the point,, for once anything happens it authentically is.«
(Quelle: John Cage 1952, zit. nach: ders. , Silence, 1967, Cambridge Mass. S. 59.)
»It is thus possible to make a musical composition the continuity of which is free of individual taste and memory (psychology) and also of the literature and ›traditions‹ of the art. The sounds enter the time-space centered within themselves, unimpeded by the service to any abstraction, their 360 degrees of cricumference free for an infinite play of interpenetration. Value judgments are not in the nature of this work as regards either composition, performance, or listening. The idea of relation being absent, anything may happen. A ›mistake‹ is beside the point,, for once anything happens it authentically is.«
(Quelle: John Cage 1952, zit. nach: ders. , Silence, 1967, Cambridge Mass. S. 59.)
Suite for Toy Piano | John Cage
02/11/2011
Suite for Toy Piano by John Cage
Joana Gama, Toy Piano
[www.joanagama.com]
1.10.11 | Inauguração do CAAA | Guimarães
[www.centroaaa.org]
10.1.11 | Opening of CAAA | Guimarães, Portugal
[www.centroaaa.org]
Joana Gama, Toy Piano
[www.joanagama.com]
1.10.11 | Inauguração do CAAA | Guimarães
[www.centroaaa.org]
10.1.11 | Opening of CAAA | Guimarães, Portugal
[www.centroaaa.org]
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