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From: ags@pucc-i (Seaman)
Newsgroups: net.music,net.music.classical
Subject: Re: As long as we're talking about Cage...
Message-ID: <266@pucc-i>
Date: Mon, 7-May-84 13:28:45 EDT
Article-I.D.: pucc-i.266
Posted: Mon May  7 13:28:45 1984
Date-Received: Wed, 9-May-84 01:46:40 EDT
References: <3745@tekecs.UUCP>
Organization: Purdue University Computing Center
Lines: 47

I am not exactly a fan of Cage, but I would like to point out that (whether
you like the results or not) Cage's compositions are NOT "purely random"
or "free of emotional or intellectual manipulation".

I do no know whether Cage claims that this is the case, but it is impossible
to avoid imposing one's own decisions on the process, even though it appears
to be governed by random events.  This is because there is no such thing as
a "purely random event" in any absolute sense.

If it were possible to perform a work that is "purely random," the performance
would be exceedingly dangerous, to say the least.  At precisely one minute
and 37 seconds after the beginning of the performance, each of the following
events would be equally likely:

1.  A gong sounds.

2.  A fan turns on.

3.  A radio turns off.

4.  The curtain closes.

5.  The curtain opens to reveal a tree growing in the middle of the stage.

6.  The performance hall is struck by an earthquake.

7.  Three persons in the front row of the audience turn into pumpkins.

8.  Every red object in Cleveland suddenly turns green.

9.  World War III begins.

10. The Milky Way Galaxy is destroyed by a Doomsday Machine as depicted
    on Star Trek.

Unavoidably, when Cage "composes" a work, he sets ground rules that make
certain types of events likely and other types of events unlikely.  It
is in the choice of these ground rules that one of Cage's compositions
differs from another, and Cage's "emotional and intellectual manipulation"
have their effect on the eventual performance.
-- 

Dave Seaman
..!pur-ee!pucc-i:ags

"Against people who give vent to their loquacity 
by extraneous bombastic circumlocution."