NOTATIONSby John CageLibrary of Congress Cotalog Cord Number: 69-1472) Copyright @ 1969 by John Cage, and published bby Something Else Press, Inc,238 West 22nd Street, ‘New York, N.Y. 10011. All works reproduced ithin the bosly of the book are the property of the composers ond publishers and others indicoted therein, and no work so reproduced may be performed! ot futher reproduced without ppermizcion from the individual composer, owner ‘of tights, o¢ publisher 20 designated for each ‘panticlar work. No portion of the text may be reproduced in ony form whatever without ‘permission from either John Coge oF from Something Else Press, Inc, except for inclusion in a taview written for a newspaper or a magazine ar ‘radi oF television broadcast. All rights reserved, ‘Monvloctured in the United State of AmericaPREFACE This book illustrates a collection of music manuscripts which was made in recent years to benefit the Founda- tion for Contemporary Performance Arts. The collection was determined by circumstances rather than any process ‘of selection, Thus ic shows the many directions in which music notation is now going. The manuscripts are not ar- sanged according to kinds of music, but alphabetically according, to the composer's name, No explanatory informa- tion is given. ‘The text for the book is the result of a process employing I-Ching chance operations, These determined how ‘many words regarding his work were to be written by or about which of two hundred and sixty-nine composers. ‘Where these passages (never more than sixty-four words, sometitnes only one) have been especially written for this book, they are preceded by a parageaph sign and followed by the authoc’s name. Other remarks were chosen or swcitten by the editors—John Cage and Alison Knowles. Not only the number of words and the authos, but the typography too—letter size, intensity, and typeface—were all determined by chance operations. This process was followed in order to lessen the difference hetween text and illustrations. The composition of the pages is the work of Alison Knowles ‘A precedent for the text is the questionnaire. (The composers were asked to write about notation or some- thing relevant to it.) A precedent for the absence of information which characterizes this book is the contemporary aquarium (no longer a dark hallway with cach species in its own illuminated tank separated from the others and named in Latin): a large glass house with all the fish in it swimming as in an ocean, ‘The collection of manuscripts constitutes an archive, the contents of which are listed at the end of this book. ‘The editors are grateful to the many composers and music publishers who have made this presentation of mid- ‘nventicth century music notation possible. —John Cage, May 1968Pent ermine 6 me stp RONDINO FOR NINE INSTRUMENTS (0961) ‘Asted how mony intakes ‘o-nae a gobs = in ligne conn (na ia) Charles Jo Saran | a he soid, “Two, at least.” Group composition. {| Moh ned bought a big lemon and... frum 9 cmon cs ows) Murray Apasnin, Rondino for Nine Instruments (1961)ozorblades.... half the bl des into one side . . . rest of the blades into “other side, Paul Bowles.epoca by seaanon of Onn Uniery Prt SaMueL ADLER, Southwestern Sketches (1962)oo rw Mma he P voints. Every sketch and manuscript identified, studied, Huai Arrkes, sketches for Cantata 1¥GuneT Amy, Antiphonties (1963-64)+. catalogued. Map. No mute (picture of me's crossed out), {| A sensible adjuvant in piano music, the 8va symbol tends to disappear from contemporary notation, thus putting unnecessary demands on the reader. Instant identification of a note perched atop, or lurking beneath a rake of ledger lines is o charisege 10 the most exercised pianist, Theory fond practice ara not every day good neighbors. Soulima Stains. Ronoree.New York maker of nothing pictres and performances. Make something of nothing in small ways that add up: Your old letter plus the hat of a poet, Mother’s hands and Johnay Weismuller advertising underwear. Istvan ANHaLr, sketch from Symphony of Modules “sro 2 sop tapMiten £2-56 doe’ Be 6, a fated paceipedat la. Adm Deaiy He Pi oy parle o he een ‘THEODOR ANTONIOU, Kinesise 32 dsdalidll eth FRR sss of Filliou, Robertety pho oe coma se te ty pk . Ayo bts yobs (ne gt 4 Name Yor tie ecTen waka tn Gig oe , mob aah be “pt Ward Mtoe bate hae han, e senna (TE aT Yerevan ped ork [Ache cambite. ) Fo dige tb hth St nt ph np) eins Salama abe ah, Tp fm te ott bare Fey pnw teed (Me cs ek Hage es gy foe} shila ecw (ened tee dine oka Ime Hen pst bait mon pn ne geniendy FL TE Ae 150 14S (He Maced (35% sg 15E seoaat is IEF Patnenal Winn 6) Center rena QBS SSS) q suryeyssye ates ‘ yp tne , saps dey Biles feet raiziaagsel Bystilen See ee OT Rovenr Asiitey, Trios (1963)aa 28 mea awe } SAND MINK MATSR PAPER POLE PIN HoT maT. TCHR RAINBOW RED 4 my Ice * { fon 43 #100 4s var nasa ws i TRON NATL. CLOTH. STONE FORM = GRANGE YEIIOW GREEN. BLUE VIOLET i RUBE z au m2 ets pag as ost ee concusr# RICH GLASS COTTON. SITK MHITE BLACK. BE (NOSE MOUTH vis #17 1g wap #20 LEATMR WIRE SPONGE HAIR. «FAR A Y-— ©’ S Tactile List PLASTIR ANINAL WOOD GRASS POWDER. mec #27 B29 0 INSECT NOODLE PAINT STOCKING EXCELSIOR ome #33 734 85 SANDUST DUST RUBBER ROPE FEATHER mo #3738 a9 #40 COIN BEARING PING PONG CLAY RUC BALL BALL Ayo, Tactile List (1966)San eadaae ama A verse: Comssnsesesss [jn Beem) — EOE ae 18 prone Rad et SRL Mitton Banarrr, Correspondences (1966-67)Commit © 196 y Ree a Bek: Rein. ne by peice CLAUDE BALL, Bloe-Notesq To a direction I once asked, “What do you mean?” ‘The sarpent reed "What do poy mean ‘what do pow mien?” Relevant notation #8 thE Only answer. Kenneth Caburo. “pecans oop von Kg po Praxgots Bavee, Points Critiques (1960)Jouy Beckwrrn, The Line Up and Down siecans 9) pe Hine “ome SHEN 7 NOREEN1 Proc of svecasanes of noherst Hirtns e bexining: And i the moment of total automatic: Will be useless 6 aie Ay pein he den Y10"60" le Davi Beprono, Scientific American Piece for John Tilbury| completely. Cool logic and machine speed of oneself improving automats will be without “pcaue> ou woe fa pm competition. The man will be constrained to ind other territory to jsige porometes. Milan Knizak. Davo BEURMAN, Fixed AttacksPierre BouLez, 2% Sonate pour Piano ope pi, aug ema 919 tone ek aDPet ty rnin of the PAUL BowLEs, unidentified sketehatest seme FINALE ; _ 5 fab ferme ee | ee i 2 3 i a 200 Cart Bowstan, Triptych Symphony (Finale)Ricuiann Gavin Brvars, Visions -seocaan 24 womans 44 Mgai via [= SvivaNo Bussorm, New Year's greetingJose Byan, The Defense of the American Continent Front the VietCone InvasionPied pentose he cose Opera. 1 All pedagogy is probiematiol. The more one is doing i, especially for me Now, because L have to write a book about my teaching new music. I like always to do it and to think about how. . . The best is, to work with children, They are wonderful, open, and creative. Students are already fac, ho mockers hopeless and the music-schools are Olcifoshoned, deed musoum-machines. Ceortzud Meyer-Denckman. Gentle adjustments. GroxGE Cactorro, Cassiopeta[Corre © 166 Meneur Prae tne 75 Pak Avy. Sut Non York; SY. 1016 Al reed, Pete tr perm of Henna Pa as Jonn Case, Music of Changesed perio of he cone. JAcQUES CaLONNE, TomeCon: NELIUS CARDEW, Treatise (sketches)(© Cones 145 Ane Euuorr Carrer, Piano Concerta‘Used bp perio of B, Skolt Soca ad Ameited Maske Pubes Ie NiccoLo CastiGLIONE, FigurePed mbes te comes { The color of words, the color of sounds, the color of chords and that of instruments, the color of brosses, of woods or of strings, the color of metals, and the color of skins? Henri Pousseur. © Notation ean be nice, Lou Harrigon, Lower Cxoss, 0.8 Cenry (1962)(© 1967 Wy Bie Maes Ine, AI RiheReened Ped by Rerminon MEE Nt, te, for piano we de ey ie a fae aig” ~ pieces Gn eid Barge five (ako se gdgy ld AL A ee George Cams, Five Pieces jor Piano (1962)Pty parton he mcm, INcoLe Damn, Avia Sinjonicaia nek “se SS SS | Lut Dattariccora, Ulysses: Act 1, Seene 3Facet, mee bart me to lit Tox De Leeuw, The DreamGeRanpe Gaxbest, Mutanies 1Ithit Mustafain the neck, under his ear. He put up his hand to pull the lemon away, ++ it slashed his fingers When he ron of he wos. boeing Hs Heanel jo his neck, over the lemon. i ' | i Mohammed had to buy another lemon and. razorblades to use on Ali, Paul Bowles. Rownero Gurnann, Concerto jor Orchestra (1965)Miniast GIDEON, The Condemned Playground (Hiroshima)A nabition bes steis Pia S. GILBERT, Orders (1966) OL ti See RS Gilbol— smn 99 9 PLconan pee on HM YE A.D Auer Gixasrens, BomarzoTransPosen Score rz Hilfe - 1% Jimmy GIUFERE, Syncopate, | mn, x T be fed Oey ™ | ” in, st ates ° i pry fe Lae Mw An abandoned sketch. Though pencil was used, the writing resembles that done with o music-pen when the nib is held ot rightangle to the lines of the staves: verticals thin, horizontals thicke:. (The way notes should look is the way they look when Matcoum Gotpsters, Mluminations from Fantastic Gardensthey're printed.) 9 The notation is not parameter. Its relative to the principal matter: sounds are first of all written in the air with an exquisitely acoustical ink, Aldo Clementi. {| “Hiroshino.” in “The Condemned Playground,” means impingement of the sinister on Life itsoll. Miriam Gidoer. Clearly one is in the street here, a good place for art. The air, the sound, the whole situation is in o state of perpetual tropic. {Das gruphische Fisieren vom musthalschen Strukluren ist fr mich im Amfangsstadium einer Komposition von griister Wiehtigkeit, denn es ermdglicht ein klares, schnelles und vielseitiges Autzeichnen von musikalischen Gedankenaktionen. Milko Kelemen. Weather charges. the toni loncicane Insc, POCITY) IS s20 Hrovsh eating's amosshee. What shall | do now? Whatever's suggested. (Do you give attention? or Do things of themselves engage YOUT interest?) Seems, however, there's atesdercy i090 tom leftto right. Europe. Correpondina. 4] Tothkent has absorbed all the achievernents OF past architectural endeacor Int building the nee, architects continuously face historically-shaped plonning. In this respect it is far easier building up new toons on ompty lot. Alison Knowles. {| Liunico segno esteriore dellinteriorita e lamancanza d’espressione — usando grafie il cui numero @ illimitate — non solo nelVinsolito, ma anche in cio che si oola nel conucto, Pinespresso trova la sua dimora abituale, Franco Donatoni.{| Notation of sound in time and space must give its information as clearly, as precisely and Pete Gupmunpsen-HoLMGReen, Skitse Til No. 3as beautifully as possible. While it is primarily a chart for ears, it must play provocatively trcgrien Deganing of He fin ving of Sing pare m GLE ening ete “anh or ee Ea Vy whe ane == SOE ry SE ETBECTEC Tea [pesado bey weer Shek at ng an if apr aa ta a meplittaa ih gig? ee Hy 4 PPE TDs inhi te spe aaa = On Anny kyl | a Ae el plod TT pee = pai —— 74") Jied Ha tg lt = il a aye tte ror nf vee eS SE Peay i =e oe Fe eee = Lois Hina, String Quarter No, 16 and irresistibly on the eye. A painting appeals to inner senses through the eye. A score of sound must reach these senses through the ear through the eve. Neal Llinos. In story weknew music through notation, it’s because we worshipped images, Images are not dead: they live and speak, Imoge-worship permeates our lives. [Notation becomes superfluous when images are put away. Only then will people know who: 1 do without haying to be told. Frederic Rjewski.orniah ty rena Baie A. Vena, Al eee, Pine BF mamnoe 6 Canal Bain 40. It was very good to hear from you... . Should we consider co-sponsoring an evening of the music of 3 filam the one... toho from the beginning has worked anarchically. Al Hansen, £ {If the primary stuff of music is sound, which | believe, then notation, no matter how Ordinary oF idiosyncratic, sno mor, thon a synbolicropresontation of dhe real hiTh Furthermore, a description of notation such as this is a symbolic representation 4 of a symbolicrepresntaion. — twice removed from reality. Lejoren A. Hiller, Jr. Lover The pons maces aorau the page representing someting else than What IS Wien. The msi to. (Carsromat, HALFFTER, Diferencias Sobre Lineas y Puntos though it wesTRANSIT 42 Cogne Trash Cheer elias Peete si el i SRP “PLES YN SN eo We Care Hae — being played! — prematurely pro-Hollywood —, produced things to see: she danced like Cleopatra on a barge, BeNot HaMonaets, Vransit $2surrounded by hor court, flowing down the Nile.) OZMA over Clinda, Cool! With musical wares, her psycho-sexulograshs were STAKEDI As Mombi; previously her PLOT was discoveredl Hysterically finding the tampering HER THEATRE-PIECE i into F magical s things at = Witch hadiementd. “OPERA ba” i Robert Moran. BE Reon: Cas Ant = aol aa (Chantes Hawa, RoundCAR BIEBE cam “THREE (ergurs ore) |. ENTER CAR 2 Cowur Te TaeLe 5, Toor Hoey SX 4, CopT To TEN 5 Toor Hepsi 2X 6. yor re SEVEN 2, SuAN Doo 2X OPEN AND CoS GiouE ConpnernenT G, Toor Hor 1X 1 Cour To TEN [1 Sian Doce 1X 12, Toor tone BX 15, CovuT 8 AE 1% Toor Howe 1 Is. ofen aun cb0se GLove: Com PRRTHENT Lg. Count To TEM [7 Sean Poor 1X Jy, Ouine Hsttts 3% 14, RAISE AND Hee lures (oe-@ 99, Cowt Te Tes 91. BUNK ListtTS 2X D2, Teer Here 1% 23, Bink MGHTS 1% 24, bes thoan ToT Bs, BLINK M6ttTs 5 2G. START MoTeR 27, noTee oer CAR BIBBE CAR Four Cusnrs ere) ) ENTER AR 2p, ToeT Hoe 1X 5. OLA Dee 1X 4, Teor note 2X se Au Laser FA Coe ee 6 Com Te weHTY 7 Sum Doon 2X % OfeM ANd cvase Ghaie cononerneeT 4.LOONT ro puety Li THT Ballas 1 Shaye Does fay Comet Toy 15, Bere wTbe oneded 7S du Auto BE Seve aL TES 14 TOOT hore [% fy, RearreR vices ja, oer Hen [7 orew AMBaDse” CLOVE Compa THEkT- [¥, Blink WeH Ts 2X 14, Cou Ta Tueeve Do, RAISE AND bavER Wns dew (oF REVERSE 21. BUNK eigetTs 2k 2, COUNT Te MINE. 23, SLAM Dose 1% Dy, LiGHTs en Eee aX Bye SHAN Door aK AL HAXsen, Cor BibbeLou Hasson, Praises for the Beauty of Hummingbirds (1952)1 The writing down of o music! thought is in every way as personal and rowoling as the writing. down of any thought, Examining a music manuscript, inevitably | senso the man behind the notes. *0:¥ site eden a sud eras mie men Eien MOY ern ef REENg The fascination of a composer's notation is the fascination of human personality. Aaron Copland, Roman Haurenstock-Ramatt, Mobile for Shakespeare/Sonnets 53 & Sdsages, {dear moran-no grant for seh score sand nedtons! musie to be cm sidered-sincerely Robert Moran, { La liberté Jose Marriaas Hause, untitled composition (1952)RATING caRD Event: Fur A Piaine angd gu ermewaun (oe 10 aatten) le wer, oat. We ots & Jac 1 SANDPAPER IT. Mount. — [iw seacc maevmen, oreesure ] ween Paver 2 Incen Revues OCTOBER The TweLFTH Is RETrER i i i a é 7 i i 5 a THAN JULY THE FouRTH. Dees exniesm fake over ab thi ee ae whieh. on mes ganen tht 4 pres capeedty, Gr wee Neecomes \iluntedT Can Yeu imagine mar 7 ‘implique douze soN'S. C@Ux-ci encouragent des précccupations formelles neues, wietent Vomorshisme comme le Canevas. Claude Ballif. Bict HENDRICKS, The Friday Book oj Whire NoiseP tities L o_o ; “a po otra 4 rm hence A ETE es SORE WH VAG He SPT ETRE BTWEEL) =H weet te Pb Eat Perer Kori, 5—1 for Merce cc 934 me pon2 € r Enxst Krenek, The Flea (1960)The ‘writing is obviously beautiful, but one isn’t sure off-hand what notes wore written. Puiip KRUMM, Sax/Piano/TapeAdded iiormonon? Probobility? ‘The art of reading becomes science of reducing the number of possibilities. | have just boon appointed professor f Miia UVES Cr< 1 FAIA cl il i Gotha 3 (In Memoriam: A. I. Muste) (1961) JACKSON Mac Low, Hare Krsma1... « another piece, Sptt ony players), with « conductor who has a part, like the player's, with eves and coordinations from the players for his conducting, Christian Wolff, { A perfect notation is not one which documents exactly. If it were, today's technology would finally have provided the ideal notation — a tope recording or flm of « correct performance. Natstion i ily when Wt cols for 0 tompora! result that can only be hinted at by its spatial symbols, requiring more thas on automaton to bring it « ie. Dovid Seti, Etats 1 WILLIAM R. Maguynis Jr, Extention No. 1RRS TMK apniy ape mee ages HO! eo qeke ye eneERe # yesene, nengtounng, gee, prenie, penrerve, Canceggnnnee, eqpen Gave trench WaLrex Mancrertt, Madrigate d’AutunnoTomas Manco, Si “restau a) ind a peay Notation is telling time. Signs move forward like numbers, repeating themselves, but information is always new. Noél (Tinos i Whoever music con ka mace with notation cannot be made witout, and vice vers. Richord WinsloweThe souvenirs surely can not be disappeared whole in my life. {1 work with all 1 possess of consciousness and unconsciousness, but | cannot control the outcome. What have T made? ‘One brief moment, perhaps, but isit incontrovertibly real? fso,struggleis repaid. Miriam Gideon + M. Lourns Maxnins, untitled composition(© Coprieh 1961 NCA MUSIC ss Gf MOA Noe Unt by Peat, AU Rite Rene SALVATORE MARTIRANO, Underworld1 do your contribution to this certain theme: choose your test and try to find it again £1. in optical matters asi pictures, landseapes, photographs, views, stil ves — as you take fi. the first letter oft com disions, situations, colors, objects, of the chosen above Put letters together to the text of you conrbution ‘Arthur Kapcke. ‘ete by pion of the conse Max Maries, Pergolesi DevelopmentTS. 967 Drecm "Tou HILL." (With, erogptionsiiy hesutiful melenl tints (2 800. pense) “I am gping to mind the rainbow." (Jn voice like Pogay Los.) (2 woo. pause) "the I." (Frequeney liaited like small peaket radio, (rreGinothoesy aa if eit off before finistlng,) fel. Dd ‘PS1 Am unique copy. The omission of oll that one’s familiar with (compare conversation among old friends). Varying the symbols, the meaning changes. § 11 is tragic to see young talents who have not vet found their own voices seduced hy newspaper print and applause, let them be patient. Finding oneself in artis a lifetime possession miriam Gideon, RICHARD Maxriexn, Dreamj ' zg : : i E 5 ‘ meg ee abet Aa" Sheth fon Sound Block One tom" Miosig of Mountains” eer wattie Mays Actions to stir resetions in the audience ... take instrument apart, Pull tube ou of cise... “vocvum avec “vokuum echelon.” Even pulses ... peaceful and on to maximum intensity. {| An end of opposition between electronic and conerete music! WALTER Mays, sketch for sound block one from Music of Mountains (1967)Electronic music, performed, has a concrete aspect, fuithamore, © purely clecronic piece, N71 lacks imperfeetions, is an instance of concrete unreality. Rainer Riehn. {| "The Condemned Playground" refers to Cyil Cornely’s concept of Artas Man's attempt to salvage from destruction Imagination — the “unbreakable toys of the mind”. i i t ‘The poems in my song eyele of this title tend this concept of ultimate destactton to Wisdom, Love, is Miiam Gideon, Visio for right coascrs. Muse is perhaps only that fragile moment when the brain is singing. George Crumb. One could perhaps speak of a kind of “variation on a tone’! 4] Now srcture esseniol ond imoginory. it will not be brought into existence other than through the public act. Nor must the ambiguity of his actions deter the actor. Aylmer Gladdys, TosHIno MAvUZUMI, example of Chinese chessoy ‘ied by permtaloa oe compen Past actions. A geometry of influences: three other composers; a page in a book; c question answered by laughter:concentional notations of ioudness, Changes in loudness: lines and points within « triangular areas “Pluck string”. No procedure indicated. (Proceed with care if using chart.) Electronic music. Sound-source, described verbally has builtin pitch and timbre, leaves vertical dimension of page free for something ele: loudnest. “Spatial notation” fone centimetre equals one second) “Performances by prierence not prepored but improvised” A clear kind of longhand like that cround the (ConioN Nancarnow, unidentified player-pianc-roll composition19 sma CPO 30 SoM PEA POL RAL HY GD BE HERE a4 O eH, @ ceilings of mosques in Istanbul. Five different ways of playing an oboe. Iss Nemanoer, Violin Sonata #2MAX-FEED Max Neunaus, Mar-Feed“| mix chance and choice somewhat scandalously. i t 1 i i i & f i » | | ie TRE SSS SSS SS] = b= $$ $f | | ™ PAULINE OLivEROs, Pieces of EightPedy pein of the empest, Beat Troe Lithew tem haat beats Ona laniern by me coe ightime. It is not light yet: you still have time. ‘You can light the lantern if you want, Illuminate the way before you. Place your hand in front of the light. ‘Toke yourhand owey ond put it in your pocket. Wait, Wait. Extinguish. —— Erik Satie no ninth pe dee RE ti rap ct ern ee es Fasgeteecke { Notation is « primitive zuice to music. The unimaginatice are slaces to it, others ace behind it. Norman Dello Joio. 4 ‘Yoko Ono, from 9 Concert Pieces for John Cage| mh , A Wed | | eat iA ey we 4 ; ie \ a ad \ \ y\ VA \ 4 ] One Inndred fifty years ago, Western musics! witng acquired auch fexibility, such precision that Music was permitted to become the only true international language. Moreover, it has sich plasticity tor an eye Hans Ore, Alpha Omera 19 07> my saeUrY oma, 6g ES une cpt 0 woman sg pod “pone RE EY IDOE “RNC BOR AE ONOE HY AME ELE ED NESTeKamectalina — IF beds ct popes per potomen, ofp a sine at aloahh- page omipabe; quality veel ~ recspapr, Tine paper, light cand brand, calved , printed” or lin 3 Pabe bags per footw polly cm le coed Daetti —__ Beton RF eines andl 19 minaches Flasadese ; gered signed form w chairman wil bin Re pce j win We Lrllowing 40 seconds cack pertotmes enkess cPuul). Th pace ert whe, Whe paper sufply is exhausted PsbesTi af paper ill be putiomed aicae Break” - ieee edges of Te sheeL ane guadhed firmly and cheaply vated abut eee eg be need T patticles lest Dhan ie The ete ot whole sheet Fbpere. | minule pat sheet of pater will be pentooved "vanaf? " Ramble “Bample” — Re cheitot beper ib bumped TageTas blrwcen Yo hands a eae Sill jaw abu BENJAMIN PATTERSON, gtheets ot paper evtl he pestagnred “Rab “sen” “Twi De paps is Turia d Trg sued agneeding send ib produced, Tifa 30 seconde pts sheet Bags will be pestormed _"Pak* = flute ith mood orange Paper Piece Dynanizs olarbil ben timetitea i Mig Ta iNinal Purdy ts. ppbiodl Me re a ye tea ne ByeSag taser 0 eos A ‘J When you blip look for a blip, good or bloop Blat of Notations, keep your ‘eyes open and blip boop ‘On whatever bloop blips them. Thatlis how one becomes AVery Blip Bleep Bloop Boppa Zoooopa, and: To you:: Verily, The Truth! Ken Friedman ‘Hanssixg Pautt and Rote LisneraaNw, Symphonie Les EchangesCceaviahs © 1986 Oy EIA Vojel Coy Ine, PRMMGENN, Ac Hen Peed by penn of Han Yoel Co, Te, Leverth Tang Starke yf Al ngs 239 we tl Vincent Persicuerti, Eleventh Piano Sonata (1965)Jere GO forme performer, Pafeuntbiveelitionve omuterte (aster : oluratior) crith. tag ol parlib lence A ‘ por = wot thaw ase pends meng & With amaxisnuin attentar ‘ theatrical Sitnatinn ate Jen Poet enlace Jon PHETTERLACE, Gina Gira‘iia Sine of i mine A performer. « « Epoleetion of notation indicates a tandercy to note ersot On OF . .. production constantly more complex and important . . . to make . . . its performance or reproduction constantly more mechanical. { Things to do— Develop ways of notating sound with the lenst word explanation. HENRI PousseUR, Trios/Pivots from Réponsered, Prine perniion ot Héion iki Hessen, ub foe Cont 105 by ates Wit He, Sects AN. Al Fouxe Rape and JAN Bank; sketch for Bolos for 4 Trombones (1963) Make shapes that speak for themselves. Use numbers, letters, lines, signs, directions, colors, to tell the eye what the eor will hear. Understand space. Use its extents and. qualities for communication. Design scores that the audience can see too. Noel Liinos.i i i i wn Bo You Qielcnds | Bi, Uinde Boat cantatyad att Catuba'T |G ec tuslaehs [Boye -.. Bie Gene and Fuascesca Rasein, Linda Belt{{ Basic to any rusia interpretation which is worthwhile there is respect for the text; thus: scrupulous faith fulness to the rules of ‘an iraining which were revding whan tro os nos wri. André Jolivet. Generosity. {This is what 1 mean by “the medium”: that incompYe= hensible physical fact. Technique... Morton Feldman, ‘Wednesday 9 April ‘84 My dear Henriette, Perhaps it's my good luck — ifnot Sappho’s — that K. was sick and isn’t singing tonight; otherwise I’d have had 0 tect my sore threat at the Opera. Vee wo doubt that that was caused . . « live in a much too small country. Ganonen Reap, Jeux des Timbres, Opus IILTam changed considerably since we met. When did this occur? 1946, '47,'48, or loter? . . . (Did you real it hat muse? nevorunderstood.) ... Thope,-.. Fixed on paper or retained in the memory, music exist already prior to its actual pexformance. . + the idea of original and retrogression. { BIRD-FOOT IN SNOW CHIP-SOUND IN BLACK INTRAVOLATURA PHANTOM IN MARBLE. Jack Glick.{ Don’t make images: Create meaningful rituals. Don't construct time: Interpret the moment. Don't occupy space: Ilentiy sith Don't play possibilities: Do the necessary. Don't command obedience: Welcome the intruder. Don’t wear masks: Rejoice in nakedness. Don’t orze ecstasy: Don't practice magic: Be automatic; Be nothing. Make music with whatever means are available. {elurn to zero. Frederic Riewski.DAVID RECK, Number 2, Male/Female pie tae ay Adlon ‘pening tung °f“9 Jo RANE a eI aeCaio © 1867 by Teds Peet Cu Bey Mae Pa I ei Dotted and undotted slurs: notes grouped together differently, Sounds Grorce RoctneRs, Naci Bach (1966)‘Nep Rowen, My Papa’s Welt “a aig nt yo mind Ka Sing SNH ERY on! "AN AA AEN YR de at os A DE HBO Used: § U— Square Wave Head Reverb — Time 5 weonds 4 L— Square Weoe Head Reverb — | octave lower than 8 UDirex Ror, Symphony (No. 1) From the Old World (1966)Orchestral loops: people imitating machines. then in these regions nobody cares for my work, which is not spectacular and nevertheless —— I think —— not s0 “traditionol”” as some mighty people belonging to mighty pressure groups like to suppose . The (work) ... you heard was abandoned long ago to the flames. I hope to write you more fully as soon as I am less hurried.eARBAGE EVENT 1, Pigs and ahielens food on the geaas tn an tp oni har slay in the cun ond helf e quamnire if tt habited eran unit 10 1s bare of chase, rains 2. Cambage 40 added to the ar: Mere the en vironment is troplesl, fronds from polne are “plantea™ snctacriminately throughout Lt, Putete Seesnut shells, rotting amboo cust aside by housewaildere, ali kinds of rubbish too herd for ‘tae pice bo cat, do somtterad prorusely everywanra, 3+ The participants fend the '. bandoned beauty* ant "tomn-quslity" of 1t wll agsinat all erttiony Gritie, This plese te ainty, Answer, It is siitny. Gritie! hy Con'e you loon tt up? Answer, We Like 0 tho way Le Let JEROME ROTHENDERG, Garbage Eventthe discussion of things that one has no way of experiencing (“...a fairly recent work + + for everything but the kitchen sine..." We sseak chow music as litle as possible. Verbal @xplanation (Swedish, English) of pictograms. Treating horn, trombone, guitar, piano, ‘metal bucket, ond Hammond organ as though they were percussion instruments (wood, marbles, heavy cylinder, bottle, wallpaper brush, weights, glass tubes). Encaap Vanise, untitled manuscript{I belisvs in on intonation as just ox I am capable of making it, in musical instruments on stage, . .. visually exciting .... dramatic lighting, ...;... musicians .. . total constituents of the momen porhops half naked, ... in cone Visual form that will remove them from. . . the pedestrian. Harry Partch. Music is unpublished. Nototion is verbo spreoct by wordotmout. 1A unifeation a th graphic notation 10 be used is, under these circumstances, unlikely, because the research to which composers are devoted points to a vast world of unknown possibilities, Graciela Cosillo, con entre it — but con not make it comprehensible. And the deeper you go into it the clearer it becomes that our technical tools . . « Morton Feldman, {| Notated music is music only to the degree a blueprint is a building or a screenplay a motion picture. han Mimaroglu. {CaN not any longer even structure it. They Seem to me like devices belonging to the Stone Age. Morton Feldman, Wok VosreLt, TV-Décollage — Erelgnisse fir Millionen (1959) ‘pune a9 7 wpe Za pegBamuuy Fe Ovbibe Ent Yow 8) eBoy in enh ~ ese led pro 2 cae, Eo tafemet Eis ies Spems pe A ome? a E ress ee ed siete ogi will rae Liner Vay cade Cease oh) ayich seca St \e aahels. packs Gor drawing in Yos “Tasty laegag Ere \ol ab tna HI tet 2 She wim Youn bole. Event Genk ug shauna Rowear Warts, Banner for Ousside (Yam Day)one damn thing after another! scans 90 9 sent te ome T If it stays in your head * nobody’ll ever hear it. This may be the greatest benefit of our time. Bad chart, mon, bad chorts eal sounda the same; itl sound, Sound ia oounde (Pigs is Pigs) the score makes @ pretty picture, it’s surely... Why, hell, it isn’t anything, it's just Ninotocn Sixty-four. Never liftingWorks in the ArchiveMuneay Abasio *Rondino for Nine Fastewments (1961) One page, 26 x 36-3cin Unk on vellum Sowuse Apcen "Soutlweste Sketches (1962) Finty pges, 28em x 38.2em Ink on transparent master sheets Huoe Atay *Sheiches for Cauca IV ‘Two pages 2Tem x 338m, pencil on Two pages Bom x 31.tem, pencil on une pager One page 27 der x 21-Sem, pencil on Paper Guacnr Ass "Aniihionles (1963-68) Four pages 32cm x dem “Three pes Yam x $8.5em Ink and colored etayan on musi paper Enie Anounses 81 Flare Confence in You (1968) ‘One page, 30.3em = 9.Sem losk letters and type on acetate Davo Anne Srrom Siring Ntuse No. 1 ‘Two pages, 28cm x 35.Sem Coverall) {Ink on transparent masier sheets ‘Hesonne Anpaiseess “Qautuor d Conder ‘Gne page, 28.80mn «21,2 em Penell an wusie paper Lous Awnatessex 4 Flower Sung 11 lor Oboe Solo ‘One page, 243m x 3260 Ink on music paper All works Usted below are orrinel manuscript: They are part of am archive which olso includes o terge colletton of letters from composers. An asterisk preceding a tile indeaies the work which is litsrated In his book stv Amon *Skeich from Symphony of Moiides One page, 33em x 50 Sem Cottage, ak on paper Teeo0oR AwroMiow Kinesis (One page, 28em x 31-2em Ink on music paper Rowerr Aster STvio (1968) ‘Tyo pages, 21 Sem x 286 ene on paper ‘Thres pages of eastrctions The Wolfman Four pages, 21 Sem x 260m Pena on paps ‘Tee pases ef instuctions Upmerted ierchanss (1965) (hy CREE Group ir Robert Ashley's hand) Nine paves, 21 Sem x 7.90m enc as ink on paper Kutyhowk {8s ONCE Grosp,n Rober Ashley's ‘One pags, 12.Sem x 20.4em Penetl ani red erayon on paper Lass Aun *Sauuare One page, 28m x 425m (overall) Ink and "typing on transparent. master sheet avo “Tocille List (1966) One page, 2.6m x 6iem Typing on graph paper (One page of InstructionsMucson Banserr SCorrespandences (1966-67) Six poses, 21 Sem x 28m Ink on paper Relate 1 (1968) ‘One pe, 35.52 x 48.5em Pencil on music pune exgune Bate Tilo Notes “Two pases, €2.3em x 30.500 Ink and perel om music paper ‘One poe of instructions FFrasgors BaYLe Sir Cates 960) ‘Two pes, 67-Sem x 263 om ‘Black and purple ink on paper ‘Tie Beartes “The Word ‘One pase, 25.2em.x 35.Sem Saiercelor and ink on paper Eleanor Righy ‘One page, 12.Tem x 206m Tink on Faled notebook paper Good Day Sunshine “Two pages, 28 2em x 38em Ink on pope 1m Only Sienna (ne pags, 17.Sem x 25.2 Taken manila eavelore Why Did te Die ‘One page, 25.3em x 3m Pencil ard iak on manila envelope Yellow Submarine One pave ISem x 14m, ‘One page 25.2600 x 35.2em Tak on pope You Don't Get Me ne page, 12-7em x 20em Ink on filed notebook paper Jone Beexwrin The Line Up and Down Forty pases, 27.5em x 37e0 Penel ane ak Or musie paper Davio Broroxn ‘Soknilic American Piece for Zohn Tite bers “Thee pages, 42:7em x 314m, (Collage ak on paper {Untied composition leven pages, 36em x 27.5em nk on Paper Davi Benewan Feed Atiaeks One page, 25.2em x 202m Tale on transparent master sheet Weave Train (Cieeuit ingram) ‘One pags, 21.4em x27.3¢m Tivo poees of instructions Gynsae Beno Sevlatemente ‘Taree possi, em x 386m Ink on must paper Avernu Bec SPragmert from a work in progress (1368) “Tato pages, 23em x 31.Sem Pencil und red crayon on music paper Leemse Beno Finale from Cuedernt per Orehesra (1939) Twenty-four pages, Stem x 48.5em Pel ad crayon om music paper Lroxano Besosteny "Beale NXIM (Chichester Psalms") “Two pases, 2mm x 306m enc an ink on tusie paper ‘Sim Axmive Buss "Swallows, ann reduction from 4. Knot (0) Rites (1963) Four pages, 26.5em x 35:8em Blue penal and ink om music paperEnsor Boe Prague Stdies ‘Three pages, 24cm x 31.Sem {nkaand ted crayon on rmisie paper Wiuh note fears Staanne loch Unnited-maneserige (One pase, 25-Sem % 20.3em Pent an music paper Suzinme Btocn 4 Pralde forthe Lute One age, 28: x 21.5em nico mosis paper Katt B, Boman S58 Bojae Lives ‘hirwon pages, 243em x 38.1em Peneil ani colored eravon on music paper Lans-Gurecan Boon Semikoton: Dag Kmutson tt Memoriam out pages 27Sem 5 38cm nk on mate paper gages Howse Group Variations No.1 Two pages, Sm ¢26.Sem Poneil on masie paper ANoue BovcounrciiEy "Grodek (One page 24.Som 5 35.4em ne pase {6.8m x 126m Penell and red ink on muse paper Purae Boortz Sime Sointe poi Plawo (Movements 2 ‘and 3) “Thirty-two poses 26.2em x 35m Ink ard pene on music paper ight pages 26¢r Trt (overll) Tk and pencil on paper and musie paper fragment Paul Howes SUnidented sketch (One pane, 22em x em Pens on music paper Cane Bows “Triotsch Sumphony (Finale) “thee pages, 25.5cm x 34.2em Inkon music paper Horny Baas “Excerpt from Consort for Tres Violins (1945) ‘One puwe, 38.0 x 26.Sem Tak oa music paper Gronve Brecart 25 Seed Event ‘One rig, Som x 12.Sem Tnk on paper (Chapter XI of The Book of the Tumbler On Fire (neiodes letisr to John Cage on piano rll) One pape, 26 60m x 65 Sem (overall) "Typing 0a paper Symphony #3 ‘Two poges, Bem x 27.56 Perel om paper Piano Piece ‘One page, erm x 18-Sem (overall) Thice compositions on posteunts Sranuey Beoewn “nis Wey Broun Four pages, 31.7em « 24cm Ink on peer Bante Brows "Sketches for avallahle Perms It ‘Three putes, 27cm 8 Mert enki ind nk om music paper "Trio for Teuryoet (BS), Trombone, Percussion (1989), (One pugs, 35,Sem x 21.Sem Pencil on masie paperRucuann Gave BavARs Visions “Two pages, 26cm x 35:5er Pencil and ink on music paper Hayit Spoke No Words ‘One page, Foca» 40cm ‘Cotlage pencil anc inks on graph paper Sy.vano Bussortt New Years wrecting ‘One pase, 790m x 10.8 em Bleck and red ink on music paper “Two frazments One page 14 Sern < 43em ‘One page 1.8m Tem Tok oo music paper Joss Brae. {The Defense of the Ameroan Continent Brora the Viet Cone Invasion fone page, 1.81 € 9.3m Ik oa paper ‘Ore page of instructions Groace Cxcioero *Caisiorets (Ope pate, 40.7em x 28m Ine on valium sone Cre, Mic of Chane Eghtyate pages, 2dem x.95-Sem ‘overall) Ink on musis paper Iscques Catone ae Tome, sketches of pages 17, 18 and 1 “Two pages 26.5em x H6.Tem enoi on eusic paper ‘Two pages 14,7em x 21em Peni and colored ink on paper ‘Connitwes Case Treatise, sketches Wine pets, 33em x 20em Pencil on reverse side of aeroxed scores Solo Wik Accompeniment (1968) igi pages, 20.8em x 33cm, ‘Typing. penell and ink on paper February Pieces and Octet "6! for Jasper ohne “Two pages, 26.3em x 3em (overall) Cover colkge, printing paste-ups Fiore Caeree "Piano Convene, fragment (One rae, 33cm Sem Pencil and purple crayon on musi paper Niccono Casrienost * Flew, exeerols ‘Four pages, 2 Tem x 35.8 ‘Poneil and eolored ints on music paper Gracisia Casto eel Poo (One mage 94.Som x 63.8em One page 28cm x 31.5em Yalow, eat and black ink on paner Contes Cieives SSoil tH ‘wo pages, hem x 33.6 encil on paper ‘Guserre Cant “Don't Frade Here (1965) (Ove page, 22¢m x 28em “Type nd ink on paper Teatro (1963) ‘One page fom x 23cm ‘One paso 22 om x 28em ‘One page Hem x 473m “Typing ok, colored crayon on paper Maracas (1961) ‘Two pages, 48.2em x 33em Ink on paper Gesit (1961) ‘Oe page, 483m x 64cm Tnkon paperSong jor Soprano (1962) “Two pages, 82-7em x 28 Tem Pen on paper, one page with cut-outs orto Luanne Rorschach Symphonie Sonata Four pages, 32.80m & 4.5em Pencil ink and rel crayon om paper Wire Larostawset hous Vaiens Filfy-five pages, 35cm x 45.8em Pencil "snd eolored crayons "on music in portfolio. JagRsoN Mac Low "Hare Krsta Gaiha 3 (dn Memoriam: ALY Murie) (1961) Ove page. 31.6em x 24cm Ink oa paper An Asynimetry for Joka Case (1961) 2nd Anjmmeiry for John Cage (1861) Bed Asymmetry for Joi Cage (1961) och one page, I4ein x 21 Sem ‘Typing on paper 70h Light Poor for Joi Cage (1962) Six pages, 20-26m % 31,26 Ink'on ledger paper Wactaans R. Macinnts Jn "Estention No. P One page sem x 27.5em In on paper Warren Mancnerrt “MadriatedAutua (One page, 22em x Fem Ink on cand ‘Tostas Manco osu One page, 18.Som x23.sem Tink on paper 2M. Lounoes Mantes "Untied composition ‘Two pages, 20'5er9 © 9.6m Pens and ink on music paper Sauvvrone Manraano. "Underworld One page 41 Som x 27.7em Pencil “and tolored crayon on graph reaper. (One page 28em x 21,5em Pencil on graph paper Max Mantes *Pergoles: Development ‘Computer notation with pencil sketches Rican Mev “Dream (Ore pske, 2tem x 28cm "Typing on onfonskin paper Waeren Mavs *Sketch for sound block one from Masle of Mountains (1997) ‘One page, 30.Sem x 23m ok on puree Toso Mayczuser ‘Example of Chinese Chess (One pase, 245em a 286m nko paper or McKay Sidarrlage on ihe Eifel Tower (excerpts) ‘Ten pages, 27 3em x 34.410 Perel and ink on music paper Coun MePuce *Workshost ‘Two pipes, 26.6em x 1222m Poreil and ink on music paper Miscetancons sketches from the collection ‘of Sidney Cowell Seven papes, 27cm x 38cm (overt) Peneil on muse paper Pine Mencers “Love Story sketches [welve pages, 26.5em x 36em Peneil on musie paper‘Arve Metin Untied sketches One page 21m x 28.7em ‘Two pazes 22 Sem x 36cm ‘Tro pages 23.5em x 362m Pencil and colored ersyon on paper ose Mk Mestnts-Quaneeny SQuarse de Cote (1962) Four pages, 50cm x 92Sem Token papa Gute Mevsn Deveruas “Aktionen Reaktionen (1965) ‘Tse pages 19 Sem 4 28-Sere Blzck and colored inks on paper Pour pages 2lem x 29-7cmn Typextnien instwetions Sicuationen (1966) (One pape, 29.5em x 39.4em, Tak on paver With Typewriten, ilustated instructions in German and Enalich Wiederkolungrinsel Four pages, 31cm x29-Sem ‘Typing on Peper (With Ee esnslation) ants Sav *Povalice (Air) (1928) Two pages, 27cm x 35.3em Pencil and iak on music paper Tuna Miwancte “Toccata! Four pages, 243em x 31.Jem Pencil on music paper Toveata it Four pas, 240m x 31.Jem Pencil on mosic paper Frasers Mirocto Pie por fis Thirteen pages, 27cm « 14 7emm Inklon mise paper Gooner Mossy SaPTPC Five pages, 16.6am x 12:76m (overall) Inkon vellum One page of instrctions (ip Folder with thumbprint watermark fxd broker thumbprine seal fn gold) otras Moors: “From The Ballad of Baby Doe, oviei- ins] sketch for the Bryan scene in ‘Act Four pases, 24.5em x31.7em Pencil oa rmsie paper Rowear Mona SSketcl for a Tragic One-Act Opera (1965) ‘ne page, 48.6em x 43.3em Collage. ink on cardboard ‘Sketch jor a Mascal Steeture (1965) ‘One pose, 49.fem x 25,80m Inkeon white cardboard Jin W. Moxtnesson “Some of These (3958) ‘Seven paves, ink on paper ito Mon Sct fom Peribles No.3 Sipe 21 Sem 2m Expt pases 27 em 8 343em Petal on musk paper Gono Musi Shere “Two pages. 27.Sem x 24.Sem Tek on graph paper Faeneniex Monow “Mure It “Taree pages, 33.Sem x #8.5em Pencil an ink on manic papet ‘CoNLON NaNexOw “Untitled playerpiane roll So6em x28.3em Punched toll with crayon markingssate Nenmore "Violin Sonate #2 (3 movements) Forty pages, 27 fem x 342em ene, red’ and bive crayon on music Max Neunaus SMax Feed One pazs. 45 Sem x 30.2em, “Transfer symbolt on aceite JULIE OLIVEROS Pieces of Eight Fighe pages, 28em x 21.4em Ink on grach paper 7 (Wh three pages of instevetion) Yoro Ovo °9 Concert Pieces for John Cage teen pares, 20.5em & 25.5em Ink oa paper (There ore actully fiteen concert pieces; Jolin Cage was asked) 10 choose the nine hs liked Beet.) Hans Orne Sait: Alpha Onnewe ‘Ore pase, 10Sem « Sem Ink oa paper Naw Jone Pate “Danger Musil for Dick Higgins leven rages, hem x29em (overall) Ink-on mendee tissue (lee of these eleven pages are a letter to Dick Higgins) Denigct Mik No, 2 for Dick Higgins Four pages, 14.7em x 2em Ini on paper (Thoee of these four pages are a leter to Dick Higgins) Gale Maxie for Join Cage's 50ee Birt ‘dey One pase, 20cm x 18.501 (overall) Cottage sic typing on paper Half-time ‘One page, 208m x 29.5em Ink on Peper Hanny Parent "Verse (2—Spoils of War”, discarded in- sramental part of And of the Seventh Day Petes Fell on Petaluma One page, 27 5em 3 32cm Ink and re crayon on music paper ‘Verse 16—Castor and Pollex”clscarde instrumental pact of ne on the Sev ‘eth Dey Petals Fell on Petaluma ‘One pase, 426m x 316m Thc and red erayon on paper Bexanins PATTERSON SPaper Pece Two pages, 33.5em x 22-4em Inc on paper HUNSBkG PAULL ANO ROLE LICKERMANN "Symphonie Les Echenges ‘Two pages, 33-dem x 33em ‘Pencil and ink on graph paper Yaseen Prnstcuern "Eleventh Plano Soraia (1968) ‘ix pages, 27em x 33cm Penal and colored crayons on accordion folded miwie paper Jon PaurrePLace Gina Gira ‘One page, 2iem x 29.5em Poncti om paper No. 4 (1967) (One pate, 30em x 24cm. Penel and fuk oa velit Hest Pousseun STrioe/Pivote from Répons ‘Que pase, 34em x 28m Pencil and colored inks on music paper From Careetéres ‘One page, 26-2em x 334m, Pencil on musie paper ‘Sketches for a scone froma Votre Foust leven poges 27-2em x 21-Sem ‘One page 21 Sem x 272 cm Penal and colored inks on paperotk: RAQE AND JAN BANK Sketch for’ Bolas for 4 Trombones 1963) ‘One page, 29.8em x 2iem Pencil on paper Four Dynamic Blocks, sketch from 1962 ‘One page 29 Sem x 2lem Pencll on paper Grove xp Franessca Risen Stine Bell “Twa pages, 23em 3 32cm ‘Black and colered ink on music paper Ganoven Reap ‘Stine des Tires, Opus IIE Four pages, 26.5em x34 20m Peneil on raper Davin Rex Number 2, Male/Female (One accordloneleated shee, 21.08 meters x dem Pencil and ink on poper Steve Reve "Piano Phave Ose seue, 27.7em x 34em nko velo Rocea REYNOLDS "From Quick Are the Months of Farah ‘One page, 38.6em x 2écr nk and Sine pene! om vellum Joser Asrow Rutt *‘Romposiion Nr. 2 (1963-65) One page, 2iem %57.Scm Ink on red gran pore? Wacnrvaroxn Rreocrs, SConcerta for Plaro and Woodwind Quintet, Ops 53 “Two pases, 2Rom x 35.56m Inkcon transparent maser sect Rainer Ratan ‘Sketches from Chants de Maldoror (1358) Four pages, 29.6em x 0.9m (Colored pent and ink on graph peper hus note an composition Temay Ruy United Organ from Keyboord Sindies (One page 21-3em x 28cm Tok on music paper, ‘One page 21-Sem x 28m ‘ok on paper Faevente Roewsxt “Plane with Projectors and Photocell ‘Mixer (1966) (One pate. 43.Scm x 27.9em Ile on grapl paper pivs two pages with ‘dations (copies of criginal) Seportrate 1-6 One pass, 2.fem x 1} .tem Tak on grag paper Selfportrats 8, 22, 38, 69 ‘Foor pases, 28.5cm x 20cm Inkeon vellum Inapeesonaiion (Est version, Spring 1966) Fourceon pages, 422m x 29.8em Pencil and ink On graph paper Goro Rocuts Nach Bach (1968) “Twemyawo papes, 4m x 26.7em Pens and reé crayon on musie paner ‘Nep Rone My Popa's Walls our pages, 27cm 3.33.6em Pencil on musie poper Drrex Ror SSumphony (No. 1) from the Old Werld (1966). Bouin ook, three hundred and seventy ‘ne pages, Mem x20.Som x 10 Sem Jononte Rommencre *Garbave Event One page, 3h Tom x27.9em ‘Typing on paper‘Cant Rucates “Leyou! for Evocation No 4 Four pages, 13.3 x 18 Sem Pencil on personal stationery (See Cowell Ting for Rugeles’ work in Coweite hand) Genin Ring: SBeethrine, Horiest (1969) ‘One page, Seem x 2lem Ink on graph paper Teney Rustine SCompoation Noy § Five pages. 27-Sem x 2).2cm Blue and ed Tak on eraph paper cane Saat SRepoats (1983) Seventeen pages In stat notebook, 1S.Sem x21 3em Pencil on music taper Ente Satzun Verses and Centos (former tile: Eu rope: The Tennis Court Oath) ‘Five pages, 240m 33m Ink on poncil on music paper ans See *Carrelage Phanigue (One page, ein x 32.5em Ink on paper Tavirscrie en Fer Porgé (Ohne page, 4.5emm 232 Sem {nk on paper Hexay Savgver She Camsléopard ‘Bight pages, 276m x 356m Penel on music paner Rucnaan Savion "Opocing af 2nd Movement of Music for Churnver Orchesira (1866) "Pwo pages, 26,80m 2 34cm Tale on mae paper Penne Sevasveen *L'Etude aus Sons Aaimis (1958) ‘One page, Siem Sem ‘Graph collage, ink on music paper Tosas Seamer SPosimnne in Homage to NJ. Paik 963) “Two pages, 18.8em x22.36m Typing and postmarks on paper Daren Scunener "Viste Muse HP “Two pages, 62em x 44em Ink on vellum Réwetions ‘One page. 62em x 49cm Ink on vellum Instructions for Récctions ‘Two pages, 20.Sem « 30.3em Inkon vellam Loibitor ‘One pare, dem x-44em Ink on veikim CuroLe ScHMEEAANN SSuows (seauciee +7) (1967) ‘One page, dere 31 Sem Ink and penal collage on paper Gurren Seursien Five pages 2Tem x 34ce0 Fortythree pages 2Tem x 3Sem Peni und colored crayon on muse paper Kuny Senwenrsn trenger Engel ‘One page 29:7cm x 20-30m ‘One pase Wem x262m Black aid colored ink on musle paper Raton Susros Hates Fertyenine ges, 23.Jem x 326m hie” and "red pencil" on transparent ‘maser sheet(Consors Siva Fosties (1863) One pase, 67om x 12em Green, Black and Dive ink on paper Guseseeaio Siuowerss SANalyee die vitae (1967) One page, Tocin 49.8 Collage on eardboard Nery sitons "Time Groups #2 (Pare WV, pages 26 36) Eleven pages, er 4 35.Tem Ink-on transparest masier shoots Roare J, Suattey "The Lenten Ectes and the Golden Echo (an tit) Seventeen pases, 26.2em x 35.5em eos ow must paper Syovey WacLare Stecant “Deppled Fielde One page, 50.7em x Sdem Tk on paper Kantian Srocerasses “Rotes from Tokyo Working-book (1967) Seven pages, 1fem x21em envi back and colored inks on paper Tom Stiesunesny “Fanfare (1964) Two popes, 24.2em x 30504 Pencil on transparent master sheste Sout Stave "Sonata jor Pianoforte (1946) “Twenyare pages, 26em ¥ 38.7em (over: al) Pencil on misie paper fn otto Ricriano swore Summer Notes (1965) One page, 24.26 x 31-Tem Tak on minie paper ‘Yoor Tarsus {Six Elemente Seven panes, 24cm x 33cm Ink on vellum (Greek Hite page) Toru Taxewnses “From Sorant (1965) Eight popes, 30.Sem x em Ink on muse paper, plus note Stuttow Tew Hour *Kockyn, Een Kermistrontok ‘Six pages, 39m 28m Colored inks om paper Fourteen pages (fokl-out), 24em x 30m nko paper Dawes Tens =Siring Campleraent (Ove page, Sem = 38ee8 Tee eeskgeiee ‘With instructions AUN Tiiosas “Duo Concertante Thrse panes 27 em x Mem Pencil on music paper Vinci Twosesow “Original Skelch for Blues (*Specula- Mion") in The Plow Thar Broke the Plains (1936) ae pase, 24cm x 21cm Pencil and ink on Mowe THoae 20. Television Sets ive rages 20-21 x 26.Sem nk apd colored crayon on graph paper Four pages 21 3em xem Inka colores crayon on paper Composit Sond (1967) Four pages em x 132s Ink on paper and cardboard ‘Two pues 20.26m x 26 3em Colored inks on graph pare Two pages 21.500 Ink on paperWour Vor STV -Déccllage—Ereigniee fir Miltionsn (1338) (One page, 642m x 502m Collage, Muorescent, blisk and colored ‘ink on paper Roser? Wars “Banner for Outside (Yem Day) One page, 21-Sem x 28cm ‘nk on rule iedper paper Notes and stetches ‘Nite pages, 21-Sem «286m Colored inks aed crayon oa ruled ledger sever ‘Three photosrapks 2m 227m (overall) ‘Twa envelopes wth balloons Twenty-two photographs ‘eon x Ser (over) Five index cards with performance pleses Ben Wenen “Dolmen ‘Toes pages, 305m x 40cm, Pens On misie paper ANTox Wrnuas Untied fragment ‘One pape, Zier x 226m enol on mute paper (Probably 1906 Bach transcription) ‘About Wess "Second Movement of A Trio for Clarinet, Vila, Cello Tak on music paper Jeane He Warne Larval (sic) Begin July se 67 Seventeen pages 21-Sem x 286m: Peneil on ledger paper Five fim sketches each 1Sem x 10em ‘Spray penton black paper (ih Tom fin sips) Funk Wiceteswormit 8To the Memory of Henry Cowell Seven pages, 2em x 31.7om Esanerr WinLAMs “White for Governor Wallece ‘One page, 21 Sem % Sdem Ink on ruled paper Ricans Wrsstow *Creatton Locked (One pase, 230m x Bem Ink on music paper Cansiiay worse "Tria I (Piano 4 Hunde and Percussion) 961) ‘Three pages 21em x 1Sem Four pages 20-4em x 13.5em Pencil und iek on paper Sreraw Wor, *Battlepiece (1947) One hundred and thirty pages, 26m x “32.8om (overall) Pensil on music paper Cusaes Weonneen “Benim: To Obes (1966) Four pages, 28cm x38 Jem Pencil an music paper Yannrs xeNaxas Stochastic Music ight pages, 8m x 28m Typewriter, computer type on accordion folded paper (Program of lastrustions for 1BM 7094) La Mowte Youve From Vertical Hearing or Hearing in ‘the Present Tense (1967) ‘Six pages, 27.8em % 3Sem Ink on paper (Win Undated Jeter wiod ss cover, and erat sheet)oat Yoass Gen Zacsten Sheth sur Notionang (1952) ‘One page, 34cm x 270m Tok on music paper