"George was interested in what I was doing at Bell Labs, and he was one of the people who could understand it easily and quickly. He came to me one day with an idea - it was his idea - and asked me if I could generate a sound that went from a sine tone to white noise. I said yes. It was used as entrance and exit music at a lot of concerts that [Nam June] Paik and Charlotte Moorman did."
"Probably not with the pieces I did at Bell Labs, but there were some other pieces that were related to 4'33": Metabolic Music (1965), perhaps, but I'm thinking in particular of a piece called Chamber Music (1964), a series of little cards inspired by George Brecht, which was played several times at the Fluxus Symphony Orchestra Concert. DK: Was that one of the Postal Pieces?"
James Tenney met George Brecht at Fluxus events and Brecht requested a sound that transitioned from sine tone to white noise. Tenney produced the signal at Bell Labs and the result functioned as entrance and exit music for many performances by Nam June Paik and Charlotte Moorman, including a European tour. The piece was not included on Tenney's Bell Labs CD. Cage's 4'33" influenced some later works; Tenney connected Metabolic Music and especially Chamber Music (1964), a set of cards inspired by Brecht, to that lineage.
Read at The Wire Magazine - Adventures In Modern Music
Unable to calculate read time
Collection
[
|
...
]