NOTATIONShy John CageLibrary of Congress Catalog Card Number: 69-1472 Copyright © 196? by John Cage, and published by Something Else Press, Inc, 298 West 22nd irc, New York, N.Y. 10011, All works reproduced within the body of the book ate the property of the composers end publishers and others indicated therein, and no work x0 reproduced may be performed or futher reproduced without permission from the indvidvel composer, owner of rights, or publisher so designated for each particular work, No portion of the text moy be reproduced in any form whatever without permission from either John Cage or from Something Else Pres, Inc, except fr inclusion in @ review written for @ newspaper or a magazine or « radio or television broodiast All igh eserved ‘Manufactured in the United States 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 it shows the many directions in which music notation is now going. The manuscripts are not ar- ranged 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, sometimes only one) have been especially written for this book, they are preceded by a paragraph sign and followed by the author's name, Other remarks were chosen or written by the editors—John Cage and Alison Knowles. Not only the number of words and the author, 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 between 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 each 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- twentieth century music notation possible. —John Cage, May 1968RONDINO FOR NINE INSTRUMENTS (1961) a ‘Asked how many it ates to mele 0 groups ———— ‘eqso con omcro (ena Tia) Charles Jones he said, “Two, at least.” Group == composition. { Mohammed bought a hig lemon and... tm perainin ot the compet. femur aan cease) Murray Apaskin, Rondino for Nine Instruments (1961)razorblades... half the blades into one side . . . rest of the blades into... other side. Paul Bowles.eorocuced by permision of Onord University Pre SAMUEL ADLER, Southwestern Sketches (1962) =‘modes 9950 woe £9 tard, Ra __sc_al ej valand, = fa dow. on pore pu MESES 3 1 va jerr? 2a Z = a = Pe = — Save _rmere dol tejada. bee blanca ies ie = z =e == Med do Sak talk, tate guile y dag ax _drapaua— points. Every sketch and manuscript identified, studied, HucH Arrxen, sketches for Cantata IVGivpert Amy, Antiphonies (1963-64) ‘Copyieh © 1967 Hegel & Cle, Pai, France. Used by peemison... catalogued. Map. No mute (picture of mute’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 a chatience ro tho most exercised pianist. Theory ‘ond practice ore not every day good neighbors. Soulima Stravinsky. Romance.Words that produce a performance without words. The music paper wos pre-printed with bar lines: four bars to the page, staves numbered, top to bottom, ‘one through eighteen, each page numbered at the upper righthand corner in a blank preceded by ‘page’ in capitals. Inch and a half pieces of scotch-tape hold two-page sections together. ‘The manuscript’s written in graphite. Additions of green and red pencil. Just received your letter.rated by permllon ofthe composer, AABECQDEELIGHHIJKLLM NOPQRRS STTU VWEYZD aberef shi jlmmoparsrunmeryzth ps5! P'S tp 1254567890 Enric ANDERSEN, I Have Confidence in You (1965)I send you a manuscript . Davip ANpREW, from String Music No. 1 from STRINGMUSIC N24 daxte duedrevo PT Pi Ou Oe Be 6 VIOLINS 3 CELL 3 DBL. BASSESHenrik ANDRIESSEN, Quatuor d Cordes + «Very cordially, ‘soanog Jo vonsmaed £q pong ‘poARsu WAL HY “PERTOH “uEpIMIY “mamoOd 49 $964 OLouts ANDRIESSEN, A Flower Song Isect fone Jstnin Anesth Mfr hontrenl New York maker of nothing picwres 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 ANHALT, sketch from Symphony of Modules sosedues 29) Jo eopeied A pregMites 2-56 RAMMED 8G Spain evel Printed by nermision of the composer Tueopor ANTONIOU, Kinesis kos & Cafe as" ooFilliou. 3. ar astalidll als RR SS ol = RoberPrinted by permison of the composer dale 3. Sy 1 ea yin oll (ose Loapt Miner Gee RiteTL ob Mie Ye MeTacmgen bata Mts anger erha (AF & eT eescoe my Shae StL, Ne troyeoneh afro ed (athe eeeeh che.) 5 Hmtpe trab aK cath fae ye) lente Meng Atel Meg bt (ako thaiht dep) _ x tb 5 esa, magtome jay ce porbms hageeretty eget Lis 28 toga pals be Met a Teck Hope ened nije” nmin | rap beng BL Ain fred Wad w. * ciate g en D € Tani bawisisedy EAL Mg mnt oanerod™ gk ak J eee SP a etic pe TTT viseanatalgr gr Tease gs OE OS Bamesshie: ¢ Henendl? Gh gd ( sa al nee tay essen etaest] oy, fermen: @ Ten asa tl shinies shisergt1 raf i kata St REE ba70 19.89 209) eee [Rie ender genet me Be Be Be Bs (ol pane kB flaed te ee oe A Heed Pras Roperr AsHLey, Trios (1963)aL #2 3 #4 SAND MINK WATER PAPER 4e a 8 #9 TRON = NAIL CLOTH STONE wan ma #130 #14 CONCRETE RICE GLASS corTON #160 #17 #18 #49 LEATHER WIRE SPONGE HAIR a2. #220 #23 #24 PLASTFR ANIMAL WOOD GRASS we #270 #28 #29 INSECT NOODLE BL 2 #3300 #34 SAWDUST DUST «RUBBER ROPE 6 #7 #38 #39 COIN BEARING PING PONG CLAY BALL BALL Ay-0, Tactile List (1966) 4s oat #42 #43 POLE PIN. HOT WATER ICE OR DRY ICE #1040 "7 #48 FORM ORANGE YELIOW = GREEN. RUBBRR wis #51 #52 #53 SILK WHITE BLACK YE #20 FAR AY-0'S #30 PAINT STOCKING EXCELSIOR 135 FEATHER 440 BRUCH Printed by sermisslon ofthe composer a9 #50 BLUE VIOLET 54 #55 NOSE MOUTH Tactile List24 Kh w hua tal’? Mitton Bawarrr, Correspondences (1966-67)CConrit € 1962 by Bote & Bock, esi, Printed by permlslon. CLAUDE BaLtir, Bloc-Notes1 To a direction I once asked, “What do you mean?” The sargeant replied, “What do you mean ‘what do you mean” i i 7 i t e : i —=Relevant notation #8 the Only answer. Kenneth Gaburo- FRrangots BaYLe, Points Critiques (1960){ t t 5 i i «+ this takes time, . . . Please be assured that as soon as we are in such a position Me A) Sey de rend aad Hall be ad Asta ; ; Sage yee me Cer oe eset ERR, Le heise | shall be in touch with you. Escnphene 4 9 hea ak staf i # da the geet andtichad heekes thal have tect Tne Beaties, The Word Ue ere eelsJoan BeckwitH, The Line Up and Down ods om PEN ORIN “UREA HE Jo NORSTUID Ka PRON1 Process of unnecessaries of mathematic thinking is beginning, And in the moment of total automatic Will be useless ‘rated by permison ote compone. 1'10":60" Davip BepForD, Scientific American Piece for John Tilburycompletely. Cool logic and machine speed of oneself improving automats will be without z i i 2 f i j es I ‘competition. The man will be constrained to find other tervitory to judge parameters. Milan Knizak. Davip BEHRMAN, Fixed AttacksBeltiuets dwar Berg \<\ Gunwar Bere, Eclatements V (1958)pie Fttgma ts Wakin pqs TT , : Be yes) ‘ t “They'll tell you Dm not a musician. They're quite right. Tm a phonometricist.” After wei ghing an average-sized tenor’s F sharp, he said that music is a dirty business. Practice makes perfect: repeated gestures. ARTHUR BERGER, fragment from 2 work in progress (1965)“weer Teen 7 wowed oan IK POEL Luciano BERIO, Finale from Quaderni per Orchestra I (1959)fiw Seeteh fon Feat Mkt (Chickret, (elus") beak, Boy tefeane to) feet Leonarp BERNSTEIN, Psalm XXII (Chichester Psalms) the course of the river, Philip Corner. Jotedues ou 9 wound pm{ One crosses floors, one crosses words, oM@ crosses streets, one crosses looks, one crosses ‘Weapons (irons, metals), why shouldn't one also cross colors? Henri Poussev {1 “Musical ideos” ond “notation” are separated as a matter of convenience. They are actually interdependent — inseparable. Since my musical ideas are always changing, so does my novation, “Musical ideas” and “notation” are separated as a matter of convenience. They are actually interdependent — inseparable. Since my musical ideas are always changing. Joji Yuasa. {1 Composition does not terminate with the construction of the graph but continues orally through the dramaturgic transmutation of the visvol into sound, Sydney Wallace Stegall. T Two sentences on notation, Notation is simply the drafting of a contract to be entered into by composer and performer for the benefit of listener. Notation fails in proportion to the singlemindedness with which it fails to enhance the social act of music, Alon Thomas, {] To give these sounds to people in a form that has the constant availability and listening privocy of @ recording, and yet is not a past event preserved but something whichis coninuing. Max Neuhaus.‘All sohs reseed, Printed by permision af Novello & Co, Led, London, Fagan Sim ARTHUR BLIss, Swallows (1963)Erwsr Buoci, Fugue StudiesPainting . Music. Copy. Two dark flying chariots attack. My beginnings A. Prelude fn the Lute Sprone Bik SUoneRan PA are NO eA ERAN A ane SUZANNE BLOCH, A Prelude for the Lute your inverted ending, ici em ppPrinted by perminion of the compote Vice-versa, Improvisation. The ‘opposites’ are thought of not as diferent things but as opposites. So, notations t Deane “Jobin (fo. oye! AK Bs = Fl (EES t = Kari B, BLompant, S& Borjar Liver permitting various realizations are inside square, rectangular, or circuit areas. Where there is no choice, everything follows conventions. {|8 3 8 a o z g (nsinaamgo sug “906 » Ayyu@ ejqniodosu! oinwisuoo og ** + se ABUL NOK ‘saX,, “BED NOA UBYAAy “Y!Od youuos | ag SEMIKOLONSORG KNUTSON Ini HEMORIAN oy cane en sin | Lars-Gunnar Booty, Semikolon; Dag Knutson In Memoriam ‘soe 90 J0 wpe £4 pomPrinted by permision of the compose rp ah, [eale-ls ff, # BENJAMIN BorET?, Group Variations No. 1 Fst at'e. celal! hisses piel ae‘asodes oy 70 woe poeta Awprét Boucourecuity, Grodekdesvoying all notations, tapes, before you die, and ‘story only one line—— ‘there lived a man called John Cage’——?” Paik, “How leave to mu Cage. “It's too dramatic——” (1960, ibid) Nam June Paik. { dashes — hooks — curves — dots — strokes punctus — virgo—clws short sound —long sound —d Netty Simons.Pierre Boutez, 2 Sonate pour Piano sopra por Soucy si 19 9 IHL LOGE GHDated by perminlon ofthe composer Paut BowLes, ut inidentified sketch(eietren SrmeHowy) FINALE any 208 a FINALE — -2100 5 Cart Bowman, Triptych Symphony (Finale) Lk freemen seroduas 2m 50 wopntiad pomRiens Reserve . <4am tired from this europeon perfume. . . . | worked very hard all the time. May was a creation-month: .. . It is quite impossible for me to describe you the pieces (for the critics it is easy, they have a professional vocabulary for that}. Virtuoso. Calligraphy. Additions to conventional notation: four symbols for quortertones (higher, ower). Dec. 20°66 What is the title? In English) It’s Greek to me, but some letters are written ifferentiy thon | write (Greek!). © Conmiht 1968 by MCA MUSIC 1 division of MCA Inc. Usd by Petia Henry BRANT, excerpt from Consort for True Violins (1965)omdao> 9870 wom £9 Po, DANCE Dressed Oy black. olen ge wlike euuned PANE eat eat one pareon, DANCE to At least ona stone. ° Liem & pa lout. eae leest 9ne one pea prcabnerone woe { Dec. 2206 Eksi Stikhia 6 sticheia Six Elements (cl. Euclid, N. Bourboki: in succession) for Four Violins composed 1965 in Berlin Greek to everybody modern handwritten letters used Yuji Takahashi. Approximations. Georce BRECHT, 3 Seed Eventser yy oes JN x the plumber (the mechanic, the postman, the doctor, the pilot, the gravedigger, the sailor, the bricklayer, the electrician, the pimp, the garbage collector, the scientist, the cook, the bank clerk, ete. « . «) brings poetry 5 (music, color, volume, movement, form) eR ee 7 tothe poet's (the musician’s, the painter's, THIS WAY BROUWN 8 the sculptors, the orchitoer’s, the cineost’s, the dancer's) 1 wife. Robert Filliou. StaNLEY Brouwn, This Way BrouwnEARLE Brown, sketches from Available Forms II ‘Sar "naan 28H wDORY 96t HEHKCODJ.15% TRIO for TRUMPET a"), TROMBONE, PERCUSSION t > > 1366 Herbert Bron Pop og §=P . #5 ror ff fon 4 PF F>P GP g g 5 ‘emt ty pemision of the composer. Herpert BRbw, Trio For Trumpet (B°), Trombone, Percussion (1966)Visas. C0) RICHARD Gavin Bryans, Visions. “omdeo 9030 wove ka peAUQue U anus hue = Ga h Bussorri- v. perlio d'0bbaus,4 - ROMA SvLvANo Bussornt, New Year's greetingJosepH ByRD, The Defense of the American Continent From the Viet-Cong InvasionOpera. { All pedagogy is problematical, The more one is doing it, especially for me now, because I 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 fue, the toxchers hopeless and the music- schools are Old-fashioned, dead museum-machines. Gertrud Meyer-Denckman. Gentle adjustments. Georce Cactorro, CassiopeiaCopyrisht © 1961 by Henmar Pres I, 16 rigs reserve. Printed by permission of Hesmar Press In. amis etd Joun Cace, Music of Changesnid by permiion of the compote Jacques CaLonne, TomeCorNELIUs CarDEW, Treatise (sketches)Exuiorr Carrer, Piano Concerto : i i i :‘Used by permission of. Sent"s Soehne and Asocated Masie Publishes ne. NiccoLo CASTIGLIONE, FigureCantos CuAvez, Soli HI He erased his own music but it remains visible, paler than whot he lator superimposed. ‘Suggestion: the concert of his various decisions. In this axe, greater carelessness would automatically produce a music of greater complexity. “oor omne oH J0 Nope e pong AST STL LV NL HHH I KG. 6{ Despite its undeniable shortcomings, I am not for scrapping notation in fovour of Boemire questo disegno sorivere sotto qu rraisres onneeliare 11 aisemo precedente © ie AL Dp CLLEEE “ie jorre le seguenti figure , costruends e distfuggende suc~ Swamentms raed by nermiton of the commoner. {| | Giuseppe Cutart, Don't Trade Here (1965)diagrams, doodlings or musikalische Graphik: substitutes obviously designed to overcome remarkable contemporary malaise which we might call ‘pitch fatigue’. since it never aftected me, Tnaturally give pitch pride of place among materia musica’s prime constituents Roberio Gerhard, jen Gita used to remark that she had improvised for 45', with the oir of one who has “achieved”, used to be mystified, but Henry's idea and your observation . . . explain +++ T realize now that Fee never taken improvisation seriowly ond so, mowing that E, Indians do, uldn't imagine what length had to do with Gita’s evident artistic satisfaction. Now | do. [= uibes, 6 cords, byh bres cam timbueriee Ze Celeste, 6 bole Ines, mud bres sam, mreerr 3- Moco, G bobedrns, lswboss lm, 0, An Ayle phere, SIS tinsy mb, beth gory, gow |’ 5 Same Ti eae smi, Rate tells, thy OO Te tad draws, Snme Lense emt, chovey hadi 8-3 trays, FT Key he Boeks, ew gs aes F- © tral Nello, 3 Amps, weed blocks 5 plete equa bas 2 cas spc et ngs { The notation is provocation-memory of sonorous cccurences, commenoraine stone, graveston@ of the musical thoughts themselves. Franco Evangelisti. A work (I worked nearly four years.) Barney Cups, Welcome to Whipperginny (1961) C-Atmbens, mid fom, Chimes © “Yubelsz a opm 3059889 70 RUE Aq PSA POMHEL SHKE MY -MI0K ABN “DOK “OOERING 05 AMAL £4 1961 O WHEEJeuw( Peed Geog , } v Wy ea? dey oe ¢ Cou WeN-cHUNG, Willows Are New ‘Copyright © 1990 by C. F. Pees Corporation, 373 Park Ave, Souths New York, N.Y. 1016. All ight rtrd. Pest by permiaon of C.F. Peters Corporation.49 pong mncomparrem. ty version At for an excellent audience actions ete. 2 elk sae mutonge fo genary olther the reading by’ or: the noise, actions ete, by som ates 2. Tell the audience that if it becomes Lapossible for one of thon fo contre cn only thet thing he has chosen, he muse get on his feetand aay i" start from the Sesinning, pleage. 3+ TAY road something for the audienco an ‘Start from the Verianing, plesae gain Pots. interfere in the reading with noine, actions 4+ Tae composition is fintehed, whon "A" haa finished the readings ach tine a person stys ‘Fenda fron" the becinning The audience has to be placed sitting. HENNING CHRISTIANSEN, Incompatibility (1964) te tenuhevey ‘~ ante te ae ! * q g e ail i 13 Vs a v4 =i ey We Apo CLeMeNTi, from Informel 2 (1961-62)intel ty poinion the compas, ‘The rules are remembered but they've lost their hold. Vision unseen but heord. Witson Coxer, Recitative and Canzona (1965)Whole notes and one whole note rest signifying not one but many lengths of time, not measurable time but the time of sound itself. Micuart Couorass, Rhapsodic Fantasy “eodsoo 9030 ope Ag PeEpwakp T. Cone, Silent Noon (1960) og SN. SUE AA YO WOME 44 pou “os 1 NOK AON “woRRIOEDD oO,sa Aria. A CONRAD Axtuony Conrab, Three Loops jor Performers and Tape Recorders (1961) sodas 9 Jo woyspund 6g oni(© 1948 by Aaron Copland, Revvsted by persion of Aaron Copland and Rooky & Hawker Inc, Sole Publsters and Licenses AARON CoPLAND, Overture for School Performance (1938){ Con. ea pettitvra puede! “\ ustea. etree KK. I Fova esto baska myle me! fe { tue: [esi ella, lial | de su vecino it de su amiga EN de su novia, den. suc esposa Su” espose a Su novice + paviankes: deg “Should be played softly” il it fades.” Short vertical marks produce separation, Symbols don't work. Expression takes the form of words. What's thought is there’s a treble clef where time wasn’t taken to write one. Stems without notes are repetitions. Termes premiers: O arrét-origine, n un arrét, n’ Varrét issu du déplacement élémentaire de n, D Vensemble des valeurs| de la caractéri: ique sonore envisogée {Following the untimely Death of God, ThE Board of Directors of Universe/Incorporated elected Dr. Jesus H. Christ as Acting lord, pending the Millenial Stockholders’ Meeting. The “H” in Dr. Chris's name «ands for “Hallmark.” God thought to send His Very Best. José E. Cortés, KK‘ssodaes 936 owed ke pou Blip. Ken Friedman. avai (faa bicien a MANuEL Cortés, Sonata—ManifiestoPrinted by nermison of the composer, ~~ Aomit Meneist Cuminion : Qt Foal, 165 ~ Ramiro Cortés, Concerto for Violin and String Orchestra (1964)Henry Cowet, The Train Finale ‘Peat tr perminion of Mr. Sncy Comet aisate (nn be toes) Sly rains Pamele (oaPate by perminton ofthe composer { The color of words, the color of sounds, the color of chords and that of instruments, the color of brasses, of woods or of strings, the color of metals, and the color of skins? Henri Pousseur, Notation can be nice. Lou Harrison. Lowe Cross, 0.8 Century (1962)fa Sui Farge five pieces for piano side ny ipa ch ag” Georce Crump, Five Pieces for Piano (1962) fe Jo worming 6 pia PAU BNE IY “SHE SMC IE A C96 O aterPrinted by permiion ofthe compotr, INGOLF DaKt, Aria SinfonicaElim Baw = = af = eR, ep ag HET Good" ne et) Be, Pl Lutot Dattariccota, Ulysses: Act I, Scene 3 Saldtaia: Ui iiadea it, Gomemieiia ea commmmmam umemumas immerses gueeeecies tt mccani¥is fie codua:atseanseas!e Bir se bain em so slits , ae fom ain yin ; . a a © 1966 by Daneman, Ammer, Holland, All his rtered, Printed by perminon of Donets Ton De Leruw, The Dreamsa gu 6 liye wee lagee mtgleque? \unenY ag i i z & i H F i s 1 E i i é i : NoRMAN DELLO Jo10, ColloquiesReproduced by pecmision of Editon Tonos, Daria, German. Luis De Pasio, Modulos 1 (1964-65)The natural materials of our age: in counterpoint — the seconds; in syntax — the chromatic scale; in rhythm — crossmetre and grupetto; in melody — the wide, nov-seowise intervals. Stop tape number three. The marches . . . of Spontini’s operas are forgotten; . . . those composed by Mendelssohn for the wedding in A Midsummer Night's Dream, by Meyerbeer for the coronation in The Prophet, by Gounod for the soldiers in Faust, by Verdi for the ... Egyptian army in Aida, by Wagner for the guests in Tannhauser, the bridal procession in Lohengrin, . . the parade of the Meistersinger are universally known.Franco Doatont, Babi (1963)SousTa fer TRUMPET Arp _Tiase ALLétee ~ | Marr Doran, Sonata for Trumpet and Piano = MATT pORAN f “oroduos 9479 soe Pog{ Our system of notation is incapable of representing any except the most primary divisions “4 . Gout j @ i [-% ~ = | i —- mo } r sla 5 i i e ‘s 2 od 2 : =—— poe Oa sh sle “ NEN =f ew SS =F a = P ls ls —— sit Select peta James Drew, The Lute in the Attic (1963)of the whole-note, Henry Cowell. = tate 27 AAA AT t $e it a et XK KM MON XK RN RRR RES Tite Sw ——______s Pepro Ecuarre, Ritual _onchacs m0 wiped ka petaThank you so much and my apologies for being tardy in answering. We have just returned from several weeks in the west which accounts for the delay. Conventional scores are an insufficient . . . way of describing sound sequence to computers. ... Procedure . .. described for drawing scores as graphical functions of time, using . . . light pen on . . . cathode ray tube Information is transmitted digitally to... lorger computer, which synthesizes ++ sound .... reproduces... immediately with . . . loudspeaker. . . . the relation of signs to designata, and, through these, to denotata. attached 10 . . . small computer. The pragmatic dimension deals with the relation of signs to interpreters . . . the formal relations of signs to one another: . . . ‘unitary character of semiosis.’ 1 My commentary (an aphorism by T. W. Adorno) tothe piece on the record-cover reads: Wnen one hears 2. MUSicol tone nowadays, it's hard to suppress a faint smile. The notation demonstrates two methods: fist, phonetic symbolsto be realized on the organ; second, action-notation with no regard to the timbre. The time-frequency coordinates are conventional. Jan W. Morthenson. {1 | carry a portable tape recorder wherever | go, so that if a friend of mine says something funny, or something touching happens, I'll have it in my collection. Somelimes you run out of tape, ond that’s disappointing. I like to capture my fondest memories, so that I can play them again and again. Michael Fleisher. 1 .. the difficulty is to see the situation clearly. Cornelius Cardew. Printed by seiton ofthe competes Schwa Nd a Tt f——3 ‘Tom Exuicu, Orchestral SketchesPaste apa, Ora « 3 ? be x as 7 peed eh a Geien MERRILL ELLIS, Ostinato Rhythm ‘asodaes 99) 9 opm pegRupote Escuer, Summer Rites at Noon (1962-65) (© 1965 by Donen, Ameram, Holland, All seis seterved, Printed by permison of DonemasConyisht by Universal Edition A.G., Viens, Al seh rented, Printed by pemision of Univerat Eton A.C. Franco EvaNcetist1, Incontri di Fasce Sonore (1956-57)THE Kote OF QEHONRK fame pe tinh oe hip att Fok, Kile. og sid “a9 49 $961 OAC Morton FELDMAN, The King of Denmark he I soe F aewa fe: 7 93740 La? ? ? 376 SGML IG FFT PU, i G7 14453547995 (4119 3937 (4.979.679 / 148444 /7¢9 3/43 445555 4/2 4aag 39 444 19 U45 474586612 669/07 67511 79 So 2 2YAIL UT LIF 534254 17 HY 5 YSY AIF 7S BOF 45 449 SIF 6867 Boe ested, 179/91 BIUG 4746 9979/1 9567685 TH45Y 39/ 2 956 pee Z goer eet BE 278 oor 49 8 F 6867 67277 09/729 77, 8787878782 290 GGG WE LFI4 SF 79374 Pk OPF6/1) 45 4645 4374 G6 6667 4GYYOIT 2 GI R4R 29 7G78 S/YV9EP 1 4988/9597 1766 F759 1 91Y6 “F7F8/78 1897 oer YF TF Cn 4 9/484 167 4948) 4 /9A031 36 LY 3/7/6568 9 74 62 4 ays 98985/H/ 373% 6... /97? Fr S00 984 585O¢4 7/9 433637 004 1% 5 8 cof 4948 uPS mH 60968 4 3 1 ache weet D7. oN uuuu 2 8 vere 5 5 io 9 85758885 “llee er 393857363 939495857 -e¢ ee. 029384756 13 <4; ° 101 CARL FERNBACH-FLARSHEIM, untitled piece i frated by permison of he compose { I welcome the introduction of any astounding, unprecedented new sounds into general musical use, Luc Ferrart, Symphonie Inachevée (1965)but the sounds themselves must be extraordinary — I find meaningless the representation 1s tere of sounds oan lend to interesting cespoastiona, ‘The sounds can be ttnines ty runsing « sicrophoie directly over the area, roam (FiQsr endfor valle ormnce can be weighed and the or inet ed at nia sige. Thig.gction can be deliberate Cuitling participation)» fer athe first vislonist (atar dancer, etc.) uatil exhausted, fcanteliberate (unwilling partictpetion). Ta thio cide tack performer stops Riles Filiva Ropert FILLiou, Measured-Up Music on paper of effects which cannot reach the ear in an actual performance. Henry Brant. Bridge- playing. Ink. Bright colored letters with exponents . .. the calligraphic stamp on a Japanese print... distinguish the page. Score: dotted vertical lines clarify the relation Of two orchestras, “too orchestras facing each other."” Sound takes place in space. Where will the flute piayer si? Behind Percussion V. Signature like a rubber-stamp. Four icti, six, nine, twelve (gradual acceleration). Dutch East India, He wrote to say ii i ea a iSong for George Brecht he didn’t know what it was. Several looked at it carefully. RM. Fine (164 One of them thought it was @ transcription Kh uw =z from organ (replacement at the octave of passages crossed out). | i Later someone else said: ke Cw 1 > yea STProbably Bach (The Art of the Fugue). “una sola cosa” q i 4 : : Ross Lee Finney, Concerto jor Percussion and Orchestra (sketch)NEW WHATS(.)REQUIRE(.)HOWS(.) POSSIBILITIES(.)(?) ENDLESSLY(.) DEMAND(.)(:) EXPLANATION(.) 3 PROCESS(. JREPLACES!. LISTENING (.) ISNT(.) & ENOUGH(.)(!)(.. 3 Roger Reynolds, 5 : i 3 Chimel Chit Fra "Sharon A Reteat Fag? —_—_ 2 Chesaetic Tee” Tee bk wt [Tee Dk we “PR ek wee A alll Shan re the or wat iy Sh Gal) Sie “on ane halen fleas: 7 ma, 2a “ii faite | alt thal, she {| Die Notation ist keine rein grophische; die Abweichung von der normalen Nototon haben hier den Zweck, die kleinen Verinderungen dieser oder anderer Details zu erméglichen. Es ist also eine Notation, die Mehr- oder Viel-Deutigkeit des musikalischen Geschehens nicht nur zuiést sondern geradezu schaftt. Roman Haubenstock-Ramati. Micuaet FLeisner, Sharon—A Portrait for Magnetic TapeDug FR vidliv Avo Pltwo ape bsotse bur ee FuRously; lara SSS = ‘-— =I — De at aire as mut ron] GEORGE W. FLYNN, Duo for Violin and Piano (1964)Fageun ckbcks pagel foam game oem we ea on Wit (ee froma Fa] _sesengandnant & I sna Bc Lukas Foss, Fragments of Archilochos “AINE “Ser SOUL HOD 0 woman 4 png POMBE NABH MTV AERA MON “SUT INNO ED 5a oB6T © wEHHICOD‘Harry FREEDMAN, The Tokaido aL vere sotto my 70 oe a Pe,Prine by pemison ofthe compet, {When I think of my coration and the music it creates, I think of Francine. pavid Bedford, Almost everything’s clear. We know what to do if this were what we were going to do. Even the lines between notes {alssondi, surly, or their simulation }. Some leeway’s given in tempi. Otherwise there's no problem. Symmetrical plan. Any time for headaches? 1 a8 3h “0 te} geo 5 Ken Friepaan, prench Horn = @ Toma, 18) 3 Piece for 6 Instruments in 5 Minutesue Ht ttt KENNETH GaBURO, Never H ti) Uf iy iGeRaRDO GANDINI, Mutantes IIthit Mustafa in the neck, under his ear. He put up his hand to pull the lemon away, ++ it slashed his fingers. When heron off wos... hong hs hand to his neck, over the lemon. Mohammed had to buy another lemon and... razorblades to use on Ali, Paul Bowles. RoBERTO GERHARD, Concerto for Orchestra (1965) opens £9 pomrstog “ope07 “eng ANNIE BIERO AH Aa HEF HRHLICD @Gry grated way D. Sym See \ MIRIAM GIDEON, The Condemned Playground (Hiroshima) ated by pormison of the composePia S. GILBERT, Orders (1966) Lovoduos 99 79 soja 9 padCConyieht © by Boosey & Hawes Ins. Repsated by permison, Rens ALBERTO GINASTERA, BomarzoTransPoses Score [ron constanr rEarAd] a Jimmy GIUFFRE, Syncopate 8D "eh HOH HEH 7 sorSNENOK <4 RoE ‘MAID MOBY IV LOA ABN OD “and -BORE UNG KG EAHKdCDGR 0) ELIMIR Lam not sure if you The gift is already closed... cean be delighted with ‘Antihase’. The piece has no ‘anti and no ‘thése’, which characterizes the porns fe ola ie i vie aE fue pe ed fi ee ey megteal a lie AR fae _ ie . Ea i ie a a jorinen Charles Wui cheaply can one trevet from Wiesbaden to India (don't tell me of SOME Composing is notatng ‘and to hear things which do not happen, which I (you, he, the) can imagine. strange army plane)? why didn’t you answer my letters? with alll the stuff for Fluxus? tor months you write thea music Writt€n to wideawake antithesis. But I love anticlimax. are you siill thinking of publishing my book? 5 when I send loads YOU don’t answer — ... then on to India... how foe: ail bide Ui bu. He i ee Sats nm Fae Ma ‘amedaon 9m Jo wo Pog AYLMER GLappys, Elixir 8 (1952-61)votes omy jo wowed pa Since the proble ms arise from constriction, not freedom, why not begin with the notion that anything will do visually as long as you get the sound? George W. Flynn. PeGay GLANVILLE-Hicks, Obeisance to a Lucite Spectrum.41 lust as, ordinarily, there is no thought without words, there is no composition whout notation, ond just os the words that frame the thought affect and sometimes destroy it, so with the notation Of ‘Musical ideos. People who do not understond this cannot expect to make their compositions clear to others. Charles Wuorinen. Lost pages. At AD AOD M2266 4 tt 5 tw ate fo thepgmg gone Yaus 44 2 fury * pyecceanasqiT ts gs A Tia lao FON. A Printed by permion of the componer eeaes ipiratlnse: e e Jack Guick, Mandolinear for Stanley J. SilvermanVinko GLonoKar, Voie1 % U *\ to yo wy MH Ns, ON, Ma lve Le, TRS mt OR R| We TSE, 1 Seer” 00. s A_| FL i if & 7 kl Ee Ole ae 3K ace = i p—wabit, oti 7 Phe al LS An abandoned sketch. Though pencil was used, the writing resembles that done with o music-pen when the nibis held ot right-angle to the lines of the st@ES: verticals thin, horizontols thicker. (The way notes should look is the way they look when Matcor Gotpstety, Illuminations from Fantastic Gardensthey're printed.) | The notation is not a parameter. Its relative to the principal matter: sounds are first of all written in the air with an exquisitely acoustical ink. Aldo Clementi. J “Hiroshino,” in “The Condemned Playground,” means impingement of the sinister on Life itself. Miriam Gideon. 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 traffic. { Das graphische Fixicren con musikalischen Strukturen ist fir mich im Amfangsstadium einer Komposition con grisster Wichtigkeit, denn es ermdglicht ein klares, schnelles und vielseitiges Aufzeichnen von musikalischen Gedankenaktionen. Milko Kelemen. Weather changes. The familiar landscape (music, POEITY) iS seen through painting's atmosphere . What shall | do now? Whatever's suggested. (Do you give attention? or Do things of themselves engoge YOUF interest?) Seems, however, there's ctendencyo go rom left toright. Europe. Corresponding {i Toshkent has absorbed all the achievements Of past architectural endeavor . . . hut building the new, architects continuously face historically-shaped planning. In this respect it is far easier building up new towns on empty lots. Alison Knowles. {| L'unico segno esteriore dell interiorita e la mancanza d’espressione — usando grafie il cui numero @ illimitate — non solo nellinsolito, ma anche in cio che si cela nel consueto, Cinespresso trova la sua dimora abituale. Franco Donatoni.Pent by permiton of the comport { Notation of sound in time and space must give its information as clearly, as precisely and PeLLE GUDMUNDSEN-HOLMGREEN, Skitse Til No. 3as beautifully as possible. While it is primarily a chart for ears, it must play provocatively Ges Haba and irresistibly on the eye. entation Reginning of the First movements of String guartel tw vs ZapOiOny fe Gm Marga arate Ondante ae A painting appeals to inner senses "ee qa through the eye. score of sound AEP ES 1=+— must reach these senses fe aH Sees + vei Favs Yr = through the ear through the eye. gd 5 Ler Papa ae Jats let, ie Nodl Llinos. et! A Jy lgP jihl ate itl O bagtep nee tttdtinysibaormitbronghnottlOt, ? pitt, ine Td Fo! 4; Jie it's because we worshipped images, ee A Sh Scag aT SS ARIE Ly. Ea & ra apt [ESET mages ore not decd: they ie end speck ne ipa eh fie Rat ipl ala, aly He Imoge-worship permeates our lives. ee 8 fidad: ne bi i tia z ! ere foo we te [Nefaion become sori ie AMT tre ® : cor eben SE Tap = Be , wy sql sal = iS wipes, $F AY _ — having to be told. pe ia when images are put away. Py Only then will people know whoo co without Frederic Rjewski. Atots Hina, String Quartet No. 16g t i i a 5 I 2 i g 1 ‘ i i ' u It was very good to hear from you. ... Should we consider co-spons0ring en evening of the music of 2 — ‘Tlom the one... who from the beginning has worked anarchically. Al Hansen, ¢ {If the primary stuff of music is sound, it which I believe, then notation, 7 no matter how ordinary or idiosyncratic, iso more. than symbolic representation of the real thi. ' cw Furthermore, a description of notation such as this is a symbolic representation a of a symbolic representation — twice removed trom reolity. if = lejaren A. Hiller, Jr. — Fie ave Letter. The pencil moves across the page representing something else than What is Written. (The music, 100, though it was. CristoaL HaLFrrer, Diferencias Sobre Lineas y PuntosRANSIT th 7 [ee 5 Cenno Trombone. Chitarre elelireg, NK PEON. AY 7 HOPED Ag PIMA PALE NIE TY “HOBHOAS "PHAOHNNY UIHBION AY Aa S961 HAKEOD) being olayed — prematurely pro-Hollywood —, produced things to see: she danced like Cleopatra on a barge, Benet Hamoratus, Transit #2surrounded by her court, flowing down the Nile.) { OZMA over Glinda. Good! With musical eares, her psycho-sexulogr opr: were STAKED! As Mombi; previously her PLOT was discovered! Hysterically finding the tampering HER THEATRE-PIECE into magical things at Witch haa lamented: “OPERA had!” Robert Moran. Printed by permission ofthe composer, Cuantes Hama, RoundCAR_BIGBE cae Tees, (uiawre ore) 1. ENTER CAR 2, Couur Te TWELVE 5S, Toor Horn SK 4, CowT Te TEN © Toor Hon 2X 6, Gut To SEVEN 7, SLAM Doo 2X B- OPEN PND Crest” CLOUE CoMPAETHENT 4. Toor Hor 1X 10 Cot To TEN 1 |, SLAM Deok 1X 2, Toor toRw 3X 15, Covet To WE [4 TooT HORM IX Is OPEN pup chose Cuove ComPARTMEDT [b. Coot Te TEN (7, Stan 200 IX J8, BLINK Hott 3X 19, RAISE AMD HOW ER Lppews (oe ReveRS) 96. CowT Te TEN 21, BUNK LISTS 2X 22, TooT HORN IX 23, BLN HIGhTS 1% ay, bod thor Toor 2g, BLINK L6MTS 3X Bb, START MoTOR 27, noTee ofr CAR BIGBE CAR Foor, Guenrs ere) )ERTER AR 2, ToT Hew IX 3, SLAM Dok IX 4, Toot worn 2% +, RAISE AUD Laver 5 ooo (oe eIERS™ 6. CoosT To TuenT¥ 7, SUAT Boon 2X G, OPEN AND Case Clove GonPARTaevT 4, COUNT 7 Twenty 1, Toot Bot bax, th Gham Door 1% [2, CoweT Tory Jy, BLINK wre A oRHED TS tu Aud OE Seve at THES, smodos 29 Jo asad 5a pa ry Toot Hor [X Oo, FLUTTER LICH TS 14, Teer ere AL HANSEN, Ci [7 Oren ANID SE i, Car Bibbe CLOVE COMPARTHERT. [ 8, BLINK HSH TS 3X 14. CovuT 3 THEE Do, RAISE AND Lawes wi ren (oF REVERSE 21. BLINK Lights 2x QQ. COUNT To MINE, 23, SLAM Dose 1X Dy. HlGnTS an Laue AX 36 SLAM Door 2XLou Harrison, Praises for the Beauty of Hummingbirds (1952) Pate by permimlon ofthe compar,{ The writing down of « musical thought isin every way as personal and revealing as the writing, “o'V wont Teen Jo aowsmaisd 4g poezg “pas EAE MY “RNY ‘9 ARUN“ SOEAL “OY EoRpo tse down of any thought. Examining a music manuscript, inevitably | sense the man behind the notes. The fascination of a composer's notation is the fascination of human personality. Aaron Copland. RoMAN HAUBENSTOCK-Ramatt, Mobile for Shakespeare/Sonnets 53 & 54sa. y8h est { dear moran-no grant for such score send traditional musie to be considered-sincerely Robert Moran, {| La liberté Joser Mattias HavER, untitled composition (1952)PLAYING CARD eveNT Find A Punting ona> ow SipewnnK (oe sw Gurren). le wer, oar. WFo\T 1s & Jack, sanmenpee iT. Mount, — [iw seace erovived, cerosire ] (ween Past Ingen Rerure OCTOBER THe TweLFTH Is BETTER THAN JULY THE FouRTH. Dees exmiesm fake comer at thi ee ax Nach a mate capatht e ey Ger ede Nrecrmes \ilucted? seg game PUL JO MOPS pwg POUBNL AEE TY HOR ADK “AE OMIRRE Can You imagwwe maar ? implique douze sons. Ceux-ci encouragent des préoccupations formelles newes, rejetont Vomorphisme comme le CANeVAS. Claude Ballif. Bict Henpricks, The Friday Book of White NoiseDome A Buster oF Lemans In a NERTHER Eoees WW wiwrer, Dume A CARLOMD OF HENFICAL Foweer INR Woors wows. (on Lave frorvian ) og 7 Ely i kite fr) a labeder elds ade £ iin fiona | fen, wine gk eed | Georr Henpricks, The Friday Book of White Noise ‘seus qunan sor 0 woo pone “PeaseThis notation appears as seen from an airplane, sewdecs om 20 vowed fa penta EL RECORRIDO JAPONES AI HiaLeo aig se wane earoanes Usond isesiup. Inv the: : ROMA 263 scale of the images, one would be listening, HACER HACER a hundred feet above — the staves become ° HACER roadways, with pianos and strings marking blocks cat CURLQUIER OBJETO and intersections. My activity. { cosa” UN RECORRIDO CUALQDIERA DE DURACION INDETERMIMADA ° D ADETERMMNAR PARA CADA EJECICION ‘The easiest way to notate an action: describe it simply. No symbols are necessary since Delawre DE ww PulpLico Si AS SE _DESER Happenings generally have different actions. OCULTA ‘Those for Self-Service were culled from lists 0 \ of situations observed, imagined or derived by chance matods from the “Yellow Pages” dw Yon * wl sito oie yn on P rf ey directory. The final program was orronged partly by preference, chance, and practical limitations, Allan Kaprow. Je crois aux borheurs doxpesion Jee ls provoave iomeis artificiellement. Mais je sais que JAN Hipatao, El Recorrido Japonés“prodaos 2m) Jo OEE PE LiJareN A. HILLER, A Triptych for Hieronymus (1965-66) Je crois que la musique,fresh he = et Hu anes rsogiog siea “4 “9 59 961 O weBISHO nial EPEAT Aud REPEAT, WoT TobET HER COnRIGHT, Nk, By C.F PETER? Come Moduge i é : a i ‘comme tout Art, est essentiellement signification d'un etat expressif. Mais surtout je suis oiseau, je ne suis pas ornithologue. { ALAN Hovuaness, Orbit No. 3Ud by perminion of B. Sets Sone an Kare Husa, Mosaiques pour OrchestreScort Huston, Penta-Tholos Oh a rad “pandas a Jo wopeEZRS 6a ToaTost Icnyanact, The Field (1966)Copyieht © 1965 Oy C. F. Petes Corporation, 373 Pate Ave. Sout, New York, N-Y. 1016, All ht ested, Prat by permiion of. F. Peters Corporation, = Leto ANDREW IMBRIE, Psalm 42QE Dreo Ons Come ‘CHARLES Ives, blank song paper‘ncn Fag loves ncn Jamie? vig PO TERRY JENNINGS, Plano (1960) ‘oroduns ou 0 wos pom‘Printed by permason of the compos Bop: et Kossow is a friend of mine, Who resembles Eisenstein: ‘Has a Beard, Looks real fine, ‘That is why I wrote this rhyme. Boop, bip bip Boop, bip bip. Yeah! Ken Friedman. { Ray Jounson, Upim Labo (1964)= ao ia a SSS Ben Jounston, Knocking Piece swontpt somsepog/mednay 4a L96t © RNA, ona pma/stn8s0 30 VEEN 1a on “PRE HEBersy Joas, Moter IT (1965) =F By hes On 68 SE Jaques——Las, jay perdu ‘mon espincel_— Vide disappeored from the records leaving the contratenor parts blank. Vide (F.), Vide (L.), ide. connote differently. Conjecture freely, but Notation is symbolism no matter what. Kenneth Gaburo. Twas very glad to hear that New York is getting to be more and more busy ploce. | hope you have recovered from exhaustingAworé Jouiver, Aria II from Suite Rhapsodique schedules of trip after trip. Chance operation is getting more popular here after you left.soneduos OW Jo wom Pom Ailegbe ma nor troppo 1298 Fl Ona Bu = che en Four || pone joe P (eon suena) Solo Poe VYrelins fea | ! nate Dr Vt WES yola Celle Bus = { I'm not in position to give you any example of my work at all, ‘Cuartes Jones, Concerto for Four Violins and Orchestra (1963) for, to be exact, the Spirit in which | work | / / ' |implies systematic rejection of all notation of all crirythmes (improvisation of phonetic poetry). | wont to point OUt, Moreover, that notation could not come about except a posteriori and, because of this fact, loses in my eyes odes 99 Jo oH PAL all significance. Froncois Dufréne. { I'm interested in gradations beeen speech and song and the things folk ond jazz singers do. Willid Meters, Jor JONES, Five Pieces for Piano From grapes to grass?‘ated by peralaon of te compose. Question of taste. 4 accellerando van UF Mauricio KaGEL, Alle Rechte Vorbehalten (1965) Aer indo non rallentare poco meno (attacea) <= none prSELFSERVICE eqn by dah “my <= smd 2m wojmased Sa pm q Aloe wadecat. hers! The Ie popond ot 9 kway 12 atl rie sy ha! he Suasid ont it ALLAN Kaprow, Self-Service (1966)Uno KaseMers, Timepiece jor a Solo Performer (1964)revered, Printed by permision of C.F, Peterm, Frankfurt MILKo KELEMEN, Composé, Part 1 (1966Trae Devnnanhinge 1969 VR bene ed Bes Orel Arhe Ketone MGPrinted by permision of Me. Jack Kibatck. JACK FREDERICK KILPATRICK, Overture to The Bell and the Plow (1953)FT hagas atti It kent orl oe mete aay Leon KincHNeR, sketch for Piano Concerto #2 (1961-62) oy sngmnang sonny PSH LE HAELAOD{Conyieh ©) 1966 by Jantied Mic. Al sighs reese, Printed ty perme of Janied Muse onal playmg of prendamh Toe IS Oe crrament sake 17 Played here, Emerge GroRGE KLEINSINGER, Lament and Jig for Brendan BehanBengt af Klintberg Orangerimusik 1963 Teeter AN Ban ‘ _ ~ wa PWBYSLS AIG SV WH IWVYEY ee A A ata Pe ALA A A | wenee (NE CH A TEAC UME RE UCU pe lee ee Be Gl ee Merl mise) BENGT AF KLINTBERG, Orangerimusik (1963)rated by permission ofthe composer, ceuk ubecta,Ostaszi,0bvr8iFs opRazy / obraz ~ aint, obros v Cuse © prostoru, obres v akel. Neodeyslitelnou souddst{ Je Elovik © Jeho proettedt /. ower novododjch techiieuych prostyedkd (1etudel, evtloceti, radard, vybutnin, burewjeh plyud, uxtlé futy sorgény o snoha delfteh, ke konerétniz At j*z ce vatchusfefeh, viet) bude zak= ivizovin prostor ¥, pod, ned celjai atety u vdtuatal. Tyto obrovaké 01: ACY nebudou pheobit jen Jecnoznacnt, vidow somoztese: obohaceny 0 specifiku cfoty veuetntiu s to Je tod ho wyurivat k 26utrn? Zotvofenésu lok Infsu “obrozu”, t vlevint ste v nfknout tlotee obr:2d - dojo, nesenjeh ojolee= nou ideou, vle osinucenjeh 0 loxdint presttedd # ta 4 biinzs stostniksa. MILAN KNiZax, Aktudlni UméniReproduced by permision of Edition Tonos, Darmstadt, Germany. GorTrRiED Micnart KOENIG, Wind Quinter sketchRupor Komorous, Chanson saree 9a) 39 HopeEntiendo a creacién musical como un acto Itidico. la exageracién de nuestro valor, el concepto equivocado que nos formamos de la trascendencia Frat by perminlon of the comocter de nuestra obra, nos leva a considerarla como algo adornado de una seriedad que, en Altima instancio, conidero obsolviomene fcticia. ARTHER KAPPA + BUY Zo cig Virgilio F. H. Tosco. ~~ a el thts, — rill oe aqartes — dectrry then ARTHUR K@PCKE, Cigarette Piece — First Version (1962)Tender Music Tip over some objec Tip back Some object Slowit «some object slant back some ebjech Tip aver The slowted object” Slat the tipped object7 x ne Ree The performer performs These Six wondpalatiog «He con mabe use of any” number of objects , moving thes in any direction, Wat always Reep his ‘dittance” oom Thema Aug (168 Fathose { Eighty years ago ‘medion 99) Jo WSN ke PoE Janaéek notated not only cal’s of birds but deren intononons in the speech of Moravien people and he twas laughed at. Taxenisa Kosuai, Tender Music Karel Husa.