John Cage and the 'Concert for piano and orchestra'

约翰·凯奇的《钢琴与管弦乐队音乐会》被广泛认为是一部开创性的作品，不仅是凯奇自己的作品，而且是二十世纪世纪音乐和技术的背景。例如，从奢侈的符号，特别是钢琴部分，但也有器乐部分（单簧管部分装饰了普里切特1993年重要调查《约翰·凯奇的音乐》的封面）装饰了大多数20世纪和实验音乐的研究（迈克尔·尼曼的《实验音乐》和保罗·格里菲思的《现代音乐及之后》的第二版封面：自1945年以来的方向是两个这样的例子）。自从碧玉·约翰斯和罗伯特·劳森伯格组织了一个展览，与这部作品的第一次演出（他们组织的）同时进行，图形乐谱、美国实验作品和其他与凯奇有关的主题的展览定期包括钢琴部分的页面，钢琴独奏。除了在记谱法上的创新，在形式上--作为一组没有乐谱的部分，可以以任何组合和关系来演奏，包括与其他作品--它比任何20世纪作曲家的任何早期作品都更大程度地开放了开放形式和开放作品的概念。然而，这项工作及其符号的许多复杂性、模糊性和挑战很少被详细讨论。对于一部经常被引用为里程碑的作品来说，表演仍然相对罕见。根据这一点和其他轶事证据，似乎“音乐会”被认为是非常重要的历史，二十世纪音乐，但它如何可能被理解和执行仍然是一个谜。这个项目的目的是在各个方面揭开作品的神秘面纱：大大提高人们对作品的看法和理解，并为未来的表演者提供见解和一系列的可能性。历史背景凯奇的作品通过20世纪50年代的组成背景，以及从“音乐会”到20世纪60年代的作品将通知工作的讨论，而大部分的原始研究将通过采访和档案材料的检查进行，以呈现生产，性能和接收历史的近距离阅读。2.分析讨论尽管“钢琴与管弦乐队音乐会”因其历史和音乐意义而声名狼借，但令人惊讶的是，关于音乐本身、它的功能以及它对表演的影响的详细讨论却很少。讨论往往集中在表面特征的记谱法，然后主要涉及钢琴部分。这项研究建议采取一种独特而全面的方法来研究整个作品，仔细检查和编目乐器部分，臭名昭著的指挥部分以及钢琴部分的所有不同的符号。3.表演问题研究的一个重要部分是展望未来的表演，为整个作品及其各个组合的新解释提供信息和建议。为了实现这一目标，将表演者和表演融入项目至关重要。一个广泛的录音和其他文件有关的表现，从过去将获得和审查密切。对性能问题的调查结果将在本书中详细讨论。此外，一个互动网络资源将为解释、个别符号以及结构、密度和连续性问题提供实用指南。它将允许用户塑造新的符号实现，并“玩”的可能性。此外，每个部分的专业录音将专门制作并通过网站提供，这将使听众能够以模块化的方式与不同的部分进行互动和各种联合收割机。

The 'Concert for piano and orchestra' by John Cage is widely regarded as a seminal work, not just within Cage's own output but in the context of twentieth century music and techniques. Examples from the extravagant notations, particularly of the piano part, but also the instrumental parts (the clarinet part adorns the cover of Pritchett's important 1993 survey The Music of John Cage) decorate most studies of 20th century and experimental music (the front covers of the second editions of both Michael Nyman's Experimental Music and Paul Griffiths' Modern Music and After: Directions since 1945 are two such examples). Ever since Jasper Johns and Robert Rauschenberg organised an exhibition to run alongside the first performance of the work (which they organised), exhibitions of graphic scores, American experimental work, and other themes associated with Cage regularly include pages from the piano part, the Solo for piano. As well as the innovations in notations, formally - as a set of parts without score, to be performed in any combination and relationship, including with other works - it throws open the notion of open form and the open work to a far greater degree than any earlier work by any twentieth century composer. Yet the many complexities, ambiguities and challenges of the work and its notations are rarely discussed in detail. Performances are still relatively uncommon for a work which is regularly cited as being a landmark. On this and other anecdotal evidence it would appear that the 'Concert' is recognised as being of great importance to the history of twentieth century music but how it might be understood and performed remains a puzzle. It is the purpose of this project to demystify the work in all aspects: to significantly advance how the work is viewed and understood and to provide insights and a range of possibilities to future performers.There are three areas of investigation central to the study:1. Historical contextThe compositional context of Cage's works through the 1950s, as well as the works leading from the 'Concert' into the 1960s will inform discussion of the work, whilst much of the original research will be conducted through interviews and examination of archival material to present close readings of the production, performance and reception histories. 2. Analytical discussionDespite the notoriety of the 'Concert for piano and orchestra', for its both historical and musical significance, there is surprisingly little detailed discussion about the music itself, how it functions, and its implications for performance. Discussion tends to focus upon surface features of the notation and then primarily relating to the piano part. This proposed study takes an unique and comprehensive approach to the work as a whole, closely examining and cataloguing all the different notations in the instrumental parts, the infamous conductor's part, as well as the piano part.3. Performance issuesAn important part of the study is to look to future performances, providing information and suggestions for fresh interpretations of the work as a whole and in its various groupings. In order to achieve this it is vital to integrate performers and performances into the project. A wide range of recordings and other documentation relating to performances from the past will be accessed and examined closely. The findings resulting from the investigation into performance issues will be discussed at length in the book. Furthermore, an interactive web resource will offer practical guides to interpretation, of individual notations and to matters of structure, density and continuity. It will allow users to shape new realisations of notations and to 'play' with possibilities. Additionally, professional recordings of each part will be specially made and available through the web-site which will allow for listeners to interact with and variously combine the different parts in modular fashion.