Beruflich Dokumente
Kultur Dokumente
2006
This paper presents a rereading of the gamut of that nevertheless culminated with crucial changes in
sonorities used by Cage in his String Quartet in Four his musical style (p. 186). He does not assign any
Parts (1950). Gamut has been defined by Cage as a particular importance to silence, however, preferring
fixed and static selection of sounds consisting of instead to draw parallels between Cage's sometimes
either single frequencies, intervals, or aggregates of quasi-serial use of the gamut technique and the
pitches and timbres (Cage, 1961, p. 25). Our aim is central European modernist tradition's preoccupation
to demonstrate how - through a detailed analysis of at the time with total serialism. Increased
the third movement of this work - Cage was already correspondence between Cage and Boulez around
assigning a central function to the position of silence this time adds weight to the theory that Cage was
in his compositions pre-dating 4'33" (1952). indeed being influenced by developments from
Previous interpretations of this work have not on the across the Atlantic (he had spent much of 1949
whole drawn attention to the function of silence travelling Europe, where he met Boulez for the first
time). Cage completed the string quartet when he
In: M. Baroni, A. R. Addessi, R. Caterina, M. Costa (2006) Proceedings and Boulez were beginning to identify stronger links
of the 9th International Conference on Music Perception & Cognition
(ICMPC9), Bologna/Italy, August 22-26 2006.2006 The Society for between their working methods. These similarities
Music Perception & Cognition (SMPC) and European Society for the
Cognitive Sciences of Music (ESCOM). Copyright of the content of an were based on a shared interest in rhythmic - as
individual paper is held by the primary (first-named) author of that
paper. All rights reserved. No paper from this proceedings may be opposed to harmonic or melodic - musical structures
reproduced or transmitted in any form or by any means, electronic or
mechanical, including photocopying, recording, or by any information (Nattiez, 1993, p. 44).
retrieval systems, without permission in writing from the paper's
primary author. No other part of this proceedings may be reproduced or
transmitted in any form or by any means, electronic or mechanical, On the other hand, one could also view Cage at this
including photocopying, recording, or by any information retrieval
system, without permission in writing from SMPC and ESCOM. time following an alternative European tradition
Analysis
Example 1
2 1 2 3
Movement: I II
6 5 1
III IV
Nearly Stationary,
Gamut Pattern
Section 1 Section 2 Section 3 Section 4 Section 5 Section 6 Section 7 Section 8 Section 9 Section 10 Section 11
45
40
35
30
25 a b
Section: 1 2 3 4 5 6 7 8 9 10 11
20
15
10
Looking at each section individually, internal
5 symmetries also become immediately apparent.
Section 1, for example, is 22 bars long and is divided
0
into two parts, with sonority 22 assuming a central
and recurring role within this scheme:
This broad graphic representation of the third Nearly Stationary,
Section 1
40
asymmetries that revolve around sonority 22 (the
35
25
22s position on the graph). Various shadings
Gamut
20
10
vertical arrow slightly beyond the halfway point
5
asymmetry. The opening three sections of the around 22, which is heard throughout the section
movement are related to the final three sections, every four statements. 22 is flanked in the first
while the middle five sections create a series of symmetrical half by sonority 29 and then by sonority
contiguous relationships, as outlined in the following 8 in the second. Similar associations are also
45 45
40 40
35 35
30 30
25 25
Gamut
Gamut
20 20
15 15
10 10
5 5
0 0
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29
Position of Gamut Position of Gamut
40
midpoint:
35
Nearly Stationary, 30
Section 2
25
Gamut
45
20
40
15
35
10
30
5
25
Gamut
0
20 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29
Position of Gamut
15
10
Its outer parts are also reflected around a central
5
0
middle section, with similar spacing of sonorities.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29
Position of Gamut
Sonority 22 is again important, appearing twice in
Again sonority 22 plays an important role. The both outer sections and separated by sonority 15.
section starts and ends with it and forms sequences Section 3 is almost exactly the same as 9, but it
with sonorities 30, 42 and 20. This pattern recurs in omits the silent sonorities at either end:
reverse order at the end of the section. Section 2s Nearly Stationary,
Section 9
40
25
Gamut
15
only be replaced by silences presence, as shown in
10
0
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27
Position of Gamut
section: 45
40
Nearly Statoinary,
Section 4 35
45 30
40
25
Gamut
35 20
30 15
25 10
Gamut
20 5
15 0
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40
10 Position of Gamut
0
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29
Position of Gamut
One might have expected - given the sections
A similar pattern is established in Section 5, below, central position - that the central sonority would be
which forms an almost perfect mirror of its sister 22, with its connections to 11 and its pervasive
section: presence throughout the movement. The central
Nearly Stationary,
Section 5
sonority is 1, however, re-enforcing the notion that
45 Cage held silence at this time in high regard, placing
40
it at the centre of an otherwise highly methodical
35
30 composition.
25
Gamut
20
15
Section 7, which functions in a similar manner to
10
Section 4, displays correspondences between certain
5
0
section segments, but no large-scale symmetry. The
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28
Position of Gamut
shaded areas in the following line graph serve to
The sixth section forms the central point of the third illustrate these correspondences:
movement, the central point of this section, and Nearly Stationary,
Section 7
40
25
parts; each one prefaced by sonority 1, silence. In the
Gamut
20
6. Position of Gamut
Section 8 is a mirror image of section 7, the point of Rhythm and Gamut, Nearly Stationary
graph: 40 16
35 14
30 12
Nearly Stationary,
Sections 7 and 8 together
25 10
Gamut
Beats
45 Sonority
Rhythm
40 20 8
35
15 6
30
10 4
25
Gamut
20 5 2
15
0 0
10
0
1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55 57 59 61 63 65 67 69
Position of Gamut
This analysis demonstrates that, in terms of
structure, order of gamut sequences, and rhythm,
It is again worth noting that the two sections begin
this movement has been carefully and methodically
and end with the silent sonority and also have as
planned out. It is hard to see, however, why certain
their central point sonority 22. Sections 7 and 8 are
sonorities have been used more than others, other
not entirely symmetrical, however, as can be seen
than for purely personal and subjective reasons. As
from the highlighted sub-sections above. The
illustrated in the following pie chart indicating the
sections internal symmetries have been shaded in
sonorities used, number 22 accounts for almost a
order to indicate that the outer segments use an order
quarter of the sonorities:
that is not entirely connected to any of the other
sections. This reflects the kind of balanced Gamut Proportions in movement 3, Nearly Stationary
8, 5%
insufficient scope here to discuss patterning in detail, 31, 4% 10, 3%
the following graph, which plots rhythm against 30, 4% 12, 2% 13, 1%
14, 1%
gamut, at least illustrates on a broad scale that gamut
29, 5% 15, 5%
symmetries are also reflected in the rhythmic
28, 2% 16, 2%
domain, suggesting that Cage is also operating a kind 26, 2%
17, 5%
25, 1%
of rhythmic gamut in this movement too: 24, 1% 22, 21%
20, 6% 18, 2%
Why should silence be included as one of the along this road than has hitherto been realized.
and in the end almost descends into silence (the final Companion to John Cage (pp. 186-213).
movement, a Quodlibet, falls outside this scheme). Cambridge: Cambridge University Press.
Silence therefore features more prominently as the Cage, J. (1961), Silence. London: Calder and
terms, although the percentage number of silences in (1993), John Cage: Writer (selected and
the second and third movements appears to be the introduced by R. Kostelanetz). New York:
Table 1. The use of silence in the String Quartet Correspondence. Cambridge: Cambridge
University Press.
Pritchett, J. (1993), The Music of John Cage.
Movement No. of % number in
Cambridge: Cambridge University Press.
silences relation to gamut
(2001), John Cage, Grove Music Online ed.
1. 'Quietly 3 0.4%
L. Macy (Accessed 19 May 2006)
Flowing Along'
<http://www.grovemusic.com>
2. 'Slowly 14 6%
Rocking'
3. 'Nearly 20 6%
Stationary'
4. Quodlibet 6 2.7%