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Coherence in Cage...

Interesting you mentioned Cage. Beyond chaos, there are certain parameters that limit a particular "chance" musical procedure that provides a certain level of order.

The stochastic method of Xenakis or the aleatory of Lutoslawski, while utilising chance, yields certain predictable perceived results that support the intended statement of the composer.

In Cage, the way the sticks of the I Ching get distributed upon being tossed are governed by laws of physics. The parameters used by Cage in each of his chance works, including 4'33", impose certain limits that define the Gestalt of the work, within which fascinating variations occur. In his case, the Zen approach of de-segmenting each moment becomes the aesthetic statement which depends on its departure from the human tendency towards coherence.

The issue of aesthetic statement, for me, is significantly related to the issue of coherence. How powerfully the composer expresses his vision depends on how well technicaly put-together his work is in making that statement. Cage succeeds in his goal in this regard. But was Liszt's goal to present exactly that loosely-strung series of ideas as presented in his symphonic works? Are these an intended expression of Romantic whim and freedom, or are they symptomatic of the limits of his ability to construct an extended musical statement that holds together in rhetorical tightness? Could his ideas have been more effectively expressed so as to hold the listener's attention in a more captivating and engaging way from beginning to end? As in all artworks, this seems to be the arbiter of successful communication. Perhaps this is why Cage wrote 4'33" and not 120'00"?!!

As well as Tchakovsky managed form in his shorter movements, he always admitted a sense of inadequacy in controlling the structure of longer movements.

Thanks for the discussion and for your interesting thoughts!

DkB


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